[web] MG: added tables to SC and considered use of code tags
crantila
crantila at fedoraproject.org
Sun Aug 8 06:32:08 UTC 2010
commit 12efae2444c1da9650ddc90ac176aec8d1c403a7
Author: Christopher Antila <crantila at fedoraproject.org>
Date: Sun Aug 8 02:31:33 2010 -0400
MG: added tables to SC and considered use of code tags
fedoradocs.db | Bin 359424 -> 359424 bytes
public_html/Sitemap | 8 +-
...ft_Documentation-0.1-Musicians_Guide-en-US.epub | Bin 2258225 -> 2260214 bytes
.../0.1/html-single/Musicians_Guide/index.html | 863 ++++++++++++--------
.../appe-Musicians_Guide-Revision_History.html | 3 +
.../chap-Musicians_Guide-Ardour.html | 2 +-
.../chap-Musicians_Guide-FluidSynth.html | 12 +-
...ans_Guide-How_Computers_Deal_with_Hardware.html | 2 +-
.../chap-Musicians_Guide-LilyPond.html | 20 +-
.../chap-Musicians_Guide-Qtractor.html | 2 +-
.../chap-Musicians_Guide-Rosegarden.html | 10 +-
.../chap-Musicians_Guide-Solfege.html | 4 +-
.../0.1/html/Musicians_Guide/index.html | 6 +-
.../0.1/html/Musicians_Guide/ix01.html | 2 +-
.../0.1/html/Musicians_Guide/pr01s02.html | 2 +-
.../pref-Musicians_Guide-Preface.html | 8 +-
.../0.1/html/Musicians_Guide/pt01.html | 4 +-
.../0.1/html/Musicians_Guide/pt02.html | 4 +-
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...t-Musicians_Guide-FluidSynth-In_a_Terminal.html | 8 +-
...icians_Guide-FluidSynth-Multiple_Instances.html | 10 +-
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...yPond-Orchestra-Inputting-Wind_and_Timpani.html | 4 +-
...sicians_Guide-LilyPond-Orchestra-Inputting.html | 4 +-
...lyPond-Piano-Adjusting_Frescobaldis_Output.html | 38 +-
...-Musicians_Guide-LilyPond-Piano-Formatting.html | 92 ++-
...-Inputting-Changing_the_Style_of_Crescendo.html | 2 +-
...ians_Guide-LilyPond-Piano-Inputting-Chords.html | 4 +-
...s_Guide-LilyPond-Piano-Inputting-Fingering.html | 4 +-
...ng-Polyphonic_Sections_of_Homophonic_Music.html | 11 +-
...icians_Guide-LilyPond-Syntax-Articulations.html | 6 +-
...nd-Syntax-Avoiding_Errors-Bar_Check_Symbol.html | 24 +-
...ians_Guide-LilyPond-Syntax-Avoiding_Errors.html | 10 +-
...ect-Musicians_Guide-LilyPond-Syntax-Chords.html | 6 +-
...ns_Guide-LilyPond-Syntax-Commands-Contexts.html | 6 +-
...t-Musicians_Guide-LilyPond-Syntax-Commands.html | 10 +-
...uide-LilyPond-Syntax-Numbers_Are_Durations.html | 2 +-
...sicians_Guide-LilyPond-Syntax-Simultaneity.html | 4 +-
...sicians_Guide-LilyPond-Syntax-Source_Files.html | 108 ++--
.../sect-Musicians_Guide-LilyPond-Syntax.html | 12 +-
...cians_Guide-LilyPond-The_LilyPond_Approach.html | 8 +-
.../sect-Musicians_Guide-Processor_Scheduling.html | 2 +-
...-Qtractor-Configuration-MIDI_Channel_Names.html | 2 +-
..._Guide-Rosegarden-Configuration-Rosegarden.html | 6 +-
...t-Musicians_Guide-Rosegarden-Configuration.html | 16 +-
...Musicians_Guide-Rosegarden-Tutorial-Melody.html | 2 +-
...Guide-Rosegarden-Tutorial-Percussion_Track.html | 2 +-
.../sect-Musicians_Guide-Rosegarden-Tutorial.html | 12 +-
...ct-Musicians_Guide-Rosegarden_and_LilyPond.html | 8 +-
...de-SC-Basic_Programming-Busses-Bus_Objects.html | 34 +-
...g-Conditional_Execution-Logical_And_and_Or.html | 44 +-
...SC-Basic_Programming-Conditional_Execution.html | 78 ++-
...-SynthDef_and_Synth-Creating_Change_Anyway.html | 28 +-
...uide-SC-Composing-Designing_the_First_Part.html | 4 +-
...ans_Guide-SC-Composing-Optimizing_the_Code.html | 6 +-
...ns_Guide-SC-Composing-Scheduling_the_Tones.html | 4 +-
...uide-SC-Req_and_Inst-Software_Requirements.html | 2 +-
...icians_Guide-SC-Using_GEdit-Executing_Code.html | 6 +-
.../sect-Musicians_Guide-Sound_Servers-JACK.html | 4 +-
.../sect-Musicians_Guide-Sound_Servers-Phonon.html | 2 +-
...sect-Musicians_Guide-Sound_Servers_Section.html | 4 +-
.../sect-Musicians_Guide-Using_JACK.html | 24 +-
.../sect-Musicians_Guide-Using_QjackCtl.html | 6 +-
...aft_Documentation-0.1-Musicians_Guide-en-US.pdf | Bin 2860917 -> 2872730 bytes
82 files changed, 1068 insertions(+), 662 deletions(-)
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diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html-single/Musicians_Guide/index.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html-single/Musicians_Guide/index.html
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<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Musicians' Guide</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><meta name="description" content="This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage." /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedora
project.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><div xml:lang="en-US" class="book" title="Musicians' Guide" id="id1408149" lang="en-US"><div class="titlepage"><div><div class="producttitle" font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><span class="productname">Fedora Draft Documentation</span> <span class="productnumber"></span></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h1 id="id1408149" class="title">Musicians' Guide</h1></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h2 class="subtitle">A guide to Fedora Linux's audio creation and music capabilities.</h2></div><p class="edition">Edition 14.0.1</p><div font-family
="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h3 class="corpauthor">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Musicians' Guide</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><meta name="description" content="This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage." /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedora
project.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><div xml:lang="en-US" class="book" title="Musicians' Guide" id="id1741220" lang="en-US"><div class="titlepage"><div><div class="producttitle" font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><span class="productname">Fedora Draft Documentation</span> <span class="productnumber"></span></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h1 id="id1741220" class="title">Musicians' Guide</h1></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h2 class="subtitle">A guide to Fedora Linux's audio creation and music capabilities.</h2></div><p class="edition">Edition 14.0.1</p><div font-family
="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h3 class="corpauthor">
<span class="inlinemediaobject"><object data="Common_Content/images/title_logo.svg" type="image/svg+xml"> </object></span>
- </h3></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div xml:lang="en-US" class="authorgroup" lang="en-US"><div class="author"><h3 class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></h3><div class="affiliation"><span class="orgname">Fedora Documentation Project</span></div><code class="email"><a class="email" href="mailto:crantila at fedoraproject.org">crantila at fedoraproject.org</a></code></div></div></div><hr /><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div id="id659353" class="legalnotice"><h1 class="legalnotice">Legal Notice</h1><div class="para">
+ </h3></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div xml:lang="en-US" class="authorgroup" lang="en-US"><div class="author"><h3 class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></h3><div class="affiliation"><span class="orgname">Fedora Documentation Project</span></div><code class="email"><a class="email" href="mailto:crantila at fedoraproject.org">crantila at fedoraproject.org</a></code></div></div></div><hr /><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div id="id503135" class="legalnotice"><h1 class="legalnotice">Legal Notice</h1><div class="para">
Copyright <span class="trademark"></span>© 2010 Red Hat, Inc. and others.
</div><div class="para">
The text of and illustrations in this document are licensed by Red Hat under a Creative Commons Attribution–Share Alike 3.0 Unported license ("CC-BY-SA"). An explanation of CC-BY-SA is available at <a href="http://creativecommons.org/licenses/by-sa/3.0/">http://creativecommons.org/licenses/by-sa/3.0/</a>. The original authors of this document, and Red Hat, designate the Fedora Project as the "Attribution Party" for purposes of CC-BY-SA. In accordance with CC-BY-SA, if you distribute this document or an adaptation of it, you must provide the URL for the original version.
@@ -23,11 +23,11 @@
All other trademarks are the property of their respective owners.
</div></div></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div class="abstract" title="Abstract"><h6>Abstract</h6><div class="para">
This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage.
- </div></div></div></div><hr /></div><div class="toc"><dl><dt><span class="preface"><a href="#pref-Musicians_Guide-Preface">Preface</a></span></dt><dd><dl><dt><span class="section"><a href="#id622776">1. Document Conventions</a></span></dt><dd><dl><dt><span class="section"><a href="#id772433">1.1. Typographic Conventions</a></span></dt><dt><span class="section"><a href="#id969668">1.2. Pull-quote Conventions</a></span></dt><dt><span class="section"><a href="#id747654">1.3. Notes and Warnings</a></span></dt></dl></dd><dt><span class="section"><a href="#id690734">2. We Need Feedback!</a></span></dt></dl></dd><dt><span class="part"><a href="#id2320298">I. Linux Audio Basics</a></span></dt><dd><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Sound_Cards">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a hr
ef="#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Card_Connections">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-PCI_Sound_Cards">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FireWire_Sound_Cards">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-USB_Sound_Cards">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Choose_Sound_Card_Connection">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><
dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Format">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_Rate">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="#chap-Musicians_Guide-Vocabulary">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="#sect
-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Level">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Time">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-How_Computers_Deal_with_Hardware">2. Software for Soun
d Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers_Section">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-Phonon">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_JACK">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Using_QjackCtl"
>2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating PulseAudio with JACK</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Real_Time_and_Low_Latency">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Processor_Scheduling">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Real_Time_Linux_Kernel">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Hard_and_Soft_Real_Time">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt>
</dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Planet_CCRMA_at_Home">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Security_and_Stability">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Best_Practices">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd>
<dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Repository_Priorities">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="part"><a href="#id804400">II. Audio and Music Software</a></span></dt><dd><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Audacity">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Requirements_and_Installation">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><
a href="#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Hardware_Requirements">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Playback">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Recording">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity_Configuration">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity
-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Interface">5.4. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutori
al">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Scenario">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><
a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#
chap-Musicians_Guide-Digital_Audio_Workstations">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Stages_of_Recording">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Mixing">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Mastering">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Record_Mix_Master_More_Info">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Interface_Vocabulary">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Session">6.3.1.
Session</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_and_Multitrack">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Region_Clip_Segment">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Session_Track_Region">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Transport_and_Playhead">6.3.5. Transport and Playhead</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Automation">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_User_Interface">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Clock">6.4.2. Clock</a></span></dt><dt><span
class="section"><a href="#sect-Musicians_Guide-Track_Info_Pane">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Pane">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Transport_Controls">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Ardour">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></spa
n></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording_a_Session">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Interface">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Se
tting_up_Busses_and_Tracks">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_a_Region">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_More">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</a></span></dt><dt><span class="s
ection"><a href="#sect-Musicians_Guide-Ardour-Editing">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Edit_Groups">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><
span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Arrange">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Listen">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt>
<dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Other_Things">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Listen">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Qtractor">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide
-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">8.2.2. MIDI Options</a></span></dt><dt><span class="
section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-MIDI_Tools">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-JACK">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Tips">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span
class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Requirements">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme">8.4.6. Creating our Theme</a></span></dt><dt><span class="se
ction"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measure_97">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span cla
ss="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Rosegarden">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a><
/span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="#sect-Musicians
_Guide-Rosegarden-Tutorial">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Melody">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-FluidSynth">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-SoundF
ont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Requirements_and_Installation">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><span class="sect
ion"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-In_a_Terminal">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-SoundFont">10.4.2. SoundFont Configuration</a></span></dt><
dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="sec
tion"><a href="#sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple FluidSynth Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-SuperCollider">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a
href="#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3. Exec
uting Code in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sou
nd-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</a></span></dt><d
t><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a h
ref="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.5.9. Joining t
he Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-LilyPond">12. LilyPond</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Installation">12.3. Requirements and Installation</a></span></dt><dt><span clas
s="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Articulations">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Commands">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Source_Files">12.4.7. Source Files and Their Formatting</a>
</span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Inputting">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score">12.5.5. Forma
tting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Inputting">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1.
Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Inputting">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Formatting">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Frescobaldi">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Ea
sier</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Installation">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Configuration">13.3. Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Using">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Solfege">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Gu
ide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Instruments">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-External_Programs">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Interface">14.2.4. Interface<
/a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Practise">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Sound_Setup">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Exercise_Types">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Supplementary_References">14.3.4. Supplementary References</
a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Using_the_Exercises">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Singing_Exercises">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Configure_Yourself_Exericses">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Rhythm_Exercises">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Dictation_Exercises">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Harmonic_Progressions">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Intonation">14.4.7. Intonation</a></span></dt
></dl></dd></dl></dd></dl></dd><dt><span class="appendix"><a href="#appe-Musicians_Guide-Revision_History">A. Revision History</a></span></dt><dt><span class="index"><a href="#id2337597">Index</a></span></dt></dl></div><div xml:lang="en-US" class="preface" title="Preface" id="pref-Musicians_Guide-Preface" lang="en-US"><div class="titlepage"><div><div><h1 class="title">Preface</h1></div></div></div><div xml:lang="en-US" class="section" title="1. Document Conventions" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id622776">1. Document Conventions</h2></div></div></div><div class="para">
+ </div></div></div></div><hr /></div><div class="toc"><dl><dt><span class="preface"><a href="#pref-Musicians_Guide-Preface">Preface</a></span></dt><dd><dl><dt><span class="section"><a href="#id670500">1. Document Conventions</a></span></dt><dd><dl><dt><span class="section"><a href="#id767513">1.1. Typographic Conventions</a></span></dt><dt><span class="section"><a href="#id502280">1.2. Pull-quote Conventions</a></span></dt><dt><span class="section"><a href="#id568729">1.3. Notes and Warnings</a></span></dt></dl></dd><dt><span class="section"><a href="#id506209">2. We Need Feedback!</a></span></dt></dl></dd><dt><span class="part"><a href="#id495350">I. Linux Audio Basics</a></span></dt><dd><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Sound_Cards">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a hre
f="#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Card_Connections">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-PCI_Sound_Cards">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FireWire_Sound_Cards">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-USB_Sound_Cards">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Choose_Sound_Card_Connection">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><d
t><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Format">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_Rate">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="#chap-Musicians_Guide-Vocabulary">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="#sect-
Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Level">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Time">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-How_Computers_Deal_with_Hardware">2. Software for Sound
Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers_Section">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. <code class="systemitem">JACK</code> Audio Connection Kit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-Phonon">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_JACK">2.3. Using the <code class="systemitem">JACK</code> Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring <code class="systemitem">JACK
</code></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Using_QjackCtl">2.3.2. Using <span class="application"><strong>QjackCtl</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating <code class="systemitem">PulseAudio</code> with <code class="systemitem">JACK</code></a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Real_Time_and_Low_Latency">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Processor_Scheduling">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Real_Time_Linux_Kernel">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Hard_and_Soft_Re
al_Time">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Planet_CCRMA_at_Home">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Security_and_Stability">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Best_Practices">4.2.3. A Po
ssible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Repository_Priorities">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="part"><a href="#id1709728">II. Audio and Music Software</a></span></dt><dd><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Audacity">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to
Use Audacity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Requirements_and_Installation">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Hardware_Requirements">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Playback">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Recording">5.2.6. Post-Installation Test: Recording</a>
</span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity_Configuration">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Interface">5.4. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span c
lass="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Scenario">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audaci
ty-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of
a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Digital_Audio_Workstations">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Stages_of_Recording">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Mixing">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Mastering">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Record_Mix_Master_More_Info">6.2.4. More Information</a></span></dt></dl
></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Interface_Vocabulary">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_and_Multitrack">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Region_Clip_Segment">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Session_Track_Region">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Transport_and_Playhead">6.3.5. Transport and Playhead</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Automation">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_User_Interface">6.4. User Interface</a></span></dt><dd><dl><dt><s
pan class="section"><a href="#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Clock">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Info_Pane">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Pane">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Transport_Controls">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Ardour">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musi
cians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording_a_Session">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Interface">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording
-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_a_Region">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_More">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Importing_Exist
ing_Audio">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Edit_Groups">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size">7.4.5. Cut the
Regions Down to Size</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Arrange">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Listen">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Pan
ning">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Other_Things">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Listen">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Qtractor">8. Qtractor</a></span></dt><dd><dl><
dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qt
ractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-MIDI_Tools">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-JACK">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together"
>8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Tips">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Requirements">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Are
a">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measure_97">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119">8.4.12
. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Rosegarden">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_
Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup <span class="application"><strong>JACK</strong></span> and <span class="application"><strong>Qsynth</strong></span></a></span></dt><dt><span
class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup <span class="application"><strong>Rosegarden</strong></span></a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. <span class="application"><strong>Rosegarden</strong></span> and LilyPond</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in <span class="application"><strong>Rosegarden</strong></span> (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion">9.4.3. Spice up the Percussion</a></span></dt><dt>
<span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Melody">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-FluidSynth">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><
a href="#sect-Musicians_Guide-FluidSynth-Requirements_and_Installation">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install <span class="application"><strong>FluidSynth</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="#s
ect-Musicians_Guide-FluidSynth-In_a_Terminal">10.3. Using <span class="application"><strong>FluidSynth</strong></span> in a Terminal</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting <span class="application"><strong>FluidSynth</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-SoundFont">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settin
gs">10.4.5. Viewing all <span class="application"><strong>FluidSynth</strong></span> Settings</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple <span class="application"><strong>FluidSynth</strong></span> Instances with Qsynth</a></span></dt></dl
></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-SuperCollider">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span clas
s="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Prog
ramming">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6. Colle
ctions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.4.13. Scheduling</a></s
pan></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.5.4. Designing the Second Part</a></span></dt><dt><span class="se
ction"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time S
ynthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-LilyPond">12. <span class="application"><strong>LilyPond</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How <span class="application"><strong>LilyPond</strong></span> Works</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The <span class="application"><strong>LilyPond</strong></span> Approach</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Installation">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax">12.4. <span class="application"><strong>LilyPond</strong></span> Basi
cs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Articulations">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Commands">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Source_Files">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-S
yntax-Avoiding_Errors">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Inputting">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="#se
ct-Musicians_Guide-LilyPond-Orchestra">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Inputting">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect
-Musicians_Guide-LilyPond-Piano-Starting_the_Score">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Inputting">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Formatting">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Frescobaldi">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Fr
escobaldi-Installation">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Configuration">13.3. Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Using">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Solfege">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span cla
ss="section"><a href="#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Instruments">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-External_Programs">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Interface">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege
-Configuration-Practise">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Sound_Setup">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Exercise_Types">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Supplementary_References">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guid
e-Solfege-Using_the_Exercises">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Singing_Exercises">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Configure_Yourself_Exericses">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Rhythm_Exercises">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Dictation_Exercises">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Harmonic_Progressions">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Intonation">14.4.7. Intonation</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="appendix"><a href="#appe-Musici
ans_Guide-Revision_History">A. Revision History</a></span></dt><dt><span class="index"><a href="#id655012">Index</a></span></dt></dl></div><div xml:lang="en-US" class="preface" title="Preface" id="pref-Musicians_Guide-Preface" lang="en-US"><div class="titlepage"><div><div><h1 class="title">Preface</h1></div></div></div><div xml:lang="en-US" class="section" title="1. Document Conventions" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id670500">1. Document Conventions</h2></div></div></div><div class="para">
This manual uses several conventions to highlight certain words and phrases and draw attention to specific pieces of information.
</div><div class="para">
In PDF and paper editions, this manual uses typefaces drawn from the <a href="https://fedorahosted.org/liberation-fonts/">Liberation Fonts</a> set. The Liberation Fonts set is also used in HTML editions if the set is installed on your system. If not, alternative but equivalent typefaces are displayed. Note: Red Hat Enterprise Linux 5 and later includes the Liberation Fonts set by default.
- </div><div class="section" title="1.1. Typographic Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id772433">1.1. Typographic Conventions</h3></div></div></div><div class="para">
+ </div><div class="section" title="1.1. Typographic Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id767513">1.1. Typographic Conventions</h3></div></div></div><div class="para">
Four typographic conventions are used to call attention to specific words and phrases. These conventions, and the circumstances they apply to, are as follows.
</div><div class="para">
<code class="literal">Mono-spaced Bold</code>
@@ -75,7 +75,7 @@
Aside from standard usage for presenting the title of a work, italics denotes the first use of a new and important term. For example:
</div><div class="blockquote"><blockquote class="blockquote"><div class="para">
Publican is a <em class="firstterm">DocBook</em> publishing system.
- </div></blockquote></div></div><div class="section" title="1.2. Pull-quote Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id969668">1.2. Pull-quote Conventions</h3></div></div></div><div class="para">
+ </div></blockquote></div></div><div class="section" title="1.2. Pull-quote Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id502280">1.2. Pull-quote Conventions</h3></div></div></div><div class="para">
Terminal output and source code listings are set off visually from the surrounding text.
</div><div class="para">
Output sent to a terminal is set in <code class="computeroutput">mono-spaced roman</code> and presented thus:
@@ -100,7 +100,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
System.<span class="perl_Function">out</span>.<span class="perl_Function">println</span>(<span class="perl_String">"Echo.echo('Hello') = "</span> + echo.<span class="perl_Function">echo</span>(<span class="perl_String">"Hello"</span>));
}
-}</pre></div><div class="section" title="1.3. Notes and Warnings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id747654">1.3. Notes and Warnings</h3></div></div></div><div class="para">
+}</pre></div><div class="section" title="1.3. Notes and Warnings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id568729">1.3. Notes and Warnings</h3></div></div></div><div class="para">
Finally, we use three visual styles to draw attention to information that might otherwise be overlooked.
</div><div class="note"><h2>Note</h2><div class="para">
Notes are tips, shortcuts or alternative approaches to the task at hand. Ignoring a note should have no negative consequences, but you might miss out on a trick that makes your life easier.
@@ -108,15 +108,15 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
Important boxes detail things that are easily missed: configuration changes that only apply to the current session, or services that need restarting before an update will apply. Ignoring a box labeled 'Important' won't cause data loss but may cause irritation and frustration.
</div></div><div class="warning"><h2>Warning</h2><div class="para">
Warnings should not be ignored. Ignoring warnings will most likely cause data loss.
- </div></div></div></div><div xml:lang="en-US" class="section" title="2. We Need Feedback!" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id690734">2. We Need Feedback!</h2></div></div></div><a id="id788262" class="indexterm"></a><div class="para">
+ </div></div></div></div><div xml:lang="en-US" class="section" title="2. We Need Feedback!" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id506209">2. We Need Feedback!</h2></div></div></div><a id="id506221" class="indexterm"></a><div class="para">
If you find a typographical error in this manual, or if you have thought of a way to make this manual better, we would love to hear from you! Please submit a report in Bugzilla: <a href="http://bugzilla.redhat.com/bugzilla/">http://bugzilla.redhat.com/bugzilla/</a> against the product <span class="application"><strong>Fedora Documentation.</strong></span>
</div><div class="para">
When submitting a bug report, be sure to mention the manual's identifier: <em class="citetitle">musicians-guide</em>
</div><div class="para">
If you have a suggestion for improving the documentation, try to be as specific as possible when describing it. If you have found an error, please include the section number and some of the surrounding text so we can find it easily.
- </div></div></div><div class="part" title="Part I. Linux Audio Basics" id="id2320298"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part I. Linux Audio Basics</h1></div></div></div><div class="partintro" title="Linux Audio Basics" id="id2320304"><div></div><div class="para">
+ </div></div></div><div class="part" title="Part I. Linux Audio Basics" id="id495350"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part I. Linux Audio Basics</h1></div></div></div><div class="partintro" title="Linux Audio Basics" id="id495357"><div></div><div class="para">
asdf
- </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Sound_Cards">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Card_Connections">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-PCI_Sound_Cards">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_
Guide-FireWire_Sound_Cards">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-USB_Sound_Cards">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Choose_Sound_Card_Connection">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Format">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_Rate">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_and_Sample_Rat
e_Conclusions">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="#chap-Musicians_Guide-Vocabulary">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Level">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Time">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="#sect-Mus
icians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-How_Computers_Deal_with_Hardware">2. Software for Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers_Section">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-Phonon">2.2.3. Phonon</a></span></dt></dl></d
d><dt><span class="section"><a href="#sect-Musicians_Guide-Using_JACK">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Using_QjackCtl">2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating PulseAudio with JACK</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Real_Time_and_Low_Latency">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Processor_Scheduling">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Real_Ti
me_Linux_Kernel">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Hard_and_Soft_Real_Time">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Planet_CCRMA_at_Home">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Security_and_Stability
">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Best_Practices">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Repository_Priorities">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></div></div><div xml:lang="en-US" class="chapter" title="Chapter 1. Sound Cards and Digital Audio" id="chap-Musicians_Guide-Sound_Cards" lang="en-US"><div class="titlepage
"><div><div><h2 class="title">Chapter 1. Sound Cards and Digital Audio</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Card_Connections">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-PCI_Sound_Cards">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FireWire_Sound_Cards">1.2.3. External FireWire Connection</a></sp
an></dt><dt><span class="section"><a href="#sect-Musicians_Guide-USB_Sound_Cards">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Choose_Sound_Card_Connection">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Format">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_Rate">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span cl
ass="section"><a href="#chap-Musicians_Guide-Vocabulary">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Level">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Time">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Mu
ltiplexing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></div><div class="para">
+ </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Sound_Cards">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Card_Connections">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-PCI_Sound_Cards">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_
Guide-FireWire_Sound_Cards">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-USB_Sound_Cards">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Choose_Sound_Card_Connection">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Format">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_Rate">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_and_Sample_Rat
e_Conclusions">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="#chap-Musicians_Guide-Vocabulary">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Level">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Time">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="#sect-Mus
icians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-How_Computers_Deal_with_Hardware">2. Software for Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers_Section">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. <code class="systemitem">JACK</code> Audio Connection Kit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-Phonon">2.2.3
. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_JACK">2.3. Using the <code class="systemitem">JACK</code> Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring <code class="systemitem">JACK</code></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Using_QjackCtl">2.3.2. Using <span class="application"><strong>QjackCtl</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating <code class="systemitem">PulseAudio</code> with <code class="systemitem">JACK</code></a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Real_Time_and_Low_Latency">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is
Desirable</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Processor_Scheduling">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Real_Time_Linux_Kernel">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Hard_and_Soft_Real_Time">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Planet_CCRMA_at_Home">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt>
<span class="section"><a href="#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Security_and_Stability">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Best_Practices">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Repository_Priorities">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Prevent a Package from Being Updated</a>
</span></dt></dl></dd></dl></dd></dl></div></div><div xml:lang="en-US" class="chapter" title="Chapter 1. Sound Cards and Digital Audio" id="chap-Musicians_Guide-Sound_Cards" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 1. Sound Cards and Digital Audio</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Card_Connections">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a hre
f="#sect-Musicians_Guide-PCI_Sound_Cards">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FireWire_Sound_Cards">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-USB_Sound_Cards">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Choose_Sound_Card_Connection">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Format">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href=
"#sect-Musicians_Guide-Bit_Rate">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="#chap-Musicians_Guide-Vocabulary">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Level">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Time">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a
href="#sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></div><div class="para">
This chapter introduces the technical vocabulary used for computer audio hardware.
</div><div class="section" title="1.1. Types of Sound Cards" id="sect-Musicians_Guide-What_Sound_Cards_Are"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</h2></div></div></div><div class="para">
A sound card is a hardware device which allows a computer to process sound. Most sound cards are either audio interfaces or MIDI interfaces. These two kinds of interfaces are described below.
@@ -258,21 +258,21 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
Audio was originally recorded with only one channel, producing "monophonic," or "mono" recordings. Beginning in the 1950s, stereophonic recordings, with two independent channels, began replacing monophonic recordings. Since humans have two independent ears, it makes sense to record and reproduce audio with two independent channels, involving two speakers. Most sound recordings available today are stereophonic, and people have found this mostly satisfying.
</div><div class="para">
There is a growing trend toward five- and seven-channel audio, driven primarily by "surround-sound" movies, and not widely available for music. Two "surround-sound" formats exist for music: DVD Audio (DVD-A) and Super Audio CD (SACD). The development of these formats, and the devices to use them, is held back by the proliferation of headphones with personal MP3 players, a general lack of desire for improvement in audio quality amongst consumers, and the copy-protection measures put in place by record labels. The result is that, while some consumers are willing to pay higher prices for DVD-A or SACD recordings, only a small number of recordings are available. Even if you buy a DVD-A or SACD-capable player, you would need to replace all of your audio equipment with models that support proprietary copy-protection software. Without this equipment, the player is often forbidden from outputting audio with a higher sample rate or sample format than a conventional audio CD. None
of these factors, unfortunately, seem like they will change in the near future.
- </div></div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 2. Software for Sound Cards" id="chap-Musicians_Guide-How_Computers_Deal_with_Hardware" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 2. Software for Sound Cards</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers_Section">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-Phonon">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Usin
g_JACK">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Using_QjackCtl">2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating PulseAudio with JACK</a></span></dt></dl></dd></dl></div><div class="para">
+ </div></div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 2. Software for Sound Cards" id="chap-Musicians_Guide-How_Computers_Deal_with_Hardware" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 2. Software for Sound Cards</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers_Section">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. <code class="systemitem">JACK</code> Audio Connection Kit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-Phonon">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a
href="#sect-Musicians_Guide-Using_JACK">2.3. Using the <code class="systemitem">JACK</code> Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring <code class="systemitem">JACK</code></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Using_QjackCtl">2.3.2. Using <span class="application"><strong>QjackCtl</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating <code class="systemitem">PulseAudio</code> with <code class="systemitem">JACK</code></a></span></dt></dl></dd></dl></div><div class="para">
One of the techniques consistently used in computer science is abstraction. Abstraction is the process of creating a generic model for something (or some things) that are actually unique. The "driver" for a hardware device in a computer is one form of dealing with abstraction: the computer's software interacts with all sound cards in a similar way, and it is the driver which translates the universal instructions given by the software into specific instructions for operating that hardware device. Consider this real-world comparison: you know how to operate doors because of abstracted instructions. You don't know how to open and close every door that exists, but from the ones that you do know how to operate, your brain automatically creates abstracted instructions, like "turn the handle," and "push the door," which apply with all or most doors. When you see a new door, you have certain expectations about how it works, based on the abstract behaviour of doors, and you quickl
y figure out how to operate that specific door with a simple visual inspection. The principle is the same with computer hardware drivers: since the computer already knows how to operate "sound cards," it just needs a few simple instructions (the driver) in order to know how to operate any particular sound card.
</div><div class="section" title="2.1. How Linux Deals with Audio Hardware" id="sect-Musicians_Guide-Sound_Servers-ALSA"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</h2></div></div></div><div class="para">
In Linux, the core of the operating system provides hardware drivers for most audio hardware. The hardware drivers, and the instructions that other software can use to connect to those drivers, are collectively called "ALSA," which stands for "Advanced Linux Sound Architecture." ALSA is the most direct way that software applications can interact with audio and MIDI hardware, and it used to be the most common way. However, in order to include all of the features that a software application might want to use, ALSA is quite complex, and can be error-prone. For this and many other reasons, another level of abstraction is normally used, and this makes it easier for software applications to take advantage of the features they need.
</div></div><div class="section" title="2.2. Sound Servers" id="sect-Musicians_Guide-Sound_Servers_Section"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Sound_Servers_Section">2.2. Sound Servers</h2></div></div></div><div class="para">
Sound servers are software applications that run "in the background," meaning they are rarely seen by users. They are used to provide another level of abstraction - essentially to automatically take care of certain aspects of using ALSA, thereby making it easier for software applications to use the audio hardware. The three sound servers discussed in this guide have distinctly different goals, provide distinctly different features and capabilities, and should not be viewed as though one is universally better than the others.
</div><div class="section" title="2.2.1. PulseAudio" id="sect-Musicians_Guide-Sound_Servers-PulseAudio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</h3></div></div></div><div class="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.
+ <code class="systemitem">PulseAudio</code> 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 <code class="systemitem">PulseAudio</code>, and <code class="systemitem">PulseAudio</code> will take care of the rest: choosing and controlling a particular device, adjusting the volume, working with other applications, and so on. <code class="systemitem">PulseAudio</code> even has the ability to use "networked sound," which allows two computers using <code class="systemitem">PulseAudio</code> 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 <code class="systemitem">PulseAudio</code>, so no further complication is added to the software.
</div><div class="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.
- </div></div><div class="section" title="2.2.2. JACK Audio Connection Kit" id="sect-Musicians_Guide-Sound_Servers-JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. JACK Audio Connection Kit</h3></div></div></div><div class="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 <a class="xref" href="#sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing" title="1.4.7. Routing and Multiplexing">Section 1.4.7, “Routing and Multiplexingâ€</a> 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 Fedora Project's integration of <code class="systemitem">PulseAudio</code> 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.
+ </div></div><div class="section" title="2.2.2. JACK Audio Connection Kit" id="sect-Musicians_Guide-Sound_Servers-JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. <code class="systemitem">JACK</code> Audio Connection Kit</h3></div></div></div><div class="para">
+ The <code class="systemitem">JACK</code> sound server offers fewer features than other sound servers, but they are tailor-made to allow the functionality required by audio creation applications. <code class="systemitem">JACK</code> 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 <a class="xref" href="#sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing" title="1.4.7. Routing and Multiplexing">Section 1.4.7, “Routing and Multiplexingâ€</a> for information about routing and multiplexing). It is also optimized to run with consistently low latencies. Although using <code class="systemitem">JACK</code> requires a better understanding of the underlying hardware, the <span class="application"><strong>QjackCtl</strong></span> application provi
des a graphical user interface to ease the process.
</div></div><div class="section" title="2.2.3. Phonon" id="sect-Musicians_Guide-Sound_Servers-Phonon"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Sound_Servers-Phonon">2.2.3. Phonon</h3></div></div></div><div class="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.
- </div></div></div><div class="section" title="2.3. Using the JACK Audio Connection Kit" id="sect-Musicians_Guide-Using_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Using_JACK">2.3. Using the JACK Audio Connection Kit</h2></div></div></div><div class="section" title="2.3.1. Installing and Configuring JACK" id="sect-Musicians_Guide-Install_and_Configure_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</h3></div></div></div><div class="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 <code class="systemitem">PulseAudio</code>, 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.
+ </div></div></div><div class="section" title="2.3. Using the JACK Audio Connection Kit" id="sect-Musicians_Guide-Using_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Using_JACK">2.3. Using the <code class="systemitem">JACK</code> Audio Connection Kit</h2></div></div></div><div class="section" title="2.3.1. Installing and Configuring JACK" id="sect-Musicians_Guide-Install_and_Configure_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring <code class="systemitem">JACK</code></h3></div></div></div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Ensure that you have installed the Planet CCRMA at Home repositories. For instructions, refer to <a class="xref" href="#sect-Musicians_Guide-CCRMA_Installing_Repository" title="4.3.1. Installing the Planet CCRMA at Home Repositories">Section 4.3.1, “Installing the Planet CCRMA at Home Repositoriesâ€</a>.
</div></li><li class="listitem"><div class="para">
@@ -280,9 +280,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
Review and approve the installation, making sure that it completes correctly.
</div></li><li class="listitem"><div class="para">
- Run QjackCtl from the KMenu or the Applications menu.
+ Run <span class="application"><strong>QjackCtl</strong></span> from the KMenu or the Applications menu.
</div></li><li class="listitem"><div class="para">
- To start the JACK server, press the 'Start' button; to stop it, press the 'Stop' button.
+ To start the <code class="systemitem">JACK</code> server, press the 'Start' button; to stop it, press the 'Stop' button.
</div></li><li class="listitem"><div class="para">
Use the 'Messages' button to see messages, which are usually errors or warnings.
</div></li><li class="listitem"><div class="para">
@@ -292,9 +292,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div>
</div><div class="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.
+ <code class="systemitem">JACK</code> 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 <code class="systemitem">JACK</code> sound server, while greatly reducing the risk that an application or user will accidentally or malicious take advantage of the capability.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Add all of the users who will use JACK to the "audio" group. For instructions to add users to groups, see Chapter 22, <em class="citetitle">Users and Groups</em> of the <em class="citetitle">Fedora Deployment Guide</em>, available at <a href="http://docs.fedoraproject.org">http://docs.fedoraproject.org</a>.
+ Add all of the users who will use <code class="systemitem">JACK</code> to the <code class="literal">audio</code> group. For instructions to add users to groups, see Chapter 22, <em class="citetitle">Users and Groups</em> of the <em class="citetitle">Fedora Deployment Guide</em>, available at <a href="http://docs.fedoraproject.org">http://docs.fedoraproject.org</a>.
</div></li><li class="listitem"><div class="para">
The default installation automatically enables real-time priority to be requested by any user or process. This is undesirable, so we will edit it.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -313,42 +313,42 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div>
</div><div class="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 <span class="application"><strong>QjackCtl</strong></span>, 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 <code class="systemitem">JACK</code> to maintain accurately low latencies. The following procedure configures <code class="systemitem">JACK</code> to connect to the ALSA driver directly.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Open a terminal. In GNOME, click on 'Applications > System > Terminal'. In KDE, click on the application launcher, then 'System > Konsole'.
</div></li><li class="step" title="Step 2"><div class="para">
Execute this command: "cat /proc/asound/cards".
</div></li><li class="step" title="Step 3"><div class="para">
- The <code class="code">cat</code> program outputs a list of sound cards in your computer, which looks similar to this list:
+ The <span class="application"><strong>cat</strong></span> program outputs a list of sound cards in your computer, which looks similar to this list:
<pre class="programlisting">
0 [SB ]: HDA-Intel - HDA ATI SB
HDA ATI SB at 0xf7ff4000 irq 16
1 [MobilePre ]: USB-Audio - MobilePre
M Audio MobilePre at usb-0000:00:13.0-2
</pre>
- In this example output, the square brackets surround the name of the sound card. The names of the sound cards in this example output are <code class="code">SB</code> and <code class="code">MobilePre</code>.
+ In this example output, the square brackets surround the name of the sound card. The names of the sound cards in this example output are <code class="literal">SB</code> and <code class="literal">MobilePre</code>.
</div></li><li class="step" title="Step 4"><div class="para">
- Identify the name of the sound card that you want to use. If you do not see your sound card in the list outputted by <code class="code">cat</code>, then your Fedora does not detect it.
+ 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 <span class="application"><strong>cat</strong></span>, then your computer does not detect it.
</div></li><li class="step" title="Step 5"><div class="para">
- Start QjackCtl.
+ Start <span class="application"><strong>QjackCtl</strong></span>.
</div></li><li class="step" title="Step 6"><div class="para">
Open the "Setup" window by clicking 'Setup'.
</div></li><li class="step" title="Step 7"><div class="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 class="code">hw:MobilePre</code>.
+ 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 class="literal">hw:MobilePre</code>.
</div></li><li class="step" title="Step 8"><div class="para">
- Save your settings by exiting QjackCtl. If you want to use JACK, restart QjackCtl.
- </div></li></ol></div></div><div class="section" title="2.3.2. Using QjackCtl" id="sect-Musicians_Guide-Using_QjackCtl"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Using_QjackCtl">2.3.2. Using QjackCtl</h3></div></div></div><div class="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.
+ Save your settings by exiting <span class="application"><strong>QjackCtl</strong></span>. If you want to use <code class="systemitem">JACK</code>, restart <span class="application"><strong>QjackCtl</strong></span>.
+ </div></li></ol></div></div><div class="section" title="2.3.2. Using QjackCtl" id="sect-Musicians_Guide-Using_QjackCtl"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Using_QjackCtl">2.3.2. Using <span class="application"><strong>QjackCtl</strong></span></h3></div></div></div><div class="para">
+ The <span class="application"><strong>QjackCtl</strong></span> 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.
</div><div class="para">
- For more information on QjackCtl, refer to <em class="citetitle">Jack Audio Connection Kit (64studio)</em> at <a href="http://www.64studio.com/manual/audio/jack">http://www.64studio.com/manual/audio/jack</a>.
- </div></div><div class="section" title="2.3.3. Integrating PulseAudio with JACK" id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating PulseAudio with JACK</h3></div></div></div><div class="para">
- The default configuration of PulseAudio yields control of the audio equipment to JACK when the JACK server starts. PulseAudio will not be able to receive input or send output of any audio signals on the audio interface used by JACK. This is fine for occasional users of JACK, but many users will want to use JACK and PulseAudio simultaneously, or switch between the two frequently. The following instructions will configure PulseAudio so that its input and output is routed through JACK.
+ For more information on <span class="application"><strong>QjackCtl</strong></span>, refer to <em class="citetitle">Jack Audio Connection Kit (64studio)</em> at <a href="http://www.64studio.com/manual/audio/jack">http://www.64studio.com/manual/audio/jack</a>.
+ </div></div><div class="section" title="2.3.3. Integrating PulseAudio with JACK" id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating <code class="systemitem">PulseAudio</code> with <code class="systemitem">JACK</code></h3></div></div></div><div class="para">
+ The default configuration of <code class="systemitem">PulseAudio</code> yields control of the audio equipment to <code class="systemitem">JACK</code> when the <code class="systemitem">JACK</code> server starts. <code class="systemitem">PulseAudio</code> will not be able to receive input or send output of any audio signals on the audio interface used by <code class="systemitem">JACK</code>. This is fine for occasional users of <code class="systemitem">JACK</code>, but many users will want to use <code class="systemitem">JACK</code> and <code class="systemitem">PulseAudio</code> simultaneously, or switch between the two frequently. The following instructions will configure <code class="systemitem">PulseAudio</code> so that its input and output is routed through <code class="systemitem">JACK</code>.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Use PackageKit or KPackageKit to install the <span class="package">pulseaudio-module-jack</span> package.
</div></li><li class="listitem"><div class="para">
Approve the installation and ensure that it is carried out properly.
</div></li><li class="listitem"><div class="para">
- You'll need to edit the PulseAudio configuration file to use the JACK module.
+ You'll need to edit the <code class="systemitem">PulseAudio</code> configuration file to use the <code class="systemitem">JACK</code> module.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Be careful! You will be editing an important system file as the root user!
</div></li><li class="listitem"><div class="para">
@@ -362,17 +362,17 @@ load-module module-jack-source
</div></li></ol></div>
</div></li><li class="listitem"><div class="para">
- Restart PulseAudio by running the following command in a terminal: <code class="command">killall pulseaudio</code> PulseAudio restarts automatically.
+ Restart <code class="systemitem">PulseAudio</code> by running the following command in a terminal: <code class="command">killall pulseaudio</code> <code class="systemitem">PulseAudio</code> restarts automatically.
</div></li><li class="listitem"><div class="para">
- Confirm that this has worked by opening QjackCtl. The display should confirm that JACK is "Active".
+ Confirm that this has worked by opening <span class="application"><strong>QjackCtl</strong></span>. The display should confirm that <code class="systemitem">JACK</code> is "Active".
</div></li><li class="listitem"><div class="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.
+ In the "Connect" window, on the "Audio" tab, there should be <code class="systemitem">PulseAudio</code> devices on each side, and they should be connected to "system" devices on the opposite sides.
</div></li><li class="listitem"><div class="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.
+ Open <span class="application"><strong>QjackCtl</strong></span>'s "Setup" window, then click on the "Options" tab. Uncheck "Execute script after Shutdown: killall jackd". If you did not make this change, then <span class="application"><strong>QjackCtl</strong></span> would stop the <code class="systemitem">JACK</code> server from running every time the program quits. Since <code class="systemitem">PulseAudio</code> is still expecting to use <code class="systemitem">JACK</code> after that, you shouldn't do this any more.
</div></li><li class="listitem"><div class="para">
- When PulseAudio starts JACK, it uses the command found in the <code class="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.
+ When <code class="systemitem">PulseAudio</code> starts <code class="systemitem">JACK</code>, it uses the command found in the <code class="filename">~/.jackdrc</code> file. <span class="application"><strong>QjackCtl</strong></span> automatically updates this file when you change settings, but you may have to restart both <code class="systemitem">PulseAudio</code> and <code class="systemitem">JACK</code> in order to get the new changes to take effect. If they refuse to take effect, you can edit that file yourself.
</div></li><li class="listitem"><div class="para">
- Be careful about using a very high sample rate with PulseAudio, since it will tend to use a lot of CPU power.
+ Be careful about using a very high sample rate with <code class="systemitem">PulseAudio</code>, since it will tend to use a lot of CPU power.
</div></li></ol></div>
</div></div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 3. Real-Time and Low Latency" id="chap-Musicians_Guide-Real_Time_and_Low_Latency" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 3. Real-Time and Low Latency</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Processor_Scheduling">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Real_Time_Linux_Kernel">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Hard_and_Soft_Real_Time">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></div><div class="para">
@@ -386,7 +386,7 @@ load-module module-jack-source
</div></div><div class="section" title="3.2. Processor Scheduling" id="sect-Musicians_Guide-Processor_Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Processor_Scheduling">3.2. Processor Scheduling</h2></div></div></div><div class="para">
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.
</div><div class="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.
</div><div class="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!
</div></div><div class="section" title="3.3. The Real-Time Linux Kernel" id="sect-Musicians_Guide-Real_Time_Linux_Kernel"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Real_Time_Linux_Kernel">3.3. The Real-Time Linux Kernel</h2></div></div></div><div class="para">
@@ -485,7 +485,7 @@ load-module module-jack-source
[main]
enabled = 1
</pre>
- If you want to stop using the plugin, you can edit this file so that <code class="code">enabled = 0</code>. This allows you to keep the priorities as set in the repository configuration files.
+ If you want to stop using the plugin, you can edit this file so that it contains <code class="code">enabled = 0</code> This allows you to keep the priorities as set in the repository configuration files.
</div></li><li class="step" title="Step 3"><div class="para">
You can set priorities for some or all repositories. To add a priority to a repository, edit its respective file in the <code class="filename">/etc/yum.repos.d/<em class="replaceable"><code>*</code></em></code> directory, adding a line like: <code class="literal">priority = <em class="replaceable"><code>N</code></em></code> where <code class="literal">N</code> is a number between <code class="literal">1</code> and <code class="literal">99</code>, inclusive. A priority of <code class="literal">1</code> is the highest setting, and <code class="literal">99</code> is the lowest. You will need to set priorities of at least two repositories before this becomes useful.
</div></li></ol></div></div><div class="section" title="4.3.3. Prevent a Package from Being Updated" id="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Prevent a Package from Being Updated</h3></div></div></div><div class="para">
@@ -503,9 +503,9 @@ qjackctl-0.3.6
</div></li></ol></div>
- </div></div></div></div></div><div class="part" title="Part II. Audio and Music Software" id="id804400"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part II. Audio and Music Software</h1></div></div></div><div class="partintro" title="Audio and Music Software" id="id804407"><div></div><div class="para">
+ </div></div></div></div></div><div class="part" title="Part II. Audio and Music Software" id="id1709728"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part II. Audio and Music Software</h1></div></div></div><div class="partintro" title="Audio and Music Software" id="id1709735"><div></div><div class="para">
asdf
- </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Audacity">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Requirements_and_Installation">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Hardware_Requirements">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">5.2.4. Installation with MP3 Support</a></span></d
t><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Playback">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Recording">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity_Configuration">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Interface">5.4. The Interface</a
></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Scenario">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tut
orial-Stretching_Tracks">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclus
ion</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Digital_Audio_Workstations">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Stages_of_Recording">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Gu
ide-Mixing">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Mastering">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Record_Mix_Master_More_Info">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Interface_Vocabulary">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_and_Multitrack">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Region_Clip_Segment">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Session_Track_Region">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Transport_and_Playhead">6.3.5. Transp
ort and Playhead</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Automation">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_User_Interface">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Clock">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Info_Pane">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Pane">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Transport_Controls">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Ardour">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardo
ur-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording_a_Session">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recor
ding-Interface">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_a_Region">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_More">7.2.8. Recording More</a></span></dt><dt><s
pan class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Edit_Groups">7.4.3. Creating Edit Grou
ps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Arrange">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Listen">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Ste
reo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Other_Things">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Listen">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span
></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Qtractor">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#s
ect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-MIDI_Tools">8.3.2. Using the MID
I Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-JACK">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Tips">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Requirements">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready">8.4.3. Getting Qtrac
tor Ready</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97">8.4.10. Qtracto
r's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measure_97">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Mus
icians_Guide-Rosegarden">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</a></
span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion">9.4.3. Spice up the Percussion
</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Melody">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-FluidSynth">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><sp
an class="section"><a href="#sect-Musicians_Guide-FluidSynth-Requirements_and_Installation">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth
-In_a_Terminal">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-SoundFont">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Flui
dSynth-Assigning_Programs_to_Channels">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple FluidSynth Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-SuperCollider">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions f
or This Chapter</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.3. Using GE
dit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First St
eps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming
-Conditional_Execution">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attri
bution">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tone
s">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter">
<a href="#chap-Musicians_Guide-LilyPond">12. LilyPond</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Installation">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Articulations">12.4.3. Articulations</a></span></dt><
dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Commands">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Source_Files">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyP
ond-Counterpoint-Starting_the_Score">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Inputting">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Mus
icians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Inputting">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Inputting">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPo
nd-Piano-Troubleshooting_Errors">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Formatting">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Frescobaldi">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Installation">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Configuration">13.3. Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Using">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Solfege">14. GNU Solfege</a></span></dt><dd><dl><dt><s
pan class="section"><a href="#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicia
ns_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Instruments">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-External_Programs">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Interface">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Practise">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Sound_Setup">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14
.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Exercise_Types">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Supplementary_References">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Using_the_Exercises">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Singing_Exercises">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Configure_Yourself_Exericses">14.4.3. Configure Yourself</a></span>
</dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Rhythm_Exercises">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Dictation_Exercises">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Harmonic_Progressions">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Intonation">14.4.7. Intonation</a></span></dt></dl></dd></dl></dd></dl></div></div><div xml:lang="en-US" class="chapter" title="Chapter 5. Audacity" id="chap-Musicians_Guide-Audacity" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 5. Audacity</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Requirements_and_Installation">5.2. Re
quirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Hardware_Requirements">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Playback">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Recording">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity_Configuration">5.3. Configuration</a></span>
</dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Interface">5.4. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record">5.5.2. Continue to Record</a></span></dt></dl
></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Scenario">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutor
ial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whol
e File</a></span></dt></dl></dd></dl></div><div class="para">
+ </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Audacity">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Requirements_and_Installation">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Hardware_Requirements">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">5.2.4. Installation with MP3 Support</a></span></d
t><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Playback">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Recording">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity_Configuration">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Interface">5.4. The Interface</a
></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Scenario">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tut
orial-Stretching_Tracks">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclus
ion</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Digital_Audio_Workstations">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Stages_of_Recording">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Gu
ide-Mixing">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Mastering">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Record_Mix_Master_More_Info">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Interface_Vocabulary">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_and_Multitrack">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Region_Clip_Segment">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Session_Track_Region">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Transport_and_Playhead">6.3.5. Transp
ort and Playhead</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Automation">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_User_Interface">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Clock">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Info_Pane">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Pane">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Transport_Controls">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Ardour">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardo
ur-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording_a_Session">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recor
ding-Interface">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_a_Region">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_More">7.2.8. Recording More</a></span></dt><dt><s
pan class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Edit_Groups">7.4.3. Creating Edit Grou
ps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Arrange">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Listen">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Ste
reo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Other_Things">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Listen">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span
></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Qtractor">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#s
ect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-MIDI_Tools">8.3.2. Using the MID
I Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-JACK">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Tips">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Requirements">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready">8.4.3. Getting Qtrac
tor Ready</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97">8.4.10. Qtracto
r's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measure_97">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Mus
icians_Guide-Rosegarden">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</a></
span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup <span class="application"><strong>JACK</strong></span> and <span class="application"><strong>Qsynth</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup <span class="application"><strong>Rosegarden</strong></span></a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. <span class="application"><strong>Rosegarden</strong></span> and LilyPond</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in <span class="application"><strong>Rosegarden</strong></span> (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="secti
on"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Melody">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-FluidSynth">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="#s
ect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Requirements_and_Installation">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install <span class="application"><strong>FluidSynth</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and
_Inst-Installation_without_Qsynth">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-In_a_Terminal">10.3. Using <span class="application"><strong>FluidSynth</strong></span> in a Terminal</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting <span class="application"><strong>FluidSynth</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-SoundFont">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">10.4.3. JACK Outp
ut Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all <span class="application"><strong>FluidSynth</strong></span> Settings</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Reverb_and_
Chorus">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple <span class="application"><strong>FluidSynth</strong></span> Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-SuperCollider">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#s
ect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3. Executing Cod
e in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sound-Making
Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</a></span></dt><dt><span c
lass="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="#sec
t-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.5.9. Joining the Two Pa
rts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-LilyPond">12. <span class="application"><strong>LilyPond</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How <span class="application"><strong>LilyPond</strong></span> Works</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The <span class="application"><strong>LilyPond</strong></span> Approach</a></span></dt><dt>
<span class="section"><a href="#sect-Musicians_Guide-LilyPond-Installation">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax">12.4. <span class="application"><strong>LilyPond</strong></span> Basics</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Articulations">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide
-LilyPond-Syntax-Commands">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Source_Files">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Music
ians_Guide-LilyPond-Counterpoint-Inputting">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Inputting">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-M
usicians_Guide-LilyPond-Piano">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Inputting">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Formatting">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musi
cians_Guide-Frescobaldi">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Installation">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Configuration">13.3. Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Using">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Solfege">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a><
/span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Instruments">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide
-Solfege-Configuration-External_Programs">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Interface">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Practise">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Sound_Setup">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Exercise_Types">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Progra
m">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Supplementary_References">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Using_the_Exercises">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Singing_Exercises">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Configure_Yourself_Exericses">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Rhythm_Exercises">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Dictation_Exercises">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_G
uide-Solfege-Harmonic_Progressions">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Intonation">14.4.7. Intonation</a></span></dt></dl></dd></dl></dd></dl></div></div><div xml:lang="en-US" class="chapter" title="Chapter 5. Audacity" id="chap-Musicians_Guide-Audacity" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 5. Audacity</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Requirements_and_Installation">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Hardware_Requirements">5.2.2. Hardware
Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Playback">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Recording">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity_Configuration">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware">5.3.2. Configuring Audacity for Your S
ound Card</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Interface">5.4. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span clas
s="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Scenario">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repe
at an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></div><div class="para">
Audacity is a high-quality sound recording application, designed to be easy to use. We recommend Audacity to most computer users, because it is simple but it has many features and capabilities. You do not need to understand advanced computer audio concepts before using Audacity. If you can connect your microphone to your computer, you know enough to use Audacity.
</div><div class="section" title="5.1. Kowing When to Use Audacity" id="sect-Musicians_Guide-Audacity-Knowing_When_to_Use"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</h2></div></div></div><div class="para">
Audacity has a simple user interface, it is easy to use, and it has many advanced capabilities. Audacity does not require advanced knowledge of computers, music, or recording. Audacity is the right tool to use for editing a single audio file, and it can also coordinate multiple audio files simultaneously. Most users will prefer Audacity over the other applications in the Musicians' Guide which can record.
@@ -976,7 +976,7 @@ qjackctl-0.3.6
</div><div class="section" title="7.1. Requirements and Installation" id="sect-Musicians_Guide-Ardour-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</h2></div></div></div><div class="section" title="7.1.1. Knowledge Requirements" id="sect-Musicians_Guide-Ardour-Knowledge_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</h3></div></div></div><div class="para">
The <span class="application"><strong>Ardour</strong></span> user interface is similar to other DAWs. We recommend that you read <a class="xref" href="#sect-Musicians_Guide-DAW_User_Interface" title="6.4. User Interface">Section 6.4, “User Interfaceâ€</a> if you have not used a DAW before.
</div></div><div class="section" title="7.1.2. Software Requirements" id="sect-Musicians_Guide-Ardour-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</h3></div></div></div><div class="para">
- <span class="application"><strong>Ardour</strong></span> uses the <code class="systemitem">JACK Audio Connection Kit</code>. You should install <code class="systemitem">JACK</code> before installing <span class="application"><strong>Ardour</strong></span>. Follow the instructions in <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> to install <code class="systemitem">JACK</code>.
+ <span class="application"><strong>Ardour</strong></span> uses the <code class="systemitem">JACK Audio Connection Kit</code>. You should install <code class="systemitem">JACK</code> before installing <span class="application"><strong>Ardour</strong></span>. Follow the instructions in <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring <code class="systemitem">JACK</code>â€</a> to install <code class="systemitem">JACK</code>.
</div></div><div class="section" title="7.1.3. Hardware Requirements" id="sect-Musicians_Guide-Ardour-Hardware_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</h3></div></div></div><div class="para">
You need an audio interface to use <span class="application"><strong>Ardour</strong></span>. If you will record audio with <span class="application"><strong>Ardour</strong></span>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <code class="systemitem">JACK</code>-aware programs like <span class="application"><strong>FluidSynth</strong></span> and <span class="application"><strong>SuperCollider</strong></span>.
</div></div><div class="section" title="7.1.4. Installation" id="sect-Musicians_Guide-Ardour-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</h3></div></div></div><div class="para">
@@ -2197,7 +2197,7 @@ qjackctl-0.3.6
</div><div class="section" title="8.1. Requirements and Installation" id="sect-Musicians_Guide-Qtractor-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</h2></div></div></div><div class="section" title="8.1.1. Knowledge Requirements" id="sect-Musicians_Guide-Qtractor-Knowledge_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</h3></div></div></div><div class="para">
Qtractor is easy to use, and its user interface is similar to other DAWs. We recommend that you read <a class="xref" href="#sect-Musicians_Guide-DAW_User_Interface" title="6.4. User Interface">Section 6.4, “User Interfaceâ€</a> if you have not used a DAW before.
</div></div><div class="section" title="8.1.2. Software Requirements" id="sect-Musicians_Guide-Qtractor-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</h3></div></div></div><div class="para">
- Qtractor uses the JACK Audio Connection Kit. You should install JACK before installing Qtractor. See <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> for instructions to install JACK.
+ Qtractor uses the JACK Audio Connection Kit. You should install JACK before installing Qtractor. See <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring <code class="systemitem">JACK</code>â€</a> for instructions to install JACK.
</div></div><div class="section" title="8.1.3. Hardware Requirements" id="sect-Musicians_Guide-Qtractor-Hardware_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</h3></div></div></div><div class="para">
You need an audio interface to use Qtractor. If you will record audio with Qtractor, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other JACK-aware programs like <span class="application"><strong>FluidSynth</strong></span> and <span class="application"><strong>SuperCollider</strong></span>.
</div></div><div class="section" title="8.1.4. Other Requirements" id="sect-Musicians_Guide-Qtractor-Other_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</h3></div></div></div><div class="para">
@@ -2247,7 +2247,7 @@ qjackctl-0.3.6
</div></li><li class="listitem"><div class="para">
In the ''Instruments'' window, click "Import."
</div></li><li class="listitem"><div class="para">
- Navigate to <code class="code">/usr/share/soundfonts</code>
+ Navigate to <code class="filename">/usr/share/soundfonts</code>
</div></li><li class="listitem"><div class="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.
</div></li><li class="listitem"><div class="para">
@@ -2686,33 +2686,33 @@ qjackctl-0.3.6
There are no new techniques used in this section.
</div><div class="para">
This part of piece was intended to mirror Beethoven's score quite obviously. The only real bit of trickery that I played was looking at Beethoven's score, and incorporating particular notes: the chord in measure 212 is composed of the same pitches that are used in the chord in the audio file in measure 210. It sounds very different because of the "real piano vs. MIDI piano" issue, and because the tuning of the piano in the recording is different than the tuning of the MIDI piano. Also, the chord in the second beat of measure 213 is the first chord of the movement following the one recorded in the audio file. By including this (then "resolving" it, then re-introducing it), I intend to play with the expectations of a listener that may already be familiar with Beethoven's sonata.
- </div></div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 9. Rosegarden" id="chap-Musicians_Guide-Rosegarden" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 9. Rosegarden</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a hr
ef="#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-T
utorial-Percussion_Track">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Melody">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></div><div class="section" title="9.1. Requirements and Installation" id="sect-Musicians_Guide-Rosegarden-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</h2></div></div></div><div class="section" title="9.1.1. Knowledge Requirements" id="sect-Musicians_Guide-Rosegarden-Knowledge_Requirements"><div class="titlepage
"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</h3></div></div></div><div class="para">
+ </div></div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 9. Rosegarden" id="chap-Musicians_Guide-Rosegarden" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 9. Rosegarden</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a hr
ef="#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup <span class="application"><strong>JACK</strong></span> and <span class="application"><strong>Qsynth</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup <span class="application"><strong>Rosegarden</strong></span></a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. <span class="application"><strong>Rosegarden</strong></span> and LilyPond</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in <span class="application"><strong>Rosegarden</strong></sp
an> (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Melody">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></div><div class="section" title="9.1. Requirements and Installation" id="sect-Musicians_Guide-Rosegarden-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicia
ns_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</h2></div></div></div><div class="section" title="9.1.1. Knowledge Requirements" id="sect-Musicians_Guide-Rosegarden-Knowledge_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</h3></div></div></div><div class="para">
Rosegarden's user interface is similar to other DAWs. We recommend that you read <a class="xref" href="#sect-Musicians_Guide-DAW_User_Interface" title="6.4. User Interface">Section 6.4, “User Interfaceâ€</a> if you have not used a DAW before.
</div></div><div class="section" title="9.1.2. Software Requirements" id="sect-Musicians_Guide-Rosegarden-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</h3></div></div></div><div class="para">
- Rosegarden uses the JACK Audio Connection Kit. You should install JACK before installing Rosegarden. See <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> for instructions to install JACK.
+ <span class="application"><strong>Rosegarden</strong></span> uses the <span class="application"><strong>JACK Audio Connection Kit</strong></span>. You should install <span class="application"><strong>JACK</strong></span> before installing <span class="application"><strong>Rosegarden</strong></span>. See <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring <code class="systemitem">JACK</code>â€</a> for instructions to install <span class="application"><strong>JACK</strong></span>.
</div></div><div class="section" title="9.1.3. Hardware Requirements" id="sect-Musicians_Guide-Rosegarden-Hardware_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</h3></div></div></div><div class="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 class="code">FluidSynth</code> and <code class="code">SuperCollider</code>.
+ You need an audio interface to use <span class="application"><strong>Rosegarden</strong></span>. If you will record audio with <span class="application"><strong>Rosegarden</strong></span>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <span class="application"><strong>JACK</strong></span>-aware programs like <span class="application"><strong>FluidSynth</strong></span> and <span class="application"><strong>SuperCollider</strong></span>.
</div></div><div class="section" title="9.1.4. Other Requirements" id="sect-Musicians_Guide-Rosegarden-Other_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</h3></div></div></div><div class="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 class="code">FluidSynth</code> MIDI synthesizer. See <a class="xref" href="#chap-Musicians_Guide-FluidSynth" title="Chapter 10. FluidSynth">Chapter 10, <i>FluidSynth</i></a> for information about <code class="code">FluidSynth</code>.
+ You need a MIDI synthesizer to use <span class="application"><strong>Rosegarden</strong></span> as a MIDI sequencer. You can use hardware-based and software-based synthesizers with <span class="application"><strong>Rosegarden</strong></span>. We recommend using the software-based <span class="application"><strong>FluidSynth</strong></span> MIDI synthesizer. See <a class="xref" href="#chap-Musicians_Guide-FluidSynth" title="Chapter 10. FluidSynth">Chapter 10, <i>FluidSynth</i></a> for information about <span class="application"><strong>FluidSynth</strong></span>.
</div></div><div class="section" title="9.1.5. Installation" id="sect-Musicians_Guide-Rosegarden-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</h3></div></div></div><div class="para">
- Use PackageKit or KPackageKit to install the "rosegarden4" packge. Other required software is installed automatically.
- </div></div></div><div class="section" title="9.2. Configuration" id="sect-Musicians_Guide-Rosegarden-Configuration"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</h2></div></div></div><div class="section" title="9.2.1. Setup JACK and Qsynth" id="sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</h3></div></div></div><div class="para">
+ Use <span class="application"><strong>PackageKit</strong></span> or <span class="application"><strong>KPackageKit</strong></span> to install the <span class="package">rosegarden4</span> packge. Other required software is installed automatically.
+ </div></div></div><div class="section" title="9.2. Configuration" id="sect-Musicians_Guide-Rosegarden-Configuration"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</h2></div></div></div><div class="section" title="9.2.1. Setup JACK and Qsynth" id="sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup <span class="application"><strong>JACK</strong></span> and <span class="application"><strong>Qsynth</strong></span></h3></div></div></div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Start QjackCtl to control JACK.
+ Start <span class="application"><strong>QjackCtl</strong></span> to control <span class="application"><strong>JACK</strong></span>.
</div></li><li class="listitem"><div class="para">
- Start Qsynth to control FluidSynth.
+ Start <span class="application"><strong>Qsynth</strong></span> to control FluidSynth.
</div></li><li class="listitem"><div class="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 <a class="xref" href="#sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input" title="10.4.4. MIDI Input Configuration">Section 10.4.4, “MIDI Input Configurationâ€</a>.
+ In order to receive MIDI input from <span class="application"><strong>Rosegarden</strong></span>, <span class="application"><strong>Qsynth</strong></span> will need to be configured to use the "alsa_seq" MIDI Driver. Instructions for doing this can be found in <a class="xref" href="#sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input" title="10.4.4. MIDI Input Configuration">Section 10.4.4, “MIDI Input Configurationâ€</a>.
</div></li><li class="listitem"><div class="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:
+ You may want to disconnect all <span class="application"><strong>JACK</strong></span> connections except for those that you want to use with <span class="application"><strong>Rosegarden</strong></span>. Open <span class="application"><strong>QjackCtl</strong></span>'s "Connect" window, and verify the following:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
On the "Audio" tab:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
Qsynth's output ports are connected to the "system" input ports.
</div></li><li class="listitem"><div class="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.
+ If you plan to use audio in <span class="application"><strong>Rosegarden</strong></span> (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. <span class="application"><strong>Rosegarden</strong></span> does not need to be connected directly to the system output ports if you are only using MIDI.
</div></li><li class="listitem"><div class="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.
+ If you plan to record audio in <span class="application"><strong>Rosegarden</strong></span>, then you will need to connect an output port (probably from "system") to <span class="application"><strong>Rosegarden</strong></span>'s input port. Be aware that <span class="application"><strong>Rosegarden</strong></span> 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.
</div></li></ul></div>
</div></li><li class="listitem"><div class="para">
@@ -2734,7 +2734,7 @@ qjackctl-0.3.6
</div></li></ul></div>
</div></li><li class="listitem"><div class="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:
+ To make <span class="application"><strong>Rosegarden</strong></span> take commands from another MIDI device, you'll need to connect its output ports to <span class="application"><strong>Rosegarden</strong></span>'s input ports. I don't know what they are for yet:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
0:record in
</div></li><li class="listitem"><div class="para">
@@ -2749,13 +2749,13 @@ qjackctl-0.3.6
</div><div class="para">
If a connection is not being used, it is better to leave it disconnected, to avoid making mistakes.
- </div></div><div class="section" title="9.2.2. Setup Rosegarden" id="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup Rosegarden</h3></div></div></div><div class="para">
+ </div></div><div class="section" title="9.2.2. Setup Rosegarden" id="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup <span class="application"><strong>Rosegarden</strong></span></h3></div></div></div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
'Edit > Preferences'
</div></li><li class="listitem"><div class="para">
Setup "General" as desired.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- On "Behaviour" tab maybe "Use JACK Transport"
+ On "Behaviour" tab maybe "Use <span class="application"><strong>JACK</strong></span> Transport"
</div></li><li class="listitem"><div class="para">
On "Extrenal Applications" tab maybe change those to match what's installed (GNOME users)
</div></li></ul></div>
@@ -2763,7 +2763,7 @@ qjackctl-0.3.6
</div></li><li class="listitem"><div class="para">
Setup "MIDI" as desired.
<div class="itemizedlist"><ul><li class="listitem"><div class="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.
+ On "MIDI Sync" tab maybe set to "Send MIDI Clock, Start and Stop" if <span class="application"><strong>Rosegarden</strong></span> is the ultimate controller, or "Accept Start, Stop and Continue" if it's being controlled. Otherwise "Off" is safe.
</div></li></ul></div>
</div></li><li class="listitem"><div class="para">
@@ -2778,8 +2778,8 @@ qjackctl-0.3.6
</div></li></ol></div>
- </div></div></div><div class="section" title="9.3. Rosegarden and LilyPond" id="sect-Musicians_Guide-Rosegarden_and_LilyPond"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. Rosegarden and LilyPond</h2></div></div></div><div class="para">
- Rosegarden and LilyPond can be used together, which can greatly enhace your productivity. LilyPond will output a MIDI-format representation of your score if you include a "midi" section in the "score" section. It should look something like this:
+ </div></div></div><div class="section" title="9.3. Rosegarden and LilyPond" id="sect-Musicians_Guide-Rosegarden_and_LilyPond"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. <span class="application"><strong>Rosegarden</strong></span> and LilyPond</h2></div></div></div><div class="para">
+ <span class="application"><strong>Rosegarden</strong></span> and LilyPond can be used together, which can greatly enhace your productivity. LilyPond will output a MIDI-format representation of your score if you include a "midi" section in the "score" section. It should look something like this:
<pre class="programlisting">
\score
{
@@ -2787,20 +2787,20 @@ qjackctl-0.3.6
\midi { }
}
</pre>
- This MIDI file can then be imported into Rosegarden by selecting from the menu 'File > Import > Import MIDI File'. Unfortunately, this will erase the current session, so it can be done only once.
+ This MIDI file can then be imported into <span class="application"><strong>Rosegarden</strong></span> by selecting from the menu 'File > Import > Import MIDI File'. Unfortunately, this will erase the current session, so it can be done only once.
</div><div class="para">
- It is also possible to export MIDI tracks to LilyPond format, which can then be edited further or simply turned into a score. To do this, from the menu select 'File > Export > Export LilyPond File'. After you select a location to save the file, Rosegarden allows you to control some score settings while exporting. After exporting a LilyPond file, you should inspect it with Frescobaldi before relying on it to be correct - computers sometimes make mistakes!
- </div></div><div class="section" title="9.4. Write a Song in Rosegarden (Tutorial)" id="sect-Musicians_Guide-Rosegarden-Tutorial"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in Rosegarden (Tutorial)</h2></div></div></div><div class="para">
- 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.
+ 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, <span class="application"><strong>Rosegarden</strong></span> allows you to control some score settings while exporting. After exporting a LilyPond file, you should inspect it with Frescobaldi before relying on it to be correct - computers sometimes make mistakes!
+ </div></div><div class="section" title="9.4. Write a Song in Rosegarden (Tutorial)" id="sect-Musicians_Guide-Rosegarden-Tutorial"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in <span class="application"><strong>Rosegarden</strong></span> (Tutorial)</h2></div></div></div><div class="para">
+ When using <span class="application"><strong>Rosegarden</strong></span>'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 <span class="application"><strong>Qsynth</strong></span>. If you are using another synthesizer with a panic button, it should server the same function.
</div><div class="section" title="9.4.1. Start the Score with a Bass Line" id="sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</h3></div></div></div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Start QjackCtl, then Qsynth, then Rosegarden.
+ Start <span class="application"><strong>QjackCtl</strong></span>, then <span class="application"><strong>Qsynth</strong></span>, then <span class="application"><strong>Rosegarden</strong></span>.
</div></li><li class="listitem"><div class="para">
For this tutorial, we'll be using the default "Fluid R3" SoundFont, but you can use any General MIDI SoundFont.
</div></li><li class="listitem"><div class="para">
- Setup Rosegarden in JACK for MIDI use only.
+ Setup <span class="application"><strong>Rosegarden</strong></span> in <span class="application"><strong>JACK</strong></span> for MIDI use only.
</div></li><li class="listitem"><div class="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 class="code">FluidSynth</code> for this tutorial) uses the right patches.
+ From the <span class="application"><strong>Rosegarden</strong></span> 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 (<span class="application"><strong>FluidSynth</strong></span> for this tutorial) uses the right patches.
</div></li><li class="listitem"><div class="para">
Create a new segment.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -2826,7 +2826,7 @@ qjackctl-0.3.6
</div></li><li class="listitem"><div class="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.
</div></li><li class="listitem"><div class="para">
- Close the notation editor - you don't need to click the 'save' button, because Rosegarden will automatically keep your changes.
+ Close the notation editor - you don't need to click the 'save' button, because <span class="application"><strong>Rosegarden</strong></span> will automatically keep your changes.
</div></li><li class="listitem"><div class="para">
You should save the file, though.
</div></li><li class="listitem"><div class="para">
@@ -2851,7 +2851,7 @@ qjackctl-0.3.6
</div></li><li class="listitem"><div class="para">
In the "Instrument Parameters" portion of the toolbox on the left side of the editor window, check the "Percussion" check-box.
</div></li><li class="listitem"><div class="para">
- Play the transport for just a second, so that Rosegarden synchronized the re-assignment with FluidSynth
+ Play the transport for just a second, so that <span class="application"><strong>Rosegarden</strong></span> synchronized the re-assignment with FluidSynth
</div></li><li class="listitem"><div class="para">
Press 'F3' on the keyboard, or click on the "Draw" tool, which looks like a pencil.
</div></li><li class="listitem"><div class="para">
@@ -2915,7 +2915,7 @@ qjackctl-0.3.6
</div></li><li class="listitem"><div class="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.
</div></li><li class="listitem"><div class="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.
+ After setting the program, press 'play' on the transport toolbar, and let it go for just a second. This will allow <span class="application"><strong>Rosegarden</strong></span> 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.
</div></li></ol></div>
</div></li><li class="listitem"><div class="para">
@@ -2943,14 +2943,14 @@ qjackctl-0.3.6
Instead of adding a different melody of a repeating bassline and percussion segment, try repeating the melody over and over, creating a new bassline and percussion segments.
</div></li></ul></div>
- </div></div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 10. FluidSynth" id="chap-Musicians_Guide-FluidSynth" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 10. FluidSynth</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Requirements_and_Installation">10.2. Requirements and Installation</a></span><
/dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-In_a_Terminal">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Con
figuring">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-SoundFont">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a
href="#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple FluidSynth Instances with Qsynth</a></span></dt></dl></div><div class="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.
+ </div></div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 10. FluidSynth" id="chap-Musicians_Guide-FluidSynth" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 10. FluidSynth</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Requirements_and_Installation">10.2. Requirements and Installation</a></span><
/dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install <span class="application"><strong>FluidSynth</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-In_a_Terminal">10.3. Using <span class="application"><strong>FluidSynth</strong></span>
in a Terminal</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting <span class="application"><strong>FluidSynth</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-SoundFont">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all <span class="application"><strong>FluidSynth</strong></span> Settings</a></span></dt></dl></dd>
<dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple <span class="application"><strong>FluidSynth</strong></span> Instances with Qsynth</a></span></dt></dl></div><div class="para">
+ <span class="application"><strong>FluidSynth</strong></span> is a software-based MIDI synthesizer. <span class="application"><strong>FluidSynth</strong></span> accepts MIDI input from programs like Qtractor and Rosegarden, and uses SoundFont technology to create audio signals. This makes <span class="application"><strong>FluidSynth</strong></span> 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, <span class="application"><strong>FluidSynth</strong></span> becomes even more powerful: users can easily control basic effects like chorus and reverb, and they can start multiple <span class="application"><strong>FluidSynth</strong></span> 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.
</div><div class="section" title="10.1. SoundFont Technology and MIDI" id="sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</h2></div></div></div><div class="para">
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.
</div><div class="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 <span class="application"><strong>FluidSynth</strong></span> 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.
</div><div class="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, <span class="application"><strong>FluidSynth</strong></span> 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".
</div><div class="section" title="10.1.1. How to Get a SoundFont" id="sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</h3></div></div></div><div class="para">
There is a large selection of SoundFonts available for free on the internet, and some are also available for purchase, including a few very high quality SoundFonts. The following three websites have links to SoundFont resources, and some SoundFonts available for paid or free download. No guarantee is made of the quality of the material provided, or of the quality and security of the websites.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -2974,17 +2974,17 @@ qjackctl-0.3.6
</div></div><div class="section" title="10.1.3. MIDI Channels" id="sect-Musicians_Guide-FluidSynth-MIDI_Channels"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</h3></div></div></div><div class="para">
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.
</div><div class="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 <span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span> can be configured to use a non-percussion program on channel 10, this use is discouraged.
</div><div class="para">
- For cases where FluidSynth does not adhere to the General MIDI standard, it is adding functionality, rather than removing it.
+ For cases where <span class="application"><strong>FluidSynth</strong></span> does not adhere to the General MIDI standard, it is adding functionality, rather than removing it.
</div></div></div><div class="section" title="10.2. Requirements and Installation" id="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation">10.2. Requirements and Installation</h2></div></div></div><div class="section" title="10.2.1. Software Requirements" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</h3></div></div></div><div class="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 <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> for instructions.
- </div></div><div class="section" title="10.2.2. Thare Are Two Ways to Install FluidSynth" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install FluidSynth</h3></div></div></div><div class="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 class="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.
+ <span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span>. See <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring <code class="systemitem">JACK</code>â€</a> for instructions.
+ </div></div><div class="section" title="10.2.2. Thare Are Two Ways to Install FluidSynth" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install <span class="application"><strong>FluidSynth</strong></span></h3></div></div></div><div class="para">
+ There are two ways to install <span class="application"><strong>FluidSynth</strong></span>. The first, to install <span class="application"><strong>FluidSynth</strong></span> with Qsynth, allows <span class="application"><strong>FluidSynth</strong></span> to be used with the Qsynth graphical interface. It also installs a default SoundFont, which can be used by any SoundFont-aware application (like <span class="application"><strong>timidity++</strong></span>). This installation method does not - by default - allow <span class="application"><strong>FluidSynth</strong></span> to be used from a terminal, although this ability can be easily added later. This is the installation method recommended for most users.
</div><div class="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 <span class="application"><strong>FluidSynth</strong></span> is without the Qsynth graphical interface. This method allows <span class="application"><strong>FluidSynth</strong></span> to be run from a terminal, and does not install a default SoundFont. This installation is recommended only for advanced users.
</div></div><div class="section" title="10.2.3. Installation with Qsynth" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">10.2.3. Installation with Qsynth</h3></div></div></div><div class="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 <span class="application"><strong>FluidSynth</strong></span>.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Use "PackageKit" or "KPackageKit" to install the "qsynth" package.
</div></li><li class="step" title="Step 2"><div class="para">
@@ -2996,63 +2996,67 @@ qjackctl-0.3.6
</div></li></ul></div>
</div></li></ol></div><div class="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 <span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span> 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.
</div></div><div class="section" title="10.2.4. Installation without Qsynth" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without Qsynth</h3></div></div></div><div class="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 class="code">su -c 'yum install fluidsynth'</code>
+ This installation method is recommended only for advanced users. You will have to use <span class="application"><strong>FluidSynth</strong></span> from a terminal. You will also have to install a SoundFont file before using <span class="application"><strong>FluidSynth</strong></span>.
+ </div><div class="para">
+ Use <span class="application"><strong>PackageKit</strong></span> or <span class="application"><strong>KPackageKit</strong></span> to install the <span class="package">fluidsynth</span> package.
</div></div><div class="section" title="10.2.5. Installation of SoundFont Files" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst">10.2.5. Installation of SoundFont Files</h3></div></div></div><div class="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. The following steps will move a SoundFont file called "myFont.sf2" to the default folder (<code
class="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.
+ Qsynth automatically installs a SoundFont for use with <span class="application"><strong>FluidSynth</strong></span>, 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 class="filename">/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.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Start a shell or terminal and navigate to the folder where the SoundFont file is currently stored.
</div></li><li class="step" title="Step 2"><div class="para">
- Run <code class="code">su -c 'cp myFont.sf2 /usr/share/soundfonts'</code>
+ Run <code class="command">su -c 'cp <em class="replaceable"><code>myFont.sf2</code></em> /usr/share/soundfonts'</code>
</div><ol class="a"><li class="step" title="Step 2.a"><div class="para">
- Modify the command as necessary to copy your SoundFont file, rather than "myFont.sf2".
+ Modify the command as necessary to copy your SoundFont file, rather than <code class="filename">myFont.sf2</code>.
</div></li><li class="step" title="Step 2.b"><div class="para">
- You will be asked for the "root" password.
+ You will be asked for the password to the <code class="literal">root</code> account.
</div></li></ol></li><li class="step" title="Step 3"><div class="para">
- Run <code class="code">cd /usr/share/soundfonts</code> to change to the directory of the SoundFont
+ Run <code class="command">cd /usr/share/soundfonts</code> to change to the directory of the SoundFont
</div></li><li class="step" title="Step 4"><div class="para">
- Run <code class="code">su -c 'chmod 644 myFont.sf2'</code>
+ Run <code class="command">su -c 'chmod 644 <em class="replaceable"><code>myFont.sf2</code></em>'</code>
</div><ol class="a"><li class="step" title="Step 4.a"><div class="para">
- Modify the command as necessary to refer to your SoundFont file, rather than "myFont.sf2".
+ Modify the command as necessary to refer to your SoundFont file, rather than <code class="filename">myFont.sf2</code>.
</div></li><li class="step" title="Step 4.b"><div class="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.
</div></li></ol></li><li class="step" title="Step 5"><div class="para">
- Run <code class="code">ll myFont.sf2</code> to verify that the permissions were set correctly.
+ Run <code class="command">ll <em class="replaceable"><code>myFont.sf2</code></em></code> to verify that the permissions were set correctly.
</div><ol class="a"><li class="step" title="Step 5.a"><div class="para">
- Modify the command as necessary to refer to your SoundFont file, rather than "myFont.sf2".
+ Modify the command as necessary to refer to your SoundFont file, rather than <code class="filename">myFont.sf2</code>.
</div></li><li class="step" title="Step 5.b"><div class="para">
- The output should resemble this: <code class="code">-rw-r--r--. 1 root root 9 2010-06-23 02:28 myFont.sf2</code>, but with a different date, time, and filename.
+ The output should resemble this:
+<pre class="programlisting">-rw-r--r--. 1 root root 9 2010-06-23 02:28 myFont.sf2</pre>
+ but with a different date, time, and filename.
</div></li></ol></li><li class="step" title="Step 6"><div class="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.
- </div></li></ol></div></div></div><div class="section" title="10.3. Using FluidSynth in a Terminal" id="sect-Musicians_Guide-FluidSynth-In_a_Terminal"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-In_a_Terminal">10.3. Using FluidSynth in a Terminal</h2></div></div></div><div class="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.
+ 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 <code class="literal">usr_t</code>, 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.
+ </div></li></ol></div></div></div><div class="section" title="10.3. Using FluidSynth in a Terminal" id="sect-Musicians_Guide-FluidSynth-In_a_Terminal"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-In_a_Terminal">10.3. Using <span class="application"><strong>FluidSynth</strong></span> in a Terminal</h2></div></div></div><div class="para">
+ This is not the recommended way to use <span class="application"><strong>FluidSynth</strong></span>, because the Qsynth graphical interface is much easier to use. Qsynth automatically configures most of <span class="application"><strong>FluidSynth</strong></span>'s settings by default, allowing you to avoid focus on how you want to use <span class="application"><strong>FluidSynth</strong></span>, rather than on how to use <span class="application"><strong>FluidSynth</strong></span>.
</div><div class="para">
- If you want to use FluidSynth in a terminal, you can use the <code class="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 class="code">-r</code> flag, like this: <code class="code">fluidsynth -r 48000</code>
+ If you want to use <span class="application"><strong>FluidSynth</strong></span> in a terminal, you can use the <code class="command">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 class="command">-r</code> flag, like this: <code class="command">fluidsynth -r 48000</code>
</div><div class="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 <span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span> command line.
</div></div><div class="section" title="10.4. Configuring Qsynth" id="sect-Musicians_Guide-FluidSynth-Configuring"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Configuring">10.4. Configuring Qsynth</h2></div></div></div><div class="para">
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.
- </div><div class="section" title="10.4.1. Starting FluidSynth" id="sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
+ </div><div class="section" title="10.4.1. Starting FluidSynth" id="sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting <span class="application"><strong>FluidSynth</strong></span></h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Start Qsynth from the Applications menu, or the K Menu
</div></li><li class="step" title="Step 2"><div class="para">
- The FluidSynth engine will be started automatically.
+ The <span class="application"><strong>FluidSynth</strong></span> engine will be started automatically.
</div></li><li class="step" title="Step 3"><div class="para">
- The row of buttons at the right of the Qsynth window control Qsynth. The other settings control FluidSynth.
+ The row of buttons at the right of the Qsynth window control Qsynth. The other settings control <span class="application"><strong>FluidSynth</strong></span>.
</div></li><li class="step" title="Step 4"><div class="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.
+ You can use the "Messages" button to display a window containing <span class="application"><strong>FluidSynth</strong></span>'s output. If <span class="application"><strong>FluidSynth</strong></span> doesn't work as expected, you can use this window to view any error message that might have been produced.
</div></li></ol></div></div><div class="section" title="10.4.2. SoundFont Configuration" id="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont">10.4.2. SoundFont Configuration</h3></div></div></div><div class="para">
The default "FluidR3" SoundFont, installed with Qsynth, is automatically configured.
</div><div class="para">
To configure an additional Soundfount:
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- Click on the 'Open' button, and navigate to the path of the SoundFont you wish to add. This should be <code class="code">/usr/share/soundfonts</code>, if installed to the standard location specified in <a class="xref" href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst" title="10.2.5. Installation of SoundFont Files">Section 10.2.5, “Installation of SoundFont Filesâ€</a>.
+ Click on the 'Open' button, and navigate to the path of the SoundFont you wish to add. This should be <code class="filename">/usr/share/soundfonts</code>, if installed to the standard location specified in <a class="xref" href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst" title="10.2.5. Installation of SoundFont Files">Section 10.2.5, “Installation of SoundFont Filesâ€</a>.
</div></li><li class="step" title="Step 2"><div class="para">
Select the additional SoundFont, then click the 'Open' button.
</div></li><li class="step" title="Step 3"><div class="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.
+ 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 <span class="application"><strong>FluidSynth</strong></span> - any SoundFont should work with any SoundFont ID number.
</div></li></ol></div></div><div class="section" title="10.4.3. JACK Output Configuration" id="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">10.4.3. JACK Output Configuration</h3></div></div></div><div class="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 <a class="xref" href="#sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing" title="1.4.7. Routing and Multiplexing">Section 1.4.7, “Routing and Multiplexingâ€</a>), which allows you to simultaneously record the synthesized audio signal and listen to it.
+ It is possible to configure <span class="application"><strong>FluidSynth</strong></span> 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 <a class="xref" href="#sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing" title="1.4.7. Routing and Multiplexing">Section 1.4.7, “Routing and Multiplexingâ€</a>), which allows you to simultaneously record the synthesized audio signal and listen to it.
</div><div class="para">
If you are having problems, you may wish to confirm that Qsynth is configured correctly to use JACK.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
@@ -3078,7 +3082,7 @@ qjackctl-0.3.6
</div></li></ol></div><div class="para">
If you are having problems with audio cut-outs, you may wish to increase the buffer settings. The size should be increased in multiples of 1024, and the buffer count should not be increased much. The default setting or one "Audio Channel" provides stereo output, and each additional channel produces another set of stereo outputs. Increasing the "polyphony" setting will allow a higher number of simultaneous notes ("MIDI events," really), which will be useful in exteremely complex situations.
</div></div><div class="section" title="10.4.4. MIDI Input Configuration" id="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input">10.4.4. MIDI Input Configuration</h3></div></div></div><div class="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.
+ <span class="application"><strong>FluidSynth</strong></span> will only produce sound as instructed by a connected (software- or hardware-based) MIDI device. If you are having problems configuring <span class="application"><strong>FluidSynth</strong></span> to accept MIDI input, verify the following options.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Open Qsynth's "Setup" window.
</div></li><li class="step" title="Step 2"><div class="para">
@@ -3092,8 +3096,8 @@ qjackctl-0.3.6
</div></li></ul></div>
</div></li><li class="step" title="Step 4"><div class="para">
- You can set the number of MIDI input channels provided by FluidSynth. Refer to <a class="xref" href="#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels" title="10.5.1. Changing the Number of MIDI Input Channels">Section 10.5.1, “Changing the Number of MIDI Input Channelsâ€</a> below.
- </div></li></ol></div></div><div class="section" title="10.4.5. Viewing all FluidSynth Settings" id="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all FluidSynth Settings</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
+ You can set the number of MIDI input channels provided by <span class="application"><strong>FluidSynth</strong></span>. Refer to <a class="xref" href="#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels" title="10.5.1. Changing the Number of MIDI Input Channels">Section 10.5.1, “Changing the Number of MIDI Input Channelsâ€</a> below.
+ </div></li></ol></div></div><div class="section" title="10.4.5. Viewing all FluidSynth Settings" id="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all <span class="application"><strong>FluidSynth</strong></span> Settings</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Open the "Setup" window
</div></li><li class="step" title="Step 2"><div class="para">
Select the "Settings" tab
@@ -3106,7 +3110,8 @@ qjackctl-0.3.6
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
In the main Qsynth window, click "Channels" to open the "Channels" window.
</div></li><li class="step" title="Step 2"><div class="para">
- In the Channels window, each channel will, by default, look like <code class="code">1 - - -</code>
+ In the Channels window, each channel will, by default, look like
+<pre class="programlisting">1 - - -</pre>
</div></li><li class="step" title="Step 3"><div class="para">
To assign a program to a channel, click on the row of the channel that you want to assign.
</div></li><li class="step" title="Step 4"><div class="para">
@@ -3118,7 +3123,7 @@ qjackctl-0.3.6
</div></li><li class="step" title="Step 7"><div class="para">
Remember that channel 10 is reserved for percussion instruments, and should not be changed from a General MIDI percussion program.
</div></li></ol></div><div class="section" title="10.5.1. Changing the Number of MIDI Input Channels" id="sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</h3></div></div></div><div class="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 <span class="application"><strong>FluidSynth</strong></span>. 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.
</div><div class="para">
To change the number of MIDI input channels, follow these instructions.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
@@ -3146,7 +3151,7 @@ qjackctl-0.3.6
</div></li><li class="step" title="Step 3"><div class="para">
Select it, and verify that the correct channel assignments were restored.
</div></li></ol></div></div></div><div class="section" title="10.6. Using Reverb and Chorus with Qsynth" id="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus">10.6. Using Reverb and Chorus with Qsynth</h2></div></div></div><div class="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. <span class="application"><strong>FluidSynth</strong></span> 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.
</div><div class="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.
</div><div class="para">
@@ -3173,12 +3178,12 @@ qjackctl-0.3.6
Depth: Adjusts the perceived "depth" of the stereo image.
</div></li></ul></div>
- </div></div><div class="section" title="10.7. Multiple FluidSynth Instances with Qsynth" id="sect-Musicians_Guide-FluidSynth-Multiple_Instances"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple FluidSynth Instances with Qsynth</h2></div></div></div><div class="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.
+ </div></div><div class="section" title="10.7. Multiple FluidSynth Instances with Qsynth" id="sect-Musicians_Guide-FluidSynth-Multiple_Instances"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple <span class="application"><strong>FluidSynth</strong></span> Instances with Qsynth</h2></div></div></div><div class="para">
+ Rarely will you need more than one instance of <span class="application"><strong>FluidSynth</strong></span>, because QSynth/<span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span> for each SoundFont.
</div><div class="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 <span class="application"><strong>FluidSynth</strong></span> is created and controlled by, in effect, running the <span class="application"><strong>FluidSynth</strong></span> synthesis application multiple times. The reality is that, since Qsynth controls the <span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span> directly from a terminal. Each such instance is represented in Qsynth by a "tab," displayed at the bottom of the Qsynth window.
</div><div class="para">
- To create an additional instance of FluidSynth:
+ To create an additional instance of <span class="application"><strong>FluidSynth</strong></span>:
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Press the green "+" button in the bottom-left corner of Qsynth's main window
</div></li><li class="step" title="Step 2"><div class="para">
@@ -3188,7 +3193,7 @@ qjackctl-0.3.6
</div></li><li class="step" title="Step 4"><div class="para">
To close an additional instance, use the red "X" near the lower-right corner.
</div></li></ol></div><div class="para">
- Each instance of the FluidSynth engine has its own settings in the "Setup" window. Qsynth supports a theoretically unlimited number of FluidSynth instances, but your computer's memory will probably not allow many more than ten, depending on the SoundFonts used.
+ Each instance of the <span class="application"><strong>FluidSynth</strong></span> engine has its own settings in the "Setup" window. Qsynth supports a theoretically unlimited number of <span class="application"><strong>FluidSynth</strong></span> instances, but your computer's memory will probably not allow many more than ten, depending on the SoundFonts used.
</div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 11. SuperCollider" id="chap-Musicians_Guide-SuperCollider" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 11. SuperCollider</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.2.3. Hardware Requirements</a></span></dt><dt><span class=
"section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.3.4. Ot
her Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Aud
io">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12. Ordering and Ot
her Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3. Designing the First Part</a></span></dt><dt><span class
="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.6. Exp
orting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></div><div class="para">
SuperCollider is many things, but above all:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -3228,7 +3233,7 @@ qjackctl-0.3.6
</div></li></ul></div>
</div></div><div class="section" title="11.2.2. Software Requirements" id="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.2.2. Software Requirements</h3></div></div></div><div class="para">
- SuperCollider uses the JACK Audio Connection Kit. You should install JACK before installing SuperCollider. Refer to <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> for instructions to install JACK.
+ SuperCollider uses the JACK Audio Connection Kit. You should install JACK before installing SuperCollider. Refer to <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring <code class="systemitem">JACK</code>â€</a> for instructions to install JACK.
</div><div class="para">
SuperCollider is not available from the Fedora software repositories. You must enable the "Planet CCRMA at Home" repository to install SuperCollider. See <a class="xref" href="#sect-Musicians_Guide-CCRMA_Installing_Repository" title="4.3.1. Installing the Planet CCRMA at Home Repositories">Section 4.3.1, “Installing the Planet CCRMA at Home Repositoriesâ€</a> for instructions ti enable the "Planet CCRMA at Home" repository. The "Planet CCRMA at Home" repository contains a wide variety of music and audio applications.
</div></div><div class="section" title="11.2.3. Hardware Requirements" id="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.2.3. Hardware Requirements</h3></div></div></div><div class="para">
@@ -3373,7 +3378,11 @@ notification is on
</div></li><li class="step" title="Step 4"><div class="para">
To stop all sound on the server, press 'Esc' on the keyboard, or from the menu select 'SuperCollider > Stop Sound'
</div></li><li class="step" title="Step 5"><div class="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 class="code">Synth("temp_0": 1000)</code>, or this: <code class="code">RESULT = 0</code>.
+ 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:
+<pre class="programlisting">Synth("temp_0": 1000)</pre>
+ or this:
+<pre class="programlisting">RESULT = 0</pre>
+
</div></li></ol></div></div><div class="section" title="11.3.4. Other Tips for Using GEdit with SuperCollider" id="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.3.4. Other Tips for Using GEdit with SuperCollider</h3></div></div></div><div class="para">
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
If you close GEdit while the SuperCollider server is running, then GEdit will automatically shut down the server.
@@ -4424,11 +4433,83 @@ stop( some background music );
</div></div></div><div class="section" title="11.4.8. Conditional Execution" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</h3></div></div></div><div class="para">
Conditional execution tells the <span class="application"><strong>SuperCollider</strong></span> interpreter to execute code on the condition that something is true. <span class="application"><strong>SuperCollider</strong></span> offers three conditional execution structures, "if", "switch", and "case" statements. Each of these structures is controlled by one or a series of "boolean expressions" (sometimes called "conditional expressions"), which are composed of "boolean operators".
</div><div class="section" title="11.4.8.1. Boolean Operators" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators">11.4.8.1. Boolean Operators</h4></div></div></div><div class="para">
- Boolean operators evaluate to "true" or "false", and are most useful in boolean expressions, where they help to determine which portion of a program to execute.
- </div><div class="para">
- 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) |}
- </div><div class="para">
- The following table lists "unary" boolean operators, meaning that they take one argument, and work with one of the following syntaxes: <code class="code">argument.operator;</code> or <code class="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 class="code">isPositive</code> is "false" |}
+ Boolean operators evaluate to <code class="literal">true</code> or <code class="literal">false</code>, and are most useful in boolean expressions, where they help to determine which portion of a program to execute.
+ </div><div class="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 <code class="literal">true</code> or <code class="literal">false</code>.
+ <div class="table" title="Table 11.1. Binary Boolean Operators in SuperCollider"><div class="table-contents"><table summary="Binary Boolean Operators in SuperCollider" border="1"><colgroup><col align="center" width="50%" /><col align="center" width="50%" /></colgroup><thead><tr><th align="center">
+ Operator
+ </th><th align="center">
+ Meaning
+ </th></tr></thead><tbody><tr><td align="center">
+ <
+ </td><td align="center">
+ less than
+ </td></tr><tr><td align="center">
+ <=
+ </td><td align="center">
+ less than or equal to
+ </td></tr><tr><td align="center">
+ >
+ </td><td align="center">
+ greater than
+ </td></tr><tr><td align="center">
+ >=
+ </td><td align="center">
+ greater than or equal to
+ </td></tr><tr><td align="center">
+ ==
+ </td><td align="center">
+ equivalent
+ </td></tr><tr><td align="center">
+ !=
+ </td><td align="center">
+ not equivalent
+ </td></tr><tr><td align="center">
+ ===
+ </td><td align="center">
+ identical (the same object)
+ </td></tr><tr><td align="center">
+ !==
+ </td><td align="center">
+ not identical (not the same object)
+ </td></tr><tr><td align="center">
+ &&
+ </td><td align="center">
+ logical <code class="literal">And</code>
+ </td></tr><tr><td align="center">
+ ||
+ </td><td align="center">
+ logical <code class="literal">Or</code>
+ </td></tr></tbody></table></div><h6>Table 11.1. Binary Boolean Operators in SuperCollider</h6></div><br class="table-break" />
+
+ </div><div class="para">
+ The following table lists unary boolean operators that take one arguments. These operators produce either <code class="literal">true</code> or <code class="literal">false</code>.
+ <div class="table" title="Table 11.2. Unary Boolean Operators in SuperCollider"><div class="table-contents"><table summary="Unary Boolean Operators in SuperCollider" border="1"><colgroup><col align="center" width="50%" /><col align="center" width="50%" /></colgroup><thead><tr><th align="center">
+ Operator
+ </th><th align="center">
+ Meaning
+ </th></tr></thead><tbody><tr><td align="center">
+ isPositive
+ </td><td align="center">
+ <code class="literal">true</code> if the argument is greater than or equal to <code class="literal">0</code>
+ </td></tr><tr><td align="center">
+ isStrictlyPositive
+ </td><td align="center">
+ <code class="literal">true</code> if the argument is greater than <code class="literal">0</code>
+ </td></tr><tr><td align="center">
+ isNegative
+ </td><td align="center">
+ <code class="literal">true</code> if <code class="function">isPositive</code> is <code class="literal">false</code>
+ </td></tr></tbody></table></div><h6>Table 11.2. Unary Boolean Operators in SuperCollider</h6></div><br class="table-break" />
+ Unary operators are actually functions, and must be used as such.
+<pre class="programlisting">
+(
+ var x = 5;
+ x.isPositive; // returns "true"
+ isNegative( x ); // returns "false"
+)
+</pre>
+
</div><div class="para">
The use of these operators is explained below in the "Boolean Expressions" section.
</div></div><div class="section" title="11.4.8.2. Boolean Expressions" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions">11.4.8.2. Boolean Expressions</h4></div></div></div><div class="para">
@@ -4480,7 +4561,49 @@ a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
</div></div><div class="section" title="11.4.8.2.4. Logical And and Or" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or">11.4.8.2.4. Logical <code class="literal">And</code> and <code class="literal">Or</code></h5></div></div></div><div class="para">
The logical And and Or operators must receive two boolean arguments. Logical And returns "true" if both of its arguments are "true". Logical Or returns "true" if one of its arguments are "true".
</div><div class="para">
- The following table illustrates how the <span class="application"><strong>SuperCollider</strong></span> interpreter will evaluate each of the following situations. {| ! If the left sub-expression evaluates to... !! ... and the right sub-expression evaluates to... !! ... then logical And would evaluate to... !! ... and logical Or would evaluate to... |- | true || false || false || true |- | false || true || false || true |- | true || true || true || true |- | false || false || false || false |}
+ The following table illustrates how the <span class="application"><strong>SuperCollider</strong></span> interpreter will evaluate each of the following situations.
+ <div class="table" title="Table 11.3. Truth Table"><div class="table-contents"><table summary="Truth Table" border="1"><colgroup><col align="center" width="25%" /><col align="center" width="25%" /><col align="center" width="25%" /><col align="center" width="25%" /></colgroup><thead><tr><th align="center">
+ If the left sub-expression is...
+ </th><th align="center">
+ ... and the right sub-expression is...
+ </th><th align="center">
+ ... then logical <code class="literal">And</code> evaluates to...
+ </th><th align="center">
+ ... and logical <code class="literal">Or</code> evaluates to...
+ </th></tr></thead><tbody><tr><td align="center">
+ <code class="literal">true</code>
+ </td><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">true</code>
+ </td></tr><tr><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">true</code>
+ </td><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">true</code>
+ </td></tr><tr><td align="center">
+ <code class="literal">true</code>
+ </td><td align="center">
+ <code class="literal">true</code>
+ </td><td align="center">
+ <code class="literal">true</code>
+ </td><td align="center">
+ <code class="literal">true</code>
+ </td></tr><tr><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">false</code>
+ </td></tr></tbody></table></div><h6>Table 11.3. Truth Table</h6></div><br class="table-break" />
+
</div><div class="para">
The interpreter evaluates the expression on the left first, and then the expression on the right ''only'' if it will influence the outcome. This means that, if the left-side expression of a logical Or operator evaluates to "true", the interpreter will not test the right-side expression, because the result will be "true" anyway. Similarly, if the left-side expression of a logical And operator evaluates to "false", the interpreter will not test the right-side expression, because the result will be "false" anyway.
</div><div class="para">
@@ -5014,7 +5137,33 @@ var mySynth = Synth.new( \playMe );
Synth.new( \myRandFunc );
)
</pre>
- When you use a UGen as a control-rate UGen, you have to think about its arguments quite differently than when using it as an audio-rate UGen. This table shows how the same argument gives a different result for an audio-rate vs. control-rate UGen used for pitch: {| ! parameter !! audio-rate UGen !! control-rate UGen for pitch |- freq (frequency in Hertz) || controls pitch || controls the speed of oscillation |- add || ?? || re-sets the "zero" (middle) point of the sine wave by adding this to the output |- mul || controls volume level || sets the deviation from the "zero" point |} For an audio-rate SinOsc UGen, you set the frequency and the volume level. For a control-rate UGen, you set the mid-point of oscillation with "add", the extremes of oscillation which will be <code class="code">add - mul</code> and <code class="code">add + mul</code>, and the speed of oscillation with "freq". The end result is very different numbers.
+ 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:
+ <div class="table" title="Table 11.4. Parameters in Audio-Rate and Control-Rate SinOsc UGens"><div class="table-contents"><table summary="Parameters in Audio-Rate and Control-Rate SinOsc UGens" border="1"><colgroup><col align="center" width="33%" /><col align="center" width="33%" /><col align="center" width="33%" /></colgroup><thead><tr><th align="center">
+ Parameter
+ </th><th align="center">
+ In an audio-rate UGen...
+ </th><th align="center">
+ In a control-rate UGen...
+ </th></tr></thead><tbody><tr><td align="center">
+ freq
+ </td><td align="center">
+ controls the pitch
+ </td><td align="center">
+ controls the speed of oscillation
+ </td></tr><tr><td align="center">
+ add
+ </td><td align="center">
+ ??
+ </td><td align="center">
+ sets the middle point of the sine wave by adding this to the output
+ </td></tr><tr><td align="center">
+ mul
+ </td><td align="center">
+ controls volume level
+ </td><td align="center">
+ sets the deviation from "add"
+ </td></tr></tbody></table></div><h6>Table 11.4. Parameters in Audio-Rate and Control-Rate <code class="classname">SinOsc</code> UGens</h6></div><br class="table-break" />
+ For an audio-rate SinOsc UGen, you set the frequency and the volume level. For a control-rate UGen, you set the mid-point of oscillation with "add", the extremes of oscillation which will be <code class="code">add - mul</code> and <code class="code">add + mul</code>, and the speed of oscillation with "freq". The end result is very different numbers.
</div><div class="para">
There is a handy UGen designed specifically for replacing pseudo-randomness in Functions. The following example restores the "ten different pitches" to the example from the last section.
<pre class="programlisting">
@@ -5157,7 +5306,39 @@ h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } );
</div><div class="para">
The interpreter also keeps track of which bus numbers are used for which Bus Objects, so the signals will never get confused. Of course, you can still route signals through those bus numbers without using the Bus Object, but the Bus Class helps us to keep things straight.
</div><div class="para">
- The following messages can also be used with Bus Objects: {| ! Message !! Example !! Purpose |- | index || b.index; || Returns the lowest bus number used by this Bus |- | numChannels || b.numChannels; || Returns the number of busses used by this Bus |- | rate || b.rate; || Returns "audio" or "control," depending on whether the Bus is audio-rate or control-rate. |- | server || b.server; || Returns the name of the server that the Bus represents. The default server is "localhost". |}
+ The following messages/functions can also be used with Bus Objects:
+ <div class="table" title="Table 11.5. Some Functions of the Bus Class"><div class="table-contents"><table summary="Some Functions of the Bus Class" border="1"><colgroup><col align="center" width="33%" /><col align="center" width="33%" /><col align="center" width="33%" /></colgroup><thead><tr><th align="center">
+ Message/Function
+ </th><th align="center">
+ Example
+ </th><th align="center">
+ Return Value
+ </th></tr></thead><tbody><tr><td align="center">
+ index
+ </td><td align="center">
+ <code class="code">b.index;</code>
+ </td><td align="center">
+ The lowest bus number used by this Bus object.
+ </td></tr><tr><td align="center">
+ numChannels
+ </td><td align="center">
+ <code class="code">b.numChannels;</code>
+ </td><td align="center">
+ The number of busses used by this Bus object.
+ </td></tr><tr><td align="center">
+ rate
+ </td><td align="center">
+ <code class="code">b.rate;</code>
+ </td><td align="center">
+ Either <code class="literal">audio</code> or <code class="literal">control</code>.
+ </td></tr><tr><td align="center">
+ server
+ </td><td align="center">
+ <code class="code">b.server;</code>
+ </td><td align="center">
+ The name of the server used by the Bus object. The default server is <code class="literal">localhost</code>
+ </td></tr></tbody></table></div><h6>Table 11.5. Some Functions of the <code class="classname">Bus</code> Class</h6></div><br class="table-break" />
+
</div><div class="para">
When you are done with a Bus, you can release the channels for use by other Bus Objects:
<pre class="programlisting">
@@ -5610,7 +5791,9 @@ t = nil;
</div></li><li class="step" title="Step 11"><div class="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.
</div></li><li class="step" title="Step 12"><div class="para">
- Having <code class="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.
+ Writing
+<pre class="programlisting">SinOsc.ar( [frequencyL_drone,2*frequencyL_drone,5*frequencyL_drone,13*frequencyL_drone,28*frequencyL_drone], mul:0.1 )</pre>
+ 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.
</div></li><li class="step" title="Step 13"><div class="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!
</div></li><li class="step" title="Step 14"><div class="para">
@@ -5775,11 +5958,11 @@ myFunction.value;
</div></li><li class="step" title="Step 15"><div class="para">
When you play execute the resulting code, you probably get something that sounds quite "space-age." Execute it a few times, to see the kind of results you get.
</div></li></ol></div></div><div class="section" title="11.5.6. Scheduling the Tones" id="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.5.6. Scheduling the Tones</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="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 class="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.
+ 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 class="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 <code class="literal">t_c</code>.
</div></li><li class="step" title="Step 2"><div class="para">
The default TempoClock has a default tempo of one beat per second (1 Hz). This will be good enough for us. If you wanted to change the tempo, remember that you can enter a metronome setting (which is "beats per minute") by dividing the metronome setting by 60. So a metronome's 120 beats per minute would be given to a new TempoClock as <code class="code">TempoClock.new( 120/60 )</code>. Even though you could do that ahead of time and just write "2," inputting it as "120/60" makes it clearer what tempo you intend to set.
</div></li><li class="step" title="Step 3"><div class="para">
- You can schedule something on a TempoClock by using <code class="code">t_c.sched( x, f );</code>, where "f" is a function to execute, and "x" is when it should be done, measured as the number of beats from now. So we can schedule our SinOsc like this:
+ You can schedule something on a TempoClock by using <code class="code">t_c.sched( <em class="replaceable"><code>x</code></em>, <em class="replaceable"><code>f</code></em> );</code>, where <code class="literal">f</code> is a function to execute, and <code class="literal">x</code> is when it should be done, measured as the number of beats from now. So we can schedule our SinOsc like this:
<pre class="programlisting">t_c.sched( 1, {{[ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ]}.play;} );</pre>
</div></li><li class="step" title="Step 4"><div class="para">
Schedule the rest, in intervals of five beats (which is five seconds). They will all be scheduled virtually instantaneously (that is, the computer will notice the slight delay between when each one is scheduled, but humans will not). I started at one beat from now, to insert a slight pause before the sound begins.
@@ -5901,11 +6084,11 @@ var t_c = TempoClock.default;
</div></li><li class="step" title="Step 11"><div class="para">
It ''should'' still work. Let's use a loop to get rid of the ten identical lines.
</div></li><li class="step" title="Step 12"><div class="para">
- In SuperCollider, <code class="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 class="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.
+ In SuperCollider, <code class="code"><em class="replaceable"><code>x</code></em>.do( <em class="replaceable"><code>f</code></em> );</code> will send the <code class="literal">value</code> message to the function <code class="literal">f</code> <code class="literal">x</code> times. So, to do this ten times, we should write <code class="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.
</div></li><li class="step" title="Step 13"><div class="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.
</div></li><li class="step" title="Step 14"><div class="para">
- Getting the next two loops working is a little bit more complicated. We know how to run the exact same code in a loop, but we don't know how to change it subtly (by supplying different index numbers for the array, for example). Thankfully, SuperCollider provides a way to keep track of how many times the function in a loop has already been run. The first argument given to a function in a loop is the number of times that the function has ''already'' been executed. The first time it is run, the function receives a 0; if we're using a <code class="code">10.do( ... );</code> loop, then the last time the function is run, it receives a 9 because the function has already been executed 9 times. Since our ten-element array is indexed from 0 to 9, this works perfectly for us.
+ Getting the next two loops working is a little bit more complicated. We know how to run the exact same code in a loop, but we don't know how to change it subtly (by supplying different index numbers for the array, for example). Thankfully, SuperCollider provides a way to keep track of how many times the function in a loop has already been run. The first argument given to a function in a loop is the number of times that the function has ''already'' been executed. The first time it is run, the function receives a 0; if we're using a <code class="code">10.do( <em class="replaceable"><code>something</code></em> );</code> loop, then the last time the function is run, it receives a 9 because the function has already been executed 9 times. Since our ten-element array is indexed from 0 to 9, this works perfectly for us.
</div></li><li class="step" title="Step 15"><div class="para">
The code to free is shorter: <code class="code">10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );</code> This can look confusing, especially written in one line, like it is. If it helps, you might want to write it like this instead:
<pre class="programlisting">
@@ -5922,7 +6105,7 @@ var t_c = TempoClock.default;
<pre class="programlisting">10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( sinosc[index].play; ); } ); } );</pre>
which includes some extra parentheses to ensure that the math is computed in the right order.
</div></li><li class="step" title="Step 18"><div class="para">
- The code is already much shorter, easier to understand, and easier to expand or change. There is one further optimzation that we can easily make: get rid of the sinosc array. This simply involves replacing <code class="code">sinosc[index]</code> with what all of its elements are: <code class="code">{func.value;}</code>
+ The code is already much shorter, easier to understand, and easier to expand or change. There is one further optimzation that we can easily make: get rid of the sinosc array. This simply involves replacing <code class="code">sinosc[index]</code> with what all of its elements are: <code class="code">{ func.value; }</code>
</div></li><li class="step" title="Step 19"><div class="para">
The resulting program is a little different from what ended up in FSC_method_1.sc, but produces the same output. What I have is this:
<pre class="programlisting">
@@ -6189,18 +6372,18 @@ t_c.sched( 143, { sound.free; } );
When you are ready to export, use the Ardour menu: 'Session > Export > Export session to audio file'
</div></li><li class="step" title="Step 14"><div class="para">
The audio file will be created in the "export" sub-directory of the session's directory.
- </div></li></ol></div></div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 12. LilyPond" id="chap-Musicians_Guide-LilyPond" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 12. LilyPond</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Installation">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-
Syntax-Numbers_Are_Durations">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Articulations">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Commands">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Source_Files">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><d
t><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Inputting">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutor
ial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Inputting">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3. Adjusting Frescobaldi's
Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Inputting">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Formatting">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></div><div class="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.
+ </div></li></ol></div></div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 12. LilyPond" id="chap-Musicians_Guide-LilyPond" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 12. <span class="application"><strong>LilyPond</strong></span></h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How <span class="application"><strong>LilyPond</strong></span> Works</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The <span class="application"><strong>LilyPond</strong></span> Approach</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Installation">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax">12.4. <span class="application"><strong>LilyPond</strong></span> Basics</a></span></dt><dd><dl><dt
><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Articulations">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Commands">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Source_Files">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">12.4.8
. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Inputting">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-O
rchestra">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Inputting">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Pia
no-Starting_the_Score">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Inputting">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Formatting">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></div><div class="para">
+ <span class="application"><strong>LilyPond</strong></span> is a notation engraving program, with a focus on creating a visually appealing product. <span class="application"><strong>LilyPond</strong></span> 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.
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> comes in - users don't need to worry about how their score will work, because they know that the expertly-crafted methods of <span class="application"><strong>LilyPond</strong></span> will automatically configure the objects on the score so that they look good, and are easy to read. <span class="application"><strong>LilyPond</strong></span>'s users focus on ''what'' needs to be displayed, rather than on ''how'' it is going to be displayed.
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span> is both much faster, and much more flexible, than traditional, commercially-available music engraving programs.
</div><div class="para">
- LilyPond offers many other features, too. Some of these features include:
+ <span class="application"><strong>LilyPond</strong></span> offers many other features, too. Some of these features include:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
Putting scores into LaTeX or HTML documents.
</div></li><li class="listitem"><div class="para">
- Putting scores into OpenOffice.org documents, with the <code class="code">ooolilypond</code> program.
+ Putting scores into <span class="application"><strong>OpenOffice.org</strong></span> documents, with the <span class="application"><strong>ooolilypond</strong></span> program.
</div></li><li class="listitem"><div class="para">
Being compatible with all major operating systems.
</div></li><li class="listitem"><div class="para">
@@ -6210,45 +6393,45 @@ t_c.sched( 143, { sound.free; } );
</div></li></ul></div>
</div><div class="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.
- </div><div class="section" title="12.1. How LilyPond Works" id="sect-Musicians_Guide-LilyPond-How_LilyPond_Works"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</h2></div></div></div><div class="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.
+ 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 <span class="application"><strong>Frescobaldi</strong></span> text-editor will help to increase productivity, to make trouble-shooting easier, and to ease the memory burden associated with the text-based approach.
+ </div><div class="section" title="12.1. How LilyPond Works" id="sect-Musicians_Guide-LilyPond-How_LilyPond_Works"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How <span class="application"><strong>LilyPond</strong></span> Works</h2></div></div></div><div class="para">
+ Think of <span class="application"><strong>LilyPond</strong></span> 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. <span class="application"><strong>LilyPond</strong></span> uses many programs that you can use by yourself, but <span class="application"><strong>LilyPond</strong></span> is specialized. <span class="application"><strong>LilyPond</strong></span> knows what programs to use, what settings to use, and most importantly, <span class="application"><strong>LilyPond</strong></span> takes much less time than if you use the programs directly.
</div><div class="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.
- </div></div><div class="section" title="12.2. The LilyPond Approach" id="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The LilyPond Approach</h2></div></div></div><div class="para">
- For an extensive explanation of the following section, please see the <em class="citetitle">LilyPond Website</em> at <a href="http://www.lilypond.org/about/automated-engraving/">http://www.lilypond.org/about/automated-engraving/</a>, from where this was sourced.
+ We give instructions to <span class="application"><strong>LilyPond</strong></span> in specially-formed text files. <span class="application"><strong>LilyPond</strong></span> input files describe the music to notate. <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span> lets you change the settings of its internal tools.
+ </div></div><div class="section" title="12.2. The LilyPond Approach" id="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The <span class="application"><strong>LilyPond</strong></span> Approach</h2></div></div></div><div class="para">
+ For an extensive explanation of the following section, please see the <em class="citetitle"><span class="application"><strong>LilyPond</strong></span> Website</em> at <a href="http://www.lilypond.org/about/automated-engraving/">http://www.lilypond.org/about/automated-engraving/</a>, from where this was sourced.
</div><div class="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.
+ <span class="application"><strong>LilyPond</strong></span> 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. <span class="application"><strong>LilyPond</strong></span> knows how and when to use each tool; if it doesn't know enough about a tool, then it isn't used.
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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, <span class="application"><strong>LilyPond</strong></span> then chooses the better possibility.
</div></div><div class="section" title="12.3. Requirements and Installation" id="sect-Musicians_Guide-LilyPond-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-Installation">12.3. Requirements and Installation</h2></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Use PackageKit or KPackageKit to install the <code class="literal">lilypond</code> package.
</div></li><li class="step" title="Step 2"><div class="para">
Review the dependencies. Many packages called <code class="literal">lilypond-*-fonts</code> are installed.
</div></li><li class="step" title="Step 3"><div class="para">
- LilyPond is run from the command line, with the command <code class="command">lilypond</code>.
+ <span class="application"><strong>LilyPond</strong></span> is run from the command line, with the command <code class="command">lilypond</code>.
</div></li></ol></div><div class="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 <a class="xref" href="#chap-Musicians_Guide-Frescobaldi" title="Chapter 13. Frescobaldi">Chapter 13, <i>Frescobaldi</i></a> for more information.
- </div></div><div xml:lang="en-US" class="section" title="12.4. LilyPond Basics" id="sect-Musicians_Guide-LilyPond-Syntax" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-Syntax">12.4. LilyPond Basics</h2></div></div></div><div class="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.
+ We recommend that you use the <span class="application"><strong>Frescobaldi</strong></span> text editor, which is designed specifically for <span class="application"><strong>LilyPond</strong></span>. It has many features that enhance productivity when editing <span class="application"><strong>LilyPond</strong></span> files, and that greatly speed up the learning process. Refer to <a class="xref" href="#chap-Musicians_Guide-Frescobaldi" title="Chapter 13. Frescobaldi">Chapter 13, <i>Frescobaldi</i></a> for more information.
+ </div></div><div xml:lang="en-US" class="section" title="12.4. LilyPond Basics" id="sect-Musicians_Guide-LilyPond-Syntax" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-Syntax">12.4. <span class="application"><strong>LilyPond</strong></span> Basics</h2></div></div></div><div class="para">
+ The syntax of <span class="application"><strong>LilyPond</strong></span> 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.
</div><div class="section" title="12.4.1. Letters Are Pitches" id="sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</h3></div></div></div><div class="para">
- One letter is all that's required to create a note in LilyPond. There are additional symbols and letters that are added to indicate further details, like the register, and whether the note is "sharp" or "flat."
+ One letter is all that's required to create a note in <span class="application"><strong>LilyPond</strong></span>. There are additional symbols and letters that are added to indicate further details, like the register, and whether the note is "sharp" or "flat."
</div><div class="para">
Although it can be changed, the default (and recommended) way to indicate "sharp" or "flat" is by using Dutch note-names: "-is" to indicate a sharp, and "-es" to indicate a flat. For example, the following command would create b-double-flat, b-flat, b, b-sharp, and b-double-sharp: <code class="code">beses bes b bis bisis</code> Getting used to these names happens quickly, and they take less time to input than the English alternative. Furthermore, with these names, it becomes possible to sing note-names when you are ear training!
</div><div class="para">
Pitch can be entered either absolutely, or relative to the preceding notes. Usually (for music without frequent large leaps) it is more convenient to use the "relative" mode. The symbols <code class="literal">,</code> and <code class="literal">'</code> (comma and apostrophe) are used to indicate register.
</div><div class="para">
- When entering absolute pitches, the register is indicated mostly as in the Helmholtz system (see <em class="citetitle">Helmholtz Pitch Notation (Wikipedia)</em> at <a href="http://en.wikipedia.org/wiki/Helmholtz_pitch_notation">http://en.wikipedia.org/wiki/Helmholtz_pitch_notation</a>: 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 <em class="citetitle">Scientific Pitch Notation (Wikipedia)</em> at <a href="http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation">http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation</a>) 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 <em class="citetitle">Helmholtz Pitch Notation (Wikipedia)</em> at <a href="http://en.wikipedia.org/wiki/Helmholtz_pitch_notation">http://en.wikipedia.org/wiki/Helmholtz_pitch_notation</a>: 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 <em class="citetitle">Scientific Pitch Notation (Wikipedia)</em> at <a href="http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation">http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation</a>) 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 <span class="application"><strong>LilyPond</strong></span>, or to be able to use it quickly, because most scores will use "relative mode."
</div><div class="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 class="code">c e,</code> so that LilyPond knows what you want. It's the same case if you were to input <code class="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 apostrophe: <code class="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, <span class="application"><strong>LilyPond</strong></span> will always choose the "major third" option. If you wanted <span class="application"><strong>LilyPond</strong></span> to notate the E so that it's a minor sixth, you would tell <span class="application"><strong>LilyPond</strong></span> with a comma appended: <code class="code">c e,</code> so that <span class="application"><strong>LilyPond</strong></span> knows what you want. It's the same case if you were to input <code class="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 <span class="application"><strong>LilyPond</strong></span> to notate it so that the A-flat is a minor sixth higher than the C, you would need to append an apostrophe: <code class="code">c aes'</code>
</div><div class="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. <span class="application"><strong>LilyPond</strong></span> 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), <span class="application"><strong>LilyPond</strong></span> will always notate the interval as an augmented fourth.
</div><div class="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.
</div><div class="para">
Letters used to indicate pitch are always in lower-case.
</div></div><div class="section" title="12.4.2. Numbers Are Durations" id="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">12.4.2. Numbers Are Durations</h3></div></div></div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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.
</div><div class="para">
To add a "dot" to a note (thereby increasing its length by one half), you simply include a period after the number. For example, <code class="literal">e4.</code> means "dotted quarter note on E."
</div><div class="para">
@@ -6256,9 +6439,9 @@ t_c.sched( 143, { sound.free; } );
</div><div class="para">
After indicating a duration, it is assumed that all subsequent notes have the same duration, until indicated otherwise.
</div></div><div class="section" title="12.4.3. Articulations" id="sect-Musicians_Guide-LilyPond-Syntax-Articulations"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Articulations">12.4.3. Articulations</h3></div></div></div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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.
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> manual, and <span class="application"><strong>Frescobaldi</strong></span> remembers most of them for you (they are stored in the left-side panel).
</div><div class="para">
These are some of the most common articulation marks, which use a position indicator unless specified otherwise:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -6282,7 +6465,7 @@ t_c.sched( 143, { sound.free; } );
</div><div class="para">
There are three position indicators:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- <code class="literal">-</code> which means to put the articulation mark wherever LilyPond thinks it makes sense
+ <code class="literal">-</code> which means to put the articulation mark wherever <span class="application"><strong>LilyPond</strong></span> thinks it makes sense
</div></li><li class="listitem"><div class="para">
<code class="literal">_</code> which means to put the articulation mark ''below'' the note-head
</div></li><li class="listitem"><div class="para">
@@ -6290,35 +6473,35 @@ t_c.sched( 143, { sound.free; } );
</div></li></ul></div>
These position indicators will sometimes result in notes like: <code class="code">g4--</code>, <code class="code">g4__</code>, and <code class="code">g4^^</code>, but although this may look incorrect, it is perfectly acceptable.
</div></div><div class="section" title="12.4.4. Simultaneity" id="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">12.4.4. Simultaneity</h3></div></div></div><div class="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 <code class="literal"><<</code> and <code class="literal">>></code> is considered by <span class="application"><strong>LilyPond</strong></span> to happen simultaneously. This can be used in any context (and any Context - see above/below). It is possible to tell <span class="application"><strong>LilyPond</strong></span> 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 <code class="literal"><<</code> and <code class="literal">>></code> to tell <span class="application"><strong>LilyPond</strong></span> that the parts should begin at the same time, and creative use of <code class="literal"><<</code> and <code class="literal">>></code> is one of the keys to advanced notation.
</div><div class="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 <span class="application"><strong>Frescobaldi</strong></span> creates scores for you, and how examples on the internet take advantage of these symbols, you will eventually understand how to use them.
</div></div><div class="section" title="12.4.5. Chords" id="sect-Musicians_Guide-LilyPond-Syntax-Chords"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</h3></div></div></div><div class="para">
- Making use of the << and >> idea to indicate simultaneity, if a note has multiple pitches indicated between > and < then LilyPond assumes that they are in a chord together. Notating a single chord with single > < brackets has two advantages: firstly, it is easier to see that they are a chord and not something more complex; secondly, it allows you to enter information more clearly.
+ Making use of the <code class="literal"><<</code> and <code class="literal">>></code> idea to indicate simultaneity, if a note has multiple pitches indicated between <code class="literal">></code> and <code class="literal"><</code> then <span class="application"><strong>LilyPond</strong></span> assumes that they are in a chord together. Notating a single chord with single <code class="literal">< ></code> brackets has two advantages: firstly, it is easier to see that they are a chord and not something more complex; secondly, it allows you to enter information more clearly.
</div><div class="para">
- Consider the following examples, which should produce equivalent output: <code class="code"><<g'4->-5 b d>></code> and <code class="code"><g' b d>4->-5</code> With the first example, it is more difficult to see the chord notes, the duration, and what the <code class="literal">5</code> means. With the second example, it is easy to see that the chord notes are a G, a B, and a D, that they have quarter-note duration, and that the <code class="literal">5</code> is actually a fingering indication.
+ Consider the following examples, which should produce equivalent output: <code class="code"><<g'4->-5 b d>></code> and <code class="code"><g' b d>4->-5</code> With the first example, it is more difficult to see the chord notes, the duration, and what the <code class="literal">5</code> means. With the second example, it is easy to see that the chord notes are a <code class="literal">G</code>, a <code class="literal">B</code>, and a <code class="literal">D</code>, that they have quarter-note duration, and that the <code class="literal">5</code> is actually a fingering indication.
</div><div class="para">
- There is another advantage to using < and > for notation of simple chords: they preserve logical continuity in "relative" mode. The following note will always be notated as relative to the lowest note in the chord, regardless of how many octaves the chord covers. This is not true with << and >>, where where following notes will be notated as relative to the last note between the << and >> .
+ There is another advantage to using <code class="literal"><</code> and <code class="literal">></code> 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 <code class="literal"><<</code> and <code class="literal">>></code>, where where following notes will be notated as relative to the last note between the <code class="literal"><<</code> and <code class="literal">>></code>
</div></div><div class="section" title="12.4.6. Commands" id="sect-Musicians_Guide-LilyPond-Syntax-Commands"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Commands">12.4.6. Commands</h3></div></div></div><div class="para">
- 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 <span class="application"><strong>LilyPond</strong></span>, 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 <span class="application"><strong>LilyPond</strong></span> how you want your score to be rendered.
</div><div class="para">
For example, <code class="code">\time 2/4</code> and <code class="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).
</div><div class="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 <span class="application"><strong>Frescobaldi</strong></span>'s built-in documentation viewer can help out. All of the official <span class="application"><strong>LilyPond</strong></span> documentation is made available in <span class="application"><strong>Frescobaldi</strong></span>, which makes it easy for you to view the documentation and make changes to your score in the same window of the same application.
</div><div class="section" title="12.4.6.1. Customization" id="sect-Musicians_Guide-LilyPond-Syntax-Commands-Customization"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Commands-Customization">12.4.6.1. Customization</h4></div></div></div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span> 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?
</div><div class="para">
If you really must customize some setting, then keep in mind these two points:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Tinkering with LilyPond can become as complex as you want.
+ Tinkering with <span class="application"><strong>LilyPond</strong></span> can become as complex as you want.
</div></li><li class="listitem"><div class="para">
Ultimately all tinkering takes the form of commands.
</div></li></ol></div>
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span>, which makes better solutions available regularly. For this reason, it is recommended to search the official <span class="application"><strong>LilyPond</strong></span> documentation first, then the "<span class="application"><strong>LilyPond</strong></span> Snippet Repository" (LSR - link here), and then Google.
</div></div><div class="section" title="12.4.6.2. Contexts" id="sect-Musicians_Guide-LilyPond-Syntax-Commands-Contexts"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Commands-Contexts">12.4.6.2. Contexts</h4></div></div></div><div class="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 <span class="application"><strong>LilyPond</strong></span> that often confuses beginners is the idea of contexts. It is an essential concept for modifying default behaviour. Like everything in <span class="application"><strong>LilyPond</strong></span>, 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.
</div><div class="para">
To help clear things up a little, here are three examples:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -6356,7 +6539,7 @@ t_c.sched( 143, { sound.free; } );
</div><div class="para">
To help further clarify, consider the following:
</div><div class="para">
- As in the real world, objects in LilyPond can potentially happen in any context...
+ As in the real world, objects in <span class="application"><strong>LilyPond</strong></span> can potentially happen in any context...
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
(like a doorknob on a door)
</div></li><li class="listitem"><div class="para">
@@ -6392,111 +6575,119 @@ t_c.sched( 143, { sound.free; } );
</div></li></ul></div>
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> designers wisely decided that they could not think of all possible uses for their software, so <span class="application"><strong>LilyPond</strong></span> allows most engravers to be used in most contexts. Furthermore, a context can happen within an other context, which makes sense - a <code class="literal">Voice</code> context only makes sense if it appears on a <code class="literal">Staff</code>, and a <code class="literal">Staff</code> only makes sense if it appears in a <code class="literal">Score</code>.
</div><div class="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.
</div></div></div><div class="section" title="12.4.7. Source Files and Their Formatting" id="sect-Musicians_Guide-LilyPond-Syntax-Source_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Source_Files">12.4.7. Source Files and Their Formatting</h3></div></div></div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span>, but "code" just means that it isn't normal English (or insert-language-here).
</div><div class="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 <span class="application"><strong>LilyPond</strong></span>, 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 <span class="application"><strong>LilyPond</strong></span>.
</div><div class="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.
</div><div class="section" title="12.4.7.1. Organizing Files, and Where to Put the Notes" id="sect-Musicians_Guide-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-">12.4.7.1. Organizing Files, and Where to Put the Notes</h4></div></div></div><div class="para">
- LilyPond files are constructed as a series of commands. For better or worse, LilyPond's interpreter allows a great deal of flexibility when it comes to source file setup. This can lead to confusion about where things should be done, especially when using automated score-setup tools like Frescobaldi.
- </div><div class="para">
- The generic structure of a LilyPond source file is this:
-<div class="literallayout"><p>\version "whatever_version"<br />
- <br />
- \header { things like title, composer, and so on }<br />
- <br />
- \score<br />
- {<br />
-   \new Staff<br />
- Â Â {<br />
-     notes can go here<br />
- Â Â }<br />
- Â Â <br />
- Â Â \layout<br />
- Â Â {<br />
- Â Â }<br />
- <br />
-   and so on<br />
- }</p></div>
+ <span class="application"><strong>LilyPond</strong></span> files are constructed as a series of commands. For better or worse, the <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>Frescobaldi</strong></span>.
+ </div><div class="para">
+ The generic structure of a <span class="application"><strong>LilyPond</strong></span> source file is this:
+<pre class="programlisting">
+\version <em class="replaceable"><code>version_number</code></em>
+
+\header { <em class="replaceable"><code>things like title, composer, and so on</code></em> }
+
+\score
+{
+ \new Staff
+ {
+ <em class="replaceable"><code>notes go here</code></em>
+ }
+
+ \layout
+ {
+ }
+
+ <em class="replaceable"><code>and so on</code></em>
+}
+</pre>
</div><div class="para">
- Confusion arises here: for maximum flexibility, LilyPond allows source files to create its own commands. On hearing this, you may think, "Okay that's it - I don't need advanced commands or any of this stuff, so I'm packing it in and just using Finale!" There's no need to do that just yet - commands are easy! Think of commands - whether you wrote them or they were included with LilyPond - as a means of text-substition.
+ Confusion arises here: for maximum flexibility, <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span> - as a means of text-substition.
</div><div class="para">
It works like this:
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- You "define" (create) a command with the form <code class="code">commandName = { lots of commands }</code>
+ You "define" (create) a command with the form <code class="code"><em class="replaceable"><code>commandName</code></em> = { <em class="replaceable"><code>lots of commands</code></em> }</code>
</div></li><li class="step" title="Step 2"><div class="para">
- You can then use the command anywhere below that, as many times as you want, by writing <code class="code">\commandName</code> in your source file. When LilyPond processes that portion of text, it will instead see whatever you wrote in the definition.
+ You can then use the command anywhere below that, as many times as you want, by writing <code class="code">\commandName</code> in your source file. When <span class="application"><strong>LilyPond</strong></span> processes that portion of text, it will instead see whatever you wrote in the definition.
</div></li></ol></div><div class="para">
It's as easy as 1-2!
</div><div class="para">
- Frescobaldi (along with most LilyPond users) take advantage of this functionality to provide well-organized, easy-to-use source files.
+ <span class="application"><strong>Frescobaldi</strong></span> (along with most <span class="application"><strong>LilyPond</strong></span> users) take advantage of this functionality to provide well-organized, easy-to-use source files.
</div><div class="para">
- Here is a good template source file, that might be created for you by Frescobaldi:
-<div class="literallayout"><p>\version "2.12.2"<br />
- <br />
- \header<br />
- {<br />
-   title = "Example"<br />
- }<br />
- <br />
- violin = \relative c''<br />
- {<br />
-   \key c \major<br />
-   \time 4/4<br />
-   % Music follows here.<br />
- }<br />
- <br />
- \score<br />
- {<br />
-   \new Staff \with<br />
- Â Â Â Â {<br />
-       instrumentName = "Violin"<br />
- Â Â Â Â }<br />
- Â Â Â Â \violin<br />
-   \layout { }<br />
- }</p></div>
+ Here is a good template source file, that might be created for you by <span class="application"><strong>Frescobaldi</strong></span>:
+<pre class="programlisting">
+\version "2.12.2"
+
+\header
+{
+ title = "<em class="replaceable"><code>Example</code></em>"
+}
+
+<em class="replaceable"><code>something</code></em> = \relative c''
+{
+ \key <em class="replaceable"><code>c \major</code></em>
+ \time <em class="replaceable"><code>4/4</code></em>
+ % Music follows here.
+}
+
+\score
+{
+ \new Staff \with
+ {
+ instrumentName = "<em class="replaceable"><code>Something</code></em>"
+ }
+ \<em class="replaceable"><code>something</code></em>
+ \layout { }
+}
+</pre>
</div><div class="para">
- This source file makes use of many commands, and even defines "violin" for its own use. It may not be easy to see from this simple example, but keeping your notes separated from the formatting of a complex ''\score'' section will greatly improve the readability of both sections. Furthermore, you will easily be able to search through thousands of lines of source file to find the section that you want.
+ 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 <code class="literal">\score</code> section will greatly improve the readability of both sections. Furthermore, you will easily be able to search through thousands of lines of source file to find the section that you want.
</div><div class="para">
- 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. <span class="application"><strong>Frescobaldi</strong></span> 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.
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> not to create a score as output.
</div></div></div><div class="section" title="12.4.8. Avoiding Errors" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">12.4.8. Avoiding Errors</h3></div></div></div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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.
</div><div class="section" title="12.4.8.1. Octave-Check Symbol" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Octave_Check_Symbol"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Octave_Check_Symbol">12.4.8.1. Octave-Check Symbol</h4></div></div></div><div class="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. <span class="application"><strong>LilyPond</strong></span> prints a warning if the pitches do not match, then continues with the absolute pitch. You should correct the relative pitch when <span class="application"><strong>LilyPond</strong></span> prints a warning.
</div><div class="para">
- The octave-check symbols is <code class="code">=</code>. The symbol appears after the note, and is followed by a comma (<code class="code">,</code>), apostrophe (<code class="code">'</code>), or neither, depending on the intended relative octave of the pitch.
+ The octave-check symbols is <code class="literal">=</code>. The symbol appears after the note, and is followed by a comma (<code class="literal">,</code>), apostrophe (<code class="literal">'</code>), or neither, depending on the intended relative octave of the pitch.
</div><div class="para">
- Here is an example use of the octave-check symbol: <code class="code">c'='''</code>. In this example, the absolute pitch is <code class="code">c'''</code>, which LilyPond knows because of the <code class="code">c</code> at the left, and the <code class="code">'''</code> after the <code class="code">=</code> symbol.
+ Here is an example use of the octave-check symbol: <code class="code">c'='''</code>. In this example, the absolute pitch is <code class="code">c'''</code>, which <span class="application"><strong>LilyPond</strong></span> knows because of the <code class="code">c</code> at the left, and the <code class="code">'''</code> after the <code class="code">=</code> symbol.
</div><div class="para">
- How does this example work: <code class="code">c'=4</code> ? There is a <code class="code">4</code> after the <code class="code">=</code> symbol instead of a comma or apostrophe. The absolute pitch is <code class="code">c</code>, which LilyPond knows because of the <code class="code">c</code> to the left of the <code class="code">=</code> symbol, and because there is no comma or apostrophe to the right of the <code class="code">=</code> symbol. LilyPond understands the <code class="code">4</code> as "quarter note."
+ How does this example work: <code class="code">c'=4</code> ? There is a <code class="code">4</code> after the <code class="code">=</code> symbol instead of a comma or apostrophe. The absolute pitch is <code class="code">c</code>, which <span class="application"><strong>LilyPond</strong></span> knows because of the <code class="code">c</code> to the left of the <code class="code">=</code> symbol, and because there is no comma or apostrophe to the right of the <code class="code">=</code> symbol. <span class="application"><strong>LilyPond</strong></span> understands the <code class="code">4</code> as "quarter note."
</div><div class="para">
You should use the octave-check symbol when you need it. New users use the octave-check symbol more frequently than experienced users.
</div></div><div class="section" title="12.4.8.2. Bar-Check Symbol" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol">12.4.8.2. Bar-Check Symbol</h4></div></div></div><div class="para">
- 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. <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span> prints a warning.
</div><div class="para">
- The bar-check symbol is <code class="code">|</code>. We recommend including a bar-check symbol at the end of every bar, and inputting only one bar on every line, so that errors are easier to find.
+ The bar-check symbol is <code class="literal">|</code>. We recommend including a bar-check symbol at the end of every bar, and inputting only one bar on every line, so that errors are easier to find.
</div><div class="para">
This example is correct, and will not trigger a warning:
-<div class="literallayout"><p>\time 4/4<br />
- c4 c c c |<br />
- c4 c c c |</p></div>
+<pre class="programlisting">
+\time 4/4
+c4 c c c |
+c4 c c c |
+</pre>
There are four quarter-notes between each bar-check symbol, which is the right number of beats.
</div><div class="para">
This example is incorrect, and will trigger a warning:
-<div class="literallayout"><p>\time 4/4<br />
- c2 c c c |<br />
- c4 c c c |</p></div>
- The first bar has four half-notes, which is twice as many beats as are allowed. LilyPond will print a warning at the first bar-check symbol.
+<pre class="programlisting">
+\time 4/4
+c2 c c c |
+c4 c c c |
+</pre>
+ The first bar has four half-notes, which is twice as many beats as are allowed. <span class="application"><strong>LilyPond</strong></span> will print a warning at the first bar-check symbol.
</div><div class="para">
- You should always fix the first warning printed by LilyPond, then reprocess the file and fix remaining warnings. One mistake sometimes triggers more than one bar-check warning, so if you fix the first warning, the rest may disappear.
+ You should always fix the first warning printed by <span class="application"><strong>LilyPond</strong></span>, then reprocess the file and fix remaining warnings. One mistake sometimes triggers more than one bar-check warning, so if you fix the first warning, the rest may disappear.
</div></div></div></div><div xml:lang="en-US" class="section" title="12.5. Working on a Counterpoint Exercise (Tutorial)" id="sect-Musicians_Guide-LilyPond-Counterpoint" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-Counterpoint">12.5. Working on a Counterpoint Exercise (Tutorial)</h2></div></div></div><div class="para">
Imagine you're in Counterpoint class, and you've been asked to submit a very clean copy of your next assignment. Since you don't want to pay $450,000 for a commercially-available engraving solution and a fruity computer to use it, you decide that LilyPond is the solution for you.
</div><div class="section" title="12.5.1. Files for the Tutorial" id="sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</h3></div></div></div><div class="para">
@@ -6741,9 +6932,9 @@ t_c.sched( 143, { sound.free; } );
</div><div class="procedure"><ol class="1"><li class="step" title="Step 2.1"><div class="para">
In the NOTES section, find the flute section, and put in <code class="code">R2.*13 |</code>.
</div></li><li class="step" title="Step 2.2"><div class="para">
- Here is an explanation of R
+ The <code class="literal">R</code> 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.
</div></li><li class="step" title="Step 2.3"><div class="para">
- here is an explanation of |
+ The <code class="literal">|</code> symbol is a bar-check symbol. See <a class="xref" href="#sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol" title="12.4.8.2. Bar-Check Symbol">Section 12.4.8.2, “Bar-Check Symbolâ€</a> for more information.
</div></li><li class="step" title="Step 2.4"><div class="para">
Copy and past that into the rest of the winds and the timpani.
</div></li></ol></div></li><li class="step" title="Step 3"><div class="para">
@@ -6793,11 +6984,11 @@ t_c.sched( 143, { sound.free; } );
</div></li></ul></div>
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.
</div></li><li class="step" title="Step 4"><div class="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 class="code">r8_"f" etc.</code>
+ 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 class="code">r8_"f" <em class="replaceable"><code>and so on</code></em></code>
</div></li><li class="step" title="Step 5"><div class="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.
</div></li><li class="step" title="Step 6"><div class="para">
- Thankfully, LilyPond provides a very easy and elegant way to input well-formatted dynamic markings. Change the eighth-rest to this: <code class="code">r8\f etc.</code>
+ Thankfully, LilyPond provides a very easy and elegant way to input well-formatted dynamic markings. Change the eighth-rest to this: <code class="code">r8\f <em class="replaceable"><code>and so on</code></em></code>
</div></li><li class="step" title="Step 7"><div class="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.
</div></li><li class="step" title="Step 8"><div class="para">
@@ -6824,7 +7015,7 @@ t_c.sched( 143, { sound.free; } );
</div></li><li class="step" title="Step 3"><div class="para">
The "hornF" section should already have a <code class="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 class="code">\transposition g'</code>, but that's not accurate for this case.
</div></li><li class="step" title="Step 4"><div class="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 class="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.
+ 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 class="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.
</div></li><li class="step" title="Step 5"><div class="para">
do the rest of this stuff to get that done right
</div></li><li class="step" title="Step 6"><div class="para">
@@ -6857,7 +7048,7 @@ t_c.sched( 143, { sound.free; } );
</div></li><li class="listitem"><div class="para">
Short-term Polyphonic Input (Divisi):
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- Anything between << and >> is interpreted by LilyPond as happening together. If you take a look at the "score" section at the bottom of the file, you will see that all of the parts are listed in that kind of bracket. This ensures that they all happen simultaneously.
+ Anything between <code class="literal"><<</code> and <code class="literal">>></code> is interpreted by LilyPond as happening together. If you take a look at the "score" section at the bottom of the file, you will see that all of the parts are listed in that kind of bracket. This ensures that they all happen simultaneously.
</div></li><li class="listitem"><div class="para">
For short-term polyphonic input, use the formula <code class="code"><< { upper-voice notes } \\ { lower-voice notes } >></code>. Remember that the "upper voice" has upward-pointing stems, and the "lower voice" has downward-pointing stems.
</div></li></ul></div>
@@ -6868,11 +7059,11 @@ t_c.sched( 143, { sound.free; } );
</div></li><li class="listitem"><div class="para">
Crescendo and Diminuendo Markings:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- These are added like other dynamic markings, attached with a backslash to the note where they begin. A crescendo is triggered with <code class="code">\<</code> and a diminuendo with <code class="code">\></code>.
+ These are added like other dynamic markings, attached with a backslash to the note where they begin. A crescendo is triggered with <code class="literal">\<</code> and a diminuendo with <code class="literal">\></code>.
</div></li><li class="listitem"><div class="para">
- The left-most point of the marking (its beginning) is indicated by where you put \< or \>
+ The left-most point of the marking (its beginning) is indicated by where you put <code class="literal">\<</code> or <code class="literal">\></code>
</div></li><li class="listitem"><div class="para">
- The right-most (or end-)point is indicated by either another dynamic marking of any sort, or the special cancellation character (<code class="code">\!</code>).
+ The right-most (or end-)point is indicated by either another dynamic marking of any sort, or the special cancellation character <code class="literal">\!</code>
</div></li></ul></div>
</div></li><li class="listitem"><div class="para">
Italic "staccato" Text: <code class="code">\markup { \italic { staccato } }</code>
@@ -6957,11 +7148,17 @@ t_c.sched( 143, { sound.free; } );
These steps are useful in establishing a consistent input style for LilyPond. The things suggested here are also useful for getting used to working with large scores, which can be a challenge in any text editor. Thankfully, careful (and consistent!) code organization goes a long way in helping you to quickly find your way around your files. Setting up files the right way to begin with makes this much easier in the end.
</div><div class="para">
When you first setup the score, Frescobaldi will have created many sections for you by default. The program avoids making too many stylistic choices for you, which allows you to create your own style. It also sets up the default sections in a logical way:
-<div class="literallayout"><p>version<br />
- header<br />
- widely-used settings like tempoMark and "global"<br />
- individual parts<br />
- score formatting</p></div>
+ <div class="orderedlist"><ol><li class="listitem"><div class="para">
+ version
+ </div></li><li class="listitem"><div class="para">
+ header
+ </div></li><li class="listitem"><div class="para">
+ widely-used settings like tempoMark and "global"
+ </div></li><li class="listitem"><div class="para">
+ individual parts
+ </div></li><li class="listitem"><div class="para">
+ score formatting
+ </div></li></ol></div>
The specific ordering will become more obvious to you as you get used to LilyPond.
</div><div class="para">
Here are some of the things that I do before inputting notes:
@@ -6973,16 +7170,20 @@ t_c.sched( 143, { sound.free; } );
Add blank lines between large sections, to separate them more obviously
</div></li><li class="listitem"><div class="para">
Begin braces on new lines (as
-<div class="literallayout"><p>\header<br />
- {<br />
-   title = "Impromptu"<br />
- Â Â ...<br />
- }</p></div>
+<pre class="programlisting">
+\header
+{
+ title = "Impromptu"
+ ...
+}
+</pre>
instead of on the same line (as
-<div class="literallayout"><p>\header {<br />
-   title = "Impromptu"<br />
- Â Â ...<br />
- }</p></div>
+<pre class="programlisting">
+\header {
+ title = "Impromptu"
+ ...
+}
+</pre>
This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages.
</div></li><li class="listitem"><div class="para">
Familiarize myself with the sections and commands created by Frescobaldi, getting a sense of what the section/command does (even if I don't understand what each specific command does). This makes it easier to sort out problems and customization down the road. Sometimes, when the setup is quite complex, I make comments about what seems to be going on.
@@ -7015,13 +7216,13 @@ t_c.sched( 143, { sound.free; } );
</div></div><div class="section" title="12.7.4.2. Chords" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords">12.7.4.2. Chords</h4></div></div></div><div class="para">
There are two ways to input chords, but one will be used much more often.
</div><div class="para">
- This style of chord notation is more common: <code class="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 class="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: <code class="literal"><as ces>4-_</code> Notice how only the pitches are notated inside the <code class="literal">< ></code> 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 class="literal"><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.
</div><div class="para">
- This style of chord notation is less common: <code class="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: <code class="literal"><<as4-> ces>></code> Notice how everything must be notated inside the <code class="literal"><< >></code> 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.
</div></div><div class="section" title="12.7.4.3. Fingering" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering">12.7.4.3. Fingering</h4></div></div></div><div class="para">
- LilyPond allows you to indicate fingering by attaching the digit number to a note as an articulation mark: <code class="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 class="code">-</code>.
+ LilyPond allows you to indicate fingering by attaching the digit number to a note as an articulation mark: <code class="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 <code class="literal">^</code> or <code class="literal">_</code> 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 class="literal">-</code>.
</div><div class="para">
- When entering chords, it is recommended that you enter the fingering with the note to which it is attached, like <code class="code"><as-1 ces-4>4-_</code>. It is possible to enter this as <code class="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 <code class="literal"><as-1 ces-4>4-_</code>. It is possible to enter this as <code class="literal"><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.
</div><div class="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.
</div></div><div class="section" title="12.7.4.4. Cautionary Accidentals" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Cautionary_Accidentals"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Cautionary_Accidentals">12.7.4.4. Cautionary Accidentals</h4></div></div></div><div class="para">
@@ -7029,22 +7230,13 @@ t_c.sched( 143, { sound.free; } );
</div><div class="para">
LilyPond Notation: These are notated in LilyPond with an exclamation mark placed before the note-value: <code class="code">ces!16</code>
</div></div><div class="section" title="12.7.4.5. Changing the Style of Crescendo" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo">12.7.4.5. Changing the Style of Crescendo</h4></div></div></div><div class="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 class="code">\<</code> to start and <code class="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 class="code">\crescTextCresc</code>.
+ Sometimes the composer or editor prefers to use the words "''crescendo''" or its abbreviation, "''cresc.''", instead of the <code class="literal">\<</code> style of crescendo. In LilyPond these are handled by the same source-file notation (<code class="literal">\<</code> to start and <code class="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 class="code">\crescTextCresc</code>.
</div><div class="para">
After changing to this style of ''crescendo'', you can revert to the standard < style with the following command: <code class="code">\crescHairpin</code>.
</div><div class="para">
The <code class="code">\dimTextDim</code> and <code class="code">\dimHairpin</code> commands do the same for a ''diminuendo''.
</div></div><div class="section" title="12.7.4.6. Polyphonic Sections of Homophonic Music" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music">12.7.4.6. Polyphonic Sections of Homophonic Music</h4></div></div></div><div class="para">
- Sometimes, especially in piano music, a passage of some measures will require polyphonic (multi-Voice) notation in LilyPond, even though most of the music does not. In this case, you would use the following format:
-<div class="literallayout"><p><<<br />
- Â Â {<br />
-     % upper voice notes go here<br />
- Â Â }Â \\<br />
- Â Â {<br />
-     % lower voice notes go here<br />
- Â Â }<br />
- >></p></div>
- This is used a few times in both hands in the example score file.
+ 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: <code class="literal"> << { % upper voice notes go here } \\ { % lower voice notes go here } >> </code> This is used a few times in both hands in the example score file.
</div><div class="para">
When writing these sections in "relative" entry mode, it is a good idea to use the "octave-check" mechanism, at least at the beginning of the lower voice. This is because, when judging the relative starting pitch of the first note of the lower voice, LilyPond judges from the last note of the upper voice - ''not'' the last note before the polyphonic section began.
</div></div><div class="section" title="12.7.4.7. Octave-Change Spanners ("8ve" Signs, "Ottava Brackets")" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners">12.7.4.7. Octave-Change Spanners ("8ve" Signs, "Ottava Brackets")</h4></div></div></div><div class="para">
@@ -7086,53 +7278,61 @@ t_c.sched( 143, { sound.free; } );
</div><div class="para">
Follow these steps to create a "PianoDynamics" Context:
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- Between the left and right staves of the PianoStaff, add "<code class="code">\new PianoDynamics = "dynamics" \dynamics</code>". For the Schubert score, this looks like: \new PianoStaff \with
-<div class="literallayout"><p>Â Â Â Â {<br />
-       instrumentName = "Piano"<br />
- Â Â Â Â }<br />
- Â Â <<<br />
-     \new Staff = "right" \right<br />
-     \new PianoDynamics = "dynamics" \dynamics<br />
-     \new Staff = "left" { \clef bass \left }<br />
- Â Â >></p></div>
+ Between the left and right staves of the PianoStaff, add "<code class="code">\new PianoDynamics = "dynamics" \dynamics</code>". For the Schubert score, this looks like:
+<pre class="programlisting">
+\new PianoStaff \with
+ {
+ instrumentName = "Piano"
+ }
+<<
+ \new Staff = "right" \right
+ \new PianoDynamics = "dynamics" \dynamics
+ \new Staff = "left" { \clef bass \left }
+>>
+</pre>
+
</div></li><li class="step" title="Step 2"><div class="para">
To the layout section, add the following:
-<div class="literallayout"><p>    % Everything below here is for the piano dynamics.<br />
-     % Define "PianoDynamics" context.<br />
-     \context <br />
- Â Â Â Â {<br />
-       \type "Engraver_group"<br />
-       \name PianoDynamics<br />
-       \alias Voice<br />
-       \consists "Output_property_engraver"<br />
-       \consists "Script_engraver"<br />
-       \consists "New_dynamic_engraver"<br />
-       \consists "Dynamic_align_engraver"<br />
-       \consists "Text_engraver"<br />
-       \consists "Skip_event_swallow_translator"<br />
-       \consists "Axis_group_engraver"<br />
- Â Â Â Â Â Â <br />
-       \override DynamicLineSpanner #'Y-offset = #0<br />
-       \override TextScript #'font-size = #2<br />
-       \override TextScript #'font-shape = #'italic<br />
-       \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)<br />
- Â Â Â Â }<br />
- Â Â Â Â <br />
-     % Modify "PianoStaff" context to accept Dynamics context.<br />
- Â Â Â Â \context<br />
- Â Â Â Â {<br />
- Â Â Â Â Â Â \PianoStaff<br />
-       \accepts PianoDynamics<br />
- Â Â Â Â }<br />
-     % End of PianoDynamics code.</p></div>
+<pre class="programlisting">
+% Everything below here is for the piano dynamics.
+% Define "PianoDynamics" context.
+\context
+{
+ \type "Engraver_group"
+ \name PianoDynamics
+ \alias Voice
+ \consists "Output_property_engraver"
+ \consists "Script_engraver"
+ \consists "New_dynamic_engraver"
+ \consists "Dynamic_align_engraver"
+ \consists "Text_engraver"
+ \consists "Skip_event_swallow_translator"
+ \consists "Axis_group_engraver"
+
+ \override DynamicLineSpanner #'Y-offset = #0
+ \override TextScript #'font-size = #2
+ \override TextScript #'font-shape = #'italic
+ \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
+}
+
+% Modify "PianoStaff" context to accept Dynamics context.
+\context
+{
+ \PianoStaff
+ \accepts PianoDynamics
+}
+% End of PianoDynamics code.
+</pre>
This creates a "PianoDynamics" context, and modifies the "PianoStaff" context so that it will accept a "PianoDynamics" context.
</div></li><li class="step" title="Step 3"><div class="para">
Before the "\score" section, add a section called "dynamics," like this:
-<div class="literallayout"><p>dynamics =<br />
- {<br />
-   % Dynamics go here.<br />
- Â Â <br />
- }</p></div>
+<pre class="programlisting">
+dynamics =
+{
+ % Dynamics go here.
+
+}
+</pre>
This is where you will input the dynamics.
</div></li></ol></div></div><div class="section" title="12.7.6.2. Inputting the Dynamics" id="sect-Musicians_Guide-LilyPond-Piano-Formatting-Inputting_the_Dynamics"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Formatting-Inputting_the_Dynamics">12.7.6.2. Inputting the Dynamics</h4></div></div></div><div class="para">
Now you can input the dynamic markings. These are inputted with a special note called a "spacer," that uses the letter "s" rather than a note name. You can also use rests (both partial- and multi-measure, r and R), but dynamic markings cannot be assigned to them.
@@ -7167,9 +7367,9 @@ t_c.sched( 143, { sound.free; } );
</div><div class="para">
For more information refer to the <em class="citetitle">Frescobaldi Website</em> <a href="at http://www.frescobaldi.org/">at http://www.frescobaldi.org/</a>.
</div></div><div class="section" title="13.2. Requirements and Installation" id="sect-Musicians_Guide-Frescobaldi-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Frescobaldi-Installation">13.2. Requirements and Installation</h2></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- Run <code class="code">sudo -c 'yum install frescobaldi'</code> or install the "frescobaldi" package with PackageKit or KPackageKit.
+ Install the <span class="package">frescobaldi</span> package with <span class="application"><strong>PackageKit</strong></span> or <span class="application"><strong>KPackageKit</strong></span>.
</div></li><li class="step" title="Step 2"><div class="para">
- There are a lot of dependencies, including perl-* packages, subversion, kde* packages, and timidity++ including fluid-soundfont-gm (which is 114Â MB)
+ There are a lot of dependencies, including <span class="package">perl-<em class="replaceable"><code>*</code></em></span> packages, <span class="package">kde-<em class="replaceable"><code>*</code></em></span> packages, and <span class="application"><strong>timidity++</strong></span> including <span class="package">fluid-soundfont-gm</span> (which is 114Â MB)
</div></li><li class="step" title="Step 3"><div class="para">
Review and approve the list of dependencies.
</div></li><li class="step" title="Step 4"><div class="para">
@@ -7177,7 +7377,7 @@ t_c.sched( 143, { sound.free; } );
</div></li></ol></div></div><div class="section" title="13.3. Configuration" id="sect-Musicians_Guide-Frescobaldi-Configuration"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Frescobaldi-Configuration">13.3. Configuration</h2></div></div></div><div class="para">
Changing these default settings is not necessary, but it may result in a more productive experience.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- Go to 'Settings > Configure Frescobaldi'
+ Chose <span class="guimenu"><strong>Settings</strong></span> → <span class="guimenuitem"><strong>Configure Frescobaldi</strong></span>
</div></li><li class="step" title="Step 2"><div class="para">
In 'General Preferences' check 'Save document when LilyPond is run', or else you will have to save it manually
</div></li><li class="step" title="Step 3"><div class="para">
@@ -7214,11 +7414,11 @@ t_c.sched( 143, { sound.free; } );
</div></li><li class="listitem"><div class="para">
You may want to change other settings here; highly-flexible, customizable, powerful; applies only in Frescobaldi
</div></li></ul></div></li></ol></div></div><div class="section" title="13.4. Using Frescobaldi" id="sect-Musicians_Guide-Frescobaldi-Using"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Frescobaldi-Using">13.4. Using Frescobaldi</h2></div></div></div><div class="para">
- The practical use of Frescobaldi for editing LilyPond source files is described in <a class="xref" href="#chap-Musicians_Guide-LilyPond" title="Chapter 12. LilyPond">Chapter 12, <i>LilyPond</i></a>.
+ The practical use of Frescobaldi for editing LilyPond source files is described in <a class="xref" href="#chap-Musicians_Guide-LilyPond" title="Chapter 12. LilyPond">Chapter 12, <i><span class="application"><strong>LilyPond</strong></span></i></a>.
</div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 14. GNU Solfege" id="chap-Musicians_Guide-Solfege" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 14. GNU Solfege</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="#sect-Mus
icians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Instruments">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-External_Programs">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Interface">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Practise">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Sound_Setup">14.2.6. Sound Se
tup</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Exercise_Types">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Supplementary_References">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Using_the_Exercises">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Listening_Exercises"
>14.4.1. Listening</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Singing_Exercises">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Configure_Yourself_Exericses">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Rhythm_Exercises">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Dictation_Exercises">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Harmonic_Progressions">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Intonation">14.4.7. Intonation</a></span></dt></dl></dd></dl></div><div class="section" title="14.1. Requirements and Installation" id="sect-Musicians_Guide-Solfege-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="
sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</h2></div></div></div><div class="section" title="14.1.1. Hardware and Software Requirements" id="sect-Musicians_Guide-Hardware_and_Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</h3></div></div></div><div class="para">
It is assumed that, prior to using GNU Solfege, users have already correctly configured their audio equipment.
</div><div class="para">
- In addition, the <code class="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 class="code">FluidSynth</code> application, which has its own section in this Guide, and is used by several other software packages. <code class="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 <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> for installations to install JACK.
+ In addition, the <span class="application"><strong>timidity++</strong></span> package is required by Solfege, which requires the installation of a large (approximately 140 MB) SoundFont library. This library is shared with the <span class="application"><strong>FluidSynth</strong></span> application, which has its own section in this guide, and is used by several other software packages. <span class="application"><strong>timidity++</strong></span> 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 <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring <code class="systemitem">JACK</code>â€</a> for installations to i
nstall JACK.
</div></div><div class="section" title="14.1.2. Other Requirements" id="sect-Musicians_Guide-Solfege-Other_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</h3></div></div></div><div class="para">
Solfege requires knowledge of Western musical notation, and basic music theory terms and concepts.
</div></div><div class="section" title="14.1.3. Required Installation" id="sect-Musicians_Guide-Solfege-Install"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</h3></div></div></div><div class="para">
@@ -7228,7 +7428,7 @@ t_c.sched( 143, { sound.free; } );
</div></div><div class="section" title="14.1.4. Optional Installation: Csound" id="sect-Musicians_Guide-Solfege-Install_Csound"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</h3></div></div></div><div class="para">
Csound is a sound-synthesis program, similar to SuperCollider. It is older, quite well-developed, and has a broader range of features.
</div><div class="para">
- To install Csound, first close Solfege, then use PackageKit or KPackageKit to install the "csound" package, or run <code class="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 <span class="package">csound</span> package. When Solfege is restarted, you will be able to use the "Intonation" exercises.
</div></div><div class="section" title="14.1.5. Optional Installation: MMA" id="sect-Musicians_Guide-Solfege-Install_MMA"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</h3></div></div></div><div class="para">
MMA stands for "Musical MIDI Accompaniment," and it is not available for Fedora in a pre-packaged format. The software can be found on the <em class="citetitle">MMA Homepage</em> at <a href="http://www.mellowood.ca/mma/">http://www.mellowood.ca/mma/</a>, where you can download the source code and compile it if desired. MMA is only used by some of the harmonic dictation questions, so its installation is not required.
</div></div></div><div class="section" title="14.2. Configuration" id="sect-Musicians_Guide-Solfege-Configuration"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Solfege-Configuration">14.2. Configuration</h2></div></div></div><div class="para">
@@ -7699,6 +7899,9 @@ t_c.sched( 143, { sound.free; } );
</td></tr><tr><td align="left">Revision 5</td><td align="left">Fri Aug 6 2010</td><td align="left"><span class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></span></td></tr><tr><td align="left" colspan="3">
<table border="0" summary="Simple list" class="simplelist"><tr><td>Re-formatted ex-<pre> tags.</td></tr><tr><td>Changed images to <inlinemediaobject>, where appropriate.</td></tr></table>
+ </td></tr><tr><td align="left">Revision 6</td><td align="left">Sat Aug 7 2010</td><td align="left"><span class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></span></td></tr><tr><td align="left" colspan="3">
+ <table border="0" summary="Simple list" class="simplelist"><tr><td>Added tables to SuperCollider chapter.</td></tr><tr><td>Reviewed <code> tags, all but Basic Programming in SC.</td></tr></table>
+
</td></tr></table></div>
- </div></div><div class="index" title="Index" id="id2337597"><div class="titlepage"><div><div><h2 class="title">Index</h2></div></div></div><div class="index"><div class="indexdiv"><h3>F</h3><dl><dt>feedback</dt><dd><dl><dt>contact information for this manual, <a class="indexterm" href="#id690734">We Need Feedback!</a></dt></dl></dd></dl></div></div></div></div></body></html>
+ </div></div><div class="index" title="Index" id="id655012"><div class="titlepage"><div><div><h2 class="title">Index</h2></div></div></div><div class="index"><div class="indexdiv"><h3>F</h3><dl><dt>feedback</dt><dd><dl><dt>contact information for this manual, <a class="indexterm" href="#id506209">We Need Feedback!</a></dt></dl></dd></dl></div></div></div></div></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/appe-Musicians_Guide-Revision_History.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/appe-Musicians_Guide-Revision_History.html
index 7b24397..867f2bc 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/appe-Musicians_Guide-Revision_History.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/appe-Musicians_Guide-Revision_History.html
@@ -19,6 +19,9 @@
</td></tr><tr><td align="left">Revision 5</td><td align="left">Fri Aug 6 2010</td><td align="left"><span class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></span></td></tr><tr><td align="left" colspan="3">
<table border="0" summary="Simple list" class="simplelist"><tr><td>Re-formatted ex-<pre> tags.</td></tr><tr><td>Changed images to <inlinemediaobject>, where appropriate.</td></tr></table>
+ </td></tr><tr><td align="left">Revision 6</td><td align="left">Sat Aug 7 2010</td><td align="left"><span class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></span></td></tr><tr><td align="left" colspan="3">
+ <table border="0" summary="Simple list" class="simplelist"><tr><td>Added tables to SuperCollider chapter.</td></tr><tr><td>Reviewed <code> tags, all but Basic Programming in SC.</td></tr></table>
+
</td></tr></table></div>
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Solfege-Intonation.html"><strong>Prev</strong>14.4.7. Intonation</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="ix01.html"><strong>Next</strong>Index</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Ardour.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Ardour.html
index f8afc7d..634a7b1 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Ardour.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Ardour.html
@@ -5,7 +5,7 @@
</div><div class="section" title="7.1. Requirements and Installation" id="sect-Musicians_Guide-Ardour-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</h2></div></div></div><div class="section" title="7.1.1. Knowledge Requirements" id="sect-Musicians_Guide-Ardour-Knowledge_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</h3></div></div></div><div class="para">
The <span class="application"><strong>Ardour</strong></span> user interface is similar to other DAWs. We recommend that you read <a class="xref" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface">Section 6.4, “User Interfaceâ€</a> if you have not used a DAW before.
</div></div><div class="section" title="7.1.2. Software Requirements" id="sect-Musicians_Guide-Ardour-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</h3></div></div></div><div class="para">
- <span class="application"><strong>Ardour</strong></span> uses the <code class="systemitem">JACK Audio Connection Kit</code>. You should install <code class="systemitem">JACK</code> before installing <span class="application"><strong>Ardour</strong></span>. Follow the instructions in <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> to install <code class="systemitem">JACK</code>.
+ <span class="application"><strong>Ardour</strong></span> uses the <code class="systemitem">JACK Audio Connection Kit</code>. You should install <code class="systemitem">JACK</code> before installing <span class="application"><strong>Ardour</strong></span>. Follow the instructions in <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring <code class="systemitem">JACK</code>â€</a> to install <code class="systemitem">JACK</code>.
</div></div><div class="section" title="7.1.3. Hardware Requirements" id="sect-Musicians_Guide-Ardour-Hardware_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</h3></div></div></div><div class="para">
You need an audio interface to use <span class="application"><strong>Ardour</strong></span>. If you will record audio with <span class="application"><strong>Ardour</strong></span>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <code class="systemitem">JACK</code>-aware programs like <span class="application"><strong>FluidSynth</strong></span> and <span class="application"><strong>SuperCollider</strong></span>.
</div></div><div class="section" title="7.1.4. Installation" id="sect-Musicians_Guide-Ardour-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</h3></div></div></div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-FluidSynth.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-FluidSynth.html
index fe23778..ac942e0 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-FluidSynth.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-FluidSynth.html
@@ -1,13 +1,13 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 10. FluidSynth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="Part II. Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html" title="9.4.5. Possible Ways to Continue" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html" title="10.2. Requirements and Installation" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="..
/../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 10. FluidSynth" id="chap-Musicians_Guide-FluidSynth" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 10. FluidSynth</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-Fluid
Synth.html#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements
">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a hre
f="sect-Musicians_Guide-FluidSynth-Configuring.html#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_
Guide-FluidSynth-Assigning_Programs_to_Channels.html#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html">10.7. Multiple FluidSynth Instances with Qsynth</a></span></dt></dl></div><div class="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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 10. FluidSynth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="Part II. Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html" title="9.4.5. Possible Ways to Continue" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html" title="10.2. Requirements and Installation" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="..
/../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 10. FluidSynth" id="chap-Musicians_Guide-FluidSynth" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 10. FluidSynth</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-Fluid
Synth.html#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements
">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html">10.2.2. Thare Are Two Ways to Install <span class="application"><strong>FluidSynth</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html">10.3. Using <span class="application"><strong>FluidSynth</strong></span> in a Terminal</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynt
h-Configuring.html">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting <span class="application"><strong>FluidSynth</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html">10.4.5. Viewing all <span class="application"><strong>FluidSynth</strong></span> Settings</a></span></dt></dl></dd><dt><span class="section">
<a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html">10.7. Multiple <span class="application"><strong>FluidSynth</strong></span> Instances with Qsynth</a></span></dt></dl></div><div class="para">
+ <span class="application"><strong>FluidSynth</strong></span> is a software-based MIDI synthesizer. <span class="application"><strong>FluidSynth</strong></span> accepts MIDI input from programs like Qtractor and Rosegarden, and uses SoundFont technology to create audio signals. This makes <span class="application"><strong>FluidSynth</strong></span> 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, <span class="application"><strong>FluidSynth</strong></span> becomes even more powerful: users can easily control basic effects like chorus and reverb, and they can start multiple <span class="application"><strong>FluidSynth</strong></span> 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.
</div><div class="section" title="10.1. SoundFont Technology and MIDI" id="sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</h2></div></div></div><div class="para">
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.
</div><div class="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 <span class="application"><strong>FluidSynth</strong></span> 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.
</div><div class="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, <span class="application"><strong>FluidSynth</strong></span> 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".
</div><div class="section" title="10.1.1. How to Get a SoundFont" id="sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</h3></div></div></div><div class="para">
There is a large selection of SoundFonts available for free on the internet, and some are also available for purchase, including a few very high quality SoundFonts. The following three websites have links to SoundFont resources, and some SoundFonts available for paid or free download. No guarantee is made of the quality of the material provided, or of the quality and security of the websites.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -31,7 +31,7 @@
</div></div><div class="section" title="10.1.3. MIDI Channels" id="sect-Musicians_Guide-FluidSynth-MIDI_Channels"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</h3></div></div></div><div class="para">
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.
</div><div class="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 <span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span> can be configured to use a non-percussion program on channel 10, this use is discouraged.
</div><div class="para">
- For cases where FluidSynth does not adhere to the General MIDI standard, it is adding functionality, rather than removing it.
+ For cases where <span class="application"><strong>FluidSynth</strong></span> does not adhere to the General MIDI standard, it is adding functionality, rather than removing it.
</div></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html"><strong>Prev</strong>9.4.5. Possible Ways to Continue</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html"><strong>Next</strong>10.2. Requirements and Installation</a></li></ul></body></html>
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 2. Software for Sound Cards</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt01.html" title="Part I. Linux Audio Basics" /><link rel="prev" href="sect-Musicians_Guide-Multichannel_Audio.html" title="1.4.8. Multichannel Audio" /><link rel="next" href="sect-Musicians_Guide-Sound_Servers_Section.html" title="2.2. Sound Servers" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgra
de your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Multichannel_Audio.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Sound_Servers_Section.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 2. Software for Sound Cards" id="chap-Musicians_Guide-How_Computers_Deal_with_Hardware" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 2. Software for Sound Cards</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html#sect-Musici
ans_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-JACK.html">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-Phonon.html">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="sect-Musicians_G
uide-Using_QjackCtl.html">2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html">2.3.3. Integrating PulseAudio with JACK</a></span></dt></dl></dd></dl></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 2. Software for Sound Cards</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt01.html" title="Part I. Linux Audio Basics" /><link rel="prev" href="sect-Musicians_Guide-Multichannel_Audio.html" title="1.4.8. Multichannel Audio" /><link rel="next" href="sect-Musicians_Guide-Sound_Servers_Section.html" title="2.2. Sound Servers" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgra
de your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Multichannel_Audio.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Sound_Servers_Section.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 2. Software for Sound Cards" id="chap-Musicians_Guide-How_Computers_Deal_with_Hardware" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 2. Software for Sound Cards</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html#sect-Musici
ans_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-JACK.html">2.2.2. <code class="systemitem">JACK</code> Audio Connection Kit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-Phonon.html">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html">2.3. Using the <code class="systemitem">JACK</code> Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring <code c
lass="systemitem">JACK</code></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Using_QjackCtl.html">2.3.2. Using <span class="application"><strong>QjackCtl</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html">2.3.3. Integrating <code class="systemitem">PulseAudio</code> with <code class="systemitem">JACK</code></a></span></dt></dl></dd></dl></div><div class="para">
One of the techniques consistently used in computer science is abstraction. Abstraction is the process of creating a generic model for something (or some things) that are actually unique. The "driver" for a hardware device in a computer is one form of dealing with abstraction: the computer's software interacts with all sound cards in a similar way, and it is the driver which translates the universal instructions given by the software into specific instructions for operating that hardware device. Consider this real-world comparison: you know how to operate doors because of abstracted instructions. You don't know how to open and close every door that exists, but from the ones that you do know how to operate, your brain automatically creates abstracted instructions, like "turn the handle," and "push the door," which apply with all or most doors. When you see a new door, you have certain expectations about how it works, based on the abstract behaviour of doors, and you quickl
y figure out how to operate that specific door with a simple visual inspection. The principle is the same with computer hardware drivers: since the computer already knows how to operate "sound cards," it just needs a few simple instructions (the driver) in order to know how to operate any particular sound card.
</div><div class="section" title="2.1. How Linux Deals with Audio Hardware" id="sect-Musicians_Guide-Sound_Servers-ALSA"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</h2></div></div></div><div class="para">
In Linux, the core of the operating system provides hardware drivers for most audio hardware. The hardware drivers, and the instructions that other software can use to connect to those drivers, are collectively called "ALSA," which stands for "Advanced Linux Sound Architecture." ALSA is the most direct way that software applications can interact with audio and MIDI hardware, and it used to be the most common way. However, in order to include all of the features that a software application might want to use, ALSA is quite complex, and can be error-prone. For this and many other reasons, another level of abstraction is normally used, and this makes it easier for software applications to take advantage of the features they need.
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-LilyPond.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-LilyPond.html
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 12. LilyPond</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="Part II. Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html" title="11.6.2. Recording SuperCollider's Output (Tutorial)" /><link rel="next" href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html" title="12.2. The LilyPond Approach" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../..
/../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 12. LilyPond" id="chap-Musicians_Guide-LilyPond" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 12. LilyPond</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-LilyPond.html#sect-Musicia
ns_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Installation.html">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-
Syntax-Simultaneity.html">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide
-LilyPond-Counterpoint-Starting_the_Score.html">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output.html">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html">12.6.2. Sta
rting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musi
cians_Guide-LilyPond-Piano-Inputting.html">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></div><div class="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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 12. LilyPond</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="Part II. Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html" title="11.6.2. Recording SuperCollider's Output (Tutorial)" /><link rel="next" href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html" title="12.2. The LilyPond Approach" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../..
/../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 12. LilyPond" id="chap-Musicians_Guide-LilyPond" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 12. <span class="application"><strong>LilyPond</strong></span></h2></div></div></div><div class="toc"><dl><dt><span class="section"><a hre
f="chap-Musicians_Guide-LilyPond.html#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How <span class="application"><strong>LilyPond</strong></span> Works</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html">12.2. The <span class="application"><strong>LilyPond</strong></span> Approach</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Installation.html">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html">12.4. <span class="application"><strong>LilyPond</strong></span> Basics</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html">12.4.2. Numbers Are Durations</a></span
></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Mus
icians_Guide-LilyPond-Counterpoint.html#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score.html">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output.html">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html#sect-Musician
s_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html">12.7.2. Starting the Score</a></span></dt><dt><
span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></div><div class="para">
+ <span class="application"><strong>LilyPond</strong></span> is a notation engraving program, with a focus on creating a visually appealing product. <span class="application"><strong>LilyPond</strong></span> 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.
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> comes in - users don't need to worry about how their score will work, because they know that the expertly-crafted methods of <span class="application"><strong>LilyPond</strong></span> will automatically configure the objects on the score so that they look good, and are easy to read. <span class="application"><strong>LilyPond</strong></span>'s users focus on ''what'' needs to be displayed, rather than on ''how'' it is going to be displayed.
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span> is both much faster, and much more flexible, than traditional, commercially-available music engraving programs.
</div><div class="para">
- LilyPond offers many other features, too. Some of these features include:
+ <span class="application"><strong>LilyPond</strong></span> offers many other features, too. Some of these features include:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
Putting scores into LaTeX or HTML documents.
</div></li><li class="listitem"><div class="para">
- Putting scores into OpenOffice.org documents, with the <code class="code">ooolilypond</code> program.
+ Putting scores into <span class="application"><strong>OpenOffice.org</strong></span> documents, with the <span class="application"><strong>ooolilypond</strong></span> program.
</div></li><li class="listitem"><div class="para">
Being compatible with all major operating systems.
</div></li><li class="listitem"><div class="para">
@@ -21,9 +21,9 @@
</div></li></ul></div>
</div><div class="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.
- </div><div class="section" title="12.1. How LilyPond Works" id="sect-Musicians_Guide-LilyPond-How_LilyPond_Works"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</h2></div></div></div><div class="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.
+ 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 <span class="application"><strong>Frescobaldi</strong></span> text-editor will help to increase productivity, to make trouble-shooting easier, and to ease the memory burden associated with the text-based approach.
+ </div><div class="section" title="12.1. How LilyPond Works" id="sect-Musicians_Guide-LilyPond-How_LilyPond_Works"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How <span class="application"><strong>LilyPond</strong></span> Works</h2></div></div></div><div class="para">
+ Think of <span class="application"><strong>LilyPond</strong></span> 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. <span class="application"><strong>LilyPond</strong></span> uses many programs that you can use by yourself, but <span class="application"><strong>LilyPond</strong></span> is specialized. <span class="application"><strong>LilyPond</strong></span> knows what programs to use, what settings to use, and most importantly, <span class="application"><strong>LilyPond</strong></span> takes much less time than if you use the programs directly.
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> in specially-formed text files. <span class="application"><strong>LilyPond</strong></span> input files describe the music to notate. <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span> lets you change the settings of its internal tools.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html"><strong>Prev</strong>11.6.2. Recording SuperCollider's Output (Tutoria...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html"><strong>Next</strong>12.2. The LilyPond Approach</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Qtractor.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Qtractor.html
index 5da3baf..1d423e2 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Qtractor.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Qtractor.html
@@ -9,7 +9,7 @@
</div><div class="section" title="8.1. Requirements and Installation" id="sect-Musicians_Guide-Qtractor-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</h2></div></div></div><div class="section" title="8.1.1. Knowledge Requirements" id="sect-Musicians_Guide-Qtractor-Knowledge_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</h3></div></div></div><div class="para">
Qtractor is easy to use, and its user interface is similar to other DAWs. We recommend that you read <a class="xref" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface">Section 6.4, “User Interfaceâ€</a> if you have not used a DAW before.
</div></div><div class="section" title="8.1.2. Software Requirements" id="sect-Musicians_Guide-Qtractor-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</h3></div></div></div><div class="para">
- Qtractor uses the JACK Audio Connection Kit. You should install JACK before installing Qtractor. See <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> for instructions to install JACK.
+ Qtractor uses the JACK Audio Connection Kit. You should install JACK before installing Qtractor. See <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring <code class="systemitem">JACK</code>â€</a> for instructions to install JACK.
</div></div><div class="section" title="8.1.3. Hardware Requirements" id="sect-Musicians_Guide-Qtractor-Hardware_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</h3></div></div></div><div class="para">
You need an audio interface to use Qtractor. If you will record audio with Qtractor, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other JACK-aware programs like <span class="application"><strong>FluidSynth</strong></span> and <span class="application"><strong>SuperCollider</strong></span>.
</div></div><div class="section" title="8.1.4. Other Requirements" id="sect-Musicians_Guide-Qtractor-Other_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</h3></div></div></div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Rosegarden.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Rosegarden.html
index b75e3bc..690d593 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Rosegarden.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Rosegarden.html
@@ -1,13 +1,13 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 9. Rosegarden</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="Part II. Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html" title="8.4.16. Qtractor's Measures 177 to the End" /><link rel="next" href="sect-Musicians_Guide-Rosegarden-Configuration.html" title="9.2. Configuration" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html"
>This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden-Configuration.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 9. Rosegarden" id="chap-Musicians_Guide-Rosegarden" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 9. Rosegarden</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-
Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musici
ans_Guide-Rosegarden-Configuration.html">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html">9
.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion.html">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></div><div class="section" title="9.1. Requirements and Installation" id="sect-Musicians_Guide-Rosegarden-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</h2></div></div></div><div class="section" title="9.1.1. Knowledge Requirements" id="sect-Musicians_Guide-Rosegarden-Knowledge_Requirements"><div class="titlepage"><div><div kee
p-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</h3></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 9. Rosegarden</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="Part II. Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html" title="8.4.16. Qtractor's Measures 177 to the End" /><link rel="next" href="sect-Musicians_Guide-Rosegarden-Configuration.html" title="9.2. Configuration" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html"
>This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden-Configuration.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 9. Rosegarden" id="chap-Musicians_Guide-Rosegarden" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 9. Rosegarden</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-
Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musici
ans_Guide-Rosegarden-Configuration.html">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup <span class="application"><strong>JACK</strong></span> and <span class="application"><strong>Qsynth</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html">9.2.2. Setup <span class="application"><strong>Rosegarden</strong></span></a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html">9.3. <span class="application"><strong>Rosegarden</strong></span> and LilyPond</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html">9.4. Write a Song in <span class="application"><strong>Rosegarden</strong></span> (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sec
t-Musicians_Guide-Rosegarden-Tutorial.html#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion.html">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></div><div class="section" title="9.1. Requirements and Installation" id="sect-Musicians_Guide-Rosegarden-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosega
rden-Requirements_and_Installation">9.1. Requirements and Installation</h2></div></div></div><div class="section" title="9.1.1. Knowledge Requirements" id="sect-Musicians_Guide-Rosegarden-Knowledge_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</h3></div></div></div><div class="para">
Rosegarden's user interface is similar to other DAWs. We recommend that you read <a class="xref" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface">Section 6.4, “User Interfaceâ€</a> if you have not used a DAW before.
</div></div><div class="section" title="9.1.2. Software Requirements" id="sect-Musicians_Guide-Rosegarden-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</h3></div></div></div><div class="para">
- Rosegarden uses the JACK Audio Connection Kit. You should install JACK before installing Rosegarden. See <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> for instructions to install JACK.
+ <span class="application"><strong>Rosegarden</strong></span> uses the <span class="application"><strong>JACK Audio Connection Kit</strong></span>. You should install <span class="application"><strong>JACK</strong></span> before installing <span class="application"><strong>Rosegarden</strong></span>. See <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring <code class="systemitem">JACK</code>â€</a> for instructions to install <span class="application"><strong>JACK</strong></span>.
</div></div><div class="section" title="9.1.3. Hardware Requirements" id="sect-Musicians_Guide-Rosegarden-Hardware_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</h3></div></div></div><div class="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 class="code">FluidSynth</code> and <code class="code">SuperCollider</code>.
+ You need an audio interface to use <span class="application"><strong>Rosegarden</strong></span>. If you will record audio with <span class="application"><strong>Rosegarden</strong></span>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <span class="application"><strong>JACK</strong></span>-aware programs like <span class="application"><strong>FluidSynth</strong></span> and <span class="application"><strong>SuperCollider</strong></span>.
</div></div><div class="section" title="9.1.4. Other Requirements" id="sect-Musicians_Guide-Rosegarden-Other_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</h3></div></div></div><div class="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 class="code">FluidSynth</code> MIDI synthesizer. See <a class="xref" href="chap-Musicians_Guide-FluidSynth.html" title="Chapter 10. FluidSynth">Chapter 10, <i>FluidSynth</i></a> for information about <code class="code">FluidSynth</code>.
+ You need a MIDI synthesizer to use <span class="application"><strong>Rosegarden</strong></span> as a MIDI sequencer. You can use hardware-based and software-based synthesizers with <span class="application"><strong>Rosegarden</strong></span>. We recommend using the software-based <span class="application"><strong>FluidSynth</strong></span> MIDI synthesizer. See <a class="xref" href="chap-Musicians_Guide-FluidSynth.html" title="Chapter 10. FluidSynth">Chapter 10, <i>FluidSynth</i></a> for information about <span class="application"><strong>FluidSynth</strong></span>.
</div></div><div class="section" title="9.1.5. Installation" id="sect-Musicians_Guide-Rosegarden-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</h3></div></div></div><div class="para">
- Use PackageKit or KPackageKit to install the "rosegarden4" packge. Other required software is installed automatically.
+ Use <span class="application"><strong>PackageKit</strong></span> or <span class="application"><strong>KPackageKit</strong></span> to install the <span class="package">rosegarden4</span> packge. Other required software is installed automatically.
</div></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html"><strong>Prev</strong>8.4.16. Qtractor's Measures 177 to the End</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden-Configuration.html"><strong>Next</strong>9.2. Configuration</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Solfege.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Solfege.html
index a5b8c3f..2955801 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Solfege.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Solfege.html
@@ -3,7 +3,7 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 14. GNU Solfege</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="Part II. Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-Frescobaldi-Using.html" title="13.4. Using Frescobaldi" /><link rel="next" href="sect-Musicians_Guide-Solfege-Configuration.html" title="14.2. Configuration" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your
browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Frescobaldi-Using.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Solfege-Configuration.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 14. GNU Solfege" id="chap-Musicians_Guide-Solfege" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 14. GNU Solfege</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installati
on</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html">14.2. Configuration</a></span></dt><dd><dl><d
t><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Instruments.html">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-External_Programs.html">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Interface.html">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Practise.html">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Sound_Setup.html">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html">14.3. Training Yourself</a></span></dt><dd><
dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Exercise_Types.html">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Supplementary_References.html">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt
><span class="section"><a href="sect-Musicians_Guide-Singing_Exercises.html">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Configure_Yourself_Exericses.html">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Rhythm_Exercises.html">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Dictation_Exercises.html">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Harmonic_Progressions.html">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Intonation.html">14.4.7. Intonation</a></span></dt></dl></dd></dl></div><div class="section" title="14.1. Requirements and Installation" id="sect-Musicians_Guide-Solfege-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musician
s_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</h2></div></div></div><div class="section" title="14.1.1. Hardware and Software Requirements" id="sect-Musicians_Guide-Hardware_and_Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</h3></div></div></div><div class="para">
It is assumed that, prior to using GNU Solfege, users have already correctly configured their audio equipment.
</div><div class="para">
- In addition, the <code class="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 class="code">FluidSynth</code> application, which has its own section in this Guide, and is used by several other software packages. <code class="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 <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> for installations to install JACK.
+ In addition, the <span class="application"><strong>timidity++</strong></span> package is required by Solfege, which requires the installation of a large (approximately 140 MB) SoundFont library. This library is shared with the <span class="application"><strong>FluidSynth</strong></span> application, which has its own section in this guide, and is used by several other software packages. <span class="application"><strong>timidity++</strong></span> 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 <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring <code class="systemitem">JACK<
/code>â€</a> for installations to install JACK.
</div></div><div class="section" title="14.1.2. Other Requirements" id="sect-Musicians_Guide-Solfege-Other_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</h3></div></div></div><div class="para">
Solfege requires knowledge of Western musical notation, and basic music theory terms and concepts.
</div></div><div class="section" title="14.1.3. Required Installation" id="sect-Musicians_Guide-Solfege-Install"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</h3></div></div></div><div class="para">
@@ -13,7 +13,7 @@
</div></div><div class="section" title="14.1.4. Optional Installation: Csound" id="sect-Musicians_Guide-Solfege-Install_Csound"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</h3></div></div></div><div class="para">
Csound is a sound-synthesis program, similar to SuperCollider. It is older, quite well-developed, and has a broader range of features.
</div><div class="para">
- To install Csound, first close Solfege, then use PackageKit or KPackageKit to install the "csound" package, or run <code class="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 <span class="package">csound</span> package. When Solfege is restarted, you will be able to use the "Intonation" exercises.
</div></div><div class="section" title="14.1.5. Optional Installation: MMA" id="sect-Musicians_Guide-Solfege-Install_MMA"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</h3></div></div></div><div class="para">
MMA stands for "Musical MIDI Accompaniment," and it is not available for Fedora in a pre-packaged format. The software can be found on the <em class="citetitle">MMA Homepage</em> at <a href="http://www.mellowood.ca/mma/">http://www.mellowood.ca/mma/</a>, where you can download the source code and compile it if desired. MMA is only used by some of the harmonic dictation questions, so its installation is not required.
</div></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Frescobaldi-Using.html"><strong>Prev</strong>13.4. Using Frescobaldi</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Solfege-Configuration.html"><strong>Next</strong>14.2. Configuration</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/index.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/index.html
index 54ba7ff..a33b3d3 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/index.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/index.html
@@ -1,9 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Musicians' Guide</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><meta name="description" content="This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage." /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="next" href="pref-Musicians_Guide-Preface.html" title="Preface" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This i
s an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"></li><li class="next"><a accesskey="n" href="pref-Musicians_Guide-Preface.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="book" title="Musicians' Guide" id="id1872526" lang="en-US"><div class="titlepage"><div><div class="producttitle" font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><span class="productname">Fedora Draft Documentation</span> <span class="productnumber"></span></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h1 id="id1872526" cla
ss="title">Musicians' Guide</h1></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h2 class="subtitle">A guide to Fedora Linux's audio creation and music capabilities.</h2></div><p class="edition">Edition 14.0.1</p><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h3 class="corpauthor">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Musicians' Guide</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><meta name="description" content="This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage." /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="next" href="pref-Musicians_Guide-Preface.html" title="Preface" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This i
s an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"></li><li class="next"><a accesskey="n" href="pref-Musicians_Guide-Preface.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="book" title="Musicians' Guide" id="id1716124" lang="en-US"><div class="titlepage"><div><div class="producttitle" font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><span class="productname">Fedora Draft Documentation</span> <span class="productnumber"></span></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h1 id="id1716124" cla
ss="title">Musicians' Guide</h1></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h2 class="subtitle">A guide to Fedora Linux's audio creation and music capabilities.</h2></div><p class="edition">Edition 14.0.1</p><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h3 class="corpauthor">
<span class="inlinemediaobject"><object data="Common_Content/images/title_logo.svg" type="image/svg+xml"> </object></span>
- </h3></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div xml:lang="en-US" class="authorgroup" lang="en-US"><div class="author"><h3 class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></h3><div class="affiliation"><span class="orgname">Fedora Documentation Project</span></div><code class="email"><a class="email" href="mailto:crantila at fedoraproject.org">crantila at fedoraproject.org</a></code></div></div></div><hr /><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div id="id713906" class="legalnotice"><h1 class="legalnotice">Legal Notice</h1><div class="para">
+ </h3></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div xml:lang="en-US" class="authorgroup" lang="en-US"><div class="author"><h3 class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></h3><div class="affiliation"><span class="orgname">Fedora Documentation Project</span></div><code class="email"><a class="email" href="mailto:crantila at fedoraproject.org">crantila at fedoraproject.org</a></code></div></div></div><hr /><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div id="id645541" class="legalnotice"><h1 class="legalnotice">Legal Notice</h1><div class="para">
Copyright <span class="trademark"></span>© 2010 Red Hat, Inc. and others.
</div><div class="para">
The text of and illustrations in this document are licensed by Red Hat under a Creative Commons Attribution–Share Alike 3.0 Unported license ("CC-BY-SA"). An explanation of CC-BY-SA is available at <a href="http://creativecommons.org/licenses/by-sa/3.0/">http://creativecommons.org/licenses/by-sa/3.0/</a>. The original authors of this document, and Red Hat, designate the Fedora Project as the "Attribution Party" for purposes of CC-BY-SA. In accordance with CC-BY-SA, if you distribute this document or an adaptation of it, you must provide the URL for the original version.
@@ -23,4 +23,4 @@
All other trademarks are the property of their respective owners.
</div></div></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div class="abstract" title="Abstract"><h6>Abstract</h6><div class="para">
This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage.
- </div></div></div></div><hr /></div><div class="toc"><dl><dt><span class="preface"><a href="pref-Musicians_Guide-Preface.html">Preface</a></span></dt><dd><dl><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id650034">1. Document Conventions</a></span></dt><dd><dl><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id720825">1.1. Typographic Conventions</a></span></dt><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id774836">1.2. Pull-quote Conventions</a></span></dt><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id624260">1.3. Notes and Warnings</a></span></dt></dl></dd><dt><span class="section"><a href="pr01s02.html">2. We Need Feedback!</a></span></dt></dl></dd><dt><span class="part"><a href="pt01.html">I. Linux Audio Basics</a></span></dt><dd><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Sound_Cards.html">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="
section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-PCI_Sound_Cards.html">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FireWire_Sound_Cards.html">1.2.3
. External FireWire Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-USB_Sound_Cards.html">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Choose_Sound_Card_Connection.html">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Format.html">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate.html">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Bit_Rate.html">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a
href="sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Bus.html">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Level.html">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Time.html">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocab
ulary-Synchronization.html">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Multichannel_Audio.html">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html">2. Software for Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span
class="section"><a href="sect-Musicians_Guide-Sound_Servers-JACK.html">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-Phonon.html">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Using_QjackCtl.html">2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html">2.3.3. Integrating PulseAudio with JACK</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span cl
ass="section"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Processor_Scheduling.html">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Hard_and_Soft_Real_Time.html">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CC
RMA at Home</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Security_and_Stability.html">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Best_Practices.html">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installi
ng the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="part"><a href="pt02.html">II. Audio and Music Software</a></span></dt><dd><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Audacity.html">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Audacity.html#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_
Installation.html#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Hardware_Requirements.html">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Installation.html">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion.html">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Playback.html">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Recording.html">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a hre
f="sect-Musicians_Guide-Audacity_Configuration.html#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware.html">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format.html">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Interface.html">5.4. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording-Conti
nuing_to_Record.html">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Scenario.html">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks.html">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks.html">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level.html">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-
Tutorial-Remove_Noise.html">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Fade_Out.html">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio.html">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment.html">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser.html">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Conclusion.html">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html#se
ct-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Exporting_a_Whole_File.html">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mixing.html">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="sect-
Musicians_Guide-Mastering.html">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Record_Mix_Master_More_Info.html">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_and_Multitrack.html">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Region_Clip_Segment.html">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Session_Track_Region.html">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Transport_and_Playhead.html">6.3.5. Transport
and Playhead</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Automation.html">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Clock.html">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Info_Pane.html">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Pane.html">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Transport_Controls.html">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Ardour.html">7. Ardour</a></span></dt>
<dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html">7.2. Recording a Session</a></span></dt><dd><dl><dt><span cla
ss="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Interface.html">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html">7.2.6. Adjusting Rec
ording Level (Volume)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Tutorial_Files.html">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.
html#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings.html">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Arrange.html">7.4.7. Arrange Regions into the Right Pl
aces</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Listen.html">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks.html">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-A
rdour-Mixing-Other_Things.html">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Listen.html">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Qtractor.html">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="
section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-
Qtractor-Configuration.html#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-JACK.html">8.3.3. Using JACK with Qtractor</a></span>
</dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Tips.html">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Requirements.html">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready.html">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutori
al-Import_the_Audio_File.html">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75.html">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97.html">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a hr
ef="sect-Musicians_Guide-Qtractor-Tutorial-Measure_97.html">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119.html">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158.html">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176.html">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Rosegarden.html">9. Rosegarden</
a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-R
osegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line<
/a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion.html">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-FluidSynth.html">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Music
ians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><
span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide
-FluidSynth-Configuring-SoundFont.html">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a
href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html">10.7. Multiple FluidSynth Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-SuperCollider.html">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requiremen
ts_and_Installation.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages.html">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html#sect-Musicians_Guide-SC-Using
_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-
Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.4.8.
Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.h
tml">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="sectio
n"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_Su
perColliders_Output.html">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-LilyPond.html">12. LilyPond</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-LilyPond.html#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Installation.html">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="se
ct-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html">12.5. Working on
a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score.html">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output.html">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt
><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-M
usicians_Guide-LilyPond-Piano-Starting_the_Score.html">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Frescobaldi.html">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Frescobaldi.html#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt
><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Installation.html">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Configuration.html">13.3. Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Using.html">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Solfege.html">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Other_Requirements"
>14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Instruments.html">14.2.2. Instruments</a></span></
dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-External_Programs.html">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Interface.html">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Practise.html">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Sound_Setup.html">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Exercise_Types.html">14.3.2. Exercise
Types</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Supplementary_References.html">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Singing_Exercises.html">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Configure_Yourself_Exericses.html">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Rhythm_Exercises.html"
>14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Dictation_Exercises.html">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Harmonic_Progressions.html">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Intonation.html">14.4.7. Intonation</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="appendix"><a href="appe-Musicians_Guide-Revision_History.html">A. Revision History</a></span></dt><dt><span class="index"><a href="ix01.html">Index</a></span></dt></dl></div></div><ul class="docnav"><li class="previous"></li><li class="next"><a accesskey="n" href="pref-Musicians_Guide-Preface.html"><strong>Next</strong>Preface</a></li></ul></body></html>
+ </div></div></div></div><hr /></div><div class="toc"><dl><dt><span class="preface"><a href="pref-Musicians_Guide-Preface.html">Preface</a></span></dt><dd><dl><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id643358">1. Document Conventions</a></span></dt><dd><dl><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id509523">1.1. Typographic Conventions</a></span></dt><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id559641">1.2. Pull-quote Conventions</a></span></dt><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id602854">1.3. Notes and Warnings</a></span></dt></dl></dd><dt><span class="section"><a href="pr01s02.html">2. We Need Feedback!</a></span></dt></dl></dd><dt><span class="part"><a href="pt01.html">I. Linux Audio Basics</a></span></dt><dd><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Sound_Cards.html">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="
section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-PCI_Sound_Cards.html">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FireWire_Sound_Cards.html">1.2.3
. External FireWire Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-USB_Sound_Cards.html">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Choose_Sound_Card_Connection.html">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Format.html">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate.html">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Bit_Rate.html">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a
href="sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Bus.html">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Level.html">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Time.html">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocab
ulary-Synchronization.html">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Multichannel_Audio.html">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html">2. Software for Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span
class="section"><a href="sect-Musicians_Guide-Sound_Servers-JACK.html">2.2.2. <code class="systemitem">JACK</code> Audio Connection Kit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-Phonon.html">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html">2.3. Using the <code class="systemitem">JACK</code> Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring <code class="systemitem">JACK</code></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Using_QjackCtl.html">2.3.2. Using <span class="application"><strong>QjackCtl</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html">2.3.3. Integrating <code class="systemitem">PulseAudio</code> with <code class="s
ystemitem">JACK</code></a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Processor_Scheduling.html">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Hard_and_Soft_Real_Time.html">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Planet_CC
RMA_at_Home.html">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Security_and_Stability.html">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Best_Practices.html">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html">4.3. Using So
ftware from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="part"><a href="pt02.html">II. Audio and Music Software</a></span></dt><dd><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Audacity.html">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Audacity.html#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a hr
ef="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Hardware_Requirements.html">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Installation.html">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion.html">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Playback.html">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Recording.html">5.2.6. Post-Ins
tallation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware.html">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format.html">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Interface.html">5.4. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Music
ians_Guide-Audacity-Recording.html#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record.html">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Scenario.html">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks.html">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks.html">5.6.4. Stretching Tracks</a></span></dt><
dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level.html">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise.html">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Fade_Out.html">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio.html">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment.html">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser.html">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Conclusion.html">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span
class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Exporting_a_Whole_File.html">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recordi
ng.html#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mixing.html">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mastering.html">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Record_Mix_Master_More_Info.html">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_and_Multitrack.html">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Region_Clip_Segment.html">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="sect
-Musicians_Guide-Session_Track_Region.html">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Transport_and_Playhead.html">6.3.5. Transport and Playhead</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Automation.html">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Clock.html">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Info_Pane.html">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Pane.html">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a h
ref="sect-Musicians_Guide-DAW_Transport_Controls.html">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Ardour.html">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour
-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Interface.html">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setti
ng_up_Busses_and_Tracks.html">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Tutorial_Files.html">7.3. Files for the Tutorial</a></sp
an></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_
Recordings.html">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Arrange.html">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Listen.html">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html">7.5.3. Set Initial Panning</a></span></dt><dt><span cla
ss="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks.html">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Other_Things.html">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Listen.html">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Qtractor.html">8. Qtractor</a></span></dt><dd>
<dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installatio
n</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtrac
tor-Using-MIDI_Tools.html">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-JACK.html">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Tips.html">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Requirements.html">8.4.2. Files for the Tutorial</a></span></dt><dt><span
class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready.html">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File.html">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75.html">8.4.9. Qtractor's Meas
ures 52 to 75</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97.html">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measure_97.html">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119.html">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158.html">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176.html">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtra
ctor-Tutorial-Measures_177_to_the_End.html">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Rosegarden.html">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians
_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup <span class="application"><strong>JACK</strong></span> and <span class="application"><strong>Qsynth</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html">9.2.2. Setup <span class="application"><strong>Rosegarden</strong></span></a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html">9.3.
<span class="application"><strong>Rosegarden</strong></span> and LilyPond</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html">9.4. Write a Song in <span class="application"><strong>Rosegarden</strong></span> (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion.html">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.h
tml">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-FluidSynth.html">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_I
nstallation.html">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html">10.2.2. Thare Are Two Ways to Install <span class="application"><strong>FluidSynth</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span
class="section"><a href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html">10.3. Using <span class="application"><strong>FluidSynth</strong></span> in a Terminal</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting <span class="application"><strong>FluidSynth</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html">10.4.4. MIDI Input Configuration</a></span></dt><d
t><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html">10.4.5. Viewing all <span class="application"><strong>FluidSynth</strong></span> Settings</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section">
<a href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html">10.7. Multiple <span class="application"><strong>FluidSynth</strong></span> Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-SuperCollider.html">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html">11.2.2. Software Requirements</a></span></dt><dt><span class
="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages.html">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><
a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.4.3. Object-Oriented <span class="application"><strong>SuperCol
lider</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_
and_Synth.html">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composin
g.html#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section
"><a href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-LilyPond.html">12. <span class="application"><strong>LilyPond</strong></span></a></span></dt><dd><dl><dt><span
class="section"><a href="chap-Musicians_Guide-LilyPond.html#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How <span class="application"><strong>LilyPond</strong></span> Works</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html">12.2. The <span class="application"><strong>LilyPond</strong></span> Approach</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Installation.html">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html">12.4. <span class="application"><strong>LilyPond</strong></span> Basics</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html">12.4.2. Numbers
Are Durations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="sec
tion"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score.html">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output.html">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orche
stra.html#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html">12.7.2. Starting the Sco
re</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Frescobaldi.html">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Frescobaldi.html#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Installati
on.html">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Configuration.html">13.3. Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Using.html">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Solfege.html">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="c
hap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Instruments.html">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuratio
n-External_Programs.html">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Interface.html">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Practise.html">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Sound_Setup.html">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Exercise_Types.html">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-S
olfege-Training-Making_an_Aural_Skills_Program.html">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Supplementary_References.html">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Singing_Exercises.html">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Configure_Yourself_Exericses.html">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Rhythm_Exercises.html">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="sect-Musician
s_Guide-Solfege-Dictation_Exercises.html">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Harmonic_Progressions.html">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Intonation.html">14.4.7. Intonation</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="appendix"><a href="appe-Musicians_Guide-Revision_History.html">A. Revision History</a></span></dt><dt><span class="index"><a href="ix01.html">Index</a></span></dt></dl></div></div><ul class="docnav"><li class="previous"></li><li class="next"><a accesskey="n" href="pref-Musicians_Guide-Preface.html"><strong>Next</strong>Preface</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/ix01.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/ix01.html
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Index</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="appe-Musicians_Guide-Revision_History.html" title="Appendix A. Revision History" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Cont
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diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pr01s02.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pr01s02.html
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2. We Need Feedback!</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pref-Musicians_Guide-Preface.html" title="Preface" /><link rel="prev" href="pref-Musicians_Guide-Preface.html" title="Preface" /><link rel="next" href="pt01.html" title="Part I. Linux Audio Basics" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a
class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="pref-Musicians_Guide-Preface.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="pt01.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="2. We Need Feedback!" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id956102">2. We Need Feedback!</h2></div></div></div><a id="id956113" class="indexterm"></a><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2. We Need Feedback!</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pref-Musicians_Guide-Preface.html" title="Preface" /><link rel="prev" href="pref-Musicians_Guide-Preface.html" title="Preface" /><link rel="next" href="pt01.html" title="Part I. Linux Audio Basics" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a
class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="pref-Musicians_Guide-Preface.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="pt01.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="2. We Need Feedback!" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id518382">2. We Need Feedback!</h2></div></div></div><a id="id518393" class="indexterm"></a><div class="para">
If you find a typographical error in this manual, or if you have thought of a way to make this manual better, we would love to hear from you! Please submit a report in Bugzilla: <a href="http://bugzilla.redhat.com/bugzilla/">http://bugzilla.redhat.com/bugzilla/</a> against the product <span class="application"><strong>Fedora Documentation.</strong></span>
</div><div class="para">
When submitting a bug report, be sure to mention the manual's identifier: <em class="citetitle">musicians-guide</em>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pref-Musicians_Guide-Preface.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pref-Musicians_Guide-Preface.html
index 2cdd6d3..731cb2e 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pref-Musicians_Guide-Preface.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pref-Musicians_Guide-Preface.html
@@ -1,10 +1,10 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Preface</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="index.html" title="Musicians' Guide" /><link rel="next" href="pr01s02.html" title="2. We Need Feedback!" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.o
rg"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="index.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="pr01s02.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="preface" title="Preface" id="pref-Musicians_Guide-Preface" lang="en-US"><div class="titlepage"><div><div><h1 class="title">Preface</h1></div></div></div><div xml:lang="en-US" class="section" title="1. Document Conventions" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id650034">1. Document Conventions</h2></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Preface</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="index.html" title="Musicians' Guide" /><link rel="next" href="pr01s02.html" title="2. We Need Feedback!" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.o
rg"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="index.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="pr01s02.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="preface" title="Preface" id="pref-Musicians_Guide-Preface" lang="en-US"><div class="titlepage"><div><div><h1 class="title">Preface</h1></div></div></div><div xml:lang="en-US" class="section" title="1. Document Conventions" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id643358">1. Document Conventions</h2></div></div></div><div class="para">
This manual uses several conventions to highlight certain words and phrases and draw attention to specific pieces of information.
</div><div class="para">
In PDF and paper editions, this manual uses typefaces drawn from the <a href="https://fedorahosted.org/liberation-fonts/">Liberation Fonts</a> set. The Liberation Fonts set is also used in HTML editions if the set is installed on your system. If not, alternative but equivalent typefaces are displayed. Note: Red Hat Enterprise Linux 5 and later includes the Liberation Fonts set by default.
- </div><div class="section" title="1.1. Typographic Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id720825">1.1. Typographic Conventions</h3></div></div></div><div class="para">
+ </div><div class="section" title="1.1. Typographic Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id509523">1.1. Typographic Conventions</h3></div></div></div><div class="para">
Four typographic conventions are used to call attention to specific words and phrases. These conventions, and the circumstances they apply to, are as follows.
</div><div class="para">
<code class="literal">Mono-spaced Bold</code>
@@ -52,7 +52,7 @@
Aside from standard usage for presenting the title of a work, italics denotes the first use of a new and important term. For example:
</div><div class="blockquote"><blockquote class="blockquote"><div class="para">
Publican is a <em class="firstterm">DocBook</em> publishing system.
- </div></blockquote></div></div><div class="section" title="1.2. Pull-quote Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id774836">1.2. Pull-quote Conventions</h3></div></div></div><div class="para">
+ </div></blockquote></div></div><div class="section" title="1.2. Pull-quote Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id559641">1.2. Pull-quote Conventions</h3></div></div></div><div class="para">
Terminal output and source code listings are set off visually from the surrounding text.
</div><div class="para">
Output sent to a terminal is set in <code class="computeroutput">mono-spaced roman</code> and presented thus:
@@ -77,7 +77,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
System.<span class="perl_Function">out</span>.<span class="perl_Function">println</span>(<span class="perl_String">"Echo.echo('Hello') = "</span> + echo.<span class="perl_Function">echo</span>(<span class="perl_String">"Hello"</span>));
}
-}</pre></div><div class="section" title="1.3. Notes and Warnings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id624260">1.3. Notes and Warnings</h3></div></div></div><div class="para">
+}</pre></div><div class="section" title="1.3. Notes and Warnings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id602854">1.3. Notes and Warnings</h3></div></div></div><div class="para">
Finally, we use three visual styles to draw attention to information that might otherwise be overlooked.
</div><div class="note"><h2>Note</h2><div class="para">
Notes are tips, shortcuts or alternative approaches to the task at hand. Ignoring a note should have no negative consequences, but you might miss out on a trick that makes your life easier.
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pt01.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pt01.html
index 063c08c..c1731c6 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pt01.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pt01.html
@@ -1,5 +1,5 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Part I. Linux Audio Basics</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="pr01s02.html" title="2. We Need Feedback!" /><link rel="next" href="chap-Musicians_Guide-Sound_Cards.html" title="Chapter 1. Sound Cards and Digital Audio" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</i
frame></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="pr01s02.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Sound_Cards.html"><strong>Next</strong></a></li></ul><div class="part" title="Part I. Linux Audio Basics" id="id598158"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part I. Linux Audio Basics</h1></div></div></div><div class="partintro" title="Linux Audio Basics" id="id598165"><div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Part I. Linux Audio Basics</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="pr01s02.html" title="2. We Need Feedback!" /><link rel="next" href="chap-Musicians_Guide-Sound_Cards.html" title="Chapter 1. Sound Cards and Digital Audio" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</i
frame></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="pr01s02.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Sound_Cards.html"><strong>Next</strong></a></li></ul><div class="part" title="Part I. Linux Audio Basics" id="id1710374"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part I. Linux Audio Basics</h1></div></div></div><div class="partintro" title="Linux Audio Basics" id="id1710380"><div></div><div class="para">
asdf
- </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Sound_Cards.html">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt>
<span class="section"><a href="sect-Musicians_Guide-PCI_Sound_Cards.html">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FireWire_Sound_Cards.html">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-USB_Sound_Cards.html">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Choose_Sound_Card_Connection.html">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Format.html">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a hr
ef="sect-Musicians_Guide-Sample_Rate.html">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Bit_Rate.html">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Bus.html">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Level.html">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html">1.4.4. Panning and Balance</a
></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Time.html">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Synchronization.html">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Multichannel_Audio.html">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html">2. Software for Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html">2.2. So
und Servers</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-JACK.html">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-Phonon.html">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Using_QjackCtl.html">2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html">2.3.3. Integrating
PulseAudio with JACK</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Processor_Scheduling.html">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Hard_and_Soft_Real_Time.html">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Planet_CCRM
A_at_Home.html">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Security_and_Stability.html">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Best_Practices.html">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html">4.3. Using Soft
ware from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="pr01s02.html"><strong>Prev</strong>2. We Need Feedback!</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Sound_Cards.html"><strong>Next</strong>Chapter 1.
 Sound Cards and Digital Audio</a></li></ul></body></html>
+ </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Sound_Cards.html">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt>
<span class="section"><a href="sect-Musicians_Guide-PCI_Sound_Cards.html">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FireWire_Sound_Cards.html">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-USB_Sound_Cards.html">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Choose_Sound_Card_Connection.html">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Format.html">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a hr
ef="sect-Musicians_Guide-Sample_Rate.html">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Bit_Rate.html">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Bus.html">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Level.html">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html">1.4.4. Panning and Balance</a
></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Time.html">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Synchronization.html">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Multichannel_Audio.html">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html">2. Software for Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html">2.2. So
und Servers</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-JACK.html">2.2.2. <code class="systemitem">JACK</code> Audio Connection Kit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-Phonon.html">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html">2.3. Using the <code class="systemitem">JACK</code> Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring <code class="systemitem">JACK</code></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Using_QjackCtl.html">2.3.2. Using <span class="application"><strong>QjackCtl
</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html">2.3.3. Integrating <code class="systemitem">PulseAudio</code> with <code class="systemitem">JACK</code></a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Processor_Scheduling.html">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Hard_and_Soft_Real_Time.html">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><
a href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Security_and_Stability.html">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="sect-Musicia
ns_Guide-CCRMA_Best_Practices.html">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="pr01s02.html"><strong>Prev</strong>2. We Need Feedback!</a></li><li class="up"><a accesskey="u" href="#"><strong>Up<
/strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Sound_Cards.html"><strong>Next</strong>Chapter 1. Sound Cards and Digital Audio</a></li></ul></body></html>
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Part II. Audio and Music Software</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html" title="4.3.3. Prevent a Package from Being Updated" /><link rel="next" href="chap-Musicians_Guide-Audacity.html" title="Chapter 5. Audacity" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view
it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Audacity.html"><strong>Next</strong></a></li></ul><div class="part" title="Part II. Audio and Music Software" id="id618123"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part II. Audio and Music Software</h1></div></div></div><div class="partintro" title="Audio and Music Software" id="id618130"><div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Part II. Audio and Music Software</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html" title="4.3.3. Prevent a Package from Being Updated" /><link rel="next" href="chap-Musicians_Guide-Audacity.html" title="Chapter 5. Audacity" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view
it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Audacity.html"><strong>Next</strong></a></li></ul><div class="part" title="Part II. Audio and Music Software" id="id1725012"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part II. Audio and Music Software</h1></div></div></div><div class="partintro" title="Audio and Music Software" id="id1725018"><div></div><div class="para">
asdf
- </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Audacity.html">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Audacity.html#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Hardware_Requirements.html">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Installation.html">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a hre
f="sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion.html">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Playback.html">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Recording.html">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware.html">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Fo
rmat.html">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Interface.html">5.4. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record.html">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="sectio
n"><a href="sect-Musicians_Guide-Audacity-Tutorial-Scenario.html">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks.html">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks.html">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level.html">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise.html">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Fade_Out.html">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio.html">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Se
gment.html">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser.html">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Conclusion.html">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Exporting_a_Whole_File.html">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class=
"section"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mixing.html">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mastering.html">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Record_Mix_Master_More_Info.html">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Voc
abulary.html#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_and_Multitrack.html">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Region_Clip_Segment.html">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Session_Track_Region.html">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Transport_and_Playhead.html">6.3.5. Transport and Playhead</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Automation.html">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a><
/span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Clock.html">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Info_Pane.html">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Pane.html">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Transport_Controls.html">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Ardour.html">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guid
e-Ardour.html#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Interface.html">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recordin
g-Setting_up_the_Timeline.html">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html">7.2.9. Routi
ng Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Tutorial_Files.html">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="
section"><a href="sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings.html">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Arrange.html">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Listen.html">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1.
Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks.html">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Other_Things.html">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Listen.html">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.ht
ml#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Qtractor.html">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qt
ractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></
dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-JACK.html">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Tips.html">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html">8.4. Creatin
g a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Requirements.html">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready.html">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File.html">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="
sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75.html">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97.html">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measure_97.html">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119.html">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><
dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158.html">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176.html">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Rosegarden.html">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section
"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="sect
ion"><a href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion.html">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html">9.4.4. Add a
Melody</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-FluidSynth.html">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Ch
annels</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html">10.2.5.
Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="
sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html">10.7. Multiple Fl
uidSynth Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-SuperCollider.html">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html">11.2.3. Hardware Requirements</a></span></dt><dt
><span class="section"><a href="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages.html">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="sect
ion"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functi
ons.html">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programmi
ng-Busses.html">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a h
ref="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html">11.5.8. Making a Useful Section ou
t of the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-LilyPond.html">12. LilyPond</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-LilyPond.html#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a hre
f="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Installation.html">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="sect-Musician
s_Guide-LilyPond-Syntax-Chords.html">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score.html">12.5.2. Starting the Score</a></span></dt><dt><span class="sec
tion"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output.html">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Adju
sting_Frescobaldis_Output.html">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href=
"sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Frescobaldi.html">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Frescobaldi.html#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Installation.html">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Configuration.html">13.3. Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Using.html">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chap
ter"><a href="chap-Musicians_Guide-Solfege.html">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="chap-Musicians_
Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Instruments.html">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-External_Programs.html">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Interface.html">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Practise.html">14.2.5. Practise</a></span></dt><dt><span clas
s="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Sound_Setup.html">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Exercise_Types.html">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Supplementary_References.html">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-
Using_the_Exercises.html">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Singing_Exercises.html">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Configure_Yourself_Exericses.html">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Rhythm_Exercises.html">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Dictation_Exercises.html">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Harmonic_Progressions.html">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Intonation.html">14.4.7. Intonation</a></span></dt></dl><
/dd></dl></dd></dl></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Prev</strong>4.3.3. Prevent a Package from Being Updated</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Audacity.html"><strong>Next</strong>Chapter 5. Audacity</a></li></ul></body></html>
+ </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Audacity.html">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Audacity.html#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Hardware_Requirements.html">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Installation.html">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a hre
f="sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion.html">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Playback.html">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Recording.html">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware.html">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Fo
rmat.html">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Interface.html">5.4. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record.html">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="sectio
n"><a href="sect-Musicians_Guide-Audacity-Tutorial-Scenario.html">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks.html">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks.html">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level.html">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise.html">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Fade_Out.html">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio.html">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Se
gment.html">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser.html">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Conclusion.html">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Exporting_a_Whole_File.html">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class=
"section"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mixing.html">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mastering.html">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Record_Mix_Master_More_Info.html">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Voc
abulary.html#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_and_Multitrack.html">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Region_Clip_Segment.html">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Session_Track_Region.html">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Transport_and_Playhead.html">6.3.5. Transport and Playhead</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Automation.html">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a><
/span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Clock.html">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Info_Pane.html">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Pane.html">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Transport_Controls.html">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Ardour.html">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guid
e-Ardour.html#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Interface.html">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recordin
g-Setting_up_the_Timeline.html">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html">7.2.9. Routi
ng Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Tutorial_Files.html">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="
section"><a href="sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings.html">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Arrange.html">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Listen.html">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1.
Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks.html">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Other_Things.html">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Listen.html">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.ht
ml#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Qtractor.html">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qt
ractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></
dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-JACK.html">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Tips.html">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html">8.4. Creatin
g a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Requirements.html">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready.html">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File.html">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="
sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75.html">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97.html">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measure_97.html">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119.html">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><
dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158.html">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176.html">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Rosegarden.html">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section
"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup <span class="application"><strong>JACK</strong></spa
n> and <span class="application"><strong>Qsynth</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html">9.2.2. Setup <span class="application"><strong>Rosegarden</strong></span></a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html">9.3. <span class="application"><strong>Rosegarden</strong></span> and LilyPond</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html">9.4. Write a Song in <span class="application"><strong>Rosegarden</strong></span> (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html">9.4.2. Add a Percussion Track</a></span></dt><dt
><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion.html">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-FluidSynth.html">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.htm
l#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html">10.2.2. Thare Are Two Ways to Install <span class="application"><strong>FluidSynth</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html">10.2.3
. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html">10.3. Using <span class="application"><strong>FluidSynth</strong></span> in a Terminal</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting <span class="application"><strong>FluidSynth</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-
Configuring-SoundFont.html">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html">10.4.5. Viewing all <span class="application"><strong>FluidSynth</strong></span> Settings</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></s
pan></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html">10.7. Multiple <span class="application"><strong>FluidSynth</strong></span> Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-SuperCollider.html">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html">11.2. Requirements and Installation</a><
/span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages.html">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="
section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html#sect-Musicians_Guide-SC-Basic_Programming-
First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.4.7. Repeated Execution</a></span></dt><dt><span class="section
"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.4.14. How to Get Help</a></span></dt><dt><spa
n class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Ton
es.html">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesi
s</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-LilyPond.html">12. <span class="application"><strong>LilyPond</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-LilyPond.html#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How <span class="application"><strong>LilyPond</strong></span> Works</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html">12.2. The <span class="application"><strong>LilyPond</strong></span> Approach</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Installation.html">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html">12.4. <span class="app
lication"><strong>LilyPond</strong></span> Basics</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html">12.4.7. Sour
ce Files and Their Formatting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score.html">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output.html">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html">12.5.4. Inputting</a></span></dt><dt><span clas
s="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Pian
o.html">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><spa
n class="chapter"><a href="chap-Musicians_Guide-Frescobaldi.html">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Frescobaldi.html#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Installation.html">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Configuration.html">13.3. Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Using.html">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Solfege.html">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span cla
ss="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-M
usicians_Guide-Solfege-Configuration.html#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Instruments.html">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-External_Programs.html">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Interface.html">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Practise.html">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Sound_Setup.html">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="s
ect-Musicians_Guide-Solfege-Training.html#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Exercise_Types.html">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Supplementary_References.html">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="sect-Mu
sicians_Guide-Singing_Exercises.html">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Configure_Yourself_Exericses.html">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Rhythm_Exercises.html">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Dictation_Exercises.html">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Harmonic_Progressions.html">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Intonation.html">14.4.7. Intonation</a></span></dt></dl></dd></dl></dd></dl></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Prev</strong>4.3.3. Prevent a Package from Being Updated</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</st
rong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Audacity.html"><strong>Next</strong>Chapter 5. Audacity</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Repository_Priorities.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Repository_Priorities.html
index ab0cc56..21ce935 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Repository_Priorities.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Repository_Priorities.html
@@ -10,7 +10,7 @@
[main]
enabled = 1
</pre>
- If you want to stop using the plugin, you can edit this file so that <code class="code">enabled = 0</code>. This allows you to keep the priorities as set in the repository configuration files.
+ If you want to stop using the plugin, you can edit this file so that it contains <code class="code">enabled = 0</code> This allows you to keep the priorities as set in the repository configuration files.
</div></li><li class="step" title="Step 3"><div class="para">
You can set priorities for some or all repositories. To add a priority to a repository, edit its respective file in the <code class="filename">/etc/yum.repos.d/<em class="replaceable"><code>*</code></em></code> directory, adding a line like: <code class="literal">priority = <em class="replaceable"><code>N</code></em></code> where <code class="literal">N</code> is a number between <code class="literal">1</code> and <code class="literal">99</code>, inclusive. A priority of <code class="literal">1</code> is the highest setting, and <code class="literal">99</code> is the lowest. You will need to set priorities of at least two repositories before this becomes useful.
</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html"><strong>Prev</strong>4.3. Using Software from Planet CCRMA at Home</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Next</strong>4.3.3. Prevent a Package from Being Updated</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html
index a987a3f..4a83e64 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html
@@ -5,7 +5,8 @@
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
In the main Qsynth window, click "Channels" to open the "Channels" window.
</div></li><li class="step" title="Step 2"><div class="para">
- In the Channels window, each channel will, by default, look like <code class="code">1 - - -</code>
+ In the Channels window, each channel will, by default, look like
+<pre class="programlisting">1 - - -</pre>
</div></li><li class="step" title="Step 3"><div class="para">
To assign a program to a channel, click on the row of the channel that you want to assign.
</div></li><li class="step" title="Step 4"><div class="para">
@@ -17,7 +18,7 @@
</div></li><li class="step" title="Step 7"><div class="para">
Remember that channel 10 is reserved for percussion instruments, and should not be changed from a General MIDI percussion program.
</div></li></ol></div><div class="section" title="10.5.1. Changing the Number of MIDI Input Channels" id="sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</h3></div></div></div><div class="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 <span class="application"><strong>FluidSynth</strong></span>. 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.
</div><div class="para">
To change the number of MIDI input channels, follow these instructions.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html
index e651569..af4150c 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.4.3. JACK Output Configuration</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-FluidSynth-Configuring.html" title="10.4. Configuring Qsynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html" title="10.4.2. SoundFont Configuration" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html" title="10.4.4. MIDI Input Configuration" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocfr
ame" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html"><strong>Next</strong></a></li></ul><div class="section" title="10.4.3. JACK Output Configuration" id="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">10.4.3. JACK
Output Configuration</h3></div></div></div><div class="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 <a class="xref" href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html" title="1.4.7. Routing and Multiplexing">Section 1.4.7, “Routing and Multiplexingâ€</a>), which allows you to simultaneously record the synthesized audio signal and listen to it.
+ It is possible to configure <span class="application"><strong>FluidSynth</strong></span> 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 <a class="xref" href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html" title="1.4.7. Routing and Multiplexing">Section 1.4.7, “Routing and Multiplexingâ€</a>), which allows you to simultaneously record the synthesized audio signal and listen to it.
</div><div class="para">
If you are having problems, you may wish to confirm that Qsynth is configured correctly to use JACK.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html
index 7d67918..19bddab 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.4.4. MIDI Input Configuration</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-FluidSynth-Configuring.html" title="10.4. Configuring Qsynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html" title="10.4.3. JACK Output Configuration" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html" title="10.4.5. Viewing all FluidSynth Settings" /></head><body class="draft toc_embeded "><div id="tocdiv" class="to
c"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html"><strong>Next</strong></a></li></ul><div class="section" title="10.4.4. MIDI Input Configuration" id="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Configuri
ng-MIDI_Input">10.4.4. MIDI Input Configuration</h3></div></div></div><div class="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.
+ <span class="application"><strong>FluidSynth</strong></span> will only produce sound as instructed by a connected (software- or hardware-based) MIDI device. If you are having problems configuring <span class="application"><strong>FluidSynth</strong></span> to accept MIDI input, verify the following options.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Open Qsynth's "Setup" window.
</div></li><li class="step" title="Step 2"><div class="para">
@@ -15,5 +15,5 @@
</div></li></ul></div>
</div></li><li class="step" title="Step 4"><div class="para">
- You can set the number of MIDI input channels provided by FluidSynth. Refer to <a class="xref" href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels" title="10.5.1. Changing the Number of MIDI Input Channels">Section 10.5.1, “Changing the Number of MIDI Input Channelsâ€</a> below.
+ You can set the number of MIDI input channels provided by <span class="application"><strong>FluidSynth</strong></span>. Refer to <a class="xref" href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels" title="10.5.1. Changing the Number of MIDI Input Channels">Section 10.5.1, “Changing the Number of MIDI Input Channelsâ€</a> below.
</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html"><strong>Prev</strong>10.4.3. JACK Output Configuration</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html"><strong>Next</strong>10.4.5. Viewing all FluidSynth Settings</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html
@@ -5,9 +5,9 @@
</div><div class="para">
To configure an additional Soundfount:
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- Click on the 'Open' button, and navigate to the path of the SoundFont you wish to add. This should be <code class="code">/usr/share/soundfonts</code>, if installed to the standard location specified in <a class="xref" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html" title="10.2.5. Installation of SoundFont Files">Section 10.2.5, “Installation of SoundFont Filesâ€</a>.
+ Click on the 'Open' button, and navigate to the path of the SoundFont you wish to add. This should be <code class="filename">/usr/share/soundfonts</code>, if installed to the standard location specified in <a class="xref" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html" title="10.2.5. Installation of SoundFont Files">Section 10.2.5, “Installation of SoundFont Filesâ€</a>.
</div></li><li class="step" title="Step 2"><div class="para">
Select the additional SoundFont, then click the 'Open' button.
</div></li><li class="step" title="Step 3"><div class="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.
+ 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 <span class="application"><strong>FluidSynth</strong></span> - any SoundFont should work with any SoundFont ID number.
</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Configuring.html"><strong>Prev</strong>10.4. Configuring Qsynth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html"><strong>Next</strong>10.4.3. JACK Output Configuration</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html
index e613a94..4345399 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html
@@ -1,6 +1,6 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.4.5. Viewing all FluidSynth Settings</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-FluidSynth-Configuring.html" title="10.4. Configuring Qsynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html" title="10.4.4. MIDI Input Configuration" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html" title="10.5. Assigning Programs to Channels with Qsynth" /></head><body class="draft toc_embeded "><div id="tocdi
v" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html"><strong>Next</strong></a></li></ul><div class="section" title="10.4.5. Viewing all FluidSynth Settings" id="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_
Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all FluidSynth Settings</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.4.5. Viewing all FluidSynth Settings</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-FluidSynth-Configuring.html" title="10.4. Configuring Qsynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html" title="10.4.4. MIDI Input Configuration" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html" title="10.5. Assigning Programs to Channels with Qsynth" /></head><body class="draft toc_embeded "><div id="tocdi
v" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html"><strong>Next</strong></a></li></ul><div class="section" title="10.4.5. Viewing all FluidSynth Settings" id="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_
Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all <span class="application"><strong>FluidSynth</strong></span> Settings</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Open the "Setup" window
</div></li><li class="step" title="Step 2"><div class="para">
Select the "Settings" tab
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring.html
index 1657098..2558348 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring.html
@@ -2,12 +2,12 @@
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.4. Configuring Qsynth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-FluidSynth.html" title="Chapter 10. FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html" title="10.3. Using FluidSynth in a Terminal" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html" title="10.4.2. SoundFont Configuration" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../..
/../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html"><strong>Next</strong></a></li></ul><div class="section" title="10.4. Configuring Qsynth" id="sect-Musicians_Guide-FluidSynth-Configuring"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Configuring">10.4. Configuring Qsynth</h2></div></div></div><div class="para">
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.
- </div><div class="section" title="10.4.1. Starting FluidSynth" id="sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
+ </div><div class="section" title="10.4.1. Starting FluidSynth" id="sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting <span class="application"><strong>FluidSynth</strong></span></h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Start Qsynth from the Applications menu, or the K Menu
</div></li><li class="step" title="Step 2"><div class="para">
- The FluidSynth engine will be started automatically.
+ The <span class="application"><strong>FluidSynth</strong></span> engine will be started automatically.
</div></li><li class="step" title="Step 3"><div class="para">
- The row of buttons at the right of the Qsynth window control Qsynth. The other settings control FluidSynth.
+ The row of buttons at the right of the Qsynth window control Qsynth. The other settings control <span class="application"><strong>FluidSynth</strong></span>.
</div></li><li class="step" title="Step 4"><div class="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.
+ You can use the "Messages" button to display a window containing <span class="application"><strong>FluidSynth</strong></span>'s output. If <span class="application"><strong>FluidSynth</strong></span> doesn't work as expected, you can use this window to view any error message that might have been produced.
</div></li></ol></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html"><strong>Prev</strong>10.3. Using FluidSynth in a Terminal</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html"><strong>Next</strong>10.4.2. SoundFont Configuration</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-In_a_Terminal.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-In_a_Terminal.html
index 9b6f339..2adc359 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-In_a_Terminal.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-In_a_Terminal.html
@@ -1,9 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.3. Using FluidSynth in a Terminal</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-FluidSynth.html" title="Chapter 10. FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html" title="10.2.5. Installation of SoundFont Files" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Configuring.html" title="10.4. Configuring Qsynth" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../..
/../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Configuring.html"><strong>Next</strong></a></li></ul><div class="section" title="10.3. Using FluidSynth in a Terminal" id="sect-Musicians_Guide-FluidSynth-In_a_Terminal"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-In_a_Terminal">10.3. Using FluidSynth in a Terminal</h2></div></div></div><div class="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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.3. Using FluidSynth in a Terminal</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-FluidSynth.html" title="Chapter 10. FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html" title="10.2.5. Installation of SoundFont Files" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Configuring.html" title="10.4. Configuring Qsynth" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../..
/../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Configuring.html"><strong>Next</strong></a></li></ul><div class="section" title="10.3. Using FluidSynth in a Terminal" id="sect-Musicians_Guide-FluidSynth-In_a_Terminal"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-In_a_Terminal">10.3. Using <span class="application"><strong>FluidSynth</strong></span> in a Te
rminal</h2></div></div></div><div class="para">
+ This is not the recommended way to use <span class="application"><strong>FluidSynth</strong></span>, because the Qsynth graphical interface is much easier to use. Qsynth automatically configures most of <span class="application"><strong>FluidSynth</strong></span>'s settings by default, allowing you to avoid focus on how you want to use <span class="application"><strong>FluidSynth</strong></span>, rather than on how to use <span class="application"><strong>FluidSynth</strong></span>.
</div><div class="para">
- If you want to use FluidSynth in a terminal, you can use the <code class="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 class="code">-r</code> flag, like this: <code class="code">fluidsynth -r 48000</code>
+ If you want to use <span class="application"><strong>FluidSynth</strong></span> in a terminal, you can use the <code class="command">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 class="command">-r</code> flag, like this: <code class="command">fluidsynth -r 48000</code>
</div><div class="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 <span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span> command line.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html"><strong>Prev</strong>10.2.5. Installation of SoundFont Files</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Configuring.html"><strong>Next</strong>10.4. Configuring Qsynth</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Multiple_Instances.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Multiple_Instances.html
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@@ -1,11 +1,11 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.7. Multiple FluidSynth Instances with Qsynth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-FluidSynth.html" title="Chapter 10. FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html" title="10.6. Using Reverb and Chorus with Qsynth" /><link rel="next" href="chap-Musicians_Guide-SuperCollider.html" title="Chapter 11. SuperCollider" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" sr
c="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-SuperCollider.html"><strong>Next</strong></a></li></ul><div class="section" title="10.7. Multiple FluidSynth Instances with Qsynth" id="sect-Musicians_Guide-FluidSynth-Multiple_Instances"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple FluidSynth Instances with Qsynth</h2>
</div></div></div><div class="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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.7. Multiple FluidSynth Instances with Qsynth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-FluidSynth.html" title="Chapter 10. FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html" title="10.6. Using Reverb and Chorus with Qsynth" /><link rel="next" href="chap-Musicians_Guide-SuperCollider.html" title="Chapter 11. SuperCollider" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" sr
c="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-SuperCollider.html"><strong>Next</strong></a></li></ul><div class="section" title="10.7. Multiple FluidSynth Instances with Qsynth" id="sect-Musicians_Guide-FluidSynth-Multiple_Instances"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple <span class="application"><strong>Flu
idSynth</strong></span> Instances with Qsynth</h2></div></div></div><div class="para">
+ Rarely will you need more than one instance of <span class="application"><strong>FluidSynth</strong></span>, because QSynth/<span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span> for each SoundFont.
</div><div class="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 <span class="application"><strong>FluidSynth</strong></span> is created and controlled by, in effect, running the <span class="application"><strong>FluidSynth</strong></span> synthesis application multiple times. The reality is that, since Qsynth controls the <span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span> directly from a terminal. Each such instance is represented in Qsynth by a "tab," displayed at the bottom of the Qsynth window.
</div><div class="para">
- To create an additional instance of FluidSynth:
+ To create an additional instance of <span class="application"><strong>FluidSynth</strong></span>:
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Press the green "+" button in the bottom-left corner of Qsynth's main window
</div></li><li class="step" title="Step 2"><div class="para">
@@ -15,5 +15,5 @@
</div></li><li class="step" title="Step 4"><div class="para">
To close an additional instance, use the red "X" near the lower-right corner.
</div></li></ol></div><div class="para">
- Each instance of the FluidSynth engine has its own settings in the "Setup" window. Qsynth supports a theoretically unlimited number of FluidSynth instances, but your computer's memory will probably not allow many more than ten, depending on the SoundFonts used.
+ Each instance of the <span class="application"><strong>FluidSynth</strong></span> engine has its own settings in the "Setup" window. Qsynth supports a theoretically unlimited number of <span class="application"><strong>FluidSynth</strong></span> instances, but your computer's memory will probably not allow many more than ten, depending on the SoundFonts used.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html"><strong>Prev</strong>10.6. Using Reverb and Chorus with Qsynth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-SuperCollider.html"><strong>Next</strong>Chapter 11. SuperCollider</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.2.2. Thare Are Two Ways to Install FluidSynth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html" title="10.2. Requirements and Installation" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html" title="10.2. Requirements and Installation" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html" title="10.2.3. Installation with Qsynth" /></head><body cl
ass="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html"><strong>Next</strong></a></li></ul><div class="section" title="10.2.2. Thare Are Two Ways to Install FluidSynth" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation"><div class="titlepage"><div><div keep-together.withi
n-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install FluidSynth</h3></div></div></div><div class="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 class="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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.2.2. Thare Are Two Ways to Install FluidSynth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html" title="10.2. Requirements and Installation" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html" title="10.2. Requirements and Installation" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html" title="10.2.3. Installation with Qsynth" /></head><body cl
ass="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html"><strong>Next</strong></a></li></ul><div class="section" title="10.2.2. Thare Are Two Ways to Install FluidSynth" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation"><div class="titlepage"><div><div keep-together.withi
n-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install <span class="application"><strong>FluidSynth</strong></span></h3></div></div></div><div class="para">
+ There are two ways to install <span class="application"><strong>FluidSynth</strong></span>. The first, to install <span class="application"><strong>FluidSynth</strong></span> with Qsynth, allows <span class="application"><strong>FluidSynth</strong></span> to be used with the Qsynth graphical interface. It also installs a default SoundFont, which can be used by any SoundFont-aware application (like <span class="application"><strong>timidity++</strong></span>). This installation method does not - by default - allow <span class="application"><strong>FluidSynth</strong></span> to be used from a terminal, although this ability can be easily added later. This is the installation method recommended for most users.
</div><div class="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 <span class="application"><strong>FluidSynth</strong></span> is without the Qsynth graphical interface. This method allows <span class="application"><strong>FluidSynth</strong></span> to be run from a terminal, and does not install a default SoundFont. This installation is recommended only for advanced users.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html"><strong>Prev</strong>10.2. Requirements and Installation</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html"><strong>Next</strong>10.2.3. Installation with Qsynth</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html
index 8464b2c..570431a 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.2.3. Installation with Qsynth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html" title="10.2. Requirements and Installation" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html" title="10.2.2. Thare Are Two Ways to Install FluidSynth" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html" title="10.2.4. Installation without Qsynth" /></head><body cla
ss="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html"><strong>Next</strong></a></li></ul><div class="section" title="10.2.3. Installation with Qsynth" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth"><div class="titlepage"><div><div keep-together.within-colu
mn="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">10.2.3. Installation with Qsynth</h3></div></div></div><div class="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 <span class="application"><strong>FluidSynth</strong></span>.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Use "PackageKit" or "KPackageKit" to install the "qsynth" package.
</div></li><li class="step" title="Step 2"><div class="para">
@@ -13,5 +13,5 @@
</div></li></ul></div>
</div></li></ol></div><div class="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 <span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span> 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.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html"><strong>Prev</strong>10.2.2. Thare Are Two Ways to Install FluidSynth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html"><strong>Next</strong>10.2.4. Installation without Qsynth</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html
@@ -1,5 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.2.4. Installation without Qsynth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html" title="10.2. Requirements and Installation" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html" title="10.2.3. Installation with Qsynth" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html" title="10.2.5. Installation of SoundFont Files" /></head><body class="draft toc_embeded "><
div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html"><strong>Next</strong></a></li></ul><div class="section" title="10.2.4. Installation without Qsynth" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="s
ect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without Qsynth</h3></div></div></div><div class="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 class="code">su -c 'yum install fluidsynth'</code>
+ This installation method is recommended only for advanced users. You will have to use <span class="application"><strong>FluidSynth</strong></span> from a terminal. You will also have to install a SoundFont file before using <span class="application"><strong>FluidSynth</strong></span>.
+ </div><div class="para">
+ Use <span class="application"><strong>PackageKit</strong></span> or <span class="application"><strong>KPackageKit</strong></span> to install the <span class="package">fluidsynth</span> package.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html"><strong>Prev</strong>10.2.3. Installation with Qsynth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html"><strong>Next</strong>10.2.5. Installation of SoundFont Files</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Req_and_Inst.html
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.2.5. Installation of SoundFont Files</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html" title="10.2. Requirements and Installation" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html" title="10.2.4. Installation without Qsynth" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html" title="10.3. Using FluidSynth in a Terminal" /></head><body class="draft toc_emb
eded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html"><strong>Next</strong></a></li></ul><div class="section" title="10.2.5. Installation of SoundFont Files" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musician
s_Guide-FluidSynth-Req_and_Inst">10.2.5. Installation of SoundFont Files</h3></div></div></div><div class="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. The following steps will move a SoundFont file called "myFont.sf2" to the default folder (<code
class="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.
+ Qsynth automatically installs a SoundFont for use with <span class="application"><strong>FluidSynth</strong></span>, 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 class="filename">/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.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Start a shell or terminal and navigate to the folder where the SoundFont file is currently stored.
</div></li><li class="step" title="Step 2"><div class="para">
- Run <code class="code">su -c 'cp myFont.sf2 /usr/share/soundfonts'</code>
+ Run <code class="command">su -c 'cp <em class="replaceable"><code>myFont.sf2</code></em> /usr/share/soundfonts'</code>
</div><ol class="a"><li class="step" title="Step 2.a"><div class="para">
- Modify the command as necessary to copy your SoundFont file, rather than "myFont.sf2".
+ Modify the command as necessary to copy your SoundFont file, rather than <code class="filename">myFont.sf2</code>.
</div></li><li class="step" title="Step 2.b"><div class="para">
- You will be asked for the "root" password.
+ You will be asked for the password to the <code class="literal">root</code> account.
</div></li></ol></li><li class="step" title="Step 3"><div class="para">
- Run <code class="code">cd /usr/share/soundfonts</code> to change to the directory of the SoundFont
+ Run <code class="command">cd /usr/share/soundfonts</code> to change to the directory of the SoundFont
</div></li><li class="step" title="Step 4"><div class="para">
- Run <code class="code">su -c 'chmod 644 myFont.sf2'</code>
+ Run <code class="command">su -c 'chmod 644 <em class="replaceable"><code>myFont.sf2</code></em>'</code>
</div><ol class="a"><li class="step" title="Step 4.a"><div class="para">
- Modify the command as necessary to refer to your SoundFont file, rather than "myFont.sf2".
+ Modify the command as necessary to refer to your SoundFont file, rather than <code class="filename">myFont.sf2</code>.
</div></li><li class="step" title="Step 4.b"><div class="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.
</div></li></ol></li><li class="step" title="Step 5"><div class="para">
- Run <code class="code">ll myFont.sf2</code> to verify that the permissions were set correctly.
+ Run <code class="command">ll <em class="replaceable"><code>myFont.sf2</code></em></code> to verify that the permissions were set correctly.
</div><ol class="a"><li class="step" title="Step 5.a"><div class="para">
- Modify the command as necessary to refer to your SoundFont file, rather than "myFont.sf2".
+ Modify the command as necessary to refer to your SoundFont file, rather than <code class="filename">myFont.sf2</code>.
</div></li><li class="step" title="Step 5.b"><div class="para">
- The output should resemble this: <code class="code">-rw-r--r--. 1 root root 9 2010-06-23 02:28 myFont.sf2</code>, but with a different date, time, and filename.
+ The output should resemble this:
+<pre class="programlisting">-rw-r--r--. 1 root root 9 2010-06-23 02:28 myFont.sf2</pre>
+ but with a different date, time, and filename.
</div></li></ol></li><li class="step" title="Step 6"><div class="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.
+ 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 <code class="literal">usr_t</code>, 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.
</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html"><strong>Prev</strong>10.2.4. Installation without Qsynth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html"><strong>Next</strong>10.3. Using FluidSynth in a Terminal</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.2. Requirements and Installation</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-FluidSynth.html" title="Chapter 10. FluidSynth" /><link rel="prev" href="chap-Musicians_Guide-FluidSynth.html" title="Chapter 10. FluidSynth" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html" title="10.2.2. Thare Are Two Ways to Install FluidSynth" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="
../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-FluidSynth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html"><strong>Next</strong></a></li></ul><div class="section" title="10.2. Requirements and Installation" id="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation">10.2. Requirements and Installation</h2>
</div></div></div><div class="section" title="10.2.1. Software Requirements" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</h3></div></div></div><div class="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 <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> for instructions.
+ <span class="application"><strong>FluidSynth</strong></span> 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 <span class="application"><strong>FluidSynth</strong></span>. See <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring <code class="systemitem">JACK</code>â€</a> for instructions.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-FluidSynth.html"><strong>Prev</strong>Chapter 10. FluidSynth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html"><strong>Next</strong>10.2.2. Thare Are Two Ways to Install FluidSynth</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.6. Using Reverb and Chorus with Qsynth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-FluidSynth.html" title="Chapter 10. FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html" title="10.5.2. Saving and Reusing Channel Assignments" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html" title="10.7. Multiple FluidSynth Instances with Qsynth" /></head><body class="draft toc_embeded "><div id=
"tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html"><strong>Next</strong></a></li></ul><div class="section" title="10.6. Using Reverb and Chorus with Qsynth" id="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Gui
de-FluidSynth-Reverb_and_Chorus">10.6. Using Reverb and Chorus with Qsynth</h2></div></div></div><div class="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. <span class="application"><strong>FluidSynth</strong></span> 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.
</div><div class="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.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Frescobaldi-Configuration.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Frescobaldi-Configuration.html
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>13.3. Configuration</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Frescobaldi.html" title="Chapter 13. Frescobaldi" /><link rel="prev" href="sect-Musicians_Guide-Frescobaldi-Installation.html" title="13.2. Requirements and Installation" /><link rel="next" href="sect-Musicians_Guide-Frescobaldi-Using.html" title="13.4. Using Frescobaldi" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an
iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Frescobaldi-Installation.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Frescobaldi-Using.html"><strong>Next</strong></a></li></ul><div class="section" title="13.3. Configuration" id="sect-Musicians_Guide-Frescobaldi-Configuration"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Frescobaldi-Configuration">13.3. Configuration</h2></div></div></div><div class="para">
Changing these default settings is not necessary, but it may result in a more productive experience.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- Go to 'Settings > Configure Frescobaldi'
+ Chose <span class="guimenu"><strong>Settings</strong></span> → <span class="guimenuitem"><strong>Configure Frescobaldi</strong></span>
</div></li><li class="step" title="Step 2"><div class="para">
In 'General Preferences' check 'Save document when LilyPond is run', or else you will have to save it manually
</div></li><li class="step" title="Step 3"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Frescobaldi-Installation.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Frescobaldi-Installation.html
index b46c20f..1e20301 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Frescobaldi-Installation.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Frescobaldi-Installation.html
@@ -1,9 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>13.2. Requirements and Installation</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Frescobaldi.html" title="Chapter 13. Frescobaldi" /><link rel="prev" href="chap-Musicians_Guide-Frescobaldi.html" title="Chapter 13. Frescobaldi" /><link rel="next" href="sect-Musicians_Guide-Frescobaldi-Configuration.html" title="13.3. Configuration" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an ifr
ame, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-Frescobaldi.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Frescobaldi-Configuration.html"><strong>Next</strong></a></li></ul><div class="section" title="13.2. Requirements and Installation" id="sect-Musicians_Guide-Frescobaldi-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Frescobaldi-Installation">13.2. Requirements and Installation</h2></div></div></div><div class="procedure"><ol class="1"><li class="step" title=
"Step 1"><div class="para">
- Run <code class="code">sudo -c 'yum install frescobaldi'</code> or install the "frescobaldi" package with PackageKit or KPackageKit.
+ Install the <span class="package">frescobaldi</span> package with <span class="application"><strong>PackageKit</strong></span> or <span class="application"><strong>KPackageKit</strong></span>.
</div></li><li class="step" title="Step 2"><div class="para">
- There are a lot of dependencies, including perl-* packages, subversion, kde* packages, and timidity++ including fluid-soundfont-gm (which is 114Â MB)
+ There are a lot of dependencies, including <span class="package">perl-<em class="replaceable"><code>*</code></em></span> packages, <span class="package">kde-<em class="replaceable"><code>*</code></em></span> packages, and <span class="application"><strong>timidity++</strong></span> including <span class="package">fluid-soundfont-gm</span> (which is 114Â MB)
</div></li><li class="step" title="Step 3"><div class="para">
Review and approve the list of dependencies.
</div></li><li class="step" title="Step 4"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Frescobaldi-Using.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Frescobaldi-Using.html
index a105999..5fb4018 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Frescobaldi-Using.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Frescobaldi-Using.html
@@ -1,5 +1,5 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>13.4. Using Frescobaldi</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Frescobaldi.html" title="Chapter 13. Frescobaldi" /><link rel="prev" href="sect-Musicians_Guide-Frescobaldi-Configuration.html" title="13.3. Configuration" /><link rel="next" href="chap-Musicians_Guide-Solfege.html" title="Chapter 14. GNU Solfege" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it
upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Frescobaldi-Configuration.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Solfege.html"><strong>Next</strong></a></li></ul><div class="section" title="13.4. Using Frescobaldi" id="sect-Musicians_Guide-Frescobaldi-Using"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Frescobaldi-Using">13.4. Using Frescobaldi</h2></div></div></div><div class="para">
- The practical use of Frescobaldi for editing LilyPond source files is described in <a class="xref" href="chap-Musicians_Guide-LilyPond.html" title="Chapter 12. LilyPond">Chapter 12, <i>LilyPond</i></a>.
+ The practical use of Frescobaldi for editing LilyPond source files is described in <a class="xref" href="chap-Musicians_Guide-LilyPond.html" title="Chapter 12. LilyPond">Chapter 12, <i><span class="application"><strong>LilyPond</strong></span></i></a>.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Frescobaldi-Configuration.html"><strong>Prev</strong>13.3. Configuration</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Solfege.html"><strong>Next</strong>Chapter 14. GNU Solfege</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html
index 43f80c1..b0fadaf 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html
@@ -1,13 +1,13 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2.3.3. Integrating PulseAudio with JACK</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Using_JACK.html" title="2.3. Using the JACK Audio Connection Kit" /><link rel="prev" href="sect-Musicians_Guide-Using_QjackCtl.html" title="2.3.2. Using QjackCtl" /><link rel="next" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html" title="Chapter 3. Real-Time and Low Latency" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src=
"../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Using_QjackCtl.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html"><strong>Next</strong></a></li></ul><div class="section" title="2.3.3. Integrating PulseAudio with JACK" id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating PulseAudio with JACK</h3></div></div></
div><div class="para">
- The default configuration of PulseAudio yields control of the audio equipment to JACK when the JACK server starts. PulseAudio will not be able to receive input or send output of any audio signals on the audio interface used by JACK. This is fine for occasional users of JACK, but many users will want to use JACK and PulseAudio simultaneously, or switch between the two frequently. The following instructions will configure PulseAudio so that its input and output is routed through JACK.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2.3.3. Integrating PulseAudio with JACK</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Using_JACK.html" title="2.3. Using the JACK Audio Connection Kit" /><link rel="prev" href="sect-Musicians_Guide-Using_QjackCtl.html" title="2.3.2. Using QjackCtl" /><link rel="next" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html" title="Chapter 3. Real-Time and Low Latency" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src=
"../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Using_QjackCtl.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html"><strong>Next</strong></a></li></ul><div class="section" title="2.3.3. Integrating PulseAudio with JACK" id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating <code class="systemitem">PulseAudio</co
de> with <code class="systemitem">JACK</code></h3></div></div></div><div class="para">
+ The default configuration of <code class="systemitem">PulseAudio</code> yields control of the audio equipment to <code class="systemitem">JACK</code> when the <code class="systemitem">JACK</code> server starts. <code class="systemitem">PulseAudio</code> will not be able to receive input or send output of any audio signals on the audio interface used by <code class="systemitem">JACK</code>. This is fine for occasional users of <code class="systemitem">JACK</code>, but many users will want to use <code class="systemitem">JACK</code> and <code class="systemitem">PulseAudio</code> simultaneously, or switch between the two frequently. The following instructions will configure <code class="systemitem">PulseAudio</code> so that its input and output is routed through <code class="systemitem">JACK</code>.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Use PackageKit or KPackageKit to install the <span class="package">pulseaudio-module-jack</span> package.
</div></li><li class="listitem"><div class="para">
Approve the installation and ensure that it is carried out properly.
</div></li><li class="listitem"><div class="para">
- You'll need to edit the PulseAudio configuration file to use the JACK module.
+ You'll need to edit the <code class="systemitem">PulseAudio</code> configuration file to use the <code class="systemitem">JACK</code> module.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Be careful! You will be editing an important system file as the root user!
</div></li><li class="listitem"><div class="para">
@@ -21,17 +21,17 @@ load-module module-jack-source
</div></li></ol></div>
</div></li><li class="listitem"><div class="para">
- Restart PulseAudio by running the following command in a terminal: <code class="command">killall pulseaudio</code> PulseAudio restarts automatically.
+ Restart <code class="systemitem">PulseAudio</code> by running the following command in a terminal: <code class="command">killall pulseaudio</code> <code class="systemitem">PulseAudio</code> restarts automatically.
</div></li><li class="listitem"><div class="para">
- Confirm that this has worked by opening QjackCtl. The display should confirm that JACK is "Active".
+ Confirm that this has worked by opening <span class="application"><strong>QjackCtl</strong></span>. The display should confirm that <code class="systemitem">JACK</code> is "Active".
</div></li><li class="listitem"><div class="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.
+ In the "Connect" window, on the "Audio" tab, there should be <code class="systemitem">PulseAudio</code> devices on each side, and they should be connected to "system" devices on the opposite sides.
</div></li><li class="listitem"><div class="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.
+ Open <span class="application"><strong>QjackCtl</strong></span>'s "Setup" window, then click on the "Options" tab. Uncheck "Execute script after Shutdown: killall jackd". If you did not make this change, then <span class="application"><strong>QjackCtl</strong></span> would stop the <code class="systemitem">JACK</code> server from running every time the program quits. Since <code class="systemitem">PulseAudio</code> is still expecting to use <code class="systemitem">JACK</code> after that, you shouldn't do this any more.
</div></li><li class="listitem"><div class="para">
- When PulseAudio starts JACK, it uses the command found in the <code class="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.
+ When <code class="systemitem">PulseAudio</code> starts <code class="systemitem">JACK</code>, it uses the command found in the <code class="filename">~/.jackdrc</code> file. <span class="application"><strong>QjackCtl</strong></span> automatically updates this file when you change settings, but you may have to restart both <code class="systemitem">PulseAudio</code> and <code class="systemitem">JACK</code> in order to get the new changes to take effect. If they refuse to take effect, you can edit that file yourself.
</div></li><li class="listitem"><div class="para">
- Be careful about using a very high sample rate with PulseAudio, since it will tend to use a lot of CPU power.
+ Be careful about using a very high sample rate with <code class="systemitem">PulseAudio</code>, since it will tend to use a lot of CPU power.
</div></li></ol></div>
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Using_QjackCtl.html"><strong>Prev</strong>2.3.2. Using QjackCtl</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html"><strong>Next</strong>Chapter 3. Real-Time and Low Latency</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Installation.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Installation.html
index 7e54e3a..e13f461 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Installation.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Installation.html
@@ -5,7 +5,7 @@
</div></li><li class="step" title="Step 2"><div class="para">
Review the dependencies. Many packages called <code class="literal">lilypond-*-fonts</code> are installed.
</div></li><li class="step" title="Step 3"><div class="para">
- LilyPond is run from the command line, with the command <code class="command">lilypond</code>.
+ <span class="application"><strong>LilyPond</strong></span> is run from the command line, with the command <code class="command">lilypond</code>.
</div></li></ol></div><div class="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 <a class="xref" href="chap-Musicians_Guide-Frescobaldi.html" title="Chapter 13. Frescobaldi">Chapter 13, <i>Frescobaldi</i></a> for more information.
+ We recommend that you use the <span class="application"><strong>Frescobaldi</strong></span> text editor, which is designed specifically for <span class="application"><strong>LilyPond</strong></span>. It has many features that enhance productivity when editing <span class="application"><strong>LilyPond</strong></span> files, and that greatly speed up the learning process. Refer to <a class="xref" href="chap-Musicians_Guide-Frescobaldi.html" title="Chapter 13. Frescobaldi">Chapter 13, <i>Frescobaldi</i></a> for more information.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html"><strong>Prev</strong>12.2. The LilyPond Approach</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax.html"><strong>Next</strong>12.4. LilyPond Basics</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Oboe_and_Horn.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Oboe_and_Horn.html
index 539d9bb..2d597cc 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Oboe_and_Horn.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Oboe_and_Horn.html
@@ -17,7 +17,7 @@
</div></li><li class="step" title="Step 3"><div class="para">
The "hornF" section should already have a <code class="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 class="code">\transposition g'</code>, but that's not accurate for this case.
</div></li><li class="step" title="Step 4"><div class="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 class="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.
+ 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 class="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.
</div></li><li class="step" title="Step 5"><div class="para">
do the rest of this stuff to get that done right
</div></li><li class="step" title="Step 6"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Strings.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Strings.html
index 80698c2..4fd65e7 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Strings.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Strings.html
@@ -22,7 +22,7 @@
</div></li><li class="listitem"><div class="para">
Short-term Polyphonic Input (Divisi):
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- Anything between << and >> is interpreted by LilyPond as happening together. If you take a look at the "score" section at the bottom of the file, you will see that all of the parts are listed in that kind of bracket. This ensures that they all happen simultaneously.
+ Anything between <code class="literal"><<</code> and <code class="literal">>></code> is interpreted by LilyPond as happening together. If you take a look at the "score" section at the bottom of the file, you will see that all of the parts are listed in that kind of bracket. This ensures that they all happen simultaneously.
</div></li><li class="listitem"><div class="para">
For short-term polyphonic input, use the formula <code class="code"><< { upper-voice notes } \\ { lower-voice notes } >></code>. Remember that the "upper voice" has upward-pointing stems, and the "lower voice" has downward-pointing stems.
</div></li></ul></div>
@@ -33,11 +33,11 @@
</div></li><li class="listitem"><div class="para">
Crescendo and Diminuendo Markings:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- These are added like other dynamic markings, attached with a backslash to the note where they begin. A crescendo is triggered with <code class="code">\<</code> and a diminuendo with <code class="code">\></code>.
+ These are added like other dynamic markings, attached with a backslash to the note where they begin. A crescendo is triggered with <code class="literal">\<</code> and a diminuendo with <code class="literal">\></code>.
</div></li><li class="listitem"><div class="para">
- The left-most point of the marking (its beginning) is indicated by where you put \< or \>
+ The left-most point of the marking (its beginning) is indicated by where you put <code class="literal">\<</code> or <code class="literal">\></code>
</div></li><li class="listitem"><div class="para">
- The right-most (or end-)point is indicated by either another dynamic marking of any sort, or the special cancellation character (<code class="code">\!</code>).
+ The right-most (or end-)point is indicated by either another dynamic marking of any sort, or the special cancellation character <code class="literal">\!</code>
</div></li></ul></div>
</div></li><li class="listitem"><div class="para">
Italic "staccato" Text: <code class="code">\markup { \italic { staccato } }</code>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Wind_and_Timpani.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Wind_and_Timpani.html
index 4fbf62b..356e6c3 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Wind_and_Timpani.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Wind_and_Timpani.html
@@ -43,11 +43,11 @@
</div></li></ul></div>
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.
</div></li><li class="step" title="Step 4"><div class="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 class="code">r8_"f" etc.</code>
+ 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 class="code">r8_"f" <em class="replaceable"><code>and so on</code></em></code>
</div></li><li class="step" title="Step 5"><div class="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.
</div></li><li class="step" title="Step 6"><div class="para">
- Thankfully, LilyPond provides a very easy and elegant way to input well-formatted dynamic markings. Change the eighth-rest to this: <code class="code">r8\f etc.</code>
+ Thankfully, LilyPond provides a very easy and elegant way to input well-formatted dynamic markings. Change the eighth-rest to this: <code class="code">r8\f <em class="replaceable"><code>and so on</code></em></code>
</div></li><li class="step" title="Step 7"><div class="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.
</div></li><li class="step" title="Step 8"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html
index 466f209..a3cee75 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html
@@ -11,9 +11,9 @@
</div><div class="procedure"><ol class="1"><li class="step" title="Step 2.1"><div class="para">
In the NOTES section, find the flute section, and put in <code class="code">R2.*13 |</code>.
</div></li><li class="step" title="Step 2.2"><div class="para">
- Here is an explanation of R
+ The <code class="literal">R</code> 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.
</div></li><li class="step" title="Step 2.3"><div class="para">
- here is an explanation of |
+ The <code class="literal">|</code> symbol is a bar-check symbol. See <a class="xref" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html" title="12.4.8.2. Bar-Check Symbol">Section 12.4.8.2, “Bar-Check Symbolâ€</a> for more information.
</div></li><li class="step" title="Step 2.4"><div class="para">
Copy and past that into the rest of the winds and the timpani.
</div></li></ol></div></li><li class="step" title="Step 3"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html
index fb55e29..af5a96d 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html
@@ -4,11 +4,17 @@
These steps are useful in establishing a consistent input style for LilyPond. The things suggested here are also useful for getting used to working with large scores, which can be a challenge in any text editor. Thankfully, careful (and consistent!) code organization goes a long way in helping you to quickly find your way around your files. Setting up files the right way to begin with makes this much easier in the end.
</div><div class="para">
When you first setup the score, Frescobaldi will have created many sections for you by default. The program avoids making too many stylistic choices for you, which allows you to create your own style. It also sets up the default sections in a logical way:
-<div class="literallayout"><p>version<br />
- header<br />
- widely-used settings like tempoMark and "global"<br />
- individual parts<br />
- score formatting</p></div>
+ <div class="orderedlist"><ol><li class="listitem"><div class="para">
+ version
+ </div></li><li class="listitem"><div class="para">
+ header
+ </div></li><li class="listitem"><div class="para">
+ widely-used settings like tempoMark and "global"
+ </div></li><li class="listitem"><div class="para">
+ individual parts
+ </div></li><li class="listitem"><div class="para">
+ score formatting
+ </div></li></ol></div>
The specific ordering will become more obvious to you as you get used to LilyPond.
</div><div class="para">
Here are some of the things that I do before inputting notes:
@@ -20,16 +26,20 @@
Add blank lines between large sections, to separate them more obviously
</div></li><li class="listitem"><div class="para">
Begin braces on new lines (as
-<div class="literallayout"><p>\header<br />
- {<br />
-   title = "Impromptu"<br />
- Â Â ...<br />
- }</p></div>
+<pre class="programlisting">
+\header
+{
+ title = "Impromptu"
+ ...
+}
+</pre>
instead of on the same line (as
-<div class="literallayout"><p>\header {<br />
-   title = "Impromptu"<br />
- Â Â ...<br />
- }</p></div>
+<pre class="programlisting">
+\header {
+ title = "Impromptu"
+ ...
+}
+</pre>
This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages.
</div></li><li class="listitem"><div class="para">
Familiarize myself with the sections and commands created by Frescobaldi, getting a sense of what the section/command does (even if I don't understand what each specific command does). This makes it easier to sort out problems and customization down the road. Sometimes, when the setup is quite complex, I make comments about what seems to be going on.
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Formatting.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Formatting.html
index d13a7d0..b90f794 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Formatting.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Formatting.html
@@ -11,52 +11,60 @@
</div><div class="para">
Follow these steps to create a "PianoDynamics" Context:
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- Between the left and right staves of the PianoStaff, add "<code class="code">\new PianoDynamics = "dynamics" \dynamics</code>". For the Schubert score, this looks like: \new PianoStaff \with
-<div class="literallayout"><p>Â Â Â Â {<br />
-       instrumentName = "Piano"<br />
- Â Â Â Â }<br />
- Â Â <<<br />
-     \new Staff = "right" \right<br />
-     \new PianoDynamics = "dynamics" \dynamics<br />
-     \new Staff = "left" { \clef bass \left }<br />
- Â Â >></p></div>
+ Between the left and right staves of the PianoStaff, add "<code class="code">\new PianoDynamics = "dynamics" \dynamics</code>". For the Schubert score, this looks like:
+<pre class="programlisting">
+\new PianoStaff \with
+ {
+ instrumentName = "Piano"
+ }
+<<
+ \new Staff = "right" \right
+ \new PianoDynamics = "dynamics" \dynamics
+ \new Staff = "left" { \clef bass \left }
+>>
+</pre>
+
</div></li><li class="step" title="Step 2"><div class="para">
To the layout section, add the following:
-<div class="literallayout"><p>    % Everything below here is for the piano dynamics.<br />
-     % Define "PianoDynamics" context.<br />
-     \context <br />
- Â Â Â Â {<br />
-       \type "Engraver_group"<br />
-       \name PianoDynamics<br />
-       \alias Voice<br />
-       \consists "Output_property_engraver"<br />
-       \consists "Script_engraver"<br />
-       \consists "New_dynamic_engraver"<br />
-       \consists "Dynamic_align_engraver"<br />
-       \consists "Text_engraver"<br />
-       \consists "Skip_event_swallow_translator"<br />
-       \consists "Axis_group_engraver"<br />
- Â Â Â Â Â Â <br />
-       \override DynamicLineSpanner #'Y-offset = #0<br />
-       \override TextScript #'font-size = #2<br />
-       \override TextScript #'font-shape = #'italic<br />
-       \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)<br />
- Â Â Â Â }<br />
- Â Â Â Â <br />
-     % Modify "PianoStaff" context to accept Dynamics context.<br />
- Â Â Â Â \context<br />
- Â Â Â Â {<br />
- Â Â Â Â Â Â \PianoStaff<br />
-       \accepts PianoDynamics<br />
- Â Â Â Â }<br />
-     % End of PianoDynamics code.</p></div>
+<pre class="programlisting">
+% Everything below here is for the piano dynamics.
+% Define "PianoDynamics" context.
+\context
+{
+ \type "Engraver_group"
+ \name PianoDynamics
+ \alias Voice
+ \consists "Output_property_engraver"
+ \consists "Script_engraver"
+ \consists "New_dynamic_engraver"
+ \consists "Dynamic_align_engraver"
+ \consists "Text_engraver"
+ \consists "Skip_event_swallow_translator"
+ \consists "Axis_group_engraver"
+
+ \override DynamicLineSpanner #'Y-offset = #0
+ \override TextScript #'font-size = #2
+ \override TextScript #'font-shape = #'italic
+ \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
+}
+
+% Modify "PianoStaff" context to accept Dynamics context.
+\context
+{
+ \PianoStaff
+ \accepts PianoDynamics
+}
+% End of PianoDynamics code.
+</pre>
This creates a "PianoDynamics" context, and modifies the "PianoStaff" context so that it will accept a "PianoDynamics" context.
</div></li><li class="step" title="Step 3"><div class="para">
Before the "\score" section, add a section called "dynamics," like this:
-<div class="literallayout"><p>dynamics =<br />
- {<br />
-   % Dynamics go here.<br />
- Â Â <br />
- }</p></div>
+<pre class="programlisting">
+dynamics =
+{
+ % Dynamics go here.
+
+}
+</pre>
This is where you will input the dynamics.
</div></li></ol></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html"><strong>Prev</strong>12.7.5. Troubleshooting Errors</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Formatting-Inputting_the_Dynamics.html"><strong>Next</strong>12.7.6.2. Inputting the Dynamics</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html
index 6b63026..4a9b732 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.7.4.5. Changing the Style of Crescendo</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html" title="12.7.4. Inputting" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Cautionary_Accidentals.html" title="12.7.4.4. Cautionary Accidentals" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html" title="12.7.4.6. Polyphonic Sections of Homophonic Music" /></head><body class=
"draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Cautionary_Accidentals.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.4.5. Changing the Style of Crescendo" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo"><div class="titlepag
e"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo">12.7.4.5. Changing the Style of Crescendo</h4></div></div></div><div class="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 class="code">\<</code> to start and <code class="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 class="code">\crescTextCresc</code>.
+ Sometimes the composer or editor prefers to use the words "''crescendo''" or its abbreviation, "''cresc.''", instead of the <code class="literal">\<</code> style of crescendo. In LilyPond these are handled by the same source-file notation (<code class="literal">\<</code> to start and <code class="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 class="code">\crescTextCresc</code>.
</div><div class="para">
After changing to this style of ''crescendo'', you can revert to the standard < style with the following command: <code class="code">\crescHairpin</code>.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords.html
index 9ffc4b4..182affa 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords.html
@@ -3,7 +3,7 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.7.4.2. Chords</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html" title="12.7.4. Inputting" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html" title="12.7.4. Inputting" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering.html" title="12.7.4.3. Fingering" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an i
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There are two ways to input chords, but one will be used much more often.
</div><div class="para">
- This style of chord notation is more common: <code class="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 class="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: <code class="literal"><as ces>4-_</code> Notice how only the pitches are notated inside the <code class="literal">< ></code> 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 class="literal"><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.
</div><div class="para">
- This style of chord notation is less common: <code class="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: <code class="literal"><<as4-> ces>></code> Notice how everything must be notated inside the <code class="literal"><< >></code> 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.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html"><strong>Prev</strong>12.7.4. Inputting</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering.html"><strong>Next</strong>12.7.4.3. Fingering</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering.html
@@ -1,9 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.7.4.3. Fingering</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html" title="12.7.4. Inputting" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords.html" title="12.7.4.2. Chords" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Cautionary_Accidentals.html" title="12.7.4.4. Cautionary Accidentals" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src=
"../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Cautionary_Accidentals.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.4.3. Fingering" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering">12.7.4.3. Fingering</h4></div></div
></div><div class="para">
- LilyPond allows you to indicate fingering by attaching the digit number to a note as an articulation mark: <code class="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 class="code">-</code>.
+ LilyPond allows you to indicate fingering by attaching the digit number to a note as an articulation mark: <code class="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 <code class="literal">^</code> or <code class="literal">_</code> 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 class="literal">-</code>.
</div><div class="para">
- When entering chords, it is recommended that you enter the fingering with the note to which it is attached, like <code class="code"><as-1 ces-4>4-_</code>. It is possible to enter this as <code class="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 <code class="literal"><as-1 ces-4>4-_</code>. It is possible to enter this as <code class="literal"><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.
</div><div class="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.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords.html"><strong>Prev</strong>12.7.4.2. Chords</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Cautionary_Accidentals.html"><strong>Next</strong>12.7.4.4. Cautionary Accidentals</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html
@@ -1,16 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.7.4.6. Polyphonic Sections of Homophonic Music</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html" title="12.7.4. Inputting" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html" title="12.7.4.5. Changing the Style of Crescendo" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners.html" title="12.7.4.7. Octave-Change Spanners ("8ve" Signs, "
Ottava Brackets")" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.4.6. Polyphonic Sections of Homophonic Music" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphon
ic_Sections_of_Homophonic_Music"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music">12.7.4.6. Polyphonic Sections of Homophonic Music</h4></div></div></div><div class="para">
- Sometimes, especially in piano music, a passage of some measures will require polyphonic (multi-Voice) notation in LilyPond, even though most of the music does not. In this case, you would use the following format:
-<div class="literallayout"><p><<<br />
- Â Â {<br />
-     % upper voice notes go here<br />
- Â Â }Â \\<br />
- Â Â {<br />
-     % lower voice notes go here<br />
- Â Â }<br />
- >></p></div>
- This is used a few times in both hands in the example score file.
+ 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: <code class="literal"> << { % upper voice notes go here } \\ { % lower voice notes go here } >> </code> This is used a few times in both hands in the example score file.
</div><div class="para">
When writing these sections in "relative" entry mode, it is a good idea to use the "octave-check" mechanism, at least at the beginning of the lower voice. This is because, when judging the relative starting pitch of the first note of the lower voice, LilyPond judges from the last note of the upper voice - ''not'' the last note before the polyphonic section began.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html"><strong>Prev</strong>12.7.4.5. Changing the Style of Crescendo</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners.html"><strong>Next</strong>12.7.4.7. Octave-Change Spanners ("8ve" Signs, "O...</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Articulations.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Articulations.html
index 0010a12..436c383 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Articulations.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Articulations.html
@@ -1,9 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4.3. Articulations</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Syntax.html" title="12.4. LilyPond Basics" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html" title="12.4.2. Numbers Are Durations" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html" title="12.4.4. Simultaneity" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../to
c.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html"><strong>Next</strong></a></li></ul><div class="section" title="12.4.3. Articulations" id="sect-Musicians_Guide-LilyPond-Syntax-Articulations"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Articulations">12.4.3. Articulations</h3></div></div></div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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.
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> manual, and <span class="application"><strong>Frescobaldi</strong></span> remembers most of them for you (they are stored in the left-side panel).
</div><div class="para">
These are some of the most common articulation marks, which use a position indicator unless specified otherwise:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -27,7 +27,7 @@
</div><div class="para">
There are three position indicators:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- <code class="literal">-</code> which means to put the articulation mark wherever LilyPond thinks it makes sense
+ <code class="literal">-</code> which means to put the articulation mark wherever <span class="application"><strong>LilyPond</strong></span> thinks it makes sense
</div></li><li class="listitem"><div class="para">
<code class="literal">_</code> which means to put the articulation mark ''below'' the note-head
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html
index 6b478a9..5348c5d 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html
@@ -1,21 +1,25 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4.8.2. Bar-Check Symbol</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html" title="12.4.8. Avoiding Errors" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html" title="12.4.8. Avoiding Errors" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Counterpoint.html" title="12.5. Working on a Counterpoint Exercise (Tutorial)" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocfra
me" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Counterpoint.html"><strong>Next</strong></a></li></ul><div class="section" title="12.4.8.2. Bar-Check Symbol" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol">12.4.8.
2. Bar-Check Symbol</h4></div></div></div><div class="para">
- 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. <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span> prints a warning.
</div><div class="para">
- The bar-check symbol is <code class="code">|</code>. We recommend including a bar-check symbol at the end of every bar, and inputting only one bar on every line, so that errors are easier to find.
+ The bar-check symbol is <code class="literal">|</code>. We recommend including a bar-check symbol at the end of every bar, and inputting only one bar on every line, so that errors are easier to find.
</div><div class="para">
This example is correct, and will not trigger a warning:
-<div class="literallayout"><p>\time 4/4<br />
- c4 c c c |<br />
- c4 c c c |</p></div>
+<pre class="programlisting">
+\time 4/4
+c4 c c c |
+c4 c c c |
+</pre>
There are four quarter-notes between each bar-check symbol, which is the right number of beats.
</div><div class="para">
This example is incorrect, and will trigger a warning:
-<div class="literallayout"><p>\time 4/4<br />
- c2 c c c |<br />
- c4 c c c |</p></div>
- The first bar has four half-notes, which is twice as many beats as are allowed. LilyPond will print a warning at the first bar-check symbol.
+<pre class="programlisting">
+\time 4/4
+c2 c c c |
+c4 c c c |
+</pre>
+ The first bar has four half-notes, which is twice as many beats as are allowed. <span class="application"><strong>LilyPond</strong></span> will print a warning at the first bar-check symbol.
</div><div class="para">
- You should always fix the first warning printed by LilyPond, then reprocess the file and fix remaining warnings. One mistake sometimes triggers more than one bar-check warning, so if you fix the first warning, the rest may disappear.
+ You should always fix the first warning printed by <span class="application"><strong>LilyPond</strong></span>, then reprocess the file and fix remaining warnings. One mistake sometimes triggers more than one bar-check warning, so if you fix the first warning, the rest may disappear.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html"><strong>Prev</strong>12.4.8. Avoiding Errors</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Counterpoint.html"><strong>Next</strong>12.5. Working on a Counterpoint Exercise (Tutoria...</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html
@@ -1,15 +1,15 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4.8. Avoiding Errors</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Syntax.html" title="12.4. LilyPond Basics" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html" title="12.4.7. Source Files and Their Formatting" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html" title="12.4.8.2. Bar-Check Symbol" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe"
class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html"><strong>Next</strong></a></li></ul><div class="section" title="12.4.8. Avoiding Errors" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">12.4.8. Avoiding Errors
</h3></div></div></div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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.
</div><div class="section" title="12.4.8.1. Octave-Check Symbol" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Octave_Check_Symbol"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Octave_Check_Symbol">12.4.8.1. Octave-Check Symbol</h4></div></div></div><div class="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. <span class="application"><strong>LilyPond</strong></span> prints a warning if the pitches do not match, then continues with the absolute pitch. You should correct the relative pitch when <span class="application"><strong>LilyPond</strong></span> prints a warning.
</div><div class="para">
- The octave-check symbols is <code class="code">=</code>. The symbol appears after the note, and is followed by a comma (<code class="code">,</code>), apostrophe (<code class="code">'</code>), or neither, depending on the intended relative octave of the pitch.
+ The octave-check symbols is <code class="literal">=</code>. The symbol appears after the note, and is followed by a comma (<code class="literal">,</code>), apostrophe (<code class="literal">'</code>), or neither, depending on the intended relative octave of the pitch.
</div><div class="para">
- Here is an example use of the octave-check symbol: <code class="code">c'='''</code>. In this example, the absolute pitch is <code class="code">c'''</code>, which LilyPond knows because of the <code class="code">c</code> at the left, and the <code class="code">'''</code> after the <code class="code">=</code> symbol.
+ Here is an example use of the octave-check symbol: <code class="code">c'='''</code>. In this example, the absolute pitch is <code class="code">c'''</code>, which <span class="application"><strong>LilyPond</strong></span> knows because of the <code class="code">c</code> at the left, and the <code class="code">'''</code> after the <code class="code">=</code> symbol.
</div><div class="para">
- How does this example work: <code class="code">c'=4</code> ? There is a <code class="code">4</code> after the <code class="code">=</code> symbol instead of a comma or apostrophe. The absolute pitch is <code class="code">c</code>, which LilyPond knows because of the <code class="code">c</code> to the left of the <code class="code">=</code> symbol, and because there is no comma or apostrophe to the right of the <code class="code">=</code> symbol. LilyPond understands the <code class="code">4</code> as "quarter note."
+ How does this example work: <code class="code">c'=4</code> ? There is a <code class="code">4</code> after the <code class="code">=</code> symbol instead of a comma or apostrophe. The absolute pitch is <code class="code">c</code>, which <span class="application"><strong>LilyPond</strong></span> knows because of the <code class="code">c</code> to the left of the <code class="code">=</code> symbol, and because there is no comma or apostrophe to the right of the <code class="code">=</code> symbol. <span class="application"><strong>LilyPond</strong></span> understands the <code class="code">4</code> as "quarter note."
</div><div class="para">
You should use the octave-check symbol when you need it. New users use the octave-check symbol more frequently than experienced users.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html"><strong>Prev</strong>12.4.7. Source Files and Their Formatting</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html"><strong>Next</strong>12.4.8.2. Bar-Check Symbol</a></li></ul></body></html>
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4.5. Chords</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Syntax.html" title="12.4. LilyPond Basics" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html" title="12.4.4. Simultaneity" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html" title="12.4.6. Commands" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to vie
w it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html"><strong>Next</strong></a></li></ul><div class="section" title="12.4.5. Chords" id="sect-Musicians_Guide-LilyPond-Syntax-Chords"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</h3></div></div></div><div class="para">
- Making use of the << and >> idea to indicate simultaneity, if a note has multiple pitches indicated between > and < then LilyPond assumes that they are in a chord together. Notating a single chord with single > < brackets has two advantages: firstly, it is easier to see that they are a chord and not something more complex; secondly, it allows you to enter information more clearly.
+ Making use of the <code class="literal"><<</code> and <code class="literal">>></code> idea to indicate simultaneity, if a note has multiple pitches indicated between <code class="literal">></code> and <code class="literal"><</code> then <span class="application"><strong>LilyPond</strong></span> assumes that they are in a chord together. Notating a single chord with single <code class="literal">< ></code> brackets has two advantages: firstly, it is easier to see that they are a chord and not something more complex; secondly, it allows you to enter information more clearly.
</div><div class="para">
- Consider the following examples, which should produce equivalent output: <code class="code"><<g'4->-5 b d>></code> and <code class="code"><g' b d>4->-5</code> With the first example, it is more difficult to see the chord notes, the duration, and what the <code class="literal">5</code> means. With the second example, it is easy to see that the chord notes are a G, a B, and a D, that they have quarter-note duration, and that the <code class="literal">5</code> is actually a fingering indication.
+ Consider the following examples, which should produce equivalent output: <code class="code"><<g'4->-5 b d>></code> and <code class="code"><g' b d>4->-5</code> With the first example, it is more difficult to see the chord notes, the duration, and what the <code class="literal">5</code> means. With the second example, it is easy to see that the chord notes are a <code class="literal">G</code>, a <code class="literal">B</code>, and a <code class="literal">D</code>, that they have quarter-note duration, and that the <code class="literal">5</code> is actually a fingering indication.
</div><div class="para">
- There is another advantage to using < and > for notation of simple chords: they preserve logical continuity in "relative" mode. The following note will always be notated as relative to the lowest note in the chord, regardless of how many octaves the chord covers. This is not true with << and >>, where where following notes will be notated as relative to the last note between the << and >> .
+ There is another advantage to using <code class="literal"><</code> and <code class="literal">></code> 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 <code class="literal"><<</code> and <code class="literal">>></code>, where where following notes will be notated as relative to the last note between the <code class="literal"><<</code> and <code class="literal">>></code>
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html"><strong>Prev</strong>12.4.4. Simultaneity</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html"><strong>Next</strong>12.4.6. Commands</a></li></ul></body></html>
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4.6.2. Contexts</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html" title="12.4.6. Commands" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html" title="12.4.6. Commands" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html" title="12.4.7. Source Files and Their Formatting" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.ht
ml">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html"><strong>Next</strong></a></li></ul><div class="section" title="12.4.6.2. Contexts" id="sect-Musicians_Guide-LilyPond-Syntax-Commands-Contexts"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Commands-Contexts">12.4.6.2. Contexts</h4></div></div></div><div class="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 <span class="application"><strong>LilyPond</strong></span> that often confuses beginners is the idea of contexts. It is an essential concept for modifying default behaviour. Like everything in <span class="application"><strong>LilyPond</strong></span>, 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.
</div><div class="para">
To help clear things up a little, here are three examples:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -39,7 +39,7 @@
</div><div class="para">
To help further clarify, consider the following:
</div><div class="para">
- As in the real world, objects in LilyPond can potentially happen in any context...
+ As in the real world, objects in <span class="application"><strong>LilyPond</strong></span> can potentially happen in any context...
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
(like a doorknob on a door)
</div></li><li class="listitem"><div class="para">
@@ -75,7 +75,7 @@
</div></li></ul></div>
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> designers wisely decided that they could not think of all possible uses for their software, so <span class="application"><strong>LilyPond</strong></span> allows most engravers to be used in most contexts. Furthermore, a context can happen within an other context, which makes sense - a <code class="literal">Voice</code> context only makes sense if it appears on a <code class="literal">Staff</code>, and a <code class="literal">Staff</code> only makes sense if it appears in a <code class="literal">Score</code>.
</div><div class="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.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html"><strong>Prev</strong>12.4.6. Commands</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html"><strong>Next</strong>12.4.7. Source Files and Their Formatting</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Commands.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Commands.html
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4.6. Commands</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Syntax.html" title="12.4. LilyPond Basics" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html" title="12.4.5. Chords" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Commands-Contexts.html" title="12.4.6.2. Contexts" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to vi
ew it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Commands-Contexts.html"><strong>Next</strong></a></li></ul><div class="section" title="12.4.6. Commands" id="sect-Musicians_Guide-LilyPond-Syntax-Commands"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Commands">12.4.6. Commands</h3></div></div></div><div class="para">
- 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 <span class="application"><strong>LilyPond</strong></span>, 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 <span class="application"><strong>LilyPond</strong></span> how you want your score to be rendered.
</div><div class="para">
For example, <code class="code">\time 2/4</code> and <code class="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).
</div><div class="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 <span class="application"><strong>Frescobaldi</strong></span>'s built-in documentation viewer can help out. All of the official <span class="application"><strong>LilyPond</strong></span> documentation is made available in <span class="application"><strong>Frescobaldi</strong></span>, which makes it easy for you to view the documentation and make changes to your score in the same window of the same application.
</div><div class="section" title="12.4.6.1. Customization" id="sect-Musicians_Guide-LilyPond-Syntax-Commands-Customization"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Commands-Customization">12.4.6.1. Customization</h4></div></div></div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span> 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?
</div><div class="para">
If you really must customize some setting, then keep in mind these two points:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Tinkering with LilyPond can become as complex as you want.
+ Tinkering with <span class="application"><strong>LilyPond</strong></span> can become as complex as you want.
</div></li><li class="listitem"><div class="para">
Ultimately all tinkering takes the form of commands.
</div></li></ol></div>
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span>, which makes better solutions available regularly. For this reason, it is recommended to search the official <span class="application"><strong>LilyPond</strong></span> documentation first, then the "<span class="application"><strong>LilyPond</strong></span> Snippet Repository" (LSR - link here), and then Google.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html"><strong>Prev</strong>12.4.5. Chords</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Commands-Contexts.html"><strong>Next</strong>12.4.6.2. Contexts</a></li></ul></body></html>
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4.2. Numbers Are Durations</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Syntax.html" title="12.4. LilyPond Basics" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Syntax.html" title="12.4. LilyPond Basics" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html" title="12.4.3. Articulations" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an i
frame, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html"><strong>Next</strong></a></li></ul><div class="section" title="12.4.2. Numbers Are Durations" id="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">12.4.2. Numbers Are Durations</h3></div></div></div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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.
</div><div class="para">
To add a "dot" to a note (thereby increasing its length by one half), you simply include a period after the number. For example, <code class="literal">e4.</code> means "dotted quarter note on E."
</div><div class="para">
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4.4. Simultaneity</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Syntax.html" title="12.4. LilyPond Basics" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html" title="12.4.3. Articulations" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html" title="12.4.5. Chords" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to
view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html"><strong>Next</strong></a></li></ul><div class="section" title="12.4.4. Simultaneity" id="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">12.4.4. Simultaneity</h3></div></div></div><div class="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 <code class="literal"><<</code> and <code class="literal">>></code> is considered by <span class="application"><strong>LilyPond</strong></span> to happen simultaneously. This can be used in any context (and any Context - see above/below). It is possible to tell <span class="application"><strong>LilyPond</strong></span> 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 <code class="literal"><<</code> and <code class="literal">>></code> to tell <span class="application"><strong>LilyPond</strong></span> that the parts should begin at the same time, and creative use of <code class="literal"><<</code> and <code class="literal">>></code> is one of the keys to advanced notation.
</div><div class="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 <span class="application"><strong>Frescobaldi</strong></span> creates scores for you, and how examples on the internet take advantage of these symbols, you will eventually understand how to use them.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html"><strong>Prev</strong>12.4.3. Articulations</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html"><strong>Next</strong>12.4.5. Chords</a></li></ul></body></html>
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4.7. Source Files and Their Formatting</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Syntax.html" title="12.4. LilyPond Basics" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Syntax-Commands-Contexts.html" title="12.4.6.2. Contexts" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html" title="12.4.8. Avoiding Errors" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../
../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Commands-Contexts.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html"><strong>Next</strong></a></li></ul><div class="section" title="12.4.7. Source Files and Their Formatting" id="sect-Musicians_Guide-LilyPond-Syntax-Source_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Source_Files">12.4.7. Source Files and Their Formatting</
h3></div></div></div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span>, but "code" just means that it isn't normal English (or insert-language-here).
</div><div class="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 <span class="application"><strong>LilyPond</strong></span>, 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 <span class="application"><strong>LilyPond</strong></span>.
</div><div class="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.
</div><div class="section" title="12.4.7.1. Organizing Files, and Where to Put the Notes" id="sect-Musicians_Guide-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-">12.4.7.1. Organizing Files, and Where to Put the Notes</h4></div></div></div><div class="para">
- LilyPond files are constructed as a series of commands. For better or worse, LilyPond's interpreter allows a great deal of flexibility when it comes to source file setup. This can lead to confusion about where things should be done, especially when using automated score-setup tools like Frescobaldi.
+ <span class="application"><strong>LilyPond</strong></span> files are constructed as a series of commands. For better or worse, the <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>Frescobaldi</strong></span>.
</div><div class="para">
- The generic structure of a LilyPond source file is this:
-<div class="literallayout"><p>\version "whatever_version"<br />
- <br />
- \header { things like title, composer, and so on }<br />
- <br />
- \score<br />
- {<br />
-   \new Staff<br />
- Â Â {<br />
-     notes can go here<br />
- Â Â }<br />
- Â Â <br />
- Â Â \layout<br />
- Â Â {<br />
- Â Â }<br />
- <br />
-   and so on<br />
- }</p></div>
+ The generic structure of a <span class="application"><strong>LilyPond</strong></span> source file is this:
+<pre class="programlisting">
+\version <em class="replaceable"><code>version_number</code></em>
+
+\header { <em class="replaceable"><code>things like title, composer, and so on</code></em> }
+
+\score
+{
+ \new Staff
+ {
+ <em class="replaceable"><code>notes go here</code></em>
+ }
+
+ \layout
+ {
+ }
+
+ <em class="replaceable"><code>and so on</code></em>
+}
+</pre>
</div><div class="para">
- Confusion arises here: for maximum flexibility, LilyPond allows source files to create its own commands. On hearing this, you may think, "Okay that's it - I don't need advanced commands or any of this stuff, so I'm packing it in and just using Finale!" There's no need to do that just yet - commands are easy! Think of commands - whether you wrote them or they were included with LilyPond - as a means of text-substition.
+ Confusion arises here: for maximum flexibility, <span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span> - as a means of text-substition.
</div><div class="para">
It works like this:
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- You "define" (create) a command with the form <code class="code">commandName = { lots of commands }</code>
+ You "define" (create) a command with the form <code class="code"><em class="replaceable"><code>commandName</code></em> = { <em class="replaceable"><code>lots of commands</code></em> }</code>
</div></li><li class="step" title="Step 2"><div class="para">
- You can then use the command anywhere below that, as many times as you want, by writing <code class="code">\commandName</code> in your source file. When LilyPond processes that portion of text, it will instead see whatever you wrote in the definition.
+ You can then use the command anywhere below that, as many times as you want, by writing <code class="code">\commandName</code> in your source file. When <span class="application"><strong>LilyPond</strong></span> processes that portion of text, it will instead see whatever you wrote in the definition.
</div></li></ol></div><div class="para">
It's as easy as 1-2!
</div><div class="para">
- Frescobaldi (along with most LilyPond users) take advantage of this functionality to provide well-organized, easy-to-use source files.
+ <span class="application"><strong>Frescobaldi</strong></span> (along with most <span class="application"><strong>LilyPond</strong></span> users) take advantage of this functionality to provide well-organized, easy-to-use source files.
</div><div class="para">
- Here is a good template source file, that might be created for you by Frescobaldi:
-<div class="literallayout"><p>\version "2.12.2"<br />
- <br />
- \header<br />
- {<br />
-   title = "Example"<br />
- }<br />
- <br />
- violin = \relative c''<br />
- {<br />
-   \key c \major<br />
-   \time 4/4<br />
-   % Music follows here.<br />
- }<br />
- <br />
- \score<br />
- {<br />
-   \new Staff \with<br />
- Â Â Â Â {<br />
-       instrumentName = "Violin"<br />
- Â Â Â Â }<br />
- Â Â Â Â \violin<br />
-   \layout { }<br />
- }</p></div>
+ Here is a good template source file, that might be created for you by <span class="application"><strong>Frescobaldi</strong></span>:
+<pre class="programlisting">
+\version "2.12.2"
+
+\header
+{
+ title = "<em class="replaceable"><code>Example</code></em>"
+}
+
+<em class="replaceable"><code>something</code></em> = \relative c''
+{
+ \key <em class="replaceable"><code>c \major</code></em>
+ \time <em class="replaceable"><code>4/4</code></em>
+ % Music follows here.
+}
+
+\score
+{
+ \new Staff \with
+ {
+ instrumentName = "<em class="replaceable"><code>Something</code></em>"
+ }
+ \<em class="replaceable"><code>something</code></em>
+ \layout { }
+}
+</pre>
</div><div class="para">
- This source file makes use of many commands, and even defines "violin" for its own use. It may not be easy to see from this simple example, but keeping your notes separated from the formatting of a complex ''\score'' section will greatly improve the readability of both sections. Furthermore, you will easily be able to search through thousands of lines of source file to find the section that you want.
+ 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 <code class="literal">\score</code> section will greatly improve the readability of both sections. Furthermore, you will easily be able to search through thousands of lines of source file to find the section that you want.
</div><div class="para">
- 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. <span class="application"><strong>Frescobaldi</strong></span> 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.
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> not to create a score as output.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Commands-Contexts.html"><strong>Prev</strong>12.4.6.2. Contexts</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html"><strong>Next</strong>12.4.8. Avoiding Errors</a></li></ul></body></html>
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<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4. LilyPond Basics</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-LilyPond.html" title="Chapter 12. LilyPond" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Installation.html" title="12.3. Requirements and Installation" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html" title="12.4.2. Numbers Are Durations" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../t
oc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Installation.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="12.4. LilyPond Basics" id="sect-Musicians_Guide-LilyPond-Syntax" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-Syntax">12.4. LilyPond Basics</h2></div></div></div><div class="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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4. LilyPond Basics</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-LilyPond.html" title="Chapter 12. LilyPond" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Installation.html" title="12.3. Requirements and Installation" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html" title="12.4.2. Numbers Are Durations" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../t
oc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Installation.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="12.4. LilyPond Basics" id="sect-Musicians_Guide-LilyPond-Syntax" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-Syntax">12.4. <span class="application"><strong>LilyPond</strong></span> Basics</h2
></div></div></div><div class="para">
+ The syntax of <span class="application"><strong>LilyPond</strong></span> 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.
</div><div class="section" title="12.4.1. Letters Are Pitches" id="sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</h3></div></div></div><div class="para">
- One letter is all that's required to create a note in LilyPond. There are additional symbols and letters that are added to indicate further details, like the register, and whether the note is "sharp" or "flat."
+ One letter is all that's required to create a note in <span class="application"><strong>LilyPond</strong></span>. There are additional symbols and letters that are added to indicate further details, like the register, and whether the note is "sharp" or "flat."
</div><div class="para">
Although it can be changed, the default (and recommended) way to indicate "sharp" or "flat" is by using Dutch note-names: "-is" to indicate a sharp, and "-es" to indicate a flat. For example, the following command would create b-double-flat, b-flat, b, b-sharp, and b-double-sharp: <code class="code">beses bes b bis bisis</code> Getting used to these names happens quickly, and they take less time to input than the English alternative. Furthermore, with these names, it becomes possible to sing note-names when you are ear training!
</div><div class="para">
Pitch can be entered either absolutely, or relative to the preceding notes. Usually (for music without frequent large leaps) it is more convenient to use the "relative" mode. The symbols <code class="literal">,</code> and <code class="literal">'</code> (comma and apostrophe) are used to indicate register.
</div><div class="para">
- When entering absolute pitches, the register is indicated mostly as in the Helmholtz system (see <em class="citetitle">Helmholtz Pitch Notation (Wikipedia)</em> at <a href="http://en.wikipedia.org/wiki/Helmholtz_pitch_notation">http://en.wikipedia.org/wiki/Helmholtz_pitch_notation</a>: 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 <em class="citetitle">Scientific Pitch Notation (Wikipedia)</em> at <a href="http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation">http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation</a>) 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 <em class="citetitle">Helmholtz Pitch Notation (Wikipedia)</em> at <a href="http://en.wikipedia.org/wiki/Helmholtz_pitch_notation">http://en.wikipedia.org/wiki/Helmholtz_pitch_notation</a>: 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 <em class="citetitle">Scientific Pitch Notation (Wikipedia)</em> at <a href="http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation">http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation</a>) 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 <span class="application"><strong>LilyPond</strong></span>, or to be able to use it quickly, because most scores will use "relative mode."
</div><div class="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 class="code">c e,</code> so that LilyPond knows what you want. It's the same case if you were to input <code class="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 apostrophe: <code class="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, <span class="application"><strong>LilyPond</strong></span> will always choose the "major third" option. If you wanted <span class="application"><strong>LilyPond</strong></span> to notate the E so that it's a minor sixth, you would tell <span class="application"><strong>LilyPond</strong></span> with a comma appended: <code class="code">c e,</code> so that <span class="application"><strong>LilyPond</strong></span> knows what you want. It's the same case if you were to input <code class="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 <span class="application"><strong>LilyPond</strong></span> to notate it so that the A-flat is a minor sixth higher than the C, you would need to append an apostrophe: <code class="code">c aes'</code>
</div><div class="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. <span class="application"><strong>LilyPond</strong></span> 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), <span class="application"><strong>LilyPond</strong></span> will always notate the interval as an augmented fourth.
</div><div class="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.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html
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@@ -1,9 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.2. The LilyPond Approach</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-LilyPond.html" title="Chapter 12. LilyPond" /><link rel="prev" href="chap-Musicians_Guide-LilyPond.html" title="Chapter 12. LilyPond" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Installation.html" title="12.3. Requirements and Installation" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to
view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-LilyPond.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Installation.html"><strong>Next</strong></a></li></ul><div class="section" title="12.2. The LilyPond Approach" id="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The LilyPond Approach</h2></div></div></div><div class="para">
- For an extensive explanation of the following section, please see the <em class="citetitle">LilyPond Website</em> at <a href="http://www.lilypond.org/about/automated-engraving/">http://www.lilypond.org/about/automated-engraving/</a>, from where this was sourced.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.2. The LilyPond Approach</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-LilyPond.html" title="Chapter 12. LilyPond" /><link rel="prev" href="chap-Musicians_Guide-LilyPond.html" title="Chapter 12. LilyPond" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Installation.html" title="12.3. Requirements and Installation" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to
view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-LilyPond.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Installation.html"><strong>Next</strong></a></li></ul><div class="section" title="12.2. The LilyPond Approach" id="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The <span class="application"><strong>LilyPond</strong></span> Approach</h2></div></div></div><div class="para">
+ For an extensive explanation of the following section, please see the <em class="citetitle"><span class="application"><strong>LilyPond</strong></span> Website</em> at <a href="http://www.lilypond.org/about/automated-engraving/">http://www.lilypond.org/about/automated-engraving/</a>, from where this was sourced.
</div><div class="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.
+ <span class="application"><strong>LilyPond</strong></span> 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. <span class="application"><strong>LilyPond</strong></span> knows how and when to use each tool; if it doesn't know enough about a tool, then it isn't used.
</div><div class="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 <span class="application"><strong>LilyPond</strong></span> 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, <span class="application"><strong>LilyPond</strong></span> then chooses the better possibility.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-LilyPond.html"><strong>Prev</strong>Chapter 12. LilyPond</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Installation.html"><strong>Next</strong>12.3. Requirements and Installation</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Processor_Scheduling.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Processor_Scheduling.html
index 9d282cb..8a78b5f 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Processor_Scheduling.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Processor_Scheduling.html
@@ -3,7 +3,7 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>3.2. Processor Scheduling</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html" title="Chapter 3. Real-Time and Low Latency" /><link rel="prev" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html" title="Chapter 3. Real-Time and Low Latency" /><link rel="next" href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html" title="3.3. The Real-Time Linux Kernel" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe"
class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html"><strong>Next</strong></a></li></ul><div class="section" title="3.2. Processor Scheduling" id="sect-Musicians_Guide-Processor_Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Processor_Scheduling">3.2. Processor Scheduling</h2></div></div></div><div class="para">
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.
</div><div class="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.
</div><div class="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!
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html"><strong>Prev</strong>Chapter 3. Real-Time and Low Latency</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html"><strong>Next</strong>3.3. The Real-Time Linux Kernel</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html
@@ -7,7 +7,7 @@
</div></li><li class="listitem"><div class="para">
In the ''Instruments'' window, click "Import."
</div></li><li class="listitem"><div class="para">
- Navigate to <code class="code">/usr/share/soundfonts</code>
+ Navigate to <code class="filename">/usr/share/soundfonts</code>
</div></li><li class="listitem"><div class="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.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html
index 8658311..ab7830f 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html
@@ -1,12 +1,12 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>9.2.2. Setup Rosegarden</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Rosegarden-Configuration.html" title="9.2. Configuration" /><link rel="prev" href="sect-Musicians_Guide-Rosegarden-Configuration.html" title="9.2. Configuration" /><link rel="next" href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html" title="9.3. Rosegarden and LilyPond" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This
is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Rosegarden-Configuration.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html"><strong>Next</strong></a></li></ul><div class="section" title="9.2.2. Setup Rosegarden" id="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup Rosegarden</h3></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>9.2.2. Setup Rosegarden</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Rosegarden-Configuration.html" title="9.2. Configuration" /><link rel="prev" href="sect-Musicians_Guide-Rosegarden-Configuration.html" title="9.2. Configuration" /><link rel="next" href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html" title="9.3. Rosegarden and LilyPond" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This
is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Rosegarden-Configuration.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html"><strong>Next</strong></a></li></ul><div class="section" title="9.2.2. Setup Rosegarden" id="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup <span class="application"><strong>Rosegarden</strong></span></h3></div></di
v></div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
'Edit > Preferences'
</div></li><li class="listitem"><div class="para">
Setup "General" as desired.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- On "Behaviour" tab maybe "Use JACK Transport"
+ On "Behaviour" tab maybe "Use <span class="application"><strong>JACK</strong></span> Transport"
</div></li><li class="listitem"><div class="para">
On "Extrenal Applications" tab maybe change those to match what's installed (GNOME users)
</div></li></ul></div>
@@ -14,7 +14,7 @@
</div></li><li class="listitem"><div class="para">
Setup "MIDI" as desired.
<div class="itemizedlist"><ul><li class="listitem"><div class="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.
+ On "MIDI Sync" tab maybe set to "Send MIDI Clock, Start and Stop" if <span class="application"><strong>Rosegarden</strong></span> is the ultimate controller, or "Accept Start, Stop and Continue" if it's being controlled. Otherwise "Off" is safe.
</div></li></ul></div>
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Configuration.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Configuration.html
index ada1419..6fffbb5 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Configuration.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Configuration.html
@@ -1,22 +1,22 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>9.2. Configuration</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Rosegarden.html" title="Chapter 9. Rosegarden" /><link rel="prev" href="chap-Musicians_Guide-Rosegarden.html" title="Chapter 9. Rosegarden" /><link rel="next" href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html" title="9.2.2. Setup Rosegarden" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to v
iew it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-Rosegarden.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html"><strong>Next</strong></a></li></ul><div class="section" title="9.2. Configuration" id="sect-Musicians_Guide-Rosegarden-Configuration"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</h2></div></div></div><div class="section" title="9.2.1. Setup JACK and Qsynth" id="sect-Musicians_Guide-Rosegarden
-Configuration-JACK_and_Qsynth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</h3></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>9.2. Configuration</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Rosegarden.html" title="Chapter 9. Rosegarden" /><link rel="prev" href="chap-Musicians_Guide-Rosegarden.html" title="Chapter 9. Rosegarden" /><link rel="next" href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html" title="9.2.2. Setup Rosegarden" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to v
iew it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-Rosegarden.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html"><strong>Next</strong></a></li></ul><div class="section" title="9.2. Configuration" id="sect-Musicians_Guide-Rosegarden-Configuration"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</h2></div></div></div><div class="section" title="9.2.1. Setup JACK and Qsynth" id="sect-Musicians_Guide-Rosegarden
-Configuration-JACK_and_Qsynth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup <span class="application"><strong>JACK</strong></span> and <span class="application"><strong>Qsynth</strong></span></h3></div></div></div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Start QjackCtl to control JACK.
+ Start <span class="application"><strong>QjackCtl</strong></span> to control <span class="application"><strong>JACK</strong></span>.
</div></li><li class="listitem"><div class="para">
- Start Qsynth to control FluidSynth.
+ Start <span class="application"><strong>Qsynth</strong></span> to control FluidSynth.
</div></li><li class="listitem"><div class="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 <a class="xref" href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html" title="10.4.4. MIDI Input Configuration">Section 10.4.4, “MIDI Input Configurationâ€</a>.
+ In order to receive MIDI input from <span class="application"><strong>Rosegarden</strong></span>, <span class="application"><strong>Qsynth</strong></span> will need to be configured to use the "alsa_seq" MIDI Driver. Instructions for doing this can be found in <a class="xref" href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html" title="10.4.4. MIDI Input Configuration">Section 10.4.4, “MIDI Input Configurationâ€</a>.
</div></li><li class="listitem"><div class="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:
+ You may want to disconnect all <span class="application"><strong>JACK</strong></span> connections except for those that you want to use with <span class="application"><strong>Rosegarden</strong></span>. Open <span class="application"><strong>QjackCtl</strong></span>'s "Connect" window, and verify the following:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
On the "Audio" tab:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
Qsynth's output ports are connected to the "system" input ports.
</div></li><li class="listitem"><div class="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.
+ If you plan to use audio in <span class="application"><strong>Rosegarden</strong></span> (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. <span class="application"><strong>Rosegarden</strong></span> does not need to be connected directly to the system output ports if you are only using MIDI.
</div></li><li class="listitem"><div class="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.
+ If you plan to record audio in <span class="application"><strong>Rosegarden</strong></span>, then you will need to connect an output port (probably from "system") to <span class="application"><strong>Rosegarden</strong></span>'s input port. Be aware that <span class="application"><strong>Rosegarden</strong></span> 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.
</div></li></ul></div>
</div></li><li class="listitem"><div class="para">
@@ -38,7 +38,7 @@
</div></li></ul></div>
</div></li><li class="listitem"><div class="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:
+ To make <span class="application"><strong>Rosegarden</strong></span> take commands from another MIDI device, you'll need to connect its output ports to <span class="application"><strong>Rosegarden</strong></span>'s input ports. I don't know what they are for yet:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
0:record in
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html
index f9d0faf..928ea19 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html
@@ -14,7 +14,7 @@
</div></li><li class="listitem"><div class="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.
</div></li><li class="listitem"><div class="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.
+ After setting the program, press 'play' on the transport toolbar, and let it go for just a second. This will allow <span class="application"><strong>Rosegarden</strong></span> 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.
</div></li></ol></div>
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html
index 0017f6a..b88001e 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html
@@ -6,7 +6,7 @@
</div></li><li class="listitem"><div class="para">
In the "Instrument Parameters" portion of the toolbox on the left side of the editor window, check the "Percussion" check-box.
</div></li><li class="listitem"><div class="para">
- Play the transport for just a second, so that Rosegarden synchronized the re-assignment with FluidSynth
+ Play the transport for just a second, so that <span class="application"><strong>Rosegarden</strong></span> synchronized the re-assignment with FluidSynth
</div></li><li class="listitem"><div class="para">
Press 'F3' on the keyboard, or click on the "Draw" tool, which looks like a pencil.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Tutorial.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Tutorial.html
index d12d819..652cb04 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Tutorial.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden-Tutorial.html
@@ -1,16 +1,16 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>9.4. Write a Song in Rosegarden (Tutorial)</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Rosegarden.html" title="Chapter 9. Rosegarden" /><link rel="prev" href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html" title="9.3. Rosegarden and LilyPond" /><link rel="next" href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html" title="9.4.2. Add a Percussion Track" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc"
src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html"><strong>Next</strong></a></li></ul><div class="section" title="9.4. Write a Song in Rosegarden (Tutorial)" id="sect-Musicians_Guide-Rosegarden-Tutorial"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in Rosegarden (Tutorial)</h2></div></di
v></div><div class="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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>9.4. Write a Song in Rosegarden (Tutorial)</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Rosegarden.html" title="Chapter 9. Rosegarden" /><link rel="prev" href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html" title="9.3. Rosegarden and LilyPond" /><link rel="next" href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html" title="9.4.2. Add a Percussion Track" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc"
src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html"><strong>Next</strong></a></li></ul><div class="section" title="9.4. Write a Song in Rosegarden (Tutorial)" id="sect-Musicians_Guide-Rosegarden-Tutorial"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in <span class="application"><strong>Ro
segarden</strong></span> (Tutorial)</h2></div></div></div><div class="para">
+ When using <span class="application"><strong>Rosegarden</strong></span>'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 <span class="application"><strong>Qsynth</strong></span>. If you are using another synthesizer with a panic button, it should server the same function.
</div><div class="section" title="9.4.1. Start the Score with a Bass Line" id="sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</h3></div></div></div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Start QjackCtl, then Qsynth, then Rosegarden.
+ Start <span class="application"><strong>QjackCtl</strong></span>, then <span class="application"><strong>Qsynth</strong></span>, then <span class="application"><strong>Rosegarden</strong></span>.
</div></li><li class="listitem"><div class="para">
For this tutorial, we'll be using the default "Fluid R3" SoundFont, but you can use any General MIDI SoundFont.
</div></li><li class="listitem"><div class="para">
- Setup Rosegarden in JACK for MIDI use only.
+ Setup <span class="application"><strong>Rosegarden</strong></span> in <span class="application"><strong>JACK</strong></span> for MIDI use only.
</div></li><li class="listitem"><div class="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 class="code">FluidSynth</code> for this tutorial) uses the right patches.
+ From the <span class="application"><strong>Rosegarden</strong></span> 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 (<span class="application"><strong>FluidSynth</strong></span> for this tutorial) uses the right patches.
</div></li><li class="listitem"><div class="para">
Create a new segment.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -36,7 +36,7 @@
</div></li><li class="listitem"><div class="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.
</div></li><li class="listitem"><div class="para">
- Close the notation editor - you don't need to click the 'save' button, because Rosegarden will automatically keep your changes.
+ Close the notation editor - you don't need to click the 'save' button, because <span class="application"><strong>Rosegarden</strong></span> will automatically keep your changes.
</div></li><li class="listitem"><div class="para">
You should save the file, though.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden_and_LilyPond.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden_and_LilyPond.html
index 0ce4db2..3467c6b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden_and_LilyPond.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden_and_LilyPond.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>9.3. Rosegarden and LilyPond</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Rosegarden.html" title="Chapter 9. Rosegarden" /><link rel="prev" href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html" title="9.2.2. Setup Rosegarden" /><link rel="next" href="sect-Musicians_Guide-Rosegarden-Tutorial.html" title="9.4. Write a Song in Rosegarden (Tutorial)" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../
../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden-Tutorial.html"><strong>Next</strong></a></li></ul><div class="section" title="9.3. Rosegarden and LilyPond" id="sect-Musicians_Guide-Rosegarden_and_LilyPond"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. Rosegarden and LilyPond</h2></div></div></div><div class="para">
- Rosegarden and LilyPond can be used together, which can greatly enhace your productivity. LilyPond will output a MIDI-format representation of your score if you include a "midi" section in the "score" section. It should look something like this:
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>9.3. Rosegarden and LilyPond</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Rosegarden.html" title="Chapter 9. Rosegarden" /><link rel="prev" href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html" title="9.2.2. Setup Rosegarden" /><link rel="next" href="sect-Musicians_Guide-Rosegarden-Tutorial.html" title="9.4. Write a Song in Rosegarden (Tutorial)" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../
../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden-Tutorial.html"><strong>Next</strong></a></li></ul><div class="section" title="9.3. Rosegarden and LilyPond" id="sect-Musicians_Guide-Rosegarden_and_LilyPond"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. <span class="application"><strong>Rosegarden</strong></span> and LilyPond<
/h2></div></div></div><div class="para">
+ <span class="application"><strong>Rosegarden</strong></span> and LilyPond can be used together, which can greatly enhace your productivity. LilyPond will output a MIDI-format representation of your score if you include a "midi" section in the "score" section. It should look something like this:
<pre class="programlisting">
\score
{
@@ -9,7 +9,7 @@
\midi { }
}
</pre>
- This MIDI file can then be imported into Rosegarden by selecting from the menu 'File > Import > Import MIDI File'. Unfortunately, this will erase the current session, so it can be done only once.
+ This MIDI file can then be imported into <span class="application"><strong>Rosegarden</strong></span> by selecting from the menu 'File > Import > Import MIDI File'. Unfortunately, this will erase the current session, so it can be done only once.
</div><div class="para">
- It is also possible to export MIDI tracks to LilyPond format, which can then be edited further or simply turned into a score. To do this, from the menu select 'File > Export > Export LilyPond File'. After you select a location to save the file, Rosegarden allows you to control some score settings while exporting. After exporting a LilyPond file, you should inspect it with Frescobaldi before relying on it to be correct - computers sometimes make mistakes!
+ 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, <span class="application"><strong>Rosegarden</strong></span> allows you to control some score settings while exporting. After exporting a LilyPond file, you should inspect it with Frescobaldi before relying on it to be correct - computers sometimes make mistakes!
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html"><strong>Prev</strong>9.2.2. Setup Rosegarden</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden-Tutorial.html"><strong>Next</strong>9.4. Write a Song in Rosegarden (Tutorial)</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html
index 23e5e15..afba259 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html
@@ -11,7 +11,39 @@
</div><div class="para">
The interpreter also keeps track of which bus numbers are used for which Bus Objects, so the signals will never get confused. Of course, you can still route signals through those bus numbers without using the Bus Object, but the Bus Class helps us to keep things straight.
</div><div class="para">
- The following messages can also be used with Bus Objects: {| ! Message !! Example !! Purpose |- | index || b.index; || Returns the lowest bus number used by this Bus |- | numChannels || b.numChannels; || Returns the number of busses used by this Bus |- | rate || b.rate; || Returns "audio" or "control," depending on whether the Bus is audio-rate or control-rate. |- | server || b.server; || Returns the name of the server that the Bus represents. The default server is "localhost". |}
+ The following messages/functions can also be used with Bus Objects:
+ <div class="table" title="Table 11.5. Some Functions of the Bus Class"><div class="table-contents"><table summary="Some Functions of the Bus Class" border="1"><colgroup><col align="center" width="33%" /><col align="center" width="33%" /><col align="center" width="33%" /></colgroup><thead><tr><th align="center">
+ Message/Function
+ </th><th align="center">
+ Example
+ </th><th align="center">
+ Return Value
+ </th></tr></thead><tbody><tr><td align="center">
+ index
+ </td><td align="center">
+ <code class="code">b.index;</code>
+ </td><td align="center">
+ The lowest bus number used by this Bus object.
+ </td></tr><tr><td align="center">
+ numChannels
+ </td><td align="center">
+ <code class="code">b.numChannels;</code>
+ </td><td align="center">
+ The number of busses used by this Bus object.
+ </td></tr><tr><td align="center">
+ rate
+ </td><td align="center">
+ <code class="code">b.rate;</code>
+ </td><td align="center">
+ Either <code class="literal">audio</code> or <code class="literal">control</code>.
+ </td></tr><tr><td align="center">
+ server
+ </td><td align="center">
+ <code class="code">b.server;</code>
+ </td><td align="center">
+ The name of the server used by the Bus object. The default server is <code class="literal">localhost</code>
+ </td></tr></tbody></table></div><h6>Table 11.5. Some Functions of the <code class="classname">Bus</code> Class</h6></div><br class="table-break" />
+
</div><div class="para">
When you are done with a Bus, you can release the channels for use by other Bus Objects:
<pre class="programlisting">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html
index 4de37f9..4af0751 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html
@@ -3,7 +3,49 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.2.4. Logical And and Or</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2. Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html" title="11.4.8.2.3. Equality versus Identity" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html" title="11.4.8.2.5.Â
Order of Precedence" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.2.4. Logical And and Or" id="sect-Musicians_Guide-SC-Basic_Programming-Conditi
onal_Execution-Logical_And_and_Or"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or">11.4.8.2.4. Logical <code class="literal">And</code> and <code class="literal">Or</code></h5></div></div></div><div class="para">
The logical And and Or operators must receive two boolean arguments. Logical And returns "true" if both of its arguments are "true". Logical Or returns "true" if one of its arguments are "true".
</div><div class="para">
- The following table illustrates how the <span class="application"><strong>SuperCollider</strong></span> interpreter will evaluate each of the following situations. {| ! If the left sub-expression evaluates to... !! ... and the right sub-expression evaluates to... !! ... then logical And would evaluate to... !! ... and logical Or would evaluate to... |- | true || false || false || true |- | false || true || false || true |- | true || true || true || true |- | false || false || false || false |}
+ The following table illustrates how the <span class="application"><strong>SuperCollider</strong></span> interpreter will evaluate each of the following situations.
+ <div class="table" title="Table 11.3. Truth Table"><div class="table-contents"><table summary="Truth Table" border="1"><colgroup><col align="center" width="25%" /><col align="center" width="25%" /><col align="center" width="25%" /><col align="center" width="25%" /></colgroup><thead><tr><th align="center">
+ If the left sub-expression is...
+ </th><th align="center">
+ ... and the right sub-expression is...
+ </th><th align="center">
+ ... then logical <code class="literal">And</code> evaluates to...
+ </th><th align="center">
+ ... and logical <code class="literal">Or</code> evaluates to...
+ </th></tr></thead><tbody><tr><td align="center">
+ <code class="literal">true</code>
+ </td><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">true</code>
+ </td></tr><tr><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">true</code>
+ </td><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">true</code>
+ </td></tr><tr><td align="center">
+ <code class="literal">true</code>
+ </td><td align="center">
+ <code class="literal">true</code>
+ </td><td align="center">
+ <code class="literal">true</code>
+ </td><td align="center">
+ <code class="literal">true</code>
+ </td></tr><tr><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">false</code>
+ </td><td align="center">
+ <code class="literal">false</code>
+ </td></tr></tbody></table></div><h6>Table 11.3. Truth Table</h6></div><br class="table-break" />
+
</div><div class="para">
The interpreter evaluates the expression on the left first, and then the expression on the right ''only'' if it will influence the outcome. This means that, if the left-side expression of a logical Or operator evaluates to "true", the interpreter will not test the right-side expression, because the result will be "true" anyway. Similarly, if the left-side expression of a logical And operator evaluates to "false", the interpreter will not test the right-side expression, because the result will be "false" anyway.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html
index c869b65..95be40e 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html
@@ -3,11 +3,83 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8. Conditional Execution</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html" title="11.4.7.5. Other Loops" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2. Boolean Expressions" /></head><body class="draft toc_embeded "><div id="t
ocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8. Conditional Execution" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sec
t-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</h3></div></div></div><div class="para">
Conditional execution tells the <span class="application"><strong>SuperCollider</strong></span> interpreter to execute code on the condition that something is true. <span class="application"><strong>SuperCollider</strong></span> offers three conditional execution structures, "if", "switch", and "case" statements. Each of these structures is controlled by one or a series of "boolean expressions" (sometimes called "conditional expressions"), which are composed of "boolean operators".
</div><div class="section" title="11.4.8.1. Boolean Operators" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators">11.4.8.1. Boolean Operators</h4></div></div></div><div class="para">
- Boolean operators evaluate to "true" or "false", and are most useful in boolean expressions, where they help to determine which portion of a program to execute.
+ Boolean operators evaluate to <code class="literal">true</code> or <code class="literal">false</code>, and are most useful in boolean expressions, where they help to determine which portion of a program to execute.
</div><div class="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) |}
+ The following table lists binary boolean operators that take two arguments: one on the left and one on the right. These operators produce either <code class="literal">true</code> or <code class="literal">false</code>.
+ <div class="table" title="Table 11.1. Binary Boolean Operators in SuperCollider"><div class="table-contents"><table summary="Binary Boolean Operators in SuperCollider" border="1"><colgroup><col align="center" width="50%" /><col align="center" width="50%" /></colgroup><thead><tr><th align="center">
+ Operator
+ </th><th align="center">
+ Meaning
+ </th></tr></thead><tbody><tr><td align="center">
+ <
+ </td><td align="center">
+ less than
+ </td></tr><tr><td align="center">
+ <=
+ </td><td align="center">
+ less than or equal to
+ </td></tr><tr><td align="center">
+ >
+ </td><td align="center">
+ greater than
+ </td></tr><tr><td align="center">
+ >=
+ </td><td align="center">
+ greater than or equal to
+ </td></tr><tr><td align="center">
+ ==
+ </td><td align="center">
+ equivalent
+ </td></tr><tr><td align="center">
+ !=
+ </td><td align="center">
+ not equivalent
+ </td></tr><tr><td align="center">
+ ===
+ </td><td align="center">
+ identical (the same object)
+ </td></tr><tr><td align="center">
+ !==
+ </td><td align="center">
+ not identical (not the same object)
+ </td></tr><tr><td align="center">
+ &&
+ </td><td align="center">
+ logical <code class="literal">And</code>
+ </td></tr><tr><td align="center">
+ ||
+ </td><td align="center">
+ logical <code class="literal">Or</code>
+ </td></tr></tbody></table></div><h6>Table 11.1. Binary Boolean Operators in SuperCollider</h6></div><br class="table-break" />
+
</div><div class="para">
- The following table lists "unary" boolean operators, meaning that they take one argument, and work with one of the following syntaxes: <code class="code">argument.operator;</code> or <code class="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 class="code">isPositive</code> is "false" |}
+ The following table lists unary boolean operators that take one arguments. These operators produce either <code class="literal">true</code> or <code class="literal">false</code>.
+ <div class="table" title="Table 11.2. Unary Boolean Operators in SuperCollider"><div class="table-contents"><table summary="Unary Boolean Operators in SuperCollider" border="1"><colgroup><col align="center" width="50%" /><col align="center" width="50%" /></colgroup><thead><tr><th align="center">
+ Operator
+ </th><th align="center">
+ Meaning
+ </th></tr></thead><tbody><tr><td align="center">
+ isPositive
+ </td><td align="center">
+ <code class="literal">true</code> if the argument is greater than or equal to <code class="literal">0</code>
+ </td></tr><tr><td align="center">
+ isStrictlyPositive
+ </td><td align="center">
+ <code class="literal">true</code> if the argument is greater than <code class="literal">0</code>
+ </td></tr><tr><td align="center">
+ isNegative
+ </td><td align="center">
+ <code class="literal">true</code> if <code class="function">isPositive</code> is <code class="literal">false</code>
+ </td></tr></tbody></table></div><h6>Table 11.2. Unary Boolean Operators in SuperCollider</h6></div><br class="table-break" />
+ Unary operators are actually functions, and must be used as such.
+<pre class="programlisting">
+(
+ var x = 5;
+ x.isPositive; // returns "true"
+ isNegative( x ); // returns "false"
+)
+</pre>
+
</div><div class="para">
The use of these operators is explained below in the "Boolean Expressions" section.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html"><strong>Prev</strong>11.4.7.5. Other Loops</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html"><strong>Next</strong>11.4.8.2. Boolean Expressions</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html
index d7d3dac..51a7b46 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html
@@ -17,7 +17,33 @@
Synth.new( \myRandFunc );
)
</pre>
- When you use a UGen as a control-rate UGen, you have to think about its arguments quite differently than when using it as an audio-rate UGen. This table shows how the same argument gives a different result for an audio-rate vs. control-rate UGen used for pitch: {| ! parameter !! audio-rate UGen !! control-rate UGen for pitch |- freq (frequency in Hertz) || controls pitch || controls the speed of oscillation |- add || ?? || re-sets the "zero" (middle) point of the sine wave by adding this to the output |- mul || controls volume level || sets the deviation from the "zero" point |} For an audio-rate SinOsc UGen, you set the frequency and the volume level. For a control-rate UGen, you set the mid-point of oscillation with "add", the extremes of oscillation which will be <code class="code">add - mul</code> and <code class="code">add + mul</code>, and the speed of oscillation with "freq". The end result is very different numbers.
+ 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:
+ <div class="table" title="Table 11.4. Parameters in Audio-Rate and Control-Rate SinOsc UGens"><div class="table-contents"><table summary="Parameters in Audio-Rate and Control-Rate SinOsc UGens" border="1"><colgroup><col align="center" width="33%" /><col align="center" width="33%" /><col align="center" width="33%" /></colgroup><thead><tr><th align="center">
+ Parameter
+ </th><th align="center">
+ In an audio-rate UGen...
+ </th><th align="center">
+ In a control-rate UGen...
+ </th></tr></thead><tbody><tr><td align="center">
+ freq
+ </td><td align="center">
+ controls the pitch
+ </td><td align="center">
+ controls the speed of oscillation
+ </td></tr><tr><td align="center">
+ add
+ </td><td align="center">
+ ??
+ </td><td align="center">
+ sets the middle point of the sine wave by adding this to the output
+ </td></tr><tr><td align="center">
+ mul
+ </td><td align="center">
+ controls volume level
+ </td><td align="center">
+ sets the deviation from "add"
+ </td></tr></tbody></table></div><h6>Table 11.4. Parameters in Audio-Rate and Control-Rate <code class="classname">SinOsc</code> UGens</h6></div><br class="table-break" />
+ For an audio-rate SinOsc UGen, you set the frequency and the volume level. For a control-rate UGen, you set the mid-point of oscillation with "add", the extremes of oscillation which will be <code class="code">add - mul</code> and <code class="code">add + mul</code>, and the speed of oscillation with "freq". The end result is very different numbers.
</div><div class="para">
There is a handy UGen designed specifically for replacing pseudo-randomness in Functions. The following example restores the "ten different pitches" to the example from the last section.
<pre class="programlisting">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html
index 8841158..1da5d16 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html
@@ -58,7 +58,9 @@
</div></li><li class="step" title="Step 11"><div class="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.
</div></li><li class="step" title="Step 12"><div class="para">
- Having <code class="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.
+ Writing
+<pre class="programlisting">SinOsc.ar( [frequencyL_drone,2*frequencyL_drone,5*frequencyL_drone,13*frequencyL_drone,28*frequencyL_drone], mul:0.1 )</pre>
+ 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.
</div></li><li class="step" title="Step 13"><div class="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!
</div></li><li class="step" title="Step 14"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html
index 209437b..f6f5055 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html
@@ -47,11 +47,11 @@
</div></li><li class="step" title="Step 11"><div class="para">
It ''should'' still work. Let's use a loop to get rid of the ten identical lines.
</div></li><li class="step" title="Step 12"><div class="para">
- In SuperCollider, <code class="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 class="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.
+ In SuperCollider, <code class="code"><em class="replaceable"><code>x</code></em>.do( <em class="replaceable"><code>f</code></em> );</code> will send the <code class="literal">value</code> message to the function <code class="literal">f</code> <code class="literal">x</code> times. So, to do this ten times, we should write <code class="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.
</div></li><li class="step" title="Step 13"><div class="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.
</div></li><li class="step" title="Step 14"><div class="para">
- Getting the next two loops working is a little bit more complicated. We know how to run the exact same code in a loop, but we don't know how to change it subtly (by supplying different index numbers for the array, for example). Thankfully, SuperCollider provides a way to keep track of how many times the function in a loop has already been run. The first argument given to a function in a loop is the number of times that the function has ''already'' been executed. The first time it is run, the function receives a 0; if we're using a <code class="code">10.do( ... );</code> loop, then the last time the function is run, it receives a 9 because the function has already been executed 9 times. Since our ten-element array is indexed from 0 to 9, this works perfectly for us.
+ Getting the next two loops working is a little bit more complicated. We know how to run the exact same code in a loop, but we don't know how to change it subtly (by supplying different index numbers for the array, for example). Thankfully, SuperCollider provides a way to keep track of how many times the function in a loop has already been run. The first argument given to a function in a loop is the number of times that the function has ''already'' been executed. The first time it is run, the function receives a 0; if we're using a <code class="code">10.do( <em class="replaceable"><code>something</code></em> );</code> loop, then the last time the function is run, it receives a 9 because the function has already been executed 9 times. Since our ten-element array is indexed from 0 to 9, this works perfectly for us.
</div></li><li class="step" title="Step 15"><div class="para">
The code to free is shorter: <code class="code">10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );</code> This can look confusing, especially written in one line, like it is. If it helps, you might want to write it like this instead:
<pre class="programlisting">
@@ -68,7 +68,7 @@
<pre class="programlisting">10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( sinosc[index].play; ); } ); } );</pre>
which includes some extra parentheses to ensure that the math is computed in the right order.
</div></li><li class="step" title="Step 18"><div class="para">
- The code is already much shorter, easier to understand, and easier to expand or change. There is one further optimzation that we can easily make: get rid of the sinosc array. This simply involves replacing <code class="code">sinosc[index]</code> with what all of its elements are: <code class="code">{func.value;}</code>
+ The code is already much shorter, easier to understand, and easier to expand or change. There is one further optimzation that we can easily make: get rid of the sinosc array. This simply involves replacing <code class="code">sinosc[index]</code> with what all of its elements are: <code class="code">{ func.value; }</code>
</div></li><li class="step" title="Step 19"><div class="para">
The resulting program is a little different from what ended up in FSC_method_1.sc, but produces the same output. What I have is this:
<pre class="programlisting">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html
index 2cfc4b2..55c0ba7 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html
@@ -1,11 +1,11 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.5.6. Scheduling the Tones</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Composing.html" title="11.5. Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html" title="11.5.5. Creating Ten Pseudo-Random Tones" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html" title="11.5.7. Optimizing the Code" /></head><body class="draft toc_embeded "><div id="tocdiv" class="
toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html"><strong>Next</strong></a></li></ul><div class="section" title="11.5.6. Scheduling the Tones" id="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Schedulin
g_the_Tones">11.5.6. Scheduling the Tones</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="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 class="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.
+ 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 class="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 <code class="literal">t_c</code>.
</div></li><li class="step" title="Step 2"><div class="para">
The default TempoClock has a default tempo of one beat per second (1 Hz). This will be good enough for us. If you wanted to change the tempo, remember that you can enter a metronome setting (which is "beats per minute") by dividing the metronome setting by 60. So a metronome's 120 beats per minute would be given to a new TempoClock as <code class="code">TempoClock.new( 120/60 )</code>. Even though you could do that ahead of time and just write "2," inputting it as "120/60" makes it clearer what tempo you intend to set.
</div></li><li class="step" title="Step 3"><div class="para">
- You can schedule something on a TempoClock by using <code class="code">t_c.sched( x, f );</code>, where "f" is a function to execute, and "x" is when it should be done, measured as the number of beats from now. So we can schedule our SinOsc like this:
+ You can schedule something on a TempoClock by using <code class="code">t_c.sched( <em class="replaceable"><code>x</code></em>, <em class="replaceable"><code>f</code></em> );</code>, where <code class="literal">f</code> is a function to execute, and <code class="literal">x</code> is when it should be done, measured as the number of beats from now. So we can schedule our SinOsc like this:
<pre class="programlisting">t_c.sched( 1, {{[ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ]}.play;} );</pre>
</div></li><li class="step" title="Step 4"><div class="para">
Schedule the rest, in intervals of five beats (which is five seconds). They will all be scheduled virtually instantaneously (that is, the computer will notice the slight delay between when each one is scheduled, but humans will not). I started at one beat from now, to insert a slight pause before the sound begins.
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html
index 22151d1..a32d3f3 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.2.2. Software Requirements</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Requirements_and_Installation.html" title="11.2. Requirements and Installation" /><link rel="prev" href="sect-Musicians_Guide-SC-Requirements_and_Installation.html" title="11.2. Requirements and Installation" /><link rel="next" href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html" title="11.2.3. Hardware Requirements" /></head><body class="draft toc_embeded "><div id="tocdiv" class="
toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Requirements_and_Installation.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html"><strong>Next</strong></a></li></ul><div class="section" title="11.2.2. Software Requirements" id="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Req_and_Inst-Software_
Requirements">11.2.2. Software Requirements</h3></div></div></div><div class="para">
- SuperCollider uses the JACK Audio Connection Kit. You should install JACK before installing SuperCollider. Refer to <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> for instructions to install JACK.
+ SuperCollider uses the JACK Audio Connection Kit. You should install JACK before installing SuperCollider. Refer to <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring <code class="systemitem">JACK</code>â€</a> for instructions to install JACK.
</div><div class="para">
SuperCollider is not available from the Fedora software repositories. You must enable the "Planet CCRMA at Home" repository to install SuperCollider. See <a class="xref" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository" title="4.3.1. Installing the Planet CCRMA at Home Repositories">Section 4.3.1, “Installing the Planet CCRMA at Home Repositoriesâ€</a> for instructions ti enable the "Planet CCRMA at Home" repository. The "Planet CCRMA at Home" repository contains a wide variety of music and audio applications.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Requirements_and_Installation.html"><strong>Prev</strong>11.2. Requirements and Installation</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html"><strong>Next</strong>11.2.3. Hardware Requirements</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html
index a901841..bd8128f 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html
@@ -11,5 +11,9 @@
</div></li><li class="step" title="Step 4"><div class="para">
To stop all sound on the server, press 'Esc' on the keyboard, or from the menu select 'SuperCollider > Stop Sound'
</div></li><li class="step" title="Step 5"><div class="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 class="code">Synth("temp_0": 1000)</code>, or this: <code class="code">RESULT = 0</code>.
+ 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:
+<pre class="programlisting">Synth("temp_0": 1000)</pre>
+ or this:
+<pre class="programlisting">RESULT = 0</pre>
+
</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html"><strong>Prev</strong>11.3.2. Enable SuperCollider Mode and Start a Ser...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html"><strong>Next</strong>11.3.4. Other Tips for Using GEdit with SuperColl...</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Sound_Servers-JACK.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Sound_Servers-JACK.html
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@@ -1,5 +1,5 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2.2.2. JACK Audio Connection Kit</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Sound_Servers_Section.html" title="2.2. Sound Servers" /><link rel="prev" href="sect-Musicians_Guide-Sound_Servers_Section.html" title="2.2. Sound Servers" /><link rel="next" href="sect-Musicians_Guide-Sound_Servers-Phonon.html" title="2.2.3. Phonon" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, t
o view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Sound_Servers_Section.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Sound_Servers-Phonon.html"><strong>Next</strong></a></li></ul><div class="section" title="2.2.2. JACK Audio Connection Kit" id="sect-Musicians_Guide-Sound_Servers-JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. JACK Audio Connection Kit</h3></div></div></div><div class="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 <a class="xref" href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html" title="1.4.7. Routing and Multiplexing">Section 1.4.7, “Routing and Multiplexingâ€</a> 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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2.2.2. JACK Audio Connection Kit</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Sound_Servers_Section.html" title="2.2. Sound Servers" /><link rel="prev" href="sect-Musicians_Guide-Sound_Servers_Section.html" title="2.2. Sound Servers" /><link rel="next" href="sect-Musicians_Guide-Sound_Servers-Phonon.html" title="2.2.3. Phonon" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, t
o view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Sound_Servers_Section.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Sound_Servers-Phonon.html"><strong>Next</strong></a></li></ul><div class="section" title="2.2.2. JACK Audio Connection Kit" id="sect-Musicians_Guide-Sound_Servers-JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. <code class="systemitem">JACK</code> Audio Connection Kit</h3></div></div></div><div class="para">
+ The <code class="systemitem">JACK</code> sound server offers fewer features than other sound servers, but they are tailor-made to allow the functionality required by audio creation applications. <code class="systemitem">JACK</code> 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 <a class="xref" href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html" title="1.4.7. Routing and Multiplexing">Section 1.4.7, “Routing and Multiplexingâ€</a> for information about routing and multiplexing). It is also optimized to run with consistently low latencies. Although using <code class="systemitem">JACK</code> requires a better understanding of the underlying hardware, the <span class="application"><strong>QjackCtl</strong></span> application p
rovides a graphical user interface to ease the process.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Sound_Servers_Section.html"><strong>Prev</strong>2.2. Sound Servers</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Sound_Servers-Phonon.html"><strong>Next</strong>2.2.3. Phonon</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Sound_Servers-Phonon.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Sound_Servers-Phonon.html
index 77ea36d..423a1e6 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Sound_Servers-Phonon.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Sound_Servers-Phonon.html
@@ -1,5 +1,5 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2.2.3. Phonon</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Sound_Servers_Section.html" title="2.2. Sound Servers" /><link rel="prev" href="sect-Musicians_Guide-Sound_Servers-JACK.html" title="2.2.2. JACK Audio Connection Kit" /><link rel="next" href="sect-Musicians_Guide-Using_JACK.html" title="2.3. Using the JACK Audio Connection Kit" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an
iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Sound_Servers-JACK.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Using_JACK.html"><strong>Next</strong></a></li></ul><div class="section" title="2.2.3. Phonon" id="sect-Musicians_Guide-Sound_Servers-Phonon"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Sound_Servers-Phonon">2.2.3. Phonon</h3></div></div></div><div class="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 <code class="systemitem">PulseAudio</code>, 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.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Sound_Servers-JACK.html"><strong>Prev</strong>2.2.2. JACK Audio Connection Kit</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Using_JACK.html"><strong>Next</strong>2.3. Using the JACK Audio Connection Kit</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Sound_Servers_Section.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Sound_Servers_Section.html
index 72fb049..1357010 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Sound_Servers_Section.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Sound_Servers_Section.html
@@ -3,7 +3,7 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2.2. Sound Servers</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html" title="Chapter 2. Software for Sound Cards" /><link rel="prev" href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html" title="Chapter 2. Software for Sound Cards" /><link rel="next" href="sect-Musicians_Guide-Sound_Servers-JACK.html" title="2.2.2. JACK Audio Connection Kit" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe
" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Sound_Servers-JACK.html"><strong>Next</strong></a></li></ul><div class="section" title="2.2. Sound Servers" id="sect-Musicians_Guide-Sound_Servers_Section"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Sound_Servers_Section">2.2. Sound Servers</h2></div></div></div><div class="para">
Sound servers are software applications that run "in the background," meaning they are rarely seen by users. They are used to provide another level of abstraction - essentially to automatically take care of certain aspects of using ALSA, thereby making it easier for software applications to use the audio hardware. The three sound servers discussed in this guide have distinctly different goals, provide distinctly different features and capabilities, and should not be viewed as though one is universally better than the others.
</div><div class="section" title="2.2.1. PulseAudio" id="sect-Musicians_Guide-Sound_Servers-PulseAudio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</h3></div></div></div><div class="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.
+ <code class="systemitem">PulseAudio</code> 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 <code class="systemitem">PulseAudio</code>, and <code class="systemitem">PulseAudio</code> will take care of the rest: choosing and controlling a particular device, adjusting the volume, working with other applications, and so on. <code class="systemitem">PulseAudio</code> even has the ability to use "networked sound," which allows two computers using <code class="systemitem">PulseAudio</code> 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 <code class="systemitem">PulseAudio</code>, so no further complication is added to the software.
</div><div class="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 <code class="systemitem">PulseAudio</code> 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.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html"><strong>Prev</strong>Chapter 2. Software for Sound Cards</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Sound_Servers-JACK.html"><strong>Next</strong>2.2.2. JACK Audio Connection Kit</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_JACK.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_JACK.html
index aadbc9c..ad60cc3 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_JACK.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_JACK.html
@@ -1,6 +1,6 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2.3. Using the JACK Audio Connection Kit</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html" title="Chapter 2. Software for Sound Cards" /><link rel="prev" href="sect-Musicians_Guide-Sound_Servers-Phonon.html" title="2.2.3. Phonon" /><link rel="next" href="sect-Musicians_Guide-Using_QjackCtl.html" title="2.3.2. Using QjackCtl" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../
../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Sound_Servers-Phonon.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Using_QjackCtl.html"><strong>Next</strong></a></li></ul><div class="section" title="2.3. Using the JACK Audio Connection Kit" id="sect-Musicians_Guide-Using_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Using_JACK">2.3. Using the JACK Audio Connection Kit</h2></div></div></div><div class="section" title="2.3.1. Installing and Co
nfiguring JACK" id="sect-Musicians_Guide-Install_and_Configure_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</h3></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2.3. Using the JACK Audio Connection Kit</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html" title="Chapter 2. Software for Sound Cards" /><link rel="prev" href="sect-Musicians_Guide-Sound_Servers-Phonon.html" title="2.2.3. Phonon" /><link rel="next" href="sect-Musicians_Guide-Using_QjackCtl.html" title="2.3.2. Using QjackCtl" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../
../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Sound_Servers-Phonon.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Using_QjackCtl.html"><strong>Next</strong></a></li></ul><div class="section" title="2.3. Using the JACK Audio Connection Kit" id="sect-Musicians_Guide-Using_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Using_JACK">2.3. Using the <code class="systemitem">JACK</code> Audio Connection Kit</h2></div></div></div><div class="section"
title="2.3.1. Installing and Configuring JACK" id="sect-Musicians_Guide-Install_and_Configure_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring <code class="systemitem">JACK</code></h3></div></div></div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Ensure that you have installed the Planet CCRMA at Home repositories. For instructions, refer to <a class="xref" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository" title="4.3.1. Installing the Planet CCRMA at Home Repositories">Section 4.3.1, “Installing the Planet CCRMA at Home Repositoriesâ€</a>.
</div></li><li class="listitem"><div class="para">
@@ -8,9 +8,9 @@
</div></li><li class="listitem"><div class="para">
Review and approve the installation, making sure that it completes correctly.
</div></li><li class="listitem"><div class="para">
- Run QjackCtl from the KMenu or the Applications menu.
+ Run <span class="application"><strong>QjackCtl</strong></span> from the KMenu or the Applications menu.
</div></li><li class="listitem"><div class="para">
- To start the JACK server, press the 'Start' button; to stop it, press the 'Stop' button.
+ To start the <code class="systemitem">JACK</code> server, press the 'Start' button; to stop it, press the 'Stop' button.
</div></li><li class="listitem"><div class="para">
Use the 'Messages' button to see messages, which are usually errors or warnings.
</div></li><li class="listitem"><div class="para">
@@ -20,9 +20,9 @@
</div></li></ol></div>
</div><div class="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.
+ <code class="systemitem">JACK</code> 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 <code class="systemitem">JACK</code> sound server, while greatly reducing the risk that an application or user will accidentally or malicious take advantage of the capability.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Add all of the users who will use JACK to the "audio" group. For instructions to add users to groups, see Chapter 22, <em class="citetitle">Users and Groups</em> of the <em class="citetitle">Fedora Deployment Guide</em>, available at <a href="http://docs.fedoraproject.org">http://docs.fedoraproject.org</a>.
+ Add all of the users who will use <code class="systemitem">JACK</code> to the <code class="literal">audio</code> group. For instructions to add users to groups, see Chapter 22, <em class="citetitle">Users and Groups</em> of the <em class="citetitle">Fedora Deployment Guide</em>, available at <a href="http://docs.fedoraproject.org">http://docs.fedoraproject.org</a>.
</div></li><li class="listitem"><div class="para">
The default installation automatically enables real-time priority to be requested by any user or process. This is undesirable, so we will edit it.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -41,28 +41,28 @@
</div></li></ol></div>
</div><div class="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 <span class="application"><strong>QjackCtl</strong></span>, 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 <code class="systemitem">JACK</code> to maintain accurately low latencies. The following procedure configures <code class="systemitem">JACK</code> to connect to the ALSA driver directly.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
Open a terminal. In GNOME, click on 'Applications > System > Terminal'. In KDE, click on the application launcher, then 'System > Konsole'.
</div></li><li class="step" title="Step 2"><div class="para">
Execute this command: "cat /proc/asound/cards".
</div></li><li class="step" title="Step 3"><div class="para">
- The <code class="code">cat</code> program outputs a list of sound cards in your computer, which looks similar to this list:
+ The <span class="application"><strong>cat</strong></span> program outputs a list of sound cards in your computer, which looks similar to this list:
<pre class="programlisting">
0 [SB ]: HDA-Intel - HDA ATI SB
HDA ATI SB at 0xf7ff4000 irq 16
1 [MobilePre ]: USB-Audio - MobilePre
M Audio MobilePre at usb-0000:00:13.0-2
</pre>
- In this example output, the square brackets surround the name of the sound card. The names of the sound cards in this example output are <code class="code">SB</code> and <code class="code">MobilePre</code>.
+ In this example output, the square brackets surround the name of the sound card. The names of the sound cards in this example output are <code class="literal">SB</code> and <code class="literal">MobilePre</code>.
</div></li><li class="step" title="Step 4"><div class="para">
- Identify the name of the sound card that you want to use. If you do not see your sound card in the list outputted by <code class="code">cat</code>, then your Fedora does not detect it.
+ 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 <span class="application"><strong>cat</strong></span>, then your computer does not detect it.
</div></li><li class="step" title="Step 5"><div class="para">
- Start QjackCtl.
+ Start <span class="application"><strong>QjackCtl</strong></span>.
</div></li><li class="step" title="Step 6"><div class="para">
Open the "Setup" window by clicking 'Setup'.
</div></li><li class="step" title="Step 7"><div class="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 class="code">hw:MobilePre</code>.
+ 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 class="literal">hw:MobilePre</code>.
</div></li><li class="step" title="Step 8"><div class="para">
- Save your settings by exiting QjackCtl. If you want to use JACK, restart QjackCtl.
+ Save your settings by exiting <span class="application"><strong>QjackCtl</strong></span>. If you want to use <code class="systemitem">JACK</code>, restart <span class="application"><strong>QjackCtl</strong></span>.
</div></li></ol></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Sound_Servers-Phonon.html"><strong>Prev</strong>2.2.3. Phonon</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Using_QjackCtl.html"><strong>Next</strong>2.3.2. Using QjackCtl</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_QjackCtl.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_QjackCtl.html
index 2240596..98586f5 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_QjackCtl.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_QjackCtl.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2.3.2. Using QjackCtl</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Using_JACK.html" title="2.3. Using the JACK Audio Connection Kit" /><link rel="prev" href="sect-Musicians_Guide-Using_JACK.html" title="2.3. Using the JACK Audio Connection Kit" /><link rel="next" href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html" title="2.3.3. Integrating PulseAudio with JACK" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc
" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Using_JACK.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html"><strong>Next</strong></a></li></ul><div class="section" title="2.3.2. Using QjackCtl" id="sect-Musicians_Guide-Using_QjackCtl"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Using_QjackCtl">2.3.2. Using QjackCtl</h3></div></div></div><div class="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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2.3.2. Using QjackCtl</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Using_JACK.html" title="2.3. Using the JACK Audio Connection Kit" /><link rel="prev" href="sect-Musicians_Guide-Using_JACK.html" title="2.3. Using the JACK Audio Connection Kit" /><link rel="next" href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html" title="2.3.3. Integrating PulseAudio with JACK" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc
" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Using_JACK.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html"><strong>Next</strong></a></li></ul><div class="section" title="2.3.2. Using QjackCtl" id="sect-Musicians_Guide-Using_QjackCtl"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Using_QjackCtl">2.3.2. Using <span class="application"><strong>QjackCtl</strong></span></h3></div></div></div><div clas
s="para">
+ The <span class="application"><strong>QjackCtl</strong></span> 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.
</div><div class="para">
- For more information on QjackCtl, refer to <em class="citetitle">Jack Audio Connection Kit (64studio)</em> at <a href="http://www.64studio.com/manual/audio/jack">http://www.64studio.com/manual/audio/jack</a>.
+ For more information on <span class="application"><strong>QjackCtl</strong></span>, refer to <em class="citetitle">Jack Audio Connection Kit (64studio)</em> at <a href="http://www.64studio.com/manual/audio/jack">http://www.64studio.com/manual/audio/jack</a>.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Using_JACK.html"><strong>Prev</strong>2.3. Using the JACK Audio Connection Kit</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html"><strong>Next</strong>2.3.3. Integrating PulseAudio with JACK</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/pdf/Musicians_Guide/Fedora_Draft_Documentation-0.1-Musicians_Guide-en-US.pdf b/public_html/en-US/Fedora_Draft_Documentation/0.1/pdf/Musicians_Guide/Fedora_Draft_Documentation-0.1-Musicians_Guide-en-US.pdf
index 1c77ff8..9a53c1a 100644
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