[web] MG: reviewed code, emphasis, put in Solfege bibliography

Mon Aug 9 07:03:46 UTC 2010

commit ef1006a05b534ebff695acfea4db8672b0eab84b
Author: Christopher Antila <crantila at fedoraproject.org>
Date:   Mon Aug 9 03:03:04 2010 -0400

    MG: reviewed code, emphasis, put in Solfege bibliography

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 181 files changed, 1279 insertions(+), 1115 deletions(-)
---

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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Musicians' Guide</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><meta name="description" content="This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage." /></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
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 ="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
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 ="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="id503135" 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="id551179" class="legalnotice"><h1 class="legalnotice">Legal Notice</h1><div class="para">
 		Copyright <span class="trademark"></span>Â© 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 Attributionâ€“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="#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.Â Document Conventions" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id670500">1.Â 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="#id530717">1. Document Conventions</a></span></dt><dd><dl><dt><span class="section"><a href="#id1684313">1.1. Typographic Conventions</a></span></dt><dt><span class="section"><a href="#id441573">1.2. Pull-quote Conventions</a></span></dt><dt><span class="section"><a href="#id594783">1.3. Notes and Warnings</a></span></dt></dl></dd><dt><span class="section"><a href="#id494318">2. We Need Feedback!</a></span></dt></dl></dd><dt><span class="part"><a href="#id1626509">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 h
 ref="#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="#sec
 t-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 Sou
 nd 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">JA
 CK</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></dd><dt><span class="part"><a href="#id479500">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-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-Audac
 ity-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></d
 l></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-Mus
 icians_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-Recordin
 g-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_Exis
 ting_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_Pa
 nning">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-Q
 tractor-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_Ar
 ea">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">8.4.1
 2. 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><spa
 n 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 <span class="application"><strong>Qsynth</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without <span class="application"><strong>Qsynth</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst">1
 0.2.5. 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 <span class="application"><strong>Qsynth</strong></span></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. <span class="application"><strong>JACK</strong></span> Output Configuration</a></span></dt><dt><span class="section"><a href="#s
 ect-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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-SuperCollider">11. <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicia
 ns_Guide-SC-Req_and_Inst-Hardware_Requirements">11.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.1.4. Available <span class="application"><strong>SuperCollider</strong></span> Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.1.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.2. Using <span class="application"><strong>GEdit</strong></span> to Write and Run <span class="application"><strong>SuperCollider</strong></span> Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.2.1. Enable and Configure SCEd in <span class="application"><strong>GEdit</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Star
 t_a_Server">11.2.2. Enable <span class="application"><strong>SuperCollider</strong></span> Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.2.3. Executing Code in <span class="application"><strong>GEdit</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.2.4. Other Tips for Using <span class="application"><strong>GEdit</strong></span> with <span class="application"><strong>SuperCollider</strong></span></a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.3. 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">11.3.1. First Steps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Var
 iables_and_Functions">11.3.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.3.3. 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">11.3.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.3.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Collections">11.3.6. Collections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.3.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.3.8. Conditional Execution</a></span></dt><dt><span class="section"><a hr
 ef="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.3.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.3.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.3.11. Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.3.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.3.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.3.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.3.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect
 -Musicians_Guide-SuperCollider-Composing">11.4. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.4.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.4.2. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.4.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.4.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.4.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.4.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Gu
 ide-SC-Composing-Optimizing_the_Code">11.4.7. 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">11.4.8. 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">11.4.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.5. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.5.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.5.2. 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></sp
 an></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-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-Starti
 ng_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-Inputti
 ng">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Formatting">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Frescobaldi">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Installation">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-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 c
 lass="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-Config
 uration">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 clas
 s="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="#id1626418">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.Â Document Conventions" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id530717">1.Â 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.Â Typographic Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id767513">1.1.Â Typographic Conventions</h3></div></div></div><div class="para">
+	</div><div class="section" title="1.1.Â Typographic Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id1684313">1.1.Â 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.Â Pull-quote Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id502280">1.2.Â Pull-quote Conventions</h3></div></div></div><div class="para">
+			</div></blockquote></div></div><div class="section" title="1.2.Â Pull-quote Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id441573">1.2.Â 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.Â Notes and Warnings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id568729">1.3.Â Notes and Warnings</h3></div></div></div><div class="para">
+}</pre></div><div class="section" title="1.3.Â Notes and Warnings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id594783">1.3.Â 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.
@@ -108,13 +108,13 @@ 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.Â We Need Feedback!" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id506209">2.Â We Need Feedback!</h2></div></div></div><a id="id506221" class="indexterm"></a><div class="para">
+			</div></div></div></div><div xml:lang="en-US" class="section" title="2.Â We Need Feedback!" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id494318">2.Â We Need Feedback!</h2></div></div></div><a id="id494330" 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="PartÂ I.Â Linux Audio Basics" id="id495350"><div class="titlepage"><div><div text-align="center"><h1 class="title">PartÂ I.Â Linux Audio Basics</h1></div></div></div><div class="partintro" title="Linux Audio Basics" id="id495357"><div></div><div class="para">
+	</div></div></div><div class="part" title="PartÂ I.Â Linux Audio Basics" id="id1626509"><div class="titlepage"><div><div text-align="center"><h1 class="title">PartÂ I.Â Linux Audio Basics</h1></div></div></div><div class="partintro" title="Linux Audio Basics" id="id479467"><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. <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="ChapterÂ 1.Â Sound Cards and Digital Audio" id="chap-Musicians_Guide-Sound_Cards" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 1.Â 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.
@@ -169,13 +169,13 @@ books_tests  Desktop1  downloads      images  notes  scripts  svgs</pre><div cla
 			</div><div class="para">
 				Here are some widely-used sample rates and sample formats. You can use these to help you decide which sample rate and sample format to use. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							16-bit samples, 44.1Â kHz sample rate. Used for audio CDs. Widely compatible. Bit rate of 705.6Â kb/s)
+							16-bit samples, 44.1Â kHz sample rate. Used for audio CDs. Widely compatible. Bit rate of 705.6Â kb/s.
 						</div></li><li class="listitem"><div class="para">
-							24-bit samples, and 96Â kHz sample rate. Audio CDs are recorded with these settings, and "down-mixed" later. Bit rate of 2304Â kb/s)
+							24-bit samples, and 96Â kHz sample rate. Audio CDs are recorded with these settings, and "down-mixed" later. Bit rate of 2304Â kb/s.
 						</div></li><li class="listitem"><div class="para">
-							24-bit samples, and 192Â kHz sample rate. Maximum settings for DVD Audio, but not widely compatible. Bit rate of 4608Â kb/s)
+							24-bit samples, and 192Â kHz sample rate. Maximum settings for DVD Audio, but not widely compatible. Bit rate of 4608Â kb/s.
 						</div></li><li class="listitem"><div class="para">
-							1-bit bit rate, and 2822.4Â kHz sample rate. Used for SuperAudio CDs. Very rare elsewhere. Bit rate of 2822.4Â kb/s)
+							1-bit samples, and 2822.4Â kHz sample rate. Used for SuperAudio CDs. Very rare elsewhere. Bit rate of 2822.4Â kb/s.
 						</div></li></ul></div>
 
 			</div><div class="para">
@@ -183,21 +183,21 @@ books_tests  Desktop1  downloads      images  notes  scripts  svgs</pre><div cla
 			</div></div></div><div xml:lang="en-US" class="section" title="1.4.Â Other Digital Audio Concepts" id="chap-Musicians_Guide-Vocabulary" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="chap-Musicians_Guide-Vocabulary">1.4.Â Other Digital Audio Concepts</h2></div></div></div><div class="para">
 		These terms are used in many different audio contexts. Understanding them is important to knowing how to operate audio equipment in general, whether computer-based or not.
 	</div><div class="section" title="1.4.1.Â MIDI Sequencer" id="sect-Musicians_Guide-Vocabulary-MIDI_Sequencer"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1.Â MIDI Sequencer</h3></div></div></div><div class="para">
-			A '''sequencer''' is a device or software program that produces signals that a synthesizer turns into sound. You can also use a sequencer to arrange MIDI signals into music. The Musicians' Guide covers two digital audio workstations (DAWs) that are primarily MIDI sequencers, Qtractor and Rosegarden. All three DAWs in this guide use MIDI signals to control other devices or effects.
+			A <em class="firstterm">sequencer</em> is a device or software program that produces signals that a synthesizer turns into sound. You can also use a sequencer to arrange MIDI signals into music. The Musicians' Guide covers two digital audio workstations (DAWs) that are primarily MIDI sequencers, Qtractor and Rosegarden. All three DAWs in this guide use MIDI signals to control other devices or effects.
 		</div></div><div class="section" title="1.4.2.Â Busses, Master Bus, and Sub-Master Bus" id="sect-Musicians_Guide-Vocabulary-Bus"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Bus">1.4.2.Â Busses, Master Bus, and Sub-Master Bus</h3></div></div></div><div class="para">
 			<span class="inlinemediaobject"><img src="./images/FMG-bus.png" width="444" /></span>
 			 <span class="inlinemediaobject"><img src="./images/FMG-master_sub_bus.png" width="444" /></span>
 
 		</div><div class="para">
-			An '''audio bus''' sends audio signals from one place to another. Many different signals can be inputted to a bus simultaneously, and many different devices or applications can read from a bus simultaneously. Signals inputted to a bus are mixed together, and cannot be separated after entering a bus. All devices or applications reading from a bus receive the same signal.
+			An <em class="firstterm">audio bus</em> sends audio signals from one place to another. Many different signals can be inputted to a bus simultaneously, and many different devices or applications can read from a bus simultaneously. Signals inputted to a bus are mixed together, and cannot be separated after entering a bus. All devices or applications reading from a bus receive the same signal.
 		</div><div class="para">
-			All audio routed out of a program passes through the master bus. The '''master bus''' combines all audio tracks, allowing for final level adjustments and simpler mastering. The primary purpose of the master bus is to mix all of the tracks into two channels.
+			All audio routed out of a program passes through the master bus. The <em class="firstterm">master bus</em> combines all audio tracks, allowing for final level adjustments and simpler mastering. The primary purpose of the master bus is to mix all of the tracks into two channels.
 		</div><div class="para">
-			A '''sub-master bus''' combines audio signals before they reach the master bus. Using a sub-master bus is optional. They allow you to adjust more than one track in the same way, without affecting all the tracks.
+			A <em class="firstterm">sub-master bus</em> combines audio signals before they reach the master bus. Using a sub-master bus is optional. They allow you to adjust more than one track in the same way, without affecting all the tracks.
 		</div><div class="para">
 			Audio busses are also used to send audio into effects processors.
 		</div></div><div class="section" title="1.4.3.Â Level (Volume/Loudness)" id="sect-Musicians_Guide-Vocabulary-Level"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Level">1.4.3.Â Level (Volume/Loudness)</h3></div></div></div><div class="para">
-			The perceived '''volume''' or '''loudness''' of sound is a complex phenomenon, not entirely understood by experts. One widely-agreed method of assessing loudness is by measuring the sound pressure level (SPL), which is measured in decibels (dB) or bels (B, equal to ten decibels). In audio production communities, this is called "level." The '''level''' of an audio signal is one way of measuring the signal's perceived loudness. The level is part of the information stored in an audio file.
+			The perceived <em class="firstterm">volume</em> or <em class="firstterm">loudness</em> of sound is a complex phenomenon, not entirely understood by experts. One widely-agreed method of assessing loudness is by measuring the sound pressure level (SPL), which is measured in decibels (dB) or bels (B, equal to ten decibels). In audio production communities, this is called level. The <em class="firstterm">level</em> of an audio signal is one way of measuring the signal's perceived loudness. The level is part of the information stored in an audio file.
 		</div><div class="para">
 			There are many different ways to monitor and adjust the level of an audio signal, and there is no widely-agreed practice. One reason for this situation is the technical limitations of recorded audio. Most level meters are designed so that the average level is -6Â dB on the meter, and the maximum level is 0Â dB. This practice was developed for analog audio. We recommend using an external meter and the "K-system," described in a link below. The K-system for level metering was developed for digital audio.
 		</div><div class="para">
@@ -222,11 +222,11 @@ books_tests  Desktop1  downloads      images  notes  scripts  svgs</pre><div cla
 					</div></li></ul></div>
 
 		</div></div><div class="section" title="1.4.4.Â Panning and Balance" id="sect-Musicians_Guide-Vocabulary-Panning_and_Balance"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4.Â Panning and Balance</h3></div></div></div><div class="mediaobject"><img src="./images/FMG-Balance_and_Panning.png" width="444" /></div><div class="para">
-			'''Panning''' adjusts the portion of a channel's signal that is sent to each output channel. In a stereophonic (two-channel) setup, the two channels represent the "left" and the "right" speakers. Two channels of recorded audio are available in the DAW, and the default setup sends all of the "left" recorded channel to the "left" output channel, and all of the "right" recorded channel to the "right" output channel. Panning sends some of the left recorded channel's level to the right output channel, or some of the right recorded channel's level to the left output channel. Each recorded channel has a constant total output level, which is divided between the two output channels.
+			<em class="firstterm">Panning</em> adjusts the portion of a channel's signal that is sent to each output channel. In a stereophonic (two-channel) setup, the two channels represent the "left" and the "right" speakers. Two channels of recorded audio are available in the DAW, and the default setup sends all of the "left" recorded channel to the "left" output channel, and all of the "right" recorded channel to the "right" output channel. Panning sends some of the left recorded channel's level to the right output channel, or some of the right recorded channel's level to the left output channel. Each recorded channel has a constant total output level, which is divided between the two output channels.
 		</div><div class="para">
 			The default setup for a left recorded channel is for "full left" panning, meaning that 100% of the output level is output to the left output channel. An audio engineer might adjust this so that 80% of the recorded channel's level is output to the left output channel, and 20% of the level is output to the right output channel. An audio engineer might make the left recorded channel sound like it is in front of the listener by setting the panner to "center," meaning that 50% of the output level is output to both the left and right output channels.
 		</div><div class="para">
-			Balance is sometimes confused with panning, even on commercially-available audio equipment. Adjusting the '''balance''' changes the volume level of the output channels, without redirecting the recorded signal. The default setting for balance is "center," meaning 0% change to the volume level. As you adjust the dial from "center" toward the "full left" setting, the volume level of the right output channel is decreased, and the volume level of the left output channel remains constant. As you adjust the dial from "center" toward the "full right" setting, the volume level of the left output channel is decreased, and the volume level of the right output channel remains constant. If you set the dial to "20% left," the audio equipment would reduce the volume level of the right output channel by 20%, increasing the perceived loudness of the left output channel by approximately 20%.
+			Balance is sometimes confused with panning, even on commercially-available audio equipment. Adjusting the <em class="firstterm">balance</em> changes the volume level of the output channels, without redirecting the recorded signal. The default setting for balance is "center," meaning 0% change to the volume level. As you adjust the dial from "center" toward the "full left" setting, the volume level of the right output channel is decreased, and the volume level of the left output channel remains constant. As you adjust the dial from "center" toward the "full right" setting, the volume level of the left output channel is decreased, and the volume level of the right output channel remains constant. If you set the dial to "20% left," the audio equipment would reduce the volume level of the right output channel by 20%, increasing the perceived loudness of the left output channel by approximately 20%.
 		</div><div class="para">
 			You should adjust the balance so that you perceive both speakers as equally loud. Balance compensates for poorly set up listening environments, where the speakers are not equal distances from the listener. If the left speaker is closer to you than the right speaker, you can adjust the balance to the right, which decreases the volume level of the left speaker. This is not an ideal solution, but sometimes it is impossible or impractical to set up your speakers correctly. You should adjust the balance only at final playback.
 		</div></div><div class="section" title="1.4.5.Â Time, Timeline, and Time-Shifting" id="sect-Musicians_Guide-Vocabulary-Time"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Time">1.4.5.Â Time, Timeline, and Time-Shifting</h3></div></div></div><div class="para">
@@ -242,18 +242,18 @@ books_tests  Desktop1  downloads      images  notes  scripts  svgs</pre><div cla
 					</div></li></ul></div>
 
 		</div><div class="para">
-			Most audio software, particularly digital audio workstations (DAWs), allow the user to choose which scale they prefer. DAWs use a '''timeline''' to display the progression of time in a session, allowing you to do '''time-shifting'''; that is, adjust the time in the timeline when a region starts to be played.
+			Most audio software, particularly digital audio workstations (DAWs), allow the user to choose which scale they prefer. DAWs use a <em class="firstterm">timeline</em> to display the progression of time in a session, allowing you to do <em class="firstterm">time-shifting</em>; that is, adjust the time in the timeline when a region starts to be played.
 		</div><div class="para">
 			Time is represented horizontally, where the leftmost point is the beginning of the session (zero, regardless of the unit of measurement), and the rightmost point is some distance after the end of the session.
 		</div></div><div class="section" title="1.4.6.Â Synchronization" id="sect-Musicians_Guide-Vocabulary-Synchronization"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6.Â Synchronization</h3></div></div></div><div class="para">
-			'''Synchronization''' is synchronizing the operation of multiple tools, frequently the movement of the transport. Synchronization also controls automation across applications and devices. MIDI signals are usually used for synchronization.
+			<em class="firstterm">Synchronization</em> coordinates the operation of multiple tools, most often the movement of the transport. Synchronization also controls automation across applications and devices. MIDI signals are usually used for synchronization.
 		</div></div><div class="section" title="1.4.7.Â Routing and Multiplexing" id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7.Â Routing and Multiplexing</h3></div></div></div><div class="para">
 			<span class="inlinemediaobject"><img src="./images/FMG-routing_and_multiplexing.png" width="444" /></span>
-			 '''Routing''' audio transmits a signal from one place to another - between applications, between parts of applications, or between devices. On Linux systems, the JACK Audio Connection Kit is used for audio routing. JACK-aware applications (and PulseAudio ones, if so configured) provide inputs and outputs to the JACK server, depending on their configuration. The QjackCtl application can adjust the default connections. You can easily reroute the output of a program like FluidSynth so that it can be recorded by Ardour, for example, by using QjackCtl.
+			 <em class="firstterm">Routing</em> audio transmits a signal from one place to another - between applications, between parts of applications, or between devices. On Linux systems, the <code class="systemitem">JACK Audio Connection Kit</code> is used for audio routing. <code class="systemitem">JACK</code>-aware applications (and <code class="systemitem">PulseAudio</code> ones, if so configured) provide inputs and outputs to the <code class="systemitem">JACK</code> server, depending on their configuration. The <span class="application"><strong>QjackCtl</strong></span> application can adjust the default connections. You can easily reroute the output of a program like FluidSynth so that it can be recorded by <span class="application"><strong>Ardour</strong></span>, for example, by using <span class="application"><strong>QjackCtl</strong></span>.
 		</div><div class="para">
-			'''Multiplexing''' allows you to connect multiple devices and applications to a single input or output. QjackCtl allows you to easily perform multiplexing. This may not seem important, but remember that only one connection is possible with a physical device like an audio interface. Before computers were used for music production, multiplexing required physical devices to split or combine the signals.
+			<em class="firstterm">Multiplexing</em> allows you to connect multiple devices and applications to a single input or output. <span class="application"><strong>QjackCtl</strong></span> allows you to easily perform multiplexing. This may not seem important, but remember that only one connection is possible with a physical device like an audio interface. Before computers were used for music production, multiplexing required physical devices to split or combine the signals.
 		</div></div><div class="section" title="1.4.8.Â Multichannel Audio" id="sect-Musicians_Guide-Multichannel_Audio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Multichannel_Audio">1.4.8.Â Multichannel Audio</h3></div></div></div><div class="para">
-			An '''audio channel''' is a single path of audio data. '''Multichannel audio''' is any audio which uses more than one channel simultaneously, allowing the transmission of more audio data than single-channel audio.
+			An <em class="firstterm">audio channel</em> is a single path of audio data. <em class="firstterm">Multichannel audio</em> is any audio which uses more than one channel simultaneously, allowing the transmission of more audio data than single-channel audio.
 		</div><div class="para">
 			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">
@@ -378,27 +378,27 @@ load-module module-jack-source
 			</div></div></div></div><div xml:lang="en-US" class="chapter" title="ChapterÂ 3.Â 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">ChapterÂ 3.Â 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">
 		It is perhaps a common perception that computers can compute things instantaneously. Anybody who has ever waited for a web page to load has first-hand experience that this is not the case: computers take time to do things, even if the amount of time is often imperceptible to human observers. Moreover, a computer doing one thing can seem like it's acting nearly instantaneously, but a computer doing fifteen things will have a more difficult time keeping up appearances.
 	</div><div class="section" title="3.1.Â Why Low Latency Is Desirable" id="sect-Musicians_Guide-Low_Latency"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Low_Latency">3.1.Â Why Low Latency Is Desirable</h2></div></div></div><div class="para">
-			When computer audio specialists talk about a computer acting in '''real-time''', they mean that it is acting with only an imperceptible delay. A computer cannot act on something instantaneously, and the amount of waiting time between an input and its output is called '''latency'''. In order for the delay between input and output to be perceived as non-existant (in other words, for a computer to "react in real-time,") the latency must be low.
+			When computer audio specialists talk about a computer acting in <em class="firstterm">real-time</em>, they mean that it is acting with only an imperceptible delay. A computer cannot act on something instantaneously, and the amount of waiting time between an input and its output is called <em class="firstterm">latency</em>. In order for the delay between input and output to be perceived as non-existant (in other words, for a computer to "react in real-time,") the latency must be low.
 		</div><div class="para">
-			For periodic tasks, like processing audio (which has a consistently recurring amount of data per second), low latency is desirable, but ''consistent'' latency is usually more important. Think of it like this: years ago in North America, milk was delivered to homes by a dedicated delivery person. Imagine if the milk delivery person had a medium-latency, but consistent schedule, returning every seven days. You would be able to plan for how much milk to buy, and to limit your intake so that you don't run out too soon. Now imagine if the milk delivery person had a low-latency, but inconsistent schedule, returning every one to four days. You would never be sure how much milk to buy, and you wouldn't know how to limit yourself. Sometimes there would be too much milk, and sometimes you would run out. Audio-processing and synthesis software behaves in a similar way: if it has a consistent amount of latency, it can plan accordingly. If it has an inconsistent amount of latency - wh
 ether large or small - there will sometimes be too much data, and sometimes not enough. If your application runs out of audio data, there will be noise or silence in the audio signal - both bad things.
+			For periodic tasks, like processing audio (which has a consistently recurring amount of data per second), low latency is desirable, but <span class="emphasis"><em>consistent</em></span> latency is usually more important. Think of it like this: years ago in North America, milk was delivered to homes by a dedicated delivery person. Imagine if the milk delivery person had a medium-latency, but consistent schedule, returning every seven days. You would be able to plan for how much milk to buy, and to limit your intake so that you don't run out too soon. Now imagine if the milk delivery person had a low-latency, but inconsistent schedule, returning every one to four days. You would never be sure how much milk to buy, and you wouldn't know how to limit yourself. Sometimes there would be too much milk, and sometimes you would run out. Audio-processing and synthesis software behaves in a similar way: if it has a consistent amount of latency, it can plan accordingly. If it has an 
 inconsistent amount of latency - whether large or small - there will sometimes be too much data, and sometimes not enough. If your application runs out of audio data, there will be noise or silence in the audio signal - both bad things.
 		</div><div class="para">
 			Relatively low latency is still important, so that your computer reacts imperceptibly quickly to what's going on. The point is that the difference between an 8Â ms target latency and a 16Â ms target latency is almost certainly imperceptible to humans, but the higher latency may help your computer to be more consistent - and that's more important.
 		</div></div><div class="section" title="3.2.Â 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.Â 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 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 <em class="firstterm">kernel</em>) is responsible for deciding which process gets to execute at what time. This responsibility is called "scheduling." Scheduling access to the processor is called, <em class="firstterm">processor scheduling</em>. 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.Â 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.Â The Real-Time Linux Kernel</h2></div></div></div><div class="para">
 			There is a "real-time patch" for the Linux kernel which enables the processor to unfairly schedule certain processes that ask for higher priority. Although the term "patch" may make it seem like this is just a partial solution, it really refers to the fact that the programming code used to enable this kind of unfair scheduling is not included in standard kernels; the standard kernel code must have this code "patched" into it.
 		</div><div class="para">
-			The default behaviour of a real-time kernel is still to use the "fair queueing" system by default. This is good, because most processes don't need to have consistently low latencies. Only specific processes are designed to request high-priority scheduling. Each process is given (or asks for) a priority number, and the real-time kernel will always give processing time to the process with the highest priority number, even if that process uses up ''all'' of the available processing time. This puts regular applications at a disadvantage: when a high-priority process is running, the rest of the system may be unable to function properly. In extreme (and very rare!) cases, a real-time process can encounter an error, use up all the processing time, and disallow any other process from running - effectively locking you out of your computer. Security measures have been taken to help ensure this doesn't happen, but as with anything, there is no guarantee. If you use a real-time kerne
 l, you are exposing yourself to a slightly higher risk of system crashes.
+			The default behaviour of a real-time kernel is still to use the "fair queueing" system by default. This is good, because most processes don't need to have consistently low latencies. Only specific processes are designed to request high-priority scheduling. Each process is given (or asks for) a priority number, and the real-time kernel will always give processing time to the process with the highest priority number, even if that process uses up <span class="emphasis"><em>all</em></span> of the available processing time. This puts regular applications at a disadvantage: when a high-priority process is running, the rest of the system may be unable to function properly. In extreme (and very rare!) cases, a real-time process can encounter an error, use up all the processing time, and disallow any other process from running - effectively locking you out of your computer. Security measures have been taken to help ensure this doesn't happen, but as with anything, there is no guar
 antee. If you use a real-time kernel, you are exposing yourself to a slightly higher risk of system crashes.
 		</div><div class="para">
 			A real-time kernel should not be used on a computer that acts as a server, for these reasons.
 		</div></div><div class="section" title="3.4.Â Hard and Soft Real-Time" id="sect-Musicians_Guide-Hard_and_Soft_Real_Time"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Hard_and_Soft_Real_Time">3.4.Â Hard and Soft Real-Time</h2></div></div></div><div class="para">
-			Finally, there are two different kinds of real-time scheduling. The Linux kernel, even at its most extreme, uses only '''soft real-time'''. This means that, while processor and other scheduling algorithms may be optimized to give preference to higher-priority processes, no absolute guarantee of performance can be made. A real-time kernel helps to greatly reduce the chance of an audio process running out of data, but sometimes it can still happen.
+			Finally, there are two different kinds of real-time scheduling. The Linux kernel, even at its most extreme, uses only <em class="firstterm">soft real-time</em>. This means that, while processor and other scheduling algorithms may be optimized to give preference to higher-priority processes, no absolute guarantee of performance can be made. A real-time kernel helps to greatly reduce the chance of an audio process running out of data, but sometimes it can still happen.
 		</div><div class="para">
-			A '''hard real-time''' computer is designed for specialized purposes, where even the smallest amount of latency can make the difference between life and death. These systems are implemented in hardware as well as software. Example uses include triggering airbag deployment in automobile crashes, and monitoring the heart rate of a patient during an operation. These computers are not particularly multi-functional, which is part of their means to accomplishing a guaranteed low latency.
+			A <em class="firstterm">hard real-time</em> computer is designed for specialized purposes, where even the smallest amount of latency can make the difference between life and death. These systems are implemented in hardware as well as software. Example uses include triggering airbag deployment in automobile crashes, and monitoring the heart rate of a patient during an operation. These computers are not particularly multi-functional, which is part of their means to accomplishing a guaranteed low latency.
 		</div></div><div class="section" title="3.5.Â Getting a Real-Time Kernel in Fedora Linux" id="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora">3.5.Â Getting a Real-Time Kernel in Fedora Linux</h2></div></div></div><div class="para">
 			In Fedora Linux, the real-time kernel is provided by the Planet CCRMA at Home software repositories. Along with the warnings in the Planet CCRMA at Home chapter (see <a class="xref" href="#sect-Musicians_Guide-CCRMA_Security_and_Stability" title="4.2.2.Â Security and Stability">SectionÂ 4.2.2, â€œSecurity and Stabilityâ€</a>), here is one more to consider: the real-time kernel is used by fewer people than the standard kernel, so it is less well-tested. The changes of something going wrong are relatively low, but be aware that using a real-time kernel increases the level of risk. Always leave a non-real-time option available, in case the real-time kernel stops working.
 		</div><div class="para">
@@ -426,7 +426,7 @@ load-module module-jack-source
 			</div><div class="para">
 				This is also a potential security weakness, for users who install the Planet CCRMA repository, but do not install any of its software. When "yum" finds a newer version of an installed application, it will be installed, regardless of the repository. This may happen to you without you noticing, so that you begin using Planet CCRMA software without knowing it.
 			</div></div><div class="section" title="4.2.2.Â Security and Stability" id="sect-Musicians_Guide-CCRMA_Security_and_Stability"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_Security_and_Stability">4.2.2.Â Security and Stability</h3></div></div></div><div class="para">
-				The biggest reason that you should avoid installing the Planet CCRMA at Home repository unless you ''need'' its software is security. There are two main security issues with using the Planet CCRMA repositories: 
+				The biggest reason that you should avoid installing the Planet CCRMA at Home repository unless you <span class="emphasis"><em>need</em></span> its software is security. There are two main security issues with using the Planet CCRMA repositories: 
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
 							Planet CCRMA is intended for specialized audio workstations. The software is packaged in such a way that creates potential (and unknown) security threats caused by the optimizations necessary to prepare a computer system for use in audio work. Furthermore, these optimizations may reveal software bugs present in non-Planet CCRMA software, and allow them to do more damage than on a non-optimized system. Finally, a computer system's "stability" (its ability to run without trouble) may be compromised by audio optimizations. Regular desktop applications may perform less well on audio-optimized systems, if the optimization process unintentionally un-optimized some other process.
 						</div></li><li class="listitem"><div class="para">
@@ -503,9 +503,9 @@ qjackctl-0.3.6
 
 						</div></li></ol></div>
 
-			</div></div></div></div></div><div class="part" title="PartÂ II.Â Audio and Music Software" id="id1709728"><div class="titlepage"><div><div text-align="center"><h1 class="title">PartÂ II.Â Audio and Music Software</h1></div></div></div><div class="partintro" title="Audio and Music Software" id="id1709735"><div></div><div class="para">
+			</div></div></div></div></div><div class="part" title="PartÂ II.Â Audio and Music Software" id="id479500"><div class="titlepage"><div><div text-align="center"><h1 class="title">PartÂ II.Â Audio and Music Software</h1></div></div></div><div class="partintro" title="Audio and Music Software" id="id479507"><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 <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="ChapterÂ 5.Â Audacity" id="chap-Musicians_Guide-Audacity" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 5.Â 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">
+			</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 <span class="application"><strong>Qsynth</strong></span></a></span></dt><dt><span class="section"
 ><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></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. <span class="application"><strong>JACK</strong></span> 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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-SuperCollider">11. <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians
 _Guide-SC-Req_and_Inst-Knowledge">11.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.1.4. Available <span class="application"><strong>SuperCollider</strong></span> Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.1.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.2. Using <span class="application"><strong>GEdit</strong></span> to Write and Run <span class="application"><strong>SuperCollider</strong></span> Programs</a></span></dt><dd><dl><dt><span clas
 s="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.2.1. Enable and Configure SCEd in <span class="application"><strong>GEdit</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.2.2. Enable <span class="application"><strong>SuperCollider</strong></span> Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.2.3. Executing Code in <span class="application"><strong>GEdit</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.2.4. Other Tips for Using <span class="application"><strong>GEdit</strong></span> with <span class="application"><strong>SuperCollider</strong></span></a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.3. 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">11.3.1. First Steps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.3.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.3.3. 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">11.3.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.3.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Collections">11.3.6. Collections</a></span></dt><dt><span class="section"><a href="#sec
 t-Musicians_Guide-SC-Basic_Programming-Repeating">11.3.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.3.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.3.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.3.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.3.11. Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.3.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.3.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_G
 uide-SC-Basic_Programming-Getting_Help">11.3.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.3.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.4. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.4.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.4.2. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.4.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.4.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_T
 en_Pseudo-Random-Tones">11.4.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.4.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.4.7. 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">11.4.8. 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">11.4.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.5. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.5.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#s
 ect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.5.2. 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-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 Or
 chestral 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. S
 tarting 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-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_C
 sound">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></div></div><div xml:lang="en-US" class="chapter" title="ChapterÂ 5.Â Audacity" id="chap-Musicians_Guide-Audacity"
  lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 5.Â 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 hr
 ef="#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="sec
 tion"><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. S
 tretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclusion</a></span></dt></dl></dd><dt>
 <span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></div><div class="para">
 		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.Â 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.Â 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.
@@ -839,33 +839,33 @@ qjackctl-0.3.6
 					</div></li><li class="step" title="Step 4"><div class="para">
 						Audacity processes the audio to export. This may take some time, depending on the audio.
 					</div></li></ol></div></div></div></div><div xml:lang="en-US" class="chapter" title="ChapterÂ 6.Â Digital Audio Workstations" id="chap-Musicians_Guide-Digital_Audio_Workstations" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 6.Â Digital Audio Workstations</h2></div></div></div><div class="toc"><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></div><div class="para">
-		The term '''Digital Audio Workstation''' (henceforth '''DAW''') refers to the entire hardware and software setup used for professional (or professional-quality) audio recording, manipulation, synthesis, and production. It originally referred to devices purpose-built for the task, but as personal computers have become more powerful and wide-spread, certain specially-designed personal computers can also be thought of as DAWs. The software running on these computers, especially software capable of multi-track recording, playback, and synthesis, is simply called "DAW software," which is often shortened to "DAW." So, the term "DAW" and its usage are moderately ambiguous, but generally refer to one of the things mentioned.
+		The term <em class="firstterm">Digital Audio Workstation</em> (henceforth <em class="firstterm">DAW</em>) refers to the entire hardware and software setup used for professional (or professional-quality) audio recording, manipulation, synthesis, and production. It originally referred to devices purpose-built for the task, but as personal computers have become more powerful and wide-spread, certain specially-designed personal computers can also be thought of as DAWs. The software running on these computers, especially software capable of multi-track recording, playback, and synthesis, is simply called "DAW software," which is often shortened to "DAW." So, the term "DAW" and its usage are moderately ambiguous, but generally refer to one of the things mentioned.
 	</div><div class="para">
 		For other terms related to digital audio, see <a class="xref" href="#chap-Musicians_Guide-Sound_Cards" title="ChapterÂ 1.Â Sound Cards and Digital Audio">ChapterÂ 1, <i>Sound Cards and Digital Audio</i></a>.
 	</div><div class="section" title="6.1.Â Knowing Which DAW to Use" id="sect-Musicians_Guide-Knowing_Which_DAW_to_Use"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1.Â Knowing Which DAW to Use</h2></div></div></div><div class="para">
-			The Musicians' Guide covers three widely-used DAWs: Ardour, Qtractor, and Rosegarden. All three use JACK extensively, are highly configurable, share a similar user interface, and allow users to work with both audio and MIDI signals. Many other DAWs exist, including a wide selection of commercially-available solutions. Here is a brief description of the programs documented in this Guide: 
+			The Musicians' Guide covers three widely-used DAWs: <span class="application"><strong>Ardour</strong></span>, <span class="application"><strong>Qtractor</strong></span>, and <span class="application"><strong>Rosegarden</strong></span>. All three use <code class="systemitem">JACK</code> extensively, are highly configurable, share a similar user interface, and allow users to work with both audio and MIDI signals. Many other DAWs exist, including a wide selection of commercially-available solutions. Here is a brief description of the programs documented in the Musicians' Guide: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-						Ardour: the open-source standard for audio manipulation. Flexible and extensible.
+						<span class="application"><strong>Ardour</strong></span> is the open-source standard for audio manipulation. Flexible and extensible.
 					</div></li><li class="listitem"><div class="para">
-						Qtractor: a relative new-comer, but easy to use; a "lean and mean," MIDI-focused DAW. Available from Planet CCRMA at Home or RPM Fusion.
+						<span class="application"><strong>Qtractor</strong></span> is a relative new-comer, but easy to use; a "lean and mean," MIDI-focused DAW. Available from Planet CCRMA at Home or RPM Fusion.
 					</div></li><li class="listitem"><div class="para">
-						Rosegarden: a well-tested, feature-packed workhorse of Linux audio, especially MIDI. Includes a visual score editor for creating MIDI tracks.
+						<span class="application"><strong>Rosegarden</strong></span> is a well-tested, feature-packed workhorse of Linux audio, especially MIDI. Includes a visual score editor for creating MIDI tracks.
 					</div></li></ul></div>
 
 		</div><div class="para">
 			If you are unsure of where to start, then you may not need a DAW at all: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-						If you are looking for a high-quality recording application, or a tool for manipulating one audio file at a time, then you would probably be better off with Audacity. This will be the choice of most computer users, especially those new to computer audio, or looking for a quick solution requiring little specialized knowledge. Audacity is also a good way to get your first computer audio experiences, specifically because it is easier to use than most other audio software.
+						If you are looking for a high-quality recording application, or a tool for manipulating one audio file at a time, then you would probably be better off with <span class="application"><strong>Audacity</strong></span>. This will be the choice of most computer users, especially those new to computer audio, or looking for a quick solution requiring little specialized knowledge. <span class="application"><strong>Audacity</strong></span> is also a good way to get your first computer audio experiences, specifically because it is easier to use than most other audio software.
 					</div></li><li class="listitem"><div class="para">
-						To take full advantage of the features offered by Ardour, Qtractor, and Rosegarden, your computer should be equipped with professional-quality audio equipment, including an after-market audio interface and input devices like microphones. If you do not have access to such equipment, then Audacity may be a better choice for you.
+						To take full advantage of the features offered by <span class="application"><strong>Ardour</strong></span>, <span class="application"><strong>Qtractor</strong></span>, and <span class="application"><strong>Rosegarden</strong></span>, your computer should be equipped with professional-quality audio equipment, including an after-market audio interface and input devices like microphones. If you do not have access to such equipment, then Audacity may be a better choice for you.
 					</div></li><li class="listitem"><div class="para">
-						If you are simply hoping to create a "MIDI recording" of some sheet music, you are probably better off using LilyPond. This program is designed primarily to create printable sheet music, but it will produce a MIDI-format version of a score if you include the following command in the "score" section of your LilyPond source file: <code class="code">\midi { }</code>. There are a selection of options that can be put in the "midi" section; refer to the LilyPond help files for a listing.
+						If you are simply hoping to create a "MIDI recording" of some sheet music, you are probably better off using <span class="application"><strong>LilyPond</strong></span>. This program is designed primarily to create printable sheet music, but it will produce a MIDI-format version of a score if you include the following command in the <code class="literal">score</code> section of your <span class="application"><strong>LilyPond</strong></span> source file: <code class="code">\midi { }</code>. There are a selection of options that can be put in the <code class="literal">midi</code> section; refer to the <span class="application"><strong>LilyPond</strong></span> help files for a listing.
 					</div></li></ul></div>
 
 		</div></div><div class="section" title="6.2.Â Stages of Recording" id="sect-Musicians_Guide-Stages_of_Recording"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Stages_of_Recording">6.2.Â Stages of Recording</h2></div></div></div><div class="para">
 			There are three main stages involved in the the process of recording something and preparing it for listeners: recording, mixing, and mastering. Each step of the process has distinct characteristics, yet they can sometimes be mixed together.
 		</div><div class="section" title="6.2.1.Â Recording" id="sect-Musicians_Guide-Recording"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Recording">6.2.1.Â Recording</h3></div></div></div><div class="para">
-				Recording is the process of capturing audio regions (also called "clips" or "segments") into the DAW software, for later processing. Recording is a complex process, involving a microphone that captures sound energy, translates it into electrical energy, and transmits it to an audio interface. The audio interface converts the electrical energy into digital signals, and sends it through the operating system to the DAW software. The DAW stores regions in memory and on the hard drive as required. Every time the musicians perform some (or all) of the performance to be recorded, while the DAW is recording, it is considered to be a '''take'''. A successful recording usually requires several takes, due to the inconsistencies of musical performance and of the related technological aspects.
+				Recording is the process of capturing audio regions (also called "clips" or "segments") into the DAW software, for later processing. Recording is a complex process, involving a microphone that captures sound energy, translates it into electrical energy, and transmits it to an audio interface. The audio interface converts the electrical energy into digital signals, and sends it through the operating system to the DAW software. The DAW stores regions in memory and on the hard drive as required. Every time the musicians perform some (or all) of the performance to be recorded, while the DAW is recording, it is considered to be a <em class="firstterm">take</em>. A successful recording usually requires several takes, due to the inconsistencies of musical performance and of the related technological aspects.
 			</div></div><div class="section" title="6.2.2.Â Mixing" id="sect-Musicians_Guide-Mixing"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Mixing">6.2.2.Â Mixing</h3></div></div></div><div class="para">
 				Mixing is the process through which recorded audio regions (also called "clips") are coordinated to produce an aesthetically-appealing musical output. This usually takes place after recording, but sometimes additional takes will be needed. Mixing often involves reducing audio from multiple tracks into two channels, for stereo audio - a process known as "down-mixing," because it decreases the amount of audio data.
 			</div><div class="para">
@@ -885,7 +885,7 @@ qjackctl-0.3.6
 						</div></li></ul></div>
 
 			</div><div class="para">
-				When the person performing the mixing decides that they have finished, their finalized production is called the '''final mix'''.
+				When the person performing the mixing decides that they have finished, their finalized production is called the <em class="firstterm">final mix</em>.
 			</div></div><div class="section" title="6.2.3.Â Mastering" id="sect-Musicians_Guide-Mastering"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Mastering">6.2.3.Â Mastering</h3></div></div></div><div class="para">
 				Mastering is the process through which a version of the final mix is prepared for distribution and listening. Mastering can be performed for many target formats, including CD, tape, SuperAudio CD, or hard drive. Mastering often involves a reduction in the information available in an audio file: audio CDs are commonly recorded with 20- or 24-bit samples, for example, and reduced to 16-bit samples during mastering. While most physical formats (like CDs) also specify the audio signal's format, audio recordings mastered to hard drive can take on many formats, including OGG, FLAC, AIFF, MP3, and many others. This allows the person doing the mastering some flexibility in choosing the quality and file size of the resulting audio.
 			</div><div class="para">
@@ -903,36 +903,36 @@ qjackctl-0.3.6
 			</div></div></div><div class="section" title="6.3.Â Interface Vocabulary" id="sect-Musicians_Guide-DAW_Interface_Vocabulary"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-DAW_Interface_Vocabulary">6.3.Â Interface Vocabulary</h2></div></div></div><div class="para">
 			Understanding these concepts is essential to understanding how to use the DAW software's interface.
 		</div><div class="section" title="6.3.1.Â Session" id="sect-Musicians_Guide-Session"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Session">6.3.1.Â Session</h3></div></div></div><div class="para">
-				A '''session''' is all of the tracks, regions, automation settings, and everything else that goes along with one "file" saved by the DAW software. Some software DAWs manage to hide the entire session within one file, but others instead create a new directory to hold the regions and other data.
+				A <em class="firstterm">session</em> is all of the tracks, regions, automation settings, and everything else that goes along with one "file" saved by the DAW software. Some software DAWs manage to hide the entire session within one file, but others instead create a new directory to hold the regions and other data.
 			</div><div class="para">
 				Typically, one session is used to hold an entire recording session; it is broken up into individual songs or movements after recording. Sometimes, as in the tutorial examples with the Musicians' Guide, one session holds only one song or movement. There is no strict rule as to how much music should be held within one session, so your personal preference can determine what you do here.
 			</div></div><div class="section" title="6.3.2.Â Track and Multitrack" id="sect-Musicians_Guide-Track_and_Multitrack"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Track_and_Multitrack">6.3.2.Â Track and Multitrack</h3></div></div></div><div class="para">
-				A '''track''' represents one channel, or a predetermined collection of simultaneous, inseparable channels (as is often the case with stereo audio). In the DAW's main window, tracks are usually represented as rows, whereas time is represented by columns. A track may hold multiple regions, but usually only one of those regions can be heard at a time. The '''multitrack''' capability of modern software-based DAWs is one of the reasons for their success. Although each individual track can play only one region at a time, the use of multiple tracks allows the DAW's outputted audio to contain a virtually unlimited number of simultaneous regions. The most powerful aspect of this is that audio does not have to be recorded simultaneously in order to be played back simultaneously; you could sing a duet with yourself, for example.
+				A <em class="firstterm">track</em> represents one channel, or a predetermined collection of simultaneous, inseparable channels (as is often the case with stereo audio). In the DAW's main window, tracks are usually represented as rows, whereas time is represented by columns. A track may hold multiple regions, but usually only one of those regions can be heard at a time. The <em class="firstterm">multitrack</em> capability of modern software-based DAWs is one of the reasons for their success. Although each individual track can play only one region at a time, the use of multiple tracks allows the DAW's outputted audio to contain a virtually unlimited number of simultaneous regions. The most powerful aspect of this is that audio does not have to be recorded simultaneously in order to be played back simultaneously; you could sing a duet with yourself, for example.
 			</div></div><div class="section" title="6.3.3.Â Region, Clip, or Segment" id="sect-Musicians_Guide-Region_Clip_Segment"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Region_Clip_Segment">6.3.3.Â Region, Clip, or Segment</h3></div></div></div><div class="para">
-				Region, clip, and segment are synonyms: different software uses a different word to refer to the same thing. A '''region''' (or '''clip''' or '''segment''') is the portion of audio recorded into one track during one take. Regions are represented in the main DAW interface window as a rectangle, usually coloured, and always contained in only one track. Regions containing audio signal data usually display a spectrographic representation of that data. Regions containing MIDI signal data usually displayed as matrix-based representation of that data.
+				Region, clip, and segment are synonyms: different software uses a different word to refer to the same thing. A x<em class="firstterm">multitrack</em> (or <em class="firstterm">clip</em> or <em class="firstterm">segment</em>) is the portion of audio recorded into one track during one take. Regions are represented in the main DAW interface window as a rectangle, usually coloured, and always contained in only one track. Regions containing audio signal data usually display a spectrographic representation of that data. Regions containing MIDI signal data usually displayed as matrix-based representation of that data.
 			</div><div class="para">
 				For the three DAW applications in the Musicians' Guide: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							Ardour calls them "regions,"
+							<span class="application"><strong>Ardour</strong></span> calls them "regions,"
 						</div></li><li class="listitem"><div class="para">
-							Qtractor calls them "clips," and,
+							<span class="application"><strong>Qtractor</strong></span> calls them "clips," and,
 						</div></li><li class="listitem"><div class="para">
-							Rosegarden calls them "segments."
+							<span class="application"><strong>Rosegarden</strong></span> calls them "segments."
 						</div></li></ul></div>
 
 			</div></div><div class="section" title="6.3.4.Â Relationship of Session, Track, and Region" id="sect-Musicians_Guide-Session_Track_Region"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Session_Track_Region">6.3.4.Â Relationship of Session, Track, and Region</h3></div></div></div><div class="mediaobject"><img src="./images/Ardour-session_track_region.png" width="444" /></div></div><div class="section" title="6.3.5.Â Transport and Playhead" id="sect-Musicians_Guide-Transport_and_Playhead"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Transport_and_Playhead">6.3.5.Â Transport and Playhead</h3></div></div></div><div class="para">
-				The '''transport''' is responsible for managing the current time in a session, and with it the playhead. The '''playhead''' marks the point on the timeline from where audio audio would be played, or to where audio would be recorded. The transport controls the playhead, and whether it is set for recording or only playback. The transport can move the playhead forward or backward, in slow motion, fast motion, or real time. In most computer-based DAWs, the playhead can also be moved with the cursor. The playhead is represented on the DAW interface as a vertical line through all tracks. The transport's buttons and displays are usually located in a toolbar at the top of the DAW window, but some people prefer to have the transport controls detached from the main interface, and this is how they appear by default in Rosegarden.
+				The <em class="firstterm">transport</em> is responsible for managing the current time in a session, and with it the playhead. The <em class="firstterm">playhead</em> marks the point on the timeline from where audio audio would be played, or to where audio would be recorded. The transport controls the playhead, and whether it is set for recording or only playback. The transport can move the playhead forward or backward, in slow motion, fast motion, or real time. In most computer-based DAWs, the playhead can also be moved with the cursor. The playhead is represented on the DAW interface as a vertical line through all tracks. The transport's buttons and displays are usually located in a toolbar at the top of the DAW window, but some people prefer to have the transport controls detached from the main interface, and this is how they appear by default in Rosegarden.
 			</div></div><div class="section" title="6.3.6.Â Automation" id="sect-Musicians_Guide-Automation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Automation">6.3.6.Â Automation</h3></div></div></div><div class="para">
-				Automation of the DAW sounds like it might be an advanced topic, or something used to replace decisions made by a human. This is absolutely not the case - '''automation''' allows the user to automatically make the same adjustments every time a session is played. This is superior to manual-only control because it allows very precise, gradual, and consistent adjustments, because it relieves you of having to remember the adjustments, and because it allows many more adjustments to be made simultaneously than you could make manually. The reality is that automation allows super-human control of a session. Most settings can be adjusted by means of automation; the most common are the fader and the panner.
+				Automation of the DAW sounds like it might be an advanced topic, or something used to replace decisions made by a human. This is absolutely not the case - <em class="firstterm">automation</em> allows the user to automatically make the same adjustments every time a session is played. This is superior to manual-only control because it allows very precise, gradual, and consistent adjustments, because it relieves you of having to remember the adjustments, and because it allows many more adjustments to be made simultaneously than you could make manually. The reality is that automation allows super-human control of a session. Most settings can be adjusted by means of automation; the most common are the fader and the panner.
 			</div><div class="para">
-				The most common method of automating a setting is with a two-dimensional graph called an '''envelope''', which is drawn on top of an audio track, or underneath it in an '''automation track'''. The user adds adjustment points by adding and moving points on the graph. This method allows for complex, gradual changes of the setting, as well as simple, one-time changes. Automation is often controlled by means of MIDI signals, for both audio and MIDI tracks. This allows for external devices to adjust settings in the DAW, and vice-versa - you can actually automate your own hardware from within a software-based DAW! Of course, not all hardware supports this, so refer to your device's user manual.
+				The most common method of automating a setting is with a two-dimensional graph called an <em class="firstterm">envelope</em>, which is drawn on top of an audio track, or underneath it in an <em class="firstterm">automation track</em>. The user adds adjustment points by adding and moving points on the graph. This method allows for complex, gradual changes of the setting, as well as simple, one-time changes. Automation is often controlled by means of MIDI signals, for both audio and MIDI tracks. This allows for external devices to adjust settings in the DAW, and vice-versa - you can actually automate your own hardware from within a software-based DAW! Of course, not all hardware supports this, so refer to your device's user manual.
 			</div></div></div><div class="section" title="6.4.Â User Interface" id="sect-Musicians_Guide-DAW_User_Interface"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-DAW_User_Interface">6.4.Â User Interface</h2></div></div></div><div class="para">
-			 This section describes various components of software-based DAW interfaces. Although the Qtractor application is visible in the images, both Ardour and Rosegarden (along with most other DAW software) have an interface that differs only in details, such as which buttons are located where.
+			 This section describes various components of software-based DAW interfaces. Although the <span class="application"><strong>Qtractor</strong></span> application is visible in the images, both <span class="application"><strong>Ardour</strong></span> and <span class="application"><strong>Rosegarden</strong></span> (along with most other DAW software) have an interface that differs only in details, such as which buttons are located where.
 		</div><div class="section" title="6.4.1.Â &quot;Messages&quot; Pane" id="sect-Musicians_Guide-Messages_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Messages_Pane">6.4.1.Â "Messages" Pane</h3></div></div></div><div class="para">
 				<span class="inlinemediaobject"><img src="./images/Qtractor-interface-messages.png" width="444" /></span>
 
 			</div><div class="para">
-				The "messages" pane, shown in the above diagram, contains messages produced by the DAW, and sometimes messages produced by software used by the DAW, such as JACK. If an error occurs, or if the DAW does not perform as expected, you should check the "messages" pane for information that may help you to get the desired results. The "messages" pane can also be used to determine whether JACK and the DAW were started successfully, with the options you prefer.
+				The "messages" pane, shown in the above diagram, contains messages produced by the DAW, and sometimes messages produced by software used by the DAW, such as <code class="systemitem">JACK</code>. If an error occurs, or if the DAW does not perform as expected, you should check the "messages" pane for information that may help you to get the desired results. The "messages" pane can also be used to determine whether <code class="systemitem">JACK</code> and the DAW were started successfully, with the options you prefer.
 			</div></div><div class="section" title="6.4.2.Â Clock" id="sect-Musicians_Guide-DAW_Clock"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-DAW_Clock">6.4.2.Â Clock</h3></div></div></div><div class="para">
 				<span class="inlinemediaobject"><img src="./images/Qtractor-interface-clocks.png" width="444" /></span>
 
@@ -962,15 +962,15 @@ qjackctl-0.3.6
 			</div><div class="para">
 				The transport controls allow you to manipulate the transport in various ways. The shape of the buttons is somewhat standardized; a similar-looking button will usually perform the same function in all DAWs, as well as in consumer electronic devices like CD players and DVD players.
 			</div><div class="para">
-				The single, left-pointing arrow with a vertical line will move the transport to the start of the session, without playing or recording any material. In "Qtractor," if there is a blue place-marker between the transport and the start of the session, the transport will skip to the blue place-marker. You can press the button again if you wish to skip to the next blue place-marker or the beginning of the session.
+				The single, left-pointing arrow with a vertical line will move the transport to the start of the session, without playing or recording any material. In <span class="application"><strong>Qtractor</strong></span>, if there is a blue place-marker between the transport and the start of the session, the transport will skip to the blue place-marker. You can press the button again if you wish to skip to the next blue place-marker or the beginning of the session.
 			</div><div class="para">
 				The double left-pointing arrows move the transport in fast motion, towards the start of the session. The double right-pointing arrows move the transport in fast motion, towards the end of the session.
 			</div><div class="para">
-				The single, right-pointing arrow with a vertical line will move the transport to the end of the last region currently in a session. In "Qtractor," if there is a blue place-marker between the transport and the end of the last region in the session, the transport will skip to the blue place-marker. You can press the button again if you wish to skip to the next blue place-marker or the end of the last region in the session.
+				The single, right-pointing arrow with a vertical line will move the transport to the end of the last region currently in a session. In <span class="application"><strong>Qtractor</strong></span>, if there is a blue place-marker between the transport and the end of the last region in the session, the transport will skip to the blue place-marker. You can press the button again if you wish to skip to the next blue place-marker or the end of the last region in the session.
 			</div><div class="para">
 				The single, right-pointing arrow is commonly called "play," but it actually moves the transport forward in real-time. When it does this, if the transport is armed for recording, any armed tracks will record. Whether or not the transport is armed, pressing the "play" button causes all un-armed tracks to play all existing regions.
 			</div><div class="para">
-				The circular button arms the transport for recording. It is conventionally red in colour. In "Qtractor," the transport can only be armed ''after'' at least one track has been armed; to show this, the transport's "arm" button only turns red if a track is armed.
+				The circular button arms the transport for recording. It is conventionally red in colour. In <span class="application"><strong>Qtractor</strong></span>, the transport can only be armed <span class="emphasis"><em>after</em></span> at least one track has been armed; to show this, the transport's "arm" button only turns red if a track is armed.
 			</div></div></div></div><div xml:lang="en-US" class="chapter" title="ChapterÂ 7.Â Ardour" id="chap-Musicians_Guide-Ardour" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 7.Â Ardour</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-R
 ecording_a_Session">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Interface">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level">7.2.6. Adju
 sting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_a_Region">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_More">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and
 _Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Edit_Groups">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Arrange">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ar
 dour-Editing-Listen">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Other_Things">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Gui
 de-Ardour-Mixing-Listen">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></div><div class="para">
 		<span class="application"><strong>Ardour</strong></span> is a feature-rich application designed for multi-track recording situations.
 	</div><div class="section" title="7.1.Â 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.Â Requirements and Installation</h2></div></div></div><div class="section" title="7.1.1.Â 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.Â Knowledge Requirements</h3></div></div></div><div class="para">
@@ -1588,13 +1588,13 @@ qjackctl-0.3.6
 						</div></li><li class="listitem"><div class="para">
 							Use the mouse to click in the coloured bar of the region, close to where the clarinet starts.
 						</div></li><li class="listitem"><div class="para">
-							<span class="application"><strong>Ardour</strong></span> will automatically move the start of the region ''in both tracks''.
+							<span class="application"><strong>Ardour</strong></span> will automatically move the start of the region in <span class="emphasis"><em>both tracks</em></span>.
 						</div></li><li class="listitem"><div class="para">
 							Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio.
 						</div></li><li class="listitem"><div class="para">
 							If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's "non-destructive," meaning that the entire original region is still there!
 						</div></li><li class="listitem"><div class="para">
-							Notice that when you made the first adjustment, <span class="application"><strong>Ardour</strong></span> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <span class="application"><strong>Ardour</strong></span> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can ''also'' be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <span class="application"><strong>Ardour</strong></span> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many.
+							Notice that when you made the first adjustment, <span class="application"><strong>Ardour</strong></span> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <span class="application"><strong>Ardour</strong></span> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <span class="application"><strong>Ardour</strong></span> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many.
 						</div></li><li class="listitem"><div class="para">
 							Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag.
 						</div></li></ol></div>
@@ -1896,21 +1896,21 @@ qjackctl-0.3.6
 							</div></li><li class="listitem"><div class="para">
 								Slide the "Voice_1" regions so that the singer starts at about the same time as the higher marimba.
 							</div></li><li class="listitem"><div class="para">
-								Slide the "Voice_2" regions so that the singer starts at about 00:00:48.00
+								Slide the "Voice_2" regions so that the singer starts at about <code class="literal">00:00:48.00</code>
 							</div></li><li class="listitem"><div class="para">
-								Slide the "ens-Here_Is_How-1" regions so that they start singing at about 00:01:33.300
+								Slide the "ens-Here_Is_How-1" regions so that they start singing at about <code class="literal">00:01:33.300</code>
 							</div></li><li class="listitem"><div class="para">
-								Slide the "ens-Here_Is_How-2" (and the adjoined "ens-Here_Is_How-3") regions so that they start singing at about 00:02:11.500
+								Slide the "ens-Here_Is_How-2" (and the adjoined "ens-Here_Is_How-3") regions so that they start singing at about <code class="literal">00:02:11.500</code>
 							</div></li><li class="listitem"><div class="para">
-								After playing closer attention to "Voice_3" and "Voice_4," you realize that the singer misses a word ("plan '''in''' you spider's ear") in "Voice_4." Because "Voice_3" doesn't contain the second part of "Voice_4," we'll need to trim the "Voice_4" region, and use both. 
+								After playing closer attention to "Voice_3" and "Voice_4," you realize that the singer misses a word ("plan <span class="emphasis"><em>in</em></span> you spider's ear") in "Voice_4." Because "Voice_3" doesn't contain the second part of "Voice_4," we'll need to trim the "Voice_4" region, and use both. 
 								<div class="orderedlist"><ol><li class="listitem"><div class="para">
-											The singer should start singing in "Voice_3" at about 00:02:24.500
+											The singer should start singing in "Voice_3" at about <code class="literal">00:02:24.500</code>
 										</div></li><li class="listitem"><div class="para">
-											The signer should start singing "and here is how" in "Voice_4" at about 00:02:43.000
+											The signer should start singing "and here is how" in "Voice_4" at about <code class="literal">00:02:43.000</code>
 										</div></li></ol></div>
 
 							</div></li><li class="listitem"><div class="para">
-								Slide the "ens-Create_the_Inconceivable" regions so that they start singing at about 00:02:59.000
+								Slide the "ens-Create_the_Inconceivable" regions so that they start singing at about <code class="literal">00:02:59.000</code>
 							</div></li></ol></div>
 
 				</div></div><div class="section" title="7.4.7.3.Â Align the Marimba at the End" id="sect-Musicians_Guide-Ardour-Editing-Arrange-Marimba_at_End"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-Ardour-Editing-Arrange-Marimba_at_End">7.4.7.3.Â Align the Marimba at the End</h4></div></div></div><div class="para">
@@ -1953,11 +1953,11 @@ qjackctl-0.3.6
 		</div><div class="para">
 			In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience.
 		</div><div class="para">
-			Finally, it should be noted that, moreso than in the editing stage, the mixing stage should ''not'' be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be.
+			Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <span class="emphasis"><em>not</em></span> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be.
 		</div><div class="section" title="7.5.1.Â Setting the Session for Stereo Output and Disabling Edit Groups" id="sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1.Â Setting the Session for Stereo Output and Disabling Edit Groups</h3></div></div></div><div class="para">
 				Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a "mono" recording, even though we have the material of a "stereo" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great.
 			</div><div class="para">
-				Disabling the edit groups is also a good idea, because leaving them enabled actually ''reduces'' functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached.
+				Disabling the edit groups is also a good idea, because leaving them enabled actually <span class="emphasis"><em>reduces</em></span> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached.
 			</div><div class="para">
 				These steps will disable the edit groups, and re-configure this session's tracks for stereo output. 
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -1989,11 +1989,11 @@ qjackctl-0.3.6
 						</div></li><li class="listitem"><div class="para">
 							Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier.
 						</div></li><li class="listitem"><div class="para">
-							Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the "base-line," then we'll have to adjust the level of the other tracks ''down'' to suit. In this case, the voice tracks are the quietest.
+							Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the "base-line," then we'll have to adjust the level of the other tracks <span class="emphasis"><em>down</em></span> to suit. In this case, the voice tracks are the quietest.
 						</div></li><li class="listitem"><div class="para">
 							At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later.
 						</div></li><li class="listitem"><div class="para">
-							Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for ''most'' of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session.
+							Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <span class="emphasis"><em>most</em></span> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session.
 						</div></li><li class="listitem"><div class="para">
 							You can adjust the fader setting in two ways: 
 							<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -2043,7 +2043,7 @@ qjackctl-0.3.6
 									</div></li><li class="listitem"><div class="para">
 										The strings will be in the closer row, to the north-west. This requires moving them to the left a bit.
 									</div></li><li class="listitem"><div class="para">
-										The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left ''just'' a little bit.
+										The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <span class="emphasis"><em>just</em></span> a little bit.
 									</div></li><li class="listitem"><div class="para">
 										The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer.
 									</div></li><li class="listitem"><div class="para">
@@ -2185,9 +2185,9 @@ qjackctl-0.3.6
 				</div><div class="para">
 					A higher sample rate (explained in <a class="xref" href="#sect-Musicians_Guide-Sample_Rate" title="1.3.3.Â Sample Rate">SectionÂ 1.3.3, â€œSample Rateâ€</a> allows a greater amount of audio information to be stored, but increases the size of audio files. 
 				</div><div class="para">
-					'''Convesion quality''' and '''dither type''' are not available options for the file formats offered in Fedora Linux.
+					"Convesion quality" and "dither type" are not available options for the file formats offered in Fedora Linux.
 				</div><div class="para">
-					The '''CD Marker File Type''' allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc.
+					The "CD Marker File Type" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc.
 				</div></div></div></div></div><div xml:lang="en-US" class="chapter" title="ChapterÂ 8.Â Qtractor" id="chap-Musicians_Guide-Qtractor" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 8.Â Qtractor</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect
 -Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-MIDI_Tools">8.3.2. Using the MIDI M
 atrix Editor's Tools</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-JACK">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Tips">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Requirements">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready">8.4.3. Getting Qtractor
  Ready</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97">8.4.10. Qtractor's
  Measures 75 to 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measure_97">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></div><div class="para">
 		Qtractor is a relatively new application, created and maintained by the same developers who are responsible for QjackCtl and Qsynth (both covered in other chapters of this Guide). It offers much more flexibility than Audacity, but is still easier to use than Ardour or Rosegarden. As such, it serves as the perfect starting-point for people first discovering software-based DAWs.
 	</div><div class="para">
@@ -2209,9 +2209,9 @@ qjackctl-0.3.6
 			</div></div></div><div class="section" title="8.2.Â Configuration" id="sect-Musicians_Guide-Qtractor-Configuration"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Qtractor-Configuration">8.2.Â Configuration</h2></div></div></div><div class="para">
 			Qtractor will work by itself, without further configuration. The options described here are for the settings you are most likely to want to discuss. Click on 'View &gt; Options' to open the "Options" window.
 		</div><div class="section" title="8.2.1.Â Audio Options" id="sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1.Â Audio Options</h3></div></div></div><div class="para">
-				The ''Capture/Export'' setting allows you to choose the format in which Qtractor stores its audio clips when recorded or exported. You will be able to choose a file type, such as "WAV Microsoft" for standard ".wav" files, "AIFF Apple-SGI" for standard ".aiff" files, or the preferable "FLAC Lossless Audio Codec," format. FLAC is an open-source, lossless, compressed format for storing audio signals and metadata. See the <em class="citetitle">FLAC Website</em> <a href="http://flac.sourceforge.net/">http://flac.sourceforge.net/</a> for more information. You will also be asked to select a quality setting for lossy compressed formats, or a sample format for all lossless formats. If you do not know which sample format to choose, then "Signed 16-Bit" is a good choice for almost all uses, and will provide you with CD-quality audio. Most non-speciality hardware is incapable of making good use of higher sample formats. See <a class="xref" href="#sect-Musicians_Guide-Sample_Rate_and
 _Sample_Format" title="1.3.Â Sample, Sample Rate, Sample Format, and Bit Rate">SectionÂ 1.3, â€œSample, Sample Rate, Sample Format, and Bit Rateâ€</a> for more information about sample formats.
+				The "Capture/Export" setting allows you to choose the format in which Qtractor stores its audio clips when recorded or exported. You will be able to choose a file type, such as "WAV Microsoft" for standard ".wav" files, "AIFF Apple-SGI" for standard ".aiff" files, or the preferable "FLAC Lossless Audio Codec," format. FLAC is an open-source, lossless, compressed format for storing audio signals and metadata. See the <em class="citetitle">FLAC Website</em> <a href="http://flac.sourceforge.net/">http://flac.sourceforge.net/</a> for more information. You will also be asked to select a quality setting for lossy compressed formats, or a sample format for all lossless formats. If you do not know which sample format to choose, then "Signed 16-Bit" is a good choice for almost all uses, and will provide you with CD-quality audio. Most non-speciality hardware is incapable of making good use of higher sample formats. See <a class="xref" href="#sect-Musicians_Guide-Sample_Rate_and_S
 ample_Format" title="1.3.Â Sample, Sample Rate, Sample Format, and Bit Rate">SectionÂ 1.3, â€œSample, Sample Rate, Sample Format, and Bit Rateâ€</a> for more information about sample formats.
 			</div><div class="para">
-				Setting the ''Transport mode'' will allow you to adjust the behaviour of the transport. 
+				Setting the "Transport mode" will allow you to adjust the behaviour of the transport. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							None : allows Qtractor's transport to operate independently
 						</div></li><li class="listitem"><div class="para">
@@ -2223,11 +2223,11 @@ qjackctl-0.3.6
 						</div></li></ul></div>
 				 If you are using Qtractor alone, or if you don't know which to choose, then "None" is a good choice. This setting can be adjusted at any time, if you later decide to link the transport in multiple applications.
 			</div><div class="para">
-				The ''Metronome'' section allows you to use a (short) audio file as the metronome sound, rather than the standard, MIDI-based metronome. You can choose the same file for "beat," and "bar," if you prefer. The ''Dedicated audio metronome outputs'' option will output the audio metronome's signal through separate outputs in JACK. This is Ardour's default behaviour.
+				The "Metronome" section allows you to use a (short) audio file as the metronome sound, rather than the standard, MIDI-based metronome. You can choose the same file for "beat," and "bar," if you prefer. The "Dedicated audio metronome outputs" option outputs the audio metronome's signal through separate outputs in JACK. This is Ardour's default behaviour.
 			</div></div><div class="section" title="8.2.2.Â MIDI Options" id="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">8.2.2.Â MIDI Options</h3></div></div></div><div class="para">
 				Adjusting the "File format" allows you to change how MIDI clips are stored. You will not need to adjust this unless required by an external application. Refer to <em class="citetitle">Musical Instrument Digital Interface: Standard MIDI (.mid or .smf) (Wikipedia)</em> at <a href="http://en.wikipedia.org/wiki/Musical_Instrument_Digital_Interface#Standard_MIDI_.28.mid_or_.smf.29">http://en.wikipedia.org/wiki/Musical_Instrument_Digital_Interface#Standard_MIDI_.28.mid_or_.smf.29</a> for more information about file types.
 			</div><div class="para">
-				"MMC" stands for "MIDI Machine Control," and it allows multiple MIDI-connected devices to interact and control each other. Setting the ''Transport mode'' to a setting other than "None" allows it be controlled by MMC messages. 
+				"MMC" stands for "MIDI Machine Control," and it allows multiple MIDI-connected devices to interact and control each other. Setting the "Transport mode" to a setting other than "None" allows it be controlled by MMC messages. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							None : will have Qtractor ignore incoming MMC messages, and not provide outgoing MMC messages
 						</div></li><li class="listitem"><div class="para">
@@ -2237,7 +2237,7 @@ qjackctl-0.3.6
 						</div></li><li class="listitem"><div class="para">
 							Duplex : will have Qtractor follow incoming MMC instructions, and provide outgoing MMC messages
 						</div></li></ul></div>
-				 You can also select a particular MIDI device number with which Qtractor will interact; if you do this, it will ignore MMC messages from other devices, and not send MMC messages to other devices. Enabled the ''Dedicated MIDI control input/output'' will provide JACK with MIDI inputs and outputs that will be used by Qtractor only for MMC messages. Qtractor will not send or receive MMC messages sent on other inputs or outputs if this option is enabled. "SPP" stands for "Song Position Pointer," and helps MIDI-connected applications to keep track of the current location in a session (in other words, where the transport is). This should probably be set to the same setting as "MMC." If you don't know which of these settings to use, then setting "MMC" to "None" is a good choice. This setting can be adjusted at any time, if you later decide to link applications with MMC messages.
+				 You can also select a particular MIDI device number with which Qtractor will interact; if you do this, it will ignore MMC messages from other devices, and not send MMC messages to other devices. Enabled the "Dedicated MIDI control input/output" will provide JACK with MIDI inputs and outputs that will be used by Qtractor only for MMC messages. Qtractor will not send or receive MMC messages sent on other inputs or outputs if this option is enabled. "SPP" stands for "Song Position Pointer," and helps MIDI-connected applications to keep track of the current location in a session (in other words, where the transport is). This should probably be set to the same setting as "MMC." If you don't know which of these settings to use, then setting "MMC" to "None" is a good choice. This setting can be adjusted at any time, if you later decide to link applications with MMC messages.
 			</div><div class="para">
 				The default metronome sound is provided by the "MIDI Metronome," and you can adjust its settings here. In particular, you may wish to provide a "Dedicated MIDI metronome output," to help you separate the metronome's signal.
 			</div></div><div class="section" title="8.2.3.Â Configuring MIDI Channel Names" id="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3.Â Configuring MIDI Channel Names</h3></div></div></div><div class="para">
@@ -2245,13 +2245,13 @@ qjackctl-0.3.6
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
 							Click on 'View &gt; Instruments'
 						</div></li><li class="listitem"><div class="para">
-							In the ''Instruments'' window, click "Import."
+							In the "Instruments" window, click "Import."
 						</div></li><li class="listitem"><div class="para">
 							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">
-							Close the ''Instruments'' window to return to the main Qtractor window.
+							Close the "Instruments" window to return to the main Qtractor window.
 						</div></li></ol></div>
 
 			</div></div></div><div class="section" title="8.3.Â Using Qtractor" id="sect-Musicians_Guide-Qtractor-Using"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Qtractor-Using">8.3.Â Using Qtractor</h2></div></div></div><div class="para">
@@ -2305,7 +2305,7 @@ qjackctl-0.3.6
 						</div></li></ul></div>
 
 			</div></div><div class="section" title="8.3.2.Â Using the MIDI Matrix Editor's Tools" id="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools">8.3.2.Â Using the MIDI Matrix Editor's Tools</h3></div></div></div><div class="para">
-				Qtractor's matrix editor for MIDI clips offers a collection of useful tools, available from the ''Tools'' menu in the matrix editor window. These tools only operate on MIDI notes selected in the matrix editor window before the tool window is opened. Regardless of which tool you select from the menu, the same options are available to you each time the window is opened. It is possible to use multiple tools at a time.
+				Qtractor's matrix editor for MIDI clips offers a collection of useful tools, available from the "Tools" menu in the matrix editor window. These tools only operate on MIDI notes selected in the matrix editor window before the tool window is opened. Regardless of which tool you select from the menu, the same options are available to you each time the window is opened. It is possible to use multiple tools at a time.
 			</div><div class="para">
 				Be careful: the names of the tools may be misleading.
 			</div><div class="para">
@@ -2367,7 +2367,7 @@ qjackctl-0.3.6
 									</div></li></ul></div>
 
 						</div></li><li class="listitem"><div class="para">
-							Resize: This tool allows you to explicitly specify the duration or velocity of some MIDI notes. Setting the ''Value'' field will set the velocity (loudness) of all selected notes to that setting. Valid settings are from 0 (quietest) to 127 (loudest). Setting the ''Duration'' field will set the duration (length) of all selected notes to that setting. Duration is most usefully measured as "BBT" (meaning "Bars, Beats, and Ticks" - each is separated by a decimal point), but can also be measured as time or frames.
+							Resize: This tool allows you to explicitly specify the duration or velocity of some MIDI notes. Setting the "Value" field will set the velocity (loudness) of all selected notes to that setting. Valid settings are from 0 (quietest) to 127 (loudest). Setting the "Duration" field will set the duration (length) of all selected notes to that setting. Duration is most usefully measured as "BBT" (meaning "Bars, Beats, and Ticks" - each is separated by a decimal point), but can also be measured as time or frames.
 						</div></li></ul></div>
 
 			</div></div><div class="section" title="8.3.3.Â Using JACK with Qtractor" id="sect-Musicians_Guide-Qtractor-Using-JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Using-JACK">8.3.3.Â Using JACK with Qtractor</h3></div></div></div><div class="para">
@@ -2391,7 +2391,7 @@ qjackctl-0.3.6
 						</div></li><li class="listitem"><div class="para">
 							Arm Qtractor's transport for recording.
 						</div></li><li class="listitem"><div class="para">
-							Press ''Play'' on the transport, and wait as the session plays through.
+							Press "Play" on the transport, and wait as the session plays through.
 						</div></li><li class="listitem"><div class="para">
 							When you have reached the end of the session, stop the transport. Qtractor will not automatically stop the transport.
 						</div></li><li class="listitem"><div class="para">
@@ -2474,7 +2474,7 @@ qjackctl-0.3.6
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
 							Create a new audio track.
 						</div></li><li class="listitem"><div class="para">
-							Right-click on the audio track, and go to ''Clip'' then ''Import''
+							Right-click on the audio track, and go to "Clip" then "Import"
 						</div></li><li class="listitem"><div class="para">
 							Locate the audio file that you want to import (in this case, I imported a recording of the second movement of Beethoven's Op.57 piano sonata, "Appassionata."
 						</div></li><li class="listitem"><div class="para">
@@ -2493,7 +2493,7 @@ qjackctl-0.3.6
 						</div></li><li class="listitem"><div class="para">
 							Mark the beginning of the formal area by left-clicking at the beginning of the session. If the transport is at the beginning, then it will hide a blue marker placed at the beginning.
 						</div></li><li class="listitem"><div class="para">
-							Create a new clip by clicking on ''Edit &gt; Clip &gt; New''
+							Create a new clip by clicking on "Edit &gt; Clip &gt; New"
 						</div></li><li class="listitem"><div class="para">
 							The clip editor will appear.
 						</div></li></ol></div>
@@ -2502,7 +2502,7 @@ qjackctl-0.3.6
 				I want something simple, to match the simple-sounding chorale at the beginning that is the theme of this movement. What could be simpler than a moment of sound, followed by some moments of silence?
 			</div><div class="para">
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
-							In the MIDI matrix editor window, click on the ''Edit mode'' tool, which looks like a pencil with no other markings.
+							In the MIDI matrix editor window, click on the "Edit mode" tool, which looks like a pencil with no other markings.
 						</div></li><li class="listitem"><div class="para">
 							I decided to place a note every three beats (one beat is marked by one vertical line), on the beat, lasting for one sixteenth note. 
 							<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -2544,9 +2544,9 @@ qjackctl-0.3.6
 							<div class="orderedlist"><ol><li class="listitem"><div class="para">
 										Click on 'Tools &gt; Randomize'
 									</div></li><li class="listitem"><div class="para">
-										Ensure that ''Randomize'' is checked
+										Ensure that "Randomize" is checked
 									</div></li><li class="listitem"><div class="para">
-										Ensure that ''Note'' is checked (this means "pitch")
+										Ensure that "Note" is checked (this means "pitch")
 									</div></li><li class="listitem"><div class="para">
 										Choose a percentage.
 									</div></li><li class="listitem"><div class="para">
@@ -2554,7 +2554,7 @@ qjackctl-0.3.6
 									</div></li><li class="listitem"><div class="para">
 										You may need to experiment with the percent of randomization that you allow. Greater randomization means a lower chance of repetition, but it also means that the pitches will be spread within a smaller range.
 									</div></li><li class="listitem"><div class="para">
-										If you want to re-try the randomization, click on 'Edit &gt; Undo Randomization', then use the ''Randomize'' tool again.
+										If you want to re-try the randomization, click on 'Edit &gt; Undo Randomization', then use the "Randomize" tool again.
 									</div></li><li class="listitem"><div class="para">
 										If you like what happens to most of the pitches, you can select and move a few of them either individually or together. To adjust pitches as a group, select the ones that you want to move (either by click-and-drag select or by Control-click select), and Control-drag them to the desired new location.
 									</div></li></ol></div>
@@ -2562,7 +2562,7 @@ qjackctl-0.3.6
 						</div></li><li class="listitem"><div class="para">
 							Now you need to adjust the volume of the pitches. There are two ways to do this: 
 							<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-										You can select all of the pitches, then use the "Resize MIDI'' tool, adjusting the "Value" property.
+										You can select all of the pitches, then use the "Resize MIDI" tool, adjusting the "Value" property.
 									</div></li><li class="listitem"><div class="para">
 										You can select all of the pitches, then use the value editor portion of the matrix editor window. This is at the bottom of the matrix editor window, and the height of each pitch shown here tells you the volume at which it will play. To adjust all of the pitches at once, Control-drag to adjust the height as desired. Be careful when doing this that you don't change the horizontal position, which will change the time that the notes sound.
 									</div></li><li class="listitem"><div class="para">
@@ -2600,7 +2600,7 @@ qjackctl-0.3.6
 									</div></li></ol></div>
 
 						</div></li><li class="listitem"><div class="para">
-							Position the transport so that you can listen to the transition from the end of the first clip into the beginning of the second clip. Press ''Play'' on the transport control to listen, then stop it when you are done.
+							Position the transport so that you can listen to the transition from the end of the first clip into the beginning of the second clip. Press <span class="guibutton"><strong>Play</strong></span> on the transport control to listen, then stop it when you are done.
 						</div></li><li class="listitem"><div class="para">
 							If you need to adjust the position of the second clip, then click-and-drag it into the desired position. Re-listen to verify that you placed the clip where you want it to stay.
 						</div></li></ol></div>
@@ -2617,7 +2617,7 @@ qjackctl-0.3.6
 						</div></li><li class="listitem"><div class="para">
 							Create the notes separated by three beats, as in the last segment. This time, be sure to add two notes at the same time, by ensure that they are aligned vertically. Again, it doesn't matter which pitches you choose, because they will be randomized.
 						</div></li><li class="listitem"><div class="para">
-							Select all of the pitches, and randomize them by using the ''Randomize MIDI'' tool.
+							Select all of the pitches, and randomize them by using the "Randomize MIDI" tool.
 						</div></li><li class="listitem"><div class="para">
 							Depending on how the pitches are randomized, each pair of notes will probably end up in one of the following situations: 
 							<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -2629,7 +2629,7 @@ qjackctl-0.3.6
 									</div></li></ul></div>
 							 Depending on your aesthetic preferences, you may wish to change some of the notes so that one or some of these situations are avoided.
 						</div></li><li class="listitem"><div class="para">
-							I created the tone cluster at the end by clicking arbitrarily across bar 37. It happened to create six notes with the pitches G, E, C-sharp, F-sharp, G-sharp, and B. I could have used the ''Randomize MIDI'' tool, but chose not to.
+							I created the tone cluster at the end by clicking arbitrarily across bar 37. It happened to create six notes with the pitches G, E, C-sharp, F-sharp, G-sharp, and B. I could have used the "Randomize MIDI" tool, but chose not to.
 						</div></li><li class="listitem"><div class="para">
 							Then I carefully click-and-dragged the right-most end-point of each pitch, so that they all ended at the same time: the first beat of measure 38.
 						</div></li><li class="listitem"><div class="para">
@@ -2665,7 +2665,7 @@ qjackctl-0.3.6
 			</div><div class="para">
 				The second-highest range reflects the quickly-moving accompaniment part in the upper register of the piano.
 			</div><div class="para">
-				Sorting out the volumes for this passage posed a small challenge, because of the much greater number of notes than in previous passages. Thankfully, the parts are mostly well-separated from each other in the matrix editor. I was able to use click-and-drag selection to select each range separately, and adjust its volume using both the ''Resize MIDI'' tool and Control-drag in the volume adjustment space at the bottom of the matrix editor window.
+				Sorting out the volumes for this passage posed a small challenge, because of the much greater number of notes than in previous passages. Thankfully, the parts are mostly well-separated from each other in the matrix editor. I was able to use click-and-drag selection to select each range separately, and adjust its volume using both the "Resize MIDI" tool and Control-drag in the volume adjustment space at the bottom of the matrix editor window.
 			</div><div class="para">
 				My sustained-note flourish at the end of this passage was a feeble attempt to establish A Major tonality in the highest register that I used.
 			</div></div><div class="section" title="8.4.14.Â Qtractor's Measures 139 to 158" id="sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158">8.4.14.Â Qtractor's Measures 139 to 158</h3></div></div></div><div class="para">
@@ -2943,8 +2943,8 @@ 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="ChapterÂ 10.Â FluidSynth" id="chap-Musicians_Guide-FluidSynth" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 10.Â 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></div></div><div xml:lang="en-US" class="chapter" title="ChapterÂ 10.Â FluidSynth" id="chap-Musicians_Guide-FluidSynth" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 10.Â 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 <span class="application"><strong>Qsynth</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></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. <span class="application"><strong>JACK</strong></span> 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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span> 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 <span class="application"
 ><strong>Qsynth</strong></span> 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.Â 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.Â 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">
@@ -2978,12 +2978,12 @@ qjackctl-0.3.6
 			</div><div class="para">
 				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.Â 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.Â Requirements and Installation</h2></div></div></div><div class="section" title="10.2.1.Â 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.Â Software Requirements</h3></div></div></div><div class="para">
-				<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.Â Installing and Configuring JACK">SectionÂ 2.3.1, â€œInstalling and Configuring <code class="systemitem">JACK</code>â€</a> for instructions.
+				<span class="application"><strong>FluidSynth</strong></span> requires the <code class="systemitem"><span class="application"><strong>JACK</strong></span> Audio Connection Kit</code>. If you have not already installed the <span class="application"><strong>JACK</strong></span> packages from the Planet CCRMA at Home repository, then it is recommended that you do so <span class="emphasis"><em>before</em></span> installing <span class="application"><strong>FluidSynth</strong></span>. See <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1.Â Installing and Configuring JACK">SectionÂ 2.3.1, â€œInstalling and Configuring <code class="systemitem">JACK</code>â€</a> for instructions.
 			</div></div><div class="section" title="10.2.2.Â 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.Â 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.
+				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 <span class="application"><strong>Qsynth</strong></span>, allows <span class="application"><strong>FluidSynth</strong></span> to be used with the <span class="application"><strong>Qsynth</strong></span> 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 <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.Â 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.Â Installation with Qsynth</h3></div></div></div><div class="para">
+				The second way to install <span class="application"><strong>FluidSynth</strong></span> is without the <span class="application"><strong>Qsynth</strong></span> 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.Â 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.Â Installation with <span class="application"><strong>Qsynth</strong></span></h3></div></div></div><div class="para">
 				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.
@@ -2996,13 +2996,15 @@ qjackctl-0.3.6
 								</div></li></ul></div>
 
 					</div></li></ol></div><div class="para">
-				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.Â 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.Â Installation without Qsynth</h3></div></div></div><div class="para">
+				If you wish to use <span class="application"><strong>FluidSynth</strong></span> from a terminal, without the <span class="application"><strong>Qsynth</strong></span> graphical interface, you can enable this capability by installing the <span class="package">fluidsynth</span> package. This package is not needed if you only intend to run <span class="application"><strong>FluidSynth</strong></span> with <span class="application"><strong>Qsynth</strong></span>, because <span class="application"><strong>Qsynth</strong></span> only uses files in the <span class="package">fluidsynth-libs</span> package, which is automatically installed with <span class="application"><strong>Qsynth</strong></span>. If you are unsure of whether you should install the <span class="package">fluidsynth</span> 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.Â 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.Â Installation without <span class="application"><strong>Qsynth</strong></span></h3></div></div></div><div class="para">
 				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.Â 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.Â Installation of SoundFont Files</h3></div></div></div><div class="para">
-				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.
+				<span class="application"><strong>Qsynth</strong></span> automatically installs a SoundFont for use with <span class="application"><strong>FluidSynth</strong></span>, but if you did not install <span class="application"><strong>Qsynth</strong></span>, 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.
+			</div><div class="para">
+				The following steps move a SoundFont file called <code class="filename">myFont.sf2</code> 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">
@@ -3030,23 +3032,23 @@ qjackctl-0.3.6
 							</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 <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.Â 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.Â 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>.
+			This is not the recommended way to use <span class="application"><strong>FluidSynth</strong></span>, because the <span class="application"><strong>Qsynth</strong></span> graphical interface is much easier to use. <span class="application"><strong>Qsynth</strong></span> 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 <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>
+			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 <span class="application"><strong>JACK</strong></span> 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 <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.Â 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.Â 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><div class="section" title="10.4.Â 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.Â Configuring <span class="application"><strong>Qsynth</strong></span></h2></div></div></div><div class="para">
+			When you quit <span class="application"><strong>Qsynth</strong></span>, all settings are preserved, and re-used when <span class="application"><strong>Qsynth</strong></span> is re-started. This includes settings for additional instances of <span class="application"><strong>Qsynth</strong></span> (described below), which are also re-created when <span class="application"><strong>Qsynth</strong></span> is re-started.
 		</div><div class="section" title="10.4.1.Â 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.Â 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
+						Start <span class="application"><strong>Qsynth</strong></span> from the Applications menu, or the K Menu
 					</div></li><li class="step" title="Step 2"><div class="para">
 						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 <span class="application"><strong>FluidSynth</strong></span>.
+						The row of buttons at the right of the <span class="application"><strong>Qsynth</strong></span> window control <span class="application"><strong>Qsynth</strong></span>. 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 <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.Â 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.Â SoundFont Configuration</h3></div></div></div><div class="para">
-				The default "FluidR3" SoundFont, installed with Qsynth, is automatically configured.
+				The default "FluidR3" SoundFont, installed with <span class="application"><strong>Qsynth</strong></span>, 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">
@@ -3055,16 +3057,16 @@ qjackctl-0.3.6
 						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 <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.Â 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.Â JACK Output Configuration</h3></div></div></div><div class="para">
-				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.Â Routing and Multiplexing">SectionÂ 1.4.7, â€œRouting and Multiplexingâ€</a>), which allows you to simultaneously record the synthesized audio signal and listen to it.
+					</div></li></ol></div></div><div class="section" title="10.4.3.Â 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.Â <span class="application"><strong>JACK</strong></span> Output Configuration</h3></div></div></div><div class="para">
+				It is possible to configure <span class="application"><strong>FluidSynth</strong></span> to output synthesized audio either to <span class="application"><strong>JACK</strong></span> or to ALSA. The default, and recommended, method is to output synthesized audio to <span class="application"><strong>JACK</strong></span>. 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.Â Routing and Multiplexing">SectionÂ 1.4.7, â€œRouting 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.
+				If you are having problems, you may wish to confirm that <span class="application"><strong>Qsynth</strong></span> is configured correctly to use <span class="application"><strong>JACK</strong></span>.
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
-						Open Qsynth's "Setup" window.
+						Open <span class="application"><strong>Qsynth</strong></span>'s "Setup" window.
 					</div></li><li class="step" title="Step 2"><div class="para">
 						Select the 'Audio' tab, and ensure that "Audio Driver" is set to "jack".
 					</div></li><li class="step" title="Step 3"><div class="para">
-						You should also ensure that the other settings are correct - especially that the "sample rate" is set to the same sample rate as JACK (through QjackCtl).
+						You should also ensure that the other settings are correct - especially that the "sample rate" is set to the same sample rate as <span class="application"><strong>JACK</strong></span> (through <span class="application"><strong>QjackCtl</strong></span>).
 					</div></li><li class="step" title="Step 4"><div class="para">
 						The default settings for most things should work. If you changed a default setting, they are these: 
 						<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -3084,15 +3086,15 @@ qjackctl-0.3.6
 			</div></div><div class="section" title="10.4.4.Â 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.Â MIDI Input Configuration</h3></div></div></div><div class="para">
 				<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.
+						Open <span class="application"><strong>Qsynth</strong></span>'s "Setup" window.
 					</div></li><li class="step" title="Step 2"><div class="para">
 						The "Enable MIDI Input" setting must be enabled.
 					</div></li><li class="step" title="Step 3"><div class="para">
 						There are two settings for "MIDI Driver" that you would likely want. 
 						<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-									When set to "alsa_seq", the input will appear on QjackCtl's "ALSA" tab in the "Connect" window. This is useful if the MIDI generator device that you are using, such as a MIDI-enabled keyboard, is connected directly to ALSA.
+									When set to "alsa_seq", the input will appear on <span class="application"><strong>QjackCtl</strong></span>'s "ALSA" tab in the "Connect" window. This is useful if the MIDI generator device that you are using, such as a MIDI-enabled keyboard, is connected directly to ALSA.
 								</div></li><li class="listitem"><div class="para">
-									When set to "jack", the input will appear on QjackCtl's "MIDI" tab in the "Connect" window. This is useful if the MIDI generator device that you are using, such as Rosegarden, is connected directly to JACK.
+									When set to "jack", the input will appear on <span class="application"><strong>QjackCtl</strong></span>'s "MIDI" tab in the "Connect" window. This is useful if the MIDI generator device that you are using, such as <span class="application"><strong>Rosegarden</strong></span>, is connected directly to <span class="application"><strong>JACK</strong></span>.
 								</div></li></ul></div>
 
 					</div></li><li class="step" title="Step 4"><div class="para">
@@ -3105,10 +3107,10 @@ qjackctl-0.3.6
 						Scroll through the list to the setting you wish to see.
 					</div></li><li class="step" title="Step 4"><div class="para">
 						The settings in this tab are not editable in this tab.
-					</div></li></ol></div></div></div><div class="section" title="10.5.Â Assigning Programs to Channels with Qsynth" id="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels">10.5.Â Assigning Programs to Channels with Qsynth</h2></div></div></div><div class="para">
-			The best way to do this is through your MIDI sequencer, like Qtractor or Rosegarden. If you are using an application which doesn't allow you to send program-change messages, or if you need to configure programs for another reason, you can follow these instructions.
+					</div></li></ol></div></div></div><div class="section" title="10.5.Â Assigning Programs to Channels with Qsynth" id="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels">10.5.Â Assigning Programs to Channels with <span class="application"><strong>Qsynth</strong></span></h2></div></div></div><div class="para">
+			The best way to do this is through your MIDI sequencer, like <span class="application"><strong>Qtractor</strong></span> or <span class="application"><strong>Rosegarden</strong></span>. If you are using an application which doesn't allow you to send program-change messages, or if you need to configure programs for another reason, you can follow these instructions.
 		</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.
+					In the main <span class="application"><strong>Qsynth</strong></span> 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 
 <pre class="programlisting">1   -   -   -</pre>
@@ -3123,11 +3125,11 @@ 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.Â 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.Â 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 <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.
+				You can increase the number of MIDI input channels offered by <span class="application"><strong>FluidSynth</strong></span>. Although <span class="application"><strong>QSynth</strong></span> will let you set any number between 1 and 256, channels will be added and removed only in sets of 16. <span class="application"><strong>Qsynth</strong></span> 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 <span class="application"><strong>JACK</strong></span> 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">
-						Open Qsynth's "Setup" window.
+						Open the <span class="application"><strong>Qsynth</strong></span> "Setup" window.
 					</div></li><li class="step" title="Step 2"><div class="para">
 						The "Enable MIDI Input" setting must be enabled.
 					</div></li><li class="step" title="Step 3"><div class="para">
@@ -3137,25 +3139,25 @@ qjackctl-0.3.6
 			</div><div class="para">
 				To save the settings for later:
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
-						Ensure that Qsynth is correctly configured, and working with the program assignments as desired.
+						Ensure that <span class="application"><strong>Qsynth</strong></span> is correctly configured, and working with the program assignments as desired.
 					</div></li><li class="step" title="Step 2"><div class="para">
-						In Qsynth's "Channels" window, erase the contents of the "Preset Name" text field, and replace it with whatever name you would like.
+						In <span class="application"><strong>Qsynth</strong></span>'s "Channels" window, erase the contents of the "Preset Name" text field, and replace it with whatever name you would like.
 					</div></li><li class="step" title="Step 3"><div class="para">
 						Click "Save" to preserve the settings under that name.
 					</div></li></ol></div><div class="para">
 				To restore settings from earlier:
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
-						Open Qsynth's "Channels" window.
+						Open <span class="application"><strong>Qsynth</strong></span>'s "Channels" window.
 					</div></li><li class="step" title="Step 2"><div class="para">
 						Search through the "Preset Name" drop-down box to find the name of the preset that you wish to restore.
 					</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.Â 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.Â 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. <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></li></ol></div></div></div><div class="section" title="10.6.Â 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.Â Using Reverb and Chorus with <span class="application"><strong>Qsynth</strong></span></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. <span class="application"><strong>FluidSynth</strong></span> is no exception, and the <span class="application"><strong>Qsynth</strong></span> 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.
+			The reverb and chorus effects can be turned off temporarily if you do not plan to use them. To do this in <span class="application"><strong>Qsynth</strong></span>, uncheck the "Active" check-box underneath the respective effect generator's settings dials.
 		</div><div class="para">
-			The '''reverb''' effect generator creates artificial reverberation (like an "echo," but more complex), which occurs naturally in almost all performing environments. The effect generator works by creating a virtual room, and pretending that the user is listening within it. These are the settings offered by Qsynth: 
+			The <em class="firstterm">reverb</em> effect generator creates artificial reverberation (like an "echo," but more complex), which occurs naturally in almost all performing environments. The effect generator works by creating a virtual room, and pretending that the user is listening within it. These are the settings offered by <span class="application"><strong>Qsynth</strong></span>: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 						Room: Adjusts the size of the virtual room. Settings higher than 100 can cause a situation that escalates in volume to dangerously high levels, even with the lowest possible "level" settings. This is an interesting effect, but caution is advised so that listener do not incur accidental hearing damage. Remember also that the reverb effect can accumulate as time goes on, so it may even take many minutes for the volume level to build to a dangerously high level, depending on the settings.
 					</div></li><li class="listitem"><div class="para">
@@ -3167,7 +3169,7 @@ qjackctl-0.3.6
 					</div></li></ul></div>
 			 All of the settings interact in ways that make it difficult to describe any sort of recommended settings. Users are strongly encouraged to experiment with the various settings to find ones that suit their needs. A wide variety of listening environments can be simulated, and the settings required do not always reflect the most logical choice - it is possible to emulate a concert hall with a relatively small "room" setting, for example. Effective use of the reverb effect can greatly enhance the MIDI listening experience.
 		</div><div class="para">
-			The '''chorus''' effect generator creates the impression that more than one real-world instrument is playing each MIDI line. The effect generator works by slightly responding to each MIDI note several times, with slightly inaccuracies in pitch and time in each response. Although it may seem overly negative to say so, humans intuitively recognize that this inaccuracy is part of real-world, acoustic music, so the chorus effect helps to add a realistic sound to some performances. These are the settings offered by Qsynth: 
+			The <em class="firstterm">chorus</em> effect generator creates the impression that more than one real-world instrument is playing each MIDI line. The effect generator works by slightly responding to each MIDI note several times, with slightly inaccuracies in pitch and time in each response. Although it may seem overly negative to say so, humans intuitively recognize that this inaccuracy is part of real-world, acoustic music, so the chorus effect helps to add a realistic sound to some performances. These are the settings offered by <span class="application"><strong>Qsynth</strong></span>: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 						N: Adjusts the number of effect "stages," which allows you to control the approximate number of discrete instruments perceived.
 					</div></li><li class="listitem"><div class="para">
@@ -3178,14 +3180,14 @@ 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.Â 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.Â Multiple <span class="application"><strong>FluidSynth</strong></span> Instances with Qsynth</h2></div></div></div><div class="para">
+		</div></div><div class="section" title="10.7.Â 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.Â Multiple <span class="application"><strong>FluidSynth</strong></span> Instances with <span class="application"><strong>Qsynth</strong></span></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 <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.
+			Thankfully, <span class="application"><strong>Qsynth</strong></span> 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 <span class="application"><strong>Qsynth</strong></span> 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 <span class="application"><strong>Qsynth</strong></span> multiple time, or even than running <span class="application"><strong>FluidSynth</strong></span> directly from a terminal. Each such instance is represented in <span class="application"><strong>Qsynth</strong></span> by a "tab," displayed at the bottom of the <span clas
 s="application"><strong>Qsynth</strong></span> window.
 		</div><div class="para">
 			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
+					Press the green "+" button in the bottom-left corner of <span class="application"><strong>Qsynth</strong></span>'s main window
 				</div></li><li class="step" title="Step 2"><div class="para">
 					Adjust the settings as desired, by using the Setup window that pops up.
 				</div></li><li class="step" title="Step 3"><div class="para">
@@ -3193,9 +3195,9 @@ 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 <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="ChapterÂ 11.Â SuperCollider" id="chap-Musicians_Guide-SuperCollider" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 11.Â 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: 
+			Each instance of the <span class="application"><strong>FluidSynth</strong></span> engine has its own settings in the "Setup" window. <span class="application"><strong>Qsynth</strong></span> 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="ChapterÂ 11.Â SuperCollider" id="chap-Musicians_Guide-SuperCollider" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 11.Â <span class="application"><strong>SuperCollider</strong></span></h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.1.4. Avai
 lable <span class="application"><strong>SuperCollider</strong></span> Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.1.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.2. Using <span class="application"><strong>GEdit</strong></span> to Write and Run <span class="application"><strong>SuperCollider</strong></span> Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.2.1. Enable and Configure SCEd in <span class="application"><strong>GEdit</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.2.2. Enable <span class="application"><strong>SuperCollider</strong></span> Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit
 -Executing_Code">11.2.3. Executing Code in <span class="application"><strong>GEdit</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.2.4. Other Tips for Using <span class="application"><strong>GEdit</strong></span> with <span class="application"><strong>SuperCollider</strong></span></a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.3. 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">11.3.1. First Steps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.3.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.3.3. 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">11.3.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.3.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Collections">11.3.6. Collections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.3.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.3.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.3.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Syn
 thDef_and_Synth">11.3.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.3.11. Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.3.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.3.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.3.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.3.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.4. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.4.1. Files f
 or the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.4.2. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.4.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.4.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.4.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.4.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.4.7. 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">1
 1.4.8. 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">11.4.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.5. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.5.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.5.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></div><div class="para">
+		<span class="application"><strong>SuperCollider</strong></span> is many things, but above all: 
 		<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 					An audio synthesis engine,
 				</div></li><li class="listitem"><div class="para">
@@ -3204,213 +3206,203 @@ qjackctl-0.3.6
 					An interpreter to transform the programming language into synthesis instructions.
 				</div></li></ul></div>
 
-	</div><div class="section" title="11.1.Â Technical Conventions for This Chapter" id="sect-Musicians_Guide-SC-Technical_Convetions"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SC-Technical_Convetions">11.1.Â Technical Conventions for This Chapter</h2></div></div></div><div class="para">
-			Because this chapter of the Musicians' Guide is more like a textbook or technical manual than a regular user manual, I have adopted several conventions commonly used in those contexts: 
-			<div class="orderedlist"><ol><li class="listitem"><div class="para">
-						Plural forms of technical words are written with an apostrophe (for example: Synth's instead of Synths), which helps you to know that the technical word is being used.
-					</div></li><li class="listitem"><div class="para">
-						Plural and singular forms of technical words - in particular of language classes - are always capitalized (for example: Synth instead of synth), which helps you to differentiate between the use of the word in SuperCollider and in the real world.
-					</div></li><li class="listitem"><div class="para">
-						Other stuff?
-					</div></li></ol></div>
-
-		</div></div><div class="section" title="11.2.Â Requirements and Installation" id="sect-Musicians_Guide-SC-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SC-Requirements_and_Installation">11.2.Â Requirements and Installation</h2></div></div></div><div class="section" title="11.2.1.Â Knowledge Requirements" id="sect-Musicians_Guide-SC-Req_and_Inst-Knowledge"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1.Â Knowledge Requirements</h3></div></div></div><div class="para">
-				 SuperCollider is by far the most difficult program described in the Fedora Musicians' Guide. The SuperCollider applications themselves are easy to use, and they work very well, but they are merely tools to help you accomplish something useful. SuperCollider has an extremely powerful and flexible programming language, with libraries designed primarily for audio processing. As often happens with computers, however, this added flexibility and power comes at the cost of requiring greater understanding and learning on the part of the user. Because SuperCollider involves actual programming, a rudimentary understanding of some principles and concepts of computer science will provide huge benefits to somebody learning the language. The following articles from Wikipedia are not mandatory reading, but you should refer to them as necessary while learning the language. 
+	</div><div class="section" title="11.1.Â Requirements and Installation" id="sect-Musicians_Guide-SC-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SC-Requirements_and_Installation">11.1.Â Requirements and Installation</h2></div></div></div><div class="section" title="11.1.1.Â Knowledge Requirements" id="sect-Musicians_Guide-SC-Req_and_Inst-Knowledge"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.1.1.Â Knowledge Requirements</h3></div></div></div><div class="para">
+				 <span class="application"><strong>SuperCollider</strong></span> is by far the most difficult program described in the Fedora Musicians' Guide. The <span class="application"><strong>SuperCollider</strong></span> applications themselves are easy to use, and they work very well, but they are merely tools to help you accomplish something useful. <span class="application"><strong>SuperCollider</strong></span> has an extremely powerful and flexible programming language, with libraries designed primarily for audio processing. As often happens with computers, however, this added flexibility and power comes at the cost of requiring greater understanding and learning on the part of the user. Because <span class="application"><strong>SuperCollider</strong></span> involves actual programming, a rudimentary understanding of some principles and concepts of computer science will provide huge benefits to somebody learning the language. The following articles from Wikipedia are not mand
 atory reading, but you should refer to them as necessary while learning the language. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							<em class="citetitle">Computer Programming</em> at <a href="http://en.wikipedia.org/wiki/Computer_programming">http://en.wikipedia.org/wiki/Computer_programming</a>: You probably know what this is; it's what you'll be doing.
 						</div></li><li class="listitem"><div class="para">
-							<em class="citetitle">Programming Language</em> at <a href="http://en.wikipedia.org/wiki/Programming_language">http://en.wikipedia.org/wiki/Programming_language</a>: SuperCollider is a programming language.
+							<em class="citetitle">Programming Language</em> at <a href="http://en.wikipedia.org/wiki/Programming_language">http://en.wikipedia.org/wiki/Programming_language</a>: <span class="application"><strong>SuperCollider</strong></span> is a programming language.
 						</div></li><li class="listitem"><div class="para">
 							<em class="citetitle">Interpreter</em> at <a href="http://en.wikipedia.org/wiki/Interpreter_%28computing%29">http://en.wikipedia.org/wiki/Interpreter_%28computing%29</a>: This reads your code, and sends commands to the server, which causes it to produce sound.
 						</div></li><li class="listitem"><div class="para">
-							<em class="citetitle">Server</em> at <a href="http://en.wikipedia.org/wiki/Server_%28computing%29">http://en.wikipedia.org/wiki/Server_%28computing%29</a>: SuperCollider has a 'server' component, which is operated by the interpreter.
+							<em class="citetitle">Server</em> at <a href="http://en.wikipedia.org/wiki/Server_%28computing%29">http://en.wikipedia.org/wiki/Server_%28computing%29</a>: <span class="application"><strong>SuperCollider</strong></span> has a 'server' component, which is operated by the interpreter.
 						</div></li><li class="listitem"><div class="para">
-							<em class="citetitle">Functional Programming</em> at <a href="http://en.wikipedia.org/wiki/Functional_programming">http://en.wikipedia.org/wiki/Functional_programming</a>: SuperCollider can be treated as a "functional" language.
+							<em class="citetitle">Functional Programming</em> at <a href="http://en.wikipedia.org/wiki/Functional_programming">http://en.wikipedia.org/wiki/Functional_programming</a>: <span class="application"><strong>SuperCollider</strong></span> can be treated as a "functional" language.
 						</div></li><li class="listitem"><div class="para">
-							<em class="citetitle">Imperative Programming</em> at <a href="http://en.wikipedia.org/wiki/Imperative_programming">http://en.wikipedia.org/wiki/Imperative_programming</a>: SuperCollider can be treated as an "imperative" language.
+							<em class="citetitle">Imperative Programming</em> at <a href="http://en.wikipedia.org/wiki/Imperative_programming">http://en.wikipedia.org/wiki/Imperative_programming</a>: <span class="application"><strong>SuperCollider</strong></span> can be treated as an "imperative" language.
 						</div></li><li class="listitem"><div class="para">
-							<em class="citetitle">Object-Oriented Programming</em> at <a href="http://en.wikipedia.org/wiki/Object-oriented_programming">http://en.wikipedia.org/wiki/Object-oriented_programming</a>: SuperCollider can be treated as an "object-oriented" language.
+							<em class="citetitle">Object-Oriented Programming</em> at <a href="http://en.wikipedia.org/wiki/Object-oriented_programming">http://en.wikipedia.org/wiki/Object-oriented_programming</a>: <span class="application"><strong>SuperCollider</strong></span> can be treated as an "object-oriented" language.
 						</div></li></ul></div>
 				 
-			</div></div><div class="section" title="11.2.2.Â 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.Â 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.Â Installing and Configuring JACK">SectionÂ 2.3.1, â€œInstalling 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.Â Installing the Planet CCRMA at Home Repositories">SectionÂ 4.3.1, â€œInstalling 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.Â 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.Â Hardware Requirements</h3></div></div></div><div class="para">
-				You need an audio interface to use SuperCollider. You do not need a microphone to use SuperCollider.
-			</div></div><div class="section" title="11.2.4.Â Available SuperCollider Packages" id="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.2.4.Â Available SuperCollider Packages</h3></div></div></div><div class="para">
-				The SuperCollider packages are all held in the Planet CCRMA at Home repository, and there are a lot of them. Many of them have standard Fedora suffixes, but many are other kinds of optional components. Most of the optional features add libraries to SuperCollider, allowing you to use them in your audio programs. The specific features available in each additional package are not described here. 
+			</div></div><div class="section" title="11.1.2.Â 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">11.1.2.Â Software Requirements</h3></div></div></div><div class="para">
+				<span class="application"><strong>SuperCollider</strong></span> uses the JACK Audio Connection Kit. You should install JACK before installing <span class="application"><strong>SuperCollider</strong></span>. Refer to <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1.Â Installing and Configuring JACK">SectionÂ 2.3.1, â€œInstalling and Configuring <code class="systemitem">JACK</code>â€</a> for instructions to install JACK.
+			</div><div class="para">
+				<span class="application"><strong>SuperCollider</strong></span> is not available from the Fedora software repositories. You must enable the "Planet CCRMA at Home" repository to install <span class="application"><strong>SuperCollider</strong></span>. See <a class="xref" href="#sect-Musicians_Guide-CCRMA_Installing_Repository" title="4.3.1.Â Installing the Planet CCRMA at Home Repositories">SectionÂ 4.3.1, â€œInstalling 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="11.1.3.Â 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">11.1.3.Â Hardware Requirements</h3></div></div></div><div class="para">
+				You need an audio interface to use <span class="application"><strong>SuperCollider</strong></span>. You do not need a microphone to use <span class="application"><strong>SuperCollider</strong></span>.
+			</div></div><div class="section" title="11.1.4.Â Available SuperCollider Packages" id="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.1.4.Â Available <span class="application"><strong>SuperCollider</strong></span> Packages</h3></div></div></div><div class="para">
+				The <span class="application"><strong>SuperCollider</strong></span> packages are all held in the Planet CCRMA at Home repository, and there are a lot of them. Many of them have standard Fedora suffixes, but many are other kinds of optional components. Most of the optional features add libraries to <span class="application"><strong>SuperCollider</strong></span>, allowing you to use them in your audio programs. The specific features available in each additional package are not described here. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							supercollider-ambiem : Optional Library ("Ambisonics classes for SC").
+							<span class="package">supercollider-ambiem</span> : Optional Library ("Ambisonics classes for SC").
 						</div></li><li class="listitem"><div class="para">
-							supercollider-debuginfo : Decodes the debugging information provided by SuperCollider.
+							<span class="package">supercollider-debuginfo</span> : Decodes the debugging information provided by <span class="application"><strong>SuperCollider</strong></span>.
 						</div></li><li class="listitem"><div class="para">
-							supercollider-devel : Contains files needed for development with SuperCollider.
+							<span class="package">supercollider-devel</span> : Contains files needed for development with <span class="application"><strong>SuperCollider</strong></span>.
 						</div></li><li class="listitem"><div class="para">
-							supercollider-dewdrop : Optional Library ("DewDrop external collection for SC").
+							<span class="package">supercollider-dewdrop</span> : Optional Library ("DewDrop external collection for SC").
 						</div></li><li class="listitem"><div class="para">
-							supercollider-emacs : Adds SuperCollider support to the "emacs" text editor.
+							<span class="package">supercollider-emacs</span> : Adds <span class="application"><strong>SuperCollider</strong></span> support to the <span class="application"><strong>emacs</strong></span> text editor.
 						</div></li><li class="listitem"><div class="para">
-							supercollider-extras : Optional Library ("Extra plugins and classes for SC").
+							<span class="package">supercollider-extras</span> : Optional Library ("Extra plugins and classes for SC").
 						</div></li><li class="listitem"><div class="para">
-							supercollider-gedit : Adds SuperCollider support to the "gedit" text editor.
+							<span class="package">supercollider-gedit</span> : Adds <span class="application"><strong>SuperCollider</strong></span> support to the <span class="application"><strong>GEdit</strong></span> text editor.
 						</div></li><li class="listitem"><div class="para">
-							supercollider-libscsynth : "SuperCollider synthesis library."
+							<span class="package">supercollider-libscsynth</span> : "<span class="application"><strong>SuperCollider</strong></span> synthesis library."
 						</div></li><li class="listitem"><div class="para">
-							supercollider-quarks : Optional Library ("Local quarks repository for SuperCollider").
+							<span class="package">supercollider-quarks</span> : Optional Library ("Local quarks repository for <span class="application"><strong>SuperCollider</strong></span>").
 						</div></li><li class="listitem"><div class="para">
-							supercollider-sclang : Help files, examples, the class library, and language interpreter.
+							<span class="package">supercollider-sclang</span> : Help files, examples, the class library, and language interpreter.
 						</div></li><li class="listitem"><div class="para">
-							supercollider-vim : Adds SuperCollider support to the "vim" text editor.
+							<span class="package">supercollider-vim</span> : Adds <span class="application"><strong>SuperCollider</strong></span> support to the <span class="application"><strong>vim</strong></span> text editor.
 						</div></li><li class="listitem"><div class="para">
-							supercollider : Installs the "minimum requirements" to run SuperCollider. 
+							<span class="package">supercollider</span> : Installs the "minimum requirements" to run <span class="application"><strong>SuperCollider</strong></span>. 
 							<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-										supercollider-sclang
+										<span class="package">supercollider-sclang</span>
 									</div></li><li class="listitem"><div class="para">
-										supercollider-libscsynth
+										<span class="package">supercollider-libscsynth</span>
 									</div></li><li class="listitem"><div class="para">
-										fftw
+										<span class="package">fftw</span>
 									</div></li><li class="listitem"><div class="para">
-										w3m-el
+										<span class="package">w3m-el</span>
 									</div></li><li class="listitem"><div class="para">
-										emacs
+										<span class="package">emacs</span>
 									</div></li></ul></div>
 
 						</div></li><li class="listitem"><div class="para">
-							supercollider-bbcut2 : Optional Library ("Beat tracking of audio streams").
+							<span class="package">supercollider-bbcut2</span> : Optional Library ("Beat tracking of audio streams").
 						</div></li><li class="listitem"><div class="para">
-							supercollider-bbcut2-debuginfo : Decodes the debugging information provided by bbcut2.
+							<span class="package">supercollider-bbcut2-debuginfo</span> : Decodes the debugging information provided by bbcut2.
 						</div></li><li class="listitem"><div class="para">
-							supercollider-mathlib : Optional Library ("Useful classes for SC").
+							<span class="package">supercollider-mathlib</span> : Optional Library ("Useful classes for SC").
 						</div></li><li class="listitem"><div class="para">
-							supercollider-redclasses : Optional Library ("Frederik Olofsson Red SC classes").
+							<span class="package">supercollider-redclasses</span> : Optional Library ("Frederik Olofsson Red SC classes").
 						</div></li><li class="listitem"><div class="para">
-							supercollider-redclasses-debuginfo : Decodes the debugging information provided by redclasses.
+							<span class="package">supercollider-redclasses-debuginfo</span> : Decodes the debugging information provided by redclasses.
 						</div></li><li class="listitem"><div class="para">
-							supercollider-world : Installs most SuperCollider packages. 
+							<span class="package">supercollider-world</span> : Installs most <span class="application"><strong>SuperCollider</strong></span> packages. 
 							<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-										supercollider
+										<span class="package">supercollider</span>
 									</div></li><li class="listitem"><div class="para">
-										abmiem
+										<span class="package">abmiem</span>
 									</div></li><li class="listitem"><div class="para">
-										supercollider-redclasses
+										<span class="package">supercollider-redclasses</span>
 									</div></li><li class="listitem"><div class="para">
-										supercollider-dewdrop
+										<span class="package">supercollider-dewdrop</span>
 									</div></li><li class="listitem"><div class="para">
-										supercollider-emacs
+										<span class="package">supercollider-emacs</span>
 									</div></li><li class="listitem"><div class="para">
-										supercollider-mathlib
+										<span class="package">supercollider-mathlib</span>
 									</div></li><li class="listitem"><div class="para">
-										supercollider-midifile
+										<span class="package">supercollider-midifile</span>
 									</div></li><li class="listitem"><div class="para">
-										supercollider-extras
+										<span class="package">supercollider-extras</span>
 									</div></li><li class="listitem"><div class="para">
-										supercollider-bbcut2
+										<span class="package">supercollider-bbcut2</span>
 									</div></li><li class="listitem"><div class="para">
-										supercollider-reduniverse
+										<span class="package">supercollider-reduniverse</span>
 									</div></li></ul></div>
 
 						</div></li><li class="listitem"><div class="para">
-							supercollider-midifile : Optional Library ("MIDI file reader for SuperCollider").
+							<span class="package">supercollider-midifile</span> : Optional Library ("MIDI file reader for <span class="application"><strong>SuperCollider</strong></span>").
 						</div></li><li class="listitem"><div class="para">
-							supercollider-reduniverse : Optional Library ("Sonification and visualization of dynamic systems").
+							<span class="package">supercollider-reduniverse</span> : Optional Library ("Sonification and visualization of dynamic systems").
 						</div></li></ul></div>
 
-			</div></div><div class="section" title="11.2.5.Â Recommended Installation" id="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.2.5.Â Recommended Installation</h3></div></div></div><div class="para">
-				If you have never used SuperCollider before, then we recommend installing the smallest number of packages possible. This will allow you to start learning with the core classes, available on all SuperCollider installations. Installing the bare minimum requirements will not prevent you from installing optional libraries in the future, of course.
+			</div></div><div class="section" title="11.1.5.Â Recommended Installation" id="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.1.5.Â Recommended Installation</h3></div></div></div><div class="para">
+				If you have never used <span class="application"><strong>SuperCollider</strong></span> before, then we recommend installing the smallest number of packages possible. This will allow you to start learning with the core classes, available on all <span class="application"><strong>SuperCollider</strong></span> installations. Installing the bare minimum requirements will not prevent you from installing optional libraries in the future, of course.
 			</div><div class="para">
-				The recommended installation also avoids installing the "emacs" or "vim" components, which - unless you are already a programmer - you probably don't know how to use. The "emacs" and "vim" text editors are extremely powerful and extensible, but they can be difficult to learn. Furthermore, there's no reason to learn them just for SuperCollider, because the component for GEdit is more than sufficient.
+				The recommended installation also avoids installing the <span class="application"><strong>emacs</strong></span> or <span class="application"><strong>vim</strong></span> components, which - unless you are already a programmer - you probably don't know how to use. The <span class="application"><strong>emacs</strong></span> and <span class="application"><strong>vim</strong></span> text editors are extremely powerful and extensible, but they can be difficult to learn. Furthermore, there's no reason to learn them just for <span class="application"><strong>SuperCollider</strong></span>, because the component for <span class="application"><strong>GEdit</strong></span> is more than sufficient.
 			</div><div class="para">
-				To install the minimum recommended installation for SuperCollider: 
+				To install the minimum recommended installation for <span class="application"><strong>SuperCollider</strong></span>: 
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
 							In a terminal, run <code class="command">su -c 'yum install supercollider supercollider-gedit'</code>
 						</div></li><li class="listitem"><div class="para">
 							Review the proposed installation carefully. The list may be quite long, and require a large download.
 						</div></li></ol></div>
 
-			</div></div></div><div class="section" title="11.3.Â Using GEdit to Write and Run SuperCollider Programs" id="sect-Musicians_Guide-SC-Using_GEdit"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SC-Using_GEdit">11.3.Â Using GEdit to Write and Run SuperCollider Programs</h2></div></div></div><div class="para">
-			The 'supercollider-gedit' package installs an extension for GEdit which allows editing and running SuperCollider code from within GEdit. There are also SuperCollider extensions for the "emacs" and "vim" text editors. This tutorial uses the GEdit extension, because it is easier to learn how to use GEdit than "vim" or "emacs."
-		</div><div class="section" title="11.3.1.Â Enable and Configure SCEd in GEdit" id="sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1.Â Enable and Configure SCEd in GEdit</h3></div></div></div><div class="para">
-				These steps should be followed the first time that you use GEdit's SuperCollider extension.
+			</div></div></div><div class="section" title="11.2.Â Using GEdit to Write and Run SuperCollider Programs" id="sect-Musicians_Guide-SC-Using_GEdit"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SC-Using_GEdit">11.2.Â Using <span class="application"><strong>GEdit</strong></span> to Write and Run <span class="application"><strong>SuperCollider</strong></span> Programs</h2></div></div></div><div class="para">
+			The <span class="package">supercollider-gedit</span> package installs an extension for <span class="application"><strong>GEdit</strong></span> which allows editing and running <span class="application"><strong>SuperCollider</strong></span> code from within <span class="application"><strong>GEdit</strong></span>. There are also <span class="application"><strong>SuperCollider</strong></span> extensions for the <span class="application"><strong>emacs</strong></span> and <span class="application"><strong>vim</strong></span> text editors. This tutorial uses the <span class="application"><strong>GEdit</strong></span> extension, because it is easier to learn how to use <span class="application"><strong>GEdit</strong></span> than <span class="application"><strong>vim</strong></span> or "emacs."
+		</div><div class="section" title="11.2.1.Â Enable and Configure SCEd in GEdit" id="sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.2.1.Â Enable and Configure SCEd in <span class="application"><strong>GEdit</strong></span></h3></div></div></div><div class="para">
+				These steps should be followed the first time that you use <span class="application"><strong>GEdit</strong></span>'s <span class="application"><strong>SuperCollider</strong></span> extension.
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
-						Start "GEdit"
+						Start <span class="application"><strong>GEdit</strong></span>
 					</div></li><li class="step" title="Step 2"><div class="para">
-						Open the Preferences window (from the menu, select 'Edit &gt; Preferences')
+						Open the Preferences window (from the menu, choose <span class="guimenu"><strong>Edit</strong></span> â†’ <span class="guimenuitem"><strong>Preferences</strong></span>)
 					</div></li><li class="step" title="Step 3"><div class="para">
-						Choose the 'Plugins' tab, and scroll down to "Sced," then make sure that it is selected.
+						Choose the 'Plugins' tab, and scroll down to <span class="package">Sced</span>, then make sure that it is selected.
 					</div></li><li class="step" title="Step 4"><div class="para">
-						Click on the "Configure Plugin" button, then select a runtime folder where the SuperCollider server will store any synth sent to it during program execution. The safest place for this folder could be a sub-folder of the location where you will store your SuperCollider code.
-					</div></li></ol></div></div><div class="section" title="11.3.2.Â Enable SuperCollider Mode and Start a Server" id="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.3.2.Â Enable SuperCollider Mode and Start a Server</h3></div></div></div><div class="para">
-				These steps should be followed every time you open GEdit, and wish to use the SuperCollider extension.
+						Click on the <span class="guibutton"><strong>Configure Plugin</strong></span> button, then select a runtime folder where the <span class="application"><strong>SuperCollider</strong></span> server will store any synth sent to it during program execution. The safest place for this folder could be a sub-folder of the location where you will store your <span class="application"><strong>SuperCollider</strong></span> code.
+					</div></li></ol></div></div><div class="section" title="11.2.2.Â Enable SuperCollider Mode and Start a Server" id="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.2.2.Â Enable <span class="application"><strong>SuperCollider</strong></span> Mode and Start a Server</h3></div></div></div><div class="para">
+				These steps should be followed every time you open <span class="application"><strong>GEdit</strong></span>, and wish to use the <span class="application"><strong>SuperCollider</strong></span> extension.
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 						Choose <span class="guimenu"><strong>Tools</strong></span> â†’ <span class="guimenuitem"><strong>SuperCollider Mode</strong></span>
 					</div></li><li class="step" title="Step 2"><div class="para">
-						A 'SuperCollider' menu should appear, and a window at the bottom which says, "SuperCollider output".
+						A <span class="guimenu"><strong>SuperCollider</strong></span> menu should appear, and a window at the bottom which says, "<span class="application"><strong>SuperCollider</strong></span> output".
 					</div></li><li class="step" title="Step 3"><div class="para">
-						If you cannot see the window at the bottom, then select 'View &gt; Bottom Pane' from the menu, so that it shows up. It is sometimes important to see the information that SuperCollider provides in this window.
+						If you cannot see the window at the bottom, then select <span class="guimenu"><strong>View</strong></span> â†’ <span class="guimenuitem"><strong>Bottom Pane</strong></span> from the menu, so that it shows up. It is sometimes important to see the information that <span class="application"><strong>SuperCollider</strong></span> provides in this window.
 					</div></li><li class="step" title="Step 4"><div class="para">
-						After enabling SuperCollider mode, the window should display a series of notices. Near the end should be something like this: 
+						After enabling <span class="application"><strong>SuperCollider</strong></span> mode, the window should display a series of notices. Near the end should be something like this: 
 <pre class="programlisting">
 RESULT = 0
 Welcome to SuperCollider, for help type ctrl-c ctrl-h (Emacs) or :SChelp (vim) or ctrl-U (sced/gedit)
 </pre>
-						 If this window gives a non-zero value for "RESULT," then an error has probably occurred, and you should scroll up to see what it is, and try to fix it. If you receive the following warning: "The GUI scheme 'swing' is not installed" then you will not be able to run any SuperCollider prorams that use a GUI (graphical user interface). The GUI components are not used anywhere in this Guide, and they are highly optional.
+						 If this window gives a non-zero value for "RESULT," then an error has probably occurred, and you should scroll up to see what it is, and try to fix it. If you receive the following warning: "The GUI scheme 'swing' is not installed" then you will not be able to run any <span class="application"><strong>SuperCollider</strong></span> prorams that use a GUI (graphical user interface). The GUI components are not used anywhere in this Guide, and they are highly optional.
 					</div></li><li class="step" title="Step 5"><div class="para">
-						You will probably also want to start a server at this point, so from the menu select 'SuperCollider &gt; Start Server'.
+						You will probably also want to start a server at this point, so from the menu select '<span class="application"><strong>SuperCollider</strong></span> &gt; Start Server'.
 					</div></li><li class="step" title="Step 6"><div class="para">
-						After the server starts, you should see messages from "JackDriver". If a JACK server is not already started, then SuperCollider will start one automatically.
+						After the server starts, you should see messages from "JackDriver". If a JACK server is not already started, then <span class="application"><strong>SuperCollider</strong></span> will start one automatically.
 					</div></li><li class="step" title="Step 7"><div class="para">
-						If the SuperCollider server started successfully, you should see a message similar to this: 
+						If the <span class="application"><strong>SuperCollider</strong></span> server started successfully, you should see a message similar to this: 
 <pre class="programlisting">
 SuperCollider 3 server ready..
 JackDriver: max output latency 46.4 ms
 notification is on
 </pre>
 
-					</div></li></ol></div></div><div class="section" title="11.3.3.Â Executing Code in GEdit" id="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3.Â Executing Code in GEdit</h3></div></div></div><div class="para">
-				You can execute code directly from GEdit, without having to use "sclang" from the command-line.
+					</div></li></ol></div></div><div class="section" title="11.2.3.Â Executing Code in GEdit" id="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.2.3.Â Executing Code in <span class="application"><strong>GEdit</strong></span></h3></div></div></div><div class="para">
+				You can execute code directly from <span class="application"><strong>GEdit</strong></span>, without having to use <code class="command">sclang</code> from the command-line.
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
-						Ensure that SuperCollider mode is enabled, and that a server has been started.
+						Ensure that <span class="application"><strong>SuperCollider</strong></span> mode is enabled, and that a server has been started.
 					</div></li><li class="step" title="Step 2"><div class="para">
 						Select the code that you wish to execute. A single line of code may be executed simply by placing the text-input cursor on that line.
 					</div></li><li class="step" title="Step 3"><div class="para">
-						Press 'Ctrl+E' on the keyboard, or from the menu select 'SuperCollider &gt; Evaluate'
+						Press 'Ctrl+E' on the keyboard, or from the menu select '<span class="application"><strong>SuperCollider</strong></span> &gt; Evaluate'
 					</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 &gt; Stop Sound'
+						To stop all sound on the server, press 'Esc' on the keyboard, or from the menu select '<span class="application"><strong>SuperCollider</strong></span> &gt; 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: 
+						If the server successfully executes the code, then it will output something to the "<span class="application"><strong>SuperCollider</strong></span> output" pane. The output will be different, depending on what <span class="application"><strong>SuperCollider</strong></span> 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.Â 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.Â Other Tips for Using GEdit with SuperCollider</h3></div></div></div><div class="para">
+					</div></li></ol></div></div><div class="section" title="11.2.4.Â 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">11.2.4.Â Other Tips for Using <span class="application"><strong>GEdit</strong></span> with <span class="application"><strong>SuperCollider</strong></span></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.
+							If you close <span class="application"><strong>GEdit</strong></span> while the <span class="application"><strong>SuperCollider</strong></span> server is running, then <span class="application"><strong>GEdit</strong></span> will automatically shut down the server.
 						</div></li><li class="listitem"><div class="para">
-							If JACK is started by SuperCollider, then it will automatically terminate when the SuperCollider server terminates.
+							If <code class="systemitem">JACK</code> is started by <span class="application"><strong>SuperCollider</strong></span>, then it will automatically terminate when the <span class="application"><strong>SuperCollider</strong></span> server terminates.
 						</div></li><li class="listitem"><div class="para">
-							SuperCollider will automatically attempt to connect its outputs to the system's outputs. If your audio output doesn't work, then you should use "QjackCtl" to verify that it is correctly connected.
+							<span class="application"><strong>SuperCollider</strong></span> will automatically attempt to connect its outputs to the system's outputs. If your audio output doesn't work, then you should use <span class="application"><strong>QjackCtl</strong></span> to verify that it is correctly connected.
 						</div></li><li class="listitem"><div class="para">
-							Other Functions available in the SuperCollider menu include: 
+							Other functions available in the <span class="application"><strong>SuperCollider</strong></span> menu include: 
 							<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-										Find Help (Opens the SuperCollider help file for currently-selected object).
+										Find Help (Opens the <span class="application"><strong>SuperCollider</strong></span> help file for currently-selected object).
 									</div></li><li class="listitem"><div class="para">
-										Find Definition (Opens the SuperCollider source file for the currently-selected object).
+										Find Definition (Opens the <span class="application"><strong>SuperCollider</strong></span> source file for the currently-selected object).
 									</div></li><li class="listitem"><div class="para">
-										Restart Interpreter (Restarts the SuperCollider interpreter; also closes running servers, but does not restart them).
+										Restart Interpreter (Restarts the <span class="application"><strong>SuperCollider</strong></span> interpreter; also closes running servers, but does not restart them).
 									</div></li><li class="listitem"><div class="para">
-										Clear output (Clears all output from the "SuperCollider output" pane).
+										Clear output (Clears all output from the "<span class="application"><strong>SuperCollider</strong></span> output" pane).
 									</div></li></ul></div>
 
 						</div></li></ul></div>
 
-			</div></div></div><div xml:lang="en-US" class="section" title="11.4.Â Basic Programming in SuperCollider" id="sect-Musicians_Guide-SuperCollider-Basic_Programming" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4.Â Basic Programming in <span class="application"><strong>SuperCollider</strong></span></h2></div></div></div><div class="para">
+			</div></div></div><div xml:lang="en-US" class="section" title="11.3.Â Basic Programming in SuperCollider" id="sect-Musicians_Guide-SuperCollider-Basic_Programming" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Basic_Programming">11.3.Â Basic Programming in <span class="application"><strong>SuperCollider</strong></span></h2></div></div></div><div class="para">
 		As with any programming language, you will start learning <span class="application"><strong>SuperCollider</strong></span> with the basic commands, that are of little use by themselves. However, since the language is so flexible, even the most basic commands can be combined in ways that create highly complex behaviours. The example program, "Method One," was written with the goal of illustrating how a single sound-generating object can be used to create an entire composition. This tutorial does not begin with audio-generating code, which helps to emphasize that <span class="application"><strong>SuperCollider</strong></span> is primarily a programming language.
 	</div><div class="para">
 		This portion of the Guide is designed as a "reference textbook," which you can use both to learn the <span class="application"><strong>SuperCollider</strong></span> language in the first place, and to remind yourself about the language's features afterwards.
 	</div><div class="para">
 		The section is most effective when read in small portions.
-	</div><div class="section" title="11.4.1.Â First Steps" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1.Â First Steps</h3></div></div></div><div class="section" title="11.4.1.1.Â The Different Parts of SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider">11.4.1.1.Â The Different Parts of <span class="application"><strong>SuperCollider</strong></span></h4></div></div></div><div class="para">
+	</div><div class="section" title="11.3.1.Â First Steps" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.3.1.Â First Steps</h3></div></div></div><div class="section" title="11.3.1.1.Â The Different Parts of SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider">11.3.1.1.Â The Different Parts of <span class="application"><strong>SuperCollider</strong></span></h4></div></div></div><div class="para">
 				As you discovered when installing <span class="application"><strong>SuperCollider</strong></span>, there are actually many different components involved with <span class="application"><strong>SuperCollider</strong></span>. Here is a list of some of them, with brief descriptions of their purpose: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							Programming language: this is an abstract set of rules and guidelines that allow you to write down instructions for producing sounds.
@@ -3426,7 +3418,7 @@ notification is on
 				This modular design allows for several advanced capabilities and features. Any particular element could theoretically be replaced without affecting other elements, as long as the methods of communication remain the same. As long as the programming language is the same, portions of the library can be modified, removed, or added at will; this happens often, and Planet CCRMA at Home provides a collection of library extensions. One of the most exciting capabilities is the ability to run the interpreter and server on different physical computers. The networking component is built into these components - they always communicate by UDP or TCP, even when run on the same computer! Although this ability is not used in this Guide, it is not difficult.
 			</div><div class="para">
 				The most important thing to remember is that the <span class="application"><strong>SuperCollider</strong></span> interpreter is what deals with the programs you write. The <span class="application"><strong>SuperCollider</strong></span> server is controlled by the interpreter, but is an independent program. For simple things, like the Hello World Programs below, the server is not even used - after all, there is no audio for it to synthesize.
-			</div></div><div class="section" title="11.4.1.2.Â &quot;Hello, World!&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Hello_World"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Hello_World">11.4.1.2.Â "Hello, World!"</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.1.2.Â &quot;Hello, World!&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Hello_World"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Hello_World">11.3.1.2.Â "Hello, World!"</h4></div></div></div><div class="para">
 				The first program that one traditionally makes when learning a new programming language is called "The Hello World Program." This is a simple and trivial application that simply prints outs the phrase, <code class="literal">Hello, World!</code> (or a variation of it). It might seem useless at first, but the ability to provide feedback to an application's user is very important, and this is essentially what the Hello World Program does.
 			</div><div class="para">
 				Here is the program in <span class="application"><strong>SuperCollider</strong></span>: 
@@ -3445,7 +3437,7 @@ notification is on
 				As with all examples in this section, you should paste these programs into <span class="application"><strong>GEdit</strong></span>, and execute them with <span class="application"><strong>SuperCollider</strong></span>. Look at the output produced by the programs, but don't worry about it for now.
 			</div><div class="para">
 				These programs are very small, but it highlights some key concepts of the <span class="application"><strong>SuperCollider</strong></span> language, described below.
-			</div></div><div class="section" title="11.4.1.3.Â Return Values" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Return_Values"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Return_Values">11.4.1.3.Â Return Values</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.1.3.Â Return Values" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Return_Values"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Return_Values">11.3.1.3.Â Return Values</h4></div></div></div><div class="para">
 				Every <span class="application"><strong>SuperCollider</strong></span> program must provide the interpreter with a value (some information) when it has carried out all of its instructions. This value is called a "return value," because it is the value given by a program when it "returns" control to the interpreter. In a <span class="application"><strong>SuperCollider</strong></span> program, it is the last value stated in a program that automatically becomes the return value - no special command is required. When program execution ends, and control is returned to the <span class="application"><strong>SuperCollider</strong></span> interpreter, the interpreter outputs the return value in the "SuperCollider output" pane.
 			</div><div class="para">
 				In the single-line Hello World Program above, the program produces the following output: <code class="computeroutput"> Hello, World! Hello, World! </code> The program appears to have been executed twice, but that is not the case. The first <code class="literal">Hello, World!</code> is printed by the program. The second <code class="literal">Hello, World!</code> appears because <code class="code">"Hello, World!.postln</code> is the last (in this case, the only) value of the program. It is "returned" by the program, and the interpreter prints it.
@@ -3464,39 +3456,39 @@ notification is on
 						</div></li></ul></div>
 				 Can you modify the two-line Hello World Program so that each line is printed only once?
 			</div><div class="para">
-				In reality, every "function" must return a value. Functions are described in <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions" title="11.4.2.3.Â Functions">SectionÂ 11.4.2.3, â€œFunctionsâ€</a>, but the difference is not yet important.
-			</div></div><div class="section" title="11.4.1.4.Â Statements" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Statements">11.4.1.4.Â Statements</h4></div></div></div><div class="para">
+				In reality, every "function" must return a value. Functions are described in <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions" title="11.3.2.3.Â Functions">SectionÂ 11.3.2.3, â€œFunctionsâ€</a>, but the difference is not yet important.
+			</div></div><div class="section" title="11.3.1.4.Â Statements" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Statements">11.3.1.4.Â Statements</h4></div></div></div><div class="para">
 				A "statement" is a single instruction, which always ends with a semicolon. Exactly what constitutes a statement will become clear as you gain experience, and you will eventually automatically remember the semicolon.
 			</div><div class="para">
-				In the Hello World Programs above, all of the statements contain the single instruction to post a line to the output screen. What happens when you remove the first semicolon, which marks the end of the first statement? The <span class="application"><strong>SuperCollider</strong></span> interpreter produces an unhelpful error message, and tells you that an error occurred ''after'' the forgotten semicolon. This is why it is important to always remember statement-concluding semicolons.
-			</div></div><div class="section" title="11.4.1.5.Â Data Types: Numbers and Strings" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Numbers_and_Strings"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Numbers_and_Strings">11.4.1.5.Â Data Types: Numbers and Strings</h4></div></div></div><div class="para">
+				In the Hello World Programs above, all of the statements contain the single instruction to post a line to the output screen. What happens when you remove the first semicolon, which marks the end of the first statement? The <span class="application"><strong>SuperCollider</strong></span> interpreter produces an unhelpful error message, and tells you that an error occurred <span class="emphasis"><em>after</em></span> the forgotten semicolon. This is why it is important to always remember statement-concluding semicolons.
+			</div></div><div class="section" title="11.3.1.5.Â Data Types: Numbers and Strings" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Numbers_and_Strings"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Numbers_and_Strings">11.3.1.5.Â Data Types: Numbers and Strings</h4></div></div></div><div class="para">
 				In many programming languages, it is the programmer's responsibility to determine the type of data that is being used, and how it should be stored. The <span class="application"><strong>SuperCollider</strong></span> interpreter takes advantage of the power of modern computers, and deals with this on our behalf. This greatly simplifies basic tasks, because there are only two kinds of data to worry about, and they make perfect sense: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							Numbers: These are numbers, written simply as numbers. Anything that can be done with real-world numbers can also be done with <span class="application"><strong>SuperCollider</strong></span>'s numbers. They can be as large or small, positive or negative as you want. They can have any number of digits on either side of the decimal point.
 						</div></li><li class="listitem"><div class="para">
-							Strings: These are a string of characters, written between two double-quote characters like "this." The double-quote characters are required so that <span class="application"><strong>SuperCollider</strong></span> knows where to begin and end the string of characters. A string of character can contain as many characters as you like, including one character and no characters. If you want to include a double-quote character in a string, you should put a blackslash before it. The following is interpreted by <span class="application"><strong>SuperCollider</strong></span> as a string with only a double-quote character: <code class="code">"\""</code>
+							Strings: These are a string of characters, written between two double-quote characters like "this." The double-quote characters are required so that <span class="application"><strong>SuperCollider</strong></span> knows where to begin and end the string of characters. A string of character can contain as many characters as you like, including one character and no characters. If you want to include a double-quote character in a string, you should put a blackslash before it. The following is interpreted by <span class="application"><strong>SuperCollider</strong></span> as a string with only a double-quote character: <code class="literal">"\""</code>
 						</div></li></ul></div>
 
 			</div><div class="para">
 				Here are some examples of numbers and strings: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							<code class="code">5;</code>
+							<code class="literal">5</code>
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">18920982341;</code>
+							<code class="literal">18920982341</code>
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">0.00000000000001;</code>
+							<code class="literal">0.00000000000001</code>
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">"characters";</code>
+							<code class="literal">"characters"</code>
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">"@";</code>
+							<code class="literal">"@"</code>
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">"";</code>
+							<code class="literal">""</code>
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">"6";</code>
+							<code class="literal">"6"</code>
 						</div></li></ul></div>
 
 			</div><div class="para">
-				Is the last example a number or a string? You and I recognize that it is a number inside a string, but <span class="application"><strong>SuperCollider</strong></span> will only treat it as a string. You can do string things with it, but you cannot do number things with it. You cannot add <code class="code">"6"</code> to something, for example. Notice also that each example ends with a semicolon, which makes them complete statements. The statements don't do anything but represent themselves.
+				Is the last example a number or a string? You and I recognize that it is a number inside a string, but <span class="application"><strong>SuperCollider</strong></span> treats it as a string. You can do string things with it, but you cannot do number things with it. You cannot add <code class="literal">"6"</code> to something, for example.
 			</div><div class="para">
 				Try executing the following single-line programs. Think about why the <span class="application"><strong>SuperCollider</strong></span> interpreter produces the output that it does. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -3507,7 +3499,7 @@ notification is on
 							<code class="code">"six" + 3;</code>
 						</div></li></ul></div>
 
-			</div></div><div class="section" title="11.4.1.6.Â Consecutive Execution" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Consecutive_Execution"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Consecutive_Execution">11.4.1.6.Â Consecutive Execution</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.1.6.Â Consecutive Execution" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Consecutive_Execution"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Consecutive_Execution">11.3.1.6.Â Consecutive Execution</h4></div></div></div><div class="para">
 				Complex <span class="application"><strong>SuperCollider</strong></span> programs contain many parts, which all do different things. Sometimes, executing all of these together doesn't make sense, and it can be difficult to know which portions of the program are supposed to be executed when. To help with this, the interpreter allows you to mark portions of your program between ( and ) so that you will know to execute them together.
 			</div><div class="para">
 				Here is an example: 
@@ -3522,14 +3514,14 @@ notification is on
 )
 </pre>
 				 It doesn't make sense to say "hello" and "goodbye" at the same time, so separating these sections with parentheses will serve as a reminder. In case we try to execute all of the code at once, the <span class="application"><strong>SuperCollider</strong></span> interpreter will give us an error.
-			</div></div></div><div class="section" title="11.4.2.Â Variables and Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2.Â Variables and Functions</h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.2.Â Variables and Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.3.2.Â Variables and Functions</h3></div></div></div><div class="para">
 			The concepts in this section are related to the mathematical terms with the same names. This is a modern-day result of the first uses of computers and programming languages: the calculation of complex mathematical problems.
-		</div><div class="section" title="11.4.2.1.Â Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Variables"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Variables">11.4.2.1.Â Variables</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.2.1.Â Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Variables"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Variables">11.3.2.1.Â Variables</h4></div></div></div><div class="para">
 				A variable is a symbol that can be assigned an arbitrary value. A "symbol" is a series of alphabetic and numeric characters, separated by whitespace (a space, a line-break, or the end of the file). When a variable is "assigned" a value, the variable name (the symbol) is understood to be a substitute for the assigned value.
 			</div><div class="para">
 				Consider a traffic light, which has three possible symbols: green, yellow, and red. When you are driving, and you encounter a traffic light, you might see that its red symbol is activated (the red light is illuminated). What you see is a red light, but you understand that it means you should stop your car. Red lights in general do not make you stop - it is specifically red traffic lights, because we know that it is a symbol meaning to stop.
 			</div><div class="para">
-				SuperCollider's variables work in the same way: you tell the interpreter that you want to use a symbol, like <code class="code">cheese</code>. Then you assign <code class="code">cheese</code> a value, like <code class="code">5</code>. After that point, whenever you use <code class="code">cheese</code>, the interpreter will automatically know that what you really mean is <code class="code">5</code>.
+				SuperCollider's variables work in the same way: you tell the interpreter that you want to use a symbol, like <code class="literal">cheese</code>. Then you assign <code class="literal">cheese</code> a value, like <code class="literal">5</code>. After that point, whenever you use <code class="literal">cheese</code>, the interpreter will automatically know that what you really mean is <code class="literal">5</code>.
 			</div><div class="para">
 				Run the following two programs. They should result in the same output. 
 <pre class="programlisting">
@@ -3544,10 +3536,10 @@ notification is on
 </pre>
 
 			</div><div class="para">
-				In the first example, the program calculates the value of <code class="code">5 + 5</code>, which is <code class="code">10</code>, and returns that to the interpreter, which prints it out. In the second example, the program tells the interpreter that it wants to use a variable called <code class="code">cheese</code> then it assigns cheese the value <code class="code">5</code>. Finally, the program calculates <code class="code">cheese + cheese</code>, which it understands as meaning <code class="code">5 + 5</code>, and returns <code class="code">10</code> to the interpreter, which prints it out.
+				In the first example, the program calculates the value of <code class="code">5 + 5</code>, which is <code class="literal">10</code>, and returns that to the interpreter, which prints it out. In the second example, the program tells the interpreter that it wants to use a variable called <code class="literal">x</code> then it assigns cheese the value <code class="literal">5</code>. Finally, the program calculates <code class="code">cheese + cheese</code>, which it understands as meaning <code class="code">5 + 5</code>, and returns <code class="literal">10</code> to the interpreter, which prints it out.
 			</div><div class="para">
 				This trivial use of a variable does nothing but complicate the process of adding 5 to itself. Soon you will see that variables can greatly simplify your programs.
-			</div></div><div class="section" title="11.4.2.2.Â Using Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables">11.4.2.2.Â Using Variables</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.2.2.Â Using Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables">11.3.2.2.Â Using Variables</h4></div></div></div><div class="para">
 				There are three words that describe the key stages of using a variable: declaration, initialization, and assignment.
 			</div><div class="para">
 				A variable must be declared before use, so that the interpreter knows that you want to use that symbol as a variable. All variables must be declared before any statement that does not declare a variable; in other words, you should declare your variables before doing anything else. Variable names are declared like this: 
@@ -3560,7 +3552,7 @@ notification is on
 			</div><div class="para">
 				The first assignment to a variable is said to "initialize" the variable. Initialization is a special kind of assignment, because a variable cannot be used before it is initialized. If a program attempts to use an un-initialized variable, the <span class="application"><strong>SuperCollider</strong></span> interpreter will cause an error. For this reason, you should always initialize a variable when you declare it. There is a special way to do this: 
 <pre class="programlisting">var <em class="replaceable"><code>variableName</code></em> = nil;</pre>
-				 Since you can't always assign a useful value, you can pick an arbitrary one. Assigning "nil" is common practice, because it means "nothing," but without actually being nothing (this avoids ''some'' errors). Assigning zero is another possibility; it is standard practice in many programming languages, and will avoid most errors, even if the variable is eventually supposed to hold another kind of object. Intialization and declaration of multiple variables can also be done as a list: 
+				 Since you can't always assign a useful value, you can pick an arbitrary one. Assigning "nil" is common practice, because it means "nothing," but without actually being nothing (this avoids <span class="emphasis"><em>some</em></span> errors). Assigning zero is another possibility; it is standard practice in many programming languages, and will avoid most errors, even if the variable is eventually supposed to hold another kind of object. Intialization and declaration of multiple variables can also be done as a list: 
 <pre class="programlisting">var <em class="replaceable"><code>variableName</code></em> = 0, <em class="replaceable"><code>variableOtherName</code></em> = 0;</pre>
 
 			</div><div class="para">
@@ -3574,12 +3566,12 @@ notification is on
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
 							Perform arithmetic with an uninitialized variable. An error should appear when the program is executed.
 						</div></li><li class="listitem"><div class="para">
-							Calculate the value of <code class="code">y</code>, if all other values are known, for the quadratic equation: <code class="code">y = a * x * x + b * x + c</code>
+							Calculate the value of <code class="literal">y</code>, if all other values are known, for the quadratic equation: <code class="code">y = a * x * x + b * x + c</code>
 						</div></li><li class="listitem"><div class="para">
 							Re-write the Hello World Program so that it will say "Hello" to a name stored in a variable. Remember that you can use the interpreter to automatically output the last line of a function.
 						</div></li></ol></div>
 
-			</div></div><div class="section" title="11.4.2.3.Â Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions">11.4.2.3.Â Functions</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.2.3.Â Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions">11.3.2.3.Â Functions</h4></div></div></div><div class="para">
 				A Function is a statement, or a series of statements, that we want to use many times. When a Function is assigned to a variable, you can execute the Function as many times as you wish. Any statements that happen between braces { like this; } are treated as a Function. Functions are executed by passing them the "value" message, as in the following example.
 			</div><div class="para">
 				Here is a Function that is not assigned to a variable, and is executed once. 
@@ -3593,8 +3585,8 @@ myFunction.value;
 myFunction.value;
 </pre>
 
-			</div></div><div class="section" title="11.4.2.4.Â Function Arguments" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments">11.4.2.4.Â Function Arguments</h4></div></div></div><div class="para">
-				The most useful aspect of Functions is that they can produce varying results, depending on their input. For whatever reason, the input accepted by a Function is called an "argument." <span class="application"><strong>SuperCollider</strong></span>'s Functions can accept any number of arguments - zero, one, or many. Argument values (called "parameters") are provided to a Function by adding them in parentheses after the name of the Function, separated with commas, like this: <code class="code">exampleFunction( 5, 7, 9 );</code> Argument variables are declared as the first statement in a Function, like this: <code class="code">arg oneNumber, twoNumber;</code>
+			</div></div><div class="section" title="11.3.2.4.Â Function Arguments" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments">11.3.2.4.Â Function Arguments</h4></div></div></div><div class="para">
+				The most useful aspect of Functions is that they can produce varying results, depending on their input. For whatever reason, the input accepted by a Function is called an "argument." <span class="application"><strong>SuperCollider</strong></span>'s Functions can accept any number of arguments - zero, one, or many. Argument values (called "parameters") are provided to a Function by adding them in parentheses after the name of the Function, separated with commas, like this: <code class="code">exampleFunction( 5, 7, 9 );</code> Argument variables are declared as the first statement in a Function, like this: <code class="code">arg <em class="replaceable"><code>oneNumber</code></em>, <em class="replaceable"><code>twoNumber</code></em>;</code>
 			</div><div class="para">
 				This program is significantly more complicated than previous examples, but it shows how useful Functions can be. Notice how the braces in that example are on different lines than the rest of the Function, which gives us more space within the Function to complete some useful work. 
 <pre class="programlisting">
@@ -3612,23 +3604,25 @@ myFunction.value;
 </pre>
 				 Here is how the program works: 
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
-							A variable named <code class="code">greeter</code> is declared, and assigned a Function.
+							A variable named <code class="literal">greeter</code> is declared, and assigned a Function.
 						</div></li><li class="listitem"><div class="para">
-							The Function contains an argument called <code class="code">name</code>, and outputs "Hello" plus the name given to it.
+							The Function contains an argument called <code class="literal">name</code>, and outputs "Hello" plus the name given to it.
 						</div></li><li class="listitem"><div class="para">
-							The parentheses here <code class="code">( "Hello" + name )</code> ensure that the two strings are added together ''before'' the "postln" message prints them out.
+							The parentheses here <code class="code">( "Hello" + name )</code> ensure that the two strings are added together <span class="emphasis"><em>before</em></span> the <code class="function">postln</code> message prints them out.
 						</div></li><li class="listitem"><div class="para">
-							The <code class="code">greeter</code> variable is used to call the Function with two different names.
+							The <code class="literal">greeter</code> variable is used to call the Function with two different names.
 						</div></li><li class="listitem"><div class="para">
 							The <code class="code">nil;</code> statement is optional, and does not affect the operation of the program. What it does is return a "nothing" value to the interpreter after program execution completes, so that the last message is not repeated.
 						</div></li></ol></div>
 
 			</div><div class="para">
-				Since every argument has a name, <span class="application"><strong>SuperCollider</strong></span> allows you to use that name when executing the Function. This example executes the <code class="code">greeter</code> Function from the last example: <code class="code">greeter.value( name:"Myung-Whun" );</code> This is more useful if there are many arguments, and you do not remember the order that they appear in the Function's definition.
+				Since every argument has a name, <span class="application"><strong>SuperCollider</strong></span> allows you to use that name when executing the function. This example executes the <code class="function">greeter</code> function from the last example: 
+<pre class="programlisting">greeter.value( name:"Myung-Whun" );</pre>
+				 This is more useful if there are many arguments, and you do not remember the order that they appear in the Function's definition.
 			</div><div class="para">
 				<span class="application"><strong>SuperCollider</strong></span> also allows you to specify default values for arguments, so that they do not need to be specified. This allows optional customization of a Function's behaviour, and is therefore very powerful.
 			</div><div class="para">
-				This example modifies the one above by adding default-value arguments, and by calling arguments with their name. As you can see, I've been tricking you a bit: <code class="code">postln</code> is actually a Function, but a special kind, explained later. 
+				This example modifies the one above by adding default-value arguments, and by calling arguments with their name. As you can see, I've been tricking you a bit: <code class="function">postln</code> is actually a Function, but a special kind, explained later. 
 <pre class="programlisting">
 (
    var greeter =
@@ -3647,7 +3641,7 @@ myFunction.value;
 
 			</div><div class="para">
 				Any value can be used as a parameter, as long as the Function expects it. In fact, even Functions can be used as parameters for Functions!
-			</div></div><div class="section" title="11.4.2.5.Â Function Return Values" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values">11.4.2.5.Â Function Return Values</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.2.5.Â Function Return Values" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values">11.3.2.5.Â Function Return Values</h4></div></div></div><div class="para">
 				All <span class="application"><strong>SuperCollider</strong></span> Functions return a value to the interpreter when they have finished execution. As with programs, the value returned is the value of the last statement in the Function. The return value of a Function can be captured, assigned to a variable, and used again later.
 			</div><div class="para">
 				This example assigns the result of a Function to a variable. 
@@ -3669,9 +3663,9 @@ myFunction.value;
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
 							A Function and variable are created, and assigned values.
 						</div></li><li class="listitem"><div class="para">
-							This line <code class="code">someNumber = mysticalMath.value( someNumber );</code> executes the <code class="code">mysticalMath</code> Function, which multiplies its argument by 23 and returns the value. Then, it assigns the return value of the Function to <code class="code">someNumber</code>. In any statement that contains an assignment, the assignment is always done last. In other words, the Function in this example will ''always'' be given an argument of <code class="code">9</code>, and only ''after'' the Function completes execution and returns a value will that value be assigned to <code class="code">someNumber</code>.
+							This line <code class="code">someNumber = mysticalMath.value( someNumber );</code> executes the <code class="function">mysticalMath</code> function, which multiplies its argument by <code class="literal">23</code> and returns the value. Then, it assigns the return value of the Function to <code class="literal">someNumber</code>. In any statement that contains an assignment, the assignment is always done last. In other words, the Function in this example will <span class="emphasis"><em>always</em></span> be given an argument of <code class="literal">9</code>, and only <span class="emphasis"><em>after</em></span> the Function completes execution and returns a value will that value be assigned to <code class="function">someNumber</code>.
 						</div></li><li class="listitem"><div class="para">
-							The new value of <code class="code">someNumber</code> is displayed.
+							The new value of <code class="literal">someNumber</code> is displayed.
 						</div></li></ol></div>
 
 			</div><div class="para">
@@ -3707,7 +3701,7 @@ myFunction.value;
 
 			</div><div class="para">
 				Experiment with the shortened versions of the program, ensuring that you know why they work.
-			</div></div><div class="section" title="11.4.2.6.Â Variable Scope" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-">11.4.2.6.Â Variable Scope</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.2.6.Â Variable Scope" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-">11.3.2.6.Â Variable Scope</h4></div></div></div><div class="para">
 				A variable is only valid within its "scope." A variable's scope is determined by where it is declared. It will always last between either <code class="literal">(</code> and <code class="literal">)</code> or <code class="literal">{</code> and <code class="literal">}</code>, and applies to all statements within that block of code. Variable names can be re-declared in some contexts, which can be confusing.
 			</div><div class="para">
 				Consider the scope of the variables in this example: 
@@ -3726,7 +3720,7 @@ myFunction.value;
    sixteen.postln; // always causes an error
 )
 </pre>
-				 Because <code class="code">function</code> declares its own copy of <code class="code">zero</code>, it is modified independently of the variable <code class="code">zero</code> declared before the Function. Every time <code class="code">function</code> is executed, it re-declares its own <code class="code">zero</code>, and the interpreter keeps it separate from any other variables with the same name. When <code class="code">function</code> has finished executing, the interpreter destroys its variables. Variables declared inside any Function are only ever accessible from within that Function. This is why, when we try to execute <code class="code">sixteen.postln;</code>, the interpreter encounters an error: <code class="code">sixteen</code> exists only within <code class="code">function</code>, and is not accessible outside the Function. By the way, in order to excute this example, you will need to remove the error-causing reference to <code class="code">sixteen</code>.
+				  Because <code class="literal">function</code> declares its own copy of <code class="literal">zero</code>, it is modified independently of the variable <code class="literal">zero</code> declared before the Function. Every time <code class="literal">function</code> is executed, it re-declares its own <code class="literal">zero</code>, and the interpreter keeps it separate from any other variables with the same name. When <code class="literal">function</code> has finished executing, the interpreter destroys its variables. Variables declared inside any Function are only ever accessible from within that Function. This is why, when we try to execute <code class="code">sixteen.postln;</code>, the interpreter encounters an error: <code class="literal">sixteen</code> exists only within <code class="literal">function</code>, and is not accessible outside the function. By the way, in order to excute this example, you will need to remove the error-causing reference to <code class=
 "literal">sixteen</code>.
 			</div><div class="para">
 				Now consider the scope of the variables in this example: 
 <pre class="programlisting">
@@ -3744,9 +3738,9 @@ myFunction.value;
    zero.postln; // always prints 8
 )
 </pre>
-				 Why does the last line always print <code class="code">8</code>? It's because <code class="code">zero</code> was set to 8 within <code class="code">function</code>. More importantly, <code class="code">function</code> did not declare its own copy of <code class="code">zero</code>, so it simply accesses the one declared in the next "highest" block of code, which exists between ( and ) in this example.
+				 Why does the last line always print <code class="literal">8</code>? It's because <code class="literal">zero</code> was set to <code class="literal">8</code> within <code class="literal">function</code>. More importantly, <code class="literal">function</code> did not declare its own copy of <code class="literal">zero</code>, so it simply accesses the one declared in the next "highest" block of code, which exists between <code class="literal">(</code> and <code class="literal">)</code> in this example.
 			</div><div class="para">
-				This is why it's important to pay attention to a variable's scope, and to make sure that you declare your variables in the right place. Unexpected and difficult-to-find programming mistakes can occur when you forget to declare a variable, but it is declared elsewhere in your program: you will be allowed to use the variable, but it will be modified unexpectedly. On the other hand, it can be greatly advantageous to be able to access variables declared "outside the local scope" (meaning variables that aren't declared in the same code block in which they're used), but careful thought and planning is required.
+				This is why it is important to pay attention to a variable's scope, and to make sure that you declare your variables in the right place. Unexpected and difficult-to-find programming mistakes can occur when you forget to declare a variable, but it is declared elsewhere in your program: you will be allowed to use the variable, but it will be modified unexpectedly. On the other hand, it can be greatly advantageous to be able to access variables declared "outside the local scope" (meaning variables that are not declared in the same code block in which they are used), but careful thought and planning is required.
 			</div><div class="para">
 				Astute readers will notice that it is possible to re-declare the single-letter variable names, allowing you to control their scope. Consider the following program: 
 <pre class="programlisting">
@@ -3764,18 +3758,18 @@ myFunction.value;
    a.postln;
 )
 </pre>
-				 This example requires careful examination. What is the scope of <code class="code">a</code>, <code class="code">b</code>, and <code class="code">c</code>? The answers may be surprising. 
+				 This example requires careful examination. What is the scope of <code class="literal">a</code>, <code class="literal">b</code>, and <code class="literal">c</code>? The answers may be surprising. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							<code class="code">a</code> is declared just after the ( character, so the interpreter destroys it upon reaching the ) character.
+							<code class="literal">a</code> is declared just after the <code class="literal">(</code> character, so the interpreter destroys it upon reaching the <code class="literal">)</code> character.
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">c</code> is declared just after the { character, so the interpreter destroys it upon reaching the } character.
+							<code class="literal">c</code> is declared just after the <code class="literal">{</code> character, so the interpreter destroys it upon reaching the <code class="literal">}</code> character.
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">b</code> is ''not'' declared in this program, so it refers to the automatically-declared variable with that name. The interpreter does not destroy it until it is restarted or stopped. This means that the Function assigned to <code class="code">b</code> is still available ''after'' the program finishes execution. Try it! Execute the program above, and then execute this single-line program alone: <code class="code">b.value;</code>
+							<code class="literal">b</code> is <span class="emphasis"><em>not</em></span> declared in this program, so it refers to the automatically-declared variable with that name. The interpreter does not destroy it until it is restarted or stopped. This means that the Function assigned to <code class="literal">b</code> is still available <span class="emphasis"><em>after</em></span> the program finishes execution. Try it! Execute the program above, and then execute this single-line program alone: <code class="code">b.value;</code>
 						</div></li></ul></div>
 
-			</div></div></div><div class="section" title="11.4.3.Â Object-Oriented SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3.Â Object-Oriented <span class="application"><strong>SuperCollider</strong></span></h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.3.Â Object-Oriented SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.3.3.Â Object-Oriented <span class="application"><strong>SuperCollider</strong></span></h3></div></div></div><div class="para">
 			<span class="application"><strong>SuperCollider</strong></span> is difficult to describe precisely, because its syntax allows great flexibility. There are many different ways to accomplish the same task. Each one is subtly different, and gives you a different set of possibilities, but there is often no "best solution." One of the advantages to this is that it easily allows three "programming paradigms," although one is used much more often than the others.
-		</div><div class="section" title="11.4.3.1.Â Imperative Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Imperative_Programming"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Imperative_Programming">11.4.3.1.Â Imperative Programming</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.3.1.Â Imperative Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Imperative_Programming"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Imperative_Programming">11.3.3.1.Â Imperative Programming</h4></div></div></div><div class="para">
 				Imperative programming is easy to understand: it is simply a list of commands, like this: 
 <pre class="programlisting">
 (
@@ -3788,7 +3782,7 @@ myFunction.value;
 )
 </pre>
 				 Declare the variables, set the variables, do a calculation, and print the result of the calculation. This is a simple example, and a simple model, but it is very difficult to escape completely. After all, humans think of large problems in terms of algorithms (the instructions needed to do something). Computers solve large problems, so being able to program them with a series of instructions makes sense.
-			</div></div><div class="section" title="11.4.3.2.Â Functional Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming">11.4.3.2.Â Functional Programming</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.3.2.Â Functional Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming">11.3.3.2.Â Functional Programming</h4></div></div></div><div class="para">
 				Functional programming is also easy to understand, but it can be a little bit more difficult to think about complex tasks. Functional programs use Functions to complete all of their work. This is not strictly possible in <span class="application"><strong>SuperCollider</strong></span>: it is more imperative than functional, but the creative use of Functions can easily solve some problems that are difficult to write with an imperative approach.
 			</div><div class="para">
 				The following example is an extension of the "Imperative" example. Pretend that the following Functions exist, and do the following tasks: 
@@ -3807,34 +3801,34 @@ myFunction.value;
 			</div><div class="para">
 				<span class="application"><strong>SuperCollider</strong></span> will always execute the inner-most Functions first. This is how the interpreter executes the single-line program above: 
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
-							Execute the left call of <code class="code">getinput</code>
+							Execute the left call of <code class="function">getinput</code>
 						</div></li><li class="listitem"><div class="para">
-							Execute the right call of <code class="code">getinput</code>
+							Execute the right call of <code class="function">getinput</code>
 						</div></li><li class="listitem"><div class="para">
-							Execute <code class="code">add</code> with the two numbers returned by <code class="code">getinput</code>
+							Execute <code class="function">add</code> with the two numbers returned by <code class="function">getinput</code>
 						</div></li><li class="listitem"><div class="para">
-							Execute <code class="code">postln</code> with the number returned by <code class="code">add</code>
+							Execute <code class="function">postln</code> with the number returned by <code class="function">add</code>
 						</div></li></ol></div>
 
 			</div><div class="para">
 				Both imperative and functional programming have advantages and disadvantages. <span class="application"><strong>SuperCollider</strong></span> will allow you to use either approach, or a mix of both, when solving problems.
-			</div></div><div class="section" title="11.4.3.3.Â Object-Oriented Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming">11.4.3.3.Â Object-Oriented Programming</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.3.3.Â Object-Oriented Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming">11.3.3.3.Â Object-Oriented Programming</h4></div></div></div><div class="para">
 				Object-oriented programming is more difficult to think about than imperative or functional. When using this paradigm (mode of thought), almost everything in <span class="application"><strong>SuperCollider</strong></span> is thought of as an abstract Object. In this way, it allows programmers to make compelling comparisons to the real world, where all tangible things are objects, and where it is not hard to conceive of most intangible things as objects, too. With object-oriented programming, computer science takes a break from mathematics, and is influenced by philosophy.
 			</div><div class="para">
 				Class names always begin with an uppercase letter.
 			</div><div class="para">
-				Anything can be represented as an Object - like a bicycle, for instance. Let's pretend that we have an Object called a Bicycle. We don't yet have a particular bicycle - just the abstract '''class''' containing everything that is true about all bicycles. If a Bicycle class exists in <span class="application"><strong>SuperCollider</strong></span>, you generate a specific instance like this: <code class="code">var bike = Bicycle.new;</code> All <span class="application"><strong>SuperCollider</strong></span> Objects can be '''instantiated''' in this way: you get a specific Bicycle from the generic class, and you can then modify and work with your own Object as you choose. The specific properties associated with a particular instance of a class are called '''instance variables'''.
+				Anything can be represented as an Object - like a bicycle, for instance. Let's pretend that we have an Object called a Bicycle. We don't yet have a particular bicycle - just the abstract <em class="firstterm">class</em> containing everything that is true about all bicycles. If a Bicycle class exists in <span class="application"><strong>SuperCollider</strong></span>, you generate a specific instance like this: <code class="code">var bike = Bicycle.new;</code> All <span class="application"><strong>SuperCollider</strong></span> Objects can be <em class="firstterm">instantiated</em> in this way: you get a specific Bicycle from the generic class, and you can then modify and work with your own Object as you choose. The specific properties associated with a particular instance of a class are called <em class="firstterm">instance variables</em>.
 			</div><div class="para">
-				There are certain things that Bicycles are designed to do: turn the wheels, turn the handlebar, raise and lower the seat, and so on. You can cause these things to happen by providing a certain input to a real-world Bicycle: if you want to turn the wheels, you might push the pedals. In <span class="application"><strong>SuperCollider</strong></span>, you cause things to happen by '''sending a message''' to the Object that tells it what you want: if you have a Bicycle, you might turn the wheels like this: <code class="code">bike.turnTheWheels;</code> When you do this, you are actually executing the <code class="code">turnTheWheels</code> Function, which is defined by the abstract Bicycle class. Because it doesn't make sense to turn the wheels of all bicycles in existence, you don't call the '''method''' (a synonym for "Function") from the Bicycle class itself, but from the particular instance whose wheels you want to turn. The proper way to access instance variables is by u
 sing instance methods.
+				There are certain things that Bicycles are designed to do: turn the wheels, turn the handlebar, raise and lower the seat, and so on. You can cause these things to happen by providing a certain input to a real-world Bicycle: if you want to turn the wheels, you might push the pedals. In <span class="application"><strong>SuperCollider</strong></span>, you cause things to happen by <em class="firstterm">sending a message</em> to the Object that tells it what you want: if you have a Bicycle, you might turn the wheels like this: <code class="code">bike.turnTheWheels;</code> When you do this, you actually execute the <code class="function">turnTheWheels</code> function, which is defined by the abstract Bicycle class. Because it doesn't make sense to turn the wheels of all bicycles in existence, you don't call the <em class="firstterm">method</em> (a synonym for "Function") from the Bicycle class itself, but from the particular instance whose wheels you want to turn. The proper 
 way to access instance variables is by using instance methods.
 			</div><div class="para">
-				If this kind of programming is new to you, it might seem extremely difficult. It can be intimidating at first, but it is actually not too difficult to understand once you start to use it. In fact, you have already been using it! Remember the <code class="code">postln</code> command that was described earlier as a special kind of Function? It's actually a Function defined by <span class="application"><strong>SuperCollider</strong></span>'s abstract class <code class="code">Object</code>, which defines a set of messages that can be passed to ''any'' <span class="application"><strong>SuperCollider</strong></span> Object. Because most things in <span class="application"><strong>SuperCollider</strong></span> are Objects, we can send them the <code class="code">postln</code> message, and they will understand that it means to print themselves in the "<span class="application"><strong>SuperCollider</strong></span> output" pane.
+				If this kind of programming is new to you, it might seem extremely difficult. It can be intimidating at first, but it is actually not too difficult to understand once you start to use it. In fact, you have already been using it! Remember the <code class="function">postln</code> command that was described earlier as a special kind of Function? It's actually a Function defined by <span class="application"><strong>SuperCollider</strong></span>'s abstract class <code class="classname">Object</code>, which defines a set of messages that can be passed to <span class="emphasis"><em>any</em></span> <span class="application"><strong>SuperCollider</strong></span> object. Because most things in <span class="application"><strong>SuperCollider</strong></span> are objects, we can send them the <code class="function">postln</code> message, and they will understand that it means to print themselves in the "<span class="application"><strong>SuperCollider</strong></span> output" pane.
 			</div><div class="para">
-				 Why is it that all Objects respond to the <code class="code">postln</code> message? <span class="application"><strong>SuperCollider</strong></span> classes are allowed to belong to other <span class="application"><strong>SuperCollider</strong></span> classes, of which they are a part. Consider the Bicycle class again. It is a kind of vehicle, and philosophers might say that "things that are members of the bicycle class are also members of the vehicle class." That is, real-world bicycles share certain characteristics with other real-world objects that are classified as "vehicles." The bicycle class is a "sub-class" of the vehicle class, and it '''inherits''' certain properties from the vehicles class. <span class="application"><strong>SuperCollider</strong></span> allows this behaviour too, and calls it '''inheritance'''. In <span class="application"><strong>SuperCollider</strong></span>, since all classes define Objects, they are all automatically considered to be a sub
 -class of the class called <code class="code">Object</code>. All classes therefore inherit certain characteristics from the <code class="code">Object</code> class, like knowing how to respond to the <code class="code">postln</code> message. 
+				 Why is it that all Objects respond to the <code class="function">postln</code> message? <span class="application"><strong>SuperCollider</strong></span> classes are allowed to belong to other <span class="application"><strong>SuperCollider</strong></span> classes, of which they are a part. Consider the Bicycle class again. It is a kind of vehicle, and philosophers might say that "things that are members of the bicycle class are also members of the vehicle class." That is, real-world bicycles share certain characteristics with other real-world objects that are classified as "vehicles." The bicycle class is a "sub-class" of the vehicle class, and it <em class="firstterm">inherits</em> certain properties from the vehicles class. <span class="application"><strong>SuperCollider</strong></span> allows this behaviour too, and calls it <em class="firstterm">inheritance</em>. In <span class="application"><strong>SuperCollider</strong></span>, since all classes define Objects, the
 y are all automatically considered to be a sub-class of the class called <code class="classname">Object</code>. All classes therefore inherit certain characteristics from the <code class="classname">Object</code> class, like knowing how to respond to the <code class="function">postln</code> message. 
 			</div><div class="para">
 				equivalent notation: <code class="literal">5.postln</code> versus <code class="literal">postln( 5 )</code>
 			</div><div class="para">
 				You still don't know how to write new Classes and Objects in <span class="application"><strong>SuperCollider</strong></span>, but knowing how to use them is more than enough for now. By the time you need to write your own Classes, you will probably prefer to use the official <span class="application"><strong>SuperCollider</strong></span> help files, anyway.
-			</div></div><div class="section" title="11.4.3.4.Â Choosing a Paradigm" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm">11.4.3.4.Â Choosing a Paradigm</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.3.4.Â Choosing a Paradigm" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm">11.3.3.4.Â Choosing a Paradigm</h4></div></div></div><div class="para">
 				At this point you may begin worrying about which programming paradigm you should choose, and when. The answer is unhelpful: "Whichever seems best for the task."
 			</div><div class="para">
 				Let's expand on this. If you are primarily a programmer, then you probably already know how to choose the best paradigm and algorithm for the task. If you are a musician, then you probably just want your program to produce the output that you want (in this case, a particular set of sounds). Part of the beauty of <span class="application"><strong>SuperCollider</strong></span>'s flexibility is that it allows you to produce the same output in different ways. As a musician this means that, as long as your program works as you want it to work, it doesn't matter how you write it. Experience will teach you more and less effective ways of doing things, but there is no need for rules.
@@ -3860,40 +3854,40 @@ myFunction.value;
 							Don't forget the semicolons at the end of every statement.
 						</div></li></ul></div>
 
-			</div></div></div><div class="section" title="11.4.4.Â Sound-Making Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4.Â Sound-Making Functions</h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.4.Â Sound-Making Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.3.4.Â Sound-Making Functions</h3></div></div></div><div class="para">
 			It's finally time to start thinking about Functions that produce sound!
 		</div><div class="para">
 			This example is discussed below in the following sections. Remember, when running <span class="application"><strong>SuperCollider</strong></span> code in <span class="application"><strong>GEdit</strong></span>, you can stop the sound by pressing <span class="keycap"><strong>Esc</strong></span> 
 <pre class="programlisting">{ SinOsc.ar( 440, 0, 0.2 ); }.play;</pre>
 
-		</div><div class="section" title="11.4.4.1.Â UGens" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-UGens"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-UGens">11.4.4.1.Â UGens</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.4.1.Â UGens" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-UGens"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-UGens">11.3.4.1.Â UGens</h4></div></div></div><div class="para">
 				"UGen" stands for "unit generator." UGens are special Objects that generate either an audio or a control signal.
 			</div><div class="para">
-				The UGen that will be used for most of the experimentation in this Guide, and which was primarily used to generate the "Method One" program that goes with this Guide, is called <code class="code">SinOsc</code>, which generates a sine wave. The Class' name, "SinOsc," means "sine oscillator."
+				The UGen that will be used for most of the experimentation in this Guide, and which was primarily used to generate the "Method One" program that goes with this Guide, is called <code class="classname">SinOsc</code>, which generates a sine wave. The class' name, <code class="classname">SinOsc</code> means "sine oscillator."
 			</div><div class="para">
-				The example at the beginning of this chapter, <code class="code">SinOsc.ar( 440, 0, 0.2 );</code> produces an "instance" of the <code class="code">SinOsc</code> Class, which continuously outputs a signal, based on the parameters given in parentheses. This instance produces an "audio rate" signal, which means that it is of sufficient quality to eventually become sound.
+				The example at the beginning of this chapter, <code class="code">SinOsc.ar( 440, 0, 0.2 );</code> produces an "instance" of the <code class="classname">SinOsc</code> class, which continuously outputs a signal, based on the parameters given in parentheses. This instance produces an "audio rate" signal, which means that it is of sufficient quality to eventually become sound.
 			</div><div class="para">
 				A slightly modified version of that code will give us a "control rate" signal: <code class="code">SinOsc.kr( 440, 0, 0.2 );</code> There is only one small difference between the two examples - for us - but for <span class="application"><strong>SuperCollider</strong></span>, the difference is huge. A control rate signal will not be of sufficient quality to become sound; it is used to control other UGens that do become sound.
 			</div><div class="para">
-				Unlike other Classes, UGen Classes should not be instantiated with the <code class="code">new</code> message. They should always be instantiated as either audio-rate (by passing the <code class="code">ar</code> message), or control-rate (by passing the <code class="code">kr</code> message). Control-rate signals are calculated much less often than audio-rate signals, which allows the <span class="application"><strong>SuperCollider</strong></span> interpreter and server to save processing power where it wouldn't be noticed.
-			</div></div><div class="section" title="11.4.4.2.Â The &quot;play&quot; Function" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function">11.4.4.2.Â The "play" Function</h4></div></div></div><div class="para">
-				The <code class="code">play</code> Function does exactly what it says: it plays its input. The input must be a Function with an audio-rate signal generator as the return value.
+				Unlike other Classes, UGen Classes should not be instantiated with the <code class="function">new</code> message. They should always be instantiated as either audio-rate (by passing the <code class="function">ar</code> message), or control-rate (by passing the <code class="function">kr</code> message). Control-rate signals are calculated much less often than audio-rate signals, which allows the <span class="application"><strong>SuperCollider</strong></span> interpreter and server to save processing power where it wouldn't be noticed.
+			</div></div><div class="section" title="11.3.4.2.Â The &quot;play&quot; Function" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function">11.3.4.2.Â The "play" Function</h4></div></div></div><div class="para">
+				The <code class="function">play</code> function does exactly what it says: it plays its input. The input must be a function with an audio-rate signal generator as the return value.
 			</div><div class="para">
 				The following two examples produce the same output: 
 <pre class="programlisting">{ SinOsc.ar( 440, 0, 0.2 ); }.play;</pre>
 				 
 <pre class="programlisting">play( { SinOsc.ar( 440, 0, 0.2 ); } );</pre>
-				 The first example is written from an object-oriented perspective. Functions know how to play their return value, when passed the <code class="code">play</code> message. This is true of all Functions whose return value is an audio-rate UGen. The second example is written from a functional perspective. The Function called <code class="code">play</code> will play its input, which must be a Function whose return value is an audio-rate UGen. Whether you should write <code class="code">play</code> in the functional or object-oriented way depends on which makes more sense to you.
+				 The first example is written from an object-oriented perspective. Functions know how to play their return value, when passed the <code class="function">play</code> message. This is true of all Functions whose return value is an audio-rate UGen. The second example is written from a functional perspective. The Function called <code class="function">play</code> will play its input, which must be a Function whose return value is an audio-rate UGen. Whether you should write <code class="function">play</code> in the functional or object-oriented way depends on which makes more sense to you.
 			</div><div class="para">
-				Try to re-write the above example so that the <code class="code">play</code> Function operates on a variable-defined Function. 
+				Try to re-write the above example so that the <code class="function">play</code> function operates on a variable-defined Function. 
 			</div><div class="para">
-				The arguments to <code class="code">SinOsc</code>, whether the audio- or control-rate generator, are these: 
+				The arguments to <code class="classname">SinOsc</code>, whether the audio- or control-rate generator, are these: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							The first is called <code class="code">freq</code>; it sets the frequency.
+							The first is called <code class="literal">freq</code>; it sets the frequency.
 						</div></li><li class="listitem"><div class="para">
-							The second is called <code class="code">add</code>; it is added to all values produced by the UGen.
+							The second is called <code class="literal">add</code>; it is added to all values produced by the UGen.
 						</div></li><li class="listitem"><div class="para">
-							The third is called <code class="code">mul</code>; all values produced by the UGen are multiplied by this.
+							The third is called <code class="literal">mul</code>; all values produced by the UGen are multiplied by this.
 						</div></li></ul></div>
 
 			</div><div class="para">
@@ -3907,14 +3901,14 @@ myFunction.value;
 )
 </pre>
 				 
-			</div></div></div><div class="section" title="11.4.5.Â Multichannel Audio" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5.Â Multichannel Audio</h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.5.Â Multichannel Audio" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.3.5.Â Multichannel Audio</h3></div></div></div><div class="para">
 			By now you must be growing tired of the left-side-only sounds being produced by the examples.
-		</div><div class="section" title="11.4.5.1.Â Stereo Array" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Stereo_Array"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Stereo_Array">11.4.5.1.Â Stereo Array</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.5.1.Â Stereo Array" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Stereo_Array"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Stereo_Array">11.3.5.1.Â Stereo Array</h4></div></div></div><div class="para">
 				The easiest way to output multichannel audio in <span class="application"><strong>SuperCollider</strong></span> is to use a kind of "Collection" (defined later) called an "Array." <span class="application"><strong>SuperCollider</strong></span> will theoretically handle any number of audio output channels, but by default is usually only configured for two-channel stereo audio. Since humans have only two ears, this is sufficient for most tasks! A multichannel array is notated like this: <code class="code">[ LeftChannel.ar( x ), RightChannel.ar( y ) ]</code>
 			</div><div class="para">
 				Here is our simple sine oscillator expanded to produce stereo audio: 
 <pre class="programlisting">{ [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 440, 0, 0.2 ) ]; }.play;</pre>
-				 Not much has changed, except that the audio we hear is now being emitted from both the left and right channels. Change the frequency of one of the sine oscillators to <code class="code">450</code> and the difference will become much more apparent.
+				 Not much has changed, except that the audio we hear is now being emitted from both the left and right channels. Change the frequency of one of the sine oscillators to <code class="literal">450</code> and the difference will become much more apparent.
 			</div><div class="para">
 				Multichannel arrays can also be combined with each other, like this: 
 <pre class="programlisting">
@@ -3924,8 +3918,8 @@ myFunction.value;
    [ one, two ];
 }
 </pre>
-				 If <code class="code">a</code>, <code class="code">b</code>, <code class="code">c</code>, <code class="code">x</code>, <code class="code">y</code>, and <code class="code">z</code> were all audio-rate UGens, this Function could be <code class="code">play</code>'ed. It would produce stereo audio, and each channel would have three independent UGens.
-			</div></div><div class="section" title="11.4.5.2.Â Multichannel Expansion" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion">11.4.5.2.Â Multichannel Expansion</h4></div></div></div><div class="para">
+				 If <code class="literal">a</code>, <code class="literal">b</code>, <code class="literal">c</code>, <code class="literal">x</code>, <code class="literal">y</code>, and <code class="literal">z</code> were all audio-rate UGens, this function could be <code class="function">play</code>'ed. It would produce stereo audio, and each channel would have three independent UGens.
+			</div></div><div class="section" title="11.3.5.2.Â Multichannel Expansion" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion">11.3.5.2.Â Multichannel Expansion</h4></div></div></div><div class="para">
 				You can automatically create multiple UGens by providing an Array as one of the parameters. The <span class="application"><strong>SuperCollider</strong></span> interpreter will automatically create multichannel UGens as a result.
 			</div><div class="para">
 				The following two examples produce equivalent output: 
@@ -3947,8 +3941,8 @@ myFunction.value;
 }.play;
 </pre>
 				 More importantly, multichannel expansion gives us another tool to avoid repetition. Repetition is the enemy of correctness - it's so much more difficult to find a mistake in the second example than in the first!
-			</div></div><div class="section" title="11.4.5.3.Â Method One" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One">11.4.5.3.Â Method One</h4></div></div></div><div class="para">
-				Believe it or not, you now know enough to understand a slightly-modified version of the first part of "Method One," a <span class="application"><strong>SuperCollider</strong></span> program written and heavily commented specifically for use with this Guide. You should <code class="code">play</code> this example, and experiment with changing the frequencies, volumes, and so on. The fully-commented version provides a full explanation of how the Function works. 
+			</div></div><div class="section" title="11.3.5.3.Â Method One" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One">11.3.5.3.Â Method One</h4></div></div></div><div class="para">
+				Believe it or not, you now know enough to understand a slightly-modified version of the first part of "Method One," a <span class="application"><strong>SuperCollider</strong></span> program written and heavily commented specifically for use with this guide. You should <code class="function">play</code> this example, and experiment with changing the frequencies, volumes, and so on. The fully-commented version provides a full explanation of how the function works. 
 <pre class="programlisting">
 {
    // sets up the frequencies of both channels
@@ -3976,15 +3970,15 @@ myFunction.value;
 }
 </pre>
 
-			</div></div></div><div class="section" title="11.4.6.Â Collections" id="sect-Musicians_Guide-SC-Basic_Programming-Collections"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6.Â Collections</h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.6.Â Collections" id="sect-Musicians_Guide-SC-Basic_Programming-Collections"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections">11.3.6.Â Collections</h3></div></div></div><div class="para">
 			A "collection" is just that - a collection of Objects. Collections are simply a means of organizing a large amount of data, without having to assign a variable name for each portion of data. Compared to other programming languages, <span class="application"><strong>SuperCollider</strong></span> provides a relatively large number of Collections in the standard library.
 		</div><div class="para">
-			We have already seen an example of a Collection as multichannel audio arrays. An Array is a kind of Collection - in object-oriented terminology, the Array Class is a '''sub-class''' of the Collection Class, and inherits its behaviours. Conversely, the Collection Class is the '''super-class''' of the Array Class. The Collection Class itself is not to be used; it is designed to provide common features so that it is easier to write Classes for collections.
+			We have already seen an example of a Collection as multichannel audio arrays. An Array is a kind of Collection - in object-oriented terminology, the Array Class is a <em class="firstterm">sub-class</em> of the Collection Class, and inherits its behaviours. Conversely, the Collection Class is the <em class="firstterm">super-class</em> of the Array Class. The Collection Class itself is not to be used; it is designed to provide common features so that it is easier to write Classes for collections.
 		</div><div class="para">
 			As with all the chapters from this point on, it is not necessary to read this in sequence. If you prefer, you can skip it and return later when you need to manage a large set of data.
-		</div><div class="section" title="11.4.6.1.Â Array" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array">11.4.6.1.Â Array</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.6.1.Â Array" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array">11.3.6.1.Â Array</h4></div></div></div><div class="para">
 				Arrays have been traditionally been very popular with programmers. In <span class="application"><strong>SuperCollider</strong></span>, they are capable of storing a large number of Objects, and they provide advanced behaviours that are normally not associated with Arrays. They are not as indespensible as they used to be. Most programming languages now provide (or can easily be extended to add) Lists, Trees, and other kinds of data storage structures, which offer more capabilities, and are easier to use and to think about. Users new to programming might find the various kinds of Lists to be more helpful.
-			</div><div class="section" title="11.4.6.1.1.Â Building an Array" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Building"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Building">11.4.6.1.1.Â Building an Array</h5></div></div></div><div class="para">
+			</div><div class="section" title="11.3.6.1.1.Â Building an Array" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Building"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Building">11.3.6.1.1.Â Building an Array</h5></div></div></div><div class="para">
 					An Array is a Collection with a finite maximum size, determined at declaration time. It is the programmer's responsibility to maintain a meaningful order, and to remember the meaning of the data. Data in an Array is called "elements," each of which is assigned a specific "index number." Index numbers begin at 0. Any mix of Objects can be stored in an Array, including an Array.
 				</div><div class="para">
 					This example declares an Array, adds some elements, then prints them out. 
@@ -4000,7 +3994,7 @@ myFunction.value;
    nil;
 )
 </pre>
-					 Notice that Array is a Class, and it must be instantiated before use. Here, the variable <code class="code">tA</code> is assigned an Array with enough space for two objects. Notice that the elements are printed out in the order that you add them to the Array. They are not sorted or shuffled (unless you send a message like <code class="code">scramble</code>). But why did I write <code class="code">tA = tA.add( 17 );</code> instead of <code class="code">tA.add( 17 );</code>? Shouldn't the second method be sufficient for adding an Object to an Array, thereby making the re-assignment unnecessary? It does, but let's see what happens when we take it away: 
+					 Notice that Array is a Class, and it must be instantiated before use. Here, the variable <code class="literal">tA</code> is assigned an Array with enough space for two objects. Notice that the elements are printed out in the order that you add them to the Array. They are not sorted or shuffled (unless you send a message like <code class="function">scramble</code>). But why did I write <code class="code">tA = tA.add( 17 );</code> instead of <code class="code">tA.add( 17 );</code>? Shouldn't the second method be sufficient for adding an Object to an Array, thereby making the re-assignment unnecessary? It does, but let's see what happens when we take it away: 
 <pre class="programlisting">
 (
    var tA = Array.new( 2 ); // "tA" stands for "testArray"
@@ -4013,9 +4007,9 @@ myFunction.value;
    nil;
 )
 </pre>
-					 The <code class="code">17</code> is missing - it doesn't get added into the Array! This is because the Array was only declared with two slots, and you can't add three Objects into two slots. So why did this work the first time? <span class="application"><strong>SuperCollider</strong></span> was programmed to help us fit additional items into an Array. If an Array has reached its capacity, <span class="application"><strong>SuperCollider</strong></span> will automatically make a new, larger Array for us, and returns that from the <code class="code">add</code> method. Therefore, any time you add an element to an Array, you should always re-assign the result, so that you don't have to worry about whether you exceeded the Array's capacity.
-				</div></div><div class="section" title="11.4.6.1.2.Â Accessing an Array's Elements" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Accessing"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Accessing">11.4.6.1.2.Â Accessing an Array's Elements</h5></div></div></div><div class="para">
-					There are two ways to access individual elements within an Array. One way is object-oriented, and one way is more traditional, inspired by programming languages such as the wildly popular "C" language. The object-oriented style uses the <code class="code">at</code> and <code class="code">put</code> methods. The traditional style uses square brackets with an index number.
+					 The <code class="literal">17</code> is missing - it doesn't get added into the Array! This is because the Array was only declared with two slots, and you can't add three Objects into two slots. So why did this work the first time? <span class="application"><strong>SuperCollider</strong></span> was programmed to help us fit additional items into an Array. If an Array has reached its capacity, <span class="application"><strong>SuperCollider</strong></span> will automatically make a new, larger Array for us, and returns that from the <code class="function">add</code> method. Therefore, any time you add an element to an Array, you should always re-assign the result, so that you don't have to worry about whether you exceeded the Array's capacity.
+				</div></div><div class="section" title="11.3.6.1.2.Â Accessing an Array's Elements" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Accessing"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Accessing">11.3.6.1.2.Â Accessing an Array's Elements</h5></div></div></div><div class="para">
+					There are two ways to access individual elements within an Array. One way is object-oriented, and one way is more traditional, inspired by programming languages such as the wildly popular "C" language. The object-oriented style uses the <code class="function">at</code> and <code class="function">put</code> methods. The traditional style uses square brackets with an index number.
 				</div><div class="para">
 					The following examples produce equivalent output. The first uses the object-oriented style, and the second uses the traditional style. 
 <pre class="programlisting">
@@ -4058,51 +4052,51 @@ myFunction.value;
 )
 </pre>
 					 Different people prefer different styles of accessing Arrays.
-				</div></div></div><div class="section" title="11.4.6.2.Â List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List">11.4.6.2.Â List</h4></div></div></div><div class="para">
+				</div></div></div><div class="section" title="11.3.6.2.Â List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List">11.3.6.2.Â List</h4></div></div></div><div class="para">
 				An List is a Collection with an infinite maximum size. It is the programmer's responsibility to maintain a meaningful order, and to remember the meaning of the data. Data in a List is called "elements," each of which is assigned a specific "index number." Index numbers begin at 0. Any mix of Objects can be stored in a List, including a List. Lists and Arrays are very similar, but <span class="application"><strong>SuperCollider</strong></span> manages some of the dirty work for you, when you use the List Class.
-			</div><div class="section" title="11.4.6.2.1.Â Building a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Building"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Building">11.4.6.2.1.Â Building a List</h5></div></div></div><div class="para">
+			</div><div class="section" title="11.3.6.2.1.Â Building a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Building"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Building">11.3.6.2.1.Â Building a List</h5></div></div></div><div class="para">
 					There are four methods which instantiate a List. These are all "Class methods," meaning they do not operate on a specific List, but can be used to make any List. 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								<code class="code">List.new</code> creates a List. You can also specify the initial number of elements as an argument, if you choose.
+								<code class="function">List.new</code> creates a List. You can also specify the initial number of elements as an argument, if you choose.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">List.newClear( x )</code> creates a List with x number of slots, filled with <code class="code">nil</code>.
+								<code class="function">List.newClear( <em class="replaceable"><code>x</code></em> )</code> creates a List with <code class="literal">x</code> number of slots, filled with <code class="literal">nil</code>.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">List.copyInstance( aList )</code> creates a List which is a copy of <code class="code">aList</code>.
+								<code class="function">List.copyInstance( <em class="replaceable"><code>aList</code></em> )</code> creates a List which is a copy of <code class="literal">aList</code>.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">List.newUsing( anArray )</code> creates a List with the same elements as <code class="code">anArray</code>.
+								<code class="function">List.newUsing( <em class="replaceable"><code>anArray</code></em> )</code> creates a List with the same elements as <code class="literal">anArray</code>.
 							</div></li></ul></div>
 
-				</div></div><div class="section" title="11.4.6.2.2.Â Adding to an Existing List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List">11.4.6.2.2.Â Adding to an Existing List</h5></div></div></div><div class="para">
+				</div></div><div class="section" title="11.3.6.2.2.Â Adding to an Existing List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List">11.3.6.2.2.Â Adding to an Existing List</h5></div></div></div><div class="para">
 					These are "instance methods," meaning that they operate on a specific list. 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								<code class="code">put( index, item )</code> adds "item" into the List at index number "index".
+								<code class="function">put( <em class="replaceable"><code>index</code></em>, , <em class="replaceable"><code>item</code></em> )</code> adds <code class="literal">item</code> into the List at index number <code class="literal">index</code>.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">add( item )</code> adds "item" to the end of a List.
+								<code class="function">add( <em class="replaceable"><code>item</code></em> )</code> adds <code class="literal">item</code> to the end of a List.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">addFirst( item )</code> adds "item" to the beginning of a List.
+								<code class="function">addFirst( <em class="replaceable"><code>item</code></em> )</code> adds <code class="literal">item</code> to the beginning of a List.
 							</div></li></ul></div>
 
-				</div></div><div class="section" title="11.4.6.2.3.Â Accessing a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing">11.4.6.2.3.Â Accessing a List</h5></div></div></div><div class="para">
+				</div></div><div class="section" title="11.3.6.2.3.Â Accessing a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing">11.3.6.2.3.Â Accessing a List</h5></div></div></div><div class="para">
 					These are "instance methods," meaning that they operate on a specific list. 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								<code class="code">at( index )</code> returns the Object assigned to the "index" index number. If "index" is greater than the last element in the List, returns "nil".
+								<code class="function">at( <em class="replaceable"><code>index</code></em> )</code> returns the Object assigned to the <code class="literal">index</code> index number. If <code class="literal">index</code> is greater than the last element in the List, returns <code class="literal">nil</code>.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">clipAt( index )</code> returns the Object assigned to the "index" index number. If "index" is greater than the last element in the List, returns the last element in the List.
+								<code class="function">clipAt( <em class="replaceable"><code>index</code></em> )</code> returns the Object assigned to the <code class="literal">index</code> index number. If <code class="literal">index</code> is greater than the last element in the List, returns the last element in the List.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">wrapAt( index )</code> returns the Object assigned to the "index" index number. If "index" is greater than the last element in the List, returns an element based on a "wrap-around" index number. For a three-element List, 0 will return element 0, 1 returns 1, 2 returns 2, 3 returns 0, 4 returns 1, 5 returns 2, 6 returns 0, and so on.
+								<code class="function">wrapAt( <em class="replaceable"><code>index</code></em> )</code> returns the Object assigned to the <code class="literal">index</code> index number. If <code class="literal">index</code> is greater than the last element in the List, returns an element based on a "wrap-around" index number. For a three-element List, <code class="literal">0</code> will return element <code class="literal">0</code>, <code class="literal">1</code> returns <code class="literal">1</code>, <code class="literal">2</code> returns <code class="literal">2</code>, <code class="literal">3</code> returns <code class="literal">0</code>, <code class="literal">4</code> returns <code class="literal">1</code>, <code class="literal">5</code> returns <code class="literal">2</code>, <code class="literal">6</code> returns <code class="literal">0</code>, and so on.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">foldAt( index )</code> returns the Object assigned to the "index" index number. If "index" is greater than the last element in the List, returns an element based on a "fold-back" index number. Whereas <code class="code">wrapAt()</code> will always continue from the lowest to the highest index number, <code class="code">foldAt()</code> will change every time: low to high, high to low, low to high, and so on.
+								<code class="function">foldAt( <em class="replaceable"><code>index</code></em> )</code> returns the Object assigned to the <code class="literal">index</code> index number. If <code class="literal">index</code> is greater than the last element in the List, returns an element based on a "fold-back" index number. Whereas <code class="function">wrapAt()</code> always continues from the lowest to the highest index number, <code class="function">foldAt()</code> changes every time: low to high, high to low, low to high, and so on.
 							</div></li></ul></div>
 
-				</div></div><div class="section" title="11.4.6.2.4.Â Removing from a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing">11.4.6.2.4.Â Removing from a List</h5></div></div></div><div class="para">
-					One way to remove an element from a List is to re-assign that element's index number the value "nil". These two Functions also remove elements from a List. They are "instance methods," meaning that they operate on a specific list. 
+				</div></div><div class="section" title="11.3.6.2.4.Â Removing from a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing">11.3.6.2.4.Â Removing from a List</h5></div></div></div><div class="para">
+					One way to remove an element from a List is to re-assign that element's index number the value <code class="literal">nil</code>. These two Functions also remove elements from a List. They are "instance methods," meaning that they operate on a specific list. 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								<code class="code">pop</code> returns the last element in a List, and removes it from the List.
+								<code class="function">pop</code> returns the last element in a List, and removes it from the List.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">removeAt( index )</code> removes the element assigned to "index" index number, removing it from the List and shrinking the List. This will not leave a "nil" element in the List.
+								<code class="function">removeAt( <em class="replaceable"><code>index</code></em> )</code> removes the element assigned to <code class="literal">index</code> index number, removing it from the List and shrinking the List. <code class="function">removeAt()</code> does not leave a <code class="literal">nil</code> element in the List.
 							</div></li></ul></div>
 
-				</div></div><div class="section" title="11.4.6.2.5.Â Examples" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples">11.4.6.2.5.Â Examples</h5></div></div></div><div class="para">
+				</div></div><div class="section" title="11.3.6.2.5.Â Examples" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples">11.3.6.2.5.Â Examples</h5></div></div></div><div class="para">
 					The following examples show different ways to use List's.
 				</div><div class="para">
 					
@@ -4262,7 +4256,7 @@ myFunction.value;
 )
 </pre>
 					 This example shows what happens when you try to access elements beyond the end of a List with the "wrapAt()" Function. For index numbers beyond the end of the List, the interpreter will start again at the beginning of the List, "wrapping" around to the beginning.
-				</div></div></div><div class="section" title="11.4.6.3.Â LinkedList" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList">11.4.6.3.Â LinkedList</h4></div></div></div><div class="para">
+				</div></div></div><div class="section" title="11.3.6.3.Â LinkedList" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList">11.3.6.3.Â LinkedList</h4></div></div></div><div class="para">
 				Linked lists are very common structures for data management in computer science. They are more efficient than arrays for many tasks, particularly when it's impossible to know how many elements will be required in an array until the program is run. <span class="application"><strong>SuperCollider</strong></span>'s List Class is implemented with arrays, and it offers nearly the same functionality as the LinkedList class.
 			</div><div class="para">
 				A true linked list is accessed most efficiently from the start (called the "head" of the list) or the end (called the "tail"). Each element is linked to the one before it, the one after it, or both. <span class="application"><strong>SuperCollider</strong></span>'s LinkedList Class has elements which are linked both to the preceding and following elements, so it is called a "doubly linked list."
@@ -4271,40 +4265,40 @@ myFunction.value;
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							If you're going to be adding elements to the start or end of the list, and accessing from the start or end of the list, the LinkedList Class will be more efficient.
 						</div></li><li class="listitem"><div class="para">
-							If you're going to be adding elements at arbitrary index numbers ''inside'' the list, and accessing elements at arbitrary index numbers inside the list, the List Class will be more efficient.
+							If you're going to be adding elements at arbitrary index numbers <span class="emphasis"><em>inside</em></span> the list, and accessing elements at arbitrary index numbers inside the list, the List Class will be more efficient.
 						</div></li><li class="listitem"><div class="para">
 							If you're going to be adding elements to the start or end, but accessing specific indices, or adding elements at specific indices, but accessing from the start or end, then you get to choose where to save computation time. In one of these cases, it might not matter which one you choose.
 						</div></li></ul></div>
 
-			</div><div class="section" title="11.4.6.3.1.Â Efficient Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Inefficient_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Inefficient_Functions">11.4.6.3.1.Â Efficient Functions</h5></div></div></div><div class="para">
+			</div><div class="section" title="11.3.6.3.1.Â Efficient Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Inefficient_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Inefficient_Functions">11.3.6.3.1.Â Efficient Functions</h5></div></div></div><div class="para">
 					These Functions make use of the LinkedList Class in an efficient way. They are efficient because they access only the first or last element in the LinkedList. 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								<code class="code">add( obj )</code> adds "obj" to a LinkedList as the last item.
+								<code class="function">add( <em class="replaceable"><code>obj</code></em> )</code> adds <code class="literal">obj</code> to a LinkedList as the last item.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">addFirst( obj )</code> adds "obj" to a LinkedList as the first item.
+								<code class="function">addFirst( <em class="replaceable"><code>obj</code></em> )</code> adds <code class="literal">obj</code> to a LinkedList as the first item.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">pop</code> removes the last item in a LinkedList and returns it.
+								<code class="function">pop</code> removes the last item in a LinkedList and returns it.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">popFirst</code> removes the first item in a LinkedList and returns it.
+								<code class="function">popFirst</code> removes the first item in a LinkedList and returns it.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">first</code> returns a copy of the first item in a LinkedList.
+								<code class="function">first</code> returns a copy of the first item in a LinkedList.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">last</code> returns a copy of the last item in a LinkedList.
+								<code class="function">last</code> returns a copy of the last item in a LinkedList.
 							</div></li></ul></div>
 
-				</div></div><div class="section" title="11.4.6.3.2.Â Inefficient Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions">11.4.6.3.2.Â Inefficient Functions</h5></div></div></div><div class="para">
+				</div></div><div class="section" title="11.3.6.3.2.Â Inefficient Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions">11.3.6.3.2.Â Inefficient Functions</h5></div></div></div><div class="para">
 					These Functions make use of the LinkedList Class in an inefficient way, but they can be useful. They are inefficient because they may potentially have to review all of the elements in a LinkedList before completing. 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								<code class="code">at( index )</code> pretends the LinkedList is an Array, and returns a copy of what would be the element at the given index number.
+								<code class="function">at( <em class="replaceable"><code>index</code></em> )</code> pretends the LinkedList is an Array, and returns a copy of what would be the element at the given index number.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">put( index, obj )</code> pretends the LinkedList is an Array, and changes the element at the given index number to be "obj."
+								<code class="function">put( <em class="replaceable"><code>index</code></em>, , <em class="replaceable"><code>obj</code></em> )</code> pretends the LinkedList is an Array, and changes the element at the given index number to be <code class="literal">obj</code>.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">remove( obj )</code> searches through a LinkedList and removes the element judged to be equal to "obj," regardless of its index number.
+								<code class="function">remove( <em class="replaceable"><code>obj</code></em> )</code> searches through a LinkedList and removes the element judged to be equal to <code class="literal">obj</code>, regardless of its index number.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">removeAt( index )</code> pretends the LinkedList is an Array, and removes the element located at the given index number.
+								<code class="function">removeAt( <em class="replaceable"><code>index</code></em> )</code> pretends the LinkedList is an Array, and removes the element located at the given index number.
 							</div></li></ul></div>
 
-				</div></div><div class="section" title="11.4.6.3.3.Â Example" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example">11.4.6.3.3.Â Example</h5></div></div></div><div class="para">
+				</div></div><div class="section" title="11.3.6.3.3.Â Example" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example">11.3.6.3.3.Â Example</h5></div></div></div><div class="para">
 					This example uses a LinkedList as a queue, adding numbers to the tail, and removing and printing from the head. 
 <pre class="programlisting">
 (
@@ -4328,7 +4322,7 @@ myFunction.value;
 )
 </pre>
 
-				</div></div></div><div class="section" title="11.4.6.4.Â Other Collections" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections">11.4.6.4.Â Other Collections</h4></div></div></div><div class="para">
+				</div></div></div><div class="section" title="11.3.6.4.Â Other Collections" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections">11.3.6.4.Â Other Collections</h4></div></div></div><div class="para">
 				As mentioned previously, the <span class="application"><strong>SuperCollider</strong></span> language provides for many more kinds of data structures. The following Collections are useful, but much more complex than those listed above. For usage instructions, refer to the <span class="application"><strong>SuperCollider</strong></span> documentation. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							Dictionary: stores and allows retrieval of data by arbitrary Objects (for example, by symbols, rather than by index numbers).
@@ -4340,15 +4334,15 @@ myFunction.value;
 							SortedList: a List where all elements are kept in a sorted order, regardless of how they are added. The inserted Objects should have a useful ordering method, numerical or lexicographic (alphabetic, for example).
 						</div></li></ul></div>
 
-			</div></div></div><div class="section" title="11.4.7.Â Repeated Execution" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7.Â Repeated Execution</h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.7.Â Repeated Execution" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.3.7.Â Repeated Execution</h3></div></div></div><div class="para">
 			Repeating boring tasks is one of the main uses of computers, which don't mind doing the same thing over and over again. More importantly, writing code once and using it many times is much more intelligent than writing the same code many times. Repetition of the same code is often problematic, and repetition with subtle differences is even worse. Errors in this kind of code are difficult to find in the first place, and more difficult to solve effectively. Thankfully, as with most other things, <span class="application"><strong>SuperCollider</strong></span> offers a wide variety of ways to repeat code without re-writing it.
 		</div><div class="para">
-			The code structure used to create repetition is normally called a '''loop'''. "Do" loops are <span class="application"><strong>SuperCollider</strong></span>'s most versatile and useful repetition structure, and there are a few different ways to think about and write it. The "while" loop is a standard of most programming languages.
-		</div><div class="section" title="11.4.7.1.Â &quot;Do This to Everything in This Collection&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Simple_Do"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Simple_Do">11.4.7.1.Â "Do This to Everything in This Collection"</h4></div></div></div><div class="para">
+			The code structure used to create repetition is normally called a <em class="firstterm">loop</em>. "Do" loops are <span class="application"><strong>SuperCollider</strong></span>'s most versatile and useful repetition structure, and there are a few different ways to think about and write it. The "while" loop is a standard of most programming languages.
+		</div><div class="section" title="11.3.7.1.Â &quot;Do This to Everything in This Collection&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Simple_Do"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Simple_Do">11.3.7.1.Â "Do This to Everything in This Collection"</h4></div></div></div><div class="para">
 				One way to write a "do" loop is basically the same as telling the interpreter to "do this Function to every element in this Collection." The syntax looks like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">do</b>(</code><var class="pdparam">aCollection</var>, aFunction<code>(</code>number, number<code>)</code><code>)</code>;</p></div> ... or like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">aCollection.do</b>(</code>aFunction<code>(</code>number, number<code>)</code><code>)</code>;</p></div> This causes <code class="function">aFunction</code> to be executed once for each element in <em class="replaceable"><code>aCollection</code></em>, which can be any kind of Collection. Each time <code class="function">aFunction</code> is run, it is given two arguments, in this order: an element of <em class="replaceable"><code>aCollection</code></em>, and the elements index number. For Collection's that don't have index numbers
 , it returns what the element's index number would have been. The loop always begins at the start of the Collection, and progresses with each element in order to the end. The second argument, really, is the integers from zero to one less than the number of elements in the Collection, increasing by one each time the loop executes <code class="function">aFunction</code>.
-			</div></div><div class="section" title="11.4.7.2.Â &quot;Do This, This Many Times&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do">11.4.7.2.Â "Do This, This Many Times"</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.7.2.Â &quot;Do This, This Many Times&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do">11.3.7.2.Â "Do This, This Many Times"</h4></div></div></div><div class="para">
 				Another way to write a "do" loop takes advantage of <span class="application"><strong>SuperCollider</strong></span>'s flexibility, and is really the same as one of the methods above. It's basically equivalent to telling the interpreter to "run this Function this many times." The syntax looks like this, <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">aNumber.do</b>(</code>aFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> This causes <code class="function">aFunction</code> to be execute <em class="replaceable"><code>aNumber</code></em> times. The interpreter still provdies two arguments to <code class="function">aFunction</code>, but they are the same: it is the integers from zero to one less than <em class="replaceable"><code>aNumber</code></em>. You might also think of it as the number of times that <code class="function">aFunction</code> has been executed prior to this particular execution.
-			</div></div><div class="section" title="11.4.7.3.Â Example &quot;Do&quot; Loops" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples">11.4.7.3.Â Example "Do" Loops</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.7.3.Â Example &quot;Do&quot; Loops" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples">11.3.7.3.Â Example "Do" Loops</h4></div></div></div><div class="para">
 				These examples illustrate different ways to use "do" loops for trivial tasks.
 			</div><div class="para">
 				
@@ -4362,7 +4356,7 @@ myFunction.value;
    nil;
 )
 </pre>
-				 This example is of the first syntax shown. For each element in <code class="code">tL</code>, the interpreter executes the Function once, giving it ''first'' the corresponding element of the Collection, and ''then'' the iteration counter, which happens to be equal to the element's List index number.
+				 This example is of the first syntax shown. For each element in <code class="literal">tL</code>, the interpreter executes the function once, giving it <span class="emphasis"><em>first</em></span> the corresponding element of the Collection, and <span class="emphasis"><em>then</em></span> the iteration counter, which happens to be equal to the element's List index number.
 			</div><div class="para">
 				
 <pre class="programlisting">
@@ -4381,7 +4375,7 @@ myFunction.value;
    nil;
 )
 </pre>
-				 This example does several things differently, but maintains the same basic functionality as the previous example. In this case, the Function only uses the first argument that the interpreter provides, and completely ignores the iteration counter. The syntax here also puts the Collection outside the parentheses, which perhaps makes it more clear that <code class="code">tL</code> is not part of the Function.
+				 This example does several things differently, but maintains the same basic functionality as the previous example. In this case, the Function only uses the first argument that the interpreter provides, and completely ignores the iteration counter. The syntax here also puts the Collection outside the parentheses, which perhaps makes it more clear that <code class="literal">tL</code> is not part of the function.
 			</div><div class="para">
 				
 <pre class="programlisting">
@@ -4392,10 +4386,10 @@ myFunction.value;
 )
 </pre>
 				 This example simply prints the string "repeat" ten times. If the Function accepted one argument, it would receive the integers zero through nine. If it accepted two arguments, both of the arguments would be equal.
-			</div></div><div class="section" title="11.4.7.4.Â &quot;Do This While&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While">11.4.7.4.Â "Do This While"</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.7.4.Â &quot;Do This While&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While">11.3.7.4.Â "Do This While"</h4></div></div></div><div class="para">
 				"While" loops execute continuously while their "test condition" is evaluated to be "true". Upon reaching the loop, the <span class="application"><strong>SuperCollider</strong></span> interpreter executes the test condition. If it is "fale", the interpreter does not execute the loop, and continues with the code after the loop. If it is "true", the interpreter executes the code in the loop once, then re-executes the test condition. If the test condition is "true", the loop is executed, the test condition re-executed, and so on. Until the test condition returns "false", the interpreter will never leave the loop.
 			</div><div class="para">
-				Here is the format of a "while" loop in <span class="application"><strong>SuperCollider</strong></span>: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">while</b>(</code>boolean testFunction<code>(</code>number<code>)</code>, bodyFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> or like this: <div class="funcsynopsis"><p><code class="funcdef">testFunction.<b class="fsfunc">while</b>(</code>bodyFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> The test condition, called <code class="code">testFunc</code>, is a Function which returns a boolean value - either "true" or "false". The loop's body, called <code class="code">bodyFunc</code>, is a Function which can do anything. The loop body function is not provided any arguments by the interpreter. You will have to use comparison operators and boolean expressions when writing the Function for the test condition. For information on how these work in <span class="applicatio
 n"><strong>SuperCollider</strong></span>, see <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators" title="11.4.8.1.Â Boolean Operators">SectionÂ 11.4.8.1, â€œBoolean Operatorsâ€</a> and <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions" title="11.4.8.2.Â Boolean Expressions">SectionÂ 11.4.8.2, â€œBoolean Expressionsâ€</a>.
+				Here is the format of a "while" loop in <span class="application"><strong>SuperCollider</strong></span>: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">while</b>(</code>boolean testFunction<code>(</code>number<code>)</code>, bodyFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> or like this: <div class="funcsynopsis"><p><code class="funcdef">testFunction.<b class="fsfunc">while</b>(</code>bodyFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> The test condition, called <code class="function">testFunc</code>, is a function which returns a boolean value - either <code class="literal">true</code> or <code class="literal">false</code>. The loop's body, called <code class="function">bodyFunc</code>, is a function which can do anything. The loop body function is not provided any arguments by the interpreter. You will have to use comparison operators and boolean expressions when writing the Function for the test condition
 . For information on how these work in <span class="application"><strong>SuperCollider</strong></span>, see <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators" title="11.3.8.1.Â Boolean Operators">SectionÂ 11.3.8.1, â€œBoolean Operatorsâ€</a> and <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions" title="11.3.8.2.Â Boolean Expressions">SectionÂ 11.3.8.2, â€œBoolean Expressionsâ€</a>.
 			</div><div class="para">
 				The following three code blocks are equivalent: 
 <pre class="programlisting">
@@ -4425,14 +4419,14 @@ play( some background music );
 while( { is the user still inputting information? }, { keep playing music } );
 stop( some background music );
 </pre>
-				 The background music is begun, and then the interpreter would enter the loop. For as long as the user is still inputting information, the interpreter will then "keep playing music." When the user is not still inputting information, the interpreter will move on to the next command, which stops the music. An equivalent "do" loop would be very difficult to write, if not impossible. This is because we won't know when the user has finished inputting their information until ''after'' they've finished, so we can't plan in advance for how long to play background music.
+				 The background music is begun, and then the interpreter would enter the loop. For as long as the user is still inputting information, the interpreter will then "keep playing music." When the user is not still inputting information, the interpreter will move on to the next command, which stops the music. An equivalent "do" loop would be very difficult to write, if not impossible. This is because we won't know when the user has finished inputting their information until <span class="emphasis"><em>after</em></span> they've finished, so we can't plan in advance for how long to play background music.
 			</div><div class="para">
 				Thus, the most appropriate use of a "while" loop is for cases where you cannot know in advance how many times something should be executed. For most other cases of repeated execution, a "do" loop is the most appropriate choice.
-			</div></div><div class="section" title="11.4.7.5.Â Other Loops" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-">11.4.7.5.Â Other Loops</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.7.5.Â Other Loops" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-">11.3.7.5.Â Other Loops</h4></div></div></div><div class="para">
 				The default language provides two other loop structures, both of which are designed to iterate over a series of integer values: "for" loops and "forBy" loops. Their use is more limited than "do" loops. They are explained in the <span class="application"><strong>SuperCollider</strong></span> documentation.
-			</div></div></div><div class="section" title="11.4.8.Â 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.Â Conditional Execution</h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.8.Â 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">11.3.8.Â 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.Â 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.Â Boolean Operators</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.8.1.Â 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">11.3.8.1.Â Boolean Operators</h4></div></div></div><div class="para">
 				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>. 
@@ -4512,9 +4506,9 @@ stop( some background music );
 
 			</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.Â 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.Â Boolean Expressions</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.8.2.Â 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">11.3.8.2.Â Boolean Expressions</h4></div></div></div><div class="para">
 				Boolean expressions are expressions which, when executed, result in either "true" or "false". Boolean expressions must use at least one boolean operator (as listed above), or a Function which returns a boolean value. Boolean expressions can also use other operators and Functions.
-			</div><div class="section" title="11.4.8.2.1.Â Simple Expressions" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Simple_Boolean"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Simple_Boolean">11.4.8.2.1.Â Simple Expressions</h5></div></div></div><div class="para">
+			</div><div class="section" title="11.3.8.2.1.Â Simple Expressions" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Simple_Boolean"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Simple_Boolean">11.3.8.2.1.Â Simple Expressions</h5></div></div></div><div class="para">
 					Here are a few simple boolean expressions. Of course, variables can be used in place of constant numbers: 
 <pre class="programlisting">
 5 &lt; 60; // evaluates to "false"
@@ -4524,7 +4518,7 @@ stop( some background music );
 isNegative( -256 ); // evaluates to "true"
 </pre>
 
-				</div></div><div class="section" title="11.4.8.2.2.Â Assignment/Equality Mistake" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake">11.4.8.2.2.Â Assignment/Equality Mistake</h5></div></div></div><div class="para">
+				</div></div><div class="section" title="11.3.8.2.2.Â Assignment/Equality Mistake" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake">11.3.8.2.2.Â Assignment/Equality Mistake</h5></div></div></div><div class="para">
 					Beware the following pitfall, common to a large number of programming languages: 
 <pre class="programlisting">
 a == 42; // evaluates to "true" or "false", depending on the value in "a"
@@ -4536,7 +4530,7 @@ a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
 42 = a; // causes an error, because you can't assign a value to a constant number
 </pre>
 					 This way, if you accidentally leave out one of the <code class="literal">=</code> signs, the interpreter will stop execution and produce an error, rather than continuing with an unexpected assignment.
-				</div></div><div class="section" title="11.4.8.2.3.Â Equality versus Identity" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity">11.4.8.2.3.Â Equality versus Identity</h5></div></div></div><div class="para">
+				</div></div><div class="section" title="11.3.8.2.3.Â Equality versus Identity" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity">11.3.8.2.3.Â Equality versus Identity</h5></div></div></div><div class="para">
 					The identity-equivalence operators are not usually needed. 
 <pre class="programlisting">
 (
@@ -4547,7 +4541,7 @@ a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
    a === b; // evaluates to "false"
 )
 </pre>
-					 The <code class="code">==</code> operator evaluates to <code class="literal">true</code> because <code class="literal">a</code> and <code class="literal">b</code> represent equivalent Objects - they are equal. The <code class="code">===</code> operator evaluates to <code class="literal">false</code> because <code class="literal">a</code> and <code class="literal">b</code> represent different instances of the Objects - they are not identical. 
+					 The <code class="literal">==</code> operator evaluates to <code class="literal">true</code> because <code class="literal">a</code> and <code class="literal">b</code> represent equivalent Objects - they are equal. The <code class="literal">===</code> operator evaluates to <code class="literal">false</code> because <code class="literal">a</code> and <code class="literal">b</code> represent different instances of the Objects - they are not identical. 
 <pre class="programlisting">
 (
    var a = [12,24,48];
@@ -4557,9 +4551,9 @@ a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
    a === b; // evaluates to "true"
 )
 </pre>
-					 In this case, the <code class="code">==</code> operator still evaluates to <code class="literal">true</code>. The <code class="code">===</code> operator also evaluates to <code class="literal">true</code>, because <code class="literal">a</code> and <code class="literal">b</code> both represent the same Object. When the interpreter evaluates <code class="code">var b = a;</code> in the example above, it actually assigns <code class="literal">b</code> the same value that <code class="literal">a</code> stores, not a copy of it.
-				</div></div><div class="section" title="11.4.8.2.4.Â 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.Â 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".
+					 In this case, the <code class="literal">==</code> operator still evaluates to <code class="literal">true</code>. The <code class="literal">===</code> operator also evaluates to <code class="literal">true</code>, because <code class="literal">a</code> and <code class="literal">b</code> both represent the same Object. When the interpreter evaluates <code class="code">var b = a;</code> in the example above, it actually assigns <code class="literal">b</code> the same value that <code class="literal">a</code> stores, not a copy of it.
+				</div></div><div class="section" title="11.3.8.2.4.Â 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">11.3.8.2.4.Â 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 <code class="literal">true</code> if both of its arguments are <code class="literal">true</code>. Logical Or returns <code class="literal">true</code> if one of its arguments are <code class="literal">true</code>.
 				</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. 
 					<div class="table" title="TableÂ 11.3.Â 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">
@@ -4605,7 +4599,7 @@ a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
 									</td></tr></tbody></table></div><h6>TableÂ 11.3.Â 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.
+					The interpreter evaluates the expression on the left first, and then the expression on the right <span class="emphasis"><em>only</em></span> if it will influence the outcome. This means that, if the left-side expression of a logical Or operator evaluates to "true", the interpreter will not test the right-side expression, because the result will be "true" anyway. Similarly, if the left-side expression of a logical And operator evaluates to "false", the interpreter will not test the right-side expression, because the result will be "false" anyway.
 				</div><div class="para">
 					This can be exploited to help avoid errors like division-by-zero. 
 <pre class="programlisting">
@@ -4620,7 +4614,7 @@ a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
 					 If the left-side expression of the logical And operator is "false", the interpreter doesn't evaluate the right-side expression; it simply moves on to the next expression. If the left-side expression is "true" (meaning that x is not zero), then the right-side expression is evaluated. The right-side expression happens to be a Function which assigns "x" the result of dividing 17 by its previous value. The result of the logical And operation is simply discarded in this case - it doesn't really matter to us. This isn't the most straight-forward code, and there are other ways to avoid division-by-zero. If you use this, it's probably best to include a brief explanation of what the code does, as a commment.
 				</div><div class="para">
 					If you run this code many times, you will see that it gives many different results - one of which is zero, which proves that the code works as intended. If <span class="application"><strong>SuperCollider</strong></span> divides by zero, the result is "inf", representing infinity. Try modifying the code so that it will divide by zero, and see what happens.
-				</div></div><div class="section" title="11.4.8.2.5.Â Order of Precedence" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence">11.4.8.2.5.Â Order of Precedence</h5></div></div></div><div class="para">
+				</div></div><div class="section" title="11.3.8.2.5.Â Order of Precedence" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence">11.3.8.2.5.Â Order of Precedence</h5></div></div></div><div class="para">
 					In complicated boolean expressions, it's important to clarify the order in which you want sub-expressions to be executed. This order is called the "order of precedence," or "order of operations" (see <em class="citetitle">Order of Operations (Wikipedia)</em>, available at <a href="http://en.wikipedia.org/wiki/Order_of_operations">http://en.wikipedia.org/wiki/Order_of_operations</a> for more information). In computer science, different programming languages enforce different orders of precedence, so you should use parentheses to clarify your intended order, to proactively avoid later confusion. The interpreter will evaluate an expression from left to right, and always fully evaluate parentheses before continuing.
 				</div><div class="para">
 					Even simple expression can benefit from parentheses. These produce the same results: 
@@ -4644,14 +4638,14 @@ a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
 					 And perhaps even more surprisingly... 
 <pre class="programlisting">( 12 + 5 * 42 - 1 ) != ( (12 + 5) * 42 - 1 );</pre>
 					 ... evaluates to "false"! They're equal - the interpreter doesn't follow the standard mathematical order of precedence rules! <span class="application"><strong>SuperCollider</strong></span> evaluates from left to right, so it's important to clarify to the interpreter what you mean. Where would you put parentheses so that <span class="application"><strong>SuperCollider</strong></span> evaluates the expression as per the standard mathematical order of precedence rules, with multiplication before addition and subtraction?
-				</div></div></div><div class="section" title="11.4.8.3.Â &quot;If This Is True, Then... &quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements">11.4.8.3.Â "If This Is True, Then... "</h4></div></div></div><div class="para">
+				</div></div></div><div class="section" title="11.3.8.3.Â &quot;If This Is True, Then... &quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements">11.3.8.3.Â "If This Is True, Then... "</h4></div></div></div><div class="para">
 				The "if" structure is provided a boolean expression and two Functions. If the expression evaluates to "true", it executes one Function. If the expression evaluates to "false", it executes the other Function.
 			</div><div class="para">
 				Here are the two ways to write an "if" structure: 
 <pre class="programlisting">if ( booleanExpression, trueFunction, falseFunction );</pre>
 				 and 
 <pre class="programlisting">booleanExpression.if( trueFunction, falseFunction );</pre>
-				 It's possible to exclude the <code class="code">falseFunction</code>, which is like telling the interpreter, "If the boolean expression is true, then execute this Function. Otherwise, don't execute it."
+				 It's possible to exclude the <code class="function">falseFunction</code>, which is like telling the interpreter, "If the boolean expression is true, then execute this Function. Otherwise, don't execute it."
 			</div><div class="para">
 				
 <pre class="programlisting">
@@ -4662,9 +4656,9 @@ a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
    nil;
 )
 </pre>
-				 This example prints out a nice message, saying whether <code class="code">test</code> is "true" or "false". Because <code class="code">test</code> is already a boolean value, we don't need to include it in an expression. The "if" statement could have been shortened like this: <code class="code">if ( test, { "It's true!".postln; }, { "It's false!".postln; } );</code>
+				 This example prints out a nice message, saying whether <code class="literal">test</code> is <code class="literal">true</code> or <code class="literal">false</code>. Because <code class="literal">test</code> is already a boolean value, we don't need to include it in an expression. The "if" statement could have been shortened like this: <code class="code">if ( test, { "It's true!".postln; }, { "It's false!".postln; } );</code>
 			</div><div class="para">
-				Suppose we only wanted to be alerted if <code class="code">test</code> is "true". 
+				Suppose we only wanted to be alerted if <code class="literal">test</code> is <code class="literal">true</code>. 
 <pre class="programlisting">
 (
    var test = [true,false].choose; // pseudo-randomly chooses one of the elements in the List
@@ -4709,7 +4703,7 @@ a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
 )
 </pre>
 				 As you can see, this type of nesting is not easy to figure out - from the standpoint of the original programmer or somebody else who wishes to use your code. In writing this example, it took me several attempts before getting the parentheses and braces right. Usually, if you have a long list of possibilities to test (like the nine in this example), it is better to use a "case" or "switch" structure. Not only does this help to make the code easier to understand, but the <span class="application"><strong>SuperCollider</strong></span> interpreter can apply optimizations that make the code run marginally faster.
-			</div></div><div class="section" title="11.4.8.4.Â &quot;Switch Execution to This Path&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements">11.4.8.4.Â "Switch Execution to This Path"</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.8.4.Â &quot;Switch Execution to This Path&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements">11.3.8.4.Â "Switch Execution to This Path"</h4></div></div></div><div class="para">
 				A "switch" structure can be most easily understood by comparison to a switch in a railway line. As a train approaches a railway switch, an operator inspects the train, and decides whether it should be going to the passenger station, the freight station, or the garage for storage. A "switch" structure - like a railways switch, can only act on one Object at a time, but the Object can be a Collection, allowing you to compare multiple things at once. Each case is tested with the boolean equality operator before being executed.
 			</div><div class="para">
 				Here is the syntax of a "switch" statement: 
@@ -4747,7 +4741,7 @@ case( compareThis,
    nil;
 )
 </pre>
-				 The code picks a pseudo-random number between 1 and 12, then uses a "switch" structure to convert that number into a letter-grade, assigning it to the same <code class="code">grade</code> variable. Then, it adds the "Your grade is" string to the value of <code class="code">grade</code> (with a space between), and prints that result.
+				 The code picks a pseudo-random number between 1 and 12, then uses a "switch" structure to convert that number into a letter-grade, assigning it to the same <code class="literal">grade</code> variable. Then, it adds the "Your grade is" string to the value of <code class="literal">grade</code> (with a space between), and prints that result.
 			</div><div class="para">
 				This example avoids the complex nested "if" structure from above. 
 <pre class="programlisting">
@@ -4770,9 +4764,9 @@ case( compareThis,
    nil;
 )
 </pre>
-				 This is an elegant way to inspect two otherwise-separate variables. Remember that the first argument to "switch" (in this case, it's <code class="code">[testA,tesB]</code>) is compared to the first argument of possibe result with the equality operator: "==".
+				 This is an elegant way to inspect two otherwise-separate variables. Remember that the first argument to "switch" (in this case, it's <code class="code">[testA,tesB]</code>) is compared to the first argument of possibe result with the equality operator: <code class="literal">==</code>
 			</div><div class="para">
-				When evaluating which switch to use, the <span class="application"><strong>SuperCollider</strong></span> interpreter will always apply the ''last'' one that evaluates to "true". 
+				When evaluating which switch to use, the <span class="application"><strong>SuperCollider</strong></span> interpreter will always apply the <span class="emphasis"><em>last</em></span> one that evaluates to <code class="literal">true</code>. 
 <pre class="programlisting">
 (
    switch( 5,
@@ -4785,7 +4779,7 @@ case( compareThis,
 )
 </pre>
 				 All of these cases are true, but this will always result in "three" being printed.
-			</div></div><div class="section" title="11.4.8.5.Â &quot;In This Case, Do This&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements">11.4.8.5.Â "In This Case, Do This"</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.8.5.Â &quot;In This Case, Do This&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements">11.3.8.5.Â "In This Case, Do This"</h4></div></div></div><div class="para">
 				"Case" and "switch" structures look similar, but work in subtly different way. A "switch" structure is like a railway switch, allowing one train to be routed onto the right track, according to qualities of the train. A "case" structure, on the other hand, works like somebody trying to decide how to get to work. The person might ask themselves how far they are going, how long they have to get to work, how fast the available options are, what the available options cost, and so on. While in a "switch" structure, the path of execution is determined by examining only one Object, a "case" structure determines the path of execution based on any number of things.
 			</div><div class="para">
 				Here is the syntax of a "case" structure: 
@@ -4822,7 +4816,7 @@ case
    ( 5 == 5 ).while( coolFunction ); // executes coolFunction contiuously
 )
 </pre>
-				 It might seem like this example doesn't relate to a real <span class="application"><strong>SuperCollider</strong></span> programming situation, but in fact it might. If you could program Function's which determined all of those questions and all of the answers, this sort of "case" structure would be very helpful in a situation where a computer running <span class="application"><strong>SuperCollider</strong></span> were left in a room by itself, and expected to play music whenever anybody entered the room. Since five is always equal to five, the interpreter will run <code class="code">coolFunction</code> forever. If the music needs adjustment in some way, the Function will adjust the music. If everything is okay, then the interpreter will wait for 10 seconds, and then the loop will cause the Function to be re-evaluated. Because many different criteria are evaluated in the "case" structure, this represents an efficient use of the structure.
+				 It might seem like this example doesn't relate to a real <span class="application"><strong>SuperCollider</strong></span> programming situation, but in fact it might. If you could program Function's which determined all of those questions and all of the answers, this sort of "case" structure would be very helpful in a situation where a computer running <span class="application"><strong>SuperCollider</strong></span> were left in a room by itself, and expected to play music whenever anybody entered the room. Since five is always equal to five, the interpreter will run <code class="function">coolFunction</code> forever. If the music needs adjustment in some way, the Function will adjust the music. If everything is okay, then the interpreter will wait for 10 seconds, and then the loop will cause the Function to be re-evaluated. Because many different criteria are evaluated in the "case" structure, this represents an efficient use of the structure.
 			</div><div class="para">
 				"Case" structures can be used to do the same thing as "switch" structures, but it's usually less elegant solution. Also, it doesn't allow the interpreter to use an speed optimization that it would have used in an equivalent "switch" structure. 
 <pre class="programlisting">
@@ -4851,7 +4845,7 @@ case
 </pre>
 				 This example is equivalent to one of the "switch" structure examples. This is not a good use of the "case" structure, because it requires a lot of code repetition.
 			</div><div class="para">
-				Unlike a "switch" structure, a "case" structure will always follow the ''first'' case that evaluates to "true". 
+				Unlike a "switch" structure, a "case" structure will always follow the <span class="emphasis"><em>first</em></span> case that evaluates to "true". 
 <pre class="programlisting">
 (
    case
@@ -4864,9 +4858,9 @@ case
 )
 </pre>
 				 This example will always result in "one" being printed.
-			</div></div></div><div class="section" title="11.4.9.Â Combining Audio; the Mix Class" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9.Â Combining Audio; the Mix Class</h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.9.Â Combining Audio; the Mix Class" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.3.9.Â Combining Audio; the Mix Class</h3></div></div></div><div class="para">
 			One of the requirements of multi-channel audio is the ability to combine a large number of UGen's into a small number of channels - normally just two. The <span class="application"><strong>SuperCollider</strong></span> interpreter allows you to accomplish this in a number of ways, which are explained here.
-		</div><div class="section" title="11.4.9.1.Â The &quot;Mix&quot; Class" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Mix_Class"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Mix_Class">11.4.9.1.Â The "Mix" Class</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.9.1.Â The &quot;Mix&quot; Class" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Mix_Class"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Mix_Class">11.3.9.1.Â The "Mix" Class</h4></div></div></div><div class="para">
 				The "Mix" Class allows you to combine a mutli-channel Array into one channel. It's just that simple: you put in an Array of UGens, and out comes a single-channel combination of them.
 			</div><div class="para">
 				Here are the two possible syntaxes for the "Mix" Class: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Mix.new</b>(</code><var class="pdparam">ArrayOfUGens</var><code>)</code>;</p></div> and <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Mix</b>(</code><var class="pdparam">ArrayOfUGens</var><code>)</code>;</p></div> The second form is simply a short-hand version of the first. The <code class="classname">Mix</code> Class doesn't really create "Mix" Objects either - it's just a Function that combines many UGen's into one.
@@ -4886,9 +4880,9 @@ case
          SinOsc.ar(1000, 0, 0.1)] );
 }.play;
 </pre>
-				 Notice how all of these SinOsc's are heard through the left channel only. The "Mix" Class mixes all the UGen's together into one. You could use a bus to send the audio to both the left and right channels. What happens if we don't use the Mix Class? Try removing the Function, and find out. You only hear some of the SinOsc's. Which ones? The first two, representing the left and right channels. If your audio interface has more than two channels, you may be able to hear more than those first two channels.
+				 Notice how all of these <code class="classname">SinOsc</code>s are heard through the left channel only. The <code class="classname">Mix</code> class mixes all the UGen's together into one. You could use a bus to send the audio to both the left and right channels. What happens if we don't use the <code class="classname">Mix</code> class? Try to remove the function, and find out. You only hear some of the <code class="classname">SinOsc</code>'s. Which ones? The first two, representing the left and right channels. If your audio interface has more than two channels, you may be able to hear more than those first two channels.
 			</div><div class="para">
-				There is another Function offered by the Mix Class, and it is a kind of loop. The Function is called <code class="code">Fill</code>, and it takes two arguments: the number of times to run a Function, and the Function to run. The Function is provided with one argument (like in a "do" loop), which is the number of times the Function has ''already'' been run. 
+				There is another function offered by the <code class="classname">Mix</code> class, and it is a kind of loop. The function is called <code class="function">Fill</code>, and it takes two arguments: the number of times to run a function, and the function to run. The function is provided with one argument (like in a "do" loop), which is the number of times the function has <span class="emphasis"><em>already</em></span> been run. 
 <pre class="programlisting">
 (
    var n = 8;
@@ -4903,8 +4897,8 @@ case
    { Mix.fill( n, sineFunc ); }.play;
 )
 </pre>
-				 As you can see, the "fill" Function itself is quite simple: you provide the number of UGen's to create, and a Function that creates UGen's. It's the <code class="code">sineFunc</code> Function that is a little confusing. The argument is called "iteration", because it holds how many times the Function has already been run - how many iterations have happened already. It uses this value to help calculate the frequency (stored in a variable called "freq"), and then creates a SinOsc UGen. The "mul" argument helps to automatically control the volume level. Since the total volume should be no more than 1.0, the "sineFunc" Function calculates UGen's' volume by dividing 1, the maximum level, by the number of UGen's that will be created. The slowly pulsating volume is part of the acoustic result of this many frequencies being so close together - it is not a hidden effect by <span class="application"><strong>SuperCollider</strong></span>.
-			</div></div><div class="section" title="11.4.9.2.Â Arrays of Arrays" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays">11.4.9.2.Â Arrays of Arrays</h4></div></div></div><div class="para">
+				 As you can see, the <code class="function">fill</code> function itself is quite simple: you provide the number of UGen's to create, and a function that creates UGen's. It's the <code class="literal">sineFunc</code> function that is a little confusing. The argument is called "iteration", because it holds how many times the function has already been run - how many iterations have happened already. It uses this value to help calculate the frequency (stored in a variable called <code class="literal">freq</code>), and then creates a <code class="classname">SinOsc</code> UGen. The <code class="literal">mul</code> argument helps to automatically control the volume level. Since the total volume should be no more than 1.0, the <code class="function">sineFunc</code> function calculates UGen's' volume by dividing 1, the maximum level, by the number of UGen's that will be created. The slowly pulsating volume is part of the acoustic result of this many frequencies being so close tog
 ether - it is not a hidden effect by <span class="application"><strong>SuperCollider</strong></span>.
+			</div></div><div class="section" title="11.3.9.2.Â Arrays of Arrays" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays">11.3.9.2.Â Arrays of Arrays</h4></div></div></div><div class="para">
 				There is another way to combine many UGen's into two channels for stereo output: rather than sending the Array's to the Mix class, combine them into a two-element Array.
 			</div><div class="para">
 				
@@ -4928,7 +4922,7 @@ case
 }.play;
 </pre>
 				 This sounds much less harsh than the first example. Try it with the Mix Class. Even with the different "mul" values, it sounds the same as the first example! This helps Mix to ensure that the total level doesn't exceed 1.0, but it has the disadvantage that careful level-balancing on your part will be erased.
-			</div></div><div class="section" title="11.4.9.3.Â Addition" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition">11.4.9.3.Â Addition</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.9.3.Â Addition" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition">11.3.9.3.Â Addition</h4></div></div></div><div class="para">
 				This method of combinine UGen's into two channels uses the addition operator: +
 			</div><div class="para">
 				
@@ -4941,7 +4935,7 @@ case
 }.play;
 </pre>
 				 Notice that, like with the Mix Class, independent "mul" levels are not preserved.
-			</div></div></div><div class="section" title="11.4.10.Â SynthDef and Synth" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10.Â SynthDef and Synth</h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.10.Â SynthDef and Synth" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.3.10.Â SynthDef and Synth</h3></div></div></div><div class="para">
 			The preceding sections of this "Basic Programming" guide have only created sound with Function's. The truth is that Function's are very useful for creating sound, but they represent a simplification of the actual commands and Functions that must be run by the interpreter in order to create sound. 
 <pre class="programlisting">
 // When you write this...
@@ -4955,14 +4949,14 @@ case
 )
 </pre>
 			 Yikes! Don't despair - it's easy to understand - it just looks scary!
-		</div><div class="section" title="11.4.10.1.Â &quot;Out&quot; UGen" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen">11.4.10.1.Â "Out" UGen</h4></div></div></div><div class="para">
-				The "Out" UGen is one of the bits of magic automatically taken care of by the interpreter. It routes an audio signal from another UGen into a specific output (actually, into a specific bus - see <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.4.11.Â Busses">SectionÂ 11.4.11, â€œBussesâ€</a>).
+		</div><div class="section" title="11.3.10.1.Â &quot;Out&quot; UGen" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen">11.3.10.1.Â "Out" UGen</h4></div></div></div><div class="para">
+				The "Out" UGen is one of the bits of magic automatically taken care of by the interpreter. It routes an audio signal from another UGen into a specific output (actually, into a specific bus - see <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.3.11.Â Busses">SectionÂ 11.3.11, â€œBussesâ€</a>).
 			</div><div class="para">
 				The following examples have the same effect: 
 <pre class="programlisting">{ SinOsc.ar( freq:500, mul:0.2 ); }.play;</pre>
 				 and 
 <pre class="programlisting">{ Out.ar( 0, SinOsc.ar( freq:500, mul:0.2 ) ); }.play;</pre>
-				 The first argument to "Out.ar" is the bus number for where you want to place the second argument, which is either a UGen or a multi-channel Array of UGen's. If the second argument is an Array, then the first element is sent to the first argument's bus number, the second argument is sent to one bus number higher, the third to two bus numbers higher, and so on. This issues is explained fully in <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.4.11.Â Busses">SectionÂ 11.4.11, â€œBussesâ€</a>, but here is what you need to know for now, working with stereo (two-channel) audio: 
+				 The first argument to "Out.ar" is the bus number for where you want to place the second argument, which is either a UGen or a multi-channel Array of UGen's. If the second argument is an Array, then the first element is sent to the first argument's bus number, the second argument is sent to one bus number higher, the third to two bus numbers higher, and so on. This issues is explained fully in <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.3.11.Â Busses">SectionÂ 11.3.11, â€œBussesâ€</a>, but here is what you need to know for now, working with stereo (two-channel) audio: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							If the second argument is a two-element Array, use bus number 0.
 						</div></li><li class="listitem"><div class="para">
@@ -4972,8 +4966,8 @@ case
 						</div></li></ul></div>
 
 			</div><div class="para">
-				If you're still struggling with exactly what the "Out" UGen does, think of it like this: when you create an audio-rate UGen, it starts creating an audio signal; the "Out" UGen effectively connects the audio-rate UGen into your audio interface's output port, so it can be heard through the speakers. In <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.4.11.Â Busses">SectionÂ 11.4.11, â€œBussesâ€</a>, it becomes clear that there are, in fact, other useful places to connect an audio-rate UGen (through an effect processor, for example), and the "Out" UGen can help you do that.
-			</div></div><div class="section" title="11.4.10.2.Â SynthDef" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef">11.4.10.2.Â SynthDef</h4></div></div></div><div class="para">
+				If you're still struggling with exactly what the "Out" UGen does, think of it like this: when you create an audio-rate UGen, it starts creating an audio signal; the "Out" UGen effectively connects the audio-rate UGen into your audio interface's output port, so it can be heard through the speakers. In <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.3.11.Â Busses">SectionÂ 11.3.11, â€œBussesâ€</a>, it becomes clear that there are, in fact, other useful places to connect an audio-rate UGen (through an effect processor, for example), and the "Out" UGen can help you do that.
+			</div></div><div class="section" title="11.3.10.2.Â SynthDef" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef">11.3.10.2.Â SynthDef</h4></div></div></div><div class="para">
 				A SynthDef is what we use to tell the server how to create sound. In order to truly understand what SynthDef accomplishes, we need to recall the disconnect between the interpreter and the server. In reality, the interpreter has no idea how to make sound or work with audio hardware. The server, likewise, has no understanding at all of the <span class="application"><strong>SuperCollider</strong></span> language. The interpreter takes the code that we write, and does one of a number of things, depending on the nature of the code: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							executes it completely,
@@ -4992,12 +4986,12 @@ case
 			</div><div class="para">
 				There are two steps to creating a useful SynthDef: making an interpreter Object, and sending the actual synthesis information to the server. There are two ways to write this, as follows: 
 <pre class="programlisting">
-someVariable = SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen );
-someVariable.send( nameOfServer );
+<em class="replaceable"><code>someVariable</code></em> = SynthDef.new( <em class="replaceable"><code>nameOfSynthDef</code></em>, <em class="replaceable"><code>FunctionContainingOutUGen</code></em> );
+<em class="replaceable"><code>someVariable</code></em>.send( <em class="replaceable"><code>nameOfServer</code></em> );
 </pre>
 				 and 
-<pre class="programlisting">SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen ).send( nameOfServer );</pre>
-				 The <code class="code">FunctionContainingOutUGen</code> is simply that - a Function that, when executed, returns an "Out" UGen (meaning that the "Out" UGen must be the last expression in the Function). The <code class="code">nameOfSynthDef</code> should be a symbol (as described in <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols" title="11.4.10.4.Â Symbols">SectionÂ 11.4.10.4, â€œSymbolsâ€</a>), but can also be a string. The <code class="code">nameOfServer</code> is a variable that represents the server to which you want to send the SynthDef's information; unless you know that you need to use a different variable for this, it's probably just the letter "s", which the interpreter automatically assigns to the default server.
+<pre class="programlisting">SynthDef.new( <em class="replaceable"><code>nameOfSynthDef</code></em>, <em class="replaceable"><code>FunctionContainingOutUGen</code></em> ).send( <em class="replaceable"><code>nameOfServer</code></em> );</pre>
+				 The <code class="function">FunctionContainingOutUGen</code> is simply that - a function that, when executed, returns an <code class="classname">Out</code> UGen (meaning that the <code class="classname">Out</code> UGen must be the last expression in the function). The <code class="literal">nameOfSynthDef</code> should be a symbol (as described in <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols" title="11.3.10.4.Â Symbols">SectionÂ 11.3.10.4, â€œSymbolsâ€</a>), but can also be a string. The <code class="literal">nameOfServer</code> is a variable that represents the server to which you want to send the SynthDef's information; unless you know that you need to use a different variable for this, it's probably just the letter "s", which the interpreter automatically assigns to the default server.
 			</div><div class="para">
 				Here is a demonstration of both methods: 
 <pre class="programlisting">
@@ -5030,19 +5024,19 @@ someVariable.send( nameOfServer );
 				 The only advantage to assigning something to a variable is the ability to refer to it later. If you use the first method, then you can send the SynthDef to more than one server. Since it's rare that you will want to use more than one server, it's usually better to use the second style. In fact, if you won't be using the "playMe" Function again, you don't need to assign it to a variable! 
 <pre class="programlisting">SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).send( s );</pre>
 				 This is all that's really needed to create and send a synthesis definition to the server. It looks long and frightening, but now at least you understand what all of the parts do.
-			</div></div><div class="section" title="11.4.10.3.Â Load" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load">11.4.10.3.Â Load</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.10.3.Â Load" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load">11.3.10.3.Â Load</h4></div></div></div><div class="para">
 				There is another way to send a SynthDef to the server: the "load" Function. The "send" Function sends the synthesis information to the server, which stores it in memory. When the server stops running, all synthesis information given with "send" is lost. The "load" Function, on the other hand, sends the synthesis information to the server, which stores it on disk and in memory. Every time the server is started, it loads all of the synthesis information previously sent to it with the "load" Function. The definition remains until you delete it specifically. This is most useful for a SynthDef that takes up a lot of memory, and which would use considerable network time to transfer to the server whenever the server is run. It is also useful to use the "load" Function instead of "send", when there are a lot of SynthDef's, regardless of the size of each one. The idea is the same: avoid sending the SynthDef in order to save time.
 			</div><div class="para">
 				The syntax and usage for "load" is the same as for "send".
-			</div></div><div class="section" title="11.4.10.4.Â Symbols" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols">11.4.10.4.Â Symbols</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.10.4.Â Symbols" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols">11.3.10.4.Â Symbols</h4></div></div></div><div class="para">
 				As stated in the section about variables, a symbol is simply something which represents something else. When used in the context of a SynthDef, a symbol is a string of characters that refers to a SynthDef that we've already sent to the server. What wasn't mentioned in the section about variables is that, in addition to the symbols that can be used as variable names, the <span class="application"><strong>SuperCollider</strong></span> language provides a distinct data-type (like numbers or strings) for symbols. Many programming languages don't provide a "symbol" data-type, so many programmers do not use them extensively, but they are very handy for situations like this. As local variable names are symbols representing data stored by the interpreter, here we are using the symbol data-type to refer to data stored on the server.
 			</div><div class="para">
 				Symbols are a better way to name SynthDef's than strings. Not only do symbols take up less memory, they aren't actually the interpreter doesn't actually think of them as Objects, and neither should you. Symbols are universally unique; only one instance of a symbol with the same characters can exist. On the other hand, an infinite number of strings with the same characters can exist. When we use a symbol, we are defining it universally. When we use a string, the server pretends that all strings with the same characters are the same philosophical object, even though they aren't. This isn't a technical problem, but it can be difficult to think about, and is cognitively dissonant.
 			</div><div class="para">
 				If all this seems a little abstract and ontological, that's because it is.
-			</div><div class="section" title="11.4.10.4.1.Â Symbols: the Easy Way" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Easy_Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Easy_Symbols">11.4.10.4.1.Â Symbols: the Easy Way</h5></div></div></div><div class="para">
+			</div><div class="section" title="11.3.10.4.1.Â Symbols: the Easy Way" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Easy_Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Easy_Symbols">11.3.10.4.1.Â Symbols: the Easy Way</h5></div></div></div><div class="para">
 					Symbols are things that you should use to identify a SynthDef sent to the server.
-				</div></div><div class="section" title="11.4.10.4.2.Â Writing Symbols" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols">11.4.10.4.2.Â Writing Symbols</h5></div></div></div><div class="para">
+				</div></div><div class="section" title="11.3.10.4.2.Â Writing Symbols" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols">11.3.10.4.2.Â Writing Symbols</h5></div></div></div><div class="para">
 					There are two ways to write out a symbol: between single-quotation marks, and after a back-slash. Symbols given between single-quotation marks can contain any characters but a single-quotation mark. Symbols given after a back-slash can contain any characters but a space. Neither type of symbol name can cross onto a new line.
 				</div><div class="para">
 					The following example contains some valid symbols, and some invalid symbols. 
@@ -5069,10 +5063,10 @@ c == d; \\ returns "true" because the symbols are equivalent
 c === d; \\ returns "true" because the symbols are identical
 </pre>
 
-				</div></div></div><div class="section" title="11.4.10.5.Â SynthDef Becomes Synth" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth">11.4.10.5.Â SynthDef Becomes Synth</h4></div></div></div><div class="para">
+				</div></div></div><div class="section" title="11.3.10.5.Â SynthDef Becomes Synth" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth">11.3.10.5.Â SynthDef Becomes Synth</h4></div></div></div><div class="para">
 				After you send a SynthDef to the server, you can put it into action. When the interpreter tells the server to play a synthesis definition (which the interpreter holds in a SynthDef Object), the server creates a synth from the definition, and starts generating sound. The interpreter gives us a Synth Object to represent each synth on the server, so that we can control the synth.
 			</div><div class="para">
-				This is the syntax used to create a new synth, after its definition has been sent to the server. <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.new</b>(</code><var class="pdparam">nameOfSynthDef</var><code>)</code>;</p></div> The name will be a symbol or a string - whatever you supplied when you ran the <code class="code">SynthDef.new()</code> Function.
+				This is the syntax used to create a new synth, after its definition has been sent to the server. <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.new</b>(</code><var class="pdparam">nameOfSynthDef</var><code>)</code>;</p></div> The name will be a symbol or a string - whatever you supplied when you ran the <code class="function">SynthDef.new()</code> function.
 			</div><div class="para">
 				Because we're creating a new Synth Object, we should assign it to a variable, for later reference. 
 <pre class="programlisting">
@@ -5083,12 +5077,12 @@ var mySynth = Synth.new( \playMe );
 			</div><div class="para">
 				Recall that the interpreter automatically uses the Synth and SynthDef Classes when we send the "play" message to a Function. We can actually capture and use the Synth Object created from "play-ing" a Function, too. This example is almost the same as the previous one. 
 <pre class="programlisting">var mySynth = { SinOsc.ar( freq:443, mul:0.2 ); }.play;</pre>
-				 The difference is subtle: after the second example, we have no control over what name the interpreter gives to the SynthDef that it sends to the server, so we can't re-use the SynthDef. On the other hand, because we assign the name <code class="code">\sillyTutorialSD</code> to the SynthDef in the first example, we know what it's called, and we can re-use it. Theoretically, we can make an infinite number of synths from this single definition. Realistically, it's limited by the amount of memory the server can use; for most modern computers, this number is so high that we don't ever need to worry about it.
+				 The difference is subtle: after the second example, we have no control over what name the interpreter gives to the SynthDef that it sends to the server, so we can't re-use the SynthDef. On the other hand, because we assign the name <code class="literal">\sillyTutorialSD</code> to the SynthDef in the first example, we know what it's called, and we can re-use it. Theoretically, we can make an infinite number of synths from this single definition. Realistically, it's limited by the amount of memory the server can use; for most modern computers, this number is so high that we don't ever need to worry about it.
 			</div><div class="para">
 				As usual, the interpreter provides us with an optional short-cut: 
 <pre class="programlisting">var mySynth = SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).play;</pre>
 				 This automatically sends the synthesis information to the server, creates a synth, and plays it. What minor functionality is lost when we use this shortcut?
-			</div></div><div class="section" title="11.4.10.6.Â Shortcomings of a SynthDef" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef">11.4.10.6.Â Shortcomings of a SynthDef</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.10.6.Â Shortcomings of a SynthDef" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef">11.3.10.6.Â Shortcomings of a SynthDef</h4></div></div></div><div class="para">
 				Consider the following program: 
 <pre class="programlisting">
 (
@@ -5117,10 +5111,10 @@ var mySynth = Synth.new( \playMe );
    10.do( { Synth.new( \myRandFunc ); } );
 )
 </pre>
-				 Execute the program a few times. The result is still different each time, but it's the ''same'' ten SinOsc's, all with the same frequency. This is the nature of a SynthDef: once it's sent to the server, you can create a synth from the same instructions without re-sending them.
+				 Execute the program a few times. The result is still different each time, but it's the <span class="emphasis"><em>same</em></span> ten SinOsc's, all with the same frequency. This is the nature of a SynthDef: once it's sent to the server, you can create a synth from the same instructions without resending them.
 			</div><div class="para">
-				This program causes an error the first time you run it. Inspect the error messages, and see if you can determine why. It's because the server is processing commands ''asynchronously'': things don't happen right when the interpreter asks, but very shortly thereafter. The result is that the server is asked to make a new synth before it deals with the synth definition. There are ways to get around this, but they're too complex for this section - for now (to simplify this text's examples), just accept that the error may happen the first time you run a Synth.
-			</div></div><div class="section" title="11.4.10.7.Â Creating Change Anyway" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway">11.4.10.7.Â Creating Change Anyway</h4></div></div></div><div class="para">
+				This program causes an error the first time you run it. Inspect the error messages, and see if you can determine why. It's because the server is processing commands <span class="emphasis"><em>asynchronously</em></span>: things don't happen right when the interpreter asks, but very shortly thereafter. The result is that the server is asked to make a new synth before it deals with the synth definition. There are ways to get around this, but they're too complex for this section - for now (to simplify this text's examples), just accept that the error may happen the first time you run a Synth.
+			</div></div><div class="section" title="11.3.10.7.Â Creating Change Anyway" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway">11.3.10.7.Â Creating Change Anyway</h4></div></div></div><div class="para">
 				The way to create change and pseudo-randomness anyway is to incorporate another UGen to do it for you. Remember: when you send synthesis information to the server, that information can't change unless you replace it. This doesn't mean that the output produced by the synth can't change!
 			</div><div class="para">
 				The way to do this is with control-rate UGen's. The following example uses a control-rate SinOsc to set the frequency of an audio-rate SinOsc. 
@@ -5163,7 +5157,7 @@ var mySynth = Synth.new( \playMe );
 								</td><td align="center">
 									sets the deviation from "add"
 								</td></tr></tbody></table></div><h6>TableÂ 11.4.Â 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.
+				 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 <code class="literal">add</code>, 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 <code class="literal">freq</code>. 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">
@@ -5180,7 +5174,7 @@ var mySynth = Synth.new( \playMe );
 )
 </pre>
 				 If you run this multiple times, you will again hear ten different pitches. Depending on audio hardware, previous musical experience, and other factors, some people may have difficulty hearing that the pitches are different. Try reducing the number of synths created in the loop.
-			</div></div><div class="section" title="11.4.10.8.Â SynthDef with Arguments" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments">11.4.10.8.Â SynthDef with Arguments</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.10.8.Â SynthDef with Arguments" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments">11.3.10.8.Â SynthDef with Arguments</h4></div></div></div><div class="para">
 				There are some siutations where you simply cannot pre-determine all of the material that you're going to use when creating a synth. It might be easier to resort to using a Function rather than a SynthDef, but there is yet another solution - creating an argument in your SynthDef Function.
 			</div><div class="para">
 				With only a subtle change to our Function, we can add the possibility of passing arguments on synth creation: 
@@ -5222,7 +5216,7 @@ var myRandFunc =
 				 Notice how we supply arguments: an Array with elements alternating between a string-quoted parameter name, and the value of the argument itself. If we "parameterized" all three main fields of the SinOsc, we could supply them like this: 
 <pre class="programlisting">Synth.new( \mySinOsc, [\freq,440,\add,0,\mul,0.2] );</pre>
 
-			</div></div><div class="section" title="11.4.10.9.Â Things to Do with a SynthDef: Set and Free" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free">11.4.10.9.Â Things to Do with a SynthDef: Set and Free</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.10.9.Â Things to Do with a SynthDef: Set and Free" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free">11.3.10.9.Â Things to Do with a SynthDef: Set and Free</h4></div></div></div><div class="para">
 				Once you send a synth definition to the server, and make some synths, you've collected a few Synth Objects, and you wonder what to do with them next. Of course, you could listen to them, but you can also change the arguments that you used, and stop it.
 			</div><div class="para">
 				To change the arguments used by a synth, send it the "set" message, with a list of arguments: 
@@ -5269,9 +5263,9 @@ h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } );
 &lt;replaceable&gt;variableHoldingSynth&lt;/replaceable&gt; = nil;
 </pre>
 				 If you accidentally send "free" to an already-freed Synth, the interpreter will cause an error, and program execution will stop. If you accidentally send "free" to a variable set to "nil", nothing will happen. Proactively avoiding mistakes like this is good programming practice.
-			</div></div></div><div class="section" title="11.4.11.Â Busses" id="sect-Musicians_Guide-SC-Basic_Programming-Busses"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11.Â Busses</h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.11.Â Busses" id="sect-Musicians_Guide-SC-Basic_Programming-Busses"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses">11.3.11.Â Busses</h3></div></div></div><div class="para">
 			<span class="application"><strong>SuperCollider</strong></span> busses work just like busses in other audio creation contexts, which work similarly to busses used to transport humans. Busses are used to send audio from one place to another, and in <span class="application"><strong>SuperCollider</strong></span> they can also be used to send control-rate signals. Each <span class="application"><strong>SuperCollider</strong></span> bus is given an index number, which are integers starting at 0. Audio-rate busses and control-rate busses are independent, and are given an independent set of index numbers. Any number of unique signals can be routed into a bus, and any number of receivers can take signals from a bus - but the signal will be the sum of all the input signals. In other words, if you want to send two different sets of signals, you need two different busses with different index numbers.
-		</div><div class="section" title="11.4.11.1.Â Audio-Rate Bus Numbers" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Numbers"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Numbers">11.4.11.1.Â Audio-Rate Bus Numbers</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.11.1.Â Audio-Rate Bus Numbers" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Numbers"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Numbers">11.3.11.1.Â Audio-Rate Bus Numbers</h4></div></div></div><div class="para">
 				There are special audio-rate busses reserved automatically by the server. These interact with the audio interface, allowing you to get sound from its inputs, and send sound to its outputs. The lowest audio-rate bus numbers are reserved for audio interface outputs, each channel receiving an independent bus. The bus numbers just above those are reserved for audio interface inputs, each channel receiving an independent bus.
 			</div><div class="para">
 				For a simple audio interface with two channels each for input and output, the pre-reserved audio-rate bus numbers would be these: 
@@ -5287,15 +5281,15 @@ h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } );
 
 			</div><div class="para">
 				Now you can change the first argument of the "Out" UGen as desired!
-			</div></div><div class="section" title="11.4.11.2.Â Out and In UGens" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens">11.4.11.2.Â Out and In UGens</h4></div></div></div><div class="para">
-				The "Out" UGen is discussed in <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen" title="11.4.10.1.Â &quot;Out&quot; UGen">SectionÂ 11.4.10.1, â€œ"Out" UGenâ€</a>. What it does is take a signal and route it to the specified bus number. The "In" UGen performs a similar action: take a signal from a bus number, and make it available for use.
+			</div></div><div class="section" title="11.3.11.2.Â Out and In UGens" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens">11.3.11.2.Â Out and In UGens</h4></div></div></div><div class="para">
+				The "Out" UGen is discussed in <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen" title="11.3.10.1.Â &quot;Out&quot; UGen">SectionÂ 11.3.10.1, â€œ"Out" UGenâ€</a>. What it does is take a signal and route it to the specified bus number. The "In" UGen performs a similar action: take a signal from a bus number, and make it available for use.
 			</div><div class="para">
 				This is the syntax to use for the <code class="classname">Out</code> UGen: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Out.ar</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">audioRateUGen</var><code>)</code>;</p></div> or <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Out.kr</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">controlRateUGen</var><code>)</code>;</p></div> The UGen enclosed here should not be enclosed in a Function. If the UGen provides multi-channel output, "Out" will automatically route the lowest channel to the specified bus number, the next channel to the next highest bus number, and so on. This way, you can achieve stereo output with one "Out" UGen.
 			</div><div class="para">
 				This is the syntax to use for the <code class="classname">In</code> UGen: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">In.ar</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">numberOfChannels</var><code>)</code>;</p></div> or <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">In.kr</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">numberOfChannels</var><code>)</code>;</p></div> Whereas "Out" automatically outputs the right number of channels based on how many you provide, "In" requires that you specify how many channels you want it to fetch for you.
 			</div><div class="para">
 				When created with this form, both of these UGens automatically connect to the default server, stored in the single-letter "s" variable by the interpreter.
-			</div></div><div class="section" title="11.4.11.3.Â Bus Objects" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects">11.4.11.3.Â Bus Objects</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.11.3.Â Bus Objects" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects">11.3.11.3.Â Bus Objects</h4></div></div></div><div class="para">
 				As SynthDef and Synth represent things stored on the server, the interpreter provides us with an instantiable "Bus" Class that represents the server's busses. In many programs that you write, you won't need to use a Bus Object - particularly when you're doing simple input and output with the automatically-reserved bus numbers. But, like the SynthDef and Synth Classes make it easier to deal with synthdefs and synths on the server (which are very difficult to deal with directly), the Bus Class makes it easier to deal with busses on the server, and provides some extra functionality to boot!
 			</div><div class="para">
 				The primary advantage of using Bus Objects is that you don't have to keep track of bus numbers, whether they're being used, and how mnany channels are being routed. For simple input and output of audio-rate signals, you're better off simply remembering the bus numbers
@@ -5346,7 +5340,7 @@ h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } );
 &lt;replaceable&gt;myBusVariable&lt;/replaceable&gt; = nil;
 </pre>
 				 Like when sending the "free" message to a Synth Object, you should set the variable name of a "free'd" Bus to "nil". This will prevent you from accidentally sending audio there after the Bus is released.
-			</div></div><div class="section" title="11.4.11.4.Â Using Busses: Control-Rate Example" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example">11.4.11.4.Â Using Busses: Control-Rate Example</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.11.4.Â Using Busses: Control-Rate Example" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example">11.3.11.4.Â Using Busses: Control-Rate Example</h4></div></div></div><div class="para">
 				The best way to understand how and when to use a bus is to see them in action. 
 <pre class="programlisting">
 ( // execute first: prepare the server
@@ -5385,27 +5379,27 @@ h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } );
 </pre>
 				 This example contains three stages: prepare the server, create the synths, destroy the synths. These three stages will become familiar as you program in <span class="application"><strong>SuperCollider</strong></span>, whether or not you use busses frequently. The example is fairly complicated, so the code is explained here: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							"busAudioSynth" Function: Accepts two arguments, and creates an audio-rate <code class="code">SinOsc</code>, routed to the left output channel. The frequency is determined by a control-rate bus given as an argument, and optionally with an offset that can be supplied as an argument.
+							<code class="function">busAudioSynth</code> Function: Accepts two arguments, and creates an audio-rate <code class="classname">SinOsc</code>, routed to the left output channel. The frequency is determined by a control-rate bus given as an argument, and optionally with an offset that can be supplied as an argument.
 						</div></li><li class="listitem"><div class="para">
-							"busControlSynth" Function: Accepts two arguments, and creates a control-rate <code class="code">SinOsc</code>, routed to the bus given as an argument. Can also be given a frequency; the value produced by the synth is intended to be used to control pitch. The centre pitch of the oscillation is "freq", and the range of oscillation is one-twentieth the size of "freq" (one-fourtieth both higher and lower than "freq").
+							<code class="function">busControlSynth</code> Function: Accepts two arguments, and creates a control-rate <code class="classname">SinOsc</code>, routed to the bus given as an argument. Can also be given a frequency; the value produced by the synth is intended to be used to control pitch. The centre pitch of the oscillation is <code class="literal">freq</code>, and the range of oscillation is one-twentieth the size of <code class="literal">freq</code> (one-fourtieth both higher and lower than <code class="literal">freq</code>).
 						</div></li><li class="listitem"><div class="para">
 							SynthDef: These commands are straight-forward. They send the synthesis definitions to the server.
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">b = Bus.control( s );</code> : This should also be straight-forward. A single-channel control bus is created, and assigned to the pre-declared variable "b".
+							<code class="code">b = Bus.control( s );</code> : This should also be straight-forward. A single-channel control bus is created, and assigned to the pre-declared variable <code class="literal">b</code>.
 						</div></li><li class="listitem"><div class="para">
-							For synth creation, x is assigned a control-rate synth, while y and z are assigned audio-rate synths. Each synth is given the variable "b", which refers to our control-rate bus. "z" is also given an argument for \freqOffset, which makes its frequency 200 Hz higher than the synth assigned to "y".
+							For synth creation, <code class="literal">x</code> is assigned a control-rate synth, while <code class="literal">y</code> and <code class="literal">z</code> are assigned audio-rate synths. Each synth is given the variable <code class="literal">b</code>, which refers to our control-rate bus. <code class="literal">z</code> is also given an argument for <code class="literal">\freqOffset</code>, which makes its frequency 200Â Hz higher than the synth assigned to <code class="literal">y</code>.
 						</div></li><li class="listitem"><div class="para">
-							Don't worry about the "after" message for now. It's explained in <a class="xref" href="#sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering" title="11.4.12.1.Â Ordering">SectionÂ 11.4.12.1, â€œOrderingâ€</a>.
+							Don't worry about the <code class="function">after</code> message for now. It's explained in <a class="xref" href="#sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering" title="11.3.12.1.Â Ordering">SectionÂ 11.3.12.1, â€œOrderingâ€</a>.
 						</div></li></ul></div>
 
-			</div><div class="section" title="11.4.11.4.1.Â Why Use Global Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Global_Variables"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Global_Variables">11.4.11.4.1.Â Why Use Global Variables</h5></div></div></div><div class="para">
-					Since this is just an example, and not an actual program, the program uses four automatically-declared global variables: b, x, y, and z. Because these variables are shared with everything, it's especially important to set them to "nil" when you're done. If this were going to be written into a real program, it would be a good idea to change the variables to something which can't be accessed by other programs.
-				</div></div><div class="section" title="11.4.11.4.2.Â Why Use a Bus" id="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus">11.4.11.4.2.Â Why Use a Bus</h5></div></div></div><div class="para">
+			</div><div class="section" title="11.3.11.4.1.Â Why Use Global Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Global_Variables"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Global_Variables">11.3.11.4.1.Â Why Use Global Variables</h5></div></div></div><div class="para">
+					Since this is just an example, and not an actual program, the program uses four automatically-declared global variables: <code class="literal">b</code>, <code class="literal">x</code>, <code class="literal">y</code>, and <code class="literal">z</code>. Because these variables are shared with everything, it's especially important to set them to <code class="literal">nil</code> when you're done. If this were going to be written into a real program, it would be a good idea to change the variables to something which can't be accessed by other programs.
+				</div></div><div class="section" title="11.3.11.4.2.Â Why Use a Bus" id="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus">11.3.11.4.2.Â Why Use a Bus</h5></div></div></div><div class="para">
 					The control-rate bus in this example might seem trivial and pointless to you, especially since the use of a UGen to control frequency has already been illustrated in other examples. For this particular program, a control-rate UGen would probably have been a better choice, but remember that this is just an example.
 				</div><div class="para">
 					Here are some advantages to using a control-rate Bus over a UGen: 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								The signal can be changed without sending the "set" message to the audio-rate UGen, simply by changing the input to the bus.
+								The signal can be changed without sending the <code class="literal">set</code> message to the audio-rate UGen, simply by changing the input to the bus.
 							</div></li><li class="listitem"><div class="para">
 								Input to the bus can be produced by any number of control-rate UGen's.
 							</div></li><li class="listitem"><div class="para">
@@ -5416,12 +5410,12 @@ h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } );
 
 				</div><div class="para">
 					Some of these advantages could be seen as disadvantages. Whether you should use a Bus or a UGen depends on the particular application. The simpler solution is usually the better one, as long as you remember to avoid repetition!
-				</div></div><div class="section" title="11.4.11.4.3.Â Special Note about Control-Rate Busses" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note">11.4.11.4.3.Â Special Note about Control-Rate Busses</h5></div></div></div><div class="para">
+				</div></div><div class="section" title="11.3.11.4.3.Â Special Note about Control-Rate Busses" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note">11.3.11.4.3.Â Special Note about Control-Rate Busses</h5></div></div></div><div class="para">
 					Control-rate Bus'ses are a great way to enhance the flexibility of your program. The best part is that, in order to use a control-rate Bus, the UGen doesn't even need to have been written to accomodate it. 
 <pre class="programlisting">{ SinOsc.ar( freq:In.kr( controlRateBus, 1 ), mul:0.2 ); }.play;</pre>
 					 Now you've managed to spice up an otherwise-boring synth!
 				</div><div class="para">
-					Also, control-rate Bus'ses don't need to be constantly changing. Unlike an audio-rate Bus, a control-rate Bus will hold the last-inputted value until another value is provided. You can the value of a control-rate Bus with the "set" message (and a single argument, which is the value). You can also get the current value, whether created by "set" or a UGen, by using the "get" message, and sending a Function with one argument. 
+					Also, control-rate Bus'ses don't need to be constantly changing. Unlike an audio-rate Bus, a control-rate Bus will hold the last-inputted value until another value is provided. You can the value of a control-rate Bus with the <code class="function">set</code> message (and a single argument, which is the value). You can also get the current value, whether created by <code class="function">set</code> or a UGen, by using the <code class="function">get</code> message, and sending a Function with one argument. 
 <pre class="programlisting">
 (
    var bus = Bus.control( s );
@@ -5430,10 +5424,10 @@ h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } );
    bus.free; bus = nil;
 )
 </pre>
-					 When running this example, you'll notice that the "12" doesn't get posted until ''after'' the program finishes with "nil". This is because of the '''latency''' between when the interpreter asks the server to do something, and when the server does it. The amount of time it takes for the server to complete a command is usually very small, but as you can see, it can make an important difference to your program. This latency is also the reason that you can't call "SynthDef.new( ... )" and "Synth.new( ... )" at the exact same time.
+					 When running this example, you'll notice that the <code class="literal">12</code> doesn't get posted until <span class="emphasis"><em>after</em></span> the program finishes with <code class="literal">nil</code>. This is because of the <em class="firstterm">latency</em> between when the interpreter asks the server to do something, and when the server does it. The amount of time it takes for the server to complete a command is usually very small, but as you can see, it can make an important difference to your program. This latency is also the reason that you can't call <code class="code">SynthDef.new( <em class="replaceable"><code>...</code></em> )</code> and <code class="code">Synth.new( <em class="replaceable"><code>...</code></em> )</code> at the exact same time.
 				</div><div class="para">
-					This latency is also the reason that we have to provide a single-argument Function as an argument to the "get" Function. Since the Function won't immediately be able to get the value of the bus from the server, we can't expect the value to be returned by the Function. Instead, when "get" gets the value of the bus from the server, it runs the Function that you gave it.
-				</div></div></div><div class="section" title="11.4.11.5.Â Using Busses: Audio-Rate Example" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example">11.4.11.5.Â Using Busses: Audio-Rate Example</h4></div></div></div><div class="para">
+					This latency is also the reason that we have to provide a single-argument function as an argument to the <code class="function">get</code> function. Since the function won't immediately be able to get the value of the bus from the server, we can't expect the value to be returned by the function. Instead, when "get" gets the value of the bus from the server, it runs the function that you gave it.
+				</div></div></div><div class="section" title="11.3.11.5.Â Using Busses: Audio-Rate Example" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example">11.3.11.5.Â Using Busses: Audio-Rate Example</h4></div></div></div><div class="para">
 				
 <pre class="programlisting">
 (
@@ -5521,17 +5515,17 @@ z.set( \direct, 0.5 ); // original Sine wave
 </pre>
 
 			</div><div class="para">
-				I'm not going to explain this example as extensively as the previous one. It's definitely the most complex example so far. It's better if you figure out what the parts do by playing with them yourself. The bus works by routing audio from the <code class="code">\tutorialDecayPink</code> and <code class="code">\tutorialDecaySine</code> synths into the <code class="code">\tutorialReverb</code> synth. The first two synths can be controlled to put all, none, or some of their signal into the bus (so that it goes through the <code class="code">\tutorialReverb</code> synth), or straight out the audio interface (bypassing the <code class="code">\tutorialReverb</code> synth). Notice that the ''same'' effects processor is operating on two different input sources.
-			</div></div></div><div class="section" title="11.4.12.Â Ordering and Other Synth Features" id="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12.Â Ordering and Other Synth Features</h3></div></div></div><div class="para">
+				I'm not going to explain this example as extensively as the previous one. It's definitely the most complex example so far. It's better if you figure out what the parts do by playing with them yourself. The bus works by routing audio from the <code class="literal">\tutorialDecayPink</code> and <code class="literal">\tutorialDecaySine</code> synths into the <code class="literal">\tutorialReverb</code> synth. The first two synths can be controlled to put all, none, or some of their signal into the bus (so that it goes through the <code class="literal">\tutorialReverb</code> synth), or straight out the audio interface (bypassing the <code class="literal">\tutorialReverb</code> synth). Notice that the <span class="emphasis"><em>same</em></span> effects processor is operating on two different input sources.
+			</div></div></div><div class="section" title="11.3.12.Â Ordering and Other Synth Features" id="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.3.12.Â Ordering and Other Synth Features</h3></div></div></div><div class="para">
 			This section discusses the important topic of creating and enforcing an "order" on the server. Because this is done with Functions (or methods) from the Synth Class, other useful Functions from the Class are discussed here.
-		</div><div class="section" title="11.4.12.1.Â Ordering" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering">11.4.12.1.Â Ordering</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.12.1.Â Ordering" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering">11.3.12.1.Â Ordering</h4></div></div></div><div class="para">
 				Ordering is instructing the server to calculate in a particular order. The audio synthesized by the server takes the same form as any other digital audio: a series of samples are played at a particular speed (called sample rate), each with a set number of bits per sample (called sample format). For each sample, the server calculates the signal at that point in a pre-determined order. Each sample is calculated from scratch, so if a particular UGen depends on the output of another UGen, the other one had better be calculated first. For more information on samples, sample rate, and sample format, see <a class="xref" href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format" title="1.3.Â Sample, Sample Rate, Sample Format, and Bit Rate">SectionÂ 1.3, â€œSample, Sample Rate, Sample Format, and Bit Rateâ€</a>.
 			</div><div class="para">
 				Consider the following example: 
 <pre class="programlisting">{ SinOsc.ar( freq:SinOsc.kr( freq:1, add:500, mul:10 ), mul:0.2 ); }.play;</pre>
 				 What happens if the server calculates the audio-rate UGen first? It wouldn't have a frequency. This is another one of those things which the interpreter takes care of automatically when we run Function rather than create a Synth. Since it's often preferable to use a synth instead of a Function, we need some way to control the order of execution. The interpreter and the server are only so good at guessing what we need, after all.
 			</div><div class="para">
-				There are two methods in the <code class="classname">Synth</code> Class that we can use to inform the server about our desired order of execution: "before" and "after". They represent a small extension to the "new" method, and they work like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.before</b>(</code><var class="pdparam">variableHoldingSynth</var>, <var class="pdparam">nameOfSynthDef</var>, <var class="pdparam">ListOfArguments</var><code>)</code>;</p></div> and <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.after</b>(</code><var class="pdparam">variableHoldingSynth</var>, <var class="pdparam">nameOfSynthDef</var>, <var class="pdparam">ListOfArguments</var><code>)</code>;</p></div> And it works just as it looks, too: the server creates a new synth, adds it before or after the synth represented by "variableHoldingSynth" (depending on which Function you use), and uses "nameOfSynthDef" and "ListOfArguments" j
 ust as in the "add" method. This example, from <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example" title="11.4.11.4.Â Using Busses: Control-Rate Example">SectionÂ 11.4.11.4, â€œUsing Busses: Control-Rate Exampleâ€</a>, uses the "after" Function to ensure that the control-rate synth is calculated before the audio-rate synths that depend on it. 
+				There are two methods in the <code class="classname">Synth</code> Class that we can use to inform the server about our desired order of execution: "before" and "after". They represent a small extension to the "new" method, and they work like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.before</b>(</code><var class="pdparam">variableHoldingSynth</var>, <var class="pdparam">nameOfSynthDef</var>, <var class="pdparam">ListOfArguments</var><code>)</code>;</p></div> and <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.after</b>(</code><var class="pdparam">variableHoldingSynth</var>, <var class="pdparam">nameOfSynthDef</var>, <var class="pdparam">ListOfArguments</var><code>)</code>;</p></div> And it works just as it looks, too: the server creates a new synth, adds it before or after the synth represented by "variableHoldingSynth" (depending on which Function you use), and uses "nameOfSynthDef" and "ListOfArguments" j
 ust as in the "add" method. This example, from <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example" title="11.3.11.4.Â Using Busses: Control-Rate Example">SectionÂ 11.3.11.4, â€œUsing Busses: Control-Rate Exampleâ€</a>, uses the "after" Function to ensure that the control-rate synth is calculated before the audio-rate synths that depend on it. 
 <pre class="programlisting">
 ( // execute first: prepare the server
    var busAudioSynth = 
@@ -5569,20 +5563,20 @@ z.set( \direct, 0.5 ); // original Sine wave
 </pre>
 				 In this case, the control-rate synth is created before the audio-rate synths - probably the easier way to think about it. Even so, it's possible to add them in the opposite order with a little extra thought.
 			</div><div class="para">
-				The other example from <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.4.11.Â Busses">SectionÂ 11.4.11, â€œBussesâ€</a> use the "before" Function to ensure that the "pink noise" and "sine wave" UGen's were calculated before the "reverberation" UGen. Especially since these are all audio-rate UGen's, the server would not reasonably know which to calculate first, so you need to let it know.
-			</div></div><div class="section" title="11.4.12.2.Â Changing the Order" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order">11.4.12.2.Â Changing the Order</h4></div></div></div><div class="para">
+				The other example from <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.3.11.Â Busses">SectionÂ 11.3.11, â€œBussesâ€</a> use the "before" Function to ensure that the "pink noise" and "sine wave" UGen's were calculated before the "reverberation" UGen. Especially since these are all audio-rate UGen's, the server would not reasonably know which to calculate first, so you need to let it know.
+			</div></div><div class="section" title="11.3.12.2.Â Changing the Order" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order">11.3.12.2.Â Changing the Order</h4></div></div></div><div class="para">
 				<span class="application"><strong>SuperCollider</strong></span> offers equally easy-to-use methods to change the order of execution.
 			</div><div class="para">
 				To move a synth's execution after another: <div class="funcsynopsis"><p><code class="funcdef">variableHoldingSynth<b class="fsfunc">moveAfter</b>(</code><var class="pdparam">variableHoldingAnotherSynth</var><code>)</code>;</p></div>
 			</div><div class="para">
 				To move a synth's execution before another: <div class="funcsynopsis"><p><code class="funcdef">variableHoldingSynth<b class="fsfunc">moveBefore</b>(</code><var class="pdparam">variableHoldingAnotherSynth</var><code>)</code>;</p></div>
-			</div></div><div class="section" title="11.4.12.3.Â Replace a Running Synth" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth">11.4.12.3.Â Replace a Running Synth</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.12.3.Â Replace a Running Synth" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth">11.3.12.3.Â Replace a Running Synth</h4></div></div></div><div class="para">
 				The server allows you to replace a running synth with a newly-created one, maintaining all of the ordering relationships.
 			</div><div class="para">
 				This is the syntax: 
 <pre class="programlisting">variableHoldingNewSynth = Synth.replace( variableHoldingSynthToReplace, nameOfSynthDef, ListOfArguments );</pre>
 				 The "variableHoldingNewSynth" will often be the same as the "variableHoldingSynthToReplace," but not always. When you use this Function, the synth being replaced is freed from the server (equivalent to running "free"), so that variable should always be assigned something.
-			</div></div><div class="section" title="11.4.12.4.Â Pausing and Restarting a Synth" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth">11.4.12.4.Â Pausing and Restarting a Synth</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.12.4.Â Pausing and Restarting a Synth" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth">11.3.12.4.Â Pausing and Restarting a Synth</h4></div></div></div><div class="para">
 				The server allows you to temporarily pause and later re-start a synth, without freeing and re-creating it.
 			</div><div class="para">
 				To pause a synth: 
@@ -5592,9 +5586,9 @@ z.set( \direct, 0.5 ); // original Sine wave
 				To re-start a synth: 
 <pre class="programlisting"><em class="replaceable"><code>variableHoldingSynth</code></em>.run( true );</pre>
 
-			</div></div></div><div class="section" title="11.4.13.Â Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.4.13.Â Scheduling</h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.13.Â Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.3.13.Â Scheduling</h3></div></div></div><div class="para">
 			The practice of scheduling allows you to making things happen in a pre-determined amount of time. Scheduling is very different from ordering: ordering is a primarily technical consideration to ensure that the server synthesizes the sound in the right order; scheduling is a primarily musical consideration that allows you to control the perceived time that things happen.
-		</div><div class="section" title="11.4.13.1.Â Clocks" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Clocks"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Clocks">11.4.13.1.Â Clocks</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.13.1.Â Clocks" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Clocks"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Clocks">11.3.13.1.Â Clocks</h4></div></div></div><div class="para">
 				SuperCollider's clocks have two main functions: they know what time it is, and they know what time things are supposed to happen.
 			</div><div class="para">
 				There are three types of clocks, which each do slightly different things: 
@@ -5606,17 +5600,17 @@ z.set( \direct, 0.5 ); // original Sine wave
 							AppClock: These clocks always run in seconds. They are to be used for graphic events and other non-musical things not discussed in this guide. These clocks do not run with a high priority, so they can be temporarily "side-lined" by a TempoClock or the SystemClock, if one of those has something to do urgently.
 						</div></li></ul></div>
 
-			</div></div><div class="section" title="11.4.13.2.Â Default Clocks" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks">11.4.13.2.Â Default Clocks</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.13.2.Â Default Clocks" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks">11.3.13.2.Â Default Clocks</h4></div></div></div><div class="para">
 				The <span class="application"><strong>SuperCollider</strong></span> interpreter provides two default clocks, and one default pseudo-clock.
 			</div><div class="para">
-				The <code class="code">SystemClock</code> always operates in seconds, and it can be used to schedule musical events, but usually this isn't necessary.
+				The <code class="classname">SystemClock</code> always operates in seconds, and it can be used to schedule musical events, but usually this isn't necessary.
 			</div><div class="para">
 				The <code class="code">TempoClock.default</code> runs at 60 beats-per-minute by default (equal to one beat per second). Since it's accessible from anywhere within a program, any tempo changes will have an effect on the scheduling of the entire program - so be careful! If you don't want something to be effected by tempo changes, you can create a new TempoClock just for that part of the program. If you will be using this clock frequently, you can assign it to a variable like this: 
 <pre class="programlisting">var t = TempoClock.default;</pre>
 
 			</div><div class="para">
 				The <code class="code">thisThread.clock</code> is not really a clock in itself, but refers to the clock which is responsible for scheduling the part of the program where the command is written. It can be a little bit tricky working with this clock, since it may be either the SystemClock or a TempoClock.
-			</div></div><div class="section" title="11.4.13.3.Â Finding the Current Time" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time">11.4.13.3.Â Finding the Current Time</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.13.3.Â Finding the Current Time" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time">11.3.13.3.Â Finding the Current Time</h4></div></div></div><div class="para">
 				Using the "beats" method on a clock will return that clock's current time. Try running each of the following: 
 <pre class="programlisting">
 SystemClock.beats;
@@ -5626,12 +5620,12 @@ thisThread.clock.beats;
 
 			</div><div class="para">
 				This can be useful for scheduling events in an absolute way, or for a number of other things.
-			</div></div><div class="section" title="11.4.13.4.Â Relative Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling">11.4.13.4.Â Relative Scheduling</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.13.4.Â Relative Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling">11.3.13.4.Â Relative Scheduling</h4></div></div></div><div class="para">
 				The standard way to schedule things is in a certain number of beats from now. If you're scheduling on a SystemClock, one beat is equal to one second. If you're scheduling on a TempoClock, one beat is equal to whatever the current setting is.
 			</div><div class="para">
 				To schedule things on a clock, use the "sched" Function: <div class="funcsynopsis"><p><code class="funcdef">nameOfClock<b class="fsfunc">sched</b>(</code><var class="pdparam">beatsFromNow</var>, <var class="pdparam">FunctionToExecute</var><code>)</code>;</p></div> The interpreter will let you schedule just about anything, but there's no point in scheduling something other than a Function: scheduling a five won't have any effect - try it! 
 <pre class="programlisting">SystemClock.sched( 5, 5 );</pre>
-				 It looks like nothing happens. The <code class="literal">5</code> does happen, but... well... it doesn't do anything. Scheduling a Function ''will'' do something: 
+				 It looks like nothing happens. The <code class="literal">5</code> does happen, but... well... it doesn't do anything. Scheduling a Function <span class="emphasis"><em>will</em></span> do something: 
 <pre class="programlisting">SystemClock.sched( 5, { 5.postln; } );</pre>
 				 When you run this, there are two things to notice: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -5640,7 +5634,7 @@ thisThread.clock.beats;
 							The five prints out endlessly, in five-second intervals. For an explanation, see "Repeated Scheduling"
 						</div></li></ul></div>
 
-			</div></div><div class="section" title="11.4.13.5.Â Repeated Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling">11.4.13.5.Â Repeated Scheduling</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.13.5.Â Repeated Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling">11.3.13.5.Â Repeated Scheduling</h4></div></div></div><div class="para">
 				If you schedule a Function that returns a number, the interpreter will schedule the Function to re-run in that many beats.
 			</div><div class="para">
 				This will print "5" every five seconds, until you press [Esc] to stop execution. 
@@ -5650,7 +5644,7 @@ thisThread.clock.beats;
 				To avoid this, you can end your Function with <code class="literal">nil</code>, which has been done sometimes through this guide. 
 <pre class="programlisting">SystemClock.sched( 5, { 5.postln; nil; } );</pre>
 				 This will print <code class="literal">5</code> in five seconds, and then stop.
-			</div></div><div class="section" title="11.4.13.6.Â Working with the TempoClock Class" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class">11.4.13.6.Â Working with the TempoClock Class</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.13.6.Â Working with the TempoClock Class" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class">11.3.13.6.Â Working with the TempoClock Class</h4></div></div></div><div class="para">
 				Here is a brief explanation of some Functions available with the TempoClock Class. Throughout this section, the variable "t" is used to represent any particular TempoClock.
 			</div><div class="para">
 				
@@ -5687,33 +5681,33 @@ t = nil;
 				 Schedules the Function to begin execution on the next beat.
 			</div><div class="para">
 				There are many other Functions in the TempoClock Class, related to absolute scheduling, scheduling with bars, and conversion of beats to and from seconds.
-			</div></div></div><div class="section" title="11.4.14.Â How to Get Help" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14.Â How to Get Help</h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.14.Â How to Get Help" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.3.14.Â How to Get Help</h3></div></div></div><div class="para">
 			Knowing how to get help in <span class="application"><strong>SuperCollider</strong></span> is going to play a large part in determining whether you have a productive or frustrating relationship with the language and its components. There are a large number of ways to get help, but here are some of the most helpful.
-		</div><div class="section" title="11.4.14.1.Â Use the SuperCollider Help Files" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files">11.4.14.1.Â Use the <span class="application"><strong>SuperCollider</strong></span> Help Files</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.14.1.Â Use the SuperCollider Help Files" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files">11.3.14.1.Â Use the <span class="application"><strong>SuperCollider</strong></span> Help Files</h4></div></div></div><div class="para">
 				<span class="application"><strong>SuperCollider</strong></span> comes with an extensive collection of help files, which contain the answers to most of your problems. The difficulty will be in finding the solution - it's not always located where you think it is, because it often isn't the solution you think it will be.
 			</div><div class="para">
 				On Fedora Linux systems, the main help file is located at [file:///usr/share/SuperCollider/Help/Help.html this URL], and it can be viewed in any web browser. It may also be helpful to browse the directory structure of the help files, located at [file:///usr/share/SuperCollider/Help this URL], which can also be viewed in your web browser.
 			</div><div class="para">
 				If you're looking for further explanations of material in this tutorial, you could start by reviewing the [file:///usr/share/SuperCollider/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html Getting Started With <span class="application"><strong>SuperCollider</strong></span>] tutorial, on which this document is based. The sections in that tutorial roughly correspond to the sections in this guide.
-			</div></div><div class="section" title="11.4.14.2.Â Internet Relay Chat (IRC)" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC">11.4.14.2.Â Internet Relay Chat (IRC)</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.14.2.Â Internet Relay Chat (IRC)" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC">11.3.14.2.Â Internet Relay Chat (IRC)</h4></div></div></div><div class="para">
 				If you know how to use Internet Relay Chat (IRC), you can join the #supercollider channel on the Freenode network. The channel does not usually have a large number of participants or a lot of activity, but the users are some of the most polite and helpful on the internet.
-			</div></div><div class="section" title="11.4.14.3.Â Email" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email">11.4.14.3.Â Email</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.14.3.Â Email" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email">11.3.14.3.Â Email</h4></div></div></div><div class="para">
 				If you feel comfortable sending an email to a mailing list, you can use the <em class="citetitle">sc-users Mailing List</em>, available at <a href="http://www.beast.bham.ac.uk/research/sc_mailing_lists.shtml">http://www.beast.bham.ac.uk/research/sc_mailing_lists.shtml</a>. If you decide to subscribe to this list, be aware that it receives a large amount of mail every day.
-			</div></div><div class="section" title="11.4.14.4.Â The SuperCollider Website" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website">11.4.14.4.Â The <span class="application"><strong>SuperCollider</strong></span> Website</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.14.4.Â The SuperCollider Website" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website">11.3.14.4.Â The <span class="application"><strong>SuperCollider</strong></span> Website</h4></div></div></div><div class="para">
 				The <em class="citetitle"><span class="application"><strong>SuperCollider</strong></span> Website</em> at SourceForge (<a href="http://supercollider.sourceforge.net/">http://supercollider.sourceforge.net/</a>) offers links to many resources.
-			</div></div></div><div class="section" title="11.4.15.Â Legal Attribution" id="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.4.15.Â Legal Attribution</h3></div></div></div><div class="para">
+			</div></div></div><div class="section" title="11.3.15.Â Legal Attribution" id="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.3.15.Â Legal Attribution</h3></div></div></div><div class="para">
 			This portion of the Fedora Musicians' Guide, called "Basic Programming with <span class="application"><strong>SuperCollider</strong></span>," is a derivative work of the, <em class="citetitle">Getting Started With <span class="application"><strong>SuperCollider</strong></span></em> tutorial. The original work was created by Scott Wilson, James Harkins, and the <span class="application"><strong>SuperCollider</strong></span> development team. It is available on the internet from <a href="http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html">http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html</a>.
 		</div><div class="para">
 			The original document, like all <span class="application"><strong>SuperCollider</strong></span> documentation, is licenced under the Creative Commons' <em class="citetitle">Attribution Share-Alike 3.0 Unported Licence</em>, accessible on the internet at <a href="http://creativecommons.org/licenses/by-sa/3.0/">http://creativecommons.org/licenses/by-sa/3.0/</a>.
 		</div><div class="para">
 			This usage should in no way be construed as an endorsement of the Fedora Project, the Musicians' Guide, or any other party by the <span class="application"><strong>SuperCollider</strong></span> development team.
-		</div></div></div><div xml:lang="en-US" class="section" title="11.5.Â Composing with SuperCollider" id="sect-Musicians_Guide-SuperCollider-Composing" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Composing">11.5.Â Composing with SuperCollider</h2></div></div></div><div class="para">
+		</div></div></div><div xml:lang="en-US" class="section" title="11.4.Â Composing with SuperCollider" id="sect-Musicians_Guide-SuperCollider-Composing" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Composing">11.4.Â Composing with SuperCollider</h2></div></div></div><div class="para">
 		This section is an explanation of the creative thought-process that went into creating the SuperCollider composition that we've called "Method One," for which the source and exported audio files are available below.
 	</div><div class="para">
 		It is our hope that, in illustrating how we developed this composition from a single SinOsc command, you will learn about SuperCollider and its abilities, about how to be creative with SuperCollider, and how a simple idea can turn into something of greater and greater complexity.
 	</div><div class="para">
 		As musicians, our goal is to learn enough SuperCollider to make music; we don't want to have to memorize which parameters do what for which functions, and in which order to call them. We want to know what they do for us musically. Explicitly calling parameters, and making comments about what does what, so that we can return later and change musical things, are going to help our musical productivity, at the expense of slowing down our typing.
-	</div><div class="section" title="11.5.1.Â Files for the Tutorial" id="sect-Musicians_Guide-SC-Composing-Tutorial_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1.Â Files for the Tutorial</h3></div></div></div><div class="para">
+	</div><div class="section" title="11.4.1.Â Files for the Tutorial" id="sect-Musicians_Guide-SC-Composing-Tutorial_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.4.1.Â Files for the Tutorial</h3></div></div></div><div class="para">
 			The following files represent complete versions of the program. You should try to complete the program yourself before reviewing these versions: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 						Original Version with Full Explanations: <a href="https://fedoraproject.org/wiki/User:Crantila/FSC/Synthesizers/SuperCollider/FSC_method_1.sc">https://fedoraproject.org/wiki/User:Crantila/FSC/Synthesizers/SuperCollider/FSC_method_1.sc</a>
@@ -5729,11 +5723,11 @@ t = nil;
 			<code class="literal">FSC_method_1-short.sc</code> : This is a less-commented version of the source code. I've also re-written part of the code, to make it more flexible for use in other programs. The differences between this, and code that I would have written for myself only, are trivial.
 		</div><div class="para">
 			<code class="literal">FSC_method_1.flac</code> : This is a recording that I produced of the program, which I produced in Ardour.
-		</div></div><div class="section" title="11.5.2.Â Inspiration" id="sect-Musicians_Guide-SC-Composing-Inspiration"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2.Â Inspiration</h3></div></div></div><div class="para">
+		</div></div><div class="section" title="11.4.2.Â Inspiration" id="sect-Musicians_Guide-SC-Composing-Inspiration"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Inspiration">11.4.2.Â Inspiration</h3></div></div></div><div class="para">
 			The intention of this program is to represent one way to write a SuperCollider program. I decided to take one class, SinOsc, and use it for "everything." Here, "everything" means any function that returns a sound, or any function that directly controls a SinOsc.
 		</div><div class="para">
 			In order to fill up time, I decided to employ a three-part "rounded binary" form: ABA' or "something, something new, then the first thing again." This is kind of like a sine oscillation, too!
-		</div></div><div class="section" title="11.5.3.Â Designing the First Part" id="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3.Â Designing the First Part</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
+		</div></div><div class="section" title="11.4.3.Â Designing the First Part" id="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.4.3.Â Designing the First Part</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 					I started with something simple: a single SinOsc: <code class="code">{ SinOsc.ar(); }.play;</code>
 				</div></li><li class="step" title="Step 2"><div class="para">
 					This is not exciting: it just stays the same forever, and it only uses one channel! So, I added another SinOsc to the right channel, using the [ , ] array notation. The result is <code class="code">{ [ SinOsc.ar(), SinOsc.ar() ] }.play;</code>
@@ -5789,7 +5783,7 @@ t = nil;
 				</div></li><li class="step" title="Step 10"><div class="para">
 					But let's add another dimension to this: there's no reason to keep the volume static, because we can use a SinOsc to change it periodically! I added a SinOsc variable called "volumeL," which I used as the argument to "mul" for the "frequencyL" SinOsc in the left channel.
 				</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.
+					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 <span class="emphasis"><em>way</em></span> too loud.
 				</div></li><li class="step" title="Step 12"><div class="para">
 					Writing 
 <pre class="programlisting">SinOsc.ar( [frequencyL_drone,2*frequencyL_drone,5*frequencyL_drone,13*frequencyL_drone,28*frequencyL_drone], mul:0.1 )</pre>
@@ -5800,7 +5794,7 @@ t = nil;
 					I did something similar with the right channel, addding a slowly-changing drone and overtones above it.
 				</div></li><li class="step" title="Step 15"><div class="para">
 					After some final volume adjustments, I feel that I have completed the first part. There is no way to know for sure that you've finished until it happens. Even then, you may want to change your program later.
-				</div></li></ol></div></div><div class="section" title="11.5.4.Â Designing the Second Part" id="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.5.4.Â Designing the Second Part</h3></div></div></div><div class="para">
+				</div></li></ol></div></div><div class="section" title="11.4.4.Â Designing the Second Part" id="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.4.4.Â Designing the Second Part</h3></div></div></div><div class="para">
 			The next thing that I did was to design the second part. This will not join them together yet, and I'm going to focus on something completely different, so I decided to do this in a separate file.
 		</div><div class="para">
 			My inspiration for this part came from experimenting with the drones of the first part. There are a virtually unlimited number of combinations of sets of overtones that could be created, and the combinations of discrete frequencies into complex sounds is something that has fascinated me for a long time. Moreover, when thousands of discrete frequencies combine in such a way as to create what we think of as "a violin playing one note," it seems like a magical moment.
@@ -5812,7 +5806,7 @@ t = nil;
 			Although we've already solved the musical problems (that is, we know what we want this part to sound like), the computer science (programming) problems will have to be solved the old-fashioned way: start with something simple, and build it into a complex solution.
 		</div><div class="para">
 			First I will develop the version used in FSC-method-1.sc, then the version used in FSC-method-1-short.sc
-		</div></div><div class="section" title="11.5.5.Â Creating Ten Pseudo-Random Tones" id="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5.Â Creating Ten Pseudo-Random Tones</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
+		</div></div><div class="section" title="11.4.5.Â Creating Ten Pseudo-Random Tones" id="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.4.5.Â Creating Ten Pseudo-Random Tones</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 					We'll start again with something simple, that we know how to do. 
 <pre class="programlisting">
 {
@@ -5909,7 +5903,7 @@ t = nil;
 </pre>
 
 				</div></li><li class="step" title="Step 8"><div class="para">
-					It still doesn't work! SuperCollider is confused because I was been lazy and didn't include enough semicolons. The error we get is, "Index not an Integer," which is a clue as to what SuperCollider is trying to do (but it's irrelevant). The real problem is that SuperCollider interprets our ten stereo arrays as all being part of the same statement. We don't want them to be the same statement, however, because we want ten ''different'' stereo arrays to be played. Fix this problem by putting a semicolon at the end of each stereo array. You don't ''need'' to include one at the end of the last statement, because SuperCollider assumes the end of the statement when it encounters a } (end-of-function marker) after it. Since we're still building our code, we might move these around or add something aftwards, so it's better to include a semicolon at the end of each stereo array.
+					It still doesn't work! SuperCollider is confused because I was been lazy and didn't include enough semicolons. The error we get is, "Index not an Integer," which is a clue as to what SuperCollider is trying to do (but it's irrelevant). The real problem is that SuperCollider interprets our ten stereo arrays as all being part of the same statement. We don't want them to be the same statement, however, because we want ten <span class="emphasis"><em>different</em></span> stereo arrays to be played. Fix this problem by putting a semicolon at the end of each stereo array. You do not <span class="emphasis"><em>need</em></span> to include one at the end of the last statement, because SuperCollider assumes the end of the statement when it encounters a } (end-of-function marker) after it. Since we're still building our code, we might move these around or add something aftwards, so it's better to include a semicolon at the end of each stereo array.
 				</div></li><li class="step" title="Step 9"><div class="para">
 					Now the file plays successfully, but with a disappointing result. If you can't already see the problem, try to think of it before continuing to read.
 				</div></li><li class="step" title="Step 10"><div class="para">
@@ -5957,7 +5951,7 @@ myFunction.value;
 					Now make the correction nine more times.
 				</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.Â 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.Â Scheduling the Tones</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
+				</div></li></ol></div></div><div class="section" title="11.4.6.Â 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">11.4.6.Â 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 <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.
@@ -6037,7 +6031,7 @@ var t_c = TempoClock.default;
 }.value;
 </pre>
 
-				</div></li></ol></div></div><div class="section" title="11.5.7.Â Optimizing the Code" id="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7.Â Optimizing the Code</h3></div></div></div><div class="para">
+				</div></li></ol></div></div><div class="section" title="11.4.7.Â Optimizing the Code" id="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.4.7.Â Optimizing the Code</h3></div></div></div><div class="para">
 			Hopefully, while working through the previous sections, you got an idea of how tedious, boring, difficult-to-read, and error-prone this sort of copy-and-paste programming can be. It's ridiculous, and it's poor programming: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 						We're using a lot of variables and variable names. They're all just used once or twice, too.
@@ -6074,21 +6068,21 @@ var t_c = TempoClock.default;
 				</div></li><li class="step" title="Step 6"><div class="para">
 					Then declare a ten-element array in the same place: <code class="code">var sinosc = Array.new( 10 );</code>
 				</div></li><li class="step" title="Step 7"><div class="para">
-					The next part is to write code to get ten func.value's into the array. To add something to an array in SuperCollider, we use the "add" method: <code class="code">sinosc.add( thing_to_add );</code> There is a small wrinkle to this, described in the SuperCollider documentation. It's not important to understand (for musical reasons, that is - it is explained on this help page), but when you add an element to an array, you ''should'' re-assign the array to the variable-name: <code class="code">sinosc = sinosc.add( thing_to_add )</code> Basically it works out like this: if you don't re-assign, then there is a chance that the array name only includes the elements that were in the array before the "add" command was run.
+					The next part is to write code to get ten func.value's into the array. To add something to an array in SuperCollider, we use the "add" method: <code class="code">sinosc.add( thing_to_add );</code> There is a small wrinkle to this, described in the SuperCollider documentation. It's not important to understand (for musical reasons, that is - it is explained on this help page), but when you add an element to an array, you <span class="emphasis"><em>should</em></span> re-assign the array to the variable-name: <code class="code">sinosc = sinosc.add( thing_to_add )</code> Basically it works out like this: if you don't re-assign, then there is a chance that the array name only includes the elements that were in the array before the "add" command was run.
 				</div></li><li class="step" title="Step 8"><div class="para">
 					With this, we are able to eliminate a further level of redundancy in the code. Ten exact copies of <code class="code">sinosc = sinosc.add( { func.value; } );</code> Now, ten lines that look almost identical actually are identical. Furthermore, we don't have to worry about assigning unique names, or even about index numbers, as in other programming languages. SuperCollider does this for us!
 				</div></li><li class="step" title="Step 9"><div class="para">
 					This still won't work, because we need to adjust the rest of the function to work with this array. The scheduling commands be changed to look something like this: <code class="code">t_c.sched( 1, { so1 = sinosc[0].play; } );</code> Since arrays are indexed from 0 to 9, those are the index numbers of the first ten objects in the array.
 				</div></li><li class="step" title="Step 10"><div class="para">
-					Remember that you need to put all of your variable declarations ''before'' anything else.
+					Remember that you need to put all of your variable declarations <span class="emphasis"><em>before</em></span> anything else.
 				</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.
+					It <span class="emphasis"><em>should</em></span> 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"><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( <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.
+					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 <span class="emphasis"><em>already</em></span> 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">
@@ -6128,7 +6122,7 @@ var t_c = TempoClock.default;
 
 				</div></li><li class="step" title="Step 20"><div class="para">
 					Finally, assign this Function to a variable (called "secondPart", perhaps), and remove the "value" Function-call. If we leave that in, the Function will execute before the rest of the program begins!
-				</div></li></ol></div></div><div class="section" title="11.5.8.Â Making a Useful Section out of the Second Part" id="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8.Â Making a Useful Section out of the Second Part</h3></div></div></div><div class="para">
+				</div></li></ol></div></div><div class="section" title="11.4.8.Â Making a Useful Section out of the Second Part" id="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.4.8.Â Making a Useful Section out of the Second Part</h3></div></div></div><div class="para">
 			This section describes the reasons for the differences between the second part's Function that was just created, and the Function that appears in "FSC_method_1-short.sc". It all comes down to this: the current solution is tailor-made for this particular program, and would require significant adaptation to be used anywhere else; I want to re-design the Function so that it can be used anywhere to begin with, while still defaulting to the behaviour desired for this program.
 		</div><div class="para">
 			You can skip this section, and return later. The actions for the rest of the tutorial remain unchanged whether you do or do not make the modifications in this section.
@@ -6278,7 +6272,7 @@ var secondPart =
 
 		</div><div class="para">
 			As you can see, there are a lot of ways to improve this Function even further; there are almost certainly more ways than listed here. Before you distribute your Function, you would want to be sure to test it thoroughly, and add helpful comments so that the Function's users know how to make the Function do what they want. These are both large topics in themselves, so I won't give them any more attention here.
-		</div></div><div class="section" title="11.5.9.Â Joining the Two Parts" id="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.5.9.Â Joining the Two Parts</h3></div></div></div><div class="para">
+		</div></div><div class="section" title="11.4.9.Â Joining the Two Parts" id="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.4.9.Â Joining the Two Parts</h3></div></div></div><div class="para">
 			Now it is time to join the two parts, and ensure a clean transition between them. My reasons for building the first part as a SynthDef, but the second part as a function are explained in the FSC_part_1.sc file. Additional reasons include my desire to illustrate the use of both possibilities, and because the second part stops itself (so it can be a function which is executed and forgotten), whereas the first part does not stop itself (so we'll need to hold onto the synth, to stop it ourselves).
 		</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 					I copy-and-pasted both parts into a new file, leaving the other original code in tact, in case I want to build on them in the future. Be sure to copy over the <code class="code">var t_c = TempoClock.default;</code> definition from the second part.
@@ -6309,7 +6303,7 @@ var secondPart =
 									</div></li><li class="listitem"><div class="para">
 										5 beats after the last SinOsc until the function stops.
 									</div></li><li class="listitem"><div class="para">
-										This gives us <code class="code">1 + ( 5 * 9 ) + 5 = 51</code>. Why <code class="code">5 * 9</code>? Because although there are ten SinOsc's, there are only nine spaces between them; the last five-second space happens ''after'' the last SinOsc.
+										This gives us <code class="code">1 + ( 5 * 9 ) + 5 = 51</code>. Why <code class="code">5 * 9</code>? Because although there are ten SinOsc's, there are only nine spaces between them; the last five-second space happens <span class="emphasis"><em>after</em></span> the last <code class="classname">SinOsc</code>.
 									</div></li></ul></div>
 
 						</div></li><li class="step" title="Step 6.e"><div class="para">
@@ -6336,46 +6330,44 @@ t_c.sched( 113, { sound = Synth.new( \FirstPart ); } );
 t_c.sched( 143, { sound.free; } );
 </pre>
 					 Why is the "nil" required after "secondPart"? Because that function returns a number. As you know, any scheduled function which returns a number will re-schedule itself to run that many beats after the previous execution began. Since "secondPart" returns the number of seconds it takes to finish, it will always be re-started as soon as it finishes. Including "nil" disallows this repetition.
-				</div></li></ol></div></div></div><div xml:lang="en-US" class="section" title="11.6.Â Exporting Sound Files" id="sect-Musicians_Guide-SuperCollider-Exporting" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Exporting">11.6.Â Exporting Sound Files</h2></div></div></div><div class="para">
+				</div></li></ol></div></div></div><div xml:lang="en-US" class="section" title="11.5.Â Exporting Sound Files" id="sect-Musicians_Guide-SuperCollider-Exporting" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Exporting">11.5.Â Exporting Sound Files</h2></div></div></div><div class="para">
 		This section explains one way to record your SuperCollider programs, so that you can share them with friends who don't have SuperCollider on their computer.
-	</div><div class="section" title="11.6.1.Â Non-Real-Time Synthesis" id="sect-Musicians_Guide-SC-Non_Real_Time_Synthesis"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1.Â Non-Real-Time Synthesis</h3></div></div></div><div class="para">
-			SuperCollider allows you to synthesze audio output to an audio file. Doing this requires using OSC commands on the server, the "DiskOut" UGen, the "Buffer" UGen, and other relatively advanced concepts. The built-in <em class="citetitle">DiskOut</em> help file, available from <a href="file:///usr/share/SuperCollider/Help/UGens/Playback%20and%20Recording/DiskOut.html">file:///usr/share/SuperCollider/Help/UGens/Playback%20and%20Recording/DiskOut.html</a> on Fedora Linux systems, contains some help with the DiskOut UGen, and links to other useful help files. This method is not further discussed here.
-		</div></div><div class="section" title="11.6.2.Â Recording SuperCollider's Output (Tutorial)" id="sect-Musicians_Guide-SC-Recording_SuperColliders_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2.Â Recording SuperCollider's Output (Tutorial)</h3></div></div></div><div class="para">
-			Since SuperCollider outputs its audio signals to the JACK sound server, any other JACK-aware program has the opportunity to record, process, and use them. This portion of the tutorial will help you to record SuperCollider's output in Ardour. Due to the advanced nature of SuperCollider, the text assumes that you have a basic knowledge of how to work with Ardour. If not, you may find it helpful to refer to <a class="xref" href="#chap-Musicians_Guide-Ardour" title="ChapterÂ 7.Â Ardour">ChapterÂ 7, <i>Ardour</i></a>.
+	</div><div class="section" title="11.5.1.Â Non-Real-Time Synthesis" id="sect-Musicians_Guide-SC-Non_Real_Time_Synthesis"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.5.1.Â Non-Real-Time Synthesis</h3></div></div></div><div class="para">
+			SuperCollider allows you to synthesze audio output to an audio file. Doing this requires using OSC commands on the server, the <code class="classname">DiskOut</code> UGen, the <code class="classname">Buffer</code> UGen, and other relatively advanced concepts. The built-in <em class="citetitle">DiskOut</em> help file, available from <a href="file:///usr/share/SuperCollider/Help/UGens/Playback%20and%20Recording/DiskOut.html">file:///usr/share/SuperCollider/Help/UGens/Playback%20and%20Recording/DiskOut.html</a> on Fedora Linux systems, contains some help with the <code class="classname">DiskOut</code> UGen, and links to other useful help files. This method is not further discussed here.
+		</div></div><div class="section" title="11.5.2.Â Recording SuperCollider's Output (Tutorial)" id="sect-Musicians_Guide-SC-Recording_SuperColliders_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.5.2.Â Recording SuperCollider's Output (Tutorial)</h3></div></div></div><div class="para">
+			Since <code class="systemitem">SuperCollider</code> outputs its audio signals to the JACK sound server, any other <code class="systemitem">JACK</code>-aware program has the opportunity to record, process, and use them. This portion of the tutorial will help you to record SuperCollider's output in Ardour. Due to the advanced nature of SuperCollider, the text assumes that you have a basic knowledge of how to work with Ardour. If not, you may find it helpful to refer to <a class="xref" href="#chap-Musicians_Guide-Ardour" title="ChapterÂ 7.Â Ardour">ChapterÂ 7, <i>Ardour</i></a>.
 		</div><div class="para">
-			This procedure will help you to use Ardour to record SuperCollider's output.
+			This procedure will help you to use <span class="application"><strong>Ardour</strong></span> to record the <span class="application"><strong>SuperCollider</strong></span> output.
 		</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
-					Close unnecessary applications and stop unnecessary processes, which will help to reduce the risk of a buffer overrun or underrun, which cause an audible break in audio. If you are viewing this document in a web browser, you may want to copy-and-paste it into a simple text editor, or GEdit, if you are already using that.
+					Close unnecessary applications and stop unnecessary processes, which will help to reduce the risk of a buffer overrun or underrun, which cause an audible break in audio. If you are viewing this document in a web browser, you may want to copy-and-paste it into a simple text editor, or <span class="application"><strong>GEdit</strong></span>, if you are already using that.
 				</div></li><li class="step" title="Step 2"><div class="para">
-					Use QjackCtl to set up JACK with the right audio interface and configuration options.
+					Use <span class="application"><strong>QjackCtl</strong></span> to set up <code class="systemitem">JACK</code> with the right audio interface and configuration options.
 				</div></li><li class="step" title="Step 3"><div class="para">
-					In order to get a clean start, restart the SuperCollider interpreter in GEdit, then start the server.
+					In order to get a clean start, restart the <span class="application"><strong>SuperCollider</strong></span> interpreter in <span class="application"><strong>GEdit</strong></span>, then start the server.
 				</div></li><li class="step" title="Step 4"><div class="para">
-					Open Ardour with a new session, and set up the rulers and timeline as desired. Seconds is usually the most appropriate unit with which to measure a SuperCollider recording.
+					Open <span class="application"><strong>Ardour</strong></span> with a new session, and set up the rulers and timeline as desired. Seconds is usually the most appropriate unit with which to measure a <span class="application"><strong>SuperCollider</strong></span> recording.
 				</div></li><li class="step" title="Step 5"><div class="para">
 					Add a stereo track (or however many channels desired), and rename it it "SuperCollider."
 				</div></li><li class="step" title="Step 6"><div class="para">
-					Use Ardour (the "Track/Bus Inspector" window) or QjackCtl to connect the "SuperCollider" track to SuperCollider's outputs.
+					Use Ardour (the "Track/Bus Inspector" window) or <span class="application"><strong>QjackCtl</strong></span> to connect the "SuperCollider" track to SuperCollider's outputs.
 				</div></li><li class="step" title="Step 7"><div class="para">
-					You'll want to make sure that the SuperCollider output is also connected to your audio interface, so that you can hear the program as you progress. This is an example of multi-plexing. Changes to your audio interface's volume control will not affect the recording in Ardour.
+					You'll want to make sure that the <span class="application"><strong>SuperCollider</strong></span> output is also connected to your audio interface, so that you can hear the program as you progress. This is an example of multi-plexing. Changes to your audio interface's volume control will not affect the recording in Ardour.
 				</div></li><li class="step" title="Step 8"><div class="para">
-					Arm the track and transport in Ardour. When you are ready, start the transport. It is not important to start SuperCollider as quickly as possible, since you can cut out the silence after the recording is made.
+					Arm the track and transport in <span class="application"><strong>Ardour</strong></span>. When you are ready, start the transport. It is not important to start SuperCollider as quickly as possible, since you can cut out the silence after the recording is made.
 				</div></li><li class="step" title="Step 9"><div class="para">
-					Switch to GEdit and play the program that you want to record. If you make a mistake while starting the program, that's okay. We can always edit the recording after it's recorded.
+					Switch to <span class="application"><strong>GEdit</strong></span> and play the program that you want to record. If you make a mistake while starting the program, that's okay. We can always edit the recording after it's recorded.
 				</div></li><li class="step" title="Step 10"><div class="para">
-					Listen to the recording as it goes along. Use QjackCtl to make sure that you don't encounter a buffer underrun, and Ardour to make sure that you don't record a distorted signal.
+					Listen to the recording as it goes along. Use <span class="application"><strong>QjackCtl</strong></span> to make sure that you don't encounter a buffer underrun, and <span class="application"><strong>Ardour</strong></span> to make sure that you do not record a distorted signal.
 				</div></li><li class="step" title="Step 11"><div class="para">
-					When SuperCollider has finished playing your program, switch to Ardour, and stop the transport.
+					When <span class="application"><strong>SuperCollider</strong></span> has finished playing your program, switch to <span class="application"><strong>Ardour</strong></span>, and stop the transport.
 				</div></li><li class="step" title="Step 12"><div class="para">
-					The audio file will be created in the "export" sub-directory of the session's directory.
+					When you are ready to export, use the <span class="application"><strong>Ardour</strong></span> menu. <span class="guimenu"><strong>Choose Session</strong></span> â†’ <span class="guisubmenu"><strong>Export</strong></span> â†’ <span class="guimenuitem"><strong>Export session to audio file</strong></span>
 				</div></li><li class="step" title="Step 13"><div class="para">
-					When you are ready to export, use the Ardour menu: 'Session &gt; Export &gt; 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="ChapterÂ 12.Â LilyPond" id="chap-Musicians_Guide-LilyPond" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 12.Â <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 <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.
+		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 <span class="emphasis"><em>what</em></span> needs to be displayed, rather than on <span class="emphasis"><em>how</em></span> it is going to be displayed.
 	</div><div class="para">
 		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">
@@ -6431,7 +6423,7 @@ t_c.sched( 143, { sound.free; } );
 		</div><div class="para">
 			Letters used to indicate pitch are always in lower-case.
 		</div></div><div class="section" title="12.4.2.Â 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.Â Numbers Are Durations</h3></div></div></div><div class="para">
-			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.
+			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">
@@ -6467,9 +6459,9 @@ t_c.sched( 143, { sound.free; } );
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 						<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
+						<code class="literal">_</code> which means to put the articulation mark <span class="emphasis"><em>below</em></span> the note-head
 					</div></li><li class="listitem"><div class="para">
-						<code class="literal">^</code> which means to put the articulation mark ''above'' the note-head
+						<code class="literal">^</code> which means to put the articulation mark <span class="emphasis"><em>above</em></span> the note-head
 					</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.Â 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.Â Simultaneity</h3></div></div></div><div class="para">
@@ -6485,7 +6477,7 @@ t_c.sched( 143, { sound.free; } );
 		</div></div><div class="section" title="12.4.6.Â 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.Â Commands</h3></div></div></div><div class="para">
 			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).
+			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: <code class="literal">\time</code> changes the time signature and metre, and <code class="literal">\clef</code> changes the clef. they belong to differen contexts (<code class="literal">\time</code> applies for the whole Score, but <code class="literal">\clef</code> 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 <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.Â 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.Â Customization</h4></div></div></div><div class="para">
@@ -6725,7 +6717,7 @@ c4 c c c |
 		</div></div><div class="section" title="12.5.4.Â Inputting" id="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting">12.5.4.Â Inputting</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 					Look over the template. It's not important to understand what any of this means, but it's good if you can figure it out.
 				</div></li><li class="step" title="Step 2"><div class="para">
-					The piano's upper staff will contain the notes between the { and } following the " right = \relative c'' " portion
+					The piano's upper staff will contain the notes between the <code class="literal">{</code> and <code class="literal">}</code> following the <code class="code">right = \relative c''</code> portion
 				</div></li><li class="step" title="Step 3"><div class="para">
 					The piano's lower ... left
 				</div></li><li class="step" title="Step 4"><div class="para">
@@ -6992,7 +6984,7 @@ c4 c c c |
 					</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">
-						The "a 2" marking, meaning "to be played by two players," does need the text-in-quotes format, however. Put that marking ''above'' the d following the eighth rest.
+						The "a 2" marking, meaning "to be played by two players," does need the text-in-quotes format, however. Put that marking <span class="emphasis"><em>above</em></span> the d following the eighth rest.
 					</div></li><li class="step" title="Step 9"><div class="para">
 						Those two measures should now look like this: 
 <div class="literallayout"><p>r8\fÂ d-.^"aÂ 2"Â g-.Â bes-.Â d-.Â bes-.Â |<br />
@@ -7005,7 +6997,7 @@ c4 c c c |
 								</div></li><li class="listitem"><div class="para">
 									You may want to use [ and ] to control eighth-note beaming in the Oboe I and Flauto parts. You may not
 								</div></li><li class="listitem"><div class="para">
-									The Flauto will need more multi-measure rests with R, ''after'' some of the notes are inputted.
+									The Flauto will need more multi-measure rests with R, <span class="emphasis"><em>after</em></span> some of the notes are inputted.
 								</div></li><li class="listitem"><div class="para">
 									All of the parts will end with the same three-quarter-note-rests-with-fermata measure.
 								</div></li></ul></div>
@@ -7099,17 +7091,17 @@ c4 c c c |
 					</div></li><li class="step" title="Step 6"><div class="para">
 						The barline and tempo-change will not appear unless you write some music after them, so put in some or all of the rests that follow, just to test it.
 					</div></li></ol></div></div></div></div><div xml:lang="en-US" class="section" title="12.7.Â Working on a Piano Score (Tutorial)" id="sect-Musicians_Guide-LilyPond-Piano" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-Piano">12.7.Â Working on a Piano Score (Tutorial)</h2></div></div></div><div class="para">
-		Scenario: At a used music store, you encounter a 60-year-old, hand-engraved copy of a Schubert ''Impromptu'', but it's been badly damaged by a flood. The store's owner says that, if you can use the score, you can keep it for free. The score is barely legible, so you decide to prepare a copy with a computer notation program.
+		Scenario: At a used music store, you encounter a 60-year-old, hand-engraved copy of a Schubert "Impromptu," but it's been badly damaged by a flood. The store's owner says that, if you can use the score, you can keep it for free. The score is barely legible, so you decide to prepare a copy with a computer notation program.
 	</div><div class="para">
-		I'm using Schubert's ''Impromptu'' Op.90 (D.899) Nr.4, in A-flat major. Published by Edition Peters: 10463, ed. Walter Niemann. We'll be setting the A section (from the beginning to the Trio).
+		I'm using Schubert's "Impromptu" Op.90 (D.899) Nr.4, in A-flat major. Published by Edition Peters: 10463, edited by Walter Niemann. We'll be setting the "A" section (from the beginning to the "Trio").
 	</div><div class="para">
 		When following this tutorial, it is recommended that the reader follows along, creating their replica of this tutorial's PDF.
 	</div><div class="section" title="12.7.1.Â Files for the Tutorial" id="sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1.Â Files for the Tutorial</h3></div></div></div><div class="para">
-			You do not need the LilyPond input file to do the tutorial. You should use the input file if you encounter problems, and to compare your completion. You do need the PDF output file to do the tutorial. <em class="citetitle">LilyPond Input File</em> at <a href="https://fedoraproject.org/wiki/User:Crantila/FSC/Typesetting/LilyPond/Piano">https://fedoraproject.org/wiki/User:Crantila/FSC/Typesetting/LilyPond/Piano</a>. <em class="citetitle">PDF Output File</em> at <a href="https://fedoraproject.org/wiki/File:FSC-piano.pdf">https://fedoraproject.org/wiki/File:FSC-piano.pdf</a>.
+			You do not need the <span class="application"><strong>LilyPond</strong></span> input file to do the tutorial. You should use the input file if you encounter problems, and to compare your completion. You do need the PDF output file to do the tutorial. <em class="citetitle"><span class="application"><strong>LilyPond</strong></span> Input File</em> at <a href="https://fedoraproject.org/wiki/User:Crantila/FSC/Typesetting/LilyPond/Piano">https://fedoraproject.org/wiki/User:Crantila/FSC/Typesetting/LilyPond/Piano</a>. <em class="citetitle">PDF Output File</em> at <a href="https://fedoraproject.org/wiki/File:FSC-piano.pdf">https://fedoraproject.org/wiki/File:FSC-piano.pdf</a>.
 		</div></div><div class="section" title="12.7.2.Â Starting the Score" id="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score">12.7.2.Â Starting the Score</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 					Open Frescobaldi with a new document.
 				</div></li><li class="step" title="Step 2"><div class="para">
-					Start the "Setup New Score" tool, by clicking 'LilyPond &gt; Setup New Score' in the menu.
+					Start the "Setup New Score" tool, by clicking '<span class="application"><strong>LilyPond</strong></span> &gt; Setup New Score' in the menu.
 				</div></li><li class="step" title="Step 3"><div class="para">
 					Fill in the following fields on the "Titles and Headers" tab: 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -7145,7 +7137,7 @@ c4 c c c |
 							</div></li></ul></div>
 
 				</div></li></ol></div></div><div class="section" title="12.7.3.Â Adjusting Frescobaldi's Output" id="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3.Â Adjusting Frescobaldi's Output</h3></div></div></div><div class="para">
-			These steps are useful in establishing a consistent input style for LilyPond. The things suggested here are also useful for getting used to working with large scores, which can be a challenge in any text editor. Thankfully, careful (and consistent!) code organization goes a long way in helping you to quickly find your way around your files. Setting up files the right way to begin with makes this much easier in the end.
+			These steps are useful in establishing a consistent input style for <span class="application"><strong>LilyPond</strong></span>. 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="orderedlist"><ol><li class="listitem"><div class="para">
@@ -7159,7 +7151,7 @@ c4 c c c |
 					</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.
+			 The specific ordering will become more obvious to you as you get used to <span class="application"><strong>LilyPond</strong></span>.
 		</div><div class="para">
 			Here are some of the things that I do before inputting notes: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -7192,7 +7184,7 @@ c4 c c c |
 					</div></li></ul></div>
 
 		</div></div><div class="section" title="12.7.4.Â Inputting" id="sect-Musicians_Guide-LilyPond-Piano-Inputting"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting">12.7.4.Â Inputting</h3></div></div></div><div class="para">
-			Piano scores present some unique challenges with LilyPond, but they're easy to overcome with some careful thought. This tutorial will avoid step-by-step instructions on how to input particular notes, instead focussing on those unique piano challenges presented in this particular composition. The LilyPond "Notation Reference" provides a section dedicated to keyboard and piano music. Most of the situations described there are not present or discussed in this score, which gives this tutorial unique material.
+			Piano scores present some unique challenges with <span class="application"><strong>LilyPond</strong></span>, but they're easy to overcome with some careful thought. This tutorial will avoid step-by-step instructions on how to input particular notes, instead focussing on those unique piano challenges presented in this particular composition. The <span class="application"><strong>LilyPond</strong></span> "Notation Reference" provides a section dedicated to keyboard and piano music. Most of the situations described there are not present or discussed in this score, which gives this tutorial unique material.
 		</div><div class="section" title="12.7.4.1.Â Order of Inputting" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Order_of_Inputting"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Order_of_Inputting">12.7.4.1.Â Order of Inputting</h4></div></div></div><div class="para">
 				Choosing the right order to input your scores can make things much easier to troubleshoot. Here are some suggestions:
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
@@ -7216,39 +7208,39 @@ c4 c c c |
 			</div></div><div class="section" title="12.7.4.2.Â 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.Â 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="literal">&lt;as ces&gt;4-_</code> Notice how only the pitches are notated inside the <code class="literal">&lt; &gt;</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">&lt;as-1 ces-3&gt;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">&lt;as ces&gt;4-_</code> Notice how only the pitches are notated inside the <code class="literal">&lt; &gt;</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">&lt;as-1 ces-3&gt;4-_</code> Not only does this help you to sort out what was probably intended, but it allows <span class="application"><strong>LilyPond</strong></span> 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="literal">&lt;&lt;as4-&gt; ces&gt;&gt;</code> Notice how everything must be notated inside the <code class="literal">&lt;&lt; &gt;&gt;</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.
+				This style of chord notation is less common: <code class="literal">&lt;&lt;as4-&gt; ces&gt;&gt;</code> Notice how everything must be notated inside the <code class="literal">&lt;&lt; &gt;&gt;</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 <span class="emphasis"><em>needed</em></span>, 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 <span class="application"><strong>LilyPond</strong></span>'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.Â 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.Â 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 <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>.
+				<span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span> to put the mark above or below the note, respectively. It is usually better to let <span class="application"><strong>LilyPond</strong></span> 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="literal">&lt;as-1 ces-4&gt;4-_</code>. It is possible to enter this as <code class="literal">&lt;as ces&gt;4-1-4-&gt;</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">&lt;as-1 ces-4&gt;4-_</code>. It is possible to enter this as <code class="literal">&lt;as ces&gt;4-1-4-&gt;</code>, but this not only looks confusing, it may confuse <span class="application"><strong>LilyPond</strong></span> 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.Â 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.Â Cautionary Accidentals</h4></div></div></div><div class="para">
-				Musical Definition: This score makes some use of ''cautionary accidentals''. These are accidentals which don't change the pitches to be played, but rather are used as a precaution against forgetting that they are there. This usually happens when an accidental in the written key signature is changed for a significant number of measures, and then suddenly changes back. The cautionary accidental would be applied when the standard key signature returns, to remind the musician of the key signature.
+				Musical Definition: This score makes some use of <em class="firstterm">cautionary accidentals</em>. These are accidentals which don't change the pitches to be played, but rather are used as a precaution against forgetting that they are there. This usually happens when an accidental in the written key signature is changed for a significant number of measures, and then suddenly changes back. The cautionary accidental would be applied when the standard key signature returns, to remind the musician of the key signature.
 			</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>
+				<span class="application"><strong>LilyPond</strong></span> Notation: These are notated in <span class="application"><strong>LilyPond</strong></span> 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.Â 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.Â 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 <code class="literal">\&lt;</code> style of crescendo. In LilyPond these are handled by the same source-file notation (<code class="literal">\&lt;</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 &lt; 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 <span class="foreignphrase"><em class="foreignphrase">crescendo</em></span> or its abbreviation, <span class="foreignphrase"><em class="foreignphrase">cresc.</em></span>, instead of the <code class="literal">\&lt;</code> style of crescendo. In <span class="application"><strong>LilyPond</strong></span> these are handled by the same source-file notation (<code class="literal">\&lt;</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 &lt; sign, you need to tell <span class="application"><strong>LilyPond</strong></span>. 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 &lt; style with the following command: <code class="code">\crescHairpin</code>.
+				After changing to this style of <span class="foreignphrase"><em class="foreignphrase">crescendo</em></span>, you can revert to the standard &lt; style with the following command: <code class="literal">\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''.
+				The <code class="literal">\dimTextDim</code> and <code class="literal">\dimHairpin</code> commands do the same for a <span class="foreignphrase"><em class="foreignphrase">diminuendo</em></span>.
 			</div></div><div class="section" title="12.7.4.6.Â 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.Â 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: <code class="literal"> &lt;&lt; { % upper voice notes go here } \\ { % lower voice notes go here } &gt;&gt; </code> 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 <span class="application"><strong>LilyPond</strong></span>, even though most of the music does not. In this case, you would use the following format: <code class="literal"> &lt;&lt; { % upper voice notes go here } \\ { % lower voice notes go here } &gt;&gt; </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.
+				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, <span class="application"><strong>LilyPond</strong></span> judges from the last note of the upper voice - <span class="emphasis"><em>not</em></span> the last note before the polyphonic section began.
 			</div></div><div class="section" title="12.7.4.7.Â Octave-Change Spanners (&quot;8ve&quot; Signs, &quot;Ottava Brackets&quot;)" 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.Â Octave-Change Spanners ("8ve" Signs, "Ottava Brackets")</h4></div></div></div><div class="para">
 				Musical Definition: In order to most conveniently notate over large ranges, composers and editors sometimes use text spanners to indicate that a passage should be played one or two octaves higher or lower than written. This allows the notes to stay mostly within the staff lines, thereby decreasing the number of ledger lines required.
 			</div><div class="para">
-				LilyPond Notation: The <code class="code">\ottava</code> command is used to notate all five states of transposition: 
+				<span class="application"><strong>LilyPond</strong></span> Notation: The <code class="code">\ottava</code> command is used to notate all five states of transposition: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							15va (play two octaves higher than written) is engaged with <code class="code">\ottava #2</code>
 						</div></li><li class="listitem"><div class="para">
 							8va (play one octave higher than written) is engaged with <code class="code">\ottava #1</code>
 						</div></li><li class="listitem"><div class="para">
-							''loco'' (play in the octave written) is engaged with <code class="code">\ottava #0</code>, which also cancels another sign.
+							<span class="foreignphrase"><em class="foreignphrase">loco</em></span> (play in the octave written) is engaged with <code class="code">\ottava #0</code>, which also cancels another sign.
 						</div></li><li class="listitem"><div class="para">
 							8vb (play one octave lower than written) is engaged with <code class="code">\ottava #-1</code>
 						</div></li><li class="listitem"><div class="para">
@@ -7256,21 +7248,21 @@ c4 c c c |
 						</div></li></ul></div>
 
 			</div></div></div><div class="section" title="12.7.5.Â Troubleshooting Errors" id="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors">12.7.5.Â Troubleshooting Errors</h3></div></div></div><div class="para">
-			It can be difficult to troubleshoot inputting errors, especially when you find them days or weeks after originally inputting that section of a score. The best way to fix errors is to input scores in a way that doesn't allow them in the first place. As they say, "an ounce of prevention is worth a pound of cure," which means "if you input your LilyPond files carefully, then you will encounter fewer problems." Such practices as proper spacing, and regular use of the octave- and bar-check features will deal with many common problems.
+			It can be difficult to troubleshoot inputting errors, especially when you find them days or weeks after originally inputting that section of a score. The best way to fix errors is to input scores in a way that doesn't allow them in the first place. As they say, "an ounce of prevention is worth a pound of cure," which means "if you input your <span class="application"><strong>LilyPond</strong></span> files carefully, then you will encounter fewer problems." Such practices as proper spacing, and regular use of the octave- and bar-check features will deal with many common problems.
 		</div><div class="para">
 			However, when searching for an error in your score, Frescobaldi does offer some features to help you find it: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 						If you have written something in the text-input window that is obviously incorrect, then Frescobaldi will sometimes catch your mistake and underline and highlight the erroneous code in red. This is most useful for catching typographical errors ("typos").
 					</div></li><li class="listitem"><div class="para">
-						If LilyPond encounters a processing error, it will show up in the "LilyPond Log" window below the text-input window. You can click on the blue, underlined text to move the text-selection caret to the error.
+						If <span class="application"><strong>LilyPond</strong></span> encounters a processing error, it will show up in the "<span class="application"><strong>LilyPond</strong></span> Log" window below the text-input window. You can click on the blue, underlined text to move the text-selection caret to the error.
 					</div></li><li class="listitem"><div class="para">
 						If you can see an error in the PDF preview, but you can't find it in the source file, you can click on the problematic note or object in the PDF preview, and Frescobaldi will automatically move the text-selection caret to that object.
 					</div></li></ul></div>
 
 		</div></div><div class="section" title="12.7.6.Â Formatting the Score (Piano Dynamics)" id="sect-Musicians_Guide-LilyPond-Piano-Formatting"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Formatting">12.7.6.Â Formatting the Score (Piano Dynamics)</h3></div></div></div><div class="para">
-			Keyboard instruments use a unique notation when it comes to dynamics. Most instruments use only one staff per player, so the dynamics are, by convention, notated underneath that staff. Keyboard instruments usually use two staves (organs and complex piano music may use three). Because the dynamics are usually meant to apply to both staves, they are usually notated between the two staves. This is similar to notation beneath the upper staff, but in truth, piano dynamics tend to be placed in the middle between the staves - entering the dynamics as belonging to the upper staff, in LilyPond, will not produce that effect.
+			Keyboard instruments use a unique notation when it comes to dynamics. Most instruments use only one staff per player, so the dynamics are, by convention, notated underneath that staff. Keyboard instruments usually use two staves (organs and complex piano music may use three). Because the dynamics are usually meant to apply to both staves, they are usually notated between the two staves. This is similar to notation beneath the upper staff, but in truth, piano dynamics tend to be placed in the middle between the staves - entering the dynamics as belonging to the upper staff, in <span class="application"><strong>LilyPond</strong></span>, will not produce that effect.
 		</div><div class="para">
-			There is a way to notate dynamics between two staves in LilyPond, and it involves a little bit of thought to get it right. It also requires the addition of a significant number of commands, and the creation of a new context.
+			There is a way to notate dynamics between two staves in <span class="application"><strong>LilyPond</strong></span>, and it involves a little bit of thought to get it right. It also requires the addition of a significant number of commands, and the creation of a new context.
 		</div><div class="para">
 			This process looks difficult, and may seem daunting. It's not necessary to understand all of the commands in the "PianoDynamics" Context in order to use the context, so there is no need to worry!
 		</div><div class="section" title="12.7.6.1.Â Preparing the &quot;PianoDynamics&quot; Context" id="sect-Musicians_Guide-LilyPond-Piano-Formatting-Preparing_the_PianoDynamics_Context"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Formatting-Preparing_the_PianoDynamics_Context">12.7.6.1.Â Preparing the "PianoDynamics" Context</h4></div></div></div><div class="para">
@@ -7337,7 +7329,7 @@ dynamics =
 					</div></li></ol></div></div><div class="section" title="12.7.6.2.Â 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.Â Inputting the Dynamics</h4></div></div></div><div class="para">
 				Now you can input the dynamic markings. These are inputted with a special note called a "spacer," that uses the letter "s" rather than a note name. You can also use rests (both partial- and multi-measure, r and R), but dynamic markings cannot be assigned to them.
 			</div><div class="para">
-				For example, if you want a ''piano'' marking on the first beat, and a ''diminuendo'' from the third to the fourth beat, you could write this: <code class="code">s4\p r s\&gt; s\!</code>, or this: <code class="code">s2\p s4\&gt; s\!</code>
+				For example, if you want a <span class="foreignphrase"><em class="foreignphrase">piano</em></span> marking on the first beat, and a <span class="foreignphrase"><em class="foreignphrase">diminuendo</em></span> from the third to the fourth beat, you could write this: <code class="code">s4\p r s\&gt; s\!</code>, or this: <code class="code">s2\p s4\&gt; s\!</code>
 			</div><div class="para">
 				That's all there is to it! Think of the dynamics part as an invisible, pitch-free line between the two staves, for the sole purpose of dynamics (and other expression markings).
 			</div></div></div></div></div><div xml:lang="en-US" class="chapter" title="ChapterÂ 13.Â Frescobaldi" id="chap-Musicians_Guide-Frescobaldi" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 13.Â Frescobaldi</h2></div></div></div><div class="toc"><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></div><div class="para">
@@ -7611,7 +7603,7 @@ dynamics =
 							<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 										When you wake up, before breakfast.
 									</div></li><li class="listitem"><div class="para">
-										Warm up your voice and body (good activity anyway - ''not'' part of the ten minutes!)
+										Warm up your voice and body (good activity anyway - <span class="emphasis"><em>not</em></span> part of the ten minutes!)
 									</div></li><li class="listitem"><div class="para">
 										Sing and perfect some excerpts from a book designed for sight-singing.
 									</div></li></ul></div>
@@ -7659,8 +7651,38 @@ dynamics =
 						</div></li></ul></div>
 
 			</div><div class="para">
-				!!F!! Bibliography list !!F!! Books: * Hindemith, Paul (1949). ''Elementary Training for Musicians''. Schott. ** Antiquated instructions, but the exercises are excellent. ** Offers a wide variety of exercises and strategies, especially for coordination of quasi-independent musical lines. ** In particular, Hindemith avoids the use of solfa syllables; modern practice uses them anyway. * Karpinski, Gary (2007). ''Manual for Ear Training and Sight Singing''. Norton. ** Contains chapters with detailed theoretical explanations, tips for listening, and developmental exercises. ** Comes with a CD containing listening exercises; possibly incompatible with Linux. * Karpinski, Gary. ''Anthology for Sight Singing''. Norton: 2006. ** Organized by chapter to coincide with the above ''Manual''. ** Contains examples that can be used to train one's ear by singing. ** It is best to play only the tonic tone (not a chord or scale) on a keyboard instrument before singing. Only after you are 
 sure that you have sung the excerpt correctly by ear should it be played on a keyboard instrument for verification. ** Contains some ensemble excerpts, to be sung by a group of people who are working on ear training together. * Hall, Anne (2004). ''Studying Rhythm''. Prentice Hall. ** Similar in principle to Karpinski's ''Anthology'': contains one- and two-part rhythms to be spoken or spoken-and-clapped. Also contains some 3- and 4-part rhythms. ** Progresses incrementally from easy-to-perform rhythms to more difficult ones. ** Offers some performance tips. ** Provides a few ensemble rhythms to be performed by a group of people working on ear training; all two-part rhythms can also be treated as ensemble rhythms. * Crowell, Ben (2004). ''Eyes and Ears: an Anthology of Melodies for Sight-Singing''. ** An open-source sight-singing text, available free from [http://www.lightandmatter.com/sight/sight.html here]. ** Contains about 400 melodies from the public domain, and some ins
 tructions. * Hoffman, ''The Rhythm Book''. Smith Creek Music, 2009.
-			</div></div></div><div class="section" title="14.4.Â Using the Exercises" id="sect-Musicians_Guide-Solfege-Using_the_Exercises"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Solfege-Using_the_Exercises">14.4.Â Using the Exercises</h2></div></div></div><div class="section" title="14.4.1.Â Listening" id="sect-Musicians_Guide-Solfege-Listening_Exercises"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1.Â Listening</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
+				Aural Skills Books: 
+				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
+							Crowell's <em class="citetitle">Eyes and Ears</em> is an open-source sight-singing text, available for free from the URL listed above. This book contains about 400 melodies from the public domain, along with some helpful instructions.
+						</div></li><li class="listitem"><div class="para">
+							Hall's <em class="citetitle">Studying Rhythm</em> is a small and expensive - but useful - book, containing a collection of rhythms to be spoken or spoken-and-clapped. This book also contains some three-part and four-part rhythms. The exercises increase in difficulty. The book offers some performance tips.
+						</div></li><li class="listitem"><div class="para">
+							Hindemith's <em class="citetitle">Elementary Training</em> is a classic aural skills text, but it was originally published in 1949, and a lot of research has taken place since then about how people learn aural skills. The book offers a wide variety of exercises, especially to develop coordination when performing multiple independent musical lines. We recommend that you ignore Hindemith's instructions, and use <em class="firstterm">tonic solfa</em> syllables. For more information on tonic solfa, refer to <em class="citetitle">Tonic sol-fa</em> at <a href="http://en.wikipedia.org/wiki/Tonic_sol-fa">http://en.wikipedia.org/wiki/Tonic_sol-fa</a>
+						</div></li><li class="listitem"><div class="para">
+							Hoffman's <em class="citetitle">The Rhythm Book</em> was developed specifically for the takadimi rhythm system. Like Hall's text, <em class="citetitle">The Rhythm Book</em> progresses fro easy to difficult exercises, and offers helpful instructions for performance.
+						</div></li><li class="listitem"><div class="para">
+							Karpinski's two texts are the result of two decades of research about how musicians acquire aural skills. The <em class="citetitle">Manual</em> contains instructions, exercises, and tips on training yourself to hear musical elements <span class="emphasis"><em>and</em></span> real music, and how to perform and imagine music. The <em class="citetitle">Anthology</em> is organized in chapters that coincide with the topics discussed in the <em class="citetitle">Manual</em>, and contains very few instructions. The <em class="citetitle">Anthology</em> contains a wide variety of musical excerpts, some from the public domain and others under copyright, taken from the "classical music" canon and from national repertoires. There are some three-part and four-part exercises, which should be performed by a group of people leraning aural skills together.
+						</div></li></ul></div>
+
+			</div><div class="para">
+				When you practise sight-singing from any book, we recommend hearing the tonic pitch from a fixed-pitch instrument (like a piano or keyboard synthesizer) before you sing an excerpt. With the tonic pitch in your mind, and without singing aloud, find the starting note of the excerpt, and sing the excerpt <span class="emphasis"><em>in your mind</em></span> several times, until you are sure that you are singing the excerpt correctly. When you have the melody in your mind, sing the excerpt out loud, as many times as you need to be sure that you are singing it correctly. Only <span class="emphasis"><em>after</em></span> you sing the excerpt perfectly should you play it on a fixed-pitch instrument to confirm that you are correct.
+			</div><div class="para">
+				You should build your ear with as little help from external sources (pianos, and so on) as possible. A significant amount of research shows that this gives you a more flexible musical mind, and that, while the initial learning curve is very steep, you will ultimately be able to learn new concepts faster.
+			</div><div class="bibliography" title="Aural Skills Books" id="id697517"><div class="titlepage"><div><div><h4 class="title">Aural Skills Books</h4></div></div></div><div class="biblioentry" title="Eyes and Ears: an Anthology of Melodies for Sight-Singing"><p><span class="author"><span class="firstname">Ben</span> <span class="surname">Crowell</span>. </span><span class="title"><i>Eyes and Ears: an Anthology of Melodies for Sight-Singing</i>. </span><span class="date">2004. </span><span class="publisher"><span class="publishername">
+							Ben Crowell
+						. </span><span class="address">
+							<span class="otheraddr"><a href="http://www.lightandmatter.com/sight/sight.html">http://www.lightandmatter.com/sight/sight.html</a></span>
+						. </span></span></p></div><div class="biblioentry" title="Studying Rhythm"><p><span class="author"><span class="firstname">Anne</span> <span class="surname">Hall</span>. </span><span class="title"><i>Studying Rhythm</i>. </span><span class="date">2004. </span><span class="publishername">
+						Prentice Hall
+					. </span></p></div><div class="biblioentry" title="Elementary Training for Musicains"><p><span class="author"><span class="firstname">Paul</span> <span class="surname">Hindemith</span>. </span><span class="title"><i>Elementary Training for Musicains</i>. </span><span class="date">1984. </span><span class="publishername">
+						Schott Music Corp.
+					. </span></p></div><div class="biblioentry" title="The Rhythm Book"><p><span class="author"><span class="surname">Hoffman</span>. </span><span class="title"><i>The Rhythm Book</i>. </span><span class="date">2009. </span><span class="publishername">
+						Smith Creek Music
+					. </span></p></div><div class="biblioentry" title="Manual for Ear Training and Sight Singing"><p><span class="author"><span class="firstname">Gary</span> <span class="surname">Karpinski</span>. </span><span class="title"><i>Manual for Ear Training and Sight Singing</i>. </span><span class="date">2007. </span><span class="publishername">
+						Norton
+					. </span></p></div><div class="biblioentry" title="Anthology for Sight Singing"><p><span class="author"><span class="firstname">Gary</span> <span class="surname">Karpinski</span>. </span><span class="title"><i>Anthology for Sight Singing</i>. </span><span class="date">2006. </span><span class="publishername">
+						Norton
+					. </span></p></div></div></div></div><div class="section" title="14.4.Â Using the Exercises" id="sect-Musicians_Guide-Solfege-Using_the_Exercises"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Solfege-Using_the_Exercises">14.4.Â Using the Exercises</h2></div></div></div><div class="section" title="14.4.1.Â Listening" id="sect-Musicians_Guide-Solfege-Listening_Exercises"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1.Â Listening</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 						Open the software
 					</div></li><li class="step" title="Step 2"><div class="para">
 						It is at the "Front Page"
@@ -7902,6 +7924,9 @@ dynamics =
 				</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 &lt;code&gt; tags, all but Basic Programming in SC.</td></tr></table>
 
+				</td></tr><tr><td align="left">Revision 7</td><td align="left">Sun Aug 8 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>Reviewed use of &lt;code&gt; tags in "Basic Programming in SC" chapter.</td></tr><tr><td>Searched code for '' or ''' and replaced them with &lt;emphasis&gt; where appropriate.</td></tr><tr><td>Formatted bibliography/book-list in the Solfege chapter.</td></tr></table>
+
 				</td></tr></table></div>
 
-	</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>
+	</div></div><div class="index" title="Index" id="id1626418"><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="#id494318">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 867f2bc..01da97b 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
@@ -22,6 +22,9 @@
 				</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 &lt;code&gt; tags, all but Basic Programming in SC.</td></tr></table>
 
+				</td></tr><tr><td align="left">Revision 7</td><td align="left">Sun Aug 8 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>Reviewed use of &lt;code&gt; tags in "Basic Programming in SC" chapter.</td></tr><tr><td>Searched code for '' or ''' and replaced them with &lt;emphasis&gt; where appropriate.</td></tr><tr><td>Formatted bibliography/book-list in the Solfege chapter.</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.Â 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-Digital_Audio_Workstations.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Digital_Audio_Workstations.html
index 115e7d0..bbbbcbb 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Digital_Audio_Workstations.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Digital_Audio_Workstations.html
@@ -1,27 +1,27 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
 <html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>ChapterÂ 6.Â Digital Audio Workstations</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="PartÂ II.Â Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-Audacity-Exporting_a_Whole_File.html" title="5.7.2.Â Export a Whole File" /><link rel="next" href="sect-Musicians_Guide-Stages_of_Recording.html" title="6.2.Â Stages of Recording" /></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-Audacity-Exporting_a_Whole_File.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Stages_of_Recording.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="ChapterÂ 6.Â Digital Audio Workstations" id="chap-Musicians_Guide-Digital_Audio_Workstations" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 6.Â Digital Audio Workstations</h2></div></div></div><div class="toc"><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. Ses
 sion</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-Mu
 sicians_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></div><div class="para">
-		The term '''Digital Audio Workstation''' (henceforth '''DAW''') refers to the entire hardware and software setup used for professional (or professional-quality) audio recording, manipulation, synthesis, and production. It originally referred to devices purpose-built for the task, but as personal computers have become more powerful and wide-spread, certain specially-designed personal computers can also be thought of as DAWs. The software running on these computers, especially software capable of multi-track recording, playback, and synthesis, is simply called "DAW software," which is often shortened to "DAW." So, the term "DAW" and its usage are moderately ambiguous, but generally refer to one of the things mentioned.
+		The term <em class="firstterm">Digital Audio Workstation</em> (henceforth <em class="firstterm">DAW</em>) refers to the entire hardware and software setup used for professional (or professional-quality) audio recording, manipulation, synthesis, and production. It originally referred to devices purpose-built for the task, but as personal computers have become more powerful and wide-spread, certain specially-designed personal computers can also be thought of as DAWs. The software running on these computers, especially software capable of multi-track recording, playback, and synthesis, is simply called "DAW software," which is often shortened to "DAW." So, the term "DAW" and its usage are moderately ambiguous, but generally refer to one of the things mentioned.
 	</div><div class="para">
 		For other terms related to digital audio, see <a class="xref" href="chap-Musicians_Guide-Sound_Cards.html" title="ChapterÂ 1.Â Sound Cards and Digital Audio">ChapterÂ 1, <i>Sound Cards and Digital Audio</i></a>.
 	</div><div class="section" title="6.1.Â Knowing Which DAW to Use" id="sect-Musicians_Guide-Knowing_Which_DAW_to_Use"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1.Â Knowing Which DAW to Use</h2></div></div></div><div class="para">
-			The Musicians' Guide covers three widely-used DAWs: Ardour, Qtractor, and Rosegarden. All three use JACK extensively, are highly configurable, share a similar user interface, and allow users to work with both audio and MIDI signals. Many other DAWs exist, including a wide selection of commercially-available solutions. Here is a brief description of the programs documented in this Guide: 
+			The Musicians' Guide covers three widely-used DAWs: <span class="application"><strong>Ardour</strong></span>, <span class="application"><strong>Qtractor</strong></span>, and <span class="application"><strong>Rosegarden</strong></span>. All three use <code class="systemitem">JACK</code> extensively, are highly configurable, share a similar user interface, and allow users to work with both audio and MIDI signals. Many other DAWs exist, including a wide selection of commercially-available solutions. Here is a brief description of the programs documented in the Musicians' Guide: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-						Ardour: the open-source standard for audio manipulation. Flexible and extensible.
+						<span class="application"><strong>Ardour</strong></span> is the open-source standard for audio manipulation. Flexible and extensible.
 					</div></li><li class="listitem"><div class="para">
-						Qtractor: a relative new-comer, but easy to use; a "lean and mean," MIDI-focused DAW. Available from Planet CCRMA at Home or RPM Fusion.
+						<span class="application"><strong>Qtractor</strong></span> is a relative new-comer, but easy to use; a "lean and mean," MIDI-focused DAW. Available from Planet CCRMA at Home or RPM Fusion.
 					</div></li><li class="listitem"><div class="para">
-						Rosegarden: a well-tested, feature-packed workhorse of Linux audio, especially MIDI. Includes a visual score editor for creating MIDI tracks.
+						<span class="application"><strong>Rosegarden</strong></span> is a well-tested, feature-packed workhorse of Linux audio, especially MIDI. Includes a visual score editor for creating MIDI tracks.
 					</div></li></ul></div>
 
 		</div><div class="para">
 			If you are unsure of where to start, then you may not need a DAW at all: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-						If you are looking for a high-quality recording application, or a tool for manipulating one audio file at a time, then you would probably be better off with Audacity. This will be the choice of most computer users, especially those new to computer audio, or looking for a quick solution requiring little specialized knowledge. Audacity is also a good way to get your first computer audio experiences, specifically because it is easier to use than most other audio software.
+						If you are looking for a high-quality recording application, or a tool for manipulating one audio file at a time, then you would probably be better off with <span class="application"><strong>Audacity</strong></span>. This will be the choice of most computer users, especially those new to computer audio, or looking for a quick solution requiring little specialized knowledge. <span class="application"><strong>Audacity</strong></span> is also a good way to get your first computer audio experiences, specifically because it is easier to use than most other audio software.
 					</div></li><li class="listitem"><div class="para">
-						To take full advantage of the features offered by Ardour, Qtractor, and Rosegarden, your computer should be equipped with professional-quality audio equipment, including an after-market audio interface and input devices like microphones. If you do not have access to such equipment, then Audacity may be a better choice for you.
+						To take full advantage of the features offered by <span class="application"><strong>Ardour</strong></span>, <span class="application"><strong>Qtractor</strong></span>, and <span class="application"><strong>Rosegarden</strong></span>, your computer should be equipped with professional-quality audio equipment, including an after-market audio interface and input devices like microphones. If you do not have access to such equipment, then Audacity may be a better choice for you.
 					</div></li><li class="listitem"><div class="para">
-						If you are simply hoping to create a "MIDI recording" of some sheet music, you are probably better off using LilyPond. This program is designed primarily to create printable sheet music, but it will produce a MIDI-format version of a score if you include the following command in the "score" section of your LilyPond source file: <code class="code">\midi { }</code>. There are a selection of options that can be put in the "midi" section; refer to the LilyPond help files for a listing.
+						If you are simply hoping to create a "MIDI recording" of some sheet music, you are probably better off using <span class="application"><strong>LilyPond</strong></span>. This program is designed primarily to create printable sheet music, but it will produce a MIDI-format version of a score if you include the following command in the <code class="literal">score</code> section of your <span class="application"><strong>LilyPond</strong></span> source file: <code class="code">\midi { }</code>. There are a selection of options that can be put in the <code class="literal">midi</code> section; refer to the <span class="application"><strong>LilyPond</strong></span> help files for a listing.
 					</div></li></ul></div>
 
 		</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Audacity-Exporting_a_Whole_File.html"><strong>Prev</strong>5.7.2.Â Export a Whole File</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-Stages_of_Recording.html"><strong>Next</strong>6.2.Â Stages of Recording</a></li></ul></body></html>
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 ac942e0..1bbd06a 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
@@ -1,7 +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>ChapterÂ 10.Â 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="PartÂ II.Â Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html" title="9.4.5.Â Possible Ways to Continue" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html" title="10.2.Â 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="ChapterÂ 10.Â FluidSynth" id="chap-Musicians_Guide-FluidSynth" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 10.Â 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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>ChapterÂ 10.Â 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="PartÂ II.Â Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html" title="9.4.5.Â Possible Ways to Continue" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html" title="10.2.Â 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="ChapterÂ 10.Â FluidSynth" id="chap-Musicians_Guide-FluidSynth" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 10.Â 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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></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. <span class="application"><strong>JACK</strong></span> 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-Musicia
 ns_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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</s
 trong></span></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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span> 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 <span class="application"
 ><strong>Qsynth</strong></span> 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.Â 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.Â 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">
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@@ -1,9 +1,9 @@
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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>ChapterÂ 12.Â 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="PartÂ II.Â Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html" title="11.6.2.Â Recording SuperCollider's Output (Tutorial)" /><link rel="next" href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html" title="12.2.Â 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="ChapterÂ 12.Â LilyPond" id="chap-Musicians_Guide-LilyPond" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 12.Â <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">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>ChapterÂ 12.Â 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="PartÂ II.Â Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html" title="11.5.2.Â Recording SuperCollider's Output (Tutorial)" /><link rel="next" href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html" title="12.2.Â 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="ChapterÂ 12.Â LilyPond" id="chap-Musicians_Guide-LilyPond" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 12.Â <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 <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.
+		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 <span class="emphasis"><em>what</em></span> needs to be displayed, rather than on <span class="emphasis"><em>how</em></span> it is going to be displayed.
 	</div><div class="para">
 		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">
@@ -26,4 +26,4 @@
 			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 <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.Â 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.Â The LilyPond Approach</a></li></ul></body></html>
+		</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html"><strong>Prev</strong>11.5.2.Â 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.Â 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-Real_Time_and_Low_Latency.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Real_Time_and_Low_Latency.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Real_Time_and_Low_Latency.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Real_Time_and_Low_Latency.html
@@ -3,9 +3,9 @@
 <html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>ChapterÂ 3.Â Real-Time and Low Latency</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="PartÂ I.Â Linux Audio Basics" /><link rel="prev" href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html" title="2.3.3.Â Integrating PulseAudio with JACK" /><link rel="next" href="sect-Musicians_Guide-Processor_Scheduling.html" title="3.2.Â Processor Scheduling" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">
 This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Processor_Scheduling.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="ChapterÂ 3.Â 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">ChapterÂ 3.Â Real-Time and Low Latency</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-Real_T
 ime_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></div><div class="para">
 		It is perhaps a common perception that computers can compute things instantaneously. Anybody who has ever waited for a web page to load has first-hand experience that this is not the case: computers take time to do things, even if the amount of time is often imperceptible to human observers. Moreover, a computer doing one thing can seem like it's acting nearly instantaneously, but a computer doing fifteen things will have a more difficult time keeping up appearances.
 	</div><div class="section" title="3.1.Â Why Low Latency Is Desirable" id="sect-Musicians_Guide-Low_Latency"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Low_Latency">3.1.Â Why Low Latency Is Desirable</h2></div></div></div><div class="para">
-			When computer audio specialists talk about a computer acting in '''real-time''', they mean that it is acting with only an imperceptible delay. A computer cannot act on something instantaneously, and the amount of waiting time between an input and its output is called '''latency'''. In order for the delay between input and output to be perceived as non-existant (in other words, for a computer to "react in real-time,") the latency must be low.
+			When computer audio specialists talk about a computer acting in <em class="firstterm">real-time</em>, they mean that it is acting with only an imperceptible delay. A computer cannot act on something instantaneously, and the amount of waiting time between an input and its output is called <em class="firstterm">latency</em>. In order for the delay between input and output to be perceived as non-existant (in other words, for a computer to "react in real-time,") the latency must be low.
 		</div><div class="para">
-			For periodic tasks, like processing audio (which has a consistently recurring amount of data per second), low latency is desirable, but ''consistent'' latency is usually more important. Think of it like this: years ago in North America, milk was delivered to homes by a dedicated delivery person. Imagine if the milk delivery person had a medium-latency, but consistent schedule, returning every seven days. You would be able to plan for how much milk to buy, and to limit your intake so that you don't run out too soon. Now imagine if the milk delivery person had a low-latency, but inconsistent schedule, returning every one to four days. You would never be sure how much milk to buy, and you wouldn't know how to limit yourself. Sometimes there would be too much milk, and sometimes you would run out. Audio-processing and synthesis software behaves in a similar way: if it has a consistent amount of latency, it can plan accordingly. If it has an inconsistent amount of latency - wh
 ether large or small - there will sometimes be too much data, and sometimes not enough. If your application runs out of audio data, there will be noise or silence in the audio signal - both bad things.
+			For periodic tasks, like processing audio (which has a consistently recurring amount of data per second), low latency is desirable, but <span class="emphasis"><em>consistent</em></span> latency is usually more important. Think of it like this: years ago in North America, milk was delivered to homes by a dedicated delivery person. Imagine if the milk delivery person had a medium-latency, but consistent schedule, returning every seven days. You would be able to plan for how much milk to buy, and to limit your intake so that you don't run out too soon. Now imagine if the milk delivery person had a low-latency, but inconsistent schedule, returning every one to four days. You would never be sure how much milk to buy, and you wouldn't know how to limit yourself. Sometimes there would be too much milk, and sometimes you would run out. Audio-processing and synthesis software behaves in a similar way: if it has a consistent amount of latency, it can plan accordingly. If it has an 
 inconsistent amount of latency - whether large or small - there will sometimes be too much data, and sometimes not enough. If your application runs out of audio data, there will be noise or silence in the audio signal - both bad things.
 		</div><div class="para">
 			Relatively low latency is still important, so that your computer reacts imperceptibly quickly to what's going on. The point is that the difference between an 8Â ms target latency and a 16Â ms target latency is almost certainly imperceptible to humans, but the higher latency may help your computer to be more consistent - and that's more important.
 		</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html"><strong>Prev</strong>2.3.3.Â Integrating PulseAudio with JACK</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-Processor_Scheduling.html"><strong>Next</strong>3.2.Â Processor Scheduling</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-SuperCollider.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-SuperCollider.html
index dd919b0..b81e262 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-SuperCollider.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-SuperCollider.html
@@ -1,7 +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>ChapterÂ 11.Â SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="PartÂ II.Â Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html" title="10.7.Â Multiple FluidSynth Instances with Qsynth" /><link rel="next" href="sect-Musicians_Guide-SC-Requirements_and_Installation.html" title="11.2.Â Requirements and Installation" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src=
 "../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Requirements_and_Installation.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="ChapterÂ 11.Â SuperCollider" id="chap-Musicians_Guide-SuperCollider" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 11.Â SuperCollider</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCol
 lider.html#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages.html">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_
 Installation.html">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.htm
 l">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="se
 ct-Musicians_Guide-SC-Basic_Programming-Collections.html">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="sect
 ion"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.5.3. Designing the First Part</a></span></
 dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians
 _Guide-SuperCollider-Exporting.html">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></div><div class="para">
-		SuperCollider is many things, but above all: 
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>ChapterÂ 11.Â SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="PartÂ II.Â Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html" title="10.7.Â Multiple FluidSynth Instances with Qsynth" /><link rel="next" href="sect-Musicians_Guide-SC-Using_GEdit.html" title="11.2.Â Using GEdit to Write and Run SuperCollider Programs" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" 
 src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Using_GEdit.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="ChapterÂ 11.Â SuperCollider" id="chap-Musicians_Guide-SuperCollider" lang="en-US"><div class="titlepage"><div><div><h2 class="title">ChapterÂ 11.Â <span class="application"><strong>SuperCollider</strong></span></h2></div></div></div><div class="toc"><dl><dt><span class="section"><a
  href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Requirements_and_Installation">11.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.1.4. Available <span class="application"><strong>SuperCollider</strong></span> Packages</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Su
 perCollider.html#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.1.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.2. Using <span class="application"><strong>GEdit</strong></span> to Write and Run <span class="application"><strong>SuperCollider</strong></span> 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">11.2.1. Enable and Configure SCEd in <span class="application"><strong>GEdit</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.2.2. Enable <span class="application"><strong>SuperCollider</strong></span> Mode and Start a Server</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.2.3. Executing Code in <span class="appli
 cation"><strong>GEdit</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.2.4. Other Tips for Using <span class="application"><strong>GEdit</strong></span> with <span class="application"><strong>SuperCollider</strong></span></a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html">11.3. 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">11.3.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.3.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.3.3. 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">11.3.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.3.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html">11.3.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.3.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.3.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.3.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Music
 ians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.3.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html">11.3.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.3.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.3.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.3.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html">11.3.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.4. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="se
 ct-Musicians_Guide-SuperCollider-Composing.html#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.4.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.4.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.4.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.4.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.4.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.4.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.4.7. Optimizing the Cod
 e</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html">11.4.8. 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">11.4.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html">11.5. 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">11.5.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html">11.5.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></div><div class="para">
+		<span class="application"><strong>SuperCollider</strong></span> is many things, but above all: 
 		<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 					An audio synthesis engine,
 				</div></li><li class="listitem"><div class="para">
@@ -10,14 +10,118 @@
 					An interpreter to transform the programming language into synthesis instructions.
 				</div></li></ul></div>
 
-	</div><div class="section" title="11.1.Â Technical Conventions for This Chapter" id="sect-Musicians_Guide-SC-Technical_Convetions"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SC-Technical_Convetions">11.1.Â Technical Conventions for This Chapter</h2></div></div></div><div class="para">
-			Because this chapter of the Musicians' Guide is more like a textbook or technical manual than a regular user manual, I have adopted several conventions commonly used in those contexts: 
-			<div class="orderedlist"><ol><li class="listitem"><div class="para">
-						Plural forms of technical words are written with an apostrophe (for example: Synth's instead of Synths), which helps you to know that the technical word is being used.
-					</div></li><li class="listitem"><div class="para">
-						Plural and singular forms of technical words - in particular of language classes - are always capitalized (for example: Synth instead of synth), which helps you to differentiate between the use of the word in SuperCollider and in the real world.
-					</div></li><li class="listitem"><div class="para">
-						Other stuff?
-					</div></li></ol></div>
+	</div><div class="section" title="11.1.Â Requirements and Installation" id="sect-Musicians_Guide-SC-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SC-Requirements_and_Installation">11.1.Â Requirements and Installation</h2></div></div></div><div class="section" title="11.1.1.Â Knowledge Requirements" id="sect-Musicians_Guide-SC-Req_and_Inst-Knowledge"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.1.1.Â Knowledge Requirements</h3></div></div></div><div class="para">
+				 <span class="application"><strong>SuperCollider</strong></span> is by far the most difficult program described in the Fedora Musicians' Guide. The <span class="application"><strong>SuperCollider</strong></span> applications themselves are easy to use, and they work very well, but they are merely tools to help you accomplish something useful. <span class="application"><strong>SuperCollider</strong></span> has an extremely powerful and flexible programming language, with libraries designed primarily for audio processing. As often happens with computers, however, this added flexibility and power comes at the cost of requiring greater understanding and learning on the part of the user. Because <span class="application"><strong>SuperCollider</strong></span> involves actual programming, a rudimentary understanding of some principles and concepts of computer science will provide huge benefits to somebody learning the language. The following articles from Wikipedia are not mand
 atory reading, but you should refer to them as necessary while learning the language. 
+				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
+							<em class="citetitle">Computer Programming</em> at <a href="http://en.wikipedia.org/wiki/Computer_programming">http://en.wikipedia.org/wiki/Computer_programming</a>: You probably know what this is; it's what you'll be doing.
+						</div></li><li class="listitem"><div class="para">
+							<em class="citetitle">Programming Language</em> at <a href="http://en.wikipedia.org/wiki/Programming_language">http://en.wikipedia.org/wiki/Programming_language</a>: <span class="application"><strong>SuperCollider</strong></span> is a programming language.
+						</div></li><li class="listitem"><div class="para">
+							<em class="citetitle">Interpreter</em> at <a href="http://en.wikipedia.org/wiki/Interpreter_%28computing%29">http://en.wikipedia.org/wiki/Interpreter_%28computing%29</a>: This reads your code, and sends commands to the server, which causes it to produce sound.
+						</div></li><li class="listitem"><div class="para">
+							<em class="citetitle">Server</em> at <a href="http://en.wikipedia.org/wiki/Server_%28computing%29">http://en.wikipedia.org/wiki/Server_%28computing%29</a>: <span class="application"><strong>SuperCollider</strong></span> has a 'server' component, which is operated by the interpreter.
+						</div></li><li class="listitem"><div class="para">
+							<em class="citetitle">Functional Programming</em> at <a href="http://en.wikipedia.org/wiki/Functional_programming">http://en.wikipedia.org/wiki/Functional_programming</a>: <span class="application"><strong>SuperCollider</strong></span> can be treated as a "functional" language.
+						</div></li><li class="listitem"><div class="para">
+							<em class="citetitle">Imperative Programming</em> at <a href="http://en.wikipedia.org/wiki/Imperative_programming">http://en.wikipedia.org/wiki/Imperative_programming</a>: <span class="application"><strong>SuperCollider</strong></span> can be treated as an "imperative" language.
+						</div></li><li class="listitem"><div class="para">
+							<em class="citetitle">Object-Oriented Programming</em> at <a href="http://en.wikipedia.org/wiki/Object-oriented_programming">http://en.wikipedia.org/wiki/Object-oriented_programming</a>: <span class="application"><strong>SuperCollider</strong></span> can be treated as an "object-oriented" language.
+						</div></li></ul></div>
+				 
+			</div></div><div class="section" title="11.1.2.Â 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">11.1.2.Â Software Requirements</h3></div></div></div><div class="para">
+				<span class="application"><strong>SuperCollider</strong></span> uses the JACK Audio Connection Kit. You should install JACK before installing <span class="application"><strong>SuperCollider</strong></span>. Refer to <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1.Â Installing and Configuring JACK">SectionÂ 2.3.1, â€œInstalling and Configuring <code class="systemitem">JACK</code>â€</a> for instructions to install JACK.
+			</div><div class="para">
+				<span class="application"><strong>SuperCollider</strong></span> is not available from the Fedora software repositories. You must enable the "Planet CCRMA at Home" repository to install <span class="application"><strong>SuperCollider</strong></span>. See <a class="xref" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository" title="4.3.1.Â Installing the Planet CCRMA at Home Repositories">SectionÂ 4.3.1, â€œInstalling 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="11.1.3.Â 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">11.1.3.Â Hardware Requirements</h3></div></div></div><div class="para">
+				You need an audio interface to use <span class="application"><strong>SuperCollider</strong></span>. You do not need a microphone to use <span class="application"><strong>SuperCollider</strong></span>.
+			</div></div><div class="section" title="11.1.4.Â Available SuperCollider Packages" id="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.1.4.Â Available <span class="application"><strong>SuperCollider</strong></span> Packages</h3></div></div></div><div class="para">
+				The <span class="application"><strong>SuperCollider</strong></span> packages are all held in the Planet CCRMA at Home repository, and there are a lot of them. Many of them have standard Fedora suffixes, but many are other kinds of optional components. Most of the optional features add libraries to <span class="application"><strong>SuperCollider</strong></span>, allowing you to use them in your audio programs. The specific features available in each additional package are not described here. 
+				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
+							<span class="package">supercollider-ambiem</span> : Optional Library ("Ambisonics classes for SC").
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-debuginfo</span> : Decodes the debugging information provided by <span class="application"><strong>SuperCollider</strong></span>.
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-devel</span> : Contains files needed for development with <span class="application"><strong>SuperCollider</strong></span>.
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-dewdrop</span> : Optional Library ("DewDrop external collection for SC").
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-emacs</span> : Adds <span class="application"><strong>SuperCollider</strong></span> support to the <span class="application"><strong>emacs</strong></span> text editor.
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-extras</span> : Optional Library ("Extra plugins and classes for SC").
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-gedit</span> : Adds <span class="application"><strong>SuperCollider</strong></span> support to the <span class="application"><strong>GEdit</strong></span> text editor.
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-libscsynth</span> : "<span class="application"><strong>SuperCollider</strong></span> synthesis library."
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-quarks</span> : Optional Library ("Local quarks repository for <span class="application"><strong>SuperCollider</strong></span>").
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-sclang</span> : Help files, examples, the class library, and language interpreter.
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-vim</span> : Adds <span class="application"><strong>SuperCollider</strong></span> support to the <span class="application"><strong>vim</strong></span> text editor.
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider</span> : Installs the "minimum requirements" to run <span class="application"><strong>SuperCollider</strong></span>. 
+							<div class="itemizedlist"><ul><li class="listitem"><div class="para">
+										<span class="package">supercollider-sclang</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">supercollider-libscsynth</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">fftw</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">w3m-el</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">emacs</span>
+									</div></li></ul></div>
 
-		</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html"><strong>Prev</strong>10.7.Â Multiple FluidSynth Instances 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-SC-Requirements_and_Installation.html"><strong>Next</strong>11.2.Â Requirements and Installation</a></li></ul></body></html>
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-bbcut2</span> : Optional Library ("Beat tracking of audio streams").
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-bbcut2-debuginfo</span> : Decodes the debugging information provided by bbcut2.
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-mathlib</span> : Optional Library ("Useful classes for SC").
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-redclasses</span> : Optional Library ("Frederik Olofsson Red SC classes").
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-redclasses-debuginfo</span> : Decodes the debugging information provided by redclasses.
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-world</span> : Installs most <span class="application"><strong>SuperCollider</strong></span> packages. 
+							<div class="itemizedlist"><ul><li class="listitem"><div class="para">
+										<span class="package">supercollider</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">abmiem</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">supercollider-redclasses</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">supercollider-dewdrop</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">supercollider-emacs</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">supercollider-mathlib</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">supercollider-midifile</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">supercollider-extras</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">supercollider-bbcut2</span>
+									</div></li><li class="listitem"><div class="para">
+										<span class="package">supercollider-reduniverse</span>
+									</div></li></ul></div>
+
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-midifile</span> : Optional Library ("MIDI file reader for <span class="application"><strong>SuperCollider</strong></span>").
+						</div></li><li class="listitem"><div class="para">
+							<span class="package">supercollider-reduniverse</span> : Optional Library ("Sonification and visualization of dynamic systems").
+						</div></li></ul></div>
+
+			</div></div><div class="section" title="11.1.5.Â Recommended Installation" id="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.1.5.Â Recommended Installation</h3></div></div></div><div class="para">
+				If you have never used <span class="application"><strong>SuperCollider</strong></span> before, then we recommend installing the smallest number of packages possible. This will allow you to start learning with the core classes, available on all <span class="application"><strong>SuperCollider</strong></span> installations. Installing the bare minimum requirements will not prevent you from installing optional libraries in the future, of course.
+			</div><div class="para">
+				The recommended installation also avoids installing the <span class="application"><strong>emacs</strong></span> or <span class="application"><strong>vim</strong></span> components, which - unless you are already a programmer - you probably don't know how to use. The <span class="application"><strong>emacs</strong></span> and <span class="application"><strong>vim</strong></span> text editors are extremely powerful and extensible, but they can be difficult to learn. Furthermore, there's no reason to learn them just for <span class="application"><strong>SuperCollider</strong></span>, because the component for <span class="application"><strong>GEdit</strong></span> is more than sufficient.
+			</div><div class="para">
+				To install the minimum recommended installation for <span class="application"><strong>SuperCollider</strong></span>: 
+				<div class="orderedlist"><ol><li class="listitem"><div class="para">
+							In a terminal, run <code class="command">su -c 'yum install supercollider supercollider-gedit'</code>
+						</div></li><li class="listitem"><div class="para">
+							Review the proposed installation carefully. The list may be quite long, and require a large download.
+						</div></li></ol></div>
+
+			</div></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html"><strong>Prev</strong>10.7.Â Multiple FluidSynth Instances 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-SC-Using_GEdit.html"><strong>Next</strong>11.2.Â Using GEdit to Write and Run SuperCollider ...</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Vocabulary.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Vocabulary.html
index 4972851..560b8eb 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Vocabulary.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Vocabulary.html
@@ -3,5 +3,5 @@
 <html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>1.4.Â Other Digital Audio Concepts</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-Sound_Cards.html" title="ChapterÂ 1.Â Sound Cards and Digital Audio" /><link rel="prev" href="sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html" title="1.3.5.Â Conclusions" /><link rel="next" href="sect-Musicians_Guide-Vocabulary-Bus.html" title="1.4.2.Â Busses, Master Bus, and Sub-Master Bus" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="to
 c" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Vocabulary-Bus.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="1.4.Â Other Digital Audio Concepts" id="chap-Musicians_Guide-Vocabulary" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="chap-Musicians_Guide-Vocabulary">1.4.Â Other Digital Audio Concepts</h2></div></div></div><div clas
 s="para">
 		These terms are used in many different audio contexts. Understanding them is important to knowing how to operate audio equipment in general, whether computer-based or not.
 	</div><div class="section" title="1.4.1.Â MIDI Sequencer" id="sect-Musicians_Guide-Vocabulary-MIDI_Sequencer"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1.Â MIDI Sequencer</h3></div></div></div><div class="para">
-			A '''sequencer''' is a device or software program that produces signals that a synthesizer turns into sound. You can also use a sequencer to arrange MIDI signals into music. The Musicians' Guide covers two digital audio workstations (DAWs) that are primarily MIDI sequencers, Qtractor and Rosegarden. All three DAWs in this guide use MIDI signals to control other devices or effects.
+			A <em class="firstterm">sequencer</em> is a device or software program that produces signals that a synthesizer turns into sound. You can also use a sequencer to arrange MIDI signals into music. The Musicians' Guide covers two digital audio workstations (DAWs) that are primarily MIDI sequencers, Qtractor and Rosegarden. All three DAWs in this guide use MIDI signals to control other devices or effects.
 		</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html"><strong>Prev</strong>1.3.5.Â Conclusions</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-Vocabulary-Bus.html"><strong>Next</strong>1.4.2.Â Busses, Master Bus, and Sub-Master Bus</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 a33b3d3..5976086 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="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">
+<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="id1643440" 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="id1643440" 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="id645541" 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="id593978" class="legalnotice"><h1 class="legalnotice">Legal Notice</h1><div class="para">
 		Copyright <span class="trademark"></span>Â© 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 Attributionâ€“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#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>
+		</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#id694923">1. Document Conventions</a></span></dt><dd><dl><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id588464">1.1. Typographic Conventions</a></span></dt><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id566666">1.2. Pull-quote Conventions</a></span></dt><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id485738">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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Flui
 dSynth-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 <span class="application"><strong>Qsynth</strong></span></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. <span class="application"><strong>JAC
 K</strong></span> 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 <span class="application"><strong>Qsynth</strong></span></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.ht
 ml">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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-SuperCollider.html">11. <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Requirements_and_Installation">11.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guid
 e-SC-Req_and_Inst-Knowledge">11.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.1.4. Available <span class="application"><strong>SuperCollider</strong></span> Packages</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.1.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.2. Using <span class="application"><s
 trong>GEdit</strong></span> to Write and Run <span class="application"><strong>SuperCollider</strong></span> 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">11.2.1. Enable and Configure SCEd in <span class="application"><strong>GEdit</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.2.2. Enable <span class="application"><strong>SuperCollider</strong></span> Mode and Start a Server</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.2.3. Executing Code in <span class="application"><strong>GEdit</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.2.4. Other Tips for Using <span class="application"><strong>GEdit</strong></span> with <span class="application
 "><strong>SuperCollider</strong></span></a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html">11.3. 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">11.3.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.3.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.3.3. 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">11.3.4. Sound-Making Functions</a></span></dt><dt><span class="section"
 ><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.3.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html">11.3.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.3.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.3.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.3.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.3.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html">11.3.11. Busses</a></span></dt><dt><span class="section"><a href=
 "sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.3.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.3.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.3.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html">11.3.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.4. 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">11.4.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.4.2. Inspiration</a><
 /span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.4.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.4.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.4.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.4.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.4.7. 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">11.4.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="sect-Music
 ians_Guide-SC-Composing-Joining_the_Two_Parts.html">11.4.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html">11.5. 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">11.5.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html">11.5.2. 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 cla
 ss="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-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-Musici
 ans_Guide-LilyPond-Counterpoint-Starting_the_Score.html">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output.html">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html">12
 .6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html">12.7.3. Adjusting 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 hr
 ef="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="sec
 tion"><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><d
 t><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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--- 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
@@ -1,3 +1,3 @@
 <?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>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="AppendixÂ A.Â 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
 ent/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="appe-Musicians_Guide-Revision_History.html"><strong>Prev</strong></a></li><li class="next"></li></ul><div class="index" title="Index" id="id1711145"><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="pr01s02.html">We Need Feedback!</a></dt></dl></dd></dl></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="appe-Musicians_Guide-Revision_History.html"><strong>Prev</strong>AppendixÂ A.Â Revision History</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.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>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="AppendixÂ A.Â 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
 ent/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="appe-Musicians_Guide-Revision_History.html"><strong>Prev</strong></a></li><li class="next"></li></ul><div class="index" title="Index" id="id1668905"><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="pr01s02.html">We Need Feedback!</a></dt></dl></dd></dl></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="appe-Musicians_Guide-Revision_History.html"><strong>Prev</strong>AppendixÂ A.Â Revision History</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></ul></body></html>
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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--- 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
@@ -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.Â 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="PartÂ I.Â 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.Â We Need Feedback!" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id518382">2.Â We Need Feedback!</h2></div></div></div><a id="id518393" 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.Â 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="PartÂ I.Â 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.Â We Need Feedback!" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id666457">2.Â We Need Feedback!</h2></div></div></div><a id="id540401" 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 731cb2e..b9f70d7 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.Â 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.Â Document Conventions" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id643358">1.Â 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.Â 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.Â Document Conventions" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id694923">1.Â 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.Â Typographic Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id509523">1.1.Â Typographic Conventions</h3></div></div></div><div class="para">
+	</div><div class="section" title="1.1.Â Typographic Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id588464">1.1.Â 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.Â Pull-quote Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id559641">1.2.Â Pull-quote Conventions</h3></div></div></div><div class="para">
+			</div></blockquote></div></div><div class="section" title="1.2.Â Pull-quote Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id566666">1.2.Â 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.Â Notes and Warnings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id602854">1.3.Â Notes and Warnings</h3></div></div></div><div class="para">
+}</pre></div><div class="section" title="1.3.Â Notes and Warnings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id485738">1.3.Â 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 c1731c6..5302228 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>PartÂ I.Â 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.Â We Need Feedback!" /><link rel="next" href="chap-Musicians_Guide-Sound_Cards.html" title="ChapterÂ 1.Â 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="PartÂ I.Â Linux Audio Basics" id="id1710374"><div class="titlepage"><div><div text-align="center"><h1 class="title">PartÂ I.Â Linux Audio Basics</h1></div></div></div><div class="partintro" title="Linux Audio Basics" id="id1710380"><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>PartÂ I.Â 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.Â We Need Feedback!" /><link rel="next" href="chap-Musicians_Guide-Sound_Cards.html" title="ChapterÂ 1.Â 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="PartÂ I.Â Linux Audio Basics" id="id1667230"><div class="titlepage"><div><div text-align="center"><h1 class="title">PartÂ I.Â Linux Audio Basics</h1></div></div></div><div class="partintro" title="Linux Audio Basics" id="id1667236"><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. <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.Â 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>ChapterÂ 1.Â Sound Cards and Digital Audio</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pt02.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pt02.html
index a55a2a1..271f005 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pt02.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pt02.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>PartÂ II.Â 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.Â Prevent a Package from Being Updated" /><link rel="next" href="chap-Musicians_Guide-Audacity.html" title="ChapterÂ 5.Â 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="PartÂ II.Â Audio and Music Software" id="id1725012"><div class="titlepage"><div><div text-align="center"><h1 class="title">PartÂ II.Â Audio and Music Software</h1></div></div></div><div class="partintro" title="Audio and Music Software" id="id1725018"><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>PartÂ II.Â 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.Â Prevent a Package from Being Updated" /><link rel="next" href="chap-Musicians_Guide-Audacity.html" title="ChapterÂ 5.Â 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="PartÂ II.Â Audio and Music Software" id="id421767"><div class="titlepage"><div><div text-align="center"><h1 class="title">PartÂ II.Â Audio and Music Software</h1></div></div></div><div class="partintro" title="Audio and Music Software" id="id421773"><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 <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.Â 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>ChapterÂ 5.Â 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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></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. St
 arting <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. <span class="application"><strong>JACK</strong></span> 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 <span class="application"><strong>Qsynth</strong></span><
 /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 <span class="application"><strong>Qsynth</strong></span></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 <span class="application"><strong>Qsynth</strong></span></a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-SuperCollider.html">11. <sp
 an class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Requirements_and_Installation">11.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.1.4. Available <span class="application"><strong>
 SuperCollider</strong></span> Packages</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.1.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.2. Using <span class="application"><strong>GEdit</strong></span> to Write and Run <span class="application"><strong>SuperCollider</strong></span> 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">11.2.1. Enable and Configure SCEd in <span class="application"><strong>GEdit</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.2.2. Enable <span class="application"><strong>SuperCollider</strong></span> Mode and Start a Server</a></span></dt><dt><span class="section
 "><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.2.3. Executing Code in <span class="application"><strong>GEdit</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.2.4. Other Tips for Using <span class="application"><strong>GEdit</strong></span> with <span class="application"><strong>SuperCollider</strong></span></a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html">11.3. 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">11.3.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.3.2. Variables and Functions</a></span></dt><dt><span cl
 ass="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.3.3. 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">11.3.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.3.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html">11.3.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.3.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.3.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_a
 nd_Mix.html">11.3.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.3.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html">11.3.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.3.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.3.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.3.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html">11.3.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider
 -Composing.html">11.4. 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">11.4.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.4.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.4.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.4.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.4.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.4.6. Scheduling the Tones</a></span></dt><dt><span
  class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.4.7. 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">11.4.8. 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">11.4.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html">11.5. 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">11.5.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html">11.5.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span cla
 ss="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="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-Orch
 estra.html">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files
  for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html">12.7.3. Adjusting 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-Mak
 es_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-Mus
 icians_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_Guid
 e-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="s
 ect-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 cl
 ass="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.Â 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>ChapterÂ 5.Â Audacity
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diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Arrange-Voice.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Arrange-Voice.html
index 101ee72..0298cd2 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Arrange-Voice.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Arrange-Voice.html
@@ -7,21 +7,21 @@
 							</div></li><li class="listitem"><div class="para">
 								Slide the "Voice_1" regions so that the singer starts at about the same time as the higher marimba.
 							</div></li><li class="listitem"><div class="para">
-								Slide the "Voice_2" regions so that the singer starts at about 00:00:48.00
+								Slide the "Voice_2" regions so that the singer starts at about <code class="literal">00:00:48.00</code>
 							</div></li><li class="listitem"><div class="para">
-								Slide the "ens-Here_Is_How-1" regions so that they start singing at about 00:01:33.300
+								Slide the "ens-Here_Is_How-1" regions so that they start singing at about <code class="literal">00:01:33.300</code>
 							</div></li><li class="listitem"><div class="para">
-								Slide the "ens-Here_Is_How-2" (and the adjoined "ens-Here_Is_How-3") regions so that they start singing at about 00:02:11.500
+								Slide the "ens-Here_Is_How-2" (and the adjoined "ens-Here_Is_How-3") regions so that they start singing at about <code class="literal">00:02:11.500</code>
 							</div></li><li class="listitem"><div class="para">
-								After playing closer attention to "Voice_3" and "Voice_4," you realize that the singer misses a word ("plan '''in''' you spider's ear") in "Voice_4." Because "Voice_3" doesn't contain the second part of "Voice_4," we'll need to trim the "Voice_4" region, and use both. 
+								After playing closer attention to "Voice_3" and "Voice_4," you realize that the singer misses a word ("plan <span class="emphasis"><em>in</em></span> you spider's ear") in "Voice_4." Because "Voice_3" doesn't contain the second part of "Voice_4," we'll need to trim the "Voice_4" region, and use both. 
 								<div class="orderedlist"><ol><li class="listitem"><div class="para">
-											The singer should start singing in "Voice_3" at about 00:02:24.500
+											The singer should start singing in "Voice_3" at about <code class="literal">00:02:24.500</code>
 										</div></li><li class="listitem"><div class="para">
-											The signer should start singing "and here is how" in "Voice_4" at about 00:02:43.000
+											The signer should start singing "and here is how" in "Voice_4" at about <code class="literal">00:02:43.000</code>
 										</div></li></ol></div>
 
 							</div></li><li class="listitem"><div class="para">
-								Slide the "ens-Create_the_Inconceivable" regions so that they start singing at about 00:02:59.000
+								Slide the "ens-Create_the_Inconceivable" regions so that they start singing at about <code class="literal">00:02:59.000</code>
 							</div></li></ol></div>
 
 				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Editing-Arrange.html"><strong>Prev</strong>7.4.7.Â Arrange Regions into the Right Places</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Editing-Arrange-Marimba_at_End.html"><strong>Next</strong>7.4.7.3.Â Align the Marimba at the End</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html
index c5c6c59..5db0443 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html
@@ -17,13 +17,13 @@
 						</div></li><li class="listitem"><div class="para">
 							Use the mouse to click in the coloured bar of the region, close to where the clarinet starts.
 						</div></li><li class="listitem"><div class="para">
-							<span class="application"><strong>Ardour</strong></span> will automatically move the start of the region ''in both tracks''.
+							<span class="application"><strong>Ardour</strong></span> will automatically move the start of the region in <span class="emphasis"><em>both tracks</em></span>.
 						</div></li><li class="listitem"><div class="para">
 							Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio.
 						</div></li><li class="listitem"><div class="para">
 							If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's "non-destructive," meaning that the entire original region is still there!
 						</div></li><li class="listitem"><div class="para">
-							Notice that when you made the first adjustment, <span class="application"><strong>Ardour</strong></span> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <span class="application"><strong>Ardour</strong></span> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can ''also'' be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <span class="application"><strong>Ardour</strong></span> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many.
+							Notice that when you made the first adjustment, <span class="application"><strong>Ardour</strong></span> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <span class="application"><strong>Ardour</strong></span> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <span class="application"><strong>Ardour</strong></span> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many.
 						</div></li><li class="listitem"><div class="para">
 							Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag.
 						</div></li></ol></div>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html
index 0b382e6..9cd67be 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html
@@ -25,7 +25,7 @@
 				</div><div class="para">
 					A higher sample rate (explained in <a class="xref" href="sect-Musicians_Guide-Sample_Rate.html" title="1.3.3.Â Sample Rate">SectionÂ 1.3.3, â€œSample Rateâ€</a> allows a greater amount of audio information to be stored, but increases the size of audio files. 
 				</div><div class="para">
-					'''Convesion quality''' and '''dither type''' are not available options for the file formats offered in Fedora Linux.
+					"Convesion quality" and "dither type" are not available options for the file formats offered in Fedora Linux.
 				</div><div class="para">
-					The '''CD Marker File Type''' allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc.
+					The "CD Marker File Type" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc.
 				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html"><strong>Prev</strong>7.6.2.Â Using the Export Window</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-Qtractor.html"><strong>Next</strong>ChapterÂ 8.Â Qtractor</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html
index 6f4fdf1..85176cf 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html
@@ -7,11 +7,11 @@
 						</div></li><li class="listitem"><div class="para">
 							Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier.
 						</div></li><li class="listitem"><div class="para">
-							Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the "base-line," then we'll have to adjust the level of the other tracks ''down'' to suit. In this case, the voice tracks are the quietest.
+							Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the "base-line," then we'll have to adjust the level of the other tracks <span class="emphasis"><em>down</em></span> to suit. In this case, the voice tracks are the quietest.
 						</div></li><li class="listitem"><div class="para">
 							At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later.
 						</div></li><li class="listitem"><div class="para">
-							Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for ''most'' of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session.
+							Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <span class="emphasis"><em>most</em></span> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session.
 						</div></li><li class="listitem"><div class="para">
 							You can adjust the fader setting in two ways: 
 							<div class="orderedlist"><ol><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html
index 48d4f8e..faef970 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html
@@ -33,7 +33,7 @@
 									</div></li><li class="listitem"><div class="para">
 										The strings will be in the closer row, to the north-west. This requires moving them to the left a bit.
 									</div></li><li class="listitem"><div class="para">
-										The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left ''just'' a little bit.
+										The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <span class="emphasis"><em>just</em></span> a little bit.
 									</div></li><li class="listitem"><div class="para">
 										The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer.
 									</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mixing.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mixing.html
index 502ec99..6dd6ca9 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mixing.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mixing.html
@@ -5,11 +5,11 @@
 		</div><div class="para">
 			In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience.
 		</div><div class="para">
-			Finally, it should be noted that, moreso than in the editing stage, the mixing stage should ''not'' be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be.
+			Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <span class="emphasis"><em>not</em></span> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be.
 		</div><div class="section" title="7.5.1.Â Setting the Session for Stereo Output and Disabling Edit Groups" id="sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1.Â Setting the Session for Stereo Output and Disabling Edit Groups</h3></div></div></div><div class="para">
 				Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a "mono" recording, even though we have the material of a "stereo" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great.
 			</div><div class="para">
-				Disabling the edit groups is also a good idea, because leaving them enabled actually ''reduces'' functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached.
+				Disabling the edit groups is also a good idea, because leaving them enabled actually <span class="emphasis"><em>reduces</em></span> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached.
 			</div><div class="para">
 				These steps will disable the edit groups, and re-configure this session's tracks for stereo output. 
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Automation.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Automation.html
index 28b70bf..3805325 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Automation.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Automation.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>6.3.6.Â Automation</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html" title="6.3.Â Interface Vocabulary" /><link rel="prev" href="sect-Musicians_Guide-Transport_and_Playhead.html" title="6.3.5.Â Transport and Playhead" /><link rel="next" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4.Â User Interface" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is a
 n 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-Transport_and_Playhead.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-DAW_User_Interface.html"><strong>Next</strong></a></li></ul><div class="section" title="6.3.6.Â Automation" id="sect-Musicians_Guide-Automation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Automation">6.3.6.Â Automation</h3></div></div></div><div class="para">
-				Automation of the DAW sounds like it might be an advanced topic, or something used to replace decisions made by a human. This is absolutely not the case - '''automation''' allows the user to automatically make the same adjustments every time a session is played. This is superior to manual-only control because it allows very precise, gradual, and consistent adjustments, because it relieves you of having to remember the adjustments, and because it allows many more adjustments to be made simultaneously than you could make manually. The reality is that automation allows super-human control of a session. Most settings can be adjusted by means of automation; the most common are the fader and the panner.
+				Automation of the DAW sounds like it might be an advanced topic, or something used to replace decisions made by a human. This is absolutely not the case - <em class="firstterm">automation</em> allows the user to automatically make the same adjustments every time a session is played. This is superior to manual-only control because it allows very precise, gradual, and consistent adjustments, because it relieves you of having to remember the adjustments, and because it allows many more adjustments to be made simultaneously than you could make manually. The reality is that automation allows super-human control of a session. Most settings can be adjusted by means of automation; the most common are the fader and the panner.
 			</div><div class="para">
-				The most common method of automating a setting is with a two-dimensional graph called an '''envelope''', which is drawn on top of an audio track, or underneath it in an '''automation track'''. The user adds adjustment points by adding and moving points on the graph. This method allows for complex, gradual changes of the setting, as well as simple, one-time changes. Automation is often controlled by means of MIDI signals, for both audio and MIDI tracks. This allows for external devices to adjust settings in the DAW, and vice-versa - you can actually automate your own hardware from within a software-based DAW! Of course, not all hardware supports this, so refer to your device's user manual.
+				The most common method of automating a setting is with a two-dimensional graph called an <em class="firstterm">envelope</em>, which is drawn on top of an audio track, or underneath it in an <em class="firstterm">automation track</em>. The user adds adjustment points by adding and moving points on the graph. This method allows for complex, gradual changes of the setting, as well as simple, one-time changes. Automation is often controlled by means of MIDI signals, for both audio and MIDI tracks. This allows for external devices to adjust settings in the DAW, and vice-versa - you can actually automate your own hardware from within a software-based DAW! Of course, not all hardware supports this, so refer to your device's user manual.
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Transport_and_Playhead.html"><strong>Prev</strong>6.3.5.Â Transport and Playhead</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-DAW_User_Interface.html"><strong>Next</strong>6.4.Â User Interface</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html
index 8d22d7f..f739e8a 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html
@@ -5,13 +5,13 @@
 			</div><div class="para">
 				Here are some widely-used sample rates and sample formats. You can use these to help you decide which sample rate and sample format to use. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							16-bit samples, 44.1Â kHz sample rate. Used for audio CDs. Widely compatible. Bit rate of 705.6Â kb/s)
+							16-bit samples, 44.1Â kHz sample rate. Used for audio CDs. Widely compatible. Bit rate of 705.6Â kb/s.
 						</div></li><li class="listitem"><div class="para">
-							24-bit samples, and 96Â kHz sample rate. Audio CDs are recorded with these settings, and "down-mixed" later. Bit rate of 2304Â kb/s)
+							24-bit samples, and 96Â kHz sample rate. Audio CDs are recorded with these settings, and "down-mixed" later. Bit rate of 2304Â kb/s.
 						</div></li><li class="listitem"><div class="para">
-							24-bit samples, and 192Â kHz sample rate. Maximum settings for DVD Audio, but not widely compatible. Bit rate of 4608Â kb/s)
+							24-bit samples, and 192Â kHz sample rate. Maximum settings for DVD Audio, but not widely compatible. Bit rate of 4608Â kb/s.
 						</div></li><li class="listitem"><div class="para">
-							1-bit bit rate, and 2822.4Â kHz sample rate. Used for SuperAudio CDs. Very rare elsewhere. Bit rate of 2822.4Â kb/s)
+							1-bit samples, and 2822.4Â kHz sample rate. Used for SuperAudio CDs. Very rare elsewhere. Bit rate of 2822.4Â kb/s.
 						</div></li></ul></div>
 
 			</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html
index 6328d95..11da1df 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html
@@ -1,9 +1,9 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.12.2.Â Changing the Order</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.4.12.Â Ordering and Other Synth Features" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.4.12.Â Ordering and Other Synth Features" /><link rel="next" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html" title="11.4.12.3.Â Replac
 e a Running Synth" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.12.2.Â Changing the Order" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Fea
 tures-Changing_the_Order"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order">11.4.12.2.Â Changing the Order</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.12.2.Â Changing the Order</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.3.12.Â Ordering and Other Synth Features" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.3.12.Â Ordering and Other Synth Features" /><link rel="next" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html" title="11.3.12.3.Â Replac
 e a Running Synth" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.12.2.Â Changing the Order" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Fea
 tures-Changing_the_Order"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order">11.3.12.2.Â Changing the Order</h4></div></div></div><div class="para">
 				<span class="application"><strong>SuperCollider</strong></span> offers equally easy-to-use methods to change the order of execution.
 			</div><div class="para">
 				To move a synth's execution after another: <div class="funcsynopsis"><p><code class="funcdef">variableHoldingSynth<b class="fsfunc">moveAfter</b>(</code><var class="pdparam">variableHoldingAnotherSynth</var><code>)</code>;</p></div>
 			</div><div class="para">
 				To move a synth's execution before another: <div class="funcsynopsis"><p><code class="funcdef">variableHoldingSynth<b class="fsfunc">moveBefore</b>(</code><var class="pdparam">variableHoldingAnotherSynth</var><code>)</code>;</p></div>
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html"><strong>Prev</strong>11.4.12.Â Ordering and Other Synth Features</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html"><strong>Next</strong>11.4.12.3.Â Replace a Running Synth</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html"><strong>Prev</strong>11.3.12.Â Ordering and Other Synth Features</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html"><strong>Next</strong>11.3.12.3.Â Replace a Running Synth</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html
index 8339a59..5dcff84 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html
@@ -1,6 +1,6 @@
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.12.4.Â Pausing and Restarting a Synth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.4.12.Â Ordering and Other Synth Features" /><link rel="prev" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html" title="11.4.12.3.Â Replace a Running Synth" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13.Â Scheduling" /></head>
 <body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.12.4.Â Pausing and Restarting a Synth" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Sy
 nth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth">11.4.12.4.Â Pausing and Restarting a Synth</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.12.4.Â Pausing and Restarting a Synth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.3.12.Â Ordering and Other Synth Features" /><link rel="prev" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html" title="11.3.12.3.Â Replace a Running Synth" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.3.13.Â Scheduling" /></head>
 <body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.12.4.Â Pausing and Restarting a Synth" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Sy
 nth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth">11.3.12.4.Â Pausing and Restarting a Synth</h4></div></div></div><div class="para">
 				The server allows you to temporarily pause and later re-start a synth, without freeing and re-creating it.
 			</div><div class="para">
 				To pause a synth: 
@@ -10,4 +10,4 @@
 				To re-start a synth: 
 <pre class="programlisting"><em class="replaceable"><code>variableHoldingSynth</code></em>.run( true );</pre>
 
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html"><strong>Prev</strong>11.4.12.3.Â Replace a Running Synth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html"><strong>Next</strong>11.4.13.Â Scheduling</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html"><strong>Prev</strong>11.3.12.3.Â Replace a Running Synth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html"><strong>Next</strong>11.3.13.Â Scheduling</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html
index c08f5bf..39bf320 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html
@@ -1,9 +1,9 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.12.3.Â Replace a Running Synth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.4.12.Â Ordering and Other Synth Features" /><link rel="prev" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html" title="11.4.12.2.Â Changing the Order" /><link rel="next" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html" title="1
 1.4.12.4.Â Pausing and Restarting a Synth" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.12.3.Â Replace a Running Synth" id="sect-Musi
 cians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth">11.4.12.3.Â Replace a Running Synth</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.12.3.Â Replace a Running Synth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.3.12.Â Ordering and Other Synth Features" /><link rel="prev" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html" title="11.3.12.2.Â Changing the Order" /><link rel="next" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html" title="1
 1.3.12.4.Â Pausing and Restarting a Synth" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.12.3.Â Replace a Running Synth" id="sect-Musi
 cians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth">11.3.12.3.Â Replace a Running Synth</h4></div></div></div><div class="para">
 				The server allows you to replace a running synth with a newly-created one, maintaining all of the ordering relationships.
 			</div><div class="para">
 				This is the syntax: 
 <pre class="programlisting">variableHoldingNewSynth = Synth.replace( variableHoldingSynthToReplace, nameOfSynthDef, ListOfArguments );</pre>
 				 The "variableHoldingNewSynth" will often be the same as the "variableHoldingSynthToReplace," but not always. When you use this Function, the synth being replaced is freed from the server (equivalent to running "free"), so that variable should always be assigned something.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html"><strong>Prev</strong>11.4.12.2.Â Changing the Order</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html"><strong>Next</strong>11.4.12.4.Â Pausing and Restarting a Synth</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html"><strong>Prev</strong>11.3.12.2.Â Changing the Order</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html"><strong>Next</strong>11.3.12.4.Â Pausing and Restarting a Synth</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Security_and_Stability.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Security_and_Stability.html
index bf416b9..bfccf09 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Security_and_Stability.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Security_and_Stability.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>4.2.2.Â Security and Stability</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-Knowing_Whether_to_Use_Planet_CCRMA.html" title="4.2.Â Deciding Whether to Use Planet CCRMA at Home" /><link rel="prev" href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html" title="4.2.Â Deciding Whether to Use Planet CCRMA at Home" /><link rel="next" href="sect-Musicians_Guide-CCRMA_Best_Practices.html" title="4.2.3.Â A Possible &quot;Best Practices&quot; Solution" /></head><body class="dra
 ft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-CCRMA_Best_Practices.html"><strong>Next</strong></a></li></ul><div class="section" title="4.2.2.Â Security and Stability" id="sect-Musicians_Guide-CCRMA_Security_and_Stability"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_S
 ecurity_and_Stability">4.2.2.Â Security and Stability</h3></div></div></div><div class="para">
-				The biggest reason that you should avoid installing the Planet CCRMA at Home repository unless you ''need'' its software is security. There are two main security issues with using the Planet CCRMA repositories: 
+				The biggest reason that you should avoid installing the Planet CCRMA at Home repository unless you <span class="emphasis"><em>need</em></span> its software is security. There are two main security issues with using the Planet CCRMA repositories: 
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
 							Planet CCRMA is intended for specialized audio workstations. The software is packaged in such a way that creates potential (and unknown) security threats caused by the optimizations necessary to prepare a computer system for use in audio work. Furthermore, these optimizations may reveal software bugs present in non-Planet CCRMA software, and allow them to do more damage than on a non-optimized system. Finally, a computer system's "stability" (its ability to run without trouble) may be compromised by audio optimizations. Regular desktop applications may perform less well on audio-optimized systems, if the optimization process unintentionally un-optimized some other process.
 						</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-DAW_Interface_Vocabulary.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Interface_Vocabulary.html
index 83f44d3..66431fc 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Interface_Vocabulary.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Interface_Vocabulary.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>6.3.Â Interface Vocabulary</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Digital_Audio_Workstations.html" title="ChapterÂ 6.Â Digital Audio Workstations" /><link rel="prev" href="sect-Musicians_Guide-Record_Mix_Master_More_Info.html" title="6.2.4.Â More Information" /><link rel="next" href="sect-Musicians_Guide-Track_and_Multitrack.html" title="6.3.2.Â Track and Multitrack" /></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-Record_Mix_Master_More_Info.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Track_and_Multitrack.html"><strong>Next</strong></a></li></ul><div class="section" title="6.3.Â Interface Vocabulary" id="sect-Musicians_Guide-DAW_Interface_Vocabulary"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-DAW_Interface_Vocabulary">6.3.Â Interface Vocabulary</h2></div></div></div><div class="para">
 			Understanding these concepts is essential to understanding how to use the DAW software's interface.
 		</div><div class="section" title="6.3.1.Â Session" id="sect-Musicians_Guide-Session"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Session">6.3.1.Â Session</h3></div></div></div><div class="para">
-				A '''session''' is all of the tracks, regions, automation settings, and everything else that goes along with one "file" saved by the DAW software. Some software DAWs manage to hide the entire session within one file, but others instead create a new directory to hold the regions and other data.
+				A <em class="firstterm">session</em> is all of the tracks, regions, automation settings, and everything else that goes along with one "file" saved by the DAW software. Some software DAWs manage to hide the entire session within one file, but others instead create a new directory to hold the regions and other data.
 			</div><div class="para">
 				Typically, one session is used to hold an entire recording session; it is broken up into individual songs or movements after recording. Sometimes, as in the tutorial examples with the Musicians' Guide, one session holds only one song or movement. There is no strict rule as to how much music should be held within one session, so your personal preference can determine what you do here.
 			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Record_Mix_Master_More_Info.html"><strong>Prev</strong>6.2.4.Â More Information</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-Track_and_Multitrack.html"><strong>Next</strong>6.3.2.Â Track and Multitrack</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Transport_Controls.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Transport_Controls.html
index 55b9684..e9533a6 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Transport_Controls.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Transport_Controls.html
@@ -6,13 +6,13 @@
 			</div><div class="para">
 				The transport controls allow you to manipulate the transport in various ways. The shape of the buttons is somewhat standardized; a similar-looking button will usually perform the same function in all DAWs, as well as in consumer electronic devices like CD players and DVD players.
 			</div><div class="para">
-				The single, left-pointing arrow with a vertical line will move the transport to the start of the session, without playing or recording any material. In "Qtractor," if there is a blue place-marker between the transport and the start of the session, the transport will skip to the blue place-marker. You can press the button again if you wish to skip to the next blue place-marker or the beginning of the session.
+				The single, left-pointing arrow with a vertical line will move the transport to the start of the session, without playing or recording any material. In <span class="application"><strong>Qtractor</strong></span>, if there is a blue place-marker between the transport and the start of the session, the transport will skip to the blue place-marker. You can press the button again if you wish to skip to the next blue place-marker or the beginning of the session.
 			</div><div class="para">
 				The double left-pointing arrows move the transport in fast motion, towards the start of the session. The double right-pointing arrows move the transport in fast motion, towards the end of the session.
 			</div><div class="para">
-				The single, right-pointing arrow with a vertical line will move the transport to the end of the last region currently in a session. In "Qtractor," if there is a blue place-marker between the transport and the end of the last region in the session, the transport will skip to the blue place-marker. You can press the button again if you wish to skip to the next blue place-marker or the end of the last region in the session.
+				The single, right-pointing arrow with a vertical line will move the transport to the end of the last region currently in a session. In <span class="application"><strong>Qtractor</strong></span>, if there is a blue place-marker between the transport and the end of the last region in the session, the transport will skip to the blue place-marker. You can press the button again if you wish to skip to the next blue place-marker or the end of the last region in the session.
 			</div><div class="para">
 				The single, right-pointing arrow is commonly called "play," but it actually moves the transport forward in real-time. When it does this, if the transport is armed for recording, any armed tracks will record. Whether or not the transport is armed, pressing the "play" button causes all un-armed tracks to play all existing regions.
 			</div><div class="para">
-				The circular button arms the transport for recording. It is conventionally red in colour. In "Qtractor," the transport can only be armed ''after'' at least one track has been armed; to show this, the transport's "arm" button only turns red if a track is armed.
+				The circular button arms the transport for recording. It is conventionally red in colour. In <span class="application"><strong>Qtractor</strong></span>, the transport can only be armed <span class="emphasis"><em>after</em></span> at least one track has been armed; to show this, the transport's "arm" button only turns red if a track is armed.
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Track_Pane.html"><strong>Prev</strong>6.4.4.Â "Track" Pane</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-Ardour.html"><strong>Next</strong>ChapterÂ 7.Â Ardour</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_User_Interface.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_User_Interface.html
index 29c0334..dd2ad75 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_User_Interface.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_User_Interface.html
@@ -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>6.4.Â User Interface</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Digital_Audio_Workstations.html" title="ChapterÂ 6.Â Digital Audio Workstations" /><link rel="prev" href="sect-Musicians_Guide-Automation.html" title="6.3.6.Â Automation" /><link rel="next" href="sect-Musicians_Guide-DAW_Clock.html" title="6.4.2.Â Clock" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it up
 grade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Automation.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-DAW_Clock.html"><strong>Next</strong></a></li></ul><div class="section" title="6.4.Â User Interface" id="sect-Musicians_Guide-DAW_User_Interface"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-DAW_User_Interface">6.4.Â User Interface</h2></div></div></div><div class="para">
-			 This section describes various components of software-based DAW interfaces. Although the Qtractor application is visible in the images, both Ardour and Rosegarden (along with most other DAW software) have an interface that differs only in details, such as which buttons are located where.
+			 This section describes various components of software-based DAW interfaces. Although the <span class="application"><strong>Qtractor</strong></span> application is visible in the images, both <span class="application"><strong>Ardour</strong></span> and <span class="application"><strong>Rosegarden</strong></span> (along with most other DAW software) have an interface that differs only in details, such as which buttons are located where.
 		</div><div class="section" title="6.4.1.Â &quot;Messages&quot; Pane" id="sect-Musicians_Guide-Messages_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Messages_Pane">6.4.1.Â "Messages" Pane</h3></div></div></div><div class="para">
 				<span class="inlinemediaobject"><img src="./images/Qtractor-interface-messages.png" width="444" /></span>
 
 			</div><div class="para">
-				The "messages" pane, shown in the above diagram, contains messages produced by the DAW, and sometimes messages produced by software used by the DAW, such as JACK. If an error occurs, or if the DAW does not perform as expected, you should check the "messages" pane for information that may help you to get the desired results. The "messages" pane can also be used to determine whether JACK and the DAW were started successfully, with the options you prefer.
+				The "messages" pane, shown in the above diagram, contains messages produced by the DAW, and sometimes messages produced by software used by the DAW, such as <code class="systemitem">JACK</code>. If an error occurs, or if the DAW does not perform as expected, you should check the "messages" pane for information that may help you to get the desired results. The "messages" pane can also be used to determine whether <code class="systemitem">JACK</code> and the DAW were started successfully, with the options you prefer.
 			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Automation.html"><strong>Prev</strong>6.3.6.Â Automation</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-DAW_Clock.html"><strong>Next</strong>6.4.2.Â Clock</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 4a83e64..953b022 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
@@ -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>10.5.Â Assigning Programs to Channels 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="ChapterÂ 10.Â FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html" title="10.4.5.Â Viewing all FluidSynth Settings" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html" title="10.5.2.Â Saving and Reusing Channel Assignments" /></head><body class="draft toc_embed
 ed "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html"><strong>Next</strong></a></li></ul><div class="section" title="10.5.Â Assigning Programs to Channels with Qsynth" id="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels"><div class="titlepage"><div><div keep-together.within-column="a
 lways"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels">10.5.Â Assigning Programs to Channels with Qsynth</h2></div></div></div><div class="para">
-			The best way to do this is through your MIDI sequencer, like Qtractor or Rosegarden. If you are using an application which doesn't allow you to send program-change messages, or if you need to configure programs for another reason, you can follow these instructions.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.5.Â Assigning Programs to Channels 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="ChapterÂ 10.Â FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html" title="10.4.5.Â Viewing all FluidSynth Settings" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html" title="10.5.2.Â Saving and Reusing Channel Assignments" /></head><body class="draft toc_embed
 ed "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html"><strong>Next</strong></a></li></ul><div class="section" title="10.5.Â Assigning Programs to Channels with Qsynth" id="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels"><div class="titlepage"><div><div keep-together.within-column="a
 lways"><h2 class="title" id="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels">10.5.Â Assigning Programs to Channels with <span class="application"><strong>Qsynth</strong></span></h2></div></div></div><div class="para">
+			The best way to do this is through your MIDI sequencer, like <span class="application"><strong>Qtractor</strong></span> or <span class="application"><strong>Rosegarden</strong></span>. If you are using an application which doesn't allow you to send program-change messages, or if you need to configure programs for another reason, you can follow these instructions.
 		</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.
+					In the main <span class="application"><strong>Qsynth</strong></span> 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 
 <pre class="programlisting">1   -   -   -</pre>
@@ -18,11 +18,11 @@
 				</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.Â 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.Â 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 <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.
+				You can increase the number of MIDI input channels offered by <span class="application"><strong>FluidSynth</strong></span>. Although <span class="application"><strong>QSynth</strong></span> will let you set any number between 1 and 256, channels will be added and removed only in sets of 16. <span class="application"><strong>Qsynth</strong></span> 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 <span class="application"><strong>JACK</strong></span> 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">
-						Open Qsynth's "Setup" window.
+						Open the <span class="application"><strong>Qsynth</strong></span> "Setup" window.
 					</div></li><li class="step" title="Step 2"><div class="para">
 						The "Enable MIDI Input" setting must be enabled.
 					</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-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 af4150c..af07c39 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
@@ -1,15 +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>10.4.3.Â 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.Â Configuring Qsynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html" title="10.4.2.Â SoundFont Configuration" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html" title="10.4.4.Â 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.Â 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.Â JACK 
 Output Configuration</h3></div></div></div><div class="para">
-				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.Â Routing and Multiplexing">SectionÂ 1.4.7, â€œRouting and Multiplexingâ€</a>), which allows you to simultaneously record the synthesized audio signal and listen to it.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.4.3.Â 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.Â Configuring Qsynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html" title="10.4.2.Â SoundFont Configuration" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html" title="10.4.4.Â 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.Â 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.Â <span
  class="application"><strong>JACK</strong></span> Output Configuration</h3></div></div></div><div class="para">
+				It is possible to configure <span class="application"><strong>FluidSynth</strong></span> to output synthesized audio either to <span class="application"><strong>JACK</strong></span> or to ALSA. The default, and recommended, method is to output synthesized audio to <span class="application"><strong>JACK</strong></span>. 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.Â Routing and Multiplexing">SectionÂ 1.4.7, â€œRouting 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.
+				If you are having problems, you may wish to confirm that <span class="application"><strong>Qsynth</strong></span> is configured correctly to use <span class="application"><strong>JACK</strong></span>.
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
-						Open Qsynth's "Setup" window.
+						Open <span class="application"><strong>Qsynth</strong></span>'s "Setup" window.
 					</div></li><li class="step" title="Step 2"><div class="para">
 						Select the 'Audio' tab, and ensure that "Audio Driver" is set to "jack".
 					</div></li><li class="step" title="Step 3"><div class="para">
-						You should also ensure that the other settings are correct - especially that the "sample rate" is set to the same sample rate as JACK (through QjackCtl).
+						You should also ensure that the other settings are correct - especially that the "sample rate" is set to the same sample rate as <span class="application"><strong>JACK</strong></span> (through <span class="application"><strong>QjackCtl</strong></span>).
 					</div></li><li class="step" title="Step 4"><div class="para">
 						The default settings for most things should work. If you changed a default setting, they are these: 
 						<div class="itemizedlist"><ul><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-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 19bddab..4af87d7 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
@@ -3,15 +3,15 @@
 <html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.4.4.Â 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.Â Configuring Qsynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html" title="10.4.3.Â JACK Output Configuration" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html" title="10.4.5.Â 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.Â 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.Â MIDI Input Configuration</h3></div></div></div><div class="para">
 				<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.
+						Open <span class="application"><strong>Qsynth</strong></span>'s "Setup" window.
 					</div></li><li class="step" title="Step 2"><div class="para">
 						The "Enable MIDI Input" setting must be enabled.
 					</div></li><li class="step" title="Step 3"><div class="para">
 						There are two settings for "MIDI Driver" that you would likely want. 
 						<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-									When set to "alsa_seq", the input will appear on QjackCtl's "ALSA" tab in the "Connect" window. This is useful if the MIDI generator device that you are using, such as a MIDI-enabled keyboard, is connected directly to ALSA.
+									When set to "alsa_seq", the input will appear on <span class="application"><strong>QjackCtl</strong></span>'s "ALSA" tab in the "Connect" window. This is useful if the MIDI generator device that you are using, such as a MIDI-enabled keyboard, is connected directly to ALSA.
 								</div></li><li class="listitem"><div class="para">
-									When set to "jack", the input will appear on QjackCtl's "MIDI" tab in the "Connect" window. This is useful if the MIDI generator device that you are using, such as Rosegarden, is connected directly to JACK.
+									When set to "jack", the input will appear on <span class="application"><strong>QjackCtl</strong></span>'s "MIDI" tab in the "Connect" window. This is useful if the MIDI generator device that you are using, such as <span class="application"><strong>Rosegarden</strong></span>, is connected directly to <span class="application"><strong>JACK</strong></span>.
 								</div></li></ul></div>
 
 					</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-FluidSynth-Configuring-SoundFont.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html
index 0b0db48..f475a0c 100644
--- 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
@@ -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>10.4.2.Â SoundFont 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.Â Configuring Qsynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Configuring.html" title="10.4.Â Configuring Qsynth" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html" title="10.4.3.Â JACK Output 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-Configuring.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html"><strong>Next</strong></a></li></ul><div class="section" title="10.4.2.Â 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.Â SoundFont Configuration</h3></div></d
 iv></div><div class="para">
-				The default "FluidR3" SoundFont, installed with Qsynth, is automatically configured.
+				The default "FluidR3" SoundFont, installed with <span class="application"><strong>Qsynth</strong></span>, 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">
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 2558348..1707c30 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
@@ -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>10.4.Â 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="ChapterÂ 10.Â FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html" title="10.3.Â Using FluidSynth in a Terminal" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html" title="10.4.2.Â 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.Â 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.Â 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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.4.Â 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="ChapterÂ 10.Â FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html" title="10.3.Â Using FluidSynth in a Terminal" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html" title="10.4.2.Â 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.Â 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.Â Configuring <span class="application"><strong>Qsynth</strong></span></h2></d
 iv></div></div><div class="para">
+			When you quit <span class="application"><strong>Qsynth</strong></span>, all settings are preserved, and re-used when <span class="application"><strong>Qsynth</strong></span> is re-started. This includes settings for additional instances of <span class="application"><strong>Qsynth</strong></span> (described below), which are also re-created when <span class="application"><strong>Qsynth</strong></span> is re-started.
 		</div><div class="section" title="10.4.1.Â 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.Â 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
+						Start <span class="application"><strong>Qsynth</strong></span> from the Applications menu, or the K Menu
 					</div></li><li class="step" title="Step 2"><div class="para">
 						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 <span class="application"><strong>FluidSynth</strong></span>.
+						The row of buttons at the right of the <span class="application"><strong>Qsynth</strong></span> window control <span class="application"><strong>Qsynth</strong></span>. 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 <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.Â 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.Â 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 2adc359..12c2bc8 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.Â 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="ChapterÂ 10.Â FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html" title="10.2.5.Â Installation of SoundFont Files" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Configuring.html" title="10.4.Â 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.Â 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.Â 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>.
+			This is not the recommended way to use <span class="application"><strong>FluidSynth</strong></span>, because the <span class="application"><strong>Qsynth</strong></span> graphical interface is much easier to use. <span class="application"><strong>Qsynth</strong></span> 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 <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>
+			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 <span class="application"><strong>JACK</strong></span> 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 <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.Â 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.Â 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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--- 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
@@ -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>10.7.Â 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="ChapterÂ 10.Â FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html" title="10.6.Â Using Reverb and Chorus with Qsynth" /><link rel="next" href="chap-Musicians_Guide-SuperCollider.html" title="ChapterÂ 11.Â 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.Â 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.Â Multiple <span class="application"><strong>Flu
 idSynth</strong></span> Instances with Qsynth</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>10.7.Â 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="ChapterÂ 10.Â FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html" title="10.6.Â Using Reverb and Chorus with Qsynth" /><link rel="next" href="chap-Musicians_Guide-SuperCollider.html" title="ChapterÂ 11.Â 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.Â 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.Â Multiple <span class="application"><strong>Flu
 idSynth</strong></span> Instances with <span class="application"><strong>Qsynth</strong></span></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 <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.
+			Thankfully, <span class="application"><strong>Qsynth</strong></span> 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 <span class="application"><strong>Qsynth</strong></span> 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 <span class="application"><strong>Qsynth</strong></span> multiple time, or even than running <span class="application"><strong>FluidSynth</strong></span> directly from a terminal. Each such instance is represented in <span class="application"><strong>Qsynth</strong></span> by a "tab," displayed at the bottom of the <span clas
 s="application"><strong>Qsynth</strong></span> window.
 		</div><div class="para">
 			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
+					Press the green "+" button in the bottom-left corner of <span class="application"><strong>Qsynth</strong></span>'s main window
 				</div></li><li class="step" title="Step 2"><div class="para">
 					Adjust the settings as desired, by using the Setup window that pops up.
 				</div></li><li class="step" title="Step 3"><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 <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.
+			Each instance of the <span class="application"><strong>FluidSynth</strong></span> engine has its own settings in the "Setup" window. <span class="application"><strong>Qsynth</strong></span> 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.Â 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>ChapterÂ 11.Â 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.Â 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.Â Requirements and Installation" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html" title="10.2.Â Requirements and Installation" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html" title="10.2.3.Â 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.Â 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.Â 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.
+				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 <span class="application"><strong>Qsynth</strong></span>, allows <span class="application"><strong>FluidSynth</strong></span> to be used with the <span class="application"><strong>Qsynth</strong></span> 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 <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.
+				The second way to install <span class="application"><strong>FluidSynth</strong></span> is without the <span class="application"><strong>Qsynth</strong></span> 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.Â 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.Â 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 570431a..fd9e4f7 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
@@ -1,6 +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>10.2.3.Â 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.Â Requirements and Installation" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html" title="10.2.2.Â 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.Â 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.Â 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.Â Installation with 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>10.2.3.Â 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.Â Requirements and Installation" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html" title="10.2.2.Â 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.Â 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.Â 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.Â Installation with <span class="application"><strong>Qsynth</strong></span></h3></div></div></div><div class="para">
 				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.
@@ -13,5 +13,5 @@
 								</div></li></ul></div>
 
 					</div></li></ol></div><div class="para">
-				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.
+				If you wish to use <span class="application"><strong>FluidSynth</strong></span> from a terminal, without the <span class="application"><strong>Qsynth</strong></span> graphical interface, you can enable this capability by installing the <span class="package">fluidsynth</span> package. This package is not needed if you only intend to run <span class="application"><strong>FluidSynth</strong></span> with <span class="application"><strong>Qsynth</strong></span>, because <span class="application"><strong>Qsynth</strong></span> only uses files in the <span class="package">fluidsynth-libs</span> package, which is automatically installed with <span class="application"><strong>Qsynth</strong></span>. If you are unsure of whether you should install the <span class="package">fluidsynth</span> 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.Â 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.Â 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
index ffd64b6..0a1ea31 100644
--- 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
@@ -1,6 +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>10.2.4.Â 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.Â Requirements and Installation" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html" title="10.2.3.Â Installation with Qsynth" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html" title="10.2.5.Â 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.Â 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.Â Installation without 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>10.2.4.Â 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.Â Requirements and Installation" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html" title="10.2.3.Â Installation with Qsynth" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html" title="10.2.5.Â 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.Â 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.Â Installation without <span class="application"><strong>Qsynth</strong></span></h3></div></div></div><div class="para">
 				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.
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
index 1168a61..69b2c9c 100644
--- 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
@@ -1,7 +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>10.2.5.Â 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.Â Requirements and Installation" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html" title="10.2.4.Â Installation without Qsynth" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html" title="10.3.Â 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.Â 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.Â Installation of SoundFont Files</h3></div></div></div><div class="para">
-				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.
+				<span class="application"><strong>Qsynth</strong></span> automatically installs a SoundFont for use with <span class="application"><strong>FluidSynth</strong></span>, but if you did not install <span class="application"><strong>Qsynth</strong></span>, 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.
+			</div><div class="para">
+				The following steps move a SoundFont file called <code class="filename">myFont.sf2</code> 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">
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
index 6d5241f..d71320e 100644
--- 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
@@ -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>10.2.Â 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="ChapterÂ 10.Â FluidSynth" /><link rel="prev" href="chap-Musicians_Guide-FluidSynth.html" title="ChapterÂ 10.Â FluidSynth" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html" title="10.2.2.Â 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.Â 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.Â Requirements and Installation</h2>
 </div></div></div><div class="section" title="10.2.1.Â 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.Â Software Requirements</h3></div></div></div><div class="para">
-				<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.Â Installing and Configuring JACK">SectionÂ 2.3.1, â€œInstalling and Configuring <code class="systemitem">JACK</code>â€</a> for instructions.
+				<span class="application"><strong>FluidSynth</strong></span> requires the <code class="systemitem"><span class="application"><strong>JACK</strong></span> Audio Connection Kit</code>. If you have not already installed the <span class="application"><strong>JACK</strong></span> packages from the Planet CCRMA at Home repository, then it is recommended that you do so <span class="emphasis"><em>before</em></span> 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.Â Installing and Configuring JACK">SectionÂ 2.3.1, â€œInstalling 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>ChapterÂ 10.Â 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.Â 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
index c0e0f8a..afa2aff 100644
--- 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
@@ -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>10.6.Â 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="ChapterÂ 10.Â FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html" title="10.5.2.Â Saving and Reusing Channel Assignments" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html" title="10.7.Â 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.Â 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.Â 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. <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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>10.6.Â 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="ChapterÂ 10.Â FluidSynth" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html" title="10.5.2.Â Saving and Reusing Channel Assignments" /><link rel="next" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html" title="10.7.Â 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.Â 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.Â Using Reverb and Chorus with <span class="application"><strong>Qsynth</strong></span></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. <span class="application"><strong>FluidSynth</strong></span> is no exception, and the <span class="application"><strong>Qsynth</strong></span> 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.
+			The reverb and chorus effects can be turned off temporarily if you do not plan to use them. To do this in <span class="application"><strong>Qsynth</strong></span>, uncheck the "Active" check-box underneath the respective effect generator's settings dials.
 		</div><div class="para">
-			The '''reverb''' effect generator creates artificial reverberation (like an "echo," but more complex), which occurs naturally in almost all performing environments. The effect generator works by creating a virtual room, and pretending that the user is listening within it. These are the settings offered by Qsynth: 
+			The <em class="firstterm">reverb</em> effect generator creates artificial reverberation (like an "echo," but more complex), which occurs naturally in almost all performing environments. The effect generator works by creating a virtual room, and pretending that the user is listening within it. These are the settings offered by <span class="application"><strong>Qsynth</strong></span>: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 						Room: Adjusts the size of the virtual room. Settings higher than 100 can cause a situation that escalates in volume to dangerously high levels, even with the lowest possible "level" settings. This is an interesting effect, but caution is advised so that listener do not incur accidental hearing damage. Remember also that the reverb effect can accumulate as time goes on, so it may even take many minutes for the volume level to build to a dangerously high level, depending on the settings.
 					</div></li><li class="listitem"><div class="para">
@@ -17,7 +17,7 @@
 					</div></li></ul></div>
 			 All of the settings interact in ways that make it difficult to describe any sort of recommended settings. Users are strongly encouraged to experiment with the various settings to find ones that suit their needs. A wide variety of listening environments can be simulated, and the settings required do not always reflect the most logical choice - it is possible to emulate a concert hall with a relatively small "room" setting, for example. Effective use of the reverb effect can greatly enhance the MIDI listening experience.
 		</div><div class="para">
-			The '''chorus''' effect generator creates the impression that more than one real-world instrument is playing each MIDI line. The effect generator works by slightly responding to each MIDI note several times, with slightly inaccuracies in pitch and time in each response. Although it may seem overly negative to say so, humans intuitively recognize that this inaccuracy is part of real-world, acoustic music, so the chorus effect helps to add a realistic sound to some performances. These are the settings offered by Qsynth: 
+			The <em class="firstterm">chorus</em> effect generator creates the impression that more than one real-world instrument is playing each MIDI line. The effect generator works by slightly responding to each MIDI note several times, with slightly inaccuracies in pitch and time in each response. Although it may seem overly negative to say so, humans intuitively recognize that this inaccuracy is part of real-world, acoustic music, so the chorus effect helps to add a realistic sound to some performances. These are the settings offered by <span class="application"><strong>Qsynth</strong></span>: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 						N: Adjusts the number of effect "stages," which allows you to control the approximate number of discrete instruments perceived.
 					</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-FluidSynth-Saving_and_Reusing_Channel_Assignments.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html
index 3a0e865..0e907e3 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html
@@ -5,15 +5,15 @@
 			</div><div class="para">
 				To save the settings for later:
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
-						Ensure that Qsynth is correctly configured, and working with the program assignments as desired.
+						Ensure that <span class="application"><strong>Qsynth</strong></span> is correctly configured, and working with the program assignments as desired.
 					</div></li><li class="step" title="Step 2"><div class="para">
-						In Qsynth's "Channels" window, erase the contents of the "Preset Name" text field, and replace it with whatever name you would like.
+						In <span class="application"><strong>Qsynth</strong></span>'s "Channels" window, erase the contents of the "Preset Name" text field, and replace it with whatever name you would like.
 					</div></li><li class="step" title="Step 3"><div class="para">
 						Click "Save" to preserve the settings under that name.
 					</div></li></ol></div><div class="para">
 				To restore settings from earlier:
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
-						Open Qsynth's "Channels" window.
+						Open <span class="application"><strong>Qsynth</strong></span>'s "Channels" window.
 					</div></li><li class="step" title="Step 2"><div class="para">
 						Search through the "Preset Name" drop-down box to find the name of the preset that you wish to restore.
 					</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-Hard_and_Soft_Real_Time.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Hard_and_Soft_Real_Time.html
index f7c94e7..a5d2ca4 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Hard_and_Soft_Real_Time.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Hard_and_Soft_Real_Time.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>3.4.Â Hard and Soft Real-Time</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html" title="ChapterÂ 3.Â Real-Time and Low Latency" /><link rel="prev" href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html" title="3.3.Â The Real-Time Linux Kernel" /><link rel="next" href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html" title="3.5.Â Getting a Real-Time Kernel in Fedora Linux" /></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-Real_Time_Linux_Kernel.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html"><strong>Next</strong></a></li></ul><div class="section" title="3.4.Â Hard and Soft Real-Time" id="sect-Musicians_Guide-Hard_and_Soft_Real_Time"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Hard_and_Soft_Real_Time">3.4.Â Hard and Soft Real-Time</h2
 ></div></div></div><div class="para">
-			Finally, there are two different kinds of real-time scheduling. The Linux kernel, even at its most extreme, uses only '''soft real-time'''. This means that, while processor and other scheduling algorithms may be optimized to give preference to higher-priority processes, no absolute guarantee of performance can be made. A real-time kernel helps to greatly reduce the chance of an audio process running out of data, but sometimes it can still happen.
+			Finally, there are two different kinds of real-time scheduling. The Linux kernel, even at its most extreme, uses only <em class="firstterm">soft real-time</em>. This means that, while processor and other scheduling algorithms may be optimized to give preference to higher-priority processes, no absolute guarantee of performance can be made. A real-time kernel helps to greatly reduce the chance of an audio process running out of data, but sometimes it can still happen.
 		</div><div class="para">
-			A '''hard real-time''' computer is designed for specialized purposes, where even the smallest amount of latency can make the difference between life and death. These systems are implemented in hardware as well as software. Example uses include triggering airbag deployment in automobile crashes, and monitoring the heart rate of a patient during an operation. These computers are not particularly multi-functional, which is part of their means to accomplishing a guaranteed low latency.
+			A <em class="firstterm">hard real-time</em> computer is designed for specialized purposes, where even the smallest amount of latency can make the difference between life and death. These systems are implemented in hardware as well as software. Example uses include triggering airbag deployment in automobile crashes, and monitoring the heart rate of a patient during an operation. These computers are not particularly multi-functional, which is part of their means to accomplishing a guaranteed low latency.
 		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html"><strong>Prev</strong>3.3.Â The Real-Time Linux Kernel</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-Getting_Real_Time_Kernel_in_Fedora.html"><strong>Next</strong>3.5.Â Getting a Real-Time Kernel in Fedora Linux</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html
index b54e399..712d1fe 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.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>12.5.4.Â Inputting</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-Counterpoint.html" title="12.5.Â Working on a Counterpoint Exercise (Tutorial)" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output.html" title="12.5.3.Â Adjusting Frescobaldi's Output" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html" title="12.5.5.Â Formatting the Score" /></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-Counterpoint-Adjusting_Frescobaldis_Output.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html"><strong>Next</strong></a></li></ul><div class="section" title="12.5.4.Â Inputting" id="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-
 LilyPond-Counterpoint-Inputting">12.5.4.Â Inputting</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 					Look over the template. It's not important to understand what any of this means, but it's good if you can figure it out.
 				</div></li><li class="step" title="Step 2"><div class="para">
-					The piano's upper staff will contain the notes between the { and } following the " right = \relative c'' " portion
+					The piano's upper staff will contain the notes between the <code class="literal">{</code> and <code class="literal">}</code> following the <code class="code">right = \relative c''</code> portion
 				</div></li><li class="step" title="Step 3"><div class="para">
 					The piano's lower ... left
 				</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-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 2d597cc..c5dcb05 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
@@ -7,7 +7,7 @@
 								</div></li><li class="listitem"><div class="para">
 									You may want to use [ and ] to control eighth-note beaming in the Oboe I and Flauto parts. You may not
 								</div></li><li class="listitem"><div class="para">
-									The Flauto will need more multi-measure rests with R, ''after'' some of the notes are inputted.
+									The Flauto will need more multi-measure rests with R, <span class="emphasis"><em>after</em></span> some of the notes are inputted.
 								</div></li><li class="listitem"><div class="para">
 									All of the parts will end with the same three-quarter-note-rests-with-fermata measure.
 								</div></li></ul></div>
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 356e6c3..4aec9b2 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
@@ -51,7 +51,7 @@
 					</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">
-						The "a 2" marking, meaning "to be played by two players," does need the text-in-quotes format, however. Put that marking ''above'' the d following the eighth rest.
+						The "a 2" marking, meaning "to be played by two players," does need the text-in-quotes format, however. Put that marking <span class="emphasis"><em>above</em></span> the d following the eighth rest.
 					</div></li><li class="step" title="Step 9"><div class="para">
 						Those two measures should now look like this: 
 <div class="literallayout"><p>r8\fÂ d-.^"aÂ 2"Â g-.Â bes-.Â d-.Â bes-.Â |<br />
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 af5a96d..a95f698 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
@@ -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>12.7.3.Â Adjusting Frescobaldi's Output</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Piano.html" title="12.7.Â Working on a Piano Score (Tutorial)" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html" title="12.7.2.Â Starting the Score" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html" title="12.7.4.Â Inputting" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="to
 c" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.3.Â Adjusting Frescobaldi's Output" id="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3.Â Ad
 justing Frescobaldi's Output</h3></div></div></div><div class="para">
-			These steps are useful in establishing a consistent input style for LilyPond. The things suggested here are also useful for getting used to working with large scores, which can be a challenge in any text editor. Thankfully, careful (and consistent!) code organization goes a long way in helping you to quickly find your way around your files. Setting up files the right way to begin with makes this much easier in the end.
+			These steps are useful in establishing a consistent input style for <span class="application"><strong>LilyPond</strong></span>. 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="orderedlist"><ol><li class="listitem"><div class="para">
@@ -15,7 +15,7 @@
 					</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.
+			 The specific ordering will become more obvious to you as you get used to <span class="application"><strong>LilyPond</strong></span>.
 		</div><div class="para">
 			Here are some of the things that I do before inputting notes: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Formatting-Inputting_the_Dynamics.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Formatting-Inputting_the_Dynamics.html
index 8c01f1c..d1ae3ec 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Formatting-Inputting_the_Dynamics.html
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@@ -3,7 +3,7 @@
 <html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.7.6.2.Â Inputting the Dynamics</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-Formatting.html" title="12.7.6.Â Formatting the Score (Piano Dynamics)" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html" title="12.7.6.Â Formatting the Score (Piano Dynamics)" /><link rel="next" href="chap-Musicians_Guide-Frescobaldi.html" title="ChapterÂ 13.Â Frescobaldi" /></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-LilyPond-Piano-Formatting.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Frescobaldi.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.6.2.Â 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.Â Input
 ting the Dynamics</h4></div></div></div><div class="para">
 				Now you can input the dynamic markings. These are inputted with a special note called a "spacer," that uses the letter "s" rather than a note name. You can also use rests (both partial- and multi-measure, r and R), but dynamic markings cannot be assigned to them.
 			</div><div class="para">
-				For example, if you want a ''piano'' marking on the first beat, and a ''diminuendo'' from the third to the fourth beat, you could write this: <code class="code">s4\p r s\&gt; s\!</code>, or this: <code class="code">s2\p s4\&gt; s\!</code>
+				For example, if you want a <span class="foreignphrase"><em class="foreignphrase">piano</em></span> marking on the first beat, and a <span class="foreignphrase"><em class="foreignphrase">diminuendo</em></span> from the third to the fourth beat, you could write this: <code class="code">s4\p r s\&gt; s\!</code>, or this: <code class="code">s2\p s4\&gt; s\!</code>
 			</div><div class="para">
 				That's all there is to it! Think of the dynamics part as an invisible, pitch-free line between the two staves, for the sole purpose of dynamics (and other expression markings).
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html"><strong>Prev</strong>12.7.6.Â Formatting the Score (Piano Dynamics)</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-Frescobaldi.html"><strong>Next</strong>ChapterÂ 13.Â Frescobaldi</a></li></ul></body></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>12.7.6.Â Formatting the Score (Piano Dynamics)</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Piano.html" title="12.7.Â Working on a Piano Score (Tutorial)" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html" title="12.7.5.Â Troubleshooting Errors" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Formatting-Inputting_the_Dynamics.html" title="12.7.6.2.Â Inputting the Dynamics" /></head><body class="draft toc_embeded "><div i
 d="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-Troubleshooting_Errors.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Formatting-Inputting_the_Dynamics.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.6.Â Formatting the Score (Piano Dynamics)" id="sect-Musicians_Guide-LilyPond-Piano-Formatting"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Mus
 icians_Guide-LilyPond-Piano-Formatting">12.7.6.Â Formatting the Score (Piano Dynamics)</h3></div></div></div><div class="para">
-			Keyboard instruments use a unique notation when it comes to dynamics. Most instruments use only one staff per player, so the dynamics are, by convention, notated underneath that staff. Keyboard instruments usually use two staves (organs and complex piano music may use three). Because the dynamics are usually meant to apply to both staves, they are usually notated between the two staves. This is similar to notation beneath the upper staff, but in truth, piano dynamics tend to be placed in the middle between the staves - entering the dynamics as belonging to the upper staff, in LilyPond, will not produce that effect.
+			Keyboard instruments use a unique notation when it comes to dynamics. Most instruments use only one staff per player, so the dynamics are, by convention, notated underneath that staff. Keyboard instruments usually use two staves (organs and complex piano music may use three). Because the dynamics are usually meant to apply to both staves, they are usually notated between the two staves. This is similar to notation beneath the upper staff, but in truth, piano dynamics tend to be placed in the middle between the staves - entering the dynamics as belonging to the upper staff, in <span class="application"><strong>LilyPond</strong></span>, will not produce that effect.
 		</div><div class="para">
-			There is a way to notate dynamics between two staves in LilyPond, and it involves a little bit of thought to get it right. It also requires the addition of a significant number of commands, and the creation of a new context.
+			There is a way to notate dynamics between two staves in <span class="application"><strong>LilyPond</strong></span>, and it involves a little bit of thought to get it right. It also requires the addition of a significant number of commands, and the creation of a new context.
 		</div><div class="para">
 			This process looks difficult, and may seem daunting. It's not necessary to understand all of the commands in the "PianoDynamics" Context in order to use the context, so there is no need to worry!
 		</div><div class="section" title="12.7.6.1.Â Preparing the &quot;PianoDynamics&quot; Context" id="sect-Musicians_Guide-LilyPond-Piano-Formatting-Preparing_the_PianoDynamics_Context"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Formatting-Preparing_the_PianoDynamics_Context">12.7.6.1.Â Preparing the "PianoDynamics" Context</h4></div></div></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-Cautionary_Accidentals.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Cautionary_Accidentals.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Cautionary_Accidentals.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>12.7.4.4.Â Cautionary Accidentals</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.Â Inputting" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering.html" title="12.7.4.3.Â Fingering" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html" title="12.7.4.5.Â Changing the Style of Crescendo" /></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-Fingering.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.4.4.Â 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_Gui
 de-LilyPond-Piano-Inputting-Cautionary_Accidentals">12.7.4.4.Â Cautionary Accidentals</h4></div></div></div><div class="para">
-				Musical Definition: This score makes some use of ''cautionary accidentals''. These are accidentals which don't change the pitches to be played, but rather are used as a precaution against forgetting that they are there. This usually happens when an accidental in the written key signature is changed for a significant number of measures, and then suddenly changes back. The cautionary accidental would be applied when the standard key signature returns, to remind the musician of the key signature.
+				Musical Definition: This score makes some use of <em class="firstterm">cautionary accidentals</em>. These are accidentals which don't change the pitches to be played, but rather are used as a precaution against forgetting that they are there. This usually happens when an accidental in the written key signature is changed for a significant number of measures, and then suddenly changes back. The cautionary accidental would be applied when the standard key signature returns, to remind the musician of the key signature.
 			</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>
+				<span class="application"><strong>LilyPond</strong></span> Notation: These are notated in <span class="application"><strong>LilyPond</strong></span> with an exclamation mark placed before the note-value: <code class="code">ces!16</code>
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering.html"><strong>Prev</strong>12.7.4.3.Â Fingering</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-Changing_the_Style_of_Crescendo.html"><strong>Next</strong>12.7.4.5.Â Changing the Style of Crescendo</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
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+++ 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
@@ -1,9 +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>12.7.4.5.Â 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.Â Inputting" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Cautionary_Accidentals.html" title="12.7.4.4.Â Cautionary Accidentals" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html" title="12.7.4.6.Â 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.Â 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.Â 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 <code class="literal">\&lt;</code> style of crescendo. In LilyPond these are handled by the same source-file notation (<code class="literal">\&lt;</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 &lt; 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 <span class="foreignphrase"><em class="foreignphrase">crescendo</em></span> or its abbreviation, <span class="foreignphrase"><em class="foreignphrase">cresc.</em></span>, instead of the <code class="literal">\&lt;</code> style of crescendo. In <span class="application"><strong>LilyPond</strong></span> these are handled by the same source-file notation (<code class="literal">\&lt;</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 &lt; sign, you need to tell <span class="application"><strong>LilyPond</strong></span>. 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 &lt; style with the following command: <code class="code">\crescHairpin</code>.
+				After changing to this style of <span class="foreignphrase"><em class="foreignphrase">crescendo</em></span>, you can revert to the standard &lt; style with the following command: <code class="literal">\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''.
+				The <code class="literal">\dimTextDim</code> and <code class="literal">\dimHairpin</code> commands do the same for a <span class="foreignphrase"><em class="foreignphrase">diminuendo</em></span>.
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Cautionary_Accidentals.html"><strong>Prev</strong>12.7.4.4.Â Cautionary Accidentals</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-Polyphonic_Sections_of_Homophonic_Music.html"><strong>Next</strong>12.7.4.6.Â Polyphonic Sections of Homophonic Music</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-Chords.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords.html
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--- 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.Â 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.Â Inputting" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html" title="12.7.4.Â Inputting" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering.html" title="12.7.4.3.Â Fingering" /></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-Piano-Inputting.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.4.2.Â 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.Â 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="literal">&lt;as ces&gt;4-_</code> Notice how only the pitches are notated inside the <code class="literal">&lt; &gt;</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">&lt;as-1 ces-3&gt;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">&lt;as ces&gt;4-_</code> Notice how only the pitches are notated inside the <code class="literal">&lt; &gt;</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">&lt;as-1 ces-3&gt;4-_</code> Not only does this help you to sort out what was probably intended, but it allows <span class="application"><strong>LilyPond</strong></span> 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="literal">&lt;&lt;as4-&gt; ces&gt;&gt;</code> Notice how everything must be notated inside the <code class="literal">&lt;&lt; &gt;&gt;</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.
+				This style of chord notation is less common: <code class="literal">&lt;&lt;as4-&gt; ces&gt;&gt;</code> Notice how everything must be notated inside the <code class="literal">&lt;&lt; &gt;&gt;</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 <span class="emphasis"><em>needed</em></span>, 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 <span class="application"><strong>LilyPond</strong></span>'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.Â 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.Â 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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+++ 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.Â 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.Â Inputting" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords.html" title="12.7.4.2.Â Chords" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Cautionary_Accidentals.html" title="12.7.4.4.Â 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.Â 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.Â 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 <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>.
+				<span class="application"><strong>LilyPond</strong></span> 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 <span class="application"><strong>LilyPond</strong></span> to put the mark above or below the note, respectively. It is usually better to let <span class="application"><strong>LilyPond</strong></span> 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="literal">&lt;as-1 ces-4&gt;4-_</code>. It is possible to enter this as <code class="literal">&lt;as ces&gt;4-1-4-&gt;</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">&lt;as-1 ces-4&gt;4-_</code>. It is possible to enter this as <code class="literal">&lt;as ces&gt;4-1-4-&gt;</code>, but this not only looks confusing, it may confuse <span class="application"><strong>LilyPond</strong></span> 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.Â 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.Â 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-Octave_Change_Spanners.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners.html
@@ -3,13 +3,13 @@
 <html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.7.4.7.Â Octave-Change Spanners ("8ve" Signs, "Ottava Brackets")</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.Â Inputting" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html" title="12.7.4.6.Â Polyphonic Sections of Homophonic Music" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html" title="12.7.5.Â Troubleshooting 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-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.4.7.Â Octave-Change Spanners (&quot;8ve&quot; Signs, &quot;Ottava Brackets&quot;)" 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.Â Octave-Change Spanners ("8ve" Signs, "Ottava Brackets")</h4></div></div></div><div class="para">
 				Musical Definition: In order to most conveniently notate over large ranges, composers and editors sometimes use text spanners to indicate that a passage should be played one or two octaves higher or lower than written. This allows the notes to stay mostly within the staff lines, thereby decreasing the number of ledger lines required.
 			</div><div class="para">
-				LilyPond Notation: The <code class="code">\ottava</code> command is used to notate all five states of transposition: 
+				<span class="application"><strong>LilyPond</strong></span> Notation: The <code class="code">\ottava</code> command is used to notate all five states of transposition: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							15va (play two octaves higher than written) is engaged with <code class="code">\ottava #2</code>
 						</div></li><li class="listitem"><div class="para">
 							8va (play one octave higher than written) is engaged with <code class="code">\ottava #1</code>
 						</div></li><li class="listitem"><div class="para">
-							''loco'' (play in the octave written) is engaged with <code class="code">\ottava #0</code>, which also cancels another sign.
+							<span class="foreignphrase"><em class="foreignphrase">loco</em></span> (play in the octave written) is engaged with <code class="code">\ottava #0</code>, which also cancels another sign.
 						</div></li><li class="listitem"><div class="para">
 							8vb (play one octave lower than written) is engaged with <code class="code">\ottava #-1</code>
 						</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-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
@@ -1,7 +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>12.7.4.6.Â 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.Â Inputting" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html" title="12.7.4.5.Â Changing the Style of Crescendo" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners.html" title="12.7.4.7.Â Octave-Change Spanners (&quot;8ve&quot; Signs, &quot;
 Ottava Brackets&quot;)" /></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.Â 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.Â 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: <code class="literal"> &lt;&lt; { % upper voice notes go here } \\ { % lower voice notes go here } &gt;&gt; </code> 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 <span class="application"><strong>LilyPond</strong></span>, even though most of the music does not. In this case, you would use the following format: <code class="literal"> &lt;&lt; { % upper voice notes go here } \\ { % lower voice notes go here } &gt;&gt; </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.
+				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, <span class="application"><strong>LilyPond</strong></span> judges from the last note of the upper voice - <span class="emphasis"><em>not</em></span> 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.Â 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.Â 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-Piano-Inputting.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting.html
index 8689cf0..74696b3 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting.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.Â Inputting</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Piano.html" title="12.7.Â Working on a Piano Score (Tutorial)" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html" title="12.7.3.Â Adjusting Frescobaldi's Output" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords.html" title="12.7.4.2.Â Chords" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" c
 lass="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-Adjusting_Frescobaldis_Output.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Chords.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.4.Â Inputting" id="sect-Musicians_Guide-LilyPond-Piano-Inputting"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting">12.7.4.Â Inputting</h3></div></div></div><div 
 class="para">
-			Piano scores present some unique challenges with LilyPond, but they're easy to overcome with some careful thought. This tutorial will avoid step-by-step instructions on how to input particular notes, instead focussing on those unique piano challenges presented in this particular composition. The LilyPond "Notation Reference" provides a section dedicated to keyboard and piano music. Most of the situations described there are not present or discussed in this score, which gives this tutorial unique material.
+			Piano scores present some unique challenges with <span class="application"><strong>LilyPond</strong></span>, but they're easy to overcome with some careful thought. This tutorial will avoid step-by-step instructions on how to input particular notes, instead focussing on those unique piano challenges presented in this particular composition. The <span class="application"><strong>LilyPond</strong></span> "Notation Reference" provides a section dedicated to keyboard and piano music. Most of the situations described there are not present or discussed in this score, which gives this tutorial unique material.
 		</div><div class="section" title="12.7.4.1.Â Order of Inputting" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Order_of_Inputting"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Order_of_Inputting">12.7.4.1.Â Order of Inputting</h4></div></div></div><div class="para">
 				Choosing the right order to input your scores can make things much easier to troubleshoot. Here are some suggestions:
 			</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-LilyPond-Piano-Starting_the_Score.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.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>12.7.2.Â Starting the Score</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Piano.html" title="12.7.Â Working on a Piano Score (Tutorial)" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano.html" title="12.7.Â Working on a Piano Score (Tutorial)" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html" title="12.7.3.Â Adjusting Frescobaldi's Output" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><ifram
 e id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.2.Â Starting the Score" id="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score">12.7.2.Â Starting t
 he Score</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 					Open Frescobaldi with a new document.
 				</div></li><li class="step" title="Step 2"><div class="para">
-					Start the "Setup New Score" tool, by clicking 'LilyPond &gt; Setup New Score' in the menu.
+					Start the "Setup New Score" tool, by clicking '<span class="application"><strong>LilyPond</strong></span> &gt; Setup New Score' in the menu.
 				</div></li><li class="step" title="Step 3"><div class="para">
 					Fill in the following fields on the "Titles and Headers" tab: 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html
index 28f865e..d715321 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.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>12.7.5.Â Troubleshooting 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-Piano.html" title="12.7.Â Working on a Piano Score (Tutorial)" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners.html" title="12.7.4.7.Â Octave-Change Spanners (&quot;8ve&quot; Signs, &quot;Ottava Brackets&quot;)" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html" title="12.7.6.Â Formatting the Score (Piano Dynamics)" /></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-Octave_Change_Spanners.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.5.Â Troubleshooting Errors" id="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors"><div class="titlepage"><div><div keep-together.within-column="always"><h3 cl
 ass="title" id="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors">12.7.5.Â Troubleshooting Errors</h3></div></div></div><div class="para">
-			It can be difficult to troubleshoot inputting errors, especially when you find them days or weeks after originally inputting that section of a score. The best way to fix errors is to input scores in a way that doesn't allow them in the first place. As they say, "an ounce of prevention is worth a pound of cure," which means "if you input your LilyPond files carefully, then you will encounter fewer problems." Such practices as proper spacing, and regular use of the octave- and bar-check features will deal with many common problems.
+			It can be difficult to troubleshoot inputting errors, especially when you find them days or weeks after originally inputting that section of a score. The best way to fix errors is to input scores in a way that doesn't allow them in the first place. As they say, "an ounce of prevention is worth a pound of cure," which means "if you input your <span class="application"><strong>LilyPond</strong></span> files carefully, then you will encounter fewer problems." Such practices as proper spacing, and regular use of the octave- and bar-check features will deal with many common problems.
 		</div><div class="para">
 			However, when searching for an error in your score, Frescobaldi does offer some features to help you find it: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 						If you have written something in the text-input window that is obviously incorrect, then Frescobaldi will sometimes catch your mistake and underline and highlight the erroneous code in red. This is most useful for catching typographical errors ("typos").
 					</div></li><li class="listitem"><div class="para">
-						If LilyPond encounters a processing error, it will show up in the "LilyPond Log" window below the text-input window. You can click on the blue, underlined text to move the text-selection caret to the error.
+						If <span class="application"><strong>LilyPond</strong></span> encounters a processing error, it will show up in the "<span class="application"><strong>LilyPond</strong></span> Log" window below the text-input window. You can click on the blue, underlined text to move the text-selection caret to the error.
 					</div></li><li class="listitem"><div class="para">
 						If you can see an error in the PDF preview, but you can't find it in the source file, you can click on the problematic note or object in the PDF preview, and Frescobaldi will automatically move the text-selection caret to that object.
 					</div></li></ul></div>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano.html
index d64872a..8437203 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano.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>12.7.Â Working on a Piano Score (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-LilyPond.html" title="ChapterÂ 12.Â LilyPond" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Fast_Section.html" title="12.6.4.5.Â To Continue to the Fast Section" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html" title="12.7.2.Â Starting the Score" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="t
 ocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Fast_Section.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="12.7.Â Working on a Piano Score (Tutorial)" id="sect-Musicians_Guide-LilyPond-Piano" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-Piano">12.
 7.Â Working on a Piano Score (Tutorial)</h2></div></div></div><div class="para">
-		Scenario: At a used music store, you encounter a 60-year-old, hand-engraved copy of a Schubert ''Impromptu'', but it's been badly damaged by a flood. The store's owner says that, if you can use the score, you can keep it for free. The score is barely legible, so you decide to prepare a copy with a computer notation program.
+		Scenario: At a used music store, you encounter a 60-year-old, hand-engraved copy of a Schubert "Impromptu," but it's been badly damaged by a flood. The store's owner says that, if you can use the score, you can keep it for free. The score is barely legible, so you decide to prepare a copy with a computer notation program.
 	</div><div class="para">
-		I'm using Schubert's ''Impromptu'' Op.90 (D.899) Nr.4, in A-flat major. Published by Edition Peters: 10463, ed. Walter Niemann. We'll be setting the A section (from the beginning to the Trio).
+		I'm using Schubert's "Impromptu" Op.90 (D.899) Nr.4, in A-flat major. Published by Edition Peters: 10463, edited by Walter Niemann. We'll be setting the "A" section (from the beginning to the "Trio").
 	</div><div class="para">
 		When following this tutorial, it is recommended that the reader follows along, creating their replica of this tutorial's PDF.
 	</div><div class="section" title="12.7.1.Â Files for the Tutorial" id="sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1.Â Files for the Tutorial</h3></div></div></div><div class="para">
-			You do not need the LilyPond input file to do the tutorial. You should use the input file if you encounter problems, and to compare your completion. You do need the PDF output file to do the tutorial. <em class="citetitle">LilyPond Input File</em> at <a href="https://fedoraproject.org/wiki/User:Crantila/FSC/Typesetting/LilyPond/Piano">https://fedoraproject.org/wiki/User:Crantila/FSC/Typesetting/LilyPond/Piano</a>. <em class="citetitle">PDF Output File</em> at <a href="https://fedoraproject.org/wiki/File:FSC-piano.pdf">https://fedoraproject.org/wiki/File:FSC-piano.pdf</a>.
+			You do not need the <span class="application"><strong>LilyPond</strong></span> input file to do the tutorial. You should use the input file if you encounter problems, and to compare your completion. You do need the PDF output file to do the tutorial. <em class="citetitle"><span class="application"><strong>LilyPond</strong></span> Input File</em> at <a href="https://fedoraproject.org/wiki/User:Crantila/FSC/Typesetting/LilyPond/Piano">https://fedoraproject.org/wiki/User:Crantila/FSC/Typesetting/LilyPond/Piano</a>. <em class="citetitle">PDF Output File</em> at <a href="https://fedoraproject.org/wiki/File:FSC-piano.pdf">https://fedoraproject.org/wiki/File:FSC-piano.pdf</a>.
 		</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Fast_Section.html"><strong>Prev</strong>12.6.4.5.Â To Continue to the Fast Section</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-Starting_the_Score.html"><strong>Next</strong>12.7.2.Â Starting the Score</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 436c383..2fa7196 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
@@ -29,9 +29,9 @@
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 						<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
+						<code class="literal">_</code> which means to put the articulation mark <span class="emphasis"><em>below</em></span> the note-head
 					</div></li><li class="listitem"><div class="para">
-						<code class="literal">^</code> which means to put the articulation mark ''above'' the note-head
+						<code class="literal">^</code> which means to put the articulation mark <span class="emphasis"><em>above</em></span> the note-head
 					</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><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html"><strong>Prev</strong>12.4.2.Â Numbers Are Durations</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-Simultaneity.html"><strong>Next</strong>12.4.4.Â Simultaneity</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
index 25cca64..61eb986 100644
--- 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
@@ -3,7 +3,7 @@
 <html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4.6.Â 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.Â LilyPond Basics" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html" title="12.4.5.Â Chords" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Commands-Contexts.html" title="12.4.6.2.Â 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.Â 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.Â Commands</h3></div></div></div><div class="para">
 			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).
+			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: <code class="literal">\time</code> changes the time signature and metre, and <code class="literal">\clef</code> changes the clef. they belong to differen contexts (<code class="literal">\time</code> applies for the whole Score, but <code class="literal">\clef</code> 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 <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.Â 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.Â Customization</h4></div></div></div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html
index 337440b..ac61b9b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.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>12.4.2.Â 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.Â LilyPond Basics" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Syntax.html" title="12.4.Â LilyPond Basics" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html" title="12.4.3.Â 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.Â 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.Â Numbers Are Durations</h3></div></div></div><div class="para">
-			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.
+			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">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Mixing.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Mixing.html
index a8e04d9..adacd40 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Mixing.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Mixing.html
@@ -19,5 +19,5 @@
 						</div></li></ul></div>
 
 			</div><div class="para">
-				When the person performing the mixing decides that they have finished, their finalized production is called the '''final mix'''.
+				When the person performing the mixing decides that they have finished, their finalized production is called the <em class="firstterm">final mix</em>.
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Stages_of_Recording.html"><strong>Prev</strong>6.2.Â Stages of Recording</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-Mastering.html"><strong>Next</strong>6.2.3.Â Mastering</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Multichannel_Audio.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Multichannel_Audio.html
index 135f9f8..cc65b65 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Multichannel_Audio.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Multichannel_Audio.html
@@ -1,7 +1,7 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
 <html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>1.4.8.Â Multichannel Audio</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Vocabulary.html" title="1.4.Â Other Digital Audio Concepts" /><link rel="prev" href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html" title="1.4.7.Â Routing and Multiplexing" /><link rel="next" href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html" title="ChapterÂ 2.Â Software for Sound Cards" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" 
 class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html"><strong>Next</strong></a></li></ul><div class="section" title="1.4.8.Â Multichannel Audio" id="sect-Musicians_Guide-Multichannel_Audio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Multichannel_Audio">1.4.8.Â Multichannel Audio</h3></div></div></div><div cla
 ss="para">
-			An '''audio channel''' is a single path of audio data. '''Multichannel audio''' is any audio which uses more than one channel simultaneously, allowing the transmission of more audio data than single-channel audio.
+			An <em class="firstterm">audio channel</em> is a single path of audio data. <em class="firstterm">Multichannel audio</em> is any audio which uses more than one channel simultaneously, allowing the transmission of more audio data than single-channel audio.
 		</div><div class="para">
 			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">
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 8a78b5f..91d9af0 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.Â 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="ChapterÂ 3.Â Real-Time and Low Latency" /><link rel="prev" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html" title="ChapterÂ 3.Â Real-Time and Low Latency" /><link rel="next" href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html" title="3.3.Â 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.Â 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.Â 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 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 <em class="firstterm">kernel</em>) is responsible for deciding which process gets to execute at what time. This responsibility is called "scheduling." Scheduling access to the processor is called, <em class="firstterm">processor scheduling</em>. 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>ChapterÂ 3.Â 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.Â 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
index f25f530..40ffd5c 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html
@@ -5,13 +5,13 @@
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
 							Click on 'View &gt; Instruments'
 						</div></li><li class="listitem"><div class="para">
-							In the ''Instruments'' window, click "Import."
+							In the "Instruments" window, click "Import."
 						</div></li><li class="listitem"><div class="para">
 							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">
-							Close the ''Instruments'' window to return to the main Qtractor window.
+							Close the "Instruments" window to return to the main Qtractor window.
 						</div></li></ol></div>
 
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html"><strong>Prev</strong>8.2.2.Â MIDI Options</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Qtractor-Using.html"><strong>Next</strong>8.3.Â Using Qtractor</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_Tab.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html
index 04222a4..50620fe 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.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>8.2.2.Â MIDI Options</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Qtractor-Configuration.html" title="8.2.Â Configuration" /><link rel="prev" href="sect-Musicians_Guide-Qtractor-Configuration.html" title="8.2.Â Configuration" /><link rel="next" href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html" title="8.2.3.Â Configuring MIDI Channel Names" /></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-Configuration.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html"><strong>Next</strong></a></li></ul><div class="section" title="8.2.2.Â MIDI Options" id="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">8.2.2.Â MIDI Options</h3></div></div></div><div class="para">
 				Adjusting the "File format" allows you to change how MIDI clips are stored. You will not need to adjust this unless required by an external application. Refer to <em class="citetitle">Musical Instrument Digital Interface: Standard MIDI (.mid or .smf) (Wikipedia)</em> at <a href="http://en.wikipedia.org/wiki/Musical_Instrument_Digital_Interface#Standard_MIDI_.28.mid_or_.smf.29">http://en.wikipedia.org/wiki/Musical_Instrument_Digital_Interface#Standard_MIDI_.28.mid_or_.smf.29</a> for more information about file types.
 			</div><div class="para">
-				"MMC" stands for "MIDI Machine Control," and it allows multiple MIDI-connected devices to interact and control each other. Setting the ''Transport mode'' to a setting other than "None" allows it be controlled by MMC messages. 
+				"MMC" stands for "MIDI Machine Control," and it allows multiple MIDI-connected devices to interact and control each other. Setting the "Transport mode" to a setting other than "None" allows it be controlled by MMC messages. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							None : will have Qtractor ignore incoming MMC messages, and not provide outgoing MMC messages
 						</div></li><li class="listitem"><div class="para">
@@ -13,7 +13,7 @@
 						</div></li><li class="listitem"><div class="para">
 							Duplex : will have Qtractor follow incoming MMC instructions, and provide outgoing MMC messages
 						</div></li></ul></div>
-				 You can also select a particular MIDI device number with which Qtractor will interact; if you do this, it will ignore MMC messages from other devices, and not send MMC messages to other devices. Enabled the ''Dedicated MIDI control input/output'' will provide JACK with MIDI inputs and outputs that will be used by Qtractor only for MMC messages. Qtractor will not send or receive MMC messages sent on other inputs or outputs if this option is enabled. "SPP" stands for "Song Position Pointer," and helps MIDI-connected applications to keep track of the current location in a session (in other words, where the transport is). This should probably be set to the same setting as "MMC." If you don't know which of these settings to use, then setting "MMC" to "None" is a good choice. This setting can be adjusted at any time, if you later decide to link applications with MMC messages.
+				 You can also select a particular MIDI device number with which Qtractor will interact; if you do this, it will ignore MMC messages from other devices, and not send MMC messages to other devices. Enabled the "Dedicated MIDI control input/output" will provide JACK with MIDI inputs and outputs that will be used by Qtractor only for MMC messages. Qtractor will not send or receive MMC messages sent on other inputs or outputs if this option is enabled. "SPP" stands for "Song Position Pointer," and helps MIDI-connected applications to keep track of the current location in a session (in other words, where the transport is). This should probably be set to the same setting as "MMC." If you don't know which of these settings to use, then setting "MMC" to "None" is a good choice. This setting can be adjusted at any time, if you later decide to link applications with MMC messages.
 			</div><div class="para">
 				The default metronome sound is provided by the "MIDI Metronome," and you can adjust its settings here. In particular, you may wish to provide a "Dedicated MIDI metronome output," to help you separate the metronome's signal.
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Qtractor-Configuration.html"><strong>Prev</strong>8.2.Â 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-Qtractor-Configuration-MIDI_Channel_Names.html"><strong>Next</strong>8.2.3.Â Configuring MIDI Channel Names</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.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration.html
index c6832b5..1c0a4cc 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration.html
@@ -3,9 +3,9 @@
 <html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>8.2.Â 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-Qtractor.html" title="ChapterÂ 8.Â Qtractor" /><link rel="prev" href="chap-Musicians_Guide-Qtractor.html" title="ChapterÂ 8.Â Qtractor" /><link rel="next" href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html" title="8.2.2.Â MIDI Options" /></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 y
 our 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-Qtractor.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html"><strong>Next</strong></a></li></ul><div class="section" title="8.2.Â Configuration" id="sect-Musicians_Guide-Qtractor-Configuration"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Qtractor-Configuration">8.2.Â Configuration</h2></div></div></div><div class="para">
 			Qtractor will work by itself, without further configuration. The options described here are for the settings you are most likely to want to discuss. Click on 'View &gt; Options' to open the "Options" window.
 		</div><div class="section" title="8.2.1.Â Audio Options" id="sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1.Â Audio Options</h3></div></div></div><div class="para">
-				The ''Capture/Export'' setting allows you to choose the format in which Qtractor stores its audio clips when recorded or exported. You will be able to choose a file type, such as "WAV Microsoft" for standard ".wav" files, "AIFF Apple-SGI" for standard ".aiff" files, or the preferable "FLAC Lossless Audio Codec," format. FLAC is an open-source, lossless, compressed format for storing audio signals and metadata. See the <em class="citetitle">FLAC Website</em> <a href="http://flac.sourceforge.net/">http://flac.sourceforge.net/</a> for more information. You will also be asked to select a quality setting for lossy compressed formats, or a sample format for all lossless formats. If you do not know which sample format to choose, then "Signed 16-Bit" is a good choice for almost all uses, and will provide you with CD-quality audio. Most non-speciality hardware is incapable of making good use of higher sample formats. See <a class="xref" href="sect-Musicians_Guide-Sample_Rate_and_
 Sample_Format.html" title="1.3.Â Sample, Sample Rate, Sample Format, and Bit Rate">SectionÂ 1.3, â€œSample, Sample Rate, Sample Format, and Bit Rateâ€</a> for more information about sample formats.
+				The "Capture/Export" setting allows you to choose the format in which Qtractor stores its audio clips when recorded or exported. You will be able to choose a file type, such as "WAV Microsoft" for standard ".wav" files, "AIFF Apple-SGI" for standard ".aiff" files, or the preferable "FLAC Lossless Audio Codec," format. FLAC is an open-source, lossless, compressed format for storing audio signals and metadata. See the <em class="citetitle">FLAC Website</em> <a href="http://flac.sourceforge.net/">http://flac.sourceforge.net/</a> for more information. You will also be asked to select a quality setting for lossy compressed formats, or a sample format for all lossless formats. If you do not know which sample format to choose, then "Signed 16-Bit" is a good choice for almost all uses, and will provide you with CD-quality audio. Most non-speciality hardware is incapable of making good use of higher sample formats. See <a class="xref" href="sect-Musicians_Guide-Sample_Rate_and_Sa
 mple_Format.html" title="1.3.Â Sample, Sample Rate, Sample Format, and Bit Rate">SectionÂ 1.3, â€œSample, Sample Rate, Sample Format, and Bit Rateâ€</a> for more information about sample formats.
 			</div><div class="para">
-				Setting the ''Transport mode'' will allow you to adjust the behaviour of the transport. 
+				Setting the "Transport mode" will allow you to adjust the behaviour of the transport. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							None : allows Qtractor's transport to operate independently
 						</div></li><li class="listitem"><div class="para">
@@ -17,5 +17,5 @@
 						</div></li></ul></div>
 				 If you are using Qtractor alone, or if you don't know which to choose, then "None" is a good choice. This setting can be adjusted at any time, if you later decide to link the transport in multiple applications.
 			</div><div class="para">
-				The ''Metronome'' section allows you to use a (short) audio file as the metronome sound, rather than the standard, MIDI-based metronome. You can choose the same file for "beat," and "bar," if you prefer. The ''Dedicated audio metronome outputs'' option will output the audio metronome's signal through separate outputs in JACK. This is Ardour's default behaviour.
+				The "Metronome" section allows you to use a (short) audio file as the metronome sound, rather than the standard, MIDI-based metronome. You can choose the same file for "beat," and "bar," if you prefer. The "Dedicated audio metronome outputs" option outputs the audio metronome's signal through separate outputs in JACK. This is Ardour's default behaviour.
 			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-Qtractor.html"><strong>Prev</strong>ChapterÂ 8.Â Qtractor</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html"><strong>Next</strong>8.2.2.Â MIDI Options</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html
index 9d88a1a..b3da52b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html
@@ -12,7 +12,7 @@
 						</div></li><li class="listitem"><div class="para">
 							Create the notes separated by three beats, as in the last segment. This time, be sure to add two notes at the same time, by ensure that they are aligned vertically. Again, it doesn't matter which pitches you choose, because they will be randomized.
 						</div></li><li class="listitem"><div class="para">
-							Select all of the pitches, and randomize them by using the ''Randomize MIDI'' tool.
+							Select all of the pitches, and randomize them by using the "Randomize MIDI" tool.
 						</div></li><li class="listitem"><div class="para">
 							Depending on how the pitches are randomized, each pair of notes will probably end up in one of the following situations: 
 							<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -24,7 +24,7 @@
 									</div></li></ul></div>
 							 Depending on your aesthetic preferences, you may wish to change some of the notes so that one or some of these situations are avoided.
 						</div></li><li class="listitem"><div class="para">
-							I created the tone cluster at the end by clicking arbitrarily across bar 37. It happened to create six notes with the pitches G, E, C-sharp, F-sharp, G-sharp, and B. I could have used the ''Randomize MIDI'' tool, but chose not to.
+							I created the tone cluster at the end by clicking arbitrarily across bar 37. It happened to create six notes with the pitches G, E, C-sharp, F-sharp, G-sharp, and B. I could have used the "Randomize MIDI" tool, but chose not to.
 						</div></li><li class="listitem"><div class="para">
 							Then I carefully click-and-dragged the right-most end-point of each pitch, so that they all ended at the same time: the first beat of measure 38.
 						</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html
index 926a5b2..234cd4d 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html
@@ -4,7 +4,7 @@
 				I want something simple, to match the simple-sounding chorale at the beginning that is the theme of this movement. What could be simpler than a moment of sound, followed by some moments of silence?
 			</div><div class="para">
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
-							In the MIDI matrix editor window, click on the ''Edit mode'' tool, which looks like a pencil with no other markings.
+							In the MIDI matrix editor window, click on the "Edit mode" tool, which looks like a pencil with no other markings.
 						</div></li><li class="listitem"><div class="para">
 							I decided to place a note every three beats (one beat is marked by one vertical line), on the beat, lasting for one sixteenth note. 
 							<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -46,9 +46,9 @@
 							<div class="orderedlist"><ol><li class="listitem"><div class="para">
 										Click on 'Tools &gt; Randomize'
 									</div></li><li class="listitem"><div class="para">
-										Ensure that ''Randomize'' is checked
+										Ensure that "Randomize" is checked
 									</div></li><li class="listitem"><div class="para">
-										Ensure that ''Note'' is checked (this means "pitch")
+										Ensure that "Note" is checked (this means "pitch")
 									</div></li><li class="listitem"><div class="para">
 										Choose a percentage.
 									</div></li><li class="listitem"><div class="para">
@@ -56,7 +56,7 @@
 									</div></li><li class="listitem"><div class="para">
 										You may need to experiment with the percent of randomization that you allow. Greater randomization means a lower chance of repetition, but it also means that the pitches will be spread within a smaller range.
 									</div></li><li class="listitem"><div class="para">
-										If you want to re-try the randomization, click on 'Edit &gt; Undo Randomization', then use the ''Randomize'' tool again.
+										If you want to re-try the randomization, click on 'Edit &gt; Undo Randomization', then use the "Randomize" tool again.
 									</div></li><li class="listitem"><div class="para">
 										If you like what happens to most of the pitches, you can select and move a few of them either individually or together. To adjust pitches as a group, select the ones that you want to move (either by click-and-drag select or by Control-click select), and Control-drag them to the desired new location.
 									</div></li></ol></div>
@@ -64,7 +64,7 @@
 						</div></li><li class="listitem"><div class="para">
 							Now you need to adjust the volume of the pitches. There are two ways to do this: 
 							<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-										You can select all of the pitches, then use the "Resize MIDI'' tool, adjusting the "Value" property.
+										You can select all of the pitches, then use the "Resize MIDI" tool, adjusting the "Value" property.
 									</div></li><li class="listitem"><div class="para">
 										You can select all of the pitches, then use the value editor portion of the matrix editor window. This is at the bottom of the matrix editor window, and the height of each pitch shown here tells you the volume at which it will play. To adjust all of the pitches at once, Control-drag to adjust the height as desired. Be careful when doing this that you don't change the horizontal position, which will change the time that the notes sound.
 									</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File.html
index bbdb687..349b1dc 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File.html
@@ -4,7 +4,7 @@
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
 							Create a new audio track.
 						</div></li><li class="listitem"><div class="para">
-							Right-click on the audio track, and go to ''Clip'' then ''Import''
+							Right-click on the audio track, and go to "Clip" then "Import"
 						</div></li><li class="listitem"><div class="para">
 							Locate the audio file that you want to import (in this case, I imported a recording of the second movement of Beethoven's Op.57 piano sonata, "Appassionata."
 						</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html
index 7eb7b55..8f96357 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html
@@ -12,7 +12,7 @@
 						</div></li><li class="listitem"><div class="para">
 							Mark the beginning of the formal area by left-clicking at the beginning of the session. If the transport is at the beginning, then it will hide a blue marker placed at the beginning.
 						</div></li><li class="listitem"><div class="para">
-							Create a new clip by clicking on ''Edit &gt; Clip &gt; New''
+							Create a new clip by clicking on "Edit &gt; Clip &gt; New"
 						</div></li><li class="listitem"><div class="para">
 							The clip editor will appear.
 						</div></li></ol></div>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html
index 5c4b889..299c83f 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html
@@ -9,7 +9,7 @@
 			</div><div class="para">
 				The second-highest range reflects the quickly-moving accompaniment part in the upper register of the piano.
 			</div><div class="para">
-				Sorting out the volumes for this passage posed a small challenge, because of the much greater number of notes than in previous passages. Thankfully, the parts are mostly well-separated from each other in the matrix editor. I was able to use click-and-drag selection to select each range separately, and adjust its volume using both the ''Resize MIDI'' tool and Control-drag in the volume adjustment space at the bottom of the matrix editor window.
+				Sorting out the volumes for this passage posed a small challenge, because of the much greater number of notes than in previous passages. Thankfully, the parts are mostly well-separated from each other in the matrix editor. I was able to use click-and-drag selection to select each range separately, and adjust its volume using both the "Resize MIDI" tool and Control-drag in the volume adjustment space at the bottom of the matrix editor window.
 			</div><div class="para">
 				My sustained-note flourish at the end of this passage was a feeble attempt to establish A Major tonality in the highest register that I used.
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119.html"><strong>Prev</strong>8.4.12.Â Qtractor's Measures 98 to 119</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158.html"><strong>Next</strong>8.4.14.Â Qtractor's Measures 139 to 158</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html
index 0285821..c3691b0 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html
@@ -27,7 +27,7 @@
 									</div></li></ol></div>
 
 						</div></li><li class="listitem"><div class="para">
-							Position the transport so that you can listen to the transition from the end of the first clip into the beginning of the second clip. Press ''Play'' on the transport control to listen, then stop it when you are done.
+							Position the transport so that you can listen to the transition from the end of the first clip into the beginning of the second clip. Press <span class="guibutton"><strong>Play</strong></span> on the transport control to listen, then stop it when you are done.
 						</div></li><li class="listitem"><div class="para">
 							If you need to adjust the position of the second clip, then click-and-drag it into the desired position. Re-listen to verify that you placed the clip where you want it to stay.
 						</div></li></ol></div>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html
index ee32d07..403b65d 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html
@@ -15,7 +15,7 @@
 						</div></li><li class="listitem"><div class="para">
 							Arm Qtractor's transport for recording.
 						</div></li><li class="listitem"><div class="para">
-							Press ''Play'' on the transport, and wait as the session plays through.
+							Press "Play" on the transport, and wait as the session plays through.
 						</div></li><li class="listitem"><div class="para">
 							When you have reached the end of the session, stop the transport. Qtractor will not automatically stop the transport.
 						</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html
index 78bf55c..2aaad4d 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html
@@ -1,7 +1,7 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
 <html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>8.3.2.Â Using the MIDI Matrix Editor's Tools</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Qtractor-Using.html" title="8.3.Â Using Qtractor" /><link rel="prev" href="sect-Musicians_Guide-Qtractor-Using.html" title="8.3.Â Using Qtractor" /><link rel="next" href="sect-Musicians_Guide-Qtractor-Using-JACK.html" title="8.3.3.Â Using JACK with Qtractor" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This
  is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Qtractor-Using.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Qtractor-Using-JACK.html"><strong>Next</strong></a></li></ul><div class="section" title="8.3.2.Â Using the MIDI Matrix Editor's Tools" id="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools">8.3.2.Â Using the MIDI Matrix Editor's Tools</h3></div></div></div><div class="para">
-				Qtractor's matrix editor for MIDI clips offers a collection of useful tools, available from the ''Tools'' menu in the matrix editor window. These tools only operate on MIDI notes selected in the matrix editor window before the tool window is opened. Regardless of which tool you select from the menu, the same options are available to you each time the window is opened. It is possible to use multiple tools at a time.
+				Qtractor's matrix editor for MIDI clips offers a collection of useful tools, available from the "Tools" menu in the matrix editor window. These tools only operate on MIDI notes selected in the matrix editor window before the tool window is opened. Regardless of which tool you select from the menu, the same options are available to you each time the window is opened. It is possible to use multiple tools at a time.
 			</div><div class="para">
 				Be careful: the names of the tools may be misleading.
 			</div><div class="para">
@@ -63,7 +63,7 @@
 									</div></li></ul></div>
 
 						</div></li><li class="listitem"><div class="para">
-							Resize: This tool allows you to explicitly specify the duration or velocity of some MIDI notes. Setting the ''Value'' field will set the velocity (loudness) of all selected notes to that setting. Valid settings are from 0 (quietest) to 127 (loudest). Setting the ''Duration'' field will set the duration (length) of all selected notes to that setting. Duration is most usefully measured as "BBT" (meaning "Bars, Beats, and Ticks" - each is separated by a decimal point), but can also be measured as time or frames.
+							Resize: This tool allows you to explicitly specify the duration or velocity of some MIDI notes. Setting the "Value" field will set the velocity (loudness) of all selected notes to that setting. Valid settings are from 0 (quietest) to 127 (loudest). Setting the "Duration" field will set the duration (length) of all selected notes to that setting. Duration is most usefully measured as "BBT" (meaning "Bars, Beats, and Ticks" - each is separated by a decimal point), but can also be measured as time or frames.
 						</div></li></ul></div>
 
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Qtractor-Using.html"><strong>Prev</strong>8.3.Â Using Qtractor</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Qtractor-Using-JACK.html"><strong>Next</strong>8.3.3.Â Using JACK with Qtractor</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Real_Time_Linux_Kernel.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Real_Time_Linux_Kernel.html
index 1c44dea..fa0f61a 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Real_Time_Linux_Kernel.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Real_Time_Linux_Kernel.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>3.3.Â The Real-Time Linux Kernel</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="ChapterÂ 3.Â Real-Time and Low Latency" /><link rel="prev" href="sect-Musicians_Guide-Processor_Scheduling.html" title="3.2.Â Processor Scheduling" /><link rel="next" href="sect-Musicians_Guide-Hard_and_Soft_Real_Time.html" title="3.4.Â Hard and Soft Real-Time" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" s
 rc="../../../../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-Processor_Scheduling.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Hard_and_Soft_Real_Time.html"><strong>Next</strong></a></li></ul><div class="section" title="3.3.Â 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.Â The Real-Time Linux Kernel</h2></div></div></div><div class="para">
 			There is a "real-time patch" for the Linux kernel which enables the processor to unfairly schedule certain processes that ask for higher priority. Although the term "patch" may make it seem like this is just a partial solution, it really refers to the fact that the programming code used to enable this kind of unfair scheduling is not included in standard kernels; the standard kernel code must have this code "patched" into it.
 		</div><div class="para">
-			The default behaviour of a real-time kernel is still to use the "fair queueing" system by default. This is good, because most processes don't need to have consistently low latencies. Only specific processes are designed to request high-priority scheduling. Each process is given (or asks for) a priority number, and the real-time kernel will always give processing time to the process with the highest priority number, even if that process uses up ''all'' of the available processing time. This puts regular applications at a disadvantage: when a high-priority process is running, the rest of the system may be unable to function properly. In extreme (and very rare!) cases, a real-time process can encounter an error, use up all the processing time, and disallow any other process from running - effectively locking you out of your computer. Security measures have been taken to help ensure this doesn't happen, but as with anything, there is no guarantee. If you use a real-time kerne
 l, you are exposing yourself to a slightly higher risk of system crashes.
+			The default behaviour of a real-time kernel is still to use the "fair queueing" system by default. This is good, because most processes don't need to have consistently low latencies. Only specific processes are designed to request high-priority scheduling. Each process is given (or asks for) a priority number, and the real-time kernel will always give processing time to the process with the highest priority number, even if that process uses up <span class="emphasis"><em>all</em></span> of the available processing time. This puts regular applications at a disadvantage: when a high-priority process is running, the rest of the system may be unable to function properly. In extreme (and very rare!) cases, a real-time process can encounter an error, use up all the processing time, and disallow any other process from running - effectively locking you out of your computer. Security measures have been taken to help ensure this doesn't happen, but as with anything, there is no guar
 antee. If you use a real-time kernel, you are exposing yourself to a slightly higher risk of system crashes.
 		</div><div class="para">
 			A real-time kernel should not be used on a computer that acts as a server, for these reasons.
 		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Processor_Scheduling.html"><strong>Prev</strong>3.2.Â Processor Scheduling</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Hard_and_Soft_Real_Time.html"><strong>Next</strong>3.4.Â Hard and Soft Real-Time</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Region_Clip_Segment.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Region_Clip_Segment.html
index 233f454..6824164 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Region_Clip_Segment.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Region_Clip_Segment.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>6.3.3.Â Region, Clip, or Segment</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html" title="6.3.Â Interface Vocabulary" /><link rel="prev" href="sect-Musicians_Guide-Track_and_Multitrack.html" title="6.3.2.Â Track and Multitrack" /><link rel="next" href="sect-Musicians_Guide-Session_Track_Region.html" title="6.3.4.Â Relationship of Session, Track, and Region" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class=
 "toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Track_and_Multitrack.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Session_Track_Region.html"><strong>Next</strong></a></li></ul><div class="section" title="6.3.3.Â Region, Clip, or Segment" id="sect-Musicians_Guide-Region_Clip_Segment"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Region_Clip_Segment">6.3.3.Â Region, Clip, or Segment</h3></div></div></div><div class="para">
-				Region, clip, and segment are synonyms: different software uses a different word to refer to the same thing. A '''region''' (or '''clip''' or '''segment''') is the portion of audio recorded into one track during one take. Regions are represented in the main DAW interface window as a rectangle, usually coloured, and always contained in only one track. Regions containing audio signal data usually display a spectrographic representation of that data. Regions containing MIDI signal data usually displayed as matrix-based representation of that data.
+				Region, clip, and segment are synonyms: different software uses a different word to refer to the same thing. A x<em class="firstterm">multitrack</em> (or <em class="firstterm">clip</em> or <em class="firstterm">segment</em>) is the portion of audio recorded into one track during one take. Regions are represented in the main DAW interface window as a rectangle, usually coloured, and always contained in only one track. Regions containing audio signal data usually display a spectrographic representation of that data. Regions containing MIDI signal data usually displayed as matrix-based representation of that data.
 			</div><div class="para">
 				For the three DAW applications in the Musicians' Guide: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							Ardour calls them "regions,"
+							<span class="application"><strong>Ardour</strong></span> calls them "regions,"
 						</div></li><li class="listitem"><div class="para">
-							Qtractor calls them "clips," and,
+							<span class="application"><strong>Qtractor</strong></span> calls them "clips," and,
 						</div></li><li class="listitem"><div class="para">
-							Rosegarden calls them "segments."
+							<span class="application"><strong>Rosegarden</strong></span> calls them "segments."
 						</div></li></ul></div>
 
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Track_and_Multitrack.html"><strong>Prev</strong>6.3.2.Â Track and Multitrack</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-Session_Track_Region.html"><strong>Next</strong>6.3.4.Â Relationship of Session, Track, and Region</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html
index 6207977..4730a70 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html
@@ -1,6 +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>11.4.11.5.Â Using Busses: Audio-Rate Example</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11.Â Busses" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html" title="11.4.11.4.3.Â Special Note about Control-Rate Busses" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.4.12.Â Ordering and Other Synth Features" /></head
 ><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.11.5.Â Using Busses: Audio-Rate Example" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example"><div class="t
 itlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example">11.4.11.5.Â Using Busses: Audio-Rate Example</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.11.5.Â Using Busses: Audio-Rate Example</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.3.11.Â Busses" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html" title="11.3.11.4.3.Â Special Note about Control-Rate Busses" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.3.12.Â Ordering and Other Synth Features" /></head
 ><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.11.5.Â Using Busses: Audio-Rate Example" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example"><div class="t
 itlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example">11.3.11.5.Â Using Busses: Audio-Rate Example</h4></div></div></div><div class="para">
 				
 <pre class="programlisting">
 (
@@ -88,5 +88,5 @@ z.set( \direct, 0.5 ); // original Sine wave
 </pre>
 
 			</div><div class="para">
-				I'm not going to explain this example as extensively as the previous one. It's definitely the most complex example so far. It's better if you figure out what the parts do by playing with them yourself. The bus works by routing audio from the <code class="code">\tutorialDecayPink</code> and <code class="code">\tutorialDecaySine</code> synths into the <code class="code">\tutorialReverb</code> synth. The first two synths can be controlled to put all, none, or some of their signal into the bus (so that it goes through the <code class="code">\tutorialReverb</code> synth), or straight out the audio interface (bypassing the <code class="code">\tutorialReverb</code> synth). Notice that the ''same'' effects processor is operating on two different input sources.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html"><strong>Prev</strong>11.4.11.4.3.Â Special Note about Control-Rate Buss...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html"><strong>Next</strong>11.4.12.Â Ordering and Other Synth Features</a></li></ul></body></html>
+				I'm not going to explain this example as extensively as the previous one. It's definitely the most complex example so far. It's better if you figure out what the parts do by playing with them yourself. The bus works by routing audio from the <code class="literal">\tutorialDecayPink</code> and <code class="literal">\tutorialDecaySine</code> synths into the <code class="literal">\tutorialReverb</code> synth. The first two synths can be controlled to put all, none, or some of their signal into the bus (so that it goes through the <code class="literal">\tutorialReverb</code> synth), or straight out the audio interface (bypassing the <code class="literal">\tutorialReverb</code> synth). Notice that the <span class="emphasis"><em>same</em></span> effects processor is operating on two different input sources.
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html"><strong>Prev</strong>11.3.11.4.3.Â Special Note about Control-Rate Buss...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html"><strong>Next</strong>11.3.12.Â Ordering and Other Synth Features</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html
index afba259..0bb6fb2 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
@@ -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>11.4.11.3.Â Bus Objects</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11.Â Busses" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html" title="11.4.11.2.Â Out and In UGens" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.4.11.4.Â Using Busses: Control-Rate Example" /></head><body class="draft toc_embeded "><div id="tocdiv" clas
 s="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.11.3.Â Bus Objects" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-
 SC-Basic_Programming-Busses-Bus_Objects">11.4.11.3.Â Bus Objects</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.11.3.Â Bus Objects</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.3.11.Â Busses" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html" title="11.3.11.2.Â Out and In UGens" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.3.11.4.Â Using Busses: Control-Rate Example" /></head><body class="draft toc_embeded "><div id="tocdiv" clas
 s="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.11.3.Â Bus Objects" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-
 SC-Basic_Programming-Busses-Bus_Objects">11.3.11.3.Â Bus Objects</h4></div></div></div><div class="para">
 				As SynthDef and Synth represent things stored on the server, the interpreter provides us with an instantiable "Bus" Class that represents the server's busses. In many programs that you write, you won't need to use a Bus Object - particularly when you're doing simple input and output with the automatically-reserved bus numbers. But, like the SynthDef and Synth Classes make it easier to deal with synthdefs and synths on the server (which are very difficult to deal with directly), the Bus Class makes it easier to deal with busses on the server, and provides some extra functionality to boot!
 			</div><div class="para">
 				The primary advantage of using Bus Objects is that you don't have to keep track of bus numbers, whether they're being used, and how mnany channels are being routed. For simple input and output of audio-rate signals, you're better off simply remembering the bus numbers
@@ -51,4 +51,4 @@
 &lt;replaceable&gt;myBusVariable&lt;/replaceable&gt; = nil;
 </pre>
 				 Like when sending the "free" message to a Synth Object, you should set the variable name of a "free'd" Bus to "nil". This will prevent you from accidentally sending audio there after the Bus is released.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html"><strong>Prev</strong>11.4.11.2.Â Out and In UGens</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html"><strong>Next</strong>11.4.11.4.Â Using Busses: Control-Rate Example</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html"><strong>Prev</strong>11.3.11.2.Â Out and In UGens</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html"><strong>Next</strong>11.3.11.4.Â Using Busses: Control-Rate Example</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html
@@ -1,6 +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>11.4.11.4.Â Using Busses: Control-Rate Example</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11.Â Busses" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html" title="11.4.11.3.Â Bus Objects" /><link rel="next" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html" title="11.4.11.4.2.Â Why Use a Bus" /></head><body class="draft toc_embeded "><div id="tocdiv" c
 lass="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.11.4.Â Using Busses: Control-Rate Example" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example"><div class="titlepage"><div><div keep-together.within-column="always">
 <h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example">11.4.11.4.Â Using Busses: Control-Rate Example</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.11.4.Â Using Busses: Control-Rate Example</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.3.11.Â Busses" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html" title="11.3.11.3.Â Bus Objects" /><link rel="next" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html" title="11.3.11.4.2.Â Why Use a Bus" /></head><body class="draft toc_embeded "><div id="tocdiv" c
 lass="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.11.4.Â Using Busses: Control-Rate Example" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example"><div class="titlepage"><div><div keep-together.within-column="always">
 <h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example">11.3.11.4.Â Using Busses: Control-Rate Example</h4></div></div></div><div class="para">
 				The best way to understand how and when to use a bus is to see them in action. 
 <pre class="programlisting">
 ( // execute first: prepare the server
@@ -39,19 +39,19 @@
 </pre>
 				 This example contains three stages: prepare the server, create the synths, destroy the synths. These three stages will become familiar as you program in <span class="application"><strong>SuperCollider</strong></span>, whether or not you use busses frequently. The example is fairly complicated, so the code is explained here: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							"busAudioSynth" Function: Accepts two arguments, and creates an audio-rate <code class="code">SinOsc</code>, routed to the left output channel. The frequency is determined by a control-rate bus given as an argument, and optionally with an offset that can be supplied as an argument.
+							<code class="function">busAudioSynth</code> Function: Accepts two arguments, and creates an audio-rate <code class="classname">SinOsc</code>, routed to the left output channel. The frequency is determined by a control-rate bus given as an argument, and optionally with an offset that can be supplied as an argument.
 						</div></li><li class="listitem"><div class="para">
-							"busControlSynth" Function: Accepts two arguments, and creates a control-rate <code class="code">SinOsc</code>, routed to the bus given as an argument. Can also be given a frequency; the value produced by the synth is intended to be used to control pitch. The centre pitch of the oscillation is "freq", and the range of oscillation is one-twentieth the size of "freq" (one-fourtieth both higher and lower than "freq").
+							<code class="function">busControlSynth</code> Function: Accepts two arguments, and creates a control-rate <code class="classname">SinOsc</code>, routed to the bus given as an argument. Can also be given a frequency; the value produced by the synth is intended to be used to control pitch. The centre pitch of the oscillation is <code class="literal">freq</code>, and the range of oscillation is one-twentieth the size of <code class="literal">freq</code> (one-fourtieth both higher and lower than <code class="literal">freq</code>).
 						</div></li><li class="listitem"><div class="para">
 							SynthDef: These commands are straight-forward. They send the synthesis definitions to the server.
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">b = Bus.control( s );</code> : This should also be straight-forward. A single-channel control bus is created, and assigned to the pre-declared variable "b".
+							<code class="code">b = Bus.control( s );</code> : This should also be straight-forward. A single-channel control bus is created, and assigned to the pre-declared variable <code class="literal">b</code>.
 						</div></li><li class="listitem"><div class="para">
-							For synth creation, x is assigned a control-rate synth, while y and z are assigned audio-rate synths. Each synth is given the variable "b", which refers to our control-rate bus. "z" is also given an argument for \freqOffset, which makes its frequency 200 Hz higher than the synth assigned to "y".
+							For synth creation, <code class="literal">x</code> is assigned a control-rate synth, while <code class="literal">y</code> and <code class="literal">z</code> are assigned audio-rate synths. Each synth is given the variable <code class="literal">b</code>, which refers to our control-rate bus. <code class="literal">z</code> is also given an argument for <code class="literal">\freqOffset</code>, which makes its frequency 200Â Hz higher than the synth assigned to <code class="literal">y</code>.
 						</div></li><li class="listitem"><div class="para">
-							Don't worry about the "after" message for now. It's explained in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html#sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering" title="11.4.12.1.Â Ordering">SectionÂ 11.4.12.1, â€œOrderingâ€</a>.
+							Don't worry about the <code class="function">after</code> message for now. It's explained in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html#sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering" title="11.3.12.1.Â Ordering">SectionÂ 11.3.12.1, â€œOrderingâ€</a>.
 						</div></li></ul></div>
 
-			</div><div class="section" title="11.4.11.4.1.Â Why Use Global Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Global_Variables"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Global_Variables">11.4.11.4.1.Â Why Use Global Variables</h5></div></div></div><div class="para">
-					Since this is just an example, and not an actual program, the program uses four automatically-declared global variables: b, x, y, and z. Because these variables are shared with everything, it's especially important to set them to "nil" when you're done. If this were going to be written into a real program, it would be a good idea to change the variables to something which can't be accessed by other programs.
-				</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html"><strong>Prev</strong>11.4.11.3.Â Bus Objects</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_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html"><strong>Next</strong>11.4.11.4.2.Â Why Use a Bus</a></li></ul></body></html>
+			</div><div class="section" title="11.3.11.4.1.Â Why Use Global Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Global_Variables"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Global_Variables">11.3.11.4.1.Â Why Use Global Variables</h5></div></div></div><div class="para">
+					Since this is just an example, and not an actual program, the program uses four automatically-declared global variables: <code class="literal">b</code>, <code class="literal">x</code>, <code class="literal">y</code>, and <code class="literal">z</code>. Because these variables are shared with everything, it's especially important to set them to <code class="literal">nil</code> when you're done. If this were going to be written into a real program, it would be a good idea to change the variables to something which can't be accessed by other programs.
+				</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html"><strong>Prev</strong>11.3.11.3.Â Bus Objects</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_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html"><strong>Next</strong>11.3.11.4.2.Â Why Use a Bus</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html
@@ -1,11 +1,11 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.11.4.3.Â Special Note about Control-Rate Busses</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.4.11.4.Â Using Busses: Control-Rate Example" /><link rel="prev" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html" title="11.4.11.4.2.Â Why Use a Bus" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html" title="11.4.11.5.Â U
 sing Busses: Audio-Rate Example" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.11.4.3.Â Special Note about Control-Rate Busses" id="sect-Musicians_Guide-SC-Basic_Progr
 amming-Busses-Control_Rate_Example-Special_Note"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note">11.4.11.4.3.Â Special Note about Control-Rate Busses</h5></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.11.4.3.Â Special Note about Control-Rate Busses</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.3.11.4.Â Using Busses: Control-Rate Example" /><link rel="prev" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html" title="11.3.11.4.2.Â Why Use a Bus" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html" title="11.3.11.5.Â U
 sing Busses: Audio-Rate Example" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.11.4.3.Â Special Note about Control-Rate Busses" id="sect-Musicians_Guide-SC-Basic_Progr
 amming-Busses-Control_Rate_Example-Special_Note"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note">11.3.11.4.3.Â Special Note about Control-Rate Busses</h5></div></div></div><div class="para">
 					Control-rate Bus'ses are a great way to enhance the flexibility of your program. The best part is that, in order to use a control-rate Bus, the UGen doesn't even need to have been written to accomodate it. 
 <pre class="programlisting">{ SinOsc.ar( freq:In.kr( controlRateBus, 1 ), mul:0.2 ); }.play;</pre>
 					 Now you've managed to spice up an otherwise-boring synth!
 				</div><div class="para">
-					Also, control-rate Bus'ses don't need to be constantly changing. Unlike an audio-rate Bus, a control-rate Bus will hold the last-inputted value until another value is provided. You can the value of a control-rate Bus with the "set" message (and a single argument, which is the value). You can also get the current value, whether created by "set" or a UGen, by using the "get" message, and sending a Function with one argument. 
+					Also, control-rate Bus'ses don't need to be constantly changing. Unlike an audio-rate Bus, a control-rate Bus will hold the last-inputted value until another value is provided. You can the value of a control-rate Bus with the <code class="function">set</code> message (and a single argument, which is the value). You can also get the current value, whether created by <code class="function">set</code> or a UGen, by using the <code class="function">get</code> message, and sending a Function with one argument. 
 <pre class="programlisting">
 (
    var bus = Bus.control( s );
@@ -14,7 +14,7 @@
    bus.free; bus = nil;
 )
 </pre>
-					 When running this example, you'll notice that the "12" doesn't get posted until ''after'' the program finishes with "nil". This is because of the '''latency''' between when the interpreter asks the server to do something, and when the server does it. The amount of time it takes for the server to complete a command is usually very small, but as you can see, it can make an important difference to your program. This latency is also the reason that you can't call "SynthDef.new( ... )" and "Synth.new( ... )" at the exact same time.
+					 When running this example, you'll notice that the <code class="literal">12</code> doesn't get posted until <span class="emphasis"><em>after</em></span> the program finishes with <code class="literal">nil</code>. This is because of the <em class="firstterm">latency</em> between when the interpreter asks the server to do something, and when the server does it. The amount of time it takes for the server to complete a command is usually very small, but as you can see, it can make an important difference to your program. This latency is also the reason that you can't call <code class="code">SynthDef.new( <em class="replaceable"><code>...</code></em> )</code> and <code class="code">Synth.new( <em class="replaceable"><code>...</code></em> )</code> at the exact same time.
 				</div><div class="para">
-					This latency is also the reason that we have to provide a single-argument Function as an argument to the "get" Function. Since the Function won't immediately be able to get the value of the bus from the server, we can't expect the value to be returned by the Function. Instead, when "get" gets the value of the bus from the server, it runs the Function that you gave it.
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html"><strong>Prev</strong>11.4.11.4.2.Â Why Use a Bus</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html"><strong>Next</strong>11.4.11.5.Â Using Busses: Audio-Rate Example</a></li></ul></body></html>
+					This latency is also the reason that we have to provide a single-argument function as an argument to the <code class="function">get</code> function. Since the function won't immediately be able to get the value of the bus from the server, we can't expect the value to be returned by the function. Instead, when "get" gets the value of the bus from the server, it runs the function that you gave it.
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html"><strong>Prev</strong>11.3.11.4.2.Â Why Use a Bus</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html"><strong>Next</strong>11.3.11.5.Â Using Busses: Audio-Rate Example</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html
@@ -1,11 +1,11 @@
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.11.2.Â Out and In UGens</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11.Â Busses" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11.Â Busses" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html" title="11.4.11.3.Â Bus Objects" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../t
 oc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.11.2.Â Out and In UGens" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens">11.4.11.2.Â Out and In UGens</h4><
 /div></div></div><div class="para">
-				The "Out" UGen is discussed in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen" title="11.4.10.1.Â &quot;Out&quot; UGen">SectionÂ 11.4.10.1, â€œ"Out" UGenâ€</a>. What it does is take a signal and route it to the specified bus number. The "In" UGen performs a similar action: take a signal from a bus number, and make it available for use.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.11.2.Â Out and In UGens</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.3.11.Â Busses" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.3.11.Â Busses" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html" title="11.3.11.3.Â Bus Objects" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../t
 oc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.11.2.Â Out and In UGens" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens">11.3.11.2.Â Out and In UGens</h4><
 /div></div></div><div class="para">
+				The "Out" UGen is discussed in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen" title="11.3.10.1.Â &quot;Out&quot; UGen">SectionÂ 11.3.10.1, â€œ"Out" UGenâ€</a>. What it does is take a signal and route it to the specified bus number. The "In" UGen performs a similar action: take a signal from a bus number, and make it available for use.
 			</div><div class="para">
 				This is the syntax to use for the <code class="classname">Out</code> UGen: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Out.ar</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">audioRateUGen</var><code>)</code>;</p></div> or <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Out.kr</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">controlRateUGen</var><code>)</code>;</p></div> The UGen enclosed here should not be enclosed in a Function. If the UGen provides multi-channel output, "Out" will automatically route the lowest channel to the specified bus number, the next channel to the next highest bus number, and so on. This way, you can achieve stereo output with one "Out" UGen.
 			</div><div class="para">
 				This is the syntax to use for the <code class="classname">In</code> UGen: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">In.ar</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">numberOfChannels</var><code>)</code>;</p></div> or <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">In.kr</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">numberOfChannels</var><code>)</code>;</p></div> Whereas "Out" automatically outputs the right number of channels based on how many you provide, "In" requires that you specify how many channels you want it to fetch for you.
 			</div><div class="para">
 				When created with this form, both of these UGens automatically connect to the default server, stored in the single-letter "s" variable by the interpreter.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html"><strong>Prev</strong>11.4.11.Â Busses</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html"><strong>Next</strong>11.4.11.3.Â Bus Objects</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html"><strong>Prev</strong>11.3.11.Â Busses</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html"><strong>Next</strong>11.3.11.3.Â Bus Objects</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses.html
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@@ -1,8 +1,8 @@
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.11.Â Busses</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html" title="11.4.10.9.Â Things to Do with a SynthDef: Set and Free" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html" title="11.4.11.2.Â Out and In UGens" /></head><body class="draft toc_e
 mbeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.11.Â Busses" id="sect-Musicians_Guide-SC-Basic_Programming-Busses"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Music
 ians_Guide-SC-Basic_Programming-Busses">11.4.11.Â Busses</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>11.3.11.Â Busses</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html" title="11.3.10.9.Â Things to Do with a SynthDef: Set and Free" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html" title="11.3.11.2.Â Out and In UGens" /></head><body class="draft toc_e
 mbeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.11.Â Busses" id="sect-Musicians_Guide-SC-Basic_Programming-Busses"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Music
 ians_Guide-SC-Basic_Programming-Busses">11.3.11.Â Busses</h3></div></div></div><div class="para">
 			<span class="application"><strong>SuperCollider</strong></span> busses work just like busses in other audio creation contexts, which work similarly to busses used to transport humans. Busses are used to send audio from one place to another, and in <span class="application"><strong>SuperCollider</strong></span> they can also be used to send control-rate signals. Each <span class="application"><strong>SuperCollider</strong></span> bus is given an index number, which are integers starting at 0. Audio-rate busses and control-rate busses are independent, and are given an independent set of index numbers. Any number of unique signals can be routed into a bus, and any number of receivers can take signals from a bus - but the signal will be the sum of all the input signals. In other words, if you want to send two different sets of signals, you need two different busses with different index numbers.
-		</div><div class="section" title="11.4.11.1.Â Audio-Rate Bus Numbers" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Numbers"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Numbers">11.4.11.1.Â Audio-Rate Bus Numbers</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.11.1.Â Audio-Rate Bus Numbers" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Numbers"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Numbers">11.3.11.1.Â Audio-Rate Bus Numbers</h4></div></div></div><div class="para">
 				There are special audio-rate busses reserved automatically by the server. These interact with the audio interface, allowing you to get sound from its inputs, and send sound to its outputs. The lowest audio-rate bus numbers are reserved for audio interface outputs, each channel receiving an independent bus. The bus numbers just above those are reserved for audio interface inputs, each channel receiving an independent bus.
 			</div><div class="para">
 				For a simple audio interface with two channels each for input and output, the pre-reserved audio-rate bus numbers would be these: 
@@ -18,4 +18,4 @@
 
 			</div><div class="para">
 				Now you can change the first argument of the "Out" UGen as desired!
-			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html"><strong>Prev</strong>11.4.10.9.Â Things to Do with a SynthDef: Set and ...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html"><strong>Next</strong>11.4.11.2.Â Out and In UGens</a></li></ul></body></html>
+			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html"><strong>Prev</strong>11.3.10.9.Â Things to Do with a SynthDef: Set and ...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html"><strong>Next</strong>11.3.11.2.Â Out and In UGens</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html
@@ -1,15 +1,15 @@
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.6.3.2.Â Inefficient Functions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html" title="11.4.6.3.Â LinkedList" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html" title="11.4.6.3.Â LinkedList" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html" title="11.4.6.3.3.Â Example" /></head><body class="draft toc_embeded "><div id="tocdiv" class="
 toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.3.2.Â Inefficient Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="ti
 tle" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions">11.4.6.3.2.Â Inefficient Functions</h5></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.6.3.2.Â Inefficient Functions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html" title="11.3.6.3.Â LinkedList" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html" title="11.3.6.3.Â LinkedList" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html" title="11.3.6.3.3.Â Example" /></head><body class="draft toc_embeded "><div id="tocdiv" class="
 toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.6.3.2.Â Inefficient Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="ti
 tle" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions">11.3.6.3.2.Â Inefficient Functions</h5></div></div></div><div class="para">
 					These Functions make use of the LinkedList Class in an inefficient way, but they can be useful. They are inefficient because they may potentially have to review all of the elements in a LinkedList before completing. 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								<code class="code">at( index )</code> pretends the LinkedList is an Array, and returns a copy of what would be the element at the given index number.
+								<code class="function">at( <em class="replaceable"><code>index</code></em> )</code> pretends the LinkedList is an Array, and returns a copy of what would be the element at the given index number.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">put( index, obj )</code> pretends the LinkedList is an Array, and changes the element at the given index number to be "obj."
+								<code class="function">put( <em class="replaceable"><code>index</code></em>, , <em class="replaceable"><code>obj</code></em> )</code> pretends the LinkedList is an Array, and changes the element at the given index number to be <code class="literal">obj</code>.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">remove( obj )</code> searches through a LinkedList and removes the element judged to be equal to "obj," regardless of its index number.
+								<code class="function">remove( <em class="replaceable"><code>obj</code></em> )</code> searches through a LinkedList and removes the element judged to be equal to <code class="literal">obj</code>, regardless of its index number.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">removeAt( index )</code> pretends the LinkedList is an Array, and removes the element located at the given index number.
+								<code class="function">removeAt( <em class="replaceable"><code>index</code></em> )</code> pretends the LinkedList is an Array, and removes the element located at the given index number.
 							</div></li></ul></div>
 
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html"><strong>Prev</strong>11.4.6.3.Â LinkedList</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html"><strong>Next</strong>11.4.6.3.3.Â Example</a></li></ul></body></html>
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html"><strong>Prev</strong>11.3.6.3.Â LinkedList</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html"><strong>Next</strong>11.3.6.3.3.Â Example</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html
index b5343c3..551fd28 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html
@@ -1,6 +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>11.4.6.3.3.Â Example</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html" title="11.4.6.3.Â LinkedList" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html" title="11.4.6.3.2.Â Inefficient Functions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html" title="11.4.6.4.Â Other Collections" /></head><body class="draft toc_embeded 
 "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.3.3.Â Example" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example"><div class="titlepage"><div><div keep-together.within-column="al
 ways"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example">11.4.6.3.3.Â Example</h5></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.6.3.3.Â Example</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html" title="11.3.6.3.Â LinkedList" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html" title="11.3.6.3.2.Â Inefficient Functions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html" title="11.3.6.4.Â Other Collections" /></head><body class="draft toc_embeded 
 "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.6.3.3.Â Example" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example"><div class="titlepage"><div><div keep-together.within-column="al
 ways"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example">11.3.6.3.3.Â Example</h5></div></div></div><div class="para">
 					This example uses a LinkedList as a queue, adding numbers to the tail, and removing and printing from the head. 
 <pre class="programlisting">
 (
@@ -24,4 +24,4 @@
 )
 </pre>
 
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html"><strong>Prev</strong>11.4.6.3.2.Â Inefficient Functions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html"><strong>Next</strong>11.4.6.4.Â Other Collections</a></li></ul></body></html>
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html"><strong>Prev</strong>11.3.6.3.2.Â Inefficient Functions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html"><strong>Next</strong>11.3.6.4.Â Other Collections</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html
index 2f03725..3556ed6 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html
@@ -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>11.4.6.3.Â LinkedList</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.4.6.Â Collections" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html" title="11.4.6.2.5.Â Examples" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html" title="11.4.6.3.2.Â Inefficient Functions" /></head><body class="draft toc_embeded "><div id="tocdiv" cla
 ss="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.3.Â LinkedList" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-
 Musicians_Guide-SC-Basic_Programming-Collections-LinkedList">11.4.6.3.Â LinkedList</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.6.3.Â LinkedList</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.3.6.Â Collections" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html" title="11.3.6.2.5.Â Examples" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html" title="11.3.6.3.2.Â Inefficient Functions" /></head><body class="draft toc_embeded "><div id="tocdiv" cla
 ss="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.6.3.Â LinkedList" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-
 Musicians_Guide-SC-Basic_Programming-Collections-LinkedList">11.3.6.3.Â LinkedList</h4></div></div></div><div class="para">
 				Linked lists are very common structures for data management in computer science. They are more efficient than arrays for many tasks, particularly when it's impossible to know how many elements will be required in an array until the program is run. <span class="application"><strong>SuperCollider</strong></span>'s List Class is implemented with arrays, and it offers nearly the same functionality as the LinkedList class.
 			</div><div class="para">
 				A true linked list is accessed most efficiently from the start (called the "head" of the list) or the end (called the "tail"). Each element is linked to the one before it, the one after it, or both. <span class="application"><strong>SuperCollider</strong></span>'s LinkedList Class has elements which are linked both to the preceding and following elements, so it is called a "doubly linked list."
@@ -9,25 +9,25 @@
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							If you're going to be adding elements to the start or end of the list, and accessing from the start or end of the list, the LinkedList Class will be more efficient.
 						</div></li><li class="listitem"><div class="para">
-							If you're going to be adding elements at arbitrary index numbers ''inside'' the list, and accessing elements at arbitrary index numbers inside the list, the List Class will be more efficient.
+							If you're going to be adding elements at arbitrary index numbers <span class="emphasis"><em>inside</em></span> the list, and accessing elements at arbitrary index numbers inside the list, the List Class will be more efficient.
 						</div></li><li class="listitem"><div class="para">
 							If you're going to be adding elements to the start or end, but accessing specific indices, or adding elements at specific indices, but accessing from the start or end, then you get to choose where to save computation time. In one of these cases, it might not matter which one you choose.
 						</div></li></ul></div>
 
-			</div><div class="section" title="11.4.6.3.1.Â Efficient Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Inefficient_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Inefficient_Functions">11.4.6.3.1.Â Efficient Functions</h5></div></div></div><div class="para">
+			</div><div class="section" title="11.3.6.3.1.Â Efficient Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Inefficient_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Inefficient_Functions">11.3.6.3.1.Â Efficient Functions</h5></div></div></div><div class="para">
 					These Functions make use of the LinkedList Class in an efficient way. They are efficient because they access only the first or last element in the LinkedList. 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								<code class="code">add( obj )</code> adds "obj" to a LinkedList as the last item.
+								<code class="function">add( <em class="replaceable"><code>obj</code></em> )</code> adds <code class="literal">obj</code> to a LinkedList as the last item.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">addFirst( obj )</code> adds "obj" to a LinkedList as the first item.
+								<code class="function">addFirst( <em class="replaceable"><code>obj</code></em> )</code> adds <code class="literal">obj</code> to a LinkedList as the first item.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">pop</code> removes the last item in a LinkedList and returns it.
+								<code class="function">pop</code> removes the last item in a LinkedList and returns it.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">popFirst</code> removes the first item in a LinkedList and returns it.
+								<code class="function">popFirst</code> removes the first item in a LinkedList and returns it.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">first</code> returns a copy of the first item in a LinkedList.
+								<code class="function">first</code> returns a copy of the first item in a LinkedList.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">last</code> returns a copy of the last item in a LinkedList.
+								<code class="function">last</code> returns a copy of the last item in a LinkedList.
 							</div></li></ul></div>
 
-				</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html"><strong>Prev</strong>11.4.6.2.5.Â Examples</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html"><strong>Next</strong>11.4.6.3.2.Â Inefficient Functions</a></li></ul></body></html>
+				</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html"><strong>Prev</strong>11.3.6.2.5.Â Examples</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html"><strong>Next</strong>11.3.6.3.2.Â Inefficient Functions</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html
index 3042038..d0f7648 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.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>11.4.6.2.3.Â Accessing a List</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.4.6.2.Â List" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html" title="11.4.6.2.2.Â Adding to an Existing List" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html" title="11.4.6.2.4.Â Removing from a List" /></head><body class="draft toc_embe
 ded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.2.3.Â Accessing a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing"><div class="titlepage"><div><div keep-together.within-colu
 mn="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing">11.4.6.2.3.Â Accessing a List</h5></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.6.2.3.Â Accessing a List</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.3.6.2.Â List" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html" title="11.3.6.2.2.Â Adding to an Existing List" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html" title="11.3.6.2.4.Â Removing from a List" /></head><body class="draft toc_embe
 ded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.6.2.3.Â Accessing a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing"><div class="titlepage"><div><div keep-together.within-colu
 mn="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing">11.3.6.2.3.Â Accessing a List</h5></div></div></div><div class="para">
 					These are "instance methods," meaning that they operate on a specific list. 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								<code class="code">at( index )</code> returns the Object assigned to the "index" index number. If "index" is greater than the last element in the List, returns "nil".
+								<code class="function">at( <em class="replaceable"><code>index</code></em> )</code> returns the Object assigned to the <code class="literal">index</code> index number. If <code class="literal">index</code> is greater than the last element in the List, returns <code class="literal">nil</code>.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">clipAt( index )</code> returns the Object assigned to the "index" index number. If "index" is greater than the last element in the List, returns the last element in the List.
+								<code class="function">clipAt( <em class="replaceable"><code>index</code></em> )</code> returns the Object assigned to the <code class="literal">index</code> index number. If <code class="literal">index</code> is greater than the last element in the List, returns the last element in the List.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">wrapAt( index )</code> returns the Object assigned to the "index" index number. If "index" is greater than the last element in the List, returns an element based on a "wrap-around" index number. For a three-element List, 0 will return element 0, 1 returns 1, 2 returns 2, 3 returns 0, 4 returns 1, 5 returns 2, 6 returns 0, and so on.
+								<code class="function">wrapAt( <em class="replaceable"><code>index</code></em> )</code> returns the Object assigned to the <code class="literal">index</code> index number. If <code class="literal">index</code> is greater than the last element in the List, returns an element based on a "wrap-around" index number. For a three-element List, <code class="literal">0</code> will return element <code class="literal">0</code>, <code class="literal">1</code> returns <code class="literal">1</code>, <code class="literal">2</code> returns <code class="literal">2</code>, <code class="literal">3</code> returns <code class="literal">0</code>, <code class="literal">4</code> returns <code class="literal">1</code>, <code class="literal">5</code> returns <code class="literal">2</code>, <code class="literal">6</code> returns <code class="literal">0</code>, and so on.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">foldAt( index )</code> returns the Object assigned to the "index" index number. If "index" is greater than the last element in the List, returns an element based on a "fold-back" index number. Whereas <code class="code">wrapAt()</code> will always continue from the lowest to the highest index number, <code class="code">foldAt()</code> will change every time: low to high, high to low, low to high, and so on.
+								<code class="function">foldAt( <em class="replaceable"><code>index</code></em> )</code> returns the Object assigned to the <code class="literal">index</code> index number. If <code class="literal">index</code> is greater than the last element in the List, returns an element based on a "fold-back" index number. Whereas <code class="function">wrapAt()</code> always continues from the lowest to the highest index number, <code class="function">foldAt()</code> changes every time: low to high, high to low, low to high, and so on.
 							</div></li></ul></div>
 
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html"><strong>Prev</strong>11.4.6.2.2.Â Adding to an Existing List</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html"><strong>Next</strong>11.4.6.2.4.Â Removing from a List</a></li></ul></body></html>
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html"><strong>Prev</strong>11.3.6.2.2.Â Adding to an Existing List</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html"><strong>Next</strong>11.3.6.2.4.Â Removing from a List</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html
index 79aaf2e..da8434b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.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>11.4.6.2.2.Â Adding to an Existing List</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.4.6.2.Â List" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.4.6.2.Â List" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html" title="11.4.6.2.3.Â Accessing a List" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe i
 d="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.2.2.Â Adding to an Existing List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musi
 cians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List">11.4.6.2.2.Â Adding to an Existing List</h5></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.6.2.2.Â Adding to an Existing List</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.3.6.2.Â List" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.3.6.2.Â List" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html" title="11.3.6.2.3.Â Accessing a List" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe i
 d="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.6.2.2.Â Adding to an Existing List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musi
 cians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List">11.3.6.2.2.Â Adding to an Existing List</h5></div></div></div><div class="para">
 					These are "instance methods," meaning that they operate on a specific list. 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								<code class="code">put( index, item )</code> adds "item" into the List at index number "index".
+								<code class="function">put( <em class="replaceable"><code>index</code></em>, , <em class="replaceable"><code>item</code></em> )</code> adds <code class="literal">item</code> into the List at index number <code class="literal">index</code>.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">add( item )</code> adds "item" to the end of a List.
+								<code class="function">add( <em class="replaceable"><code>item</code></em> )</code> adds <code class="literal">item</code> to the end of a List.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">addFirst( item )</code> adds "item" to the beginning of a List.
+								<code class="function">addFirst( <em class="replaceable"><code>item</code></em> )</code> adds <code class="literal">item</code> to the beginning of a List.
 							</div></li></ul></div>
 
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html"><strong>Prev</strong>11.4.6.2.Â List</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html"><strong>Next</strong>11.4.6.2.3.Â Accessing a List</a></li></ul></body></html>
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html"><strong>Prev</strong>11.3.6.2.Â List</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html"><strong>Next</strong>11.3.6.2.3.Â Accessing a List</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html
index 7651066..987f66e 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html
@@ -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>11.4.6.2.5.Â Examples</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.4.6.2.Â List" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html" title="11.4.6.2.4.Â Removing from a List" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html" title="11.4.6.3.Â LinkedList" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="
 tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.2.5.Â Examples" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-C
 ollections-List-Examples">11.4.6.2.5.Â Examples</h5></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.6.2.5.Â Examples</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.3.6.2.Â List" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html" title="11.3.6.2.4.Â Removing from a List" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html" title="11.3.6.3.Â LinkedList" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="
 tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.6.2.5.Â Examples" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-C
 ollections-List-Examples">11.3.6.2.5.Â Examples</h5></div></div></div><div class="para">
 					The following examples show different ways to use List's.
 				</div><div class="para">
 					
@@ -160,4 +160,4 @@
 )
 </pre>
 					 This example shows what happens when you try to access elements beyond the end of a List with the "wrapAt()" Function. For index numbers beyond the end of the List, the interpreter will start again at the beginning of the List, "wrapping" around to the beginning.
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html"><strong>Prev</strong>11.4.6.2.4.Â Removing from a List</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html"><strong>Next</strong>11.4.6.3.Â LinkedList</a></li></ul></body></html>
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html"><strong>Prev</strong>11.3.6.2.4.Â Removing from a List</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html"><strong>Next</strong>11.3.6.3.Â LinkedList</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html
index 696c5cf..dbac9c6 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html
@@ -1,11 +1,11 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.6.2.4.Â Removing from a List</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.4.6.2.Â List" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html" title="11.4.6.2.3.Â Accessing a List" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html" title="11.4.6.2.5.Â Examples" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc">
 <iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.2.4.Â Removing from a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_
 Guide-SC-Basic_Programming-Collections-List-Removing">11.4.6.2.4.Â Removing from a List</h5></div></div></div><div class="para">
-					One way to remove an element from a List is to re-assign that element's index number the value "nil". These two Functions also remove elements from a List. They are "instance methods," meaning that they operate on a specific list. 
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.6.2.4.Â Removing from a List</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.3.6.2.Â List" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html" title="11.3.6.2.3.Â Accessing a List" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html" title="11.3.6.2.5.Â Examples" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc">
 <iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.6.2.4.Â Removing from a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_
 Guide-SC-Basic_Programming-Collections-List-Removing">11.3.6.2.4.Â Removing from a List</h5></div></div></div><div class="para">
+					One way to remove an element from a List is to re-assign that element's index number the value <code class="literal">nil</code>. These two Functions also remove elements from a List. They are "instance methods," meaning that they operate on a specific list. 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								<code class="code">pop</code> returns the last element in a List, and removes it from the List.
+								<code class="function">pop</code> returns the last element in a List, and removes it from the List.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">removeAt( index )</code> removes the element assigned to "index" index number, removing it from the List and shrinking the List. This will not leave a "nil" element in the List.
+								<code class="function">removeAt( <em class="replaceable"><code>index</code></em> )</code> removes the element assigned to <code class="literal">index</code> index number, removing it from the List and shrinking the List. <code class="function">removeAt()</code> does not leave a <code class="literal">nil</code> element in the List.
 							</div></li></ul></div>
 
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html"><strong>Prev</strong>11.4.6.2.3.Â Accessing a List</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html"><strong>Next</strong>11.4.6.2.5.Â Examples</a></li></ul></body></html>
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Accessing.html"><strong>Prev</strong>11.3.6.2.3.Â Accessing a List</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html"><strong>Next</strong>11.3.6.2.5.Â Examples</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html
index 4f3039c..31c84a2 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html
@@ -1,17 +1,17 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.6.2.Â List</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.4.6.Â Collections" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.4.6.Â Collections" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html" title="11.4.6.2.2.Â Adding to an Existing List" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><ifram
 e id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.2.Â List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Col
 lections-List">11.4.6.2.Â List</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.6.2.Â List</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.3.6.Â Collections" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.3.6.Â Collections" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html" title="11.3.6.2.2.Â Adding to an Existing List" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><ifram
 e id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.6.2.Â List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Col
 lections-List">11.3.6.2.Â List</h4></div></div></div><div class="para">
 				An List is a Collection with an infinite maximum size. It is the programmer's responsibility to maintain a meaningful order, and to remember the meaning of the data. Data in a List is called "elements," each of which is assigned a specific "index number." Index numbers begin at 0. Any mix of Objects can be stored in a List, including a List. Lists and Arrays are very similar, but <span class="application"><strong>SuperCollider</strong></span> manages some of the dirty work for you, when you use the List Class.
-			</div><div class="section" title="11.4.6.2.1.Â Building a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Building"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Building">11.4.6.2.1.Â Building a List</h5></div></div></div><div class="para">
+			</div><div class="section" title="11.3.6.2.1.Â Building a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Building"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Building">11.3.6.2.1.Â Building a List</h5></div></div></div><div class="para">
 					There are four methods which instantiate a List. These are all "Class methods," meaning they do not operate on a specific List, but can be used to make any List. 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								<code class="code">List.new</code> creates a List. You can also specify the initial number of elements as an argument, if you choose.
+								<code class="function">List.new</code> creates a List. You can also specify the initial number of elements as an argument, if you choose.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">List.newClear( x )</code> creates a List with x number of slots, filled with <code class="code">nil</code>.
+								<code class="function">List.newClear( <em class="replaceable"><code>x</code></em> )</code> creates a List with <code class="literal">x</code> number of slots, filled with <code class="literal">nil</code>.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">List.copyInstance( aList )</code> creates a List which is a copy of <code class="code">aList</code>.
+								<code class="function">List.copyInstance( <em class="replaceable"><code>aList</code></em> )</code> creates a List which is a copy of <code class="literal">aList</code>.
 							</div></li><li class="listitem"><div class="para">
-								<code class="code">List.newUsing( anArray )</code> creates a List with the same elements as <code class="code">anArray</code>.
+								<code class="function">List.newUsing( <em class="replaceable"><code>anArray</code></em> )</code> creates a List with the same elements as <code class="literal">anArray</code>.
 							</div></li></ul></div>
 
-				</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html"><strong>Prev</strong>11.4.6.Â Collections</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html"><strong>Next</strong>11.4.6.2.2.Â Adding to an Existing List</a></li></ul></body></html>
+				</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html"><strong>Prev</strong>11.3.6.Â Collections</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html"><strong>Next</strong>11.3.6.2.2.Â Adding to an Existing List</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html
index 532ab5b..1e365b7 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html
@@ -1,6 +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>11.4.6.4.Â Other Collections</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.4.6.Â Collections" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html" title="11.4.6.3.3.Â Example" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.4.7.Â Repeated Execution" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe
 " class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.4.Â Other Collections" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collec
 tions-Other_Collections">11.4.6.4.Â Other Collections</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.6.4.Â Other Collections</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.3.6.Â Collections" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html" title="11.3.6.3.3.Â Example" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.3.7.Â Repeated Execution" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe
 " class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.6.4.Â Other Collections" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collec
 tions-Other_Collections">11.3.6.4.Â Other Collections</h4></div></div></div><div class="para">
 				As mentioned previously, the <span class="application"><strong>SuperCollider</strong></span> language provides for many more kinds of data structures. The following Collections are useful, but much more complex than those listed above. For usage instructions, refer to the <span class="application"><strong>SuperCollider</strong></span> documentation. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							Dictionary: stores and allows retrieval of data by arbitrary Objects (for example, by symbols, rather than by index numbers).
@@ -12,4 +12,4 @@
 							SortedList: a List where all elements are kept in a sorted order, regardless of how they are added. The inserted Objects should have a useful ordering method, numerical or lexicographic (alphabetic, for example).
 						</div></li></ul></div>
 
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html"><strong>Prev</strong>11.4.6.3.3.Â Example</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html"><strong>Next</strong>11.4.7.Â Repeated Execution</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html"><strong>Prev</strong>11.3.6.3.3.Â Example</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html"><strong>Next</strong>11.3.7.Â Repeated Execution</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections.html
index ee33e20..8a0a79c 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections.html
@@ -1,14 +1,14 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.6.Â Collections</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html" title="11.4.5.3.Â Method One" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.4.6.2.Â List" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="t
 ocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.Â Collections" id="sect-Musicians_Guide-SC-Basic_Programming-Collections"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6
 .Â Collections</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>11.3.6.Â Collections</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html" title="11.3.5.3.Â Method One" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.3.6.2.Â List" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="t
 ocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.6.Â Collections" id="sect-Musicians_Guide-SC-Basic_Programming-Collections"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections">11.3.6
 .Â Collections</h3></div></div></div><div class="para">
 			A "collection" is just that - a collection of Objects. Collections are simply a means of organizing a large amount of data, without having to assign a variable name for each portion of data. Compared to other programming languages, <span class="application"><strong>SuperCollider</strong></span> provides a relatively large number of Collections in the standard library.
 		</div><div class="para">
-			We have already seen an example of a Collection as multichannel audio arrays. An Array is a kind of Collection - in object-oriented terminology, the Array Class is a '''sub-class''' of the Collection Class, and inherits its behaviours. Conversely, the Collection Class is the '''super-class''' of the Array Class. The Collection Class itself is not to be used; it is designed to provide common features so that it is easier to write Classes for collections.
+			We have already seen an example of a Collection as multichannel audio arrays. An Array is a kind of Collection - in object-oriented terminology, the Array Class is a <em class="firstterm">sub-class</em> of the Collection Class, and inherits its behaviours. Conversely, the Collection Class is the <em class="firstterm">super-class</em> of the Array Class. The Collection Class itself is not to be used; it is designed to provide common features so that it is easier to write Classes for collections.
 		</div><div class="para">
 			As with all the chapters from this point on, it is not necessary to read this in sequence. If you prefer, you can skip it and return later when you need to manage a large set of data.
-		</div><div class="section" title="11.4.6.1.Â Array" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array">11.4.6.1.Â Array</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.6.1.Â Array" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array">11.3.6.1.Â Array</h4></div></div></div><div class="para">
 				Arrays have been traditionally been very popular with programmers. In <span class="application"><strong>SuperCollider</strong></span>, they are capable of storing a large number of Objects, and they provide advanced behaviours that are normally not associated with Arrays. They are not as indespensible as they used to be. Most programming languages now provide (or can easily be extended to add) Lists, Trees, and other kinds of data storage structures, which offer more capabilities, and are easier to use and to think about. Users new to programming might find the various kinds of Lists to be more helpful.
-			</div><div class="section" title="11.4.6.1.1.Â Building an Array" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Building"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Building">11.4.6.1.1.Â Building an Array</h5></div></div></div><div class="para">
+			</div><div class="section" title="11.3.6.1.1.Â Building an Array" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Building"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Building">11.3.6.1.1.Â Building an Array</h5></div></div></div><div class="para">
 					An Array is a Collection with a finite maximum size, determined at declaration time. It is the programmer's responsibility to maintain a meaningful order, and to remember the meaning of the data. Data in an Array is called "elements," each of which is assigned a specific "index number." Index numbers begin at 0. Any mix of Objects can be stored in an Array, including an Array.
 				</div><div class="para">
 					This example declares an Array, adds some elements, then prints them out. 
@@ -24,7 +24,7 @@
    nil;
 )
 </pre>
-					 Notice that Array is a Class, and it must be instantiated before use. Here, the variable <code class="code">tA</code> is assigned an Array with enough space for two objects. Notice that the elements are printed out in the order that you add them to the Array. They are not sorted or shuffled (unless you send a message like <code class="code">scramble</code>). But why did I write <code class="code">tA = tA.add( 17 );</code> instead of <code class="code">tA.add( 17 );</code>? Shouldn't the second method be sufficient for adding an Object to an Array, thereby making the re-assignment unnecessary? It does, but let's see what happens when we take it away: 
+					 Notice that Array is a Class, and it must be instantiated before use. Here, the variable <code class="literal">tA</code> is assigned an Array with enough space for two objects. Notice that the elements are printed out in the order that you add them to the Array. They are not sorted or shuffled (unless you send a message like <code class="function">scramble</code>). But why did I write <code class="code">tA = tA.add( 17 );</code> instead of <code class="code">tA.add( 17 );</code>? Shouldn't the second method be sufficient for adding an Object to an Array, thereby making the re-assignment unnecessary? It does, but let's see what happens when we take it away: 
 <pre class="programlisting">
 (
    var tA = Array.new( 2 ); // "tA" stands for "testArray"
@@ -37,9 +37,9 @@
    nil;
 )
 </pre>
-					 The <code class="code">17</code> is missing - it doesn't get added into the Array! This is because the Array was only declared with two slots, and you can't add three Objects into two slots. So why did this work the first time? <span class="application"><strong>SuperCollider</strong></span> was programmed to help us fit additional items into an Array. If an Array has reached its capacity, <span class="application"><strong>SuperCollider</strong></span> will automatically make a new, larger Array for us, and returns that from the <code class="code">add</code> method. Therefore, any time you add an element to an Array, you should always re-assign the result, so that you don't have to worry about whether you exceeded the Array's capacity.
-				</div></div><div class="section" title="11.4.6.1.2.Â Accessing an Array's Elements" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Accessing"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Accessing">11.4.6.1.2.Â Accessing an Array's Elements</h5></div></div></div><div class="para">
-					There are two ways to access individual elements within an Array. One way is object-oriented, and one way is more traditional, inspired by programming languages such as the wildly popular "C" language. The object-oriented style uses the <code class="code">at</code> and <code class="code">put</code> methods. The traditional style uses square brackets with an index number.
+					 The <code class="literal">17</code> is missing - it doesn't get added into the Array! This is because the Array was only declared with two slots, and you can't add three Objects into two slots. So why did this work the first time? <span class="application"><strong>SuperCollider</strong></span> was programmed to help us fit additional items into an Array. If an Array has reached its capacity, <span class="application"><strong>SuperCollider</strong></span> will automatically make a new, larger Array for us, and returns that from the <code class="function">add</code> method. Therefore, any time you add an element to an Array, you should always re-assign the result, so that you don't have to worry about whether you exceeded the Array's capacity.
+				</div></div><div class="section" title="11.3.6.1.2.Â Accessing an Array's Elements" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Accessing"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Accessing">11.3.6.1.2.Â Accessing an Array's Elements</h5></div></div></div><div class="para">
+					There are two ways to access individual elements within an Array. One way is object-oriented, and one way is more traditional, inspired by programming languages such as the wildly popular "C" language. The object-oriented style uses the <code class="function">at</code> and <code class="function">put</code> methods. The traditional style uses square brackets with an index number.
 				</div><div class="para">
 					The following examples produce equivalent output. The first uses the object-oriented style, and the second uses the traditional style. 
 <pre class="programlisting">
@@ -82,4 +82,4 @@
 )
 </pre>
 					 Different people prefer different styles of accessing Arrays.
-				</div></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html"><strong>Prev</strong>11.4.5.3.Â Method One</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html"><strong>Next</strong>11.4.6.2.Â List</a></li></ul></body></html>
+				</div></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html"><strong>Prev</strong>11.3.5.3.Â Method One</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html"><strong>Next</strong>11.3.6.2.Â List</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html
index 5bebacc..e1b6f12 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html
@@ -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>11.4.9.3.Â Addition</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html" title="11.4.9.Â Combining Audio; the Mix Class" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html" title="11.4.9.2.Â Arrays of Arrays" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10.Â SynthDef and Synth" /></head><body class="draft toc_embeded "><div id="toc
 div" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.9.3.Â Addition" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Music
 ians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition">11.4.9.3.Â Addition</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.9.3.Â Addition</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html" title="11.3.9.Â Combining Audio; the Mix Class" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html" title="11.3.9.2.Â Arrays of Arrays" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.3.10.Â SynthDef and Synth" /></head><body class="draft toc_embeded "><div id="toc
 div" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.9.3.Â Addition" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Music
 ians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition">11.3.9.3.Â Addition</h4></div></div></div><div class="para">
 				This method of combinine UGen's into two channels uses the addition operator: +
 			</div><div class="para">
 				
@@ -13,4 +13,4 @@
 }.play;
 </pre>
 				 Notice that, like with the Mix Class, independent "mul" levels are not preserved.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html"><strong>Prev</strong>11.4.9.2.Â Arrays of Arrays</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html"><strong>Next</strong>11.4.10.Â SynthDef and Synth</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html"><strong>Prev</strong>11.3.9.2.Â Arrays of Arrays</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html"><strong>Next</strong>11.3.10.Â SynthDef and Synth</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html
index 29b66e0..30bab7a 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html
@@ -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>11.4.9.2.Â Arrays of Arrays</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html" title="11.4.9.Â Combining Audio; the Mix Class" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html" title="11.4.9.Â Combining Audio; the Mix Class" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html" title="11.4.9.3.Â Addition" /></head><body class="draft toc_embeded "><div id="t
 ocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.9.2.Â Arrays of Arrays" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="s
 ect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays">11.4.9.2.Â Arrays of Arrays</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.9.2.Â Arrays of Arrays</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html" title="11.3.9.Â Combining Audio; the Mix Class" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html" title="11.3.9.Â Combining Audio; the Mix Class" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html" title="11.3.9.3.Â Addition" /></head><body class="draft toc_embeded "><div id="t
 ocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.9.2.Â Arrays of Arrays" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="s
 ect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays">11.3.9.2.Â Arrays of Arrays</h4></div></div></div><div class="para">
 				There is another way to combine many UGen's into two channels for stereo output: rather than sending the Array's to the Mix class, combine them into a two-element Array.
 			</div><div class="para">
 				
@@ -24,4 +24,4 @@
 }.play;
 </pre>
 				 This sounds much less harsh than the first example. Try it with the Mix Class. Even with the different "mul" values, it sounds the same as the first example! This helps Mix to ensure that the total level doesn't exceed 1.0, but it has the disadvantage that careful level-balancing on your part will be erased.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html"><strong>Prev</strong>11.4.9.Â Combining Audio; the Mix Class</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html"><strong>Next</strong>11.4.9.3.Â Addition</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html"><strong>Prev</strong>11.3.9.Â Combining Audio; the Mix Class</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html"><strong>Next</strong>11.3.9.3.Â Addition</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html
index cf4e870..0a6270b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html
@@ -1,8 +1,8 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.9.Â Combining Audio; the Mix Class</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html" title="11.4.8.5.Â &quot;In This Case, Do This&quot;" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html" title="11.4.9.2.Â Arrays of Arrays" /></
 head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.9.Â Combining Audio; the Mix Class" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix"><div class="titlepage"
 ><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9.Â Combining Audio; the Mix Class</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>11.3.9.Â Combining Audio; the Mix Class</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html" title="11.3.8.5.Â &quot;In This Case, Do This&quot;" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html" title="11.3.9.2.Â Arrays of Arrays" /></
 head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.9.Â Combining Audio; the Mix Class" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix"><div class="titlepage"
 ><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.3.9.Â Combining Audio; the Mix Class</h3></div></div></div><div class="para">
 			One of the requirements of multi-channel audio is the ability to combine a large number of UGen's into a small number of channels - normally just two. The <span class="application"><strong>SuperCollider</strong></span> interpreter allows you to accomplish this in a number of ways, which are explained here.
-		</div><div class="section" title="11.4.9.1.Â The &quot;Mix&quot; Class" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Mix_Class"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Mix_Class">11.4.9.1.Â The "Mix" Class</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.9.1.Â The &quot;Mix&quot; Class" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Mix_Class"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Mix_Class">11.3.9.1.Â The "Mix" Class</h4></div></div></div><div class="para">
 				The "Mix" Class allows you to combine a mutli-channel Array into one channel. It's just that simple: you put in an Array of UGens, and out comes a single-channel combination of them.
 			</div><div class="para">
 				Here are the two possible syntaxes for the "Mix" Class: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Mix.new</b>(</code><var class="pdparam">ArrayOfUGens</var><code>)</code>;</p></div> and <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Mix</b>(</code><var class="pdparam">ArrayOfUGens</var><code>)</code>;</p></div> The second form is simply a short-hand version of the first. The <code class="classname">Mix</code> Class doesn't really create "Mix" Objects either - it's just a Function that combines many UGen's into one.
@@ -22,9 +22,9 @@
          SinOsc.ar(1000, 0, 0.1)] );
 }.play;
 </pre>
-				 Notice how all of these SinOsc's are heard through the left channel only. The "Mix" Class mixes all the UGen's together into one. You could use a bus to send the audio to both the left and right channels. What happens if we don't use the Mix Class? Try removing the Function, and find out. You only hear some of the SinOsc's. Which ones? The first two, representing the left and right channels. If your audio interface has more than two channels, you may be able to hear more than those first two channels.
+				 Notice how all of these <code class="classname">SinOsc</code>s are heard through the left channel only. The <code class="classname">Mix</code> class mixes all the UGen's together into one. You could use a bus to send the audio to both the left and right channels. What happens if we don't use the <code class="classname">Mix</code> class? Try to remove the function, and find out. You only hear some of the <code class="classname">SinOsc</code>'s. Which ones? The first two, representing the left and right channels. If your audio interface has more than two channels, you may be able to hear more than those first two channels.
 			</div><div class="para">
-				There is another Function offered by the Mix Class, and it is a kind of loop. The Function is called <code class="code">Fill</code>, and it takes two arguments: the number of times to run a Function, and the Function to run. The Function is provided with one argument (like in a "do" loop), which is the number of times the Function has ''already'' been run. 
+				There is another function offered by the <code class="classname">Mix</code> class, and it is a kind of loop. The function is called <code class="function">Fill</code>, and it takes two arguments: the number of times to run a function, and the function to run. The function is provided with one argument (like in a "do" loop), which is the number of times the function has <span class="emphasis"><em>already</em></span> been run. 
 <pre class="programlisting">
 (
    var n = 8;
@@ -39,5 +39,5 @@
    { Mix.fill( n, sineFunc ); }.play;
 )
 </pre>
-				 As you can see, the "fill" Function itself is quite simple: you provide the number of UGen's to create, and a Function that creates UGen's. It's the <code class="code">sineFunc</code> Function that is a little confusing. The argument is called "iteration", because it holds how many times the Function has already been run - how many iterations have happened already. It uses this value to help calculate the frequency (stored in a variable called "freq"), and then creates a SinOsc UGen. The "mul" argument helps to automatically control the volume level. Since the total volume should be no more than 1.0, the "sineFunc" Function calculates UGen's' volume by dividing 1, the maximum level, by the number of UGen's that will be created. The slowly pulsating volume is part of the acoustic result of this many frequencies being so close together - it is not a hidden effect by <span class="application"><strong>SuperCollider</strong></span>.
-			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html"><strong>Prev</strong>11.4.8.5.Â "In This Case, Do This"</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html"><strong>Next</strong>11.4.9.2.Â Arrays of Arrays</a></li></ul></body></html>
+				 As you can see, the <code class="function">fill</code> function itself is quite simple: you provide the number of UGen's to create, and a function that creates UGen's. It's the <code class="literal">sineFunc</code> function that is a little confusing. The argument is called "iteration", because it holds how many times the function has already been run - how many iterations have happened already. It uses this value to help calculate the frequency (stored in a variable called <code class="literal">freq</code>), and then creates a <code class="classname">SinOsc</code> UGen. The <code class="literal">mul</code> argument helps to automatically control the volume level. Since the total volume should be no more than 1.0, the <code class="function">sineFunc</code> function calculates UGen's' volume by dividing 1, the maximum level, by the number of UGen's that will be created. The slowly pulsating volume is part of the acoustic result of this many frequencies being so close tog
 ether - it is not a hidden effect by <span class="application"><strong>SuperCollider</strong></span>.
+			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html"><strong>Prev</strong>11.3.8.5.Â "In This Case, Do This"</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html"><strong>Next</strong>11.3.9.2.Â Arrays of Arrays</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html
index 51971fb..b09d907 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.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>11.4.8.2.2.Â Assignment/Equality Mistake</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2.Â Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2.Â Boolean Expressions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html" title="11.4.8.2.3
 .Â Equality versus Identity" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.2.2.Â Assignment/Equality Mistake" id="sect-Musicians_Guide-SC-Basic_Pro
 gramming-Conditional_Execution-Assignment_and_Equality_Mistake"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake">11.4.8.2.2.Â Assignment/Equality Mistake</h5></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.8.2.2.Â Assignment/Equality Mistake</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.3.8.2.Â Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.3.8.2.Â Boolean Expressions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html" title="11.3.8.2.3
 .Â Equality versus Identity" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.8.2.2.Â Assignment/Equality Mistake" id="sect-Musicians_Guide-SC-Basic_Pro
 gramming-Conditional_Execution-Assignment_and_Equality_Mistake"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake">11.3.8.2.2.Â Assignment/Equality Mistake</h5></div></div></div><div class="para">
 					Beware the following pitfall, common to a large number of programming languages: 
 <pre class="programlisting">
 a == 42; // evaluates to "true" or "false", depending on the value in "a"
@@ -12,4 +12,4 @@ a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
 42 = a; // causes an error, because you can't assign a value to a constant number
 </pre>
 					 This way, if you accidentally leave out one of the <code class="literal">=</code> signs, the interpreter will stop execution and produce an error, rather than continuing with an unexpected assignment.
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html"><strong>Prev</strong>11.4.8.2.Â Boolean Expressions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html"><strong>Next</strong>11.4.8.2.3.Â Equality versus Identity</a></li></ul></body></html>
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html"><strong>Prev</strong>11.3.8.2.Â Boolean Expressions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html"><strong>Next</strong>11.3.8.2.3.Â Equality versus Identity</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html
index 95b38f9..a07bde8 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html
@@ -1,8 +1,8 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.2.Â Boolean Expressions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.4.8.Â Conditional Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.4.8.Â Conditional Execution" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html" title="11.4.8.2.2.Â Assignment/Equality Mistake" /></head><b
 ody class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.2.Â 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.Â Boolean Expressions</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.8.2.Â Boolean Expressions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.3.8.Â Conditional Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.3.8.Â Conditional Execution" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html" title="11.3.8.2.2.Â Assignment/Equality Mistake" /></head><b
 ody class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.8.2.Â 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">11.3.8.2.Â Boolean Expressions</h4></div></div></div><div class="para">
 				Boolean expressions are expressions which, when executed, result in either "true" or "false". Boolean expressions must use at least one boolean operator (as listed above), or a Function which returns a boolean value. Boolean expressions can also use other operators and Functions.
-			</div><div class="section" title="11.4.8.2.1.Â Simple Expressions" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Simple_Boolean"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Simple_Boolean">11.4.8.2.1.Â Simple Expressions</h5></div></div></div><div class="para">
+			</div><div class="section" title="11.3.8.2.1.Â Simple Expressions" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Simple_Boolean"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Simple_Boolean">11.3.8.2.1.Â Simple Expressions</h5></div></div></div><div class="para">
 					Here are a few simple boolean expressions. Of course, variables can be used in place of constant numbers: 
 <pre class="programlisting">
 5 &lt; 60; // evaluates to "false"
@@ -12,4 +12,4 @@
 isNegative( -256 ); // evaluates to "true"
 </pre>
 
-				</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html"><strong>Prev</strong>11.4.8.Â Conditional Execution</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html"><strong>Next</strong>11.4.8.2.2.Â Assignment/Equality Mistake</a></li></ul></body></html>
+				</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html"><strong>Prev</strong>11.3.8.Â Conditional Execution</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html"><strong>Next</strong>11.3.8.2.2.Â Assignment/Equality Mistake</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html
index 6ec9835..fb6c3d5 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html
@@ -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>11.4.8.5.Â "In This Case, Do This"</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.4.8.Â Conditional Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html" title="11.4.8.4.Â &quot;Switch Execution to This Path&quot;" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html" title="11.4.9.Â Combining Audio; the Mix Class" /></
 head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.5.Â &quot;In This Case, Do This&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements"><div class="
 titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements">11.4.8.5.Â "In This Case, Do This"</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.8.5.Â "In This Case, Do This"</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.3.8.Â Conditional Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html" title="11.3.8.4.Â &quot;Switch Execution to This Path&quot;" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html" title="11.3.9.Â Combining Audio; the Mix Class" /></
 head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.8.5.Â &quot;In This Case, Do This&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements"><div class="
 titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements">11.3.8.5.Â "In This Case, Do This"</h4></div></div></div><div class="para">
 				"Case" and "switch" structures look similar, but work in subtly different way. A "switch" structure is like a railway switch, allowing one train to be routed onto the right track, according to qualities of the train. A "case" structure, on the other hand, works like somebody trying to decide how to get to work. The person might ask themselves how far they are going, how long they have to get to work, how fast the available options are, what the available options cost, and so on. While in a "switch" structure, the path of execution is determined by examining only one Object, a "case" structure determines the path of execution based on any number of things.
 			</div><div class="para">
 				Here is the syntax of a "case" structure: 
@@ -37,7 +37,7 @@ case
    ( 5 == 5 ).while( coolFunction ); // executes coolFunction contiuously
 )
 </pre>
-				 It might seem like this example doesn't relate to a real <span class="application"><strong>SuperCollider</strong></span> programming situation, but in fact it might. If you could program Function's which determined all of those questions and all of the answers, this sort of "case" structure would be very helpful in a situation where a computer running <span class="application"><strong>SuperCollider</strong></span> were left in a room by itself, and expected to play music whenever anybody entered the room. Since five is always equal to five, the interpreter will run <code class="code">coolFunction</code> forever. If the music needs adjustment in some way, the Function will adjust the music. If everything is okay, then the interpreter will wait for 10 seconds, and then the loop will cause the Function to be re-evaluated. Because many different criteria are evaluated in the "case" structure, this represents an efficient use of the structure.
+				 It might seem like this example doesn't relate to a real <span class="application"><strong>SuperCollider</strong></span> programming situation, but in fact it might. If you could program Function's which determined all of those questions and all of the answers, this sort of "case" structure would be very helpful in a situation where a computer running <span class="application"><strong>SuperCollider</strong></span> were left in a room by itself, and expected to play music whenever anybody entered the room. Since five is always equal to five, the interpreter will run <code class="function">coolFunction</code> forever. If the music needs adjustment in some way, the Function will adjust the music. If everything is okay, then the interpreter will wait for 10 seconds, and then the loop will cause the Function to be re-evaluated. Because many different criteria are evaluated in the "case" structure, this represents an efficient use of the structure.
 			</div><div class="para">
 				"Case" structures can be used to do the same thing as "switch" structures, but it's usually less elegant solution. Also, it doesn't allow the interpreter to use an speed optimization that it would have used in an equivalent "switch" structure. 
 <pre class="programlisting">
@@ -66,7 +66,7 @@ case
 </pre>
 				 This example is equivalent to one of the "switch" structure examples. This is not a good use of the "case" structure, because it requires a lot of code repetition.
 			</div><div class="para">
-				Unlike a "switch" structure, a "case" structure will always follow the ''first'' case that evaluates to "true". 
+				Unlike a "switch" structure, a "case" structure will always follow the <span class="emphasis"><em>first</em></span> case that evaluates to "true". 
 <pre class="programlisting">
 (
    case
@@ -79,4 +79,4 @@ case
 )
 </pre>
 				 This example will always result in "one" being printed.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html"><strong>Prev</strong>11.4.8.4.Â "Switch Execution to This Path"</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html"><strong>Next</strong>11.4.9.Â Combining Audio; the Mix Class</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html"><strong>Prev</strong>11.3.8.4.Â "Switch Execution to This Path"</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html"><strong>Next</strong>11.3.9.Â Combining Audio; the Mix Class</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html
index 10642b5..6aa9551 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html
@@ -1,6 +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>11.4.8.2.3.Â Equality versus Identity</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2.Â Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html" title="11.4.8.2.2.Â Assignment/Equality Mistake" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html" titl
 e="11.4.8.2.4.Â Logical And and Or" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.2.3.Â Equality versus Identity" id="sect-Musicians_Guide-SC
 -Basic_Programming-Conditional_Execution-Equality_versus_Identity"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity">11.4.8.2.3.Â Equality versus Identity</h5></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.8.2.3.Â Equality versus Identity</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.3.8.2.Â Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html" title="11.3.8.2.2.Â Assignment/Equality Mistake" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html" titl
 e="11.3.8.2.4.Â Logical And and Or" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.8.2.3.Â Equality versus Identity" id="sect-Musicians_Guide-SC
 -Basic_Programming-Conditional_Execution-Equality_versus_Identity"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity">11.3.8.2.3.Â Equality versus Identity</h5></div></div></div><div class="para">
 					The identity-equivalence operators are not usually needed. 
 <pre class="programlisting">
 (
@@ -11,7 +11,7 @@
    a === b; // evaluates to "false"
 )
 </pre>
-					 The <code class="code">==</code> operator evaluates to <code class="literal">true</code> because <code class="literal">a</code> and <code class="literal">b</code> represent equivalent Objects - they are equal. The <code class="code">===</code> operator evaluates to <code class="literal">false</code> because <code class="literal">a</code> and <code class="literal">b</code> represent different instances of the Objects - they are not identical. 
+					 The <code class="literal">==</code> operator evaluates to <code class="literal">true</code> because <code class="literal">a</code> and <code class="literal">b</code> represent equivalent Objects - they are equal. The <code class="literal">===</code> operator evaluates to <code class="literal">false</code> because <code class="literal">a</code> and <code class="literal">b</code> represent different instances of the Objects - they are not identical. 
 <pre class="programlisting">
 (
    var a = [12,24,48];
@@ -21,5 +21,5 @@
    a === b; // evaluates to "true"
 )
 </pre>
-					 In this case, the <code class="code">==</code> operator still evaluates to <code class="literal">true</code>. The <code class="code">===</code> operator also evaluates to <code class="literal">true</code>, because <code class="literal">a</code> and <code class="literal">b</code> both represent the same Object. When the interpreter evaluates <code class="code">var b = a;</code> in the example above, it actually assigns <code class="literal">b</code> the same value that <code class="literal">a</code> stores, not a copy of it.
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html"><strong>Prev</strong>11.4.8.2.2.Â Assignment/Equality Mistake</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html"><strong>Next</strong>11.4.8.2.4.Â Logical And and Or</a></li></ul></body></html>
+					 In this case, the <code class="literal">==</code> operator still evaluates to <code class="literal">true</code>. The <code class="literal">===</code> operator also evaluates to <code class="literal">true</code>, because <code class="literal">a</code> and <code class="literal">b</code> both represent the same Object. When the interpreter evaluates <code class="code">var b = a;</code> in the example above, it actually assigns <code class="literal">b</code> the same value that <code class="literal">a</code> stores, not a copy of it.
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html"><strong>Prev</strong>11.3.8.2.2.Â Assignment/Equality Mistake</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html"><strong>Next</strong>11.3.8.2.4.Â Logical And and Or</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html
index da211b7..abd611d 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html
@@ -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>11.4.8.3.Â "If This Is True, Then... "</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.4.8.Â Conditional Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html" title="11.4.8.2.5.Â Order of Precedence" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html" title="11.4.8.4.Â &quot;Switch Execution to 
 This Path&quot;" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.3.Â &quot;If This Is True, Then... &quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Co
 nditional_Execution-If_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements">11.4.8.3.Â "If This Is True, Then... "</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.8.3.Â "If This Is True, Then... "</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.3.8.Â Conditional Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html" title="11.3.8.2.5.Â Order of Precedence" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html" title="11.3.8.4.Â &quot;Switch Execution to 
 This Path&quot;" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.8.3.Â &quot;If This Is True, Then... &quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Co
 nditional_Execution-If_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements">11.3.8.3.Â "If This Is True, Then... "</h4></div></div></div><div class="para">
 				The "if" structure is provided a boolean expression and two Functions. If the expression evaluates to "true", it executes one Function. If the expression evaluates to "false", it executes the other Function.
 			</div><div class="para">
 				Here are the two ways to write an "if" structure: 
 <pre class="programlisting">if ( booleanExpression, trueFunction, falseFunction );</pre>
 				 and 
 <pre class="programlisting">booleanExpression.if( trueFunction, falseFunction );</pre>
-				 It's possible to exclude the <code class="code">falseFunction</code>, which is like telling the interpreter, "If the boolean expression is true, then execute this Function. Otherwise, don't execute it."
+				 It's possible to exclude the <code class="function">falseFunction</code>, which is like telling the interpreter, "If the boolean expression is true, then execute this Function. Otherwise, don't execute it."
 			</div><div class="para">
 				
 <pre class="programlisting">
@@ -18,9 +18,9 @@
    nil;
 )
 </pre>
-				 This example prints out a nice message, saying whether <code class="code">test</code> is "true" or "false". Because <code class="code">test</code> is already a boolean value, we don't need to include it in an expression. The "if" statement could have been shortened like this: <code class="code">if ( test, { "It's true!".postln; }, { "It's false!".postln; } );</code>
+				 This example prints out a nice message, saying whether <code class="literal">test</code> is <code class="literal">true</code> or <code class="literal">false</code>. Because <code class="literal">test</code> is already a boolean value, we don't need to include it in an expression. The "if" statement could have been shortened like this: <code class="code">if ( test, { "It's true!".postln; }, { "It's false!".postln; } );</code>
 			</div><div class="para">
-				Suppose we only wanted to be alerted if <code class="code">test</code> is "true". 
+				Suppose we only wanted to be alerted if <code class="literal">test</code> is <code class="literal">true</code>. 
 <pre class="programlisting">
 (
    var test = [true,false].choose; // pseudo-randomly chooses one of the elements in the List
@@ -65,4 +65,4 @@
 )
 </pre>
 				 As you can see, this type of nesting is not easy to figure out - from the standpoint of the original programmer or somebody else who wishes to use your code. In writing this example, it took me several attempts before getting the parentheses and braces right. Usually, if you have a long list of possibilities to test (like the nine in this example), it is better to use a "case" or "switch" structure. Not only does this help to make the code easier to understand, but the <span class="application"><strong>SuperCollider</strong></span> interpreter can apply optimizations that make the code run marginally faster.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html"><strong>Prev</strong>11.4.8.2.5.Â Order of Precedence</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html"><strong>Next</strong>11.4.8.4.Â "Switch Execution to This Path"</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html"><strong>Prev</strong>11.3.8.2.5.Â Order of Precedence</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html"><strong>Next</strong>11.3.8.4.Â "Switch Execution to This Path"</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html
index 4af0751..fa4aa2e 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html
@@ -1,7 +1,7 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.2.4.Â 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.Â Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html" title="11.4.8.2.3.Â 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.Â 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.Â 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".
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.8.2.4.Â 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="11.3.8.2.Â Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html" title="11.3.8.2.3.Â Equality versus Identity" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html" title="11.3.8.2.5.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="11.3.8.2.4.Â 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">11.3.8.2.4.Â 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 <code class="literal">true</code> if both of its arguments are <code class="literal">true</code>. Logical Or returns <code class="literal">true</code> if one of its arguments are <code class="literal">true</code>.
 				</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. 
 					<div class="table" title="TableÂ 11.3.Â 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">
@@ -47,7 +47,7 @@
 									</td></tr></tbody></table></div><h6>TableÂ 11.3.Â 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.
+					The interpreter evaluates the expression on the left first, and then the expression on the right <span class="emphasis"><em>only</em></span> if it will influence the outcome. This means that, if the left-side expression of a logical Or operator evaluates to "true", the interpreter will not test the right-side expression, because the result will be "true" anyway. Similarly, if the left-side expression of a logical And operator evaluates to "false", the interpreter will not test the right-side expression, because the result will be "false" anyway.
 				</div><div class="para">
 					This can be exploited to help avoid errors like division-by-zero. 
 <pre class="programlisting">
@@ -62,4 +62,4 @@
 					 If the left-side expression of the logical And operator is "false", the interpreter doesn't evaluate the right-side expression; it simply moves on to the next expression. If the left-side expression is "true" (meaning that x is not zero), then the right-side expression is evaluated. The right-side expression happens to be a Function which assigns "x" the result of dividing 17 by its previous value. The result of the logical And operation is simply discarded in this case - it doesn't really matter to us. This isn't the most straight-forward code, and there are other ways to avoid division-by-zero. If you use this, it's probably best to include a brief explanation of what the code does, as a commment.
 				</div><div class="para">
 					If you run this code many times, you will see that it gives many different results - one of which is zero, which proves that the code works as intended. If <span class="application"><strong>SuperCollider</strong></span> divides by zero, the result is "inf", representing infinity. Try modifying the code so that it will divide by zero, and see what happens.
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html"><strong>Prev</strong>11.4.8.2.3.Â Equality versus Identity</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html"><strong>Next</strong>11.4.8.2.5.Â Order of Precedence</a></li></ul></body></html>
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html"><strong>Prev</strong>11.3.8.2.3.Â Equality versus Identity</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html"><strong>Next</strong>11.3.8.2.5.Â Order of Precedence</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html
index 0ae1f9f..dd29a55 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html
@@ -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>11.4.8.2.5.Â Order of Precedence</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2.Â Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html" title="11.4.8.2.4.Â Logical And and Or" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html" title="11.4.8.3.Â &quot;If This Is T
 rue, Then... &quot;" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.2.5.Â Order of Precedence" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Executi
 on-Order_of_Precedence"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence">11.4.8.2.5.Â Order of Precedence</h5></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.8.2.5.Â Order of Precedence</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.3.8.2.Â Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html" title="11.3.8.2.4.Â Logical And and Or" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html" title="11.3.8.3.Â &quot;If This Is T
 rue, Then... &quot;" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.8.2.5.Â Order of Precedence" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Executi
 on-Order_of_Precedence"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence">11.3.8.2.5.Â Order of Precedence</h5></div></div></div><div class="para">
 					In complicated boolean expressions, it's important to clarify the order in which you want sub-expressions to be executed. This order is called the "order of precedence," or "order of operations" (see <em class="citetitle">Order of Operations (Wikipedia)</em>, available at <a href="http://en.wikipedia.org/wiki/Order_of_operations">http://en.wikipedia.org/wiki/Order_of_operations</a> for more information). In computer science, different programming languages enforce different orders of precedence, so you should use parentheses to clarify your intended order, to proactively avoid later confusion. The interpreter will evaluate an expression from left to right, and always fully evaluate parentheses before continuing.
 				</div><div class="para">
 					Even simple expression can benefit from parentheses. These produce the same results: 
@@ -24,4 +24,4 @@
 					 And perhaps even more surprisingly... 
 <pre class="programlisting">( 12 + 5 * 42 - 1 ) != ( (12 + 5) * 42 - 1 );</pre>
 					 ... evaluates to "false"! They're equal - the interpreter doesn't follow the standard mathematical order of precedence rules! <span class="application"><strong>SuperCollider</strong></span> evaluates from left to right, so it's important to clarify to the interpreter what you mean. Where would you put parentheses so that <span class="application"><strong>SuperCollider</strong></span> evaluates the expression as per the standard mathematical order of precedence rules, with multiplication before addition and subtraction?
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html"><strong>Prev</strong>11.4.8.2.4.Â Logical And and Or</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html"><strong>Next</strong>11.4.8.3.Â "If This Is True, Then... "</a></li></ul></body></html>
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html"><strong>Prev</strong>11.3.8.2.4.Â Logical And and Or</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html"><strong>Next</strong>11.3.8.3.Â "If This Is True, Then... "</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html
index 9f15eca..128cb6a 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html
@@ -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>11.4.8.4.Â "Switch Execution to This Path"</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.4.8.Â Conditional Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html" title="11.4.8.3.Â &quot;If This Is True, Then... &quot;" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html" title="11.4.8.5.Â &quot;In This 
 Case, Do This&quot;" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.4.Â &quot;Switch Execution to This Path&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Co
 nditional_Execution-Switch_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements">11.4.8.4.Â "Switch Execution to This Path"</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.8.4.Â "Switch Execution to This Path"</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.3.8.Â Conditional Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html" title="11.3.8.3.Â &quot;If This Is True, Then... &quot;" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html" title="11.3.8.5.Â &quot;In This 
 Case, Do This&quot;" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.8.4.Â &quot;Switch Execution to This Path&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Co
 nditional_Execution-Switch_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements">11.3.8.4.Â "Switch Execution to This Path"</h4></div></div></div><div class="para">
 				A "switch" structure can be most easily understood by comparison to a switch in a railway line. As a train approaches a railway switch, an operator inspects the train, and decides whether it should be going to the passenger station, the freight station, or the garage for storage. A "switch" structure - like a railways switch, can only act on one Object at a time, but the Object can be a Collection, allowing you to compare multiple things at once. Each case is tested with the boolean equality operator before being executed.
 			</div><div class="para">
 				Here is the syntax of a "switch" statement: 
@@ -38,7 +38,7 @@ case( compareThis,
    nil;
 )
 </pre>
-				 The code picks a pseudo-random number between 1 and 12, then uses a "switch" structure to convert that number into a letter-grade, assigning it to the same <code class="code">grade</code> variable. Then, it adds the "Your grade is" string to the value of <code class="code">grade</code> (with a space between), and prints that result.
+				 The code picks a pseudo-random number between 1 and 12, then uses a "switch" structure to convert that number into a letter-grade, assigning it to the same <code class="literal">grade</code> variable. Then, it adds the "Your grade is" string to the value of <code class="literal">grade</code> (with a space between), and prints that result.
 			</div><div class="para">
 				This example avoids the complex nested "if" structure from above. 
 <pre class="programlisting">
@@ -61,9 +61,9 @@ case( compareThis,
    nil;
 )
 </pre>
-				 This is an elegant way to inspect two otherwise-separate variables. Remember that the first argument to "switch" (in this case, it's <code class="code">[testA,tesB]</code>) is compared to the first argument of possibe result with the equality operator: "==".
+				 This is an elegant way to inspect two otherwise-separate variables. Remember that the first argument to "switch" (in this case, it's <code class="code">[testA,tesB]</code>) is compared to the first argument of possibe result with the equality operator: <code class="literal">==</code>
 			</div><div class="para">
-				When evaluating which switch to use, the <span class="application"><strong>SuperCollider</strong></span> interpreter will always apply the ''last'' one that evaluates to "true". 
+				When evaluating which switch to use, the <span class="application"><strong>SuperCollider</strong></span> interpreter will always apply the <span class="emphasis"><em>last</em></span> one that evaluates to <code class="literal">true</code>. 
 <pre class="programlisting">
 (
    switch( 5,
@@ -76,4 +76,4 @@ case( compareThis,
 )
 </pre>
 				 All of these cases are true, but this will always result in "three" being printed.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html"><strong>Prev</strong>11.4.8.3.Â "If This Is True, Then... "</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html"><strong>Next</strong>11.4.8.5.Â "In This Case, Do This"</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html"><strong>Prev</strong>11.3.8.3.Â "If This Is True, Then... "</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html"><strong>Next</strong>11.3.8.5.Â "In This Case, Do This"</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html
index 95be40e..e0dbc96 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
@@ -1,8 +1,8 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.Â 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.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html" title="11.4.7.5.Â Other Loops" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2.Â 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.Â 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.Â Conditional Execution</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>11.3.8.Â 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="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html" title="11.3.7.5.Â Other Loops" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.3.8.2.Â 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="11.3.8.Â 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">11.3.8.Â 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.Â 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.Â Boolean Operators</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.8.1.Â 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">11.3.8.1.Â Boolean Operators</h4></div></div></div><div class="para">
 				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>. 
@@ -82,4 +82,4 @@
 
 			</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.Â 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.Â Boolean Expressions</a></li></ul></body></html>
+			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html"><strong>Prev</strong>11.3.7.5.Â 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>11.3.8.2.Â 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-Getting_Help-Email.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html
index cb17dff..7a2f261 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html
@@ -1,5 +1,5 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.14.3.Â Email</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.4.14.Â How to Get Help" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html" title="11.4.14.2.Â Internet Relay Chat (IRC)" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html" title="11.4.14.4.Â The SuperCollider Website" /></head><body class="draft toc_embeded "><div id="tocdiv"
  class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.14.3.Â Email" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Ba
 sic_Programming-Getting_Help-Email">11.4.14.3.Â Email</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.14.3.Â Email</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.3.14.Â How to Get Help" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html" title="11.3.14.2.Â Internet Relay Chat (IRC)" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html" title="11.3.14.4.Â The SuperCollider Website" /></head><body class="draft toc_embeded "><div id="tocdiv"
  class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.14.3.Â Email" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Ba
 sic_Programming-Getting_Help-Email">11.3.14.3.Â Email</h4></div></div></div><div class="para">
 				If you feel comfortable sending an email to a mailing list, you can use the <em class="citetitle">sc-users Mailing List</em>, available at <a href="http://www.beast.bham.ac.uk/research/sc_mailing_lists.shtml">http://www.beast.bham.ac.uk/research/sc_mailing_lists.shtml</a>. If you decide to subscribe to this list, be aware that it receives a large amount of mail every day.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html"><strong>Prev</strong>11.4.14.2.Â Internet Relay Chat (IRC)</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html"><strong>Next</strong>11.4.14.4.Â The SuperCollider Website</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html"><strong>Prev</strong>11.3.14.2.Â Internet Relay Chat (IRC)</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html"><strong>Next</strong>11.3.14.4.Â The SuperCollider Website</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html
index fd3f654..f01f89a 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html
@@ -1,5 +1,5 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.14.2.Â Internet Relay Chat (IRC)</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.4.14.Â How to Get Help" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.4.14.Â How to Get Help" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html" title="11.4.14.3.Â Email" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocfram
 e" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.14.2.Â Internet Relay Chat (IRC)" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC">
 11.4.14.2.Â Internet Relay Chat (IRC)</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.14.2.Â Internet Relay Chat (IRC)</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.3.14.Â How to Get Help" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.3.14.Â How to Get Help" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html" title="11.3.14.3.Â Email" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocfram
 e" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.14.2.Â Internet Relay Chat (IRC)" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC">
 11.3.14.2.Â Internet Relay Chat (IRC)</h4></div></div></div><div class="para">
 				If you know how to use Internet Relay Chat (IRC), you can join the #supercollider channel on the Freenode network. The channel does not usually have a large number of participants or a lot of activity, but the users are some of the most polite and helpful on the internet.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html"><strong>Prev</strong>11.4.14.Â How to Get Help</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html"><strong>Next</strong>11.4.14.3.Â Email</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html"><strong>Prev</strong>11.3.14.Â How to Get Help</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html"><strong>Next</strong>11.3.14.3.Â Email</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html
index bfcc935..b7ea9b0 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html
@@ -1,5 +1,5 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.14.4.Â The SuperCollider Website</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.4.14.Â How to Get Help" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html" title="11.4.14.3.Â Email" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html" title="11.4.15.Â Legal Attribution" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="
 tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.14.4.Â The SuperCollider Website" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_
 Programming-Getting_Help-SuperCollider_Website">11.4.14.4.Â The <span class="application"><strong>SuperCollider</strong></span> Website</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.14.4.Â The SuperCollider Website</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.3.14.Â How to Get Help" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html" title="11.3.14.3.Â Email" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html" title="11.3.15.Â Legal Attribution" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="
 tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.14.4.Â The SuperCollider Website" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_
 Programming-Getting_Help-SuperCollider_Website">11.3.14.4.Â The <span class="application"><strong>SuperCollider</strong></span> Website</h4></div></div></div><div class="para">
 				The <em class="citetitle"><span class="application"><strong>SuperCollider</strong></span> Website</em> at SourceForge (<a href="http://supercollider.sourceforge.net/">http://supercollider.sourceforge.net/</a>) offers links to many resources.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html"><strong>Prev</strong>11.4.14.3.Â Email</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html"><strong>Next</strong>11.4.15.Â Legal Attribution</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html"><strong>Prev</strong>11.3.14.3.Â Email</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html"><strong>Next</strong>11.3.15.Â Legal Attribution</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html
index 08f1753..70808d8 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html
@@ -1,11 +1,11 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.14.Â How to Get Help</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html" title="11.4.13.6.Â Working with the TempoClock Class" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html" title="11.4.14.2.Â Internet Relay Chat (IRC)" /></head><body class="draft toc_emb
 eded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.14.Â How to Get Help" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Mus
 icians_Guide-SC-Basic_Programming-Getting_Help">11.4.14.Â How to Get Help</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>11.3.14.Â How to Get Help</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html" title="11.3.13.6.Â Working with the TempoClock Class" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html" title="11.3.14.2.Â Internet Relay Chat (IRC)" /></head><body class="draft toc_emb
 eded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.14.Â How to Get Help" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Mus
 icians_Guide-SC-Basic_Programming-Getting_Help">11.3.14.Â How to Get Help</h3></div></div></div><div class="para">
 			Knowing how to get help in <span class="application"><strong>SuperCollider</strong></span> is going to play a large part in determining whether you have a productive or frustrating relationship with the language and its components. There are a large number of ways to get help, but here are some of the most helpful.
-		</div><div class="section" title="11.4.14.1.Â Use the SuperCollider Help Files" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files">11.4.14.1.Â Use the <span class="application"><strong>SuperCollider</strong></span> Help Files</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.14.1.Â Use the SuperCollider Help Files" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files">11.3.14.1.Â Use the <span class="application"><strong>SuperCollider</strong></span> Help Files</h4></div></div></div><div class="para">
 				<span class="application"><strong>SuperCollider</strong></span> comes with an extensive collection of help files, which contain the answers to most of your problems. The difficulty will be in finding the solution - it's not always located where you think it is, because it often isn't the solution you think it will be.
 			</div><div class="para">
 				On Fedora Linux systems, the main help file is located at [file:///usr/share/SuperCollider/Help/Help.html this URL], and it can be viewed in any web browser. It may also be helpful to browse the directory structure of the help files, located at [file:///usr/share/SuperCollider/Help this URL], which can also be viewed in your web browser.
 			</div><div class="para">
 				If you're looking for further explanations of material in this tutorial, you could start by reviewing the [file:///usr/share/SuperCollider/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html Getting Started With <span class="application"><strong>SuperCollider</strong></span>] tutorial, on which this document is based. The sections in that tutorial roughly correspond to the sections in this guide.
-			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html"><strong>Prev</strong>11.4.13.6.Â Working with the TempoClock Class</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html"><strong>Next</strong>11.4.14.2.Â Internet Relay Chat (IRC)</a></li></ul></body></html>
+			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html"><strong>Prev</strong>11.3.13.6.Â Working with the TempoClock Class</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html"><strong>Next</strong>11.3.14.2.Â Internet Relay Chat (IRC)</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html
index 1a01a32..96f11c0 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html
@@ -1,9 +1,9 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.15.Â Legal Attribution</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html" title="11.4.14.4.Â The SuperCollider Website" /><link rel="next" href="sect-Musicians_Guide-SuperCollider-Composing.html" title="11.5.Â Composing with SuperCollider" /></head><body class="draft toc_embeded "><div id=
 "tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Composing.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.15.Â Legal Attribution" id="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC
 -Basic_Programming-Legal_Attribution">11.4.15.Â Legal Attribution</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>11.3.15.Â Legal Attribution</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html" title="11.3.14.4.Â The SuperCollider Website" /><link rel="next" href="sect-Musicians_Guide-SuperCollider-Composing.html" title="11.4.Â Composing with SuperCollider" /></head><body class="draft toc_embeded "><div id=
 "tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Composing.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.15.Â Legal Attribution" id="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC
 -Basic_Programming-Legal_Attribution">11.3.15.Â Legal Attribution</h3></div></div></div><div class="para">
 			This portion of the Fedora Musicians' Guide, called "Basic Programming with <span class="application"><strong>SuperCollider</strong></span>," is a derivative work of the, <em class="citetitle">Getting Started With <span class="application"><strong>SuperCollider</strong></span></em> tutorial. The original work was created by Scott Wilson, James Harkins, and the <span class="application"><strong>SuperCollider</strong></span> development team. It is available on the internet from <a href="http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html">http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html</a>.
 		</div><div class="para">
 			The original document, like all <span class="application"><strong>SuperCollider</strong></span> documentation, is licenced under the Creative Commons' <em class="citetitle">Attribution Share-Alike 3.0 Unported Licence</em>, accessible on the internet at <a href="http://creativecommons.org/licenses/by-sa/3.0/">http://creativecommons.org/licenses/by-sa/3.0/</a>.
 		</div><div class="para">
 			This usage should in no way be construed as an endorsement of the Fedora Project, the Musicians' Guide, or any other party by the <span class="application"><strong>SuperCollider</strong></span> development team.
-		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html"><strong>Prev</strong>11.4.14.4.Â The SuperCollider Website</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Composing.html"><strong>Next</strong>11.5.Â Composing with SuperCollider</a></li></ul></body></html>
+		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html"><strong>Prev</strong>11.3.14.4.Â The SuperCollider Website</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Composing.html"><strong>Next</strong>11.4.Â Composing with SuperCollider</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html
index 89c048d..debe040 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html
@@ -1,7 +1,7 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.5.3.Â Method One</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html" title="11.4.5.Â Multichannel Audio" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html" title="11.4.5.2.Â Multichannel Expansion" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.4.6.Â Collections" /></head><body class="draft toc_embeded "><div id="tocdiv" class=
 "toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.5.3.Â Method One" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_G
 uide-SC-Basic_Programming-Multichannel_Audio-Method_One">11.4.5.3.Â Method One</h4></div></div></div><div class="para">
-				Believe it or not, you now know enough to understand a slightly-modified version of the first part of "Method One," a <span class="application"><strong>SuperCollider</strong></span> program written and heavily commented specifically for use with this Guide. You should <code class="code">play</code> this example, and experiment with changing the frequencies, volumes, and so on. The fully-commented version provides a full explanation of how the Function works. 
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.5.3.Â Method One</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html" title="11.3.5.Â Multichannel Audio" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html" title="11.3.5.2.Â Multichannel Expansion" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.3.6.Â Collections" /></head><body class="draft toc_embeded "><div id="tocdiv" class=
 "toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.5.3.Â Method One" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_G
 uide-SC-Basic_Programming-Multichannel_Audio-Method_One">11.3.5.3.Â Method One</h4></div></div></div><div class="para">
+				Believe it or not, you now know enough to understand a slightly-modified version of the first part of "Method One," a <span class="application"><strong>SuperCollider</strong></span> program written and heavily commented specifically for use with this guide. You should <code class="function">play</code> this example, and experiment with changing the frequencies, volumes, and so on. The fully-commented version provides a full explanation of how the function works. 
 <pre class="programlisting">
 {
    // sets up the frequencies of both channels
@@ -29,4 +29,4 @@
 }
 </pre>
 
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html"><strong>Prev</strong>11.4.5.2.Â Multichannel Expansion</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html"><strong>Next</strong>11.4.6.Â Collections</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html"><strong>Prev</strong>11.3.5.2.Â Multichannel Expansion</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html"><strong>Next</strong>11.3.6.Â Collections</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html
index 3c927ce..c82b0a2 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.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>11.4.5.2.Â Multichannel Expansion</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html" title="11.4.5.Â Multichannel Audio" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html" title="11.4.5.Â Multichannel Audio" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html" title="11.4.5.3.Â Method One" /></head><body class="draft toc_embeded "><div id="tocdiv" clas
 s="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.5.2.Â Multichannel Expansion" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title"
  id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion">11.4.5.2.Â Multichannel Expansion</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.5.2.Â Multichannel Expansion</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html" title="11.3.5.Â Multichannel Audio" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html" title="11.3.5.Â Multichannel Audio" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html" title="11.3.5.3.Â Method One" /></head><body class="draft toc_embeded "><div id="tocdiv" clas
 s="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.5.2.Â Multichannel Expansion" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title"
  id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion">11.3.5.2.Â Multichannel Expansion</h4></div></div></div><div class="para">
 				You can automatically create multiple UGens by providing an Array as one of the parameters. The <span class="application"><strong>SuperCollider</strong></span> interpreter will automatically create multichannel UGens as a result.
 			</div><div class="para">
 				The following two examples produce equivalent output: 
@@ -22,4 +22,4 @@
 }.play;
 </pre>
 				 More importantly, multichannel expansion gives us another tool to avoid repetition. Repetition is the enemy of correctness - it's so much more difficult to find a mistake in the second example than in the first!
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html"><strong>Prev</strong>11.4.5.Â Multichannel Audio</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html"><strong>Next</strong>11.4.5.3.Â Method One</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html"><strong>Prev</strong>11.3.5.Â Multichannel Audio</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html"><strong>Next</strong>11.3.5.3.Â Method One</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html
index 198d9cd..9cab853 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.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>11.4.5.Â Multichannel Audio</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html" title="11.4.4.2.Â The &quot;play&quot; Function" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html" title="11.4.5.2.Â Multichannel Expansion" /></
 head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.5.Â Multichannel Audio" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio"><div class="titlepage">
 <div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5.Â Multichannel Audio</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>11.3.5.Â Multichannel Audio</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html" title="11.3.4.2.Â The &quot;play&quot; Function" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html" title="11.3.5.2.Â Multichannel Expansion" /></
 head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.5.Â Multichannel Audio" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio"><div class="titlepage">
 <div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.3.5.Â Multichannel Audio</h3></div></div></div><div class="para">
 			By now you must be growing tired of the left-side-only sounds being produced by the examples.
-		</div><div class="section" title="11.4.5.1.Â Stereo Array" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Stereo_Array"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Stereo_Array">11.4.5.1.Â Stereo Array</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.5.1.Â Stereo Array" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Stereo_Array"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Stereo_Array">11.3.5.1.Â Stereo Array</h4></div></div></div><div class="para">
 				The easiest way to output multichannel audio in <span class="application"><strong>SuperCollider</strong></span> is to use a kind of "Collection" (defined later) called an "Array." <span class="application"><strong>SuperCollider</strong></span> will theoretically handle any number of audio output channels, but by default is usually only configured for two-channel stereo audio. Since humans have only two ears, this is sufficient for most tasks! A multichannel array is notated like this: <code class="code">[ LeftChannel.ar( x ), RightChannel.ar( y ) ]</code>
 			</div><div class="para">
 				Here is our simple sine oscillator expanded to produce stereo audio: 
 <pre class="programlisting">{ [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 440, 0, 0.2 ) ]; }.play;</pre>
-				 Not much has changed, except that the audio we hear is now being emitted from both the left and right channels. Change the frequency of one of the sine oscillators to <code class="code">450</code> and the difference will become much more apparent.
+				 Not much has changed, except that the audio we hear is now being emitted from both the left and right channels. Change the frequency of one of the sine oscillators to <code class="literal">450</code> and the difference will become much more apparent.
 			</div><div class="para">
 				Multichannel arrays can also be combined with each other, like this: 
 <pre class="programlisting">
@@ -17,5 +17,5 @@
    [ one, two ];
 }
 </pre>
-				 If <code class="code">a</code>, <code class="code">b</code>, <code class="code">c</code>, <code class="code">x</code>, <code class="code">y</code>, and <code class="code">z</code> were all audio-rate UGens, this Function could be <code class="code">play</code>'ed. It would produce stereo audio, and each channel would have three independent UGens.
-			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html"><strong>Prev</strong>11.4.4.2.Â The "play" Function</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html"><strong>Next</strong>11.4.5.2.Â Multichannel Expansion</a></li></ul></body></html>
+				 If <code class="literal">a</code>, <code class="literal">b</code>, <code class="literal">c</code>, <code class="literal">x</code>, <code class="literal">y</code>, and <code class="literal">z</code> were all audio-rate UGens, this function could be <code class="function">play</code>'ed. It would produce stereo audio, and each channel would have three independent UGens.
+			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html"><strong>Prev</strong>11.3.4.2.Â The "play" Function</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html"><strong>Next</strong>11.3.5.2.Â Multichannel Expansion</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html
index 46122e8..27f519f 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html
@@ -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>11.4.3.4.Â Choosing a Paradigm</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.4.3.Â Object-Oriented SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html" title="11.4.3.3.Â Object-Oriented Programming" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html" title="11.4.4.Â Sound-Making Functions" /></head><body clas
 s="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.3.4.Â Choosing a Paradigm" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm"><div class="titlepage"><div><div k
 eep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm">11.4.3.4.Â Choosing a Paradigm</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.3.4.Â Choosing a Paradigm</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.3.3.Â Object-Oriented SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html" title="11.3.3.3.Â Object-Oriented Programming" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html" title="11.3.4.Â Sound-Making Functions" /></head><body clas
 s="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.3.4.Â Choosing a Paradigm" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm"><div class="titlepage"><div><div k
 eep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm">11.3.3.4.Â Choosing a Paradigm</h4></div></div></div><div class="para">
 				At this point you may begin worrying about which programming paradigm you should choose, and when. The answer is unhelpful: "Whichever seems best for the task."
 			</div><div class="para">
 				Let's expand on this. If you are primarily a programmer, then you probably already know how to choose the best paradigm and algorithm for the task. If you are a musician, then you probably just want your program to produce the output that you want (in this case, a particular set of sounds). Part of the beauty of <span class="application"><strong>SuperCollider</strong></span>'s flexibility is that it allows you to produce the same output in different ways. As a musician this means that, as long as your program works as you want it to work, it doesn't matter how you write it. Experience will teach you more and less effective ways of doing things, but there is no need for rules.
@@ -26,4 +26,4 @@
 							Don't forget the semicolons at the end of every statement.
 						</div></li></ul></div>
 
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html"><strong>Prev</strong>11.4.3.3.Â Object-Oriented Programming</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html"><strong>Next</strong>11.4.4.Â Sound-Making Functions</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html"><strong>Prev</strong>11.3.3.3.Â Object-Oriented Programming</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html"><strong>Next</strong>11.3.4.Â Sound-Making Functions</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html
index ee891a1..97a29ad 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.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>11.4.3.2.Â Functional Programming</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.4.3.Â Object-Oriented SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.4.3.Â Object-Oriented SuperCollider" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html" title="11.4.3.3.Â Object-Oriented Programming" /></head><body c
 lass="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.3.2.Â Functional Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming"><div class="titlepage"><div><div
  keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming">11.4.3.2.Â Functional Programming</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.3.2.Â Functional Programming</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.3.3.Â Object-Oriented SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.3.3.Â Object-Oriented SuperCollider" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html" title="11.3.3.3.Â Object-Oriented Programming" /></head><body c
 lass="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.3.2.Â Functional Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming"><div class="titlepage"><div><div
  keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming">11.3.3.2.Â Functional Programming</h4></div></div></div><div class="para">
 				Functional programming is also easy to understand, but it can be a little bit more difficult to think about complex tasks. Functional programs use Functions to complete all of their work. This is not strictly possible in <span class="application"><strong>SuperCollider</strong></span>: it is more imperative than functional, but the creative use of Functions can easily solve some problems that are difficult to write with an imperative approach.
 			</div><div class="para">
 				The following example is an extension of the "Imperative" example. Pretend that the following Functions exist, and do the following tasks: 
@@ -19,15 +19,15 @@
 			</div><div class="para">
 				<span class="application"><strong>SuperCollider</strong></span> will always execute the inner-most Functions first. This is how the interpreter executes the single-line program above: 
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
-							Execute the left call of <code class="code">getinput</code>
+							Execute the left call of <code class="function">getinput</code>
 						</div></li><li class="listitem"><div class="para">
-							Execute the right call of <code class="code">getinput</code>
+							Execute the right call of <code class="function">getinput</code>
 						</div></li><li class="listitem"><div class="para">
-							Execute <code class="code">add</code> with the two numbers returned by <code class="code">getinput</code>
+							Execute <code class="function">add</code> with the two numbers returned by <code class="function">getinput</code>
 						</div></li><li class="listitem"><div class="para">
-							Execute <code class="code">postln</code> with the number returned by <code class="code">add</code>
+							Execute <code class="function">postln</code> with the number returned by <code class="function">add</code>
 						</div></li></ol></div>
 
 			</div><div class="para">
 				Both imperative and functional programming have advantages and disadvantages. <span class="application"><strong>SuperCollider</strong></span> will allow you to use either approach, or a mix of both, when solving problems.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html"><strong>Prev</strong>11.4.3.Â Object-Oriented SuperCollider</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html"><strong>Next</strong>11.4.3.3.Â Object-Oriented Programming</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html"><strong>Prev</strong>11.3.3.Â Object-Oriented SuperCollider</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html"><strong>Next</strong>11.3.3.3.Â Object-Oriented Programming</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html
@@ -1,19 +1,19 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.3.3.Â Object-Oriented Programming</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.4.3.Â Object-Oriented SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html" title="11.4.3.2.Â Functional Programming" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html" title="11.4.3.4.Â Choosing a Paradigm" /></head>
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 <div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming">11.4.3.3.Â Object-Oriented Programming</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.3.3.Â Object-Oriented Programming</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.3.3.Â Object-Oriented SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html" title="11.3.3.2.Â Functional Programming" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html" title="11.3.3.4.Â Choosing a Paradigm" /></head>
 <body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.3.3.Â Object-Oriented Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming">
 <div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming">11.3.3.3.Â Object-Oriented Programming</h4></div></div></div><div class="para">
 				Object-oriented programming is more difficult to think about than imperative or functional. When using this paradigm (mode of thought), almost everything in <span class="application"><strong>SuperCollider</strong></span> is thought of as an abstract Object. In this way, it allows programmers to make compelling comparisons to the real world, where all tangible things are objects, and where it is not hard to conceive of most intangible things as objects, too. With object-oriented programming, computer science takes a break from mathematics, and is influenced by philosophy.
 			</div><div class="para">
 				Class names always begin with an uppercase letter.
 			</div><div class="para">
-				Anything can be represented as an Object - like a bicycle, for instance. Let's pretend that we have an Object called a Bicycle. We don't yet have a particular bicycle - just the abstract '''class''' containing everything that is true about all bicycles. If a Bicycle class exists in <span class="application"><strong>SuperCollider</strong></span>, you generate a specific instance like this: <code class="code">var bike = Bicycle.new;</code> All <span class="application"><strong>SuperCollider</strong></span> Objects can be '''instantiated''' in this way: you get a specific Bicycle from the generic class, and you can then modify and work with your own Object as you choose. The specific properties associated with a particular instance of a class are called '''instance variables'''.
+				Anything can be represented as an Object - like a bicycle, for instance. Let's pretend that we have an Object called a Bicycle. We don't yet have a particular bicycle - just the abstract <em class="firstterm">class</em> containing everything that is true about all bicycles. If a Bicycle class exists in <span class="application"><strong>SuperCollider</strong></span>, you generate a specific instance like this: <code class="code">var bike = Bicycle.new;</code> All <span class="application"><strong>SuperCollider</strong></span> Objects can be <em class="firstterm">instantiated</em> in this way: you get a specific Bicycle from the generic class, and you can then modify and work with your own Object as you choose. The specific properties associated with a particular instance of a class are called <em class="firstterm">instance variables</em>.
 			</div><div class="para">
-				There are certain things that Bicycles are designed to do: turn the wheels, turn the handlebar, raise and lower the seat, and so on. You can cause these things to happen by providing a certain input to a real-world Bicycle: if you want to turn the wheels, you might push the pedals. In <span class="application"><strong>SuperCollider</strong></span>, you cause things to happen by '''sending a message''' to the Object that tells it what you want: if you have a Bicycle, you might turn the wheels like this: <code class="code">bike.turnTheWheels;</code> When you do this, you are actually executing the <code class="code">turnTheWheels</code> Function, which is defined by the abstract Bicycle class. Because it doesn't make sense to turn the wheels of all bicycles in existence, you don't call the '''method''' (a synonym for "Function") from the Bicycle class itself, but from the particular instance whose wheels you want to turn. The proper way to access instance variables is by u
 sing instance methods.
+				There are certain things that Bicycles are designed to do: turn the wheels, turn the handlebar, raise and lower the seat, and so on. You can cause these things to happen by providing a certain input to a real-world Bicycle: if you want to turn the wheels, you might push the pedals. In <span class="application"><strong>SuperCollider</strong></span>, you cause things to happen by <em class="firstterm">sending a message</em> to the Object that tells it what you want: if you have a Bicycle, you might turn the wheels like this: <code class="code">bike.turnTheWheels;</code> When you do this, you actually execute the <code class="function">turnTheWheels</code> function, which is defined by the abstract Bicycle class. Because it doesn't make sense to turn the wheels of all bicycles in existence, you don't call the <em class="firstterm">method</em> (a synonym for "Function") from the Bicycle class itself, but from the particular instance whose wheels you want to turn. The proper 
 way to access instance variables is by using instance methods.
 			</div><div class="para">
-				If this kind of programming is new to you, it might seem extremely difficult. It can be intimidating at first, but it is actually not too difficult to understand once you start to use it. In fact, you have already been using it! Remember the <code class="code">postln</code> command that was described earlier as a special kind of Function? It's actually a Function defined by <span class="application"><strong>SuperCollider</strong></span>'s abstract class <code class="code">Object</code>, which defines a set of messages that can be passed to ''any'' <span class="application"><strong>SuperCollider</strong></span> Object. Because most things in <span class="application"><strong>SuperCollider</strong></span> are Objects, we can send them the <code class="code">postln</code> message, and they will understand that it means to print themselves in the "<span class="application"><strong>SuperCollider</strong></span> output" pane.
+				If this kind of programming is new to you, it might seem extremely difficult. It can be intimidating at first, but it is actually not too difficult to understand once you start to use it. In fact, you have already been using it! Remember the <code class="function">postln</code> command that was described earlier as a special kind of Function? It's actually a Function defined by <span class="application"><strong>SuperCollider</strong></span>'s abstract class <code class="classname">Object</code>, which defines a set of messages that can be passed to <span class="emphasis"><em>any</em></span> <span class="application"><strong>SuperCollider</strong></span> object. Because most things in <span class="application"><strong>SuperCollider</strong></span> are objects, we can send them the <code class="function">postln</code> message, and they will understand that it means to print themselves in the "<span class="application"><strong>SuperCollider</strong></span> output" pane.
 			</div><div class="para">
-				 Why is it that all Objects respond to the <code class="code">postln</code> message? <span class="application"><strong>SuperCollider</strong></span> classes are allowed to belong to other <span class="application"><strong>SuperCollider</strong></span> classes, of which they are a part. Consider the Bicycle class again. It is a kind of vehicle, and philosophers might say that "things that are members of the bicycle class are also members of the vehicle class." That is, real-world bicycles share certain characteristics with other real-world objects that are classified as "vehicles." The bicycle class is a "sub-class" of the vehicle class, and it '''inherits''' certain properties from the vehicles class. <span class="application"><strong>SuperCollider</strong></span> allows this behaviour too, and calls it '''inheritance'''. In <span class="application"><strong>SuperCollider</strong></span>, since all classes define Objects, they are all automatically considered to be a sub
 -class of the class called <code class="code">Object</code>. All classes therefore inherit certain characteristics from the <code class="code">Object</code> class, like knowing how to respond to the <code class="code">postln</code> message. 
+				 Why is it that all Objects respond to the <code class="function">postln</code> message? <span class="application"><strong>SuperCollider</strong></span> classes are allowed to belong to other <span class="application"><strong>SuperCollider</strong></span> classes, of which they are a part. Consider the Bicycle class again. It is a kind of vehicle, and philosophers might say that "things that are members of the bicycle class are also members of the vehicle class." That is, real-world bicycles share certain characteristics with other real-world objects that are classified as "vehicles." The bicycle class is a "sub-class" of the vehicle class, and it <em class="firstterm">inherits</em> certain properties from the vehicles class. <span class="application"><strong>SuperCollider</strong></span> allows this behaviour too, and calls it <em class="firstterm">inheritance</em>. In <span class="application"><strong>SuperCollider</strong></span>, since all classes define Objects, the
 y are all automatically considered to be a sub-class of the class called <code class="classname">Object</code>. All classes therefore inherit certain characteristics from the <code class="classname">Object</code> class, like knowing how to respond to the <code class="function">postln</code> message. 
 			</div><div class="para">
 				equivalent notation: <code class="literal">5.postln</code> versus <code class="literal">postln( 5 )</code>
 			</div><div class="para">
 				You still don't know how to write new Classes and Objects in <span class="application"><strong>SuperCollider</strong></span>, but knowing how to use them is more than enough for now. By the time you need to write your own Classes, you will probably prefer to use the official <span class="application"><strong>SuperCollider</strong></span> help files, anyway.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html"><strong>Prev</strong>11.4.3.2.Â Functional Programming</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html"><strong>Next</strong>11.4.3.4.Â Choosing a Paradigm</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html"><strong>Prev</strong>11.3.3.2.Â Functional Programming</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html"><strong>Next</strong>11.3.3.4.Â Choosing a Paradigm</a></li></ul></body></html>
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.3.Â Object-Oriented SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html" title="11.4.2.6.Â Variable Scope" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html" title="11.4.3.2.Â Functional Programming" /></head><body class="draft
  toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.3.Â Object-Oriented SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented"><div class="titlepage"><div><div keep-together.within-col
 umn="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3.Â Object-Oriented <span class="application"><strong>SuperCollider</strong></span></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>11.3.3.Â Object-Oriented SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html" title="11.3.2.6.Â Variable Scope" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html" title="11.3.3.2.Â Functional Programming" /></head><body class="draft
  toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.3.Â Object-Oriented SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented"><div class="titlepage"><div><div keep-together.within-col
 umn="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.3.3.Â Object-Oriented <span class="application"><strong>SuperCollider</strong></span></h3></div></div></div><div class="para">
 			<span class="application"><strong>SuperCollider</strong></span> is difficult to describe precisely, because its syntax allows great flexibility. There are many different ways to accomplish the same task. Each one is subtly different, and gives you a different set of possibilities, but there is often no "best solution." One of the advantages to this is that it easily allows three "programming paradigms," although one is used much more often than the others.
-		</div><div class="section" title="11.4.3.1.Â Imperative Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Imperative_Programming"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Imperative_Programming">11.4.3.1.Â Imperative Programming</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.3.1.Â Imperative Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Imperative_Programming"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Imperative_Programming">11.3.3.1.Â Imperative Programming</h4></div></div></div><div class="para">
 				Imperative programming is easy to understand: it is simply a list of commands, like this: 
 <pre class="programlisting">
 (
@@ -15,4 +15,4 @@
 )
 </pre>
 				 Declare the variables, set the variables, do a calculation, and print the result of the calculation. This is a simple example, and a simple model, but it is very difficult to escape completely. After all, humans think of large problems in terms of algorithms (the instructions needed to do something). Computers solve large problems, so being able to program them with a series of instructions makes sense.
-			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Prev</strong>11.4.2.6.Â Variable Scope</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html"><strong>Next</strong>11.4.3.2.Â Functional Programming</a></li></ul></body></html>
+			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Prev</strong>11.3.2.6.Â Variable Scope</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html"><strong>Next</strong>11.3.3.2.Â Functional Programming</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.12.Â Ordering and Other Synth Features</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.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html" title="11.4.11.5.Â Using Busses: Audio-Rate Example" /><link rel="next" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html" title="11.4.12.2.Â Changing the O
 rder" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.12.Â Ordering and Other Synth Features" id="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Featu
 res"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12.Â Ordering and Other Synth Features</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>11.3.12.Â Ordering and Other Synth Features</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="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html" title="11.3.11.5.Â Using Busses: Audio-Rate Example" /><link rel="next" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html" title="11.3.12.2.Â Changing the O
 rder" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.12.Â Ordering and Other Synth Features" id="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Featu
 res"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.3.12.Â Ordering and Other Synth Features</h3></div></div></div><div class="para">
 			This section discusses the important topic of creating and enforcing an "order" on the server. Because this is done with Functions (or methods) from the Synth Class, other useful Functions from the Class are discussed here.
-		</div><div class="section" title="11.4.12.1.Â Ordering" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering">11.4.12.1.Â Ordering</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.12.1.Â Ordering" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering">11.3.12.1.Â Ordering</h4></div></div></div><div class="para">
 				Ordering is instructing the server to calculate in a particular order. The audio synthesized by the server takes the same form as any other digital audio: a series of samples are played at a particular speed (called sample rate), each with a set number of bits per sample (called sample format). For each sample, the server calculates the signal at that point in a pre-determined order. Each sample is calculated from scratch, so if a particular UGen depends on the output of another UGen, the other one had better be calculated first. For more information on samples, sample rate, and sample format, see <a class="xref" href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html" title="1.3.Â Sample, Sample Rate, Sample Format, and Bit Rate">SectionÂ 1.3, â€œSample, Sample Rate, Sample Format, and Bit Rateâ€</a>.
 			</div><div class="para">
 				Consider the following example: 
 <pre class="programlisting">{ SinOsc.ar( freq:SinOsc.kr( freq:1, add:500, mul:10 ), mul:0.2 ); }.play;</pre>
 				 What happens if the server calculates the audio-rate UGen first? It wouldn't have a frequency. This is another one of those things which the interpreter takes care of automatically when we run Function rather than create a Synth. Since it's often preferable to use a synth instead of a Function, we need some way to control the order of execution. The interpreter and the server are only so good at guessing what we need, after all.
 			</div><div class="para">
-				There are two methods in the <code class="classname">Synth</code> Class that we can use to inform the server about our desired order of execution: "before" and "after". They represent a small extension to the "new" method, and they work like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.before</b>(</code><var class="pdparam">variableHoldingSynth</var>, <var class="pdparam">nameOfSynthDef</var>, <var class="pdparam">ListOfArguments</var><code>)</code>;</p></div> and <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.after</b>(</code><var class="pdparam">variableHoldingSynth</var>, <var class="pdparam">nameOfSynthDef</var>, <var class="pdparam">ListOfArguments</var><code>)</code>;</p></div> And it works just as it looks, too: the server creates a new synth, adds it before or after the synth represented by "variableHoldingSynth" (depending on which Function you use), and uses "nameOfSynthDef" and "ListOfArguments" j
 ust as in the "add" method. This example, from <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.4.11.4.Â Using Busses: Control-Rate Example">SectionÂ 11.4.11.4, â€œUsing Busses: Control-Rate Exampleâ€</a>, uses the "after" Function to ensure that the control-rate synth is calculated before the audio-rate synths that depend on it. 
+				There are two methods in the <code class="classname">Synth</code> Class that we can use to inform the server about our desired order of execution: "before" and "after". They represent a small extension to the "new" method, and they work like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.before</b>(</code><var class="pdparam">variableHoldingSynth</var>, <var class="pdparam">nameOfSynthDef</var>, <var class="pdparam">ListOfArguments</var><code>)</code>;</p></div> and <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.after</b>(</code><var class="pdparam">variableHoldingSynth</var>, <var class="pdparam">nameOfSynthDef</var>, <var class="pdparam">ListOfArguments</var><code>)</code>;</p></div> And it works just as it looks, too: the server creates a new synth, adds it before or after the synth represented by "variableHoldingSynth" (depending on which Function you use), and uses "nameOfSynthDef" and "ListOfArguments" j
 ust as in the "add" method. This example, from <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.3.11.4.Â Using Busses: Control-Rate Example">SectionÂ 11.3.11.4, â€œUsing Busses: Control-Rate Exampleâ€</a>, uses the "after" Function to ensure that the control-rate synth is calculated before the audio-rate synths that depend on it. 
 <pre class="programlisting">
 ( // execute first: prepare the server
    var busAudioSynth = 
@@ -47,5 +47,5 @@
 </pre>
 				 In this case, the control-rate synth is created before the audio-rate synths - probably the easier way to think about it. Even so, it's possible to add them in the opposite order with a little extra thought.
 			</div><div class="para">
-				The other example from <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11.Â Busses">SectionÂ 11.4.11, â€œBussesâ€</a> use the "before" Function to ensure that the "pink noise" and "sine wave" UGen's were calculated before the "reverberation" UGen. Especially since these are all audio-rate UGen's, the server would not reasonably know which to calculate first, so you need to let it know.
-			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html"><strong>Prev</strong>11.4.11.5.Â Using Busses: Audio-Rate Example</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html"><strong>Next</strong>11.4.12.2.Â Changing the Order</a></li></ul></body></html>
+				The other example from <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.3.11.Â Busses">SectionÂ 11.3.11, â€œBussesâ€</a> use the "before" Function to ensure that the "pink noise" and "sine wave" UGen's were calculated before the "reverberation" UGen. Especially since these are all audio-rate UGen's, the server would not reasonably know which to calculate first, so you need to let it know.
+			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html"><strong>Prev</strong>11.3.11.5.Â Using Busses: Audio-Rate Example</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html"><strong>Next</strong>11.3.12.2.Â Changing the Order</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html
index ab20c95..4d7bcb8 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html
@@ -1,5 +1,5 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.7.5.Â Other Loops</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.4.7.Â Repeated Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html" title="11.4.7.4.Â &quot;Do This While&quot;" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.4.8.Â Conditional Execution" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><ifra
 me id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.7.5.Â Other Loops" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-">11.4.7.
 5.Â Other Loops</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.7.5.Â Other Loops</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.3.7.Â Repeated Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html" title="11.3.7.4.Â &quot;Do This While&quot;" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.3.8.Â Conditional Execution" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><ifra
 me id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.7.5.Â Other Loops" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-">11.3.7.
 5.Â Other Loops</h4></div></div></div><div class="para">
 				The default language provides two other loop structures, both of which are designed to iterate over a series of integer values: "for" loops and "forBy" loops. Their use is more limited than "do" loops. They are explained in the <span class="application"><strong>SuperCollider</strong></span> documentation.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html"><strong>Prev</strong>11.4.7.4.Â "Do This While"</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html"><strong>Next</strong>11.4.8.Â Conditional Execution</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html"><strong>Prev</strong>11.3.7.4.Â "Do This While"</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html"><strong>Next</strong>11.3.8.Â Conditional Execution</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html
index d84d9a6..6d14bd3 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html
@@ -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>11.4.7.3.Â Example "Do" Loops</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.4.7.Â Repeated Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html" title="11.4.7.2.Â &quot;Do This, This Many Times&quot;" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html" title="11.4.7.4.Â &quot;Do This While&quot;" /></head><body class="draft toc_embeded "><div id="toc
 div" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.7.3.Â Example &quot;Do&quot; Loops" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musician
 s_Guide-SC-Basic_Programming-Repeating-Do_Examples">11.4.7.3.Â Example "Do" Loops</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.7.3.Â Example "Do" Loops</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.3.7.Â Repeated Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html" title="11.3.7.2.Â &quot;Do This, This Many Times&quot;" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html" title="11.3.7.4.Â &quot;Do This While&quot;" /></head><body class="draft toc_embeded "><div id="toc
 div" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.7.3.Â Example &quot;Do&quot; Loops" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musician
 s_Guide-SC-Basic_Programming-Repeating-Do_Examples">11.3.7.3.Â Example "Do" Loops</h4></div></div></div><div class="para">
 				These examples illustrate different ways to use "do" loops for trivial tasks.
 			</div><div class="para">
 				
@@ -14,7 +14,7 @@
    nil;
 )
 </pre>
-				 This example is of the first syntax shown. For each element in <code class="code">tL</code>, the interpreter executes the Function once, giving it ''first'' the corresponding element of the Collection, and ''then'' the iteration counter, which happens to be equal to the element's List index number.
+				 This example is of the first syntax shown. For each element in <code class="literal">tL</code>, the interpreter executes the function once, giving it <span class="emphasis"><em>first</em></span> the corresponding element of the Collection, and <span class="emphasis"><em>then</em></span> the iteration counter, which happens to be equal to the element's List index number.
 			</div><div class="para">
 				
 <pre class="programlisting">
@@ -33,7 +33,7 @@
    nil;
 )
 </pre>
-				 This example does several things differently, but maintains the same basic functionality as the previous example. In this case, the Function only uses the first argument that the interpreter provides, and completely ignores the iteration counter. The syntax here also puts the Collection outside the parentheses, which perhaps makes it more clear that <code class="code">tL</code> is not part of the Function.
+				 This example does several things differently, but maintains the same basic functionality as the previous example. In this case, the Function only uses the first argument that the interpreter provides, and completely ignores the iteration counter. The syntax here also puts the Collection outside the parentheses, which perhaps makes it more clear that <code class="literal">tL</code> is not part of the function.
 			</div><div class="para">
 				
 <pre class="programlisting">
@@ -44,4 +44,4 @@
 )
 </pre>
 				 This example simply prints the string "repeat" ten times. If the Function accepted one argument, it would receive the integers zero through nine. If it accepted two arguments, both of the arguments would be equal.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html"><strong>Prev</strong>11.4.7.2.Â "Do This, This Many Times"</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html"><strong>Next</strong>11.4.7.4.Â "Do This While"</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html"><strong>Prev</strong>11.3.7.2.Â "Do This, This Many Times"</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html"><strong>Next</strong>11.3.7.4.Â "Do This While"</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html
index f7ddfa0..e6d66e8 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html
@@ -1,5 +1,5 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.7.2.Â "Do This, This Many Times"</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.4.7.Â Repeated Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.4.7.Â Repeated Execution" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html" title="11.4.7.3.Â Example &quot;Do&quot; Loops" /></head><body class="draft toc_embeded "><div id="tocdiv" class="t
 oc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.7.2.Â &quot;Do This, This Many Times&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-
 Basic_Programming-Repeating-Number_Do">11.4.7.2.Â "Do This, This Many Times"</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.7.2.Â "Do This, This Many Times"</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.3.7.Â Repeated Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.3.7.Â Repeated Execution" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html" title="11.3.7.3.Â Example &quot;Do&quot; Loops" /></head><body class="draft toc_embeded "><div id="tocdiv" class="t
 oc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.7.2.Â &quot;Do This, This Many Times&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-
 Basic_Programming-Repeating-Number_Do">11.3.7.2.Â "Do This, This Many Times"</h4></div></div></div><div class="para">
 				Another way to write a "do" loop takes advantage of <span class="application"><strong>SuperCollider</strong></span>'s flexibility, and is really the same as one of the methods above. It's basically equivalent to telling the interpreter to "run this Function this many times." The syntax looks like this, <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">aNumber.do</b>(</code>aFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> This causes <code class="function">aFunction</code> to be execute <em class="replaceable"><code>aNumber</code></em> times. The interpreter still provdies two arguments to <code class="function">aFunction</code>, but they are the same: it is the integers from zero to one less than <em class="replaceable"><code>aNumber</code></em>. You might also think of it as the number of times that <code class="function">aFunction</code> has been executed prior to this particular execution.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html"><strong>Prev</strong>11.4.7.Â Repeated Execution</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html"><strong>Next</strong>11.4.7.3.Â Example "Do" Loops</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html"><strong>Prev</strong>11.3.7.Â Repeated Execution</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html"><strong>Next</strong>11.3.7.3.Â Example "Do" Loops</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html
index 8e694b9..1a3f91a 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html
@@ -1,9 +1,9 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.7.4.Â "Do This While"</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.4.7.Â Repeated Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html" title="11.4.7.3.Â Example &quot;Do&quot; Loops" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html" title="11.4.7.5.Â Other Loops" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id=
 "tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.7.4.Â &quot;Do This While&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-W
 hile">11.4.7.4.Â "Do This While"</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.7.4.Â "Do This While"</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.3.7.Â Repeated Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html" title="11.3.7.3.Â Example &quot;Do&quot; Loops" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html" title="11.3.7.5.Â Other Loops" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id=
 "tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.7.4.Â &quot;Do This While&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-W
 hile">11.3.7.4.Â "Do This While"</h4></div></div></div><div class="para">
 				"While" loops execute continuously while their "test condition" is evaluated to be "true". Upon reaching the loop, the <span class="application"><strong>SuperCollider</strong></span> interpreter executes the test condition. If it is "fale", the interpreter does not execute the loop, and continues with the code after the loop. If it is "true", the interpreter executes the code in the loop once, then re-executes the test condition. If the test condition is "true", the loop is executed, the test condition re-executed, and so on. Until the test condition returns "false", the interpreter will never leave the loop.
 			</div><div class="para">
-				Here is the format of a "while" loop in <span class="application"><strong>SuperCollider</strong></span>: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">while</b>(</code>boolean testFunction<code>(</code>number<code>)</code>, bodyFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> or like this: <div class="funcsynopsis"><p><code class="funcdef">testFunction.<b class="fsfunc">while</b>(</code>bodyFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> The test condition, called <code class="code">testFunc</code>, is a Function which returns a boolean value - either "true" or "false". The loop's body, called <code class="code">bodyFunc</code>, is a Function which can do anything. The loop body function is not provided any arguments by the interpreter. You will have to use comparison operators and boolean expressions when writing the Function for the test condition. For information on how these work in <span class="applicatio
 n"><strong>SuperCollider</strong></span>, see <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators" title="11.4.8.1.Â Boolean Operators">SectionÂ 11.4.8.1, â€œBoolean Operatorsâ€</a> and <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2.Â Boolean Expressions">SectionÂ 11.4.8.2, â€œBoolean Expressionsâ€</a>.
+				Here is the format of a "while" loop in <span class="application"><strong>SuperCollider</strong></span>: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">while</b>(</code>boolean testFunction<code>(</code>number<code>)</code>, bodyFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> or like this: <div class="funcsynopsis"><p><code class="funcdef">testFunction.<b class="fsfunc">while</b>(</code>bodyFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> The test condition, called <code class="function">testFunc</code>, is a function which returns a boolean value - either <code class="literal">true</code> or <code class="literal">false</code>. The loop's body, called <code class="function">bodyFunc</code>, is a function which can do anything. The loop body function is not provided any arguments by the interpreter. You will have to use comparison operators and boolean expressions when writing the Function for the test condition
 . For information on how these work in <span class="application"><strong>SuperCollider</strong></span>, see <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators" title="11.3.8.1.Â Boolean Operators">SectionÂ 11.3.8.1, â€œBoolean Operatorsâ€</a> and <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.3.8.2.Â Boolean Expressions">SectionÂ 11.3.8.2, â€œBoolean Expressionsâ€</a>.
 			</div><div class="para">
 				The following three code blocks are equivalent: 
 <pre class="programlisting">
@@ -33,7 +33,7 @@ play( some background music );
 while( { is the user still inputting information? }, { keep playing music } );
 stop( some background music );
 </pre>
-				 The background music is begun, and then the interpreter would enter the loop. For as long as the user is still inputting information, the interpreter will then "keep playing music." When the user is not still inputting information, the interpreter will move on to the next command, which stops the music. An equivalent "do" loop would be very difficult to write, if not impossible. This is because we won't know when the user has finished inputting their information until ''after'' they've finished, so we can't plan in advance for how long to play background music.
+				 The background music is begun, and then the interpreter would enter the loop. For as long as the user is still inputting information, the interpreter will then "keep playing music." When the user is not still inputting information, the interpreter will move on to the next command, which stops the music. An equivalent "do" loop would be very difficult to write, if not impossible. This is because we won't know when the user has finished inputting their information until <span class="emphasis"><em>after</em></span> they've finished, so we can't plan in advance for how long to play background music.
 			</div><div class="para">
 				Thus, the most appropriate use of a "while" loop is for cases where you cannot know in advance how many times something should be executed. For most other cases of repeated execution, a "do" loop is the most appropriate choice.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html"><strong>Prev</strong>11.4.7.3.Â Example "Do" Loops</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html"><strong>Next</strong>11.4.7.5.Â Other Loops</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html"><strong>Prev</strong>11.3.7.3.Â Example "Do" Loops</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html"><strong>Next</strong>11.3.7.5.Â Other Loops</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating.html
index 5cb060d..d59e308 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating.html
@@ -1,9 +1,9 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.7.Â Repeated Execution</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html" title="11.4.6.4.Â Other Collections" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html" title="11.4.7.2.Â &quot;Do This, This Many Times&quot;" /></head><body class="draft toc_emb
 eded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.7.Â Repeated Execution" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect
 -Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7.Â Repeated Execution</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>11.3.7.Â Repeated Execution</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html" title="11.3.6.4.Â Other Collections" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html" title="11.3.7.2.Â &quot;Do This, This Many Times&quot;" /></head><body class="draft toc_emb
 eded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.7.Â Repeated Execution" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect
 -Musicians_Guide-SC-Basic_Programming-Repeating">11.3.7.Â Repeated Execution</h3></div></div></div><div class="para">
 			Repeating boring tasks is one of the main uses of computers, which don't mind doing the same thing over and over again. More importantly, writing code once and using it many times is much more intelligent than writing the same code many times. Repetition of the same code is often problematic, and repetition with subtle differences is even worse. Errors in this kind of code are difficult to find in the first place, and more difficult to solve effectively. Thankfully, as with most other things, <span class="application"><strong>SuperCollider</strong></span> offers a wide variety of ways to repeat code without re-writing it.
 		</div><div class="para">
-			The code structure used to create repetition is normally called a '''loop'''. "Do" loops are <span class="application"><strong>SuperCollider</strong></span>'s most versatile and useful repetition structure, and there are a few different ways to think about and write it. The "while" loop is a standard of most programming languages.
-		</div><div class="section" title="11.4.7.1.Â &quot;Do This to Everything in This Collection&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Simple_Do"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Simple_Do">11.4.7.1.Â "Do This to Everything in This Collection"</h4></div></div></div><div class="para">
+			The code structure used to create repetition is normally called a <em class="firstterm">loop</em>. "Do" loops are <span class="application"><strong>SuperCollider</strong></span>'s most versatile and useful repetition structure, and there are a few different ways to think about and write it. The "while" loop is a standard of most programming languages.
+		</div><div class="section" title="11.3.7.1.Â &quot;Do This to Everything in This Collection&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Simple_Do"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Simple_Do">11.3.7.1.Â "Do This to Everything in This Collection"</h4></div></div></div><div class="para">
 				One way to write a "do" loop is basically the same as telling the interpreter to "do this Function to every element in this Collection." The syntax looks like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">do</b>(</code><var class="pdparam">aCollection</var>, aFunction<code>(</code>number, number<code>)</code><code>)</code>;</p></div> ... or like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">aCollection.do</b>(</code>aFunction<code>(</code>number, number<code>)</code><code>)</code>;</p></div> This causes <code class="function">aFunction</code> to be executed once for each element in <em class="replaceable"><code>aCollection</code></em>, which can be any kind of Collection. Each time <code class="function">aFunction</code> is run, it is given two arguments, in this order: an element of <em class="replaceable"><code>aCollection</code></em>, and the elements index number. For Collection's that don't have index numbers
 , it returns what the element's index number would have been. The loop always begins at the start of the Collection, and progresses with each element in order to the end. The second argument, really, is the integers from zero to one less than the number of elements in the Collection, increasing by one each time the loop executes <code class="function">aFunction</code>.
-			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html"><strong>Prev</strong>11.4.6.4.Â Other Collections</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html"><strong>Next</strong>11.4.7.2.Â "Do This, This Many Times"</a></li></ul></body></html>
+			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html"><strong>Prev</strong>11.3.6.4.Â Other Collections</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html"><strong>Next</strong>11.3.7.2.Â "Do This, This Many Times"</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html
index 4d81774..6c8240b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html
@@ -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>11.4.13.2.Â Default Clocks</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13.Â Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13.Â Scheduling" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html" title="11.4.13.3.Â Finding the Current Time" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe 
 id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.13.2.Â Default Clocks" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Progra
 mming-Scheduling-Default_Clocks">11.4.13.2.Â Default Clocks</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.13.2.Â Default Clocks</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.3.13.Â Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.3.13.Â Scheduling" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html" title="11.3.13.3.Â Finding the Current Time" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe 
 id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.13.2.Â Default Clocks" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Progra
 mming-Scheduling-Default_Clocks">11.3.13.2.Â Default Clocks</h4></div></div></div><div class="para">
 				The <span class="application"><strong>SuperCollider</strong></span> interpreter provides two default clocks, and one default pseudo-clock.
 			</div><div class="para">
-				The <code class="code">SystemClock</code> always operates in seconds, and it can be used to schedule musical events, but usually this isn't necessary.
+				The <code class="classname">SystemClock</code> always operates in seconds, and it can be used to schedule musical events, but usually this isn't necessary.
 			</div><div class="para">
 				The <code class="code">TempoClock.default</code> runs at 60 beats-per-minute by default (equal to one beat per second). Since it's accessible from anywhere within a program, any tempo changes will have an effect on the scheduling of the entire program - so be careful! If you don't want something to be effected by tempo changes, you can create a new TempoClock just for that part of the program. If you will be using this clock frequently, you can assign it to a variable like this: 
 <pre class="programlisting">var t = TempoClock.default;</pre>
 
 			</div><div class="para">
 				The <code class="code">thisThread.clock</code> is not really a clock in itself, but refers to the clock which is responsible for scheduling the part of the program where the command is written. It can be a little bit tricky working with this clock, since it may be either the SystemClock or a TempoClock.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html"><strong>Prev</strong>11.4.13.Â Scheduling</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html"><strong>Next</strong>11.4.13.3.Â Finding the Current Time</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html"><strong>Prev</strong>11.3.13.Â Scheduling</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html"><strong>Next</strong>11.3.13.3.Â Finding the Current Time</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html
index 12cf65e..216a32b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html
@@ -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>11.4.13.3.Â Finding the Current Time</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13.Â Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html" title="11.4.13.2.Â Default Clocks" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html" title="11.4.13.4.Â Relative Scheduling" /></head><body class="draft toc_embeded "><div id="tocdiv"
  class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.13.3.Â Finding the Current Time" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time"><div class="titlepage"><div><div keep-together.within-column="always"><h4 cla
 ss="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time">11.4.13.3.Â Finding the Current Time</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.13.3.Â Finding the Current Time</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.3.13.Â Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html" title="11.3.13.2.Â Default Clocks" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html" title="11.3.13.4.Â Relative Scheduling" /></head><body class="draft toc_embeded "><div id="tocdiv"
  class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.13.3.Â Finding the Current Time" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time"><div class="titlepage"><div><div keep-together.within-column="always"><h4 cla
 ss="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time">11.3.13.3.Â Finding the Current Time</h4></div></div></div><div class="para">
 				Using the "beats" method on a clock will return that clock's current time. Try running each of the following: 
 <pre class="programlisting">
 SystemClock.beats;
@@ -10,4 +10,4 @@ thisThread.clock.beats;
 
 			</div><div class="para">
 				This can be useful for scheduling events in an absolute way, or for a number of other things.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html"><strong>Prev</strong>11.4.13.2.Â Default Clocks</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html"><strong>Next</strong>11.4.13.4.Â Relative Scheduling</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html"><strong>Prev</strong>11.3.13.2.Â Default Clocks</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html"><strong>Next</strong>11.3.13.4.Â Relative Scheduling</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html
index 38a9cbb..33b8f0f 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html
@@ -1,11 +1,11 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.13.4.Â Relative Scheduling</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13.Â Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html" title="11.4.13.3.Â Finding the Current Time" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html" title="11.4.13.5.Â Repeated Scheduling" /></head><body class="draft toc_embeded "><
 div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.13.4.Â Relative Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling"><div class="titlepage"><div><div keep-together.within-column="
 always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling">11.4.13.4.Â Relative Scheduling</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.13.4.Â Relative Scheduling</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.3.13.Â Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html" title="11.3.13.3.Â Finding the Current Time" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html" title="11.3.13.5.Â Repeated Scheduling" /></head><body class="draft toc_embeded "><
 div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.13.4.Â Relative Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling"><div class="titlepage"><div><div keep-together.within-column="
 always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling">11.3.13.4.Â Relative Scheduling</h4></div></div></div><div class="para">
 				The standard way to schedule things is in a certain number of beats from now. If you're scheduling on a SystemClock, one beat is equal to one second. If you're scheduling on a TempoClock, one beat is equal to whatever the current setting is.
 			</div><div class="para">
 				To schedule things on a clock, use the "sched" Function: <div class="funcsynopsis"><p><code class="funcdef">nameOfClock<b class="fsfunc">sched</b>(</code><var class="pdparam">beatsFromNow</var>, <var class="pdparam">FunctionToExecute</var><code>)</code>;</p></div> The interpreter will let you schedule just about anything, but there's no point in scheduling something other than a Function: scheduling a five won't have any effect - try it! 
 <pre class="programlisting">SystemClock.sched( 5, 5 );</pre>
-				 It looks like nothing happens. The <code class="literal">5</code> does happen, but... well... it doesn't do anything. Scheduling a Function ''will'' do something: 
+				 It looks like nothing happens. The <code class="literal">5</code> does happen, but... well... it doesn't do anything. Scheduling a Function <span class="emphasis"><em>will</em></span> do something: 
 <pre class="programlisting">SystemClock.sched( 5, { 5.postln; } );</pre>
 				 When you run this, there are two things to notice: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -14,4 +14,4 @@
 							The five prints out endlessly, in five-second intervals. For an explanation, see "Repeated Scheduling"
 						</div></li></ul></div>
 
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html"><strong>Prev</strong>11.4.13.3.Â Finding the Current Time</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html"><strong>Next</strong>11.4.13.5.Â Repeated Scheduling</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html"><strong>Prev</strong>11.3.13.3.Â Finding the Current Time</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html"><strong>Next</strong>11.3.13.5.Â Repeated Scheduling</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html
index 2917ebd..dc1eecf 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html
@@ -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>11.4.13.5.Â Repeated Scheduling</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13.Â Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html" title="11.4.13.4.Â Relative Scheduling" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html" title="11.4.13.6.Â Working with the TempoClock Class" /></head><body class="draft toc_embeded ">
 <div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.13.5.Â Repeated Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"
 ><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling">11.4.13.5.Â Repeated Scheduling</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.13.5.Â Repeated Scheduling</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.3.13.Â Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html" title="11.3.13.4.Â Relative Scheduling" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html" title="11.3.13.6.Â Working with the TempoClock Class" /></head><body class="draft toc_embeded ">
 <div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.13.5.Â Repeated Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"
 ><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling">11.3.13.5.Â Repeated Scheduling</h4></div></div></div><div class="para">
 				If you schedule a Function that returns a number, the interpreter will schedule the Function to re-run in that many beats.
 			</div><div class="para">
 				This will print "5" every five seconds, until you press [Esc] to stop execution. 
@@ -10,4 +10,4 @@
 				To avoid this, you can end your Function with <code class="literal">nil</code>, which has been done sometimes through this guide. 
 <pre class="programlisting">SystemClock.sched( 5, { 5.postln; nil; } );</pre>
 				 This will print <code class="literal">5</code> in five seconds, and then stop.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html"><strong>Prev</strong>11.4.13.4.Â Relative Scheduling</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html"><strong>Next</strong>11.4.13.6.Â Working with the TempoClock Class</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html"><strong>Prev</strong>11.3.13.4.Â Relative Scheduling</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html"><strong>Next</strong>11.3.13.6.Â Working with the TempoClock Class</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html
index cd49c5f..f0a49b7 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html
@@ -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>11.4.13.6.Â Working with the TempoClock Class</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13.Â Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html" title="11.4.13.5.Â Repeated Scheduling" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.4.14.Â How to Get Help" /></head><body class="draft toc_embeded "><div id="tocdiv" clas
 s="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.13.6.Â Working with the TempoClock Class" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="se
 ct-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class">11.4.13.6.Â Working with the TempoClock Class</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.13.6.Â Working with the TempoClock Class</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.3.13.Â Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html" title="11.3.13.5.Â Repeated Scheduling" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.3.14.Â How to Get Help" /></head><body class="draft toc_embeded "><div id="tocdiv" clas
 s="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.13.6.Â Working with the TempoClock Class" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="se
 ct-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class">11.3.13.6.Â Working with the TempoClock Class</h4></div></div></div><div class="para">
 				Here is a brief explanation of some Functions available with the TempoClock Class. Throughout this section, the variable "t" is used to represent any particular TempoClock.
 			</div><div class="para">
 				
@@ -37,4 +37,4 @@ t = nil;
 				 Schedules the Function to begin execution on the next beat.
 			</div><div class="para">
 				There are many other Functions in the TempoClock Class, related to absolute scheduling, scheduling with bars, and conversion of beats to and from seconds.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html"><strong>Prev</strong>11.4.13.5.Â Repeated Scheduling</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html"><strong>Next</strong>11.4.14.Â How to Get Help</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html"><strong>Prev</strong>11.3.13.5.Â Repeated Scheduling</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html"><strong>Next</strong>11.3.14.Â How to Get Help</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html
index bb0d900..affd25b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html
@@ -1,8 +1,8 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.13.Â Scheduling</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html" title="11.4.12.4.Â Pausing and Restarting a Synth" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html" title="11.4.13.2.Â Default Clocks" /></head><body 
 class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.13.Â Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling"><div class="titlepage"><div><div keep-together.w
 ithin-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.4.13.Â Scheduling</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>11.3.13.Â Scheduling</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html" title="11.3.12.4.Â Pausing and Restarting a Synth" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html" title="11.3.13.2.Â Default Clocks" /></head><body 
 class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.13.Â Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling"><div class="titlepage"><div><div keep-together.w
 ithin-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.3.13.Â Scheduling</h3></div></div></div><div class="para">
 			The practice of scheduling allows you to making things happen in a pre-determined amount of time. Scheduling is very different from ordering: ordering is a primarily technical consideration to ensure that the server synthesizes the sound in the right order; scheduling is a primarily musical consideration that allows you to control the perceived time that things happen.
-		</div><div class="section" title="11.4.13.1.Â Clocks" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Clocks"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Clocks">11.4.13.1.Â Clocks</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.13.1.Â Clocks" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Clocks"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Clocks">11.3.13.1.Â Clocks</h4></div></div></div><div class="para">
 				SuperCollider's clocks have two main functions: they know what time it is, and they know what time things are supposed to happen.
 			</div><div class="para">
 				There are three types of clocks, which each do slightly different things: 
@@ -14,4 +14,4 @@
 							AppClock: These clocks always run in seconds. They are to be used for graphic events and other non-musical things not discussed in this guide. These clocks do not run with a high priority, so they can be temporarily "side-lined" by a TempoClock or the SystemClock, if one of those has something to do urgently.
 						</div></li></ul></div>
 
-			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html"><strong>Prev</strong>11.4.12.4.Â Pausing and Restarting a Synth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html"><strong>Next</strong>11.4.13.2.Â Default Clocks</a></li></ul></body></html>
+			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html"><strong>Prev</strong>11.3.12.4.Â Pausing and Restarting a Synth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html"><strong>Next</strong>11.3.13.2.Â Default Clocks</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html
index 245790b..9119f4a 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html
@@ -1,23 +1,23 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.4.2.Â The "play" Function</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html" title="11.4.4.Â Sound-Making Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html" title="11.4.4.Â Sound-Making Functions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html" title="11.4.5.Â Multichannel Audio" /></head><body class="draft toc_embeded "><div id="tocd
 iv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.4.2.Â The &quot;play&quot; Function" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class=
 "title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function">11.4.4.2.Â The "play" Function</h4></div></div></div><div class="para">
-				The <code class="code">play</code> Function does exactly what it says: it plays its input. The input must be a Function with an audio-rate signal generator as the return value.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.4.2.Â The "play" Function</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html" title="11.3.4.Â Sound-Making Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html" title="11.3.4.Â Sound-Making Functions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html" title="11.3.5.Â Multichannel Audio" /></head><body class="draft toc_embeded "><div id="tocd
 iv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.4.2.Â The &quot;play&quot; Function" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class=
 "title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function">11.3.4.2.Â The "play" Function</h4></div></div></div><div class="para">
+				The <code class="function">play</code> function does exactly what it says: it plays its input. The input must be a function with an audio-rate signal generator as the return value.
 			</div><div class="para">
 				The following two examples produce the same output: 
 <pre class="programlisting">{ SinOsc.ar( 440, 0, 0.2 ); }.play;</pre>
 				 
 <pre class="programlisting">play( { SinOsc.ar( 440, 0, 0.2 ); } );</pre>
-				 The first example is written from an object-oriented perspective. Functions know how to play their return value, when passed the <code class="code">play</code> message. This is true of all Functions whose return value is an audio-rate UGen. The second example is written from a functional perspective. The Function called <code class="code">play</code> will play its input, which must be a Function whose return value is an audio-rate UGen. Whether you should write <code class="code">play</code> in the functional or object-oriented way depends on which makes more sense to you.
+				 The first example is written from an object-oriented perspective. Functions know how to play their return value, when passed the <code class="function">play</code> message. This is true of all Functions whose return value is an audio-rate UGen. The second example is written from a functional perspective. The Function called <code class="function">play</code> will play its input, which must be a Function whose return value is an audio-rate UGen. Whether you should write <code class="function">play</code> in the functional or object-oriented way depends on which makes more sense to you.
 			</div><div class="para">
-				Try to re-write the above example so that the <code class="code">play</code> Function operates on a variable-defined Function. 
+				Try to re-write the above example so that the <code class="function">play</code> function operates on a variable-defined Function. 
 			</div><div class="para">
-				The arguments to <code class="code">SinOsc</code>, whether the audio- or control-rate generator, are these: 
+				The arguments to <code class="classname">SinOsc</code>, whether the audio- or control-rate generator, are these: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							The first is called <code class="code">freq</code>; it sets the frequency.
+							The first is called <code class="literal">freq</code>; it sets the frequency.
 						</div></li><li class="listitem"><div class="para">
-							The second is called <code class="code">add</code>; it is added to all values produced by the UGen.
+							The second is called <code class="literal">add</code>; it is added to all values produced by the UGen.
 						</div></li><li class="listitem"><div class="para">
-							The third is called <code class="code">mul</code>; all values produced by the UGen are multiplied by this.
+							The third is called <code class="literal">mul</code>; all values produced by the UGen are multiplied by this.
 						</div></li></ul></div>
 
 			</div><div class="para">
@@ -31,4 +31,4 @@
 )
 </pre>
 				 
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html"><strong>Prev</strong>11.4.4.Â Sound-Making Functions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html"><strong>Next</strong>11.4.5.Â Multichannel Audio</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html"><strong>Prev</strong>11.3.4.Â Sound-Making Functions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html"><strong>Next</strong>11.3.5.Â Multichannel Audio</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html
index 9f4ac4c..38b284e 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html
@@ -1,19 +1,19 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.4.Â Sound-Making Functions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html" title="11.4.3.4.Â Choosing a Paradigm" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html" title="11.4.4.2.Â The &quot;play&quot; Function" /></head>
 <body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.4.Â Sound-Making Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions"><div class="titlepage"><di
 v><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4.Â Sound-Making Functions</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>11.3.4.Â Sound-Making Functions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html" title="11.3.3.4.Â Choosing a Paradigm" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html" title="11.3.4.2.Â The &quot;play&quot; Function" /></head>
 <body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.4.Â Sound-Making Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions"><div class="titlepage"><di
 v><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.3.4.Â Sound-Making Functions</h3></div></div></div><div class="para">
 			It's finally time to start thinking about Functions that produce sound!
 		</div><div class="para">
 			This example is discussed below in the following sections. Remember, when running <span class="application"><strong>SuperCollider</strong></span> code in <span class="application"><strong>GEdit</strong></span>, you can stop the sound by pressing <span class="keycap"><strong>Esc</strong></span> 
 <pre class="programlisting">{ SinOsc.ar( 440, 0, 0.2 ); }.play;</pre>
 
-		</div><div class="section" title="11.4.4.1.Â UGens" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-UGens"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-UGens">11.4.4.1.Â UGens</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.4.1.Â UGens" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-UGens"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-UGens">11.3.4.1.Â UGens</h4></div></div></div><div class="para">
 				"UGen" stands for "unit generator." UGens are special Objects that generate either an audio or a control signal.
 			</div><div class="para">
-				The UGen that will be used for most of the experimentation in this Guide, and which was primarily used to generate the "Method One" program that goes with this Guide, is called <code class="code">SinOsc</code>, which generates a sine wave. The Class' name, "SinOsc," means "sine oscillator."
+				The UGen that will be used for most of the experimentation in this Guide, and which was primarily used to generate the "Method One" program that goes with this Guide, is called <code class="classname">SinOsc</code>, which generates a sine wave. The class' name, <code class="classname">SinOsc</code> means "sine oscillator."
 			</div><div class="para">
-				The example at the beginning of this chapter, <code class="code">SinOsc.ar( 440, 0, 0.2 );</code> produces an "instance" of the <code class="code">SinOsc</code> Class, which continuously outputs a signal, based on the parameters given in parentheses. This instance produces an "audio rate" signal, which means that it is of sufficient quality to eventually become sound.
+				The example at the beginning of this chapter, <code class="code">SinOsc.ar( 440, 0, 0.2 );</code> produces an "instance" of the <code class="classname">SinOsc</code> class, which continuously outputs a signal, based on the parameters given in parentheses. This instance produces an "audio rate" signal, which means that it is of sufficient quality to eventually become sound.
 			</div><div class="para">
 				A slightly modified version of that code will give us a "control rate" signal: <code class="code">SinOsc.kr( 440, 0, 0.2 );</code> There is only one small difference between the two examples - for us - but for <span class="application"><strong>SuperCollider</strong></span>, the difference is huge. A control rate signal will not be of sufficient quality to become sound; it is used to control other UGens that do become sound.
 			</div><div class="para">
-				Unlike other Classes, UGen Classes should not be instantiated with the <code class="code">new</code> message. They should always be instantiated as either audio-rate (by passing the <code class="code">ar</code> message), or control-rate (by passing the <code class="code">kr</code> message). Control-rate signals are calculated much less often than audio-rate signals, which allows the <span class="application"><strong>SuperCollider</strong></span> interpreter and server to save processing power where it wouldn't be noticed.
-			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html"><strong>Prev</strong>11.4.3.4.Â Choosing a Paradigm</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html"><strong>Next</strong>11.4.4.2.Â The "play" Function</a></li></ul></body></html>
+				Unlike other Classes, UGen Classes should not be instantiated with the <code class="function">new</code> message. They should always be instantiated as either audio-rate (by passing the <code class="function">ar</code> message), or control-rate (by passing the <code class="function">kr</code> message). Control-rate signals are calculated much less often than audio-rate signals, which allows the <span class="application"><strong>SuperCollider</strong></span> interpreter and server to save processing power where it wouldn't be noticed.
+			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html"><strong>Prev</strong>11.3.3.4.Â Choosing a Paradigm</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html"><strong>Next</strong>11.3.4.2.Â The "play" Function</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html
index 51a7b46..0ccd3f7 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
@@ -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>11.4.10.7.Â Creating Change Anyway</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html" title="11.4.10.6.Â Shortcomings of a SynthDef" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html" title="11.4.10.8.Â SynthDef with Argumen
 ts" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.7.Â Creating Change Anyway" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Cre
 ating_Change_Anyway"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway">11.4.10.7.Â Creating Change Anyway</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.10.7.Â Creating Change Anyway</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.3.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html" title="11.3.10.6.Â Shortcomings of a SynthDef" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html" title="11.3.10.8.Â SynthDef with Argumen
 ts" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.10.7.Â Creating Change Anyway" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Cre
 ating_Change_Anyway"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway">11.3.10.7.Â Creating Change Anyway</h4></div></div></div><div class="para">
 				The way to create change and pseudo-randomness anyway is to incorporate another UGen to do it for you. Remember: when you send synthesis information to the server, that information can't change unless you replace it. This doesn't mean that the output produced by the synth can't change!
 			</div><div class="para">
 				The way to do this is with control-rate UGen's. The following example uses a control-rate SinOsc to set the frequency of an audio-rate SinOsc. 
@@ -43,7 +43,7 @@
 								</td><td align="center">
 									sets the deviation from "add"
 								</td></tr></tbody></table></div><h6>TableÂ 11.4.Â 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.
+				 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 <code class="literal">add</code>, 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 <code class="literal">freq</code>. 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">
@@ -60,4 +60,4 @@
 )
 </pre>
 				 If you run this multiple times, you will again hear ten different pitches. Depending on audio hardware, previous musical experience, and other factors, some people may have difficulty hearing that the pitches are different. Try reducing the number of synths created in the loop.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html"><strong>Prev</strong>11.4.10.6.Â Shortcomings of a SynthDef</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html"><strong>Next</strong>11.4.10.8.Â SynthDef with Arguments</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html"><strong>Prev</strong>11.3.10.6.Â Shortcomings of a SynthDef</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html"><strong>Next</strong>11.3.10.8.Â SynthDef with Arguments</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html
@@ -1,7 +1,7 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.3.Â Load</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html" title="11.4.10.2.Â SynthDef" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html" title="11.4.10.4.Â Symbols" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id=
 "tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.3.Â Load" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-S
 ynthDef_and_Synth-Load">11.4.10.3.Â Load</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.10.3.Â Load</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.3.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html" title="11.3.10.2.Â SynthDef" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html" title="11.3.10.4.Â Symbols" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id=
 "tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.10.3.Â Load" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-S
 ynthDef_and_Synth-Load">11.3.10.3.Â Load</h4></div></div></div><div class="para">
 				There is another way to send a SynthDef to the server: the "load" Function. The "send" Function sends the synthesis information to the server, which stores it in memory. When the server stops running, all synthesis information given with "send" is lost. The "load" Function, on the other hand, sends the synthesis information to the server, which stores it on disk and in memory. Every time the server is started, it loads all of the synthesis information previously sent to it with the "load" Function. The definition remains until you delete it specifically. This is most useful for a SynthDef that takes up a lot of memory, and which would use considerable network time to transfer to the server whenever the server is run. It is also useful to use the "load" Function instead of "send", when there are a lot of SynthDef's, regardless of the size of each one. The idea is the same: avoid sending the SynthDef in order to save time.
 			</div><div class="para">
 				The syntax and usage for "load" is the same as for "send".
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html"><strong>Prev</strong>11.4.10.2.Â SynthDef</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html"><strong>Next</strong>11.4.10.4.Â Symbols</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html"><strong>Prev</strong>11.3.10.2.Â SynthDef</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html"><strong>Next</strong>11.3.10.4.Â Symbols</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html
index 2039005..5f102ad 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html
@@ -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>11.4.10.9.Â Things to Do with a SynthDef: Set and Free</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html" title="11.4.10.8.Â SynthDef with Arguments" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11.Â Busses" /></head><body class="draft toc_embed
 ed "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.9.Â Things to Do with a SynthDef: Set and Free" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free"><div class="titlepage"><div><div keep-together.wi
 thin-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free">11.4.10.9.Â Things to Do with a SynthDef: Set and Free</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.10.9.Â Things to Do with a SynthDef: Set and Free</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.3.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html" title="11.3.10.8.Â SynthDef with Arguments" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.3.11.Â Busses" /></head><body class="draft toc_embed
 ed "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.10.9.Â Things to Do with a SynthDef: Set and Free" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free"><div class="titlepage"><div><div keep-together.wi
 thin-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free">11.3.10.9.Â Things to Do with a SynthDef: Set and Free</h4></div></div></div><div class="para">
 				Once you send a synth definition to the server, and make some synths, you've collected a few Synth Objects, and you wonder what to do with them next. Of course, you could listen to them, but you can also change the arguments that you used, and stop it.
 			</div><div class="para">
 				To change the arguments used by a synth, send it the "set" message, with a list of arguments: 
@@ -47,4 +47,4 @@ h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } );
 &lt;replaceable&gt;variableHoldingSynth&lt;/replaceable&gt; = nil;
 </pre>
 				 If you accidentally send "free" to an already-freed Synth, the interpreter will cause an error, and program execution will stop. If you accidentally send "free" to a variable set to "nil", nothing will happen. Proactively avoiding mistakes like this is good programming practice.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html"><strong>Prev</strong>11.4.10.8.Â SynthDef with Arguments</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html"><strong>Next</strong>11.4.11.Â Busses</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html"><strong>Prev</strong>11.3.10.8.Â SynthDef with Arguments</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html"><strong>Next</strong>11.3.11.Â Busses</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html
index df4b3d8..b0fbc6e 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html
@@ -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>11.4.10.6.Â Shortcomings of a SynthDef</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html" title="11.4.10.5.Â SynthDef Becomes Synth" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html" title="11.4.10.7.Â Creating Change Anyway" />
 </head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.6.Â Shortcomings of a SynthDef" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomin
 gs_of_a_SynthDef"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef">11.4.10.6.Â Shortcomings of a SynthDef</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.10.6.Â Shortcomings of a SynthDef</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.3.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html" title="11.3.10.5.Â SynthDef Becomes Synth" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html" title="11.3.10.7.Â Creating Change Anyway" />
 </head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.10.6.Â Shortcomings of a SynthDef" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomin
 gs_of_a_SynthDef"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef">11.3.10.6.Â Shortcomings of a SynthDef</h4></div></div></div><div class="para">
 				Consider the following program: 
 <pre class="programlisting">
 (
@@ -29,7 +29,7 @@
    10.do( { Synth.new( \myRandFunc ); } );
 )
 </pre>
-				 Execute the program a few times. The result is still different each time, but it's the ''same'' ten SinOsc's, all with the same frequency. This is the nature of a SynthDef: once it's sent to the server, you can create a synth from the same instructions without re-sending them.
+				 Execute the program a few times. The result is still different each time, but it's the <span class="emphasis"><em>same</em></span> ten SinOsc's, all with the same frequency. This is the nature of a SynthDef: once it's sent to the server, you can create a synth from the same instructions without resending them.
 			</div><div class="para">
-				This program causes an error the first time you run it. Inspect the error messages, and see if you can determine why. It's because the server is processing commands ''asynchronously'': things don't happen right when the interpreter asks, but very shortly thereafter. The result is that the server is asked to make a new synth before it deals with the synth definition. There are ways to get around this, but they're too complex for this section - for now (to simplify this text's examples), just accept that the error may happen the first time you run a Synth.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html"><strong>Prev</strong>11.4.10.5.Â SynthDef Becomes Synth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html"><strong>Next</strong>11.4.10.7.Â Creating Change Anyway</a></li></ul></body></html>
+				This program causes an error the first time you run it. Inspect the error messages, and see if you can determine why. It's because the server is processing commands <span class="emphasis"><em>asynchronously</em></span>: things don't happen right when the interpreter asks, but very shortly thereafter. The result is that the server is asked to make a new synth before it deals with the synth definition. There are ways to get around this, but they're too complex for this section - for now (to simplify this text's examples), just accept that the error may happen the first time you run a Synth.
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html"><strong>Prev</strong>11.3.10.5.Â SynthDef Becomes Synth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html"><strong>Next</strong>11.3.10.7.Â Creating Change Anyway</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-Symbols.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html
@@ -1,11 +1,11 @@
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.4.Â Symbols</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html" title="11.4.10.3.Â Load" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html" title="11.4.10.4.2.Â Writing Symbols" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc
 "><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.4.Â Symbols" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide
 -SC-Basic_Programming-SynthDef_and_Synth-Symbols">11.4.10.4.Â Symbols</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.10.4.Â Symbols</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.3.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html" title="11.3.10.3.Â Load" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html" title="11.3.10.4.2.Â Writing Symbols" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc
 "><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.10.4.Â Symbols" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide
 -SC-Basic_Programming-SynthDef_and_Synth-Symbols">11.3.10.4.Â Symbols</h4></div></div></div><div class="para">
 				As stated in the section about variables, a symbol is simply something which represents something else. When used in the context of a SynthDef, a symbol is a string of characters that refers to a SynthDef that we've already sent to the server. What wasn't mentioned in the section about variables is that, in addition to the symbols that can be used as variable names, the <span class="application"><strong>SuperCollider</strong></span> language provides a distinct data-type (like numbers or strings) for symbols. Many programming languages don't provide a "symbol" data-type, so many programmers do not use them extensively, but they are very handy for situations like this. As local variable names are symbols representing data stored by the interpreter, here we are using the symbol data-type to refer to data stored on the server.
 			</div><div class="para">
 				Symbols are a better way to name SynthDef's than strings. Not only do symbols take up less memory, they aren't actually the interpreter doesn't actually think of them as Objects, and neither should you. Symbols are universally unique; only one instance of a symbol with the same characters can exist. On the other hand, an infinite number of strings with the same characters can exist. When we use a symbol, we are defining it universally. When we use a string, the server pretends that all strings with the same characters are the same philosophical object, even though they aren't. This isn't a technical problem, but it can be difficult to think about, and is cognitively dissonant.
 			</div><div class="para">
 				If all this seems a little abstract and ontological, that's because it is.
-			</div><div class="section" title="11.4.10.4.1.Â Symbols: the Easy Way" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Easy_Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Easy_Symbols">11.4.10.4.1.Â Symbols: the Easy Way</h5></div></div></div><div class="para">
+			</div><div class="section" title="11.3.10.4.1.Â Symbols: the Easy Way" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Easy_Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Easy_Symbols">11.3.10.4.1.Â Symbols: the Easy Way</h5></div></div></div><div class="para">
 					Symbols are things that you should use to identify a SynthDef sent to the server.
-				</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html"><strong>Prev</strong>11.4.10.3.Â Load</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html"><strong>Next</strong>11.4.10.4.2.Â Writing Symbols</a></li></ul></body></html>
+				</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html"><strong>Prev</strong>11.3.10.3.Â Load</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html"><strong>Next</strong>11.3.10.4.2.Â Writing Symbols</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html
@@ -1,6 +1,6 @@
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.2.Â SynthDef</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10.Â SynthDef and Synth" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html" title="11.4.10.3.Â Load" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="to
 cframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.2.Â SynthDef" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef
 _and_Synth-SynthDef">11.4.10.2.Â SynthDef</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.10.2.Â SynthDef</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.3.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.3.10.Â SynthDef and Synth" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html" title="11.3.10.3.Â Load" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="to
 cframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.10.2.Â SynthDef" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef
 _and_Synth-SynthDef">11.3.10.2.Â SynthDef</h4></div></div></div><div class="para">
 				A SynthDef is what we use to tell the server how to create sound. In order to truly understand what SynthDef accomplishes, we need to recall the disconnect between the interpreter and the server. In reality, the interpreter has no idea how to make sound or work with audio hardware. The server, likewise, has no understanding at all of the <span class="application"><strong>SuperCollider</strong></span> language. The interpreter takes the code that we write, and does one of a number of things, depending on the nature of the code: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							executes it completely,
@@ -19,12 +19,12 @@
 			</div><div class="para">
 				There are two steps to creating a useful SynthDef: making an interpreter Object, and sending the actual synthesis information to the server. There are two ways to write this, as follows: 
 <pre class="programlisting">
-someVariable = SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen );
-someVariable.send( nameOfServer );
+<em class="replaceable"><code>someVariable</code></em> = SynthDef.new( <em class="replaceable"><code>nameOfSynthDef</code></em>, <em class="replaceable"><code>FunctionContainingOutUGen</code></em> );
+<em class="replaceable"><code>someVariable</code></em>.send( <em class="replaceable"><code>nameOfServer</code></em> );
 </pre>
 				 and 
-<pre class="programlisting">SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen ).send( nameOfServer );</pre>
-				 The <code class="code">FunctionContainingOutUGen</code> is simply that - a Function that, when executed, returns an "Out" UGen (meaning that the "Out" UGen must be the last expression in the Function). The <code class="code">nameOfSynthDef</code> should be a symbol (as described in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html" title="11.4.10.4.Â Symbols">SectionÂ 11.4.10.4, â€œSymbolsâ€</a>), but can also be a string. The <code class="code">nameOfServer</code> is a variable that represents the server to which you want to send the SynthDef's information; unless you know that you need to use a different variable for this, it's probably just the letter "s", which the interpreter automatically assigns to the default server.
+<pre class="programlisting">SynthDef.new( <em class="replaceable"><code>nameOfSynthDef</code></em>, <em class="replaceable"><code>FunctionContainingOutUGen</code></em> ).send( <em class="replaceable"><code>nameOfServer</code></em> );</pre>
+				 The <code class="function">FunctionContainingOutUGen</code> is simply that - a function that, when executed, returns an <code class="classname">Out</code> UGen (meaning that the <code class="classname">Out</code> UGen must be the last expression in the function). The <code class="literal">nameOfSynthDef</code> should be a symbol (as described in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html" title="11.3.10.4.Â Symbols">SectionÂ 11.3.10.4, â€œSymbolsâ€</a>), but can also be a string. The <code class="literal">nameOfServer</code> is a variable that represents the server to which you want to send the SynthDef's information; unless you know that you need to use a different variable for this, it's probably just the letter "s", which the interpreter automatically assigns to the default server.
 			</div><div class="para">
 				Here is a demonstration of both methods: 
 <pre class="programlisting">
@@ -57,4 +57,4 @@ someVariable.send( nameOfServer );
 				 The only advantage to assigning something to a variable is the ability to refer to it later. If you use the first method, then you can send the SynthDef to more than one server. Since it's rare that you will want to use more than one server, it's usually better to use the second style. In fact, if you won't be using the "playMe" Function again, you don't need to assign it to a variable! 
 <pre class="programlisting">SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).send( s );</pre>
 				 This is all that's really needed to create and send a synthesis definition to the server. It looks long and frightening, but now at least you understand what all of the parts do.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html"><strong>Prev</strong>11.4.10.Â SynthDef and Synth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html"><strong>Next</strong>11.4.10.3.Â Load</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html"><strong>Prev</strong>11.3.10.Â SynthDef and Synth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html"><strong>Next</strong>11.3.10.3.Â Load</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html
@@ -1,9 +1,9 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.5.Â SynthDef Becomes Synth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html" title="11.4.10.4.2.Â Writing Symbols" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html" title="11.4.10.6.Â Shortcomings of a SynthDef" /></head><
 body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.5.Â SynthDef Becomes Synth" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth"><
 div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth">11.4.10.5.Â SynthDef Becomes Synth</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.10.5.Â SynthDef Becomes Synth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.3.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html" title="11.3.10.4.2.Â Writing Symbols" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html" title="11.3.10.6.Â Shortcomings of a SynthDef" /></head><
 body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.10.5.Â SynthDef Becomes Synth" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth"><
 div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth">11.3.10.5.Â SynthDef Becomes Synth</h4></div></div></div><div class="para">
 				After you send a SynthDef to the server, you can put it into action. When the interpreter tells the server to play a synthesis definition (which the interpreter holds in a SynthDef Object), the server creates a synth from the definition, and starts generating sound. The interpreter gives us a Synth Object to represent each synth on the server, so that we can control the synth.
 			</div><div class="para">
-				This is the syntax used to create a new synth, after its definition has been sent to the server. <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.new</b>(</code><var class="pdparam">nameOfSynthDef</var><code>)</code>;</p></div> The name will be a symbol or a string - whatever you supplied when you ran the <code class="code">SynthDef.new()</code> Function.
+				This is the syntax used to create a new synth, after its definition has been sent to the server. <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.new</b>(</code><var class="pdparam">nameOfSynthDef</var><code>)</code>;</p></div> The name will be a symbol or a string - whatever you supplied when you ran the <code class="function">SynthDef.new()</code> function.
 			</div><div class="para">
 				Because we're creating a new Synth Object, we should assign it to a variable, for later reference. 
 <pre class="programlisting">
@@ -14,9 +14,9 @@ var mySynth = Synth.new( \playMe );
 			</div><div class="para">
 				Recall that the interpreter automatically uses the Synth and SynthDef Classes when we send the "play" message to a Function. We can actually capture and use the Synth Object created from "play-ing" a Function, too. This example is almost the same as the previous one. 
 <pre class="programlisting">var mySynth = { SinOsc.ar( freq:443, mul:0.2 ); }.play;</pre>
-				 The difference is subtle: after the second example, we have no control over what name the interpreter gives to the SynthDef that it sends to the server, so we can't re-use the SynthDef. On the other hand, because we assign the name <code class="code">\sillyTutorialSD</code> to the SynthDef in the first example, we know what it's called, and we can re-use it. Theoretically, we can make an infinite number of synths from this single definition. Realistically, it's limited by the amount of memory the server can use; for most modern computers, this number is so high that we don't ever need to worry about it.
+				 The difference is subtle: after the second example, we have no control over what name the interpreter gives to the SynthDef that it sends to the server, so we can't re-use the SynthDef. On the other hand, because we assign the name <code class="literal">\sillyTutorialSD</code> to the SynthDef in the first example, we know what it's called, and we can re-use it. Theoretically, we can make an infinite number of synths from this single definition. Realistically, it's limited by the amount of memory the server can use; for most modern computers, this number is so high that we don't ever need to worry about it.
 			</div><div class="para">
 				As usual, the interpreter provides us with an optional short-cut: 
 <pre class="programlisting">var mySynth = SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).play;</pre>
 				 This automatically sends the synthesis information to the server, creates a synth, and plays it. What minor functionality is lost when we use this shortcut?
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html"><strong>Prev</strong>11.4.10.4.2.Â Writing Symbols</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html"><strong>Next</strong>11.4.10.6.Â Shortcomings of a SynthDef</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html"><strong>Prev</strong>11.3.10.4.2.Â Writing Symbols</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html"><strong>Next</strong>11.3.10.6.Â Shortcomings of a SynthDef</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html
@@ -1,6 +1,6 @@
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.8.Â SynthDef with Arguments</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html" title="11.4.10.7.Â Creating Change Anyway" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html" title="11.4.10.9.Â Things to Do with a SynthDef: Set and F
 ree" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.8.Â SynthDef with Arguments" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Ar
 guments"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments">11.4.10.8.Â SynthDef with Arguments</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.10.8.Â SynthDef with Arguments</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.3.10.Â SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html" title="11.3.10.7.Â Creating Change Anyway" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html" title="11.3.10.9.Â Things to Do with a SynthDef: Set and F
 ree" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.10.8.Â SynthDef with Arguments" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Ar
 guments"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments">11.3.10.8.Â SynthDef with Arguments</h4></div></div></div><div class="para">
 				There are some siutations where you simply cannot pre-determine all of the material that you're going to use when creating a synth. It might be easier to resort to using a Function rather than a SynthDef, but there is yet another solution - creating an argument in your SynthDef Function.
 			</div><div class="para">
 				With only a subtle change to our Function, we can add the possibility of passing arguments on synth creation: 
@@ -42,4 +42,4 @@ var myRandFunc =
 				 Notice how we supply arguments: an Array with elements alternating between a string-quoted parameter name, and the value of the argument itself. If we "parameterized" all three main fields of the SinOsc, we could supply them like this: 
 <pre class="programlisting">Synth.new( \mySinOsc, [\freq,440,\add,0,\mul,0.2] );</pre>
 
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html"><strong>Prev</strong>11.4.10.7.Â Creating Change Anyway</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html"><strong>Next</strong>11.4.10.9.Â Things to Do with a SynthDef: Set and ...</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html"><strong>Prev</strong>11.3.10.7.Â Creating Change Anyway</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html"><strong>Next</strong>11.3.10.9.Â Things to Do with a SynthDef: Set and ...</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html
index be4cb19..b26d408 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html
@@ -1,6 +1,6 @@
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 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.4.2.Â Writing Symbols</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html" title="11.4.10.4.Â Symbols" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html" title="11.4.10.4.Â Symbols" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html" title="11.4.10.5.Â SynthDef Becomes Synth" /></head><body class="draft toc_embeded ">
 <div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.4.2.Â Writing Symbols" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols"><div class="titlepage"><div><div keep-together.within-col
 umn="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols">11.4.10.4.2.Â Writing Symbols</h5></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.10.4.2.Â Writing Symbols</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html" title="11.3.10.4.Â Symbols" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html" title="11.3.10.4.Â Symbols" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html" title="11.3.10.5.Â SynthDef Becomes Synth" /></head><body class="draft toc_embeded ">
 <div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.10.4.2.Â Writing Symbols" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols"><div class="titlepage"><div><div keep-together.within-col
 umn="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols">11.3.10.4.2.Â Writing Symbols</h5></div></div></div><div class="para">
 					There are two ways to write out a symbol: between single-quotation marks, and after a back-slash. Symbols given between single-quotation marks can contain any characters but a single-quotation mark. Symbols given after a back-slash can contain any characters but a space. Neither type of symbol name can cross onto a new line.
 				</div><div class="para">
 					The following example contains some valid symbols, and some invalid symbols. 
@@ -27,4 +27,4 @@ c == d; \\ returns "true" because the symbols are equivalent
 c === d; \\ returns "true" because the symbols are identical
 </pre>
 
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html"><strong>Prev</strong>11.4.10.4.Â Symbols</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html"><strong>Next</strong>11.4.10.5.Â SynthDef Becomes Synth</a></li></ul></body></html>
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html"><strong>Prev</strong>11.3.10.4.Â Symbols</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html"><strong>Next</strong>11.3.10.5.Â SynthDef Becomes Synth</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html
index c94f3d1..75ec488 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html
@@ -1,6 +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>11.4.10.Â SynthDef and Synth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html" title="11.4.9.3.Â Addition" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html" title="11.4.10.2.Â SynthDef" /></head><body class="draft toc_embeded "><div id="tocdiv" class=
 "toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.Â SynthDef and Synth" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guid
 e-SC-Basic_Programming-SynthDef_and_Synth">11.4.10.Â SynthDef and Synth</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>11.3.10.Â SynthDef and Synth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html" title="11.3.9.3.Â Addition" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html" title="11.3.10.2.Â SynthDef" /></head><body class="draft toc_embeded "><div id="tocdiv" class=
 "toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.10.Â SynthDef and Synth" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guid
 e-SC-Basic_Programming-SynthDef_and_Synth">11.3.10.Â SynthDef and Synth</h3></div></div></div><div class="para">
 			The preceding sections of this "Basic Programming" guide have only created sound with Function's. The truth is that Function's are very useful for creating sound, but they represent a simplification of the actual commands and Functions that must be run by the interpreter in order to create sound. 
 <pre class="programlisting">
 // When you write this...
@@ -14,14 +14,14 @@
 )
 </pre>
 			 Yikes! Don't despair - it's easy to understand - it just looks scary!
-		</div><div class="section" title="11.4.10.1.Â &quot;Out&quot; UGen" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen">11.4.10.1.Â "Out" UGen</h4></div></div></div><div class="para">
-				The "Out" UGen is one of the bits of magic automatically taken care of by the interpreter. It routes an audio signal from another UGen into a specific output (actually, into a specific bus - see <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11.Â Busses">SectionÂ 11.4.11, â€œBussesâ€</a>).
+		</div><div class="section" title="11.3.10.1.Â &quot;Out&quot; UGen" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen">11.3.10.1.Â "Out" UGen</h4></div></div></div><div class="para">
+				The "Out" UGen is one of the bits of magic automatically taken care of by the interpreter. It routes an audio signal from another UGen into a specific output (actually, into a specific bus - see <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.3.11.Â Busses">SectionÂ 11.3.11, â€œBussesâ€</a>).
 			</div><div class="para">
 				The following examples have the same effect: 
 <pre class="programlisting">{ SinOsc.ar( freq:500, mul:0.2 ); }.play;</pre>
 				 and 
 <pre class="programlisting">{ Out.ar( 0, SinOsc.ar( freq:500, mul:0.2 ) ); }.play;</pre>
-				 The first argument to "Out.ar" is the bus number for where you want to place the second argument, which is either a UGen or a multi-channel Array of UGen's. If the second argument is an Array, then the first element is sent to the first argument's bus number, the second argument is sent to one bus number higher, the third to two bus numbers higher, and so on. This issues is explained fully in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11.Â Busses">SectionÂ 11.4.11, â€œBussesâ€</a>, but here is what you need to know for now, working with stereo (two-channel) audio: 
+				 The first argument to "Out.ar" is the bus number for where you want to place the second argument, which is either a UGen or a multi-channel Array of UGen's. If the second argument is an Array, then the first element is sent to the first argument's bus number, the second argument is sent to one bus number higher, the third to two bus numbers higher, and so on. This issues is explained fully in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.3.11.Â Busses">SectionÂ 11.3.11, â€œBussesâ€</a>, but here is what you need to know for now, working with stereo (two-channel) audio: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							If the second argument is a two-element Array, use bus number 0.
 						</div></li><li class="listitem"><div class="para">
@@ -31,5 +31,5 @@
 						</div></li></ul></div>
 
 			</div><div class="para">
-				If you're still struggling with exactly what the "Out" UGen does, think of it like this: when you create an audio-rate UGen, it starts creating an audio signal; the "Out" UGen effectively connects the audio-rate UGen into your audio interface's output port, so it can be heard through the speakers. In <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11.Â Busses">SectionÂ 11.4.11, â€œBussesâ€</a>, it becomes clear that there are, in fact, other useful places to connect an audio-rate UGen (through an effect processor, for example), and the "Out" UGen can help you do that.
-			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html"><strong>Prev</strong>11.4.9.3.Â Addition</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html"><strong>Next</strong>11.4.10.2.Â SynthDef</a></li></ul></body></html>
+				If you're still struggling with exactly what the "Out" UGen does, think of it like this: when you create an audio-rate UGen, it starts creating an audio signal; the "Out" UGen effectively connects the audio-rate UGen into your audio interface's output port, so it can be heard through the speakers. In <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.3.11.Â Busses">SectionÂ 11.3.11, â€œBussesâ€</a>, it becomes clear that there are, in fact, other useful places to connect an audio-rate UGen (through an effect processor, for example), and the "Out" UGen can help you do that.
+			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html"><strong>Prev</strong>11.3.9.3.Â Addition</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html"><strong>Next</strong>11.3.10.2.Â SynthDef</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html
index 0d4916a..bf831ee 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html
@@ -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>11.4.2.6.Â Variable Scope</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2.Â Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html" title="11.4.2.5.Â Function Return Values" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.4.3.Â Object-Oriented SuperCollider" /></head><body class="dr
 aft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.2.6.Â Variable Scope" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-"><div class="titlepage"><div><div keep-together.within-colum
 n="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-">11.4.2.6.Â Variable Scope</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.2.6.Â Variable Scope</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.3.2.Â Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html" title="11.3.2.5.Â Function Return Values" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.3.3.Â Object-Oriented SuperCollider" /></head><body class="dr
 aft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.2.6.Â Variable Scope" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-"><div class="titlepage"><div><div keep-together.within-colum
 n="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-">11.3.2.6.Â Variable Scope</h4></div></div></div><div class="para">
 				A variable is only valid within its "scope." A variable's scope is determined by where it is declared. It will always last between either <code class="literal">(</code> and <code class="literal">)</code> or <code class="literal">{</code> and <code class="literal">}</code>, and applies to all statements within that block of code. Variable names can be re-declared in some contexts, which can be confusing.
 			</div><div class="para">
 				Consider the scope of the variables in this example: 
@@ -19,7 +19,7 @@
    sixteen.postln; // always causes an error
 )
 </pre>
-				 Because <code class="code">function</code> declares its own copy of <code class="code">zero</code>, it is modified independently of the variable <code class="code">zero</code> declared before the Function. Every time <code class="code">function</code> is executed, it re-declares its own <code class="code">zero</code>, and the interpreter keeps it separate from any other variables with the same name. When <code class="code">function</code> has finished executing, the interpreter destroys its variables. Variables declared inside any Function are only ever accessible from within that Function. This is why, when we try to execute <code class="code">sixteen.postln;</code>, the interpreter encounters an error: <code class="code">sixteen</code> exists only within <code class="code">function</code>, and is not accessible outside the Function. By the way, in order to excute this example, you will need to remove the error-causing reference to <code class="code">sixteen</code>.
+				  Because <code class="literal">function</code> declares its own copy of <code class="literal">zero</code>, it is modified independently of the variable <code class="literal">zero</code> declared before the Function. Every time <code class="literal">function</code> is executed, it re-declares its own <code class="literal">zero</code>, and the interpreter keeps it separate from any other variables with the same name. When <code class="literal">function</code> has finished executing, the interpreter destroys its variables. Variables declared inside any Function are only ever accessible from within that Function. This is why, when we try to execute <code class="code">sixteen.postln;</code>, the interpreter encounters an error: <code class="literal">sixteen</code> exists only within <code class="literal">function</code>, and is not accessible outside the function. By the way, in order to excute this example, you will need to remove the error-causing reference to <code class=
 "literal">sixteen</code>.
 			</div><div class="para">
 				Now consider the scope of the variables in this example: 
 <pre class="programlisting">
@@ -37,9 +37,9 @@
    zero.postln; // always prints 8
 )
 </pre>
-				 Why does the last line always print <code class="code">8</code>? It's because <code class="code">zero</code> was set to 8 within <code class="code">function</code>. More importantly, <code class="code">function</code> did not declare its own copy of <code class="code">zero</code>, so it simply accesses the one declared in the next "highest" block of code, which exists between ( and ) in this example.
+				 Why does the last line always print <code class="literal">8</code>? It's because <code class="literal">zero</code> was set to <code class="literal">8</code> within <code class="literal">function</code>. More importantly, <code class="literal">function</code> did not declare its own copy of <code class="literal">zero</code>, so it simply accesses the one declared in the next "highest" block of code, which exists between <code class="literal">(</code> and <code class="literal">)</code> in this example.
 			</div><div class="para">
-				This is why it's important to pay attention to a variable's scope, and to make sure that you declare your variables in the right place. Unexpected and difficult-to-find programming mistakes can occur when you forget to declare a variable, but it is declared elsewhere in your program: you will be allowed to use the variable, but it will be modified unexpectedly. On the other hand, it can be greatly advantageous to be able to access variables declared "outside the local scope" (meaning variables that aren't declared in the same code block in which they're used), but careful thought and planning is required.
+				This is why it is important to pay attention to a variable's scope, and to make sure that you declare your variables in the right place. Unexpected and difficult-to-find programming mistakes can occur when you forget to declare a variable, but it is declared elsewhere in your program: you will be allowed to use the variable, but it will be modified unexpectedly. On the other hand, it can be greatly advantageous to be able to access variables declared "outside the local scope" (meaning variables that are not declared in the same code block in which they are used), but careful thought and planning is required.
 			</div><div class="para">
 				Astute readers will notice that it is possible to re-declare the single-letter variable names, allowing you to control their scope. Consider the following program: 
 <pre class="programlisting">
@@ -57,13 +57,13 @@
    a.postln;
 )
 </pre>
-				 This example requires careful examination. What is the scope of <code class="code">a</code>, <code class="code">b</code>, and <code class="code">c</code>? The answers may be surprising. 
+				 This example requires careful examination. What is the scope of <code class="literal">a</code>, <code class="literal">b</code>, and <code class="literal">c</code>? The answers may be surprising. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							<code class="code">a</code> is declared just after the ( character, so the interpreter destroys it upon reaching the ) character.
+							<code class="literal">a</code> is declared just after the <code class="literal">(</code> character, so the interpreter destroys it upon reaching the <code class="literal">)</code> character.
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">c</code> is declared just after the { character, so the interpreter destroys it upon reaching the } character.
+							<code class="literal">c</code> is declared just after the <code class="literal">{</code> character, so the interpreter destroys it upon reaching the <code class="literal">}</code> character.
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">b</code> is ''not'' declared in this program, so it refers to the automatically-declared variable with that name. The interpreter does not destroy it until it is restarted or stopped. This means that the Function assigned to <code class="code">b</code> is still available ''after'' the program finishes execution. Try it! Execute the program above, and then execute this single-line program alone: <code class="code">b.value;</code>
+							<code class="literal">b</code> is <span class="emphasis"><em>not</em></span> declared in this program, so it refers to the automatically-declared variable with that name. The interpreter does not destroy it until it is restarted or stopped. This means that the Function assigned to <code class="literal">b</code> is still available <span class="emphasis"><em>after</em></span> the program finishes execution. Try it! Execute the program above, and then execute this single-line program alone: <code class="code">b.value;</code>
 						</div></li></ul></div>
 
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html"><strong>Prev</strong>11.4.2.5.Â Function Return Values</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html"><strong>Next</strong>11.4.3.Â Object-Oriented SuperCollider</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html"><strong>Prev</strong>11.3.2.5.Â Function Return Values</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html"><strong>Next</strong>11.3.3.Â Object-Oriented SuperCollider</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html
index 3493078..977e23a 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html
@@ -1,7 +1,7 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.2.4.Â Function Arguments</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2.Â Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html" title="11.4.2.3.Â Functions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html" title="11.4.2.5.Â Function Return Values" /></head><body class
 ="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.2.4.Â Function Arguments" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments"><div class="tit
 lepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments">11.4.2.4.Â Function Arguments</h4></div></div></div><div class="para">
-				The most useful aspect of Functions is that they can produce varying results, depending on their input. For whatever reason, the input accepted by a Function is called an "argument." <span class="application"><strong>SuperCollider</strong></span>'s Functions can accept any number of arguments - zero, one, or many. Argument values (called "parameters") are provided to a Function by adding them in parentheses after the name of the Function, separated with commas, like this: <code class="code">exampleFunction( 5, 7, 9 );</code> Argument variables are declared as the first statement in a Function, like this: <code class="code">arg oneNumber, twoNumber;</code>
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.2.4.Â Function Arguments</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.3.2.Â Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html" title="11.3.2.3.Â Functions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html" title="11.3.2.5.Â Function Return Values" /></head><body class
 ="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.2.4.Â Function Arguments" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments"><div class="tit
 lepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments">11.3.2.4.Â Function Arguments</h4></div></div></div><div class="para">
+				The most useful aspect of Functions is that they can produce varying results, depending on their input. For whatever reason, the input accepted by a Function is called an "argument." <span class="application"><strong>SuperCollider</strong></span>'s Functions can accept any number of arguments - zero, one, or many. Argument values (called "parameters") are provided to a Function by adding them in parentheses after the name of the Function, separated with commas, like this: <code class="code">exampleFunction( 5, 7, 9 );</code> Argument variables are declared as the first statement in a Function, like this: <code class="code">arg <em class="replaceable"><code>oneNumber</code></em>, <em class="replaceable"><code>twoNumber</code></em>;</code>
 			</div><div class="para">
 				This program is significantly more complicated than previous examples, but it shows how useful Functions can be. Notice how the braces in that example are on different lines than the rest of the Function, which gives us more space within the Function to complete some useful work. 
 <pre class="programlisting">
@@ -19,23 +19,25 @@
 </pre>
 				 Here is how the program works: 
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
-							A variable named <code class="code">greeter</code> is declared, and assigned a Function.
+							A variable named <code class="literal">greeter</code> is declared, and assigned a Function.
 						</div></li><li class="listitem"><div class="para">
-							The Function contains an argument called <code class="code">name</code>, and outputs "Hello" plus the name given to it.
+							The Function contains an argument called <code class="literal">name</code>, and outputs "Hello" plus the name given to it.
 						</div></li><li class="listitem"><div class="para">
-							The parentheses here <code class="code">( "Hello" + name )</code> ensure that the two strings are added together ''before'' the "postln" message prints them out.
+							The parentheses here <code class="code">( "Hello" + name )</code> ensure that the two strings are added together <span class="emphasis"><em>before</em></span> the <code class="function">postln</code> message prints them out.
 						</div></li><li class="listitem"><div class="para">
-							The <code class="code">greeter</code> variable is used to call the Function with two different names.
+							The <code class="literal">greeter</code> variable is used to call the Function with two different names.
 						</div></li><li class="listitem"><div class="para">
 							The <code class="code">nil;</code> statement is optional, and does not affect the operation of the program. What it does is return a "nothing" value to the interpreter after program execution completes, so that the last message is not repeated.
 						</div></li></ol></div>
 
 			</div><div class="para">
-				Since every argument has a name, <span class="application"><strong>SuperCollider</strong></span> allows you to use that name when executing the Function. This example executes the <code class="code">greeter</code> Function from the last example: <code class="code">greeter.value( name:"Myung-Whun" );</code> This is more useful if there are many arguments, and you do not remember the order that they appear in the Function's definition.
+				Since every argument has a name, <span class="application"><strong>SuperCollider</strong></span> allows you to use that name when executing the function. This example executes the <code class="function">greeter</code> function from the last example: 
+<pre class="programlisting">greeter.value( name:"Myung-Whun" );</pre>
+				 This is more useful if there are many arguments, and you do not remember the order that they appear in the Function's definition.
 			</div><div class="para">
 				<span class="application"><strong>SuperCollider</strong></span> also allows you to specify default values for arguments, so that they do not need to be specified. This allows optional customization of a Function's behaviour, and is therefore very powerful.
 			</div><div class="para">
-				This example modifies the one above by adding default-value arguments, and by calling arguments with their name. As you can see, I've been tricking you a bit: <code class="code">postln</code> is actually a Function, but a special kind, explained later. 
+				This example modifies the one above by adding default-value arguments, and by calling arguments with their name. As you can see, I've been tricking you a bit: <code class="function">postln</code> is actually a Function, but a special kind, explained later. 
 <pre class="programlisting">
 (
    var greeter =
@@ -54,4 +56,4 @@
 
 			</div><div class="para">
 				Any value can be used as a parameter, as long as the Function expects it. In fact, even Functions can be used as parameters for Functions!
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html"><strong>Prev</strong>11.4.2.3.Â Functions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html"><strong>Next</strong>11.4.2.5.Â Function Return Values</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html"><strong>Prev</strong>11.3.2.3.Â Functions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html"><strong>Next</strong>11.3.2.5.Â Function Return Values</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html
index 1e055eb..ab09d9e 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html
@@ -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>11.4.2.5.Â Function Return Values</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2.Â Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html" title="11.4.2.4.Â Function Arguments" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html" title="11.4.2.6.Â Variable Scope" /></head><body class="draft 
 toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.2.5.Â Function Return Values" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values"><div class="titlepage"><div>
 <div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values">11.4.2.5.Â Function Return Values</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.2.5.Â Function Return Values</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.3.2.Â Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html" title="11.3.2.4.Â Function Arguments" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html" title="11.3.2.6.Â Variable Scope" /></head><body class="draft 
 toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.2.5.Â Function Return Values" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values"><div class="titlepage"><div>
 <div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values">11.3.2.5.Â Function Return Values</h4></div></div></div><div class="para">
 				All <span class="application"><strong>SuperCollider</strong></span> Functions return a value to the interpreter when they have finished execution. As with programs, the value returned is the value of the last statement in the Function. The return value of a Function can be captured, assigned to a variable, and used again later.
 			</div><div class="para">
 				This example assigns the result of a Function to a variable. 
@@ -22,9 +22,9 @@
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
 							A Function and variable are created, and assigned values.
 						</div></li><li class="listitem"><div class="para">
-							This line <code class="code">someNumber = mysticalMath.value( someNumber );</code> executes the <code class="code">mysticalMath</code> Function, which multiplies its argument by 23 and returns the value. Then, it assigns the return value of the Function to <code class="code">someNumber</code>. In any statement that contains an assignment, the assignment is always done last. In other words, the Function in this example will ''always'' be given an argument of <code class="code">9</code>, and only ''after'' the Function completes execution and returns a value will that value be assigned to <code class="code">someNumber</code>.
+							This line <code class="code">someNumber = mysticalMath.value( someNumber );</code> executes the <code class="function">mysticalMath</code> function, which multiplies its argument by <code class="literal">23</code> and returns the value. Then, it assigns the return value of the Function to <code class="literal">someNumber</code>. In any statement that contains an assignment, the assignment is always done last. In other words, the Function in this example will <span class="emphasis"><em>always</em></span> be given an argument of <code class="literal">9</code>, and only <span class="emphasis"><em>after</em></span> the Function completes execution and returns a value will that value be assigned to <code class="function">someNumber</code>.
 						</div></li><li class="listitem"><div class="para">
-							The new value of <code class="code">someNumber</code> is displayed.
+							The new value of <code class="literal">someNumber</code> is displayed.
 						</div></li></ol></div>
 
 			</div><div class="para">
@@ -60,4 +60,4 @@
 
 			</div><div class="para">
 				Experiment with the shortened versions of the program, ensuring that you know why they work.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html"><strong>Prev</strong>11.4.2.4.Â Function Arguments</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Next</strong>11.4.2.6.Â Variable Scope</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html"><strong>Prev</strong>11.3.2.4.Â Function Arguments</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Next</strong>11.3.2.6.Â Variable Scope</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html
index 2933716..ec2f4db 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html
@@ -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>11.4.2.3.Â Functions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2.Â Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html" title="11.4.2.2.Â Using Variables" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html" title="11.4.2.4.Â Function Arguments" /></head><body class="dra
 ft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.2.3.Â Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions"><div class="titlepage"><div><div kee
 p-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions">11.4.2.3.Â Functions</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.2.3.Â Functions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.3.2.Â Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html" title="11.3.2.2.Â Using Variables" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html" title="11.3.2.4.Â Function Arguments" /></head><body class="dra
 ft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.2.3.Â Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions"><div class="titlepage"><div><div kee
 p-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions">11.3.2.3.Â Functions</h4></div></div></div><div class="para">
 				A Function is a statement, or a series of statements, that we want to use many times. When a Function is assigned to a variable, you can execute the Function as many times as you wish. Any statements that happen between braces { like this; } are treated as a Function. Functions are executed by passing them the "value" message, as in the following example.
 			</div><div class="para">
 				Here is a Function that is not assigned to a variable, and is executed once. 
@@ -14,4 +14,4 @@ myFunction.value;
 myFunction.value;
 </pre>
 
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html"><strong>Prev</strong>11.4.2.2.Â Using Variables</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html"><strong>Next</strong>11.4.2.4.Â Function Arguments</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html"><strong>Prev</strong>11.3.2.2.Â Using Variables</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html"><strong>Next</strong>11.3.2.4.Â Function Arguments</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html
index e722a19..2a49434 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html
@@ -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>11.4.2.2.Â Using Variables</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2.Â Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2.Â Variables and Functions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html" title="11.4.2.3.Â Functions" /></head><body class="draft toc_embeded "><div 
 id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.2.2.Â Using Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables"><div class="titlepage"><div><div keep-together.within-column="always"><
 h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables">11.4.2.2.Â Using Variables</h4></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.2.2.Â Using Variables</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.3.2.Â Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.3.2.Â Variables and Functions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html" title="11.3.2.3.Â Functions" /></head><body class="draft toc_embeded "><div 
 id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.2.2.Â Using Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables"><div class="titlepage"><div><div keep-together.within-column="always"><
 h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables">11.3.2.2.Â Using Variables</h4></div></div></div><div class="para">
 				There are three words that describe the key stages of using a variable: declaration, initialization, and assignment.
 			</div><div class="para">
 				A variable must be declared before use, so that the interpreter knows that you want to use that symbol as a variable. All variables must be declared before any statement that does not declare a variable; in other words, you should declare your variables before doing anything else. Variable names are declared like this: 
@@ -13,7 +13,7 @@
 			</div><div class="para">
 				The first assignment to a variable is said to "initialize" the variable. Initialization is a special kind of assignment, because a variable cannot be used before it is initialized. If a program attempts to use an un-initialized variable, the <span class="application"><strong>SuperCollider</strong></span> interpreter will cause an error. For this reason, you should always initialize a variable when you declare it. There is a special way to do this: 
 <pre class="programlisting">var <em class="replaceable"><code>variableName</code></em> = nil;</pre>
-				 Since you can't always assign a useful value, you can pick an arbitrary one. Assigning "nil" is common practice, because it means "nothing," but without actually being nothing (this avoids ''some'' errors). Assigning zero is another possibility; it is standard practice in many programming languages, and will avoid most errors, even if the variable is eventually supposed to hold another kind of object. Intialization and declaration of multiple variables can also be done as a list: 
+				 Since you can't always assign a useful value, you can pick an arbitrary one. Assigning "nil" is common practice, because it means "nothing," but without actually being nothing (this avoids <span class="emphasis"><em>some</em></span> errors). Assigning zero is another possibility; it is standard practice in many programming languages, and will avoid most errors, even if the variable is eventually supposed to hold another kind of object. Intialization and declaration of multiple variables can also be done as a list: 
 <pre class="programlisting">var <em class="replaceable"><code>variableName</code></em> = 0, <em class="replaceable"><code>variableOtherName</code></em> = 0;</pre>
 
 			</div><div class="para">
@@ -27,9 +27,9 @@
 				<div class="orderedlist"><ol><li class="listitem"><div class="para">
 							Perform arithmetic with an uninitialized variable. An error should appear when the program is executed.
 						</div></li><li class="listitem"><div class="para">
-							Calculate the value of <code class="code">y</code>, if all other values are known, for the quadratic equation: <code class="code">y = a * x * x + b * x + c</code>
+							Calculate the value of <code class="literal">y</code>, if all other values are known, for the quadratic equation: <code class="code">y = a * x * x + b * x + c</code>
 						</div></li><li class="listitem"><div class="para">
 							Re-write the Hello World Program so that it will say "Hello" to a name stored in a variable. Remember that you can use the interpreter to automatically output the last line of a function.
 						</div></li></ol></div>
 
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html"><strong>Prev</strong>11.4.2.Â Variables and Functions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html"><strong>Next</strong>11.4.2.3.Â Functions</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html"><strong>Prev</strong>11.3.2.Â Variables and Functions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html"><strong>Next</strong>11.3.2.3.Â Functions</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html
index 67ee52f..c49a264 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html
@@ -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>11.4.2.Â Variables and Functions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html" title="11.4.2.2.Â Using Variables" /></head><body class="draft toc_embed
 ed "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.2.Â Variables and Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 clas
 s="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2.Â Variables and Functions</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>11.3.2.Â Variables and Functions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html" title="11.3.2.2.Â Using Variables" /></head><body class="draft toc_embed
 ed "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.2.Â Variables and Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 clas
 s="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.3.2.Â Variables and Functions</h3></div></div></div><div class="para">
 			The concepts in this section are related to the mathematical terms with the same names. This is a modern-day result of the first uses of computers and programming languages: the calculation of complex mathematical problems.
-		</div><div class="section" title="11.4.2.1.Â Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Variables"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Variables">11.4.2.1.Â Variables</h4></div></div></div><div class="para">
+		</div><div class="section" title="11.3.2.1.Â Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Variables"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Variables">11.3.2.1.Â Variables</h4></div></div></div><div class="para">
 				A variable is a symbol that can be assigned an arbitrary value. A "symbol" is a series of alphabetic and numeric characters, separated by whitespace (a space, a line-break, or the end of the file). When a variable is "assigned" a value, the variable name (the symbol) is understood to be a substitute for the assigned value.
 			</div><div class="para">
 				Consider a traffic light, which has three possible symbols: green, yellow, and red. When you are driving, and you encounter a traffic light, you might see that its red symbol is activated (the red light is illuminated). What you see is a red light, but you understand that it means you should stop your car. Red lights in general do not make you stop - it is specifically red traffic lights, because we know that it is a symbol meaning to stop.
 			</div><div class="para">
-				SuperCollider's variables work in the same way: you tell the interpreter that you want to use a symbol, like <code class="code">cheese</code>. Then you assign <code class="code">cheese</code> a value, like <code class="code">5</code>. After that point, whenever you use <code class="code">cheese</code>, the interpreter will automatically know that what you really mean is <code class="code">5</code>.
+				SuperCollider's variables work in the same way: you tell the interpreter that you want to use a symbol, like <code class="literal">cheese</code>. Then you assign <code class="literal">cheese</code> a value, like <code class="literal">5</code>. After that point, whenever you use <code class="literal">cheese</code>, the interpreter will automatically know that what you really mean is <code class="literal">5</code>.
 			</div><div class="para">
 				Run the following two programs. They should result in the same output. 
 <pre class="programlisting">
@@ -22,7 +22,7 @@
 </pre>
 
 			</div><div class="para">
-				In the first example, the program calculates the value of <code class="code">5 + 5</code>, which is <code class="code">10</code>, and returns that to the interpreter, which prints it out. In the second example, the program tells the interpreter that it wants to use a variable called <code class="code">cheese</code> then it assigns cheese the value <code class="code">5</code>. Finally, the program calculates <code class="code">cheese + cheese</code>, which it understands as meaning <code class="code">5 + 5</code>, and returns <code class="code">10</code> to the interpreter, which prints it out.
+				In the first example, the program calculates the value of <code class="code">5 + 5</code>, which is <code class="literal">10</code>, and returns that to the interpreter, which prints it out. In the second example, the program tells the interpreter that it wants to use a variable called <code class="literal">x</code> then it assigns cheese the value <code class="literal">5</code>. Finally, the program calculates <code class="code">cheese + cheese</code>, which it understands as meaning <code class="code">5 + 5</code>, and returns <code class="literal">10</code> to the interpreter, which prints it out.
 			</div><div class="para">
 				This trivial use of a variable does nothing but complicate the process of adding 5 to itself. Soon you will see that variables can greatly simplify your programs.
-			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html"><strong>Prev</strong>11.4.Â Basic Programming in SuperCollider</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html"><strong>Next</strong>11.4.2.2.Â Using Variables</a></li></ul></body></html>
+			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html"><strong>Prev</strong>11.3.Â Basic Programming in SuperCollider</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html"><strong>Next</strong>11.3.2.2.Â Using Variables</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html
index 38a9e1e..a36bb73 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html
@@ -1,6 +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>11.5.5.Â Creating Ten Pseudo-Random Tones</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Composing.html" title="11.5.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html" title="11.5.4.Â Designing the Second Part" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html" title="11.5.6.Â Scheduling the Tones" /></head><body class="draft toc_embeded "><div id="tocdiv" class="
 toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html"><strong>Next</strong></a></li></ul><div class="section" title="11.5.5.Â Creating Ten Pseudo-Random Tones" id="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-C
 omposing-Creating_Ten_Pseudo-Random-Tones">11.5.5.Â Creating Ten Pseudo-Random Tones</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>11.4.5.Â Creating Ten Pseudo-Random Tones</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Composing.html" title="11.4.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html" title="11.4.4.Â Designing the Second Part" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html" title="11.4.6.Â Scheduling the Tones" /></head><body class="draft toc_embeded "><div id="tocdiv" class="
 toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.5.Â Creating Ten Pseudo-Random Tones" id="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-C
 omposing-Creating_Ten_Pseudo-Random-Tones">11.4.5.Â Creating Ten Pseudo-Random Tones</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 					We'll start again with something simple, that we know how to do. 
 <pre class="programlisting">
 {
@@ -97,7 +97,7 @@
 </pre>
 
 				</div></li><li class="step" title="Step 8"><div class="para">
-					It still doesn't work! SuperCollider is confused because I was been lazy and didn't include enough semicolons. The error we get is, "Index not an Integer," which is a clue as to what SuperCollider is trying to do (but it's irrelevant). The real problem is that SuperCollider interprets our ten stereo arrays as all being part of the same statement. We don't want them to be the same statement, however, because we want ten ''different'' stereo arrays to be played. Fix this problem by putting a semicolon at the end of each stereo array. You don't ''need'' to include one at the end of the last statement, because SuperCollider assumes the end of the statement when it encounters a } (end-of-function marker) after it. Since we're still building our code, we might move these around or add something aftwards, so it's better to include a semicolon at the end of each stereo array.
+					It still doesn't work! SuperCollider is confused because I was been lazy and didn't include enough semicolons. The error we get is, "Index not an Integer," which is a clue as to what SuperCollider is trying to do (but it's irrelevant). The real problem is that SuperCollider interprets our ten stereo arrays as all being part of the same statement. We don't want them to be the same statement, however, because we want ten <span class="emphasis"><em>different</em></span> stereo arrays to be played. Fix this problem by putting a semicolon at the end of each stereo array. You do not <span class="emphasis"><em>need</em></span> to include one at the end of the last statement, because SuperCollider assumes the end of the statement when it encounters a } (end-of-function marker) after it. Since we're still building our code, we might move these around or add something aftwards, so it's better to include a semicolon at the end of each stereo array.
 				</div></li><li class="step" title="Step 9"><div class="para">
 					Now the file plays successfully, but with a disappointing result. If you can't already see the problem, try to think of it before continuing to read.
 				</div></li><li class="step" title="Step 10"><div class="para">
@@ -145,4 +145,4 @@ myFunction.value;
 					Now make the correction nine more times.
 				</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><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html"><strong>Prev</strong>11.5.4.Â Designing the Second Part</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html"><strong>Next</strong>11.5.6.Â Scheduling the Tones</a></li></ul></body></html>
+				</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html"><strong>Prev</strong>11.4.4.Â Designing the Second Part</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html"><strong>Next</strong>11.4.6.Â Scheduling the Tones</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-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 1da5d16..0c8c9a1 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
@@ -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>11.5.3.Â Designing the First Part</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.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Inspiration.html" title="11.5.2.Â Inspiration" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html" title="11.5.4.Â Designing the Second Part" /></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-Inspiration.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html"><strong>Next</strong></a></li></ul><div class="section" title="11.5.3.Â Designing the First Part" id="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3.Â Designi
 ng the First Part</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>11.4.3.Â Designing the First Part</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="11.4.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Inspiration.html" title="11.4.2.Â Inspiration" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html" title="11.4.4.Â Designing the Second Part" /></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-Inspiration.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.3.Â Designing the First Part" id="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.4.3.Â Designi
 ng the First Part</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 					I started with something simple: a single SinOsc: <code class="code">{ SinOsc.ar(); }.play;</code>
 				</div></li><li class="step" title="Step 2"><div class="para">
 					This is not exciting: it just stays the same forever, and it only uses one channel! So, I added another SinOsc to the right channel, using the [ , ] array notation. The result is <code class="code">{ [ SinOsc.ar(), SinOsc.ar() ] }.play;</code>
@@ -56,7 +56,7 @@
 				</div></li><li class="step" title="Step 10"><div class="para">
 					But let's add another dimension to this: there's no reason to keep the volume static, because we can use a SinOsc to change it periodically! I added a SinOsc variable called "volumeL," which I used as the argument to "mul" for the "frequencyL" SinOsc in the left channel.
 				</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.
+					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 <span class="emphasis"><em>way</em></span> too loud.
 				</div></li><li class="step" title="Step 12"><div class="para">
 					Writing 
 <pre class="programlisting">SinOsc.ar( [frequencyL_drone,2*frequencyL_drone,5*frequencyL_drone,13*frequencyL_drone,28*frequencyL_drone], mul:0.1 )</pre>
@@ -67,4 +67,4 @@
 					I did something similar with the right channel, addding a slowly-changing drone and overtones above it.
 				</div></li><li class="step" title="Step 15"><div class="para">
 					After some final volume adjustments, I feel that I have completed the first part. There is no way to know for sure that you've finished until it happens. Even then, you may want to change your program later.
-				</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Inspiration.html"><strong>Prev</strong>11.5.2.Â Inspiration</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html"><strong>Next</strong>11.5.4.Â Designing the Second Part</a></li></ul></body></html>
+				</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Inspiration.html"><strong>Prev</strong>11.4.2.Â Inspiration</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html"><strong>Next</strong>11.4.4.Â Designing the Second Part</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html
index 9a27b35..32092f7 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.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>11.5.4.Â Designing the Second Part</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.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html" title="11.5.3.Â Designing the First Part" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html" title="11.5.5.Â Creating Ten Pseudo-Random Tones" /></head><body class="draft toc_embeded "><div id="
 tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html"><strong>Next</strong></a></li></ul><div class="section" title="11.5.4.Â Designing the Second Part" id="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musician
 s_Guide-SC-Composing-Designing_the_Second_Part">11.5.4.Â Designing the Second Part</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>11.4.4.Â Designing the Second Part</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="11.4.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html" title="11.4.3.Â Designing the First Part" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html" title="11.4.5.Â Creating Ten Pseudo-Random Tones" /></head><body class="draft toc_embeded "><div id="
 tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.4.Â Designing the Second Part" id="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musician
 s_Guide-SC-Composing-Designing_the_Second_Part">11.4.4.Â Designing the Second Part</h3></div></div></div><div class="para">
 			The next thing that I did was to design the second part. This will not join them together yet, and I'm going to focus on something completely different, so I decided to do this in a separate file.
 		</div><div class="para">
 			My inspiration for this part came from experimenting with the drones of the first part. There are a virtually unlimited number of combinations of sets of overtones that could be created, and the combinations of discrete frequencies into complex sounds is something that has fascinated me for a long time. Moreover, when thousands of discrete frequencies combine in such a way as to create what we think of as "a violin playing one note," it seems like a magical moment.
@@ -12,4 +12,4 @@
 			Although we've already solved the musical problems (that is, we know what we want this part to sound like), the computer science (programming) problems will have to be solved the old-fashioned way: start with something simple, and build it into a complex solution.
 		</div><div class="para">
 			First I will develop the version used in FSC-method-1.sc, then the version used in FSC-method-1-short.sc
-		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html"><strong>Prev</strong>11.5.3.Â Designing the First Part</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html"><strong>Next</strong>11.5.5.Â Creating Ten Pseudo-Random Tones</a></li></ul></body></html>
+		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html"><strong>Prev</strong>11.4.3.Â Designing the First Part</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html"><strong>Next</strong>11.4.5.Â Creating Ten Pseudo-Random Tones</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Inspiration.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Inspiration.html
index 038c2f7..0d31e8c 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Inspiration.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Inspiration.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>11.5.2.Â Inspiration</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.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SuperCollider-Composing.html" title="11.5.Â Composing with SuperCollider" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html" title="11.5.3.Â Designing the First Part" /></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-SuperCollider-Composing.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html"><strong>Next</strong></a></li></ul><div class="section" title="11.5.2.Â Inspiration" id="sect-Musicians_Guide-SC-Composing-Inspiration"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2.Â Inspiration</h3></div></div></div><div class="par
 a">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.2.Â Inspiration</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="11.4.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SuperCollider-Composing.html" title="11.4.Â Composing with SuperCollider" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html" title="11.4.3.Â Designing the First Part" /></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-SuperCollider-Composing.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.2.Â Inspiration" id="sect-Musicians_Guide-SC-Composing-Inspiration"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Inspiration">11.4.2.Â Inspiration</h3></div></div></div><div class="par
 a">
 			The intention of this program is to represent one way to write a SuperCollider program. I decided to take one class, SinOsc, and use it for "everything." Here, "everything" means any function that returns a sound, or any function that directly controls a SinOsc.
 		</div><div class="para">
 			In order to fill up time, I decided to employ a three-part "rounded binary" form: ABA' or "something, something new, then the first thing again." This is kind of like a sine oscillation, too!
-		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SuperCollider-Composing.html"><strong>Prev</strong>11.5.Â Composing with SuperCollider</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html"><strong>Next</strong>11.5.3.Â Designing the First Part</a></li></ul></body></html>
+		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SuperCollider-Composing.html"><strong>Prev</strong>11.4.Â Composing with SuperCollider</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html"><strong>Next</strong>11.4.3.Â Designing the First Part</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html
index 59f5b1e..43c72bd 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html
@@ -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>11.5.9.Â Joining the Two Parts</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.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html" title="11.5.8.Â Making a Useful Section out of the Second Part" /><link rel="next" href="sect-Musicians_Guide-SuperCollider-Exporting.html" title="11.6.Â Exporting Sound Files" /></head><body class="draft toc_embeded "><di
 v 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-Making_a_Useful_Function_Out_of_the_Second_Part.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Exporting.html"><strong>Next</strong></a></li></ul><div class="section" title="11.5.9.Â Joining the Two Parts" id="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians
 _Guide-SC-Composing-Joining_the_Two_Parts">11.5.9.Â Joining the Two Parts</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>11.4.9.Â Joining the Two Parts</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="11.4.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html" title="11.4.8.Â Making a Useful Section out of the Second Part" /><link rel="next" href="sect-Musicians_Guide-SuperCollider-Exporting.html" title="11.5.Â Exporting Sound Files" /></head><body class="draft toc_embeded "><di
 v 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-Making_a_Useful_Function_Out_of_the_Second_Part.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Exporting.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.9.Â Joining the Two Parts" id="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians
 _Guide-SC-Composing-Joining_the_Two_Parts">11.4.9.Â Joining the Two Parts</h3></div></div></div><div class="para">
 			Now it is time to join the two parts, and ensure a clean transition between them. My reasons for building the first part as a SynthDef, but the second part as a function are explained in the FSC_part_1.sc file. Additional reasons include my desire to illustrate the use of both possibilities, and because the second part stops itself (so it can be a function which is executed and forgotten), whereas the first part does not stop itself (so we'll need to hold onto the synth, to stop it ourselves).
 		</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 					I copy-and-pasted both parts into a new file, leaving the other original code in tact, in case I want to build on them in the future. Be sure to copy over the <code class="code">var t_c = TempoClock.default;</code> definition from the second part.
@@ -31,7 +31,7 @@
 									</div></li><li class="listitem"><div class="para">
 										5 beats after the last SinOsc until the function stops.
 									</div></li><li class="listitem"><div class="para">
-										This gives us <code class="code">1 + ( 5 * 9 ) + 5 = 51</code>. Why <code class="code">5 * 9</code>? Because although there are ten SinOsc's, there are only nine spaces between them; the last five-second space happens ''after'' the last SinOsc.
+										This gives us <code class="code">1 + ( 5 * 9 ) + 5 = 51</code>. Why <code class="code">5 * 9</code>? Because although there are ten SinOsc's, there are only nine spaces between them; the last five-second space happens <span class="emphasis"><em>after</em></span> the last <code class="classname">SinOsc</code>.
 									</div></li></ul></div>
 
 						</div></li><li class="step" title="Step 6.e"><div class="para">
@@ -58,4 +58,4 @@ t_c.sched( 113, { sound = Synth.new( \FirstPart ); } );
 t_c.sched( 143, { sound.free; } );
 </pre>
 					 Why is the "nil" required after "secondPart"? Because that function returns a number. As you know, any scheduled function which returns a number will re-schedule itself to run that many beats after the previous execution began. Since "secondPart" returns the number of seconds it takes to finish, it will always be re-started as soon as it finishes. Including "nil" disallows this repetition.
-				</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html"><strong>Prev</strong>11.5.8.Â Making a Useful Section out of the Second...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Exporting.html"><strong>Next</strong>11.6.Â Exporting Sound Files</a></li></ul></body></html>
+				</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html"><strong>Prev</strong>11.4.8.Â Making a Useful Section out of the Second...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Exporting.html"><strong>Next</strong>11.5.Â Exporting Sound Files</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html
index ad74a48..3985339 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html
@@ -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>11.5.8.Â Making a Useful Section out of the Second Part</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.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html" title="11.5.7.Â Optimizing the Code" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html" title="11.5.9.Â Joining the Two Parts" /></head><body class="draft toc_embeded "><div id="tocdiv" cla
 ss="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html"><strong>Next</strong></a></li></ul><div class="section" title="11.5.8.Â Making a Useful Section out of the Second Part" id="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" i
 d="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8.Â Making a Useful Section out of the Second Part</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>11.4.8.Â Making a Useful Section out of the Second Part</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="11.4.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html" title="11.4.7.Â Optimizing the Code" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html" title="11.4.9.Â Joining the Two Parts" /></head><body class="draft toc_embeded "><div id="tocdiv" cla
 ss="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.Â Making a Useful Section out of the Second Part" id="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" i
 d="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.4.8.Â Making a Useful Section out of the Second Part</h3></div></div></div><div class="para">
 			This section describes the reasons for the differences between the second part's Function that was just created, and the Function that appears in "FSC_method_1-short.sc". It all comes down to this: the current solution is tailor-made for this particular program, and would require significant adaptation to be used anywhere else; I want to re-design the Function so that it can be used anywhere to begin with, while still defaulting to the behaviour desired for this program.
 		</div><div class="para">
 			You can skip this section, and return later. The actions for the rest of the tutorial remain unchanged whether you do or do not make the modifications in this section.
@@ -150,4 +150,4 @@ var secondPart =
 
 		</div><div class="para">
 			As you can see, there are a lot of ways to improve this Function even further; there are almost certainly more ways than listed here. Before you distribute your Function, you would want to be sure to test it thoroughly, and add helpful comments so that the Function's users know how to make the Function do what they want. These are both large topics in themselves, so I won't give them any more attention here.
-		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html"><strong>Prev</strong>11.5.7.Â Optimizing the Code</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html"><strong>Next</strong>11.5.9.Â Joining the Two Parts</a></li></ul></body></html>
+		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html"><strong>Prev</strong>11.4.7.Â Optimizing the Code</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html"><strong>Next</strong>11.4.9.Â Joining the Two Parts</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-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 f6f5055..4817d6d 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
@@ -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>11.5.7.Â Optimizing the Code</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.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html" title="11.5.6.Â Scheduling the Tones" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html" title="11.5.8.Â Making a Useful Section out of the Second Part" /></head><body class="draft toc_embe
 ded "><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-Scheduling_the_Tones.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html"><strong>Next</strong></a></li></ul><div class="section" title="11.5.7.Â Optimizing the Code" id="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id=
 "sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7.Â Optimizing the Code</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>11.4.7.Â Optimizing the Code</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="11.4.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html" title="11.4.6.Â Scheduling the Tones" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html" title="11.4.8.Â Making a Useful Section out of the Second Part" /></head><body class="draft toc_embe
 ded "><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-Scheduling_the_Tones.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.7.Â Optimizing the Code" id="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id=
 "sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.4.7.Â Optimizing the Code</h3></div></div></div><div class="para">
 			Hopefully, while working through the previous sections, you got an idea of how tedious, boring, difficult-to-read, and error-prone this sort of copy-and-paste programming can be. It's ridiculous, and it's poor programming: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 						We're using a lot of variables and variable names. They're all just used once or twice, too.
@@ -37,21 +37,21 @@
 				</div></li><li class="step" title="Step 6"><div class="para">
 					Then declare a ten-element array in the same place: <code class="code">var sinosc = Array.new( 10 );</code>
 				</div></li><li class="step" title="Step 7"><div class="para">
-					The next part is to write code to get ten func.value's into the array. To add something to an array in SuperCollider, we use the "add" method: <code class="code">sinosc.add( thing_to_add );</code> There is a small wrinkle to this, described in the SuperCollider documentation. It's not important to understand (for musical reasons, that is - it is explained on this help page), but when you add an element to an array, you ''should'' re-assign the array to the variable-name: <code class="code">sinosc = sinosc.add( thing_to_add )</code> Basically it works out like this: if you don't re-assign, then there is a chance that the array name only includes the elements that were in the array before the "add" command was run.
+					The next part is to write code to get ten func.value's into the array. To add something to an array in SuperCollider, we use the "add" method: <code class="code">sinosc.add( thing_to_add );</code> There is a small wrinkle to this, described in the SuperCollider documentation. It's not important to understand (for musical reasons, that is - it is explained on this help page), but when you add an element to an array, you <span class="emphasis"><em>should</em></span> re-assign the array to the variable-name: <code class="code">sinosc = sinosc.add( thing_to_add )</code> Basically it works out like this: if you don't re-assign, then there is a chance that the array name only includes the elements that were in the array before the "add" command was run.
 				</div></li><li class="step" title="Step 8"><div class="para">
 					With this, we are able to eliminate a further level of redundancy in the code. Ten exact copies of <code class="code">sinosc = sinosc.add( { func.value; } );</code> Now, ten lines that look almost identical actually are identical. Furthermore, we don't have to worry about assigning unique names, or even about index numbers, as in other programming languages. SuperCollider does this for us!
 				</div></li><li class="step" title="Step 9"><div class="para">
 					This still won't work, because we need to adjust the rest of the function to work with this array. The scheduling commands be changed to look something like this: <code class="code">t_c.sched( 1, { so1 = sinosc[0].play; } );</code> Since arrays are indexed from 0 to 9, those are the index numbers of the first ten objects in the array.
 				</div></li><li class="step" title="Step 10"><div class="para">
-					Remember that you need to put all of your variable declarations ''before'' anything else.
+					Remember that you need to put all of your variable declarations <span class="emphasis"><em>before</em></span> anything else.
 				</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.
+					It <span class="emphasis"><em>should</em></span> 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"><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( <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.
+					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 <span class="emphasis"><em>already</em></span> 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">
@@ -91,4 +91,4 @@ var t_c = TempoClock.default;
 
 				</div></li><li class="step" title="Step 20"><div class="para">
 					Finally, assign this Function to a variable (called "secondPart", perhaps), and remove the "value" Function-call. If we leave that in, the Function will execute before the rest of the program begins!
-				</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html"><strong>Prev</strong>11.5.6.Â Scheduling the Tones</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html"><strong>Next</strong>11.5.8.Â Making a Useful Section out of the Second...</a></li></ul></body></html>
+				</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html"><strong>Prev</strong>11.4.6.Â Scheduling the Tones</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html"><strong>Next</strong>11.4.8.Â Making a Useful Section out of the Second...</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html
index 55c0ba7..80b1840 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
@@ -1,6 +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>11.5.6.Â 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.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html" title="11.5.5.Â Creating Ten Pseudo-Random Tones" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html" title="11.5.7.Â 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.Â 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.Â Scheduling the Tones</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>11.4.6.Â 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="11.4.Â Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html" title="11.4.5.Â Creating Ten Pseudo-Random Tones" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html" title="11.4.7.Â 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="11.4.6.Â 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">11.4.6.Â 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 <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.
@@ -80,4 +80,4 @@ var t_c = TempoClock.default;
 }.value;
 </pre>
 
-				</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html"><strong>Prev</strong>11.5.5.Â Creating Ten Pseudo-Random Tones</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html"><strong>Next</strong>11.5.7.Â Optimizing the Code</a></li></ul></body></html>
+				</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html"><strong>Prev</strong>11.4.5.Â Creating Ten Pseudo-Random Tones</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html"><strong>Next</strong>11.4.7.Â Optimizing the Code</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html
index f7a0b96..d6811ba 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html
@@ -1,35 +1,33 @@
 <?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>11.6.2.Â Recording SuperCollider's Output (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="sect-Musicians_Guide-SuperCollider-Exporting.html" title="11.6.Â Exporting Sound Files" /><link rel="prev" href="sect-Musicians_Guide-SuperCollider-Exporting.html" title="11.6.Â Exporting Sound Files" /><link rel="next" href="chap-Musicians_Guide-LilyPond.html" title="ChapterÂ 12.Â 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-SuperCollider-Exporting.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-LilyPond.html"><strong>Next</strong></a></li></ul><div class="section" title="11.6.2.Â Recording SuperCollider's Output (Tutorial)" id="sect-Musicians_Guide-SC-Recording_SuperColliders_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2.Â Recording SuperCollider's Output (Tutorial)</h3>
 </div></div></div><div class="para">
-			Since SuperCollider outputs its audio signals to the JACK sound server, any other JACK-aware program has the opportunity to record, process, and use them. This portion of the tutorial will help you to record SuperCollider's output in Ardour. Due to the advanced nature of SuperCollider, the text assumes that you have a basic knowledge of how to work with Ardour. If not, you may find it helpful to refer to <a class="xref" href="chap-Musicians_Guide-Ardour.html" title="ChapterÂ 7.Â Ardour">ChapterÂ 7, <i>Ardour</i></a>.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.5.2.Â Recording SuperCollider's Output (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="sect-Musicians_Guide-SuperCollider-Exporting.html" title="11.5.Â Exporting Sound Files" /><link rel="prev" href="sect-Musicians_Guide-SuperCollider-Exporting.html" title="11.5.Â Exporting Sound Files" /><link rel="next" href="chap-Musicians_Guide-LilyPond.html" title="ChapterÂ 12.Â 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-SuperCollider-Exporting.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-LilyPond.html"><strong>Next</strong></a></li></ul><div class="section" title="11.5.2.Â Recording SuperCollider's Output (Tutorial)" id="sect-Musicians_Guide-SC-Recording_SuperColliders_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.5.2.Â Recording SuperCollider's Output (Tutorial)</h3>
 </div></div></div><div class="para">
+			Since <code class="systemitem">SuperCollider</code> outputs its audio signals to the JACK sound server, any other <code class="systemitem">JACK</code>-aware program has the opportunity to record, process, and use them. This portion of the tutorial will help you to record SuperCollider's output in Ardour. Due to the advanced nature of SuperCollider, the text assumes that you have a basic knowledge of how to work with Ardour. If not, you may find it helpful to refer to <a class="xref" href="chap-Musicians_Guide-Ardour.html" title="ChapterÂ 7.Â Ardour">ChapterÂ 7, <i>Ardour</i></a>.
 		</div><div class="para">
-			This procedure will help you to use Ardour to record SuperCollider's output.
+			This procedure will help you to use <span class="application"><strong>Ardour</strong></span> to record the <span class="application"><strong>SuperCollider</strong></span> output.
 		</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
-					Close unnecessary applications and stop unnecessary processes, which will help to reduce the risk of a buffer overrun or underrun, which cause an audible break in audio. If you are viewing this document in a web browser, you may want to copy-and-paste it into a simple text editor, or GEdit, if you are already using that.
+					Close unnecessary applications and stop unnecessary processes, which will help to reduce the risk of a buffer overrun or underrun, which cause an audible break in audio. If you are viewing this document in a web browser, you may want to copy-and-paste it into a simple text editor, or <span class="application"><strong>GEdit</strong></span>, if you are already using that.
 				</div></li><li class="step" title="Step 2"><div class="para">
-					Use QjackCtl to set up JACK with the right audio interface and configuration options.
+					Use <span class="application"><strong>QjackCtl</strong></span> to set up <code class="systemitem">JACK</code> with the right audio interface and configuration options.
 				</div></li><li class="step" title="Step 3"><div class="para">
-					In order to get a clean start, restart the SuperCollider interpreter in GEdit, then start the server.
+					In order to get a clean start, restart the <span class="application"><strong>SuperCollider</strong></span> interpreter in <span class="application"><strong>GEdit</strong></span>, then start the server.
 				</div></li><li class="step" title="Step 4"><div class="para">
-					Open Ardour with a new session, and set up the rulers and timeline as desired. Seconds is usually the most appropriate unit with which to measure a SuperCollider recording.
+					Open <span class="application"><strong>Ardour</strong></span> with a new session, and set up the rulers and timeline as desired. Seconds is usually the most appropriate unit with which to measure a <span class="application"><strong>SuperCollider</strong></span> recording.
 				</div></li><li class="step" title="Step 5"><div class="para">
 					Add a stereo track (or however many channels desired), and rename it it "SuperCollider."
 				</div></li><li class="step" title="Step 6"><div class="para">
-					Use Ardour (the "Track/Bus Inspector" window) or QjackCtl to connect the "SuperCollider" track to SuperCollider's outputs.
+					Use Ardour (the "Track/Bus Inspector" window) or <span class="application"><strong>QjackCtl</strong></span> to connect the "SuperCollider" track to SuperCollider's outputs.
 				</div></li><li class="step" title="Step 7"><div class="para">
-					You'll want to make sure that the SuperCollider output is also connected to your audio interface, so that you can hear the program as you progress. This is an example of multi-plexing. Changes to your audio interface's volume control will not affect the recording in Ardour.
+					You'll want to make sure that the <span class="application"><strong>SuperCollider</strong></span> output is also connected to your audio interface, so that you can hear the program as you progress. This is an example of multi-plexing. Changes to your audio interface's volume control will not affect the recording in Ardour.
 				</div></li><li class="step" title="Step 8"><div class="para">
-					Arm the track and transport in Ardour. When you are ready, start the transport. It is not important to start SuperCollider as quickly as possible, since you can cut out the silence after the recording is made.
+					Arm the track and transport in <span class="application"><strong>Ardour</strong></span>. When you are ready, start the transport. It is not important to start SuperCollider as quickly as possible, since you can cut out the silence after the recording is made.
 				</div></li><li class="step" title="Step 9"><div class="para">
-					Switch to GEdit and play the program that you want to record. If you make a mistake while starting the program, that's okay. We can always edit the recording after it's recorded.
+					Switch to <span class="application"><strong>GEdit</strong></span> and play the program that you want to record. If you make a mistake while starting the program, that's okay. We can always edit the recording after it's recorded.
 				</div></li><li class="step" title="Step 10"><div class="para">
-					Listen to the recording as it goes along. Use QjackCtl to make sure that you don't encounter a buffer underrun, and Ardour to make sure that you don't record a distorted signal.
+					Listen to the recording as it goes along. Use <span class="application"><strong>QjackCtl</strong></span> to make sure that you don't encounter a buffer underrun, and <span class="application"><strong>Ardour</strong></span> to make sure that you do not record a distorted signal.
 				</div></li><li class="step" title="Step 11"><div class="para">
-					When SuperCollider has finished playing your program, switch to Ardour, and stop the transport.
+					When <span class="application"><strong>SuperCollider</strong></span> has finished playing your program, switch to <span class="application"><strong>Ardour</strong></span>, and stop the transport.
 				</div></li><li class="step" title="Step 12"><div class="para">
-					The audio file will be created in the "export" sub-directory of the session's directory.
+					When you are ready to export, use the <span class="application"><strong>Ardour</strong></span> menu. <span class="guimenu"><strong>Choose Session</strong></span> â†’ <span class="guisubmenu"><strong>Export</strong></span> â†’ <span class="guimenuitem"><strong>Export session to audio file</strong></span>
 				</div></li><li class="step" title="Step 13"><div class="para">
-					When you are ready to export, use the Ardour menu: 'Session &gt; Export &gt; 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><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SuperCollider-Exporting.html"><strong>Prev</strong>11.6.Â Exporting Sound 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="chap-Musicians_Guide-LilyPond.html"><strong>Next</strong>ChapterÂ 12.Â LilyPond</a></li></ul></body></html>
+				</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SuperCollider-Exporting.html"><strong>Prev</strong>11.5.Â Exporting Sound 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="chap-Musicians_Guide-LilyPond.html"><strong>Next</strong>ChapterÂ 12.Â LilyPond</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 bd8128f..e871097 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
@@ -1,19 +1,19 @@
 <?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>11.3.3.Â Executing Code in GEdit</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-Using_GEdit.html" title="11.3.Â Using GEdit to Write and Run SuperCollider Programs" /><link rel="prev" href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html" title="11.3.2.Â Enable SuperCollider Mode and Start a Server" /><link rel="next" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html" title="11.3.4.Â Other Tips for Using GEdit with SuperCollider" /></head><body class="draft toc_em
 beded "><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-Using_GEdit-Start_a_Server.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.3.Â Executing Code in GEdit" id="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GEdit
 -Executing_Code">11.3.3.Â Executing Code in GEdit</h3></div></div></div><div class="para">
-				You can execute code directly from GEdit, without having to use "sclang" from the command-line.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.2.3.Â Executing Code in GEdit</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-Using_GEdit.html" title="11.2.Â Using GEdit to Write and Run SuperCollider Programs" /><link rel="prev" href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html" title="11.2.2.Â Enable SuperCollider Mode and Start a Server" /><link rel="next" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html" title="11.2.4.Â Other Tips for Using GEdit with SuperCollider" /></head><body class="draft toc_em
 beded "><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-Using_GEdit-Start_a_Server.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html"><strong>Next</strong></a></li></ul><div class="section" title="11.2.3.Â Executing Code in GEdit" id="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GEdit
 -Executing_Code">11.2.3.Â Executing Code in <span class="application"><strong>GEdit</strong></span></h3></div></div></div><div class="para">
+				You can execute code directly from <span class="application"><strong>GEdit</strong></span>, without having to use <code class="command">sclang</code> from the command-line.
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
-						Ensure that SuperCollider mode is enabled, and that a server has been started.
+						Ensure that <span class="application"><strong>SuperCollider</strong></span> mode is enabled, and that a server has been started.
 					</div></li><li class="step" title="Step 2"><div class="para">
 						Select the code that you wish to execute. A single line of code may be executed simply by placing the text-input cursor on that line.
 					</div></li><li class="step" title="Step 3"><div class="para">
-						Press 'Ctrl+E' on the keyboard, or from the menu select 'SuperCollider &gt; Evaluate'
+						Press 'Ctrl+E' on the keyboard, or from the menu select '<span class="application"><strong>SuperCollider</strong></span> &gt; Evaluate'
 					</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 &gt; Stop Sound'
+						To stop all sound on the server, press 'Esc' on the keyboard, or from the menu select '<span class="application"><strong>SuperCollider</strong></span> &gt; 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: 
+						If the server successfully executes the code, then it will output something to the "<span class="application"><strong>SuperCollider</strong></span> output" pane. The output will be different, depending on what <span class="application"><strong>SuperCollider</strong></span> 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.Â 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.Â Other Tips for Using GEdit with SuperColl...</a></li></ul></body></html>
+					</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>11.2.2.Â 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>11.2.4.Â 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-SC-Using_GEdit-Other_Tips.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html
index bdccefa..41df7d1 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html
@@ -1,24 +1,24 @@
 <?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>11.3.4.Â Other Tips for Using GEdit with SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Using_GEdit.html" title="11.3.Â Using GEdit to Write and Run SuperCollider Programs" /><link rel="prev" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html" title="11.3.3.Â Executing Code in GEdit" /><link rel="next" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4.Â Basic Programming in SuperCollider" /></head><body class="draft toc_embeded 
 "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.4.Â 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_Gu
 ide-SC-Using_GEdit-Other_Tips">11.3.4.Â Other Tips for Using GEdit with SuperCollider</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>11.2.4.Â Other Tips for Using GEdit with SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Using_GEdit.html" title="11.2.Â Using GEdit to Write and Run SuperCollider Programs" /><link rel="prev" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html" title="11.2.3.Â Executing Code in GEdit" /><link rel="next" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.3.Â Basic Programming in SuperCollider" /></head><body class="draft toc_embeded 
 "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html"><strong>Next</strong></a></li></ul><div class="section" title="11.2.4.Â 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_Gu
 ide-SC-Using_GEdit-Other_Tips">11.2.4.Â Other Tips for Using <span class="application"><strong>GEdit</strong></span> with <span class="application"><strong>SuperCollider</strong></span></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.
+							If you close <span class="application"><strong>GEdit</strong></span> while the <span class="application"><strong>SuperCollider</strong></span> server is running, then <span class="application"><strong>GEdit</strong></span> will automatically shut down the server.
 						</div></li><li class="listitem"><div class="para">
-							If JACK is started by SuperCollider, then it will automatically terminate when the SuperCollider server terminates.
+							If <code class="systemitem">JACK</code> is started by <span class="application"><strong>SuperCollider</strong></span>, then it will automatically terminate when the <span class="application"><strong>SuperCollider</strong></span> server terminates.
 						</div></li><li class="listitem"><div class="para">
-							SuperCollider will automatically attempt to connect its outputs to the system's outputs. If your audio output doesn't work, then you should use "QjackCtl" to verify that it is correctly connected.
+							<span class="application"><strong>SuperCollider</strong></span> will automatically attempt to connect its outputs to the system's outputs. If your audio output doesn't work, then you should use <span class="application"><strong>QjackCtl</strong></span> to verify that it is correctly connected.
 						</div></li><li class="listitem"><div class="para">
-							Other Functions available in the SuperCollider menu include: 
+							Other functions available in the <span class="application"><strong>SuperCollider</strong></span> menu include: 
 							<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-										Find Help (Opens the SuperCollider help file for currently-selected object).
+										Find Help (Opens the <span class="application"><strong>SuperCollider</strong></span> help file for currently-selected object).
 									</div></li><li class="listitem"><div class="para">
-										Find Definition (Opens the SuperCollider source file for the currently-selected object).
+										Find Definition (Opens the <span class="application"><strong>SuperCollider</strong></span> source file for the currently-selected object).
 									</div></li><li class="listitem"><div class="para">
-										Restart Interpreter (Restarts the SuperCollider interpreter; also closes running servers, but does not restart them).
+										Restart Interpreter (Restarts the <span class="application"><strong>SuperCollider</strong></span> interpreter; also closes running servers, but does not restart them).
 									</div></li><li class="listitem"><div class="para">
-										Clear output (Clears all output from the "SuperCollider output" pane).
+										Clear output (Clears all output from the "<span class="application"><strong>SuperCollider</strong></span> output" pane).
 									</div></li></ul></div>
 
 						</div></li></ul></div>
 
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html"><strong>Prev</strong>11.3.3.Â Executing Code in GEdit</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html"><strong>Next</strong>11.4.Â Basic Programming in SuperCollider</a></li></ul></body></html>
+			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html"><strong>Prev</strong>11.2.3.Â Executing Code in GEdit</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html"><strong>Next</strong>11.3.Â Basic Programming in SuperCollider</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html
index a923692..cf22df8 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html
@@ -1,30 +1,30 @@
 <?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>11.3.2.Â Enable SuperCollider Mode and Start a Server</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-Using_GEdit.html" title="11.3.Â Using GEdit to Write and Run SuperCollider Programs" /><link rel="prev" href="sect-Musicians_Guide-SC-Using_GEdit.html" title="11.3.Â Using GEdit to Write and Run SuperCollider Programs" /><link rel="next" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html" title="11.3.3.Â Executing Code in GEdit" /></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-Using_GEdit.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.2.Â Enable SuperCollider Mode and Start a Server" id="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GE
 dit-Start_a_Server">11.3.2.Â Enable SuperCollider Mode and Start a Server</h3></div></div></div><div class="para">
-				These steps should be followed every time you open GEdit, and wish to use the SuperCollider extension.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.2.2.Â Enable SuperCollider Mode and Start a Server</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-Using_GEdit.html" title="11.2.Â Using GEdit to Write and Run SuperCollider Programs" /><link rel="prev" href="sect-Musicians_Guide-SC-Using_GEdit.html" title="11.2.Â Using GEdit to Write and Run SuperCollider Programs" /><link rel="next" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html" title="11.2.3.Â Executing Code in GEdit" /></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-Using_GEdit.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html"><strong>Next</strong></a></li></ul><div class="section" title="11.2.2.Â Enable SuperCollider Mode and Start a Server" id="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GE
 dit-Start_a_Server">11.2.2.Â Enable <span class="application"><strong>SuperCollider</strong></span> Mode and Start a Server</h3></div></div></div><div class="para">
+				These steps should be followed every time you open <span class="application"><strong>GEdit</strong></span>, and wish to use the <span class="application"><strong>SuperCollider</strong></span> extension.
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
 						Choose <span class="guimenu"><strong>Tools</strong></span> â†’ <span class="guimenuitem"><strong>SuperCollider Mode</strong></span>
 					</div></li><li class="step" title="Step 2"><div class="para">
-						A 'SuperCollider' menu should appear, and a window at the bottom which says, "SuperCollider output".
+						A <span class="guimenu"><strong>SuperCollider</strong></span> menu should appear, and a window at the bottom which says, "<span class="application"><strong>SuperCollider</strong></span> output".
 					</div></li><li class="step" title="Step 3"><div class="para">
-						If you cannot see the window at the bottom, then select 'View &gt; Bottom Pane' from the menu, so that it shows up. It is sometimes important to see the information that SuperCollider provides in this window.
+						If you cannot see the window at the bottom, then select <span class="guimenu"><strong>View</strong></span> â†’ <span class="guimenuitem"><strong>Bottom Pane</strong></span> from the menu, so that it shows up. It is sometimes important to see the information that <span class="application"><strong>SuperCollider</strong></span> provides in this window.
 					</div></li><li class="step" title="Step 4"><div class="para">
-						After enabling SuperCollider mode, the window should display a series of notices. Near the end should be something like this: 
+						After enabling <span class="application"><strong>SuperCollider</strong></span> mode, the window should display a series of notices. Near the end should be something like this: 
 <pre class="programlisting">
 RESULT = 0
 Welcome to SuperCollider, for help type ctrl-c ctrl-h (Emacs) or :SChelp (vim) or ctrl-U (sced/gedit)
 </pre>
-						 If this window gives a non-zero value for "RESULT," then an error has probably occurred, and you should scroll up to see what it is, and try to fix it. If you receive the following warning: "The GUI scheme 'swing' is not installed" then you will not be able to run any SuperCollider prorams that use a GUI (graphical user interface). The GUI components are not used anywhere in this Guide, and they are highly optional.
+						 If this window gives a non-zero value for "RESULT," then an error has probably occurred, and you should scroll up to see what it is, and try to fix it. If you receive the following warning: "The GUI scheme 'swing' is not installed" then you will not be able to run any <span class="application"><strong>SuperCollider</strong></span> prorams that use a GUI (graphical user interface). The GUI components are not used anywhere in this Guide, and they are highly optional.
 					</div></li><li class="step" title="Step 5"><div class="para">
-						You will probably also want to start a server at this point, so from the menu select 'SuperCollider &gt; Start Server'.
+						You will probably also want to start a server at this point, so from the menu select '<span class="application"><strong>SuperCollider</strong></span> &gt; Start Server'.
 					</div></li><li class="step" title="Step 6"><div class="para">
-						After the server starts, you should see messages from "JackDriver". If a JACK server is not already started, then SuperCollider will start one automatically.
+						After the server starts, you should see messages from "JackDriver". If a JACK server is not already started, then <span class="application"><strong>SuperCollider</strong></span> will start one automatically.
 					</div></li><li class="step" title="Step 7"><div class="para">
-						If the SuperCollider server started successfully, you should see a message similar to this: 
+						If the <span class="application"><strong>SuperCollider</strong></span> server started successfully, you should see a message similar to this: 
 <pre class="programlisting">
 SuperCollider 3 server ready..
 JackDriver: max output latency 46.4 ms
 notification is on
 </pre>
 
-					</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit.html"><strong>Prev</strong>11.3.Â Using GEdit to Write and Run SuperCollider ...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html"><strong>Next</strong>11.3.3.Â Executing Code in GEdit</a></li></ul></body></html>
+					</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit.html"><strong>Prev</strong>11.2.Â Using GEdit to Write and Run SuperCollider ...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html"><strong>Next</strong>11.2.3.Â Executing Code in GEdit</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit.html
index bfd33f2..b4a3ca2 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit.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>11.3.Â Using GEdit to Write and Run SuperCollider Programs</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-SuperCollider.html" title="ChapterÂ 11.Â SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html" title="11.2.5.Â Recommended Installation" /><link rel="next" href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html" title="11.3.2.Â Enable SuperCollider Mode and Start a Server" /></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-Req_and_Inst-Recommended_Installation.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.Â Using GEdit to Write and Run SuperCollider Programs" id="sect-Musicians_Guide-SC-Using_GEdit"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-
 SC-Using_GEdit">11.3.Â Using GEdit to Write and Run SuperCollider Programs</h2></div></div></div><div class="para">
-			The 'supercollider-gedit' package installs an extension for GEdit which allows editing and running SuperCollider code from within GEdit. There are also SuperCollider extensions for the "emacs" and "vim" text editors. This tutorial uses the GEdit extension, because it is easier to learn how to use GEdit than "vim" or "emacs."
-		</div><div class="section" title="11.3.1.Â Enable and Configure SCEd in GEdit" id="sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1.Â Enable and Configure SCEd in GEdit</h3></div></div></div><div class="para">
-				These steps should be followed the first time that you use GEdit's SuperCollider extension.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.2.Â Using GEdit to Write and Run SuperCollider Programs</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-SuperCollider.html" title="ChapterÂ 11.Â SuperCollider" /><link rel="prev" href="chap-Musicians_Guide-SuperCollider.html" title="ChapterÂ 11.Â SuperCollider" /><link rel="next" href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html" title="11.2.2.Â Enable SuperCollider Mode and Start a Server" /></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-SuperCollider.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html"><strong>Next</strong></a></li></ul><div class="section" title="11.2.Â Using GEdit to Write and Run SuperCollider Programs" id="sect-Musicians_Guide-SC-Using_GEdit"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SC-Using_GEdit">11.2.Â Using <span class="application"><stro
 ng>GEdit</strong></span> to Write and Run <span class="application"><strong>SuperCollider</strong></span> Programs</h2></div></div></div><div class="para">
+			The <span class="package">supercollider-gedit</span> package installs an extension for <span class="application"><strong>GEdit</strong></span> which allows editing and running <span class="application"><strong>SuperCollider</strong></span> code from within <span class="application"><strong>GEdit</strong></span>. There are also <span class="application"><strong>SuperCollider</strong></span> extensions for the <span class="application"><strong>emacs</strong></span> and <span class="application"><strong>vim</strong></span> text editors. This tutorial uses the <span class="application"><strong>GEdit</strong></span> extension, because it is easier to learn how to use <span class="application"><strong>GEdit</strong></span> than <span class="application"><strong>vim</strong></span> or "emacs."
+		</div><div class="section" title="11.2.1.Â Enable and Configure SCEd in GEdit" id="sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.2.1.Â Enable and Configure SCEd in <span class="application"><strong>GEdit</strong></span></h3></div></div></div><div class="para">
+				These steps should be followed the first time that you use <span class="application"><strong>GEdit</strong></span>'s <span class="application"><strong>SuperCollider</strong></span> extension.
 			</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
-						Start "GEdit"
+						Start <span class="application"><strong>GEdit</strong></span>
 					</div></li><li class="step" title="Step 2"><div class="para">
-						Open the Preferences window (from the menu, select 'Edit &gt; Preferences')
+						Open the Preferences window (from the menu, choose <span class="guimenu"><strong>Edit</strong></span> â†’ <span class="guimenuitem"><strong>Preferences</strong></span>)
 					</div></li><li class="step" title="Step 3"><div class="para">
-						Choose the 'Plugins' tab, and scroll down to "Sced," then make sure that it is selected.
+						Choose the 'Plugins' tab, and scroll down to <span class="package">Sced</span>, then make sure that it is selected.
 					</div></li><li class="step" title="Step 4"><div class="para">
-						Click on the "Configure Plugin" button, then select a runtime folder where the SuperCollider server will store any synth sent to it during program execution. The safest place for this folder could be a sub-folder of the location where you will store your SuperCollider code.
-					</div></li></ol></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html"><strong>Prev</strong>11.2.5.Â Recommended 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-Using_GEdit-Start_a_Server.html"><strong>Next</strong>11.3.2.Â Enable SuperCollider Mode and Start a Ser...</a></li></ul></body></html>
+						Click on the <span class="guibutton"><strong>Configure Plugin</strong></span> button, then select a runtime folder where the <span class="application"><strong>SuperCollider</strong></span> server will store any synth sent to it during program execution. The safest place for this folder could be a sub-folder of the location where you will store your <span class="application"><strong>SuperCollider</strong></span> code.
+					</div></li></ol></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-SuperCollider.html"><strong>Prev</strong>ChapterÂ 11.Â SuperCollider</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html"><strong>Next</strong>11.2.2.Â Enable SuperCollider Mode and Start a Ser...</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html
index e4827ed..3c71baf 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html
@@ -11,7 +11,7 @@
 							<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 										When you wake up, before breakfast.
 									</div></li><li class="listitem"><div class="para">
-										Warm up your voice and body (good activity anyway - ''not'' part of the ten minutes!)
+										Warm up your voice and body (good activity anyway - <span class="emphasis"><em>not</em></span> part of the ten minutes!)
 									</div></li><li class="listitem"><div class="para">
 										Sing and perfect some excerpts from a book designed for sight-singing.
 									</div></li></ul></div>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Solfege-Training-Supplementary_References.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Solfege-Training-Supplementary_References.html
index 6e6858c..a61b358 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Solfege-Training-Supplementary_References.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Solfege-Training-Supplementary_References.html
@@ -17,5 +17,35 @@
 						</div></li></ul></div>
 
 			</div><div class="para">
-				!!F!! Bibliography list !!F!! Books: * Hindemith, Paul (1949). ''Elementary Training for Musicians''. Schott. ** Antiquated instructions, but the exercises are excellent. ** Offers a wide variety of exercises and strategies, especially for coordination of quasi-independent musical lines. ** In particular, Hindemith avoids the use of solfa syllables; modern practice uses them anyway. * Karpinski, Gary (2007). ''Manual for Ear Training and Sight Singing''. Norton. ** Contains chapters with detailed theoretical explanations, tips for listening, and developmental exercises. ** Comes with a CD containing listening exercises; possibly incompatible with Linux. * Karpinski, Gary. ''Anthology for Sight Singing''. Norton: 2006. ** Organized by chapter to coincide with the above ''Manual''. ** Contains examples that can be used to train one's ear by singing. ** It is best to play only the tonic tone (not a chord or scale) on a keyboard instrument before singing. Only after you are 
 sure that you have sung the excerpt correctly by ear should it be played on a keyboard instrument for verification. ** Contains some ensemble excerpts, to be sung by a group of people who are working on ear training together. * Hall, Anne (2004). ''Studying Rhythm''. Prentice Hall. ** Similar in principle to Karpinski's ''Anthology'': contains one- and two-part rhythms to be spoken or spoken-and-clapped. Also contains some 3- and 4-part rhythms. ** Progresses incrementally from easy-to-perform rhythms to more difficult ones. ** Offers some performance tips. ** Provides a few ensemble rhythms to be performed by a group of people working on ear training; all two-part rhythms can also be treated as ensemble rhythms. * Crowell, Ben (2004). ''Eyes and Ears: an Anthology of Melodies for Sight-Singing''. ** An open-source sight-singing text, available free from [http://www.lightandmatter.com/sight/sight.html here]. ** Contains about 400 melodies from the public domain, and some ins
 tructions. * Hoffman, ''The Rhythm Book''. Smith Creek Music, 2009.
-			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html"><strong>Prev</strong>14.3.3.Â Making an Aural Skills Program</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-Using_the_Exercises.html"><strong>Next</strong>14.4.Â Using the Exercises</a></li></ul></body></html>
+				Aural Skills Books: 
+				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
+							Crowell's <em class="citetitle">Eyes and Ears</em> is an open-source sight-singing text, available for free from the URL listed above. This book contains about 400 melodies from the public domain, along with some helpful instructions.
+						</div></li><li class="listitem"><div class="para">
+							Hall's <em class="citetitle">Studying Rhythm</em> is a small and expensive - but useful - book, containing a collection of rhythms to be spoken or spoken-and-clapped. This book also contains some three-part and four-part rhythms. The exercises increase in difficulty. The book offers some performance tips.
+						</div></li><li class="listitem"><div class="para">
+							Hindemith's <em class="citetitle">Elementary Training</em> is a classic aural skills text, but it was originally published in 1949, and a lot of research has taken place since then about how people learn aural skills. The book offers a wide variety of exercises, especially to develop coordination when performing multiple independent musical lines. We recommend that you ignore Hindemith's instructions, and use <em class="firstterm">tonic solfa</em> syllables. For more information on tonic solfa, refer to <em class="citetitle">Tonic sol-fa</em> at <a href="http://en.wikipedia.org/wiki/Tonic_sol-fa">http://en.wikipedia.org/wiki/Tonic_sol-fa</a>
+						</div></li><li class="listitem"><div class="para">
+							Hoffman's <em class="citetitle">The Rhythm Book</em> was developed specifically for the takadimi rhythm system. Like Hall's text, <em class="citetitle">The Rhythm Book</em> progresses fro easy to difficult exercises, and offers helpful instructions for performance.
+						</div></li><li class="listitem"><div class="para">
+							Karpinski's two texts are the result of two decades of research about how musicians acquire aural skills. The <em class="citetitle">Manual</em> contains instructions, exercises, and tips on training yourself to hear musical elements <span class="emphasis"><em>and</em></span> real music, and how to perform and imagine music. The <em class="citetitle">Anthology</em> is organized in chapters that coincide with the topics discussed in the <em class="citetitle">Manual</em>, and contains very few instructions. The <em class="citetitle">Anthology</em> contains a wide variety of musical excerpts, some from the public domain and others under copyright, taken from the "classical music" canon and from national repertoires. There are some three-part and four-part exercises, which should be performed by a group of people leraning aural skills together.
+						</div></li></ul></div>
+
+			</div><div class="para">
+				When you practise sight-singing from any book, we recommend hearing the tonic pitch from a fixed-pitch instrument (like a piano or keyboard synthesizer) before you sing an excerpt. With the tonic pitch in your mind, and without singing aloud, find the starting note of the excerpt, and sing the excerpt <span class="emphasis"><em>in your mind</em></span> several times, until you are sure that you are singing the excerpt correctly. When you have the melody in your mind, sing the excerpt out loud, as many times as you need to be sure that you are singing it correctly. Only <span class="emphasis"><em>after</em></span> you sing the excerpt perfectly should you play it on a fixed-pitch instrument to confirm that you are correct.
+			</div><div class="para">
+				You should build your ear with as little help from external sources (pianos, and so on) as possible. A significant amount of research shows that this gives you a more flexible musical mind, and that, while the initial learning curve is very steep, you will ultimately be able to learn new concepts faster.
+			</div><div class="bibliography" title="Aural Skills Books" id="id544450"><div class="titlepage"><div><div><h4 class="title">Aural Skills Books</h4></div></div></div><div class="biblioentry" title="Eyes and Ears: an Anthology of Melodies for Sight-Singing"><p><span class="author"><span class="firstname">Ben</span> <span class="surname">Crowell</span>. </span><span class="title"><i>Eyes and Ears: an Anthology of Melodies for Sight-Singing</i>. </span><span class="date">2004. </span><span class="publisher"><span class="publishername">
+							Ben Crowell
+						. </span><span class="address">
+							<span class="otheraddr"><a href="http://www.lightandmatter.com/sight/sight.html">http://www.lightandmatter.com/sight/sight.html</a></span>
+						. </span></span></p></div><div class="biblioentry" title="Studying Rhythm"><p><span class="author"><span class="firstname">Anne</span> <span class="surname">Hall</span>. </span><span class="title"><i>Studying Rhythm</i>. </span><span class="date">2004. </span><span class="publishername">
+						Prentice Hall
+					. </span></p></div><div class="biblioentry" title="Elementary Training for Musicains"><p><span class="author"><span class="firstname">Paul</span> <span class="surname">Hindemith</span>. </span><span class="title"><i>Elementary Training for Musicains</i>. </span><span class="date">1984. </span><span class="publishername">
+						Schott Music Corp.
+					. </span></p></div><div class="biblioentry" title="The Rhythm Book"><p><span class="author"><span class="surname">Hoffman</span>. </span><span class="title"><i>The Rhythm Book</i>. </span><span class="date">2009. </span><span class="publishername">
+						Smith Creek Music
+					. </span></p></div><div class="biblioentry" title="Manual for Ear Training and Sight Singing"><p><span class="author"><span class="firstname">Gary</span> <span class="surname">Karpinski</span>. </span><span class="title"><i>Manual for Ear Training and Sight Singing</i>. </span><span class="date">2007. </span><span class="publishername">
+						Norton
+					. </span></p></div><div class="biblioentry" title="Anthology for Sight Singing"><p><span class="author"><span class="firstname">Gary</span> <span class="surname">Karpinski</span>. </span><span class="title"><i>Anthology for Sight Singing</i>. </span><span class="date">2006. </span><span class="publishername">
+						Norton
+					. </span></p></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html"><strong>Prev</strong>14.3.3.Â Making an Aural Skills Program</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-Using_the_Exercises.html"><strong>Next</strong>14.4.Â Using the Exercises</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Stages_of_Recording.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Stages_of_Recording.html
index 7873070..d271cce 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Stages_of_Recording.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Stages_of_Recording.html
@@ -3,5 +3,5 @@
 <html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>6.2.Â Stages of Recording</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Digital_Audio_Workstations.html" title="ChapterÂ 6.Â Digital Audio Workstations" /><link rel="prev" href="chap-Musicians_Guide-Digital_Audio_Workstations.html" title="ChapterÂ 6.Â Digital Audio Workstations" /><link rel="next" href="sect-Musicians_Guide-Mixing.html" title="6.2.2.Â Mixing" /></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="chap-Musicians_Guide-Digital_Audio_Workstations.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Mixing.html"><strong>Next</strong></a></li></ul><div class="section" title="6.2.Â Stages of Recording" id="sect-Musicians_Guide-Stages_of_Recording"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Stages_of_Recording">6.2.Â Stages of Recording</h2></div></div></div><div class="para">
 			There are three main stages involved in the the process of recording something and preparing it for listeners: recording, mixing, and mastering. Each step of the process has distinct characteristics, yet they can sometimes be mixed together.
 		</div><div class="section" title="6.2.1.Â Recording" id="sect-Musicians_Guide-Recording"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Recording">6.2.1.Â Recording</h3></div></div></div><div class="para">
-				Recording is the process of capturing audio regions (also called "clips" or "segments") into the DAW software, for later processing. Recording is a complex process, involving a microphone that captures sound energy, translates it into electrical energy, and transmits it to an audio interface. The audio interface converts the electrical energy into digital signals, and sends it through the operating system to the DAW software. The DAW stores regions in memory and on the hard drive as required. Every time the musicians perform some (or all) of the performance to be recorded, while the DAW is recording, it is considered to be a '''take'''. A successful recording usually requires several takes, due to the inconsistencies of musical performance and of the related technological aspects.
+				Recording is the process of capturing audio regions (also called "clips" or "segments") into the DAW software, for later processing. Recording is a complex process, involving a microphone that captures sound energy, translates it into electrical energy, and transmits it to an audio interface. The audio interface converts the electrical energy into digital signals, and sends it through the operating system to the DAW software. The DAW stores regions in memory and on the hard drive as required. Every time the musicians perform some (or all) of the performance to be recorded, while the DAW is recording, it is considered to be a <em class="firstterm">take</em>. A successful recording usually requires several takes, due to the inconsistencies of musical performance and of the related technological aspects.
 			</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-Digital_Audio_Workstations.html"><strong>Prev</strong>ChapterÂ 6.Â Digital Audio Workstations</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-Mixing.html"><strong>Next</strong>6.2.2.Â Mixing</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Basic_Programming.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Basic_Programming.html
index 2bc4c45..22742fb 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Basic_Programming.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Basic_Programming.html
@@ -1,12 +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>11.4.Â Basic Programming in SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-SuperCollider.html" title="ChapterÂ 11.Â SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html" title="11.3.4.Â Other Tips for Using GEdit with SuperCollider" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2.Â Variables and Functions" /></head><body class="draft toc_embeded "><div id="tocdiv" clas
 s="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="11.4.Â Basic Programming in SuperCollider" id="sect-Musicians_Guide-SuperCollider-Basic_Programming" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Mus
 icians_Guide-SuperCollider-Basic_Programming">11.4.Â Basic Programming in <span class="application"><strong>SuperCollider</strong></span></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>11.3.Â Basic Programming in SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-SuperCollider.html" title="ChapterÂ 11.Â SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html" title="11.2.4.Â Other Tips for Using GEdit with SuperCollider" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.3.2.Â Variables and Functions" /></head><body class="draft toc_embeded "><div id="tocdiv" clas
 s="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="11.3.Â Basic Programming in SuperCollider" id="sect-Musicians_Guide-SuperCollider-Basic_Programming" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Mus
 icians_Guide-SuperCollider-Basic_Programming">11.3.Â Basic Programming in <span class="application"><strong>SuperCollider</strong></span></h2></div></div></div><div class="para">
 		As with any programming language, you will start learning <span class="application"><strong>SuperCollider</strong></span> with the basic commands, that are of little use by themselves. However, since the language is so flexible, even the most basic commands can be combined in ways that create highly complex behaviours. The example program, "Method One," was written with the goal of illustrating how a single sound-generating object can be used to create an entire composition. This tutorial does not begin with audio-generating code, which helps to emphasize that <span class="application"><strong>SuperCollider</strong></span> is primarily a programming language.
 	</div><div class="para">
 		This portion of the Guide is designed as a "reference textbook," which you can use both to learn the <span class="application"><strong>SuperCollider</strong></span> language in the first place, and to remind yourself about the language's features afterwards.
 	</div><div class="para">
 		The section is most effective when read in small portions.
-	</div><div class="section" title="11.4.1.Â First Steps" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1.Â First Steps</h3></div></div></div><div class="section" title="11.4.1.1.Â The Different Parts of SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider">11.4.1.1.Â The Different Parts of <span class="application"><strong>SuperCollider</strong></span></h4></div></div></div><div class="para">
+	</div><div class="section" title="11.3.1.Â First Steps" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.3.1.Â First Steps</h3></div></div></div><div class="section" title="11.3.1.1.Â The Different Parts of SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider">11.3.1.1.Â The Different Parts of <span class="application"><strong>SuperCollider</strong></span></h4></div></div></div><div class="para">
 				As you discovered when installing <span class="application"><strong>SuperCollider</strong></span>, there are actually many different components involved with <span class="application"><strong>SuperCollider</strong></span>. Here is a list of some of them, with brief descriptions of their purpose: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							Programming language: this is an abstract set of rules and guidelines that allow you to write down instructions for producing sounds.
@@ -22,7 +22,7 @@
 				This modular design allows for several advanced capabilities and features. Any particular element could theoretically be replaced without affecting other elements, as long as the methods of communication remain the same. As long as the programming language is the same, portions of the library can be modified, removed, or added at will; this happens often, and Planet CCRMA at Home provides a collection of library extensions. One of the most exciting capabilities is the ability to run the interpreter and server on different physical computers. The networking component is built into these components - they always communicate by UDP or TCP, even when run on the same computer! Although this ability is not used in this Guide, it is not difficult.
 			</div><div class="para">
 				The most important thing to remember is that the <span class="application"><strong>SuperCollider</strong></span> interpreter is what deals with the programs you write. The <span class="application"><strong>SuperCollider</strong></span> server is controlled by the interpreter, but is an independent program. For simple things, like the Hello World Programs below, the server is not even used - after all, there is no audio for it to synthesize.
-			</div></div><div class="section" title="11.4.1.2.Â &quot;Hello, World!&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Hello_World"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Hello_World">11.4.1.2.Â "Hello, World!"</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.1.2.Â &quot;Hello, World!&quot;" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Hello_World"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Hello_World">11.3.1.2.Â "Hello, World!"</h4></div></div></div><div class="para">
 				The first program that one traditionally makes when learning a new programming language is called "The Hello World Program." This is a simple and trivial application that simply prints outs the phrase, <code class="literal">Hello, World!</code> (or a variation of it). It might seem useless at first, but the ability to provide feedback to an application's user is very important, and this is essentially what the Hello World Program does.
 			</div><div class="para">
 				Here is the program in <span class="application"><strong>SuperCollider</strong></span>: 
@@ -41,7 +41,7 @@
 				As with all examples in this section, you should paste these programs into <span class="application"><strong>GEdit</strong></span>, and execute them with <span class="application"><strong>SuperCollider</strong></span>. Look at the output produced by the programs, but don't worry about it for now.
 			</div><div class="para">
 				These programs are very small, but it highlights some key concepts of the <span class="application"><strong>SuperCollider</strong></span> language, described below.
-			</div></div><div class="section" title="11.4.1.3.Â Return Values" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Return_Values"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Return_Values">11.4.1.3.Â Return Values</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.1.3.Â Return Values" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Return_Values"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Return_Values">11.3.1.3.Â Return Values</h4></div></div></div><div class="para">
 				Every <span class="application"><strong>SuperCollider</strong></span> program must provide the interpreter with a value (some information) when it has carried out all of its instructions. This value is called a "return value," because it is the value given by a program when it "returns" control to the interpreter. In a <span class="application"><strong>SuperCollider</strong></span> program, it is the last value stated in a program that automatically becomes the return value - no special command is required. When program execution ends, and control is returned to the <span class="application"><strong>SuperCollider</strong></span> interpreter, the interpreter outputs the return value in the "SuperCollider output" pane.
 			</div><div class="para">
 				In the single-line Hello World Program above, the program produces the following output: <code class="computeroutput"> Hello, World! Hello, World! </code> The program appears to have been executed twice, but that is not the case. The first <code class="literal">Hello, World!</code> is printed by the program. The second <code class="literal">Hello, World!</code> appears because <code class="code">"Hello, World!.postln</code> is the last (in this case, the only) value of the program. It is "returned" by the program, and the interpreter prints it.
@@ -60,39 +60,39 @@
 						</div></li></ul></div>
 				 Can you modify the two-line Hello World Program so that each line is printed only once?
 			</div><div class="para">
-				In reality, every "function" must return a value. Functions are described in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html" title="11.4.2.3.Â Functions">SectionÂ 11.4.2.3, â€œFunctionsâ€</a>, but the difference is not yet important.
-			</div></div><div class="section" title="11.4.1.4.Â Statements" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Statements">11.4.1.4.Â Statements</h4></div></div></div><div class="para">
+				In reality, every "function" must return a value. Functions are described in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html" title="11.3.2.3.Â Functions">SectionÂ 11.3.2.3, â€œFunctionsâ€</a>, but the difference is not yet important.
+			</div></div><div class="section" title="11.3.1.4.Â Statements" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Statements">11.3.1.4.Â Statements</h4></div></div></div><div class="para">
 				A "statement" is a single instruction, which always ends with a semicolon. Exactly what constitutes a statement will become clear as you gain experience, and you will eventually automatically remember the semicolon.
 			</div><div class="para">
-				In the Hello World Programs above, all of the statements contain the single instruction to post a line to the output screen. What happens when you remove the first semicolon, which marks the end of the first statement? The <span class="application"><strong>SuperCollider</strong></span> interpreter produces an unhelpful error message, and tells you that an error occurred ''after'' the forgotten semicolon. This is why it is important to always remember statement-concluding semicolons.
-			</div></div><div class="section" title="11.4.1.5.Â Data Types: Numbers and Strings" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Numbers_and_Strings"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Numbers_and_Strings">11.4.1.5.Â Data Types: Numbers and Strings</h4></div></div></div><div class="para">
+				In the Hello World Programs above, all of the statements contain the single instruction to post a line to the output screen. What happens when you remove the first semicolon, which marks the end of the first statement? The <span class="application"><strong>SuperCollider</strong></span> interpreter produces an unhelpful error message, and tells you that an error occurred <span class="emphasis"><em>after</em></span> the forgotten semicolon. This is why it is important to always remember statement-concluding semicolons.
+			</div></div><div class="section" title="11.3.1.5.Â Data Types: Numbers and Strings" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Numbers_and_Strings"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Numbers_and_Strings">11.3.1.5.Â Data Types: Numbers and Strings</h4></div></div></div><div class="para">
 				In many programming languages, it is the programmer's responsibility to determine the type of data that is being used, and how it should be stored. The <span class="application"><strong>SuperCollider</strong></span> interpreter takes advantage of the power of modern computers, and deals with this on our behalf. This greatly simplifies basic tasks, because there are only two kinds of data to worry about, and they make perfect sense: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 							Numbers: These are numbers, written simply as numbers. Anything that can be done with real-world numbers can also be done with <span class="application"><strong>SuperCollider</strong></span>'s numbers. They can be as large or small, positive or negative as you want. They can have any number of digits on either side of the decimal point.
 						</div></li><li class="listitem"><div class="para">
-							Strings: These are a string of characters, written between two double-quote characters like "this." The double-quote characters are required so that <span class="application"><strong>SuperCollider</strong></span> knows where to begin and end the string of characters. A string of character can contain as many characters as you like, including one character and no characters. If you want to include a double-quote character in a string, you should put a blackslash before it. The following is interpreted by <span class="application"><strong>SuperCollider</strong></span> as a string with only a double-quote character: <code class="code">"\""</code>
+							Strings: These are a string of characters, written between two double-quote characters like "this." The double-quote characters are required so that <span class="application"><strong>SuperCollider</strong></span> knows where to begin and end the string of characters. A string of character can contain as many characters as you like, including one character and no characters. If you want to include a double-quote character in a string, you should put a blackslash before it. The following is interpreted by <span class="application"><strong>SuperCollider</strong></span> as a string with only a double-quote character: <code class="literal">"\""</code>
 						</div></li></ul></div>
 
 			</div><div class="para">
 				Here are some examples of numbers and strings: 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-							<code class="code">5;</code>
+							<code class="literal">5</code>
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">18920982341;</code>
+							<code class="literal">18920982341</code>
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">0.00000000000001;</code>
+							<code class="literal">0.00000000000001</code>
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">"characters";</code>
+							<code class="literal">"characters"</code>
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">"@";</code>
+							<code class="literal">"@"</code>
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">"";</code>
+							<code class="literal">""</code>
 						</div></li><li class="listitem"><div class="para">
-							<code class="code">"6";</code>
+							<code class="literal">"6"</code>
 						</div></li></ul></div>
 
 			</div><div class="para">
-				Is the last example a number or a string? You and I recognize that it is a number inside a string, but <span class="application"><strong>SuperCollider</strong></span> will only treat it as a string. You can do string things with it, but you cannot do number things with it. You cannot add <code class="code">"6"</code> to something, for example. Notice also that each example ends with a semicolon, which makes them complete statements. The statements don't do anything but represent themselves.
+				Is the last example a number or a string? You and I recognize that it is a number inside a string, but <span class="application"><strong>SuperCollider</strong></span> treats it as a string. You can do string things with it, but you cannot do number things with it. You cannot add <code class="literal">"6"</code> to something, for example.
 			</div><div class="para">
 				Try executing the following single-line programs. Think about why the <span class="application"><strong>SuperCollider</strong></span> interpreter produces the output that it does. 
 				<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -103,7 +103,7 @@
 							<code class="code">"six" + 3;</code>
 						</div></li></ul></div>
 
-			</div></div><div class="section" title="11.4.1.6.Â Consecutive Execution" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Consecutive_Execution"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Consecutive_Execution">11.4.1.6.Â Consecutive Execution</h4></div></div></div><div class="para">
+			</div></div><div class="section" title="11.3.1.6.Â Consecutive Execution" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Consecutive_Execution"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Consecutive_Execution">11.3.1.6.Â Consecutive Execution</h4></div></div></div><div class="para">
 				Complex <span class="application"><strong>SuperCollider</strong></span> programs contain many parts, which all do different things. Sometimes, executing all of these together doesn't make sense, and it can be difficult to know which portions of the program are supposed to be executed when. To help with this, the interpreter allows you to mark portions of your program between ( and ) so that you will know to execute them together.
 			</div><div class="para">
 				Here is an example: 
@@ -118,4 +118,4 @@
 )
 </pre>
 				 It doesn't make sense to say "hello" and "goodbye" at the same time, so separating these sections with parentheses will serve as a reminder. In case we try to execute all of the code at once, the <span class="application"><strong>SuperCollider</strong></span> interpreter will give us an error.
-			</div></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html"><strong>Prev</strong>11.3.4.Â Other Tips for Using GEdit with SuperColl...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html"><strong>Next</strong>11.4.2.Â Variables and Functions</a></li></ul></body></html>
+			</div></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html"><strong>Prev</strong>11.2.4.Â Other Tips for Using GEdit with SuperColl...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html"><strong>Next</strong>11.3.2.Â Variables and Functions</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Composing.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Composing.html
index df0941c..62c0036 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Composing.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Composing.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>11.5.Â Composing with SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-SuperCollider.html" title="ChapterÂ 11.Â SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html" title="11.4.15.Â Legal Attribution" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Inspiration.html" title="11.5.2.Â Inspiration" /></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-Legal_Attribution.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Inspiration.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="11.5.Â Composing with SuperCollider" id="sect-Musicians_Guide-SuperCollider-Composing" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Composing">11.5.Â Composing with SuperCollider
 </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>11.4.Â Composing with SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-SuperCollider.html" title="ChapterÂ 11.Â SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html" title="11.3.15.Â Legal Attribution" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Inspiration.html" title="11.4.2.Â Inspiration" /></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-Legal_Attribution.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Inspiration.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="11.4.Â Composing with SuperCollider" id="sect-Musicians_Guide-SuperCollider-Composing" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Composing">11.4.Â Composing with SuperCollider
 </h2></div></div></div><div class="para">
 		This section is an explanation of the creative thought-process that went into creating the SuperCollider composition that we've called "Method One," for which the source and exported audio files are available below.
 	</div><div class="para">
 		It is our hope that, in illustrating how we developed this composition from a single SinOsc command, you will learn about SuperCollider and its abilities, about how to be creative with SuperCollider, and how a simple idea can turn into something of greater and greater complexity.
 	</div><div class="para">
 		As musicians, our goal is to learn enough SuperCollider to make music; we don't want to have to memorize which parameters do what for which functions, and in which order to call them. We want to know what they do for us musically. Explicitly calling parameters, and making comments about what does what, so that we can return later and change musical things, are going to help our musical productivity, at the expense of slowing down our typing.
-	</div><div class="section" title="11.5.1.Â Files for the Tutorial" id="sect-Musicians_Guide-SC-Composing-Tutorial_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1.Â Files for the Tutorial</h3></div></div></div><div class="para">
+	</div><div class="section" title="11.4.1.Â Files for the Tutorial" id="sect-Musicians_Guide-SC-Composing-Tutorial_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.4.1.Â Files for the Tutorial</h3></div></div></div><div class="para">
 			The following files represent complete versions of the program. You should try to complete the program yourself before reviewing these versions: 
 			<div class="itemizedlist"><ul><li class="listitem"><div class="para">
 						Original Version with Full Explanations: <a href="https://fedoraproject.org/wiki/User:Crantila/FSC/Synthesizers/SuperCollider/FSC_method_1.sc">https://fedoraproject.org/wiki/User:Crantila/FSC/Synthesizers/SuperCollider/FSC_method_1.sc</a>
@@ -22,4 +22,4 @@
 			<code class="literal">FSC_method_1-short.sc</code> : This is a less-commented version of the source code. I've also re-written part of the code, to make it more flexible for use in other programs. The differences between this, and code that I would have written for myself only, are trivial.
 		</div><div class="para">
 			<code class="literal">FSC_method_1.flac</code> : This is a recording that I produced of the program, which I produced in Ardour.
-		</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html"><strong>Prev</strong>11.4.15.Â Legal Attribution</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Inspiration.html"><strong>Next</strong>11.5.2.Â Inspiration</a></li></ul></body></html>
+		</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html"><strong>Prev</strong>11.3.15.Â Legal Attribution</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Inspiration.html"><strong>Next</strong>11.4.2.Â Inspiration</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Exporting.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Exporting.html
index 02b4761..34c1795 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Exporting.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Exporting.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>11.6.Â Exporting Sound 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="chap-Musicians_Guide-SuperCollider.html" title="ChapterÂ 11.Â SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html" title="11.5.9.Â Joining the Two Parts" /><link rel="next" href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html" title="11.6.2.Â Recording SuperCollider's Output (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-SC-Composing-Joining_the_Two_Parts.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="11.6.Â Exporting Sound Files" id="sect-Musicians_Guide-SuperCollider-Exporting" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Exporting">11
 .6.Â Exporting Sound Files</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>11.5.Â Exporting Sound 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="chap-Musicians_Guide-SuperCollider.html" title="ChapterÂ 11.Â SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html" title="11.4.9.Â Joining the Two Parts" /><link rel="next" href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html" title="11.5.2.Â Recording SuperCollider's Output (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-SC-Composing-Joining_the_Two_Parts.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="11.5.Â Exporting Sound Files" id="sect-Musicians_Guide-SuperCollider-Exporting" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Exporting">11
 .5.Â Exporting Sound Files</h2></div></div></div><div class="para">
 		This section explains one way to record your SuperCollider programs, so that you can share them with friends who don't have SuperCollider on their computer.
-	</div><div class="section" title="11.6.1.Â Non-Real-Time Synthesis" id="sect-Musicians_Guide-SC-Non_Real_Time_Synthesis"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1.Â Non-Real-Time Synthesis</h3></div></div></div><div class="para">
-			SuperCollider allows you to synthesze audio output to an audio file. Doing this requires using OSC commands on the server, the "DiskOut" UGen, the "Buffer" UGen, and other relatively advanced concepts. The built-in <em class="citetitle">DiskOut</em> help file, available from <a href="file:///usr/share/SuperCollider/Help/UGens/Playback%20and%20Recording/DiskOut.html">file:///usr/share/SuperCollider/Help/UGens/Playback%20and%20Recording/DiskOut.html</a> on Fedora Linux systems, contains some help with the DiskOut UGen, and links to other useful help files. This method is not further discussed here.
-		</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html"><strong>Prev</strong>11.5.9.Â Joining the Two Parts</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-Recording_SuperColliders_Output.html"><strong>Next</strong>11.6.2.Â Recording SuperCollider's Output (Tutoria...</a></li></ul></body></html>
+	</div><div class="section" title="11.5.1.Â Non-Real-Time Synthesis" id="sect-Musicians_Guide-SC-Non_Real_Time_Synthesis"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.5.1.Â Non-Real-Time Synthesis</h3></div></div></div><div class="para">
+			SuperCollider allows you to synthesze audio output to an audio file. Doing this requires using OSC commands on the server, the <code class="classname">DiskOut</code> UGen, the <code class="classname">Buffer</code> UGen, and other relatively advanced concepts. The built-in <em class="citetitle">DiskOut</em> help file, available from <a href="file:///usr/share/SuperCollider/Help/UGens/Playback%20and%20Recording/DiskOut.html">file:///usr/share/SuperCollider/Help/UGens/Playback%20and%20Recording/DiskOut.html</a> on Fedora Linux systems, contains some help with the <code class="classname">DiskOut</code> UGen, and links to other useful help files. This method is not further discussed here.
+		</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html"><strong>Prev</strong>11.4.9.Â Joining the Two Parts</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-Recording_SuperColliders_Output.html"><strong>Next</strong>11.5.2.Â Recording SuperCollider's Output (Tutoria...</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Track_and_Multitrack.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Track_and_Multitrack.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>6.3.2.Â Track and Multitrack</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html" title="6.3.Â Interface Vocabulary" /><link rel="prev" href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html" title="6.3.Â Interface Vocabulary" /><link rel="next" href="sect-Musicians_Guide-Region_Clip_Segment.html" title="6.3.3.Â Region, Clip, or Segment" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../.
 ./toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Region_Clip_Segment.html"><strong>Next</strong></a></li></ul><div class="section" title="6.3.2.Â Track and Multitrack" id="sect-Musicians_Guide-Track_and_Multitrack"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Track_and_Multitrack">6.3.2.Â Track and Multitrack</h3></div></div></div><div class="para">
-				A '''track''' represents one channel, or a predetermined collection of simultaneous, inseparable channels (as is often the case with stereo audio). In the DAW's main window, tracks are usually represented as rows, whereas time is represented by columns. A track may hold multiple regions, but usually only one of those regions can be heard at a time. The '''multitrack''' capability of modern software-based DAWs is one of the reasons for their success. Although each individual track can play only one region at a time, the use of multiple tracks allows the DAW's outputted audio to contain a virtually unlimited number of simultaneous regions. The most powerful aspect of this is that audio does not have to be recorded simultaneously in order to be played back simultaneously; you could sing a duet with yourself, for example.
+				A <em class="firstterm">track</em> represents one channel, or a predetermined collection of simultaneous, inseparable channels (as is often the case with stereo audio). In the DAW's main window, tracks are usually represented as rows, whereas time is represented by columns. A track may hold multiple regions, but usually only one of those regions can be heard at a time. The <em class="firstterm">multitrack</em> capability of modern software-based DAWs is one of the reasons for their success. Although each individual track can play only one region at a time, the use of multiple tracks allows the DAW's outputted audio to contain a virtually unlimited number of simultaneous regions. The most powerful aspect of this is that audio does not have to be recorded simultaneously in order to be played back simultaneously; you could sing a duet with yourself, for example.
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html"><strong>Prev</strong>6.3.Â Interface Vocabulary</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-Region_Clip_Segment.html"><strong>Next</strong>6.3.3.Â Region, Clip, or Segment</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Transport_and_Playhead.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Transport_and_Playhead.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Transport_and_Playhead.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Transport_and_Playhead.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>6.3.5.Â Transport and Playhead</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html" title="6.3.Â Interface Vocabulary" /><link rel="prev" href="sect-Musicians_Guide-Session_Track_Region.html" title="6.3.4.Â Relationship of Session, Track, and Region" /><link rel="next" href="sect-Musicians_Guide-Automation.html" title="6.3.6.Â Automation" /></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-Session_Track_Region.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Automation.html"><strong>Next</strong></a></li></ul><div class="section" title="6.3.5.Â Transport and Playhead" id="sect-Musicians_Guide-Transport_and_Playhead"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Transport_and_Playhead">6.3.5.Â Transport and Playhead</h3></div></div></div><div class="para">
-				The '''transport''' is responsible for managing the current time in a session, and with it the playhead. The '''playhead''' marks the point on the timeline from where audio audio would be played, or to where audio would be recorded. The transport controls the playhead, and whether it is set for recording or only playback. The transport can move the playhead forward or backward, in slow motion, fast motion, or real time. In most computer-based DAWs, the playhead can also be moved with the cursor. The playhead is represented on the DAW interface as a vertical line through all tracks. The transport's buttons and displays are usually located in a toolbar at the top of the DAW window, but some people prefer to have the transport controls detached from the main interface, and this is how they appear by default in Rosegarden.
+				The <em class="firstterm">transport</em> is responsible for managing the current time in a session, and with it the playhead. The <em class="firstterm">playhead</em> marks the point on the timeline from where audio audio would be played, or to where audio would be recorded. The transport controls the playhead, and whether it is set for recording or only playback. The transport can move the playhead forward or backward, in slow motion, fast motion, or real time. In most computer-based DAWs, the playhead can also be moved with the cursor. The playhead is represented on the DAW interface as a vertical line through all tracks. The transport's buttons and displays are usually located in a toolbar at the top of the DAW window, but some people prefer to have the transport controls detached from the main interface, and this is how they appear by default in Rosegarden.
 			</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Session_Track_Region.html"><strong>Prev</strong>6.3.4.Â Relationship of Session, Track, and Region</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-Automation.html"><strong>Next</strong>6.3.6.Â Automation</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Bus.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Bus.html
index d91e2c1..79502e3 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Bus.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Bus.html
@@ -5,11 +5,11 @@
 			 <span class="inlinemediaobject"><img src="./images/FMG-master_sub_bus.png" width="444" /></span>
 
 		</div><div class="para">
-			An '''audio bus''' sends audio signals from one place to another. Many different signals can be inputted to a bus simultaneously, and many different devices or applications can read from a bus simultaneously. Signals inputted to a bus are mixed together, and cannot be separated after entering a bus. All devices or applications reading from a bus receive the same signal.
+			An <em class="firstterm">audio bus</em> sends audio signals from one place to another. Many different signals can be inputted to a bus simultaneously, and many different devices or applications can read from a bus simultaneously. Signals inputted to a bus are mixed together, and cannot be separated after entering a bus. All devices or applications reading from a bus receive the same signal.
 		</div><div class="para">
-			All audio routed out of a program passes through the master bus. The '''master bus''' combines all audio tracks, allowing for final level adjustments and simpler mastering. The primary purpose of the master bus is to mix all of the tracks into two channels.
+			All audio routed out of a program passes through the master bus. The <em class="firstterm">master bus</em> combines all audio tracks, allowing for final level adjustments and simpler mastering. The primary purpose of the master bus is to mix all of the tracks into two channels.
 		</div><div class="para">
-			A '''sub-master bus''' combines audio signals before they reach the master bus. Using a sub-master bus is optional. They allow you to adjust more than one track in the same way, without affecting all the tracks.
+			A <em class="firstterm">sub-master bus</em> combines audio signals before they reach the master bus. Using a sub-master bus is optional. They allow you to adjust more than one track in the same way, without affecting all the tracks.
 		</div><div class="para">
 			Audio busses are also used to send audio into effects processors.
 		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-Vocabulary.html"><strong>Prev</strong>1.4.Â Other Digital Audio Concepts</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-Vocabulary-Level.html"><strong>Next</strong>1.4.3.Â Level (Volume/Loudness)</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Level.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Level.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Level.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Level.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>1.4.3.Â Level (Volume/Loudness)</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Vocabulary.html" title="1.4.Â Other Digital Audio Concepts" /><link rel="prev" href="sect-Musicians_Guide-Vocabulary-Bus.html" title="1.4.2.Â Busses, Master Bus, and Sub-Master Bus" /><link rel="next" href="sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html" title="1.4.4.Â Panning and Balance" /></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-Vocabulary-Bus.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html"><strong>Next</strong></a></li></ul><div class="section" title="1.4.3.Â Level (Volume/Loudness)" id="sect-Musicians_Guide-Vocabulary-Level"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Level">1.4.3.Â Level (Volume/Loudness)</h3></div></div></div><div class="para">
-			The perceived '''volume''' or '''loudness''' of sound is a complex phenomenon, not entirely understood by experts. One widely-agreed method of assessing loudness is by measuring the sound pressure level (SPL), which is measured in decibels (dB) or bels (B, equal to ten decibels). In audio production communities, this is called "level." The '''level''' of an audio signal is one way of measuring the signal's perceived loudness. The level is part of the information stored in an audio file.
+			The perceived <em class="firstterm">volume</em> or <em class="firstterm">loudness</em> of sound is a complex phenomenon, not entirely understood by experts. One widely-agreed method of assessing loudness is by measuring the sound pressure level (SPL), which is measured in decibels (dB) or bels (B, equal to ten decibels). In audio production communities, this is called level. The <em class="firstterm">level</em> of an audio signal is one way of measuring the signal's perceived loudness. The level is part of the information stored in an audio file.
 		</div><div class="para">
 			There are many different ways to monitor and adjust the level of an audio signal, and there is no widely-agreed practice. One reason for this situation is the technical limitations of recorded audio. Most level meters are designed so that the average level is -6Â dB on the meter, and the maximum level is 0Â dB. This practice was developed for analog audio. We recommend using an external meter and the "K-system," described in a link below. The K-system for level metering was developed for digital audio.
 		</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Panning_and_Balance.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>1.4.4.Â Panning and Balance</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Vocabulary.html" title="1.4.Â Other Digital Audio Concepts" /><link rel="prev" href="sect-Musicians_Guide-Vocabulary-Level.html" title="1.4.3.Â Level (Volume/Loudness)" /><link rel="next" href="sect-Musicians_Guide-Vocabulary-Time.html" title="1.4.5.Â Time, Timeline, and Time-Shifting" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc
 .html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Vocabulary-Level.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Vocabulary-Time.html"><strong>Next</strong></a></li></ul><div class="section" title="1.4.4.Â Panning and Balance" id="sect-Musicians_Guide-Vocabulary-Panning_and_Balance"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4.Â Panning and Balance</h3></div></div></div><div class="mediaobject"><img src="./images/FMG-Ba
 lance_and_Panning.png" width="444" /></div><div class="para">
-			'''Panning''' adjusts the portion of a channel's signal that is sent to each output channel. In a stereophonic (two-channel) setup, the two channels represent the "left" and the "right" speakers. Two channels of recorded audio are available in the DAW, and the default setup sends all of the "left" recorded channel to the "left" output channel, and all of the "right" recorded channel to the "right" output channel. Panning sends some of the left recorded channel's level to the right output channel, or some of the right recorded channel's level to the left output channel. Each recorded channel has a constant total output level, which is divided between the two output channels.
+			<em class="firstterm">Panning</em> adjusts the portion of a channel's signal that is sent to each output channel. In a stereophonic (two-channel) setup, the two channels represent the "left" and the "right" speakers. Two channels of recorded audio are available in the DAW, and the default setup sends all of the "left" recorded channel to the "left" output channel, and all of the "right" recorded channel to the "right" output channel. Panning sends some of the left recorded channel's level to the right output channel, or some of the right recorded channel's level to the left output channel. Each recorded channel has a constant total output level, which is divided between the two output channels.
 		</div><div class="para">
 			The default setup for a left recorded channel is for "full left" panning, meaning that 100% of the output level is output to the left output channel. An audio engineer might adjust this so that 80% of the recorded channel's level is output to the left output channel, and 20% of the level is output to the right output channel. An audio engineer might make the left recorded channel sound like it is in front of the listener by setting the panner to "center," meaning that 50% of the output level is output to both the left and right output channels.
 		</div><div class="para">
-			Balance is sometimes confused with panning, even on commercially-available audio equipment. Adjusting the '''balance''' changes the volume level of the output channels, without redirecting the recorded signal. The default setting for balance is "center," meaning 0% change to the volume level. As you adjust the dial from "center" toward the "full left" setting, the volume level of the right output channel is decreased, and the volume level of the left output channel remains constant. As you adjust the dial from "center" toward the "full right" setting, the volume level of the left output channel is decreased, and the volume level of the right output channel remains constant. If you set the dial to "20% left," the audio equipment would reduce the volume level of the right output channel by 20%, increasing the perceived loudness of the left output channel by approximately 20%.
+			Balance is sometimes confused with panning, even on commercially-available audio equipment. Adjusting the <em class="firstterm">balance</em> changes the volume level of the output channels, without redirecting the recorded signal. The default setting for balance is "center," meaning 0% change to the volume level. As you adjust the dial from "center" toward the "full left" setting, the volume level of the right output channel is decreased, and the volume level of the left output channel remains constant. As you adjust the dial from "center" toward the "full right" setting, the volume level of the left output channel is decreased, and the volume level of the right output channel remains constant. If you set the dial to "20% left," the audio equipment would reduce the volume level of the right output channel by 20%, increasing the perceived loudness of the left output channel by approximately 20%.
 		</div><div class="para">
 			You should adjust the balance so that you perceive both speakers as equally loud. Balance compensates for poorly set up listening environments, where the speakers are not equal distances from the listener. If the left speaker is closer to you than the right speaker, you can adjust the balance to the right, which decreases the volume level of the left speaker. This is not an ideal solution, but sometimes it is impossible or impractical to set up your speakers correctly. You should adjust the balance only at final playback.
 		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Vocabulary-Level.html"><strong>Prev</strong>1.4.3.Â Level (Volume/Loudness)</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-Vocabulary-Time.html"><strong>Next</strong>1.4.5.Â Time, Timeline, and Time-Shifting</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html
@@ -2,7 +2,7 @@
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
 <html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>1.4.7.Â Routing and Multiplexing</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Vocabulary.html" title="1.4.Â Other Digital Audio Concepts" /><link rel="prev" href="sect-Musicians_Guide-Vocabulary-Synchronization.html" title="1.4.6.Â Synchronization" /><link rel="next" href="sect-Musicians_Guide-Multichannel_Audio.html" title="1.4.8.Â Multichannel Audio" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html
 ">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Vocabulary-Synchronization.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Multichannel_Audio.html"><strong>Next</strong></a></li></ul><div class="section" title="1.4.7.Â Routing and Multiplexing" id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7.Â Routing and Multiplexing</h3></div></div></div><div class="para">
 			<span class="inlinemediaobject"><img src="./images/FMG-routing_and_multiplexing.png" width="444" /></span>
-			 '''Routing''' audio transmits a signal from one place to another - between applications, between parts of applications, or between devices. On Linux systems, the JACK Audio Connection Kit is used for audio routing. JACK-aware applications (and PulseAudio ones, if so configured) provide inputs and outputs to the JACK server, depending on their configuration. The QjackCtl application can adjust the default connections. You can easily reroute the output of a program like FluidSynth so that it can be recorded by Ardour, for example, by using QjackCtl.
+			 <em class="firstterm">Routing</em> audio transmits a signal from one place to another - between applications, between parts of applications, or between devices. On Linux systems, the <code class="systemitem">JACK Audio Connection Kit</code> is used for audio routing. <code class="systemitem">JACK</code>-aware applications (and <code class="systemitem">PulseAudio</code> ones, if so configured) provide inputs and outputs to the <code class="systemitem">JACK</code> server, depending on their configuration. The <span class="application"><strong>QjackCtl</strong></span> application can adjust the default connections. You can easily reroute the output of a program like FluidSynth so that it can be recorded by <span class="application"><strong>Ardour</strong></span>, for example, by using <span class="application"><strong>QjackCtl</strong></span>.
 		</div><div class="para">
-			'''Multiplexing''' allows you to connect multiple devices and applications to a single input or output. QjackCtl allows you to easily perform multiplexing. This may not seem important, but remember that only one connection is possible with a physical device like an audio interface. Before computers were used for music production, multiplexing required physical devices to split or combine the signals.
+			<em class="firstterm">Multiplexing</em> allows you to connect multiple devices and applications to a single input or output. <span class="application"><strong>QjackCtl</strong></span> allows you to easily perform multiplexing. This may not seem important, but remember that only one connection is possible with a physical device like an audio interface. Before computers were used for music production, multiplexing required physical devices to split or combine the signals.
 		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Vocabulary-Synchronization.html"><strong>Prev</strong>1.4.6.Â Synchronization</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Multichannel_Audio.html"><strong>Next</strong>1.4.8.Â Multichannel Audio</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Synchronization.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Synchronization.html
index 32e4f3e..5cf145a 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Synchronization.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Synchronization.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>1.4.6.Â Synchronization</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Vocabulary.html" title="1.4.Â Other Digital Audio Concepts" /><link rel="prev" href="sect-Musicians_Guide-Vocabulary-Time.html" title="1.4.5.Â Time, Timeline, and Time-Shifting" /><link rel="next" href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html" title="1.4.7.Â Routing and Multiplexing" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src=
 "../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Vocabulary-Time.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html"><strong>Next</strong></a></li></ul><div class="section" title="1.4.6.Â Synchronization" id="sect-Musicians_Guide-Vocabulary-Synchronization"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6.Â Synchronization</h3></div></div></div><div class="para">
-			'''Synchronization''' is synchronizing the operation of multiple tools, frequently the movement of the transport. Synchronization also controls automation across applications and devices. MIDI signals are usually used for synchronization.
+			<em class="firstterm">Synchronization</em> coordinates the operation of multiple tools, most often the movement of the transport. Synchronization also controls automation across applications and devices. MIDI signals are usually used for synchronization.
 		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Vocabulary-Time.html"><strong>Prev</strong>1.4.5.Â Time, Timeline, and Time-Shifting</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-Vocabulary-Routing_and_Multiplexing.html"><strong>Next</strong>1.4.7.Â Routing and Multiplexing</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Time.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Time.html
index 42849ee..2ccdc99 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Time.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Time.html
@@ -13,7 +13,7 @@
 					</div></li></ul></div>
 
 		</div><div class="para">
-			Most audio software, particularly digital audio workstations (DAWs), allow the user to choose which scale they prefer. DAWs use a '''timeline''' to display the progression of time in a session, allowing you to do '''time-shifting'''; that is, adjust the time in the timeline when a region starts to be played.
+			Most audio software, particularly digital audio workstations (DAWs), allow the user to choose which scale they prefer. DAWs use a <em class="firstterm">timeline</em> to display the progression of time in a session, allowing you to do <em class="firstterm">time-shifting</em>; that is, adjust the time in the timeline when a region starts to be played.
 		</div><div class="para">
 			Time is represented horizontally, where the leftmost point is the beginning of the session (zero, regardless of the unit of measurement), and the rightmost point is some distance after the end of the session.
 		</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html"><strong>Prev</strong>1.4.4.Â Panning and Balance</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-Vocabulary-Synchronization.html"><strong>Next</strong>1.4.6.Â Synchronization</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html
index dc651f2..a107630 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html
@@ -1,11 +1,11 @@
 <?xml version="1.0" encoding="UTF-8" standalone="no"?>
 <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.11.4.2.Â Why Use a Bus</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.4.11.4.Â Using Busses: Control-Rate Example" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.4.11.4.Â Using Busses: Control-Rate Example" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html" title="11.4.11.4.3.Â Spe
 cial Note about Control-Rate Busses" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.11.4.2.Â Why Use a Bus" id="sect-Musicians_GuideSC-Basic_Programming-Busses-Contro
 l_Rate_Example-Why_Use_a_Bus"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus">11.4.11.4.2.Â Why Use a Bus</h5></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.3.11.4.2.Â Why Use a Bus</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.3.11.4.Â Using Busses: Control-Rate Example" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.3.11.4.Â Using Busses: Control-Rate Example" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html" title="11.3.11.4.3.Â Spe
 cial Note about Control-Rate Busses" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html"><strong>Next</strong></a></li></ul><div class="section" title="11.3.11.4.2.Â Why Use a Bus" id="sect-Musicians_GuideSC-Basic_Programming-Busses-Contro
 l_Rate_Example-Why_Use_a_Bus"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus">11.3.11.4.2.Â Why Use a Bus</h5></div></div></div><div class="para">
 					The control-rate bus in this example might seem trivial and pointless to you, especially since the use of a UGen to control frequency has already been illustrated in other examples. For this particular program, a control-rate UGen would probably have been a better choice, but remember that this is just an example.
 				</div><div class="para">
 					Here are some advantages to using a control-rate Bus over a UGen: 
 					<div class="itemizedlist"><ul><li class="listitem"><div class="para">
-								The signal can be changed without sending the "set" message to the audio-rate UGen, simply by changing the input to the bus.
+								The signal can be changed without sending the <code class="literal">set</code> message to the audio-rate UGen, simply by changing the input to the bus.
 							</div></li><li class="listitem"><div class="para">
 								Input to the bus can be produced by any number of control-rate UGen's.
 							</div></li><li class="listitem"><div class="para">
@@ -16,4 +16,4 @@
 
 				</div><div class="para">
 					Some of these advantages could be seen as disadvantages. Whether you should use a Bus or a UGen depends on the particular application. The simpler solution is usually the better one, as long as you remember to avoid repetition!
-				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html"><strong>Prev</strong>11.4.11.4.Â Using Busses: Control-Rate Example</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html"><strong>Next</strong>11.4.11.4.3.Â Special Note about Control-Rate Buss...</a></li></ul></body></html>
+				</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html"><strong>Prev</strong>11.3.11.4.Â Using Busses: Control-Rate Example</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html"><strong>Next</strong>11.3.11.4.3.Â Special Note about Control-Rate Buss...</a></li></ul></body></html>
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