commit 106ddb1b2f2cde4808ae80840cc95b37a6221c55
Author: Eduardo Mayorga <mayorga(a)fedoraproject.org>
Date: Tue Jan 28 20:18:44 2014 +0100
Grammar improvements in Chapter 1
en-US/Audio_Vocabulary.xml | 8 ++++----
en-US/Sound_Cards.xml | 8 ++++----
2 files changed, 8 insertions(+), 8 deletions(-)
---
diff --git a/en-US/Audio_Vocabulary.xml b/en-US/Audio_Vocabulary.xml
index 850a6f8..c4357d9 100644
--- a/en-US/Audio_Vocabulary.xml
+++ b/en-US/Audio_Vocabulary.xml
@@ -7,7 +7,7 @@
<section id="chap-Musicians_Guide-Vocabulary">
<title>Other Digital Audio Concepts</title>
<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.
+ These terms are used in many audio contexts. Understanding them is important to knowing how to operate audio equipment in general, whether computer-based or not.
</para>
<section id="sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">
@@ -36,7 +36,7 @@
</mediaobject>
</figure>
<para>
- All audio routed out of a program passes through the master bus. The <firstterm>master bus</firstterm> 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 <firstterm>master bus</firstterm> combines all audio tracks, allowing for final level adjustments and simpler mastering. The primary purpose of the master bus is to mix all the tracks into two channels.
</para>
<para>
A <firstterm>sub-master bus</firstterm> 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.
@@ -87,7 +87,7 @@
<title>Panning and Balance</title>
<para>
- <firstterm>Panning</firstterm> 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.
+ <firstterm>Panning</firstterm> 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 the "left" recorded channel to the "left" output channel, and all the "right" recorded channel to the "right" output channel. Panning sends some of the left recorded channel's level to the right output channel, or some of the right recorded channel's level to the left output channel. Each recorded channel has a constant total output level, which is divided between the two output channels.
</para>
<figure id="panning"><title>Panning</title>
<mediaobject>
@@ -188,7 +188,7 @@
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.
</para>
<para>
- There is a growing trend toward five- and seven-channel audio, driven primarily by "surround-sound" movies, and not widely available for music. Two "surround-sound" formats exist for music: DVD Audio (DVD-A) and Super Audio CD (SACD). The development of these formats, and the devices to use them, is held back by the proliferation of headphones with personal MP3 players, a general lack of desire for improvement in audio quality amongst consumers, and the copy-protection measures put in place by record labels. The result is that, while some consumers are willing to pay higher prices for DVD-A or SACD recordings, only a small number of recordings are available. Even if you buy a DVD-A or SACD-capable player, you would need to replace all of your audio equipment with models that support proprietary copy-protection software. Without this equipment, the player is often forbidden from outputting audio with a higher sample rate or sample format than a conventional audio CD.
None of these factors, unfortunately, seem like they will change in the near future.
+ There is a growing trend toward five- and seven-channel audio, driven primarily by "surround-sound" movies, and not widely available for music. Two "surround-sound" formats exist for music: DVD Audio (DVD-A) and Super Audio CD (SACD). The development of these formats, and the devices to use them, is held back by the proliferation of headphones with personal MP3 players, a general lack of desire for improvement in audio quality amongst consumers, and the copy-protection measures put in place by record labels. The result is that, while some consumers are willing to pay higher prices for DVD-A or SACD recordings, only a few recordings are available. Even if you buy a DVD-A or SACD-capable player, you would need to replace all of your audio equipment with models that support proprietary copy-protection software. Without this equipment, the player is often forbidden from outputting audio with a higher sample rate or sample format than a conventional audio CD. None of the
se factors, unfortunately, seem like they will change in the near future.
</para>
</section>
diff --git a/en-US/Sound_Cards.xml b/en-US/Sound_Cards.xml
index 760e8ac..01e10f7 100644
--- a/en-US/Sound_Cards.xml
+++ b/en-US/Sound_Cards.xml
@@ -18,10 +18,10 @@
<section id="sect-Musicians_Guide-Audio_Interfaces">
<title>Audio Interfaces</title>
<para>
- Audio interfaces are hardware deviced that connect your computer and audio equipment (like microphones and speakers). Audio interfaces convert signals between analog and digital formats: signals enter the computer and pass through an analog-to-digital convertor; signals leave the computer and pass through a digital-to-analog convertor. Some audio interfaces have digital input and output ports, so other devices perform the conversion between analog and digital signal formats.
+ Audio interfaces are hardware devices that connect your computer and audio equipment (like microphones and speakers). Audio interfaces convert signals between analog and digital formats: signals enter the computer and pass through an analog-to-digital converter; signals leave the computer and pass through a digital-to-analog converter. Some audio interfaces have digital input and output ports, so other devices perform the conversion between analog and digital signal formats.
</para>
<para>
- The conversion between analog and digital audio signal formats is the primary function of audio interfaces. Sound has an infinite range of pitch, volume, and durational possibilities. Computers cannot process infinite information, so sound is converted to a digital format. Digital sound signals have a limited range of pitch, volume, and durational possibilities. High-quality analog-to-digital and digital-to-analog convertors change the signal format in a way that keeps the original, analog signal as closely as possible. The quality of the convertors is what determines the quality of an audio interface.
+ The conversion between analog and digital audio signal formats is the primary function of audio interfaces. Sound has an infinite range of pitch, volume, and durational possibilities. Computers cannot process infinite information, so sound is converted to a digital format. Digital sound signals have a limited range of pitch, volume, and durational possibilities. High-quality analog-to-digital and digital-to-analog converters change the signal format in a way that keeps the original, analog signal as closely as possible. The quality of the convertors is what determines the quality of an audio interface.
</para>
<para>
Audio interfaces also provide connectors for external audio equipment, like microphones, speakers, headphones, and electric instruments like electric guitars.
@@ -36,7 +36,7 @@
In order to create sound from MIDI signals, you need a "MIDI synthesizer." Some MIDI synthesizers have dedicated hardware, and some use only software. A software-only MIDI synthesizer, based on SoundFont technology, is discussed in <xref linkend="chap-Musicians_Guide-FluidSynth" />
</para>
<para>
- You can use MIDI signals, synthesizers, and applications without a hardware-based MIDI interface. All of the MIDI-capable applications in the Musicians' Guide work well with software-based MIDI solutions, and are also compatible with hardware-based MIDI devices.
+ You can use MIDI signals, synthesizers, and applications without a hardware-based MIDI interface. Allch the MIDI-capable applications in the Musicians' Guide work well with software-based MIDI solutions, and are also compatible with hardware-based MIDI devices.
</para>
</section>
</section>
@@ -82,7 +82,7 @@
<para>
The connection type is only one of the considerations when choosing a sound card. If you have a desktop computer, and you will not be using a notebook or netbook computer for audio, you should consider an internal PCI or PCI-Express connection. If you want an external sound card, you should consider a FireWire connection. If FireWire-connected sound cards are more too expensive, you should consider a USB connection.
- The connection type is not the most important consideration when choosing a sound card. The subjective quality of the analog-to-digital and digital-to-analog convertors is the most important consideration.
+ The connection type is not the most important consideration when choosing a sound card. The subjective quality of the analog-to-digital and digital-to-analog converters is the most important consideration.
</para>
</section>
</section>