From a6fc86a01ba952225e03b767cd609fc485964e90 Mon Sep 17 00:00:00 2001
From: "Tim E. Real" <termtech@rogers.com>
Date: Fri, 13 Jul 2012 06:36:44 +0000
Subject: Fixed controllers go wacky after moving effects rack plugins up/down.
 My bad! Also fixed existing problem: After moving rack plugins up/down,
 graphs disappear. Documentation: Some contributions to the documentation.tex
 file.

---
 muse2/doc/documentation.tex | 831 +++++++++++++++++++++++++++++++++-----------
 1 file changed, 635 insertions(+), 196 deletions(-)

(limited to 'muse2/doc/documentation.tex')

diff --git a/muse2/doc/documentation.tex b/muse2/doc/documentation.tex
index dabcf738..6c12cfa4 100644
--- a/muse2/doc/documentation.tex
+++ b/muse2/doc/documentation.tex
@@ -78,15 +78,19 @@
 \usepackage{wrapfig}
 \usepackage{fancyhdr}
 \pagestyle{fancy}
-	\lhead{\scriptsize{\slshape\leftmark}}
-	\chead{}
-	\rhead{\thepage}
-	\lfoot{}
-	\cfoot{}
-	\rfoot{}
-	\renewcommand{\headrulewidth}{0.4pt}
+        \lhead{\scriptsize{\slshape\leftmark}}
+        \chead{}
+        \rhead{\thepage}
+        \lfoot{}
+        \cfoot{}
+        \rfoot{}
+        \renewcommand{\headrulewidth}{0.4pt}
 \usepackage{ifthen}
 
+%% Borrowed from Lyx output. "Because html converters don't know 
+%%  tabularnewline". Is required? Maybe replace with \\ ?
+\providecommand{\tabularnewline}{\\}
+
 % Hyphenate symbols before each uppercase letter, after each underscore
 % (without a "-") and after each ':' (without a "-")
 % TODO for any latex crack: also do automatic hyphenation, that is,
@@ -117,7 +121,7 @@
 
 
 
-\author{Florian Jung, Robert Jonsson}
+\author{Florian Jung, Robert Jonsson, Tim Donnelly}
 \title{MusE Documentation}
 
 \newcommand{\url}[1]{\texttt{#1}}
@@ -133,11 +137,10 @@
 \begin{document}
 \label{Main/Arranger}
 \begin{figure}[htp]
-\centering
-\includegraphics[width=1.0\textwidth]{pics/muse2}
+\centering \includegraphics[width=1.0\textwidth]{pics/muse2}
 \label{fig:MusE}
 \end{figure}
-\chapter {What is this?}
+\chapter{What is this?}
 You are, if you have printed this document, holding in your hand the
 written documentation for the audio and midi sequencer MusE version 2.\\ 
 \url{http://www.muse-sequencer.org} is MusE's home on the internet where
@@ -147,8 +150,8 @@ this document but not the software head on over there to find what it's
 all about.
 \chapter{User's manual}
 
-\section {Introduction}
-\subsection {A brief history of computer audio and MusE}
+\section{Introduction}
+\subsection{A brief history of computer audio and MusE}
 To quickly summarize over a decades open source development: in 1999 Werner
  Schweer released the first version of MusE, muse-0.0.1.tar.gz, in it's first
 few releases (actually not few, Werner relentlessly churned out new releases)
@@ -159,7 +162,7 @@ Today MusE is a stable and feature rich music creation environment which
 strives to encompass most of the music recording process, creation, editing,
 mastering.
 
-\subsection {Definitions}
+\subsection{Definitions}
 \key{CTRL} refers to the control key on the keyboard, e.g. \key{CTRL+C}
 means to press and hold the control key while pressing the c key. Make sure
 you know where you have it so you won't accidentally lose control
@@ -176,50 +179,53 @@ visualize more closely what something looks like on the screen.
 E.g.\\
 \hspace*{1cm}\shell{\$> muse2}\\
 
-\subsection {Getting up and running for impatient people}
+\subsection{Getting up and running for impatient people}
 Install MusE from the repository of your chosen distribution.
 To get decent performance start Jack with the following command in a
 terminal:\\
 \hspace*{1cm}\shell{\$> jackd -d alsa -d hw:0 -p 256}\\
 Or, if you prefer, use the launcher utility \textbf{QJackCtl} to get some
 help starting Jack.
-After this, start MusE from the menu or fire up another terminal and type
+After this, start MusE from the menu or fire up another terminal and
+type
+
 \shell{muse2}.\\
-If this didn't work out read on for the slighly more complete route for
+If this didn't work out read on for the slightly more complete route for
 getting things started.
 
-\subsection {Getting up and running}
-\subsubsection {Installation from binaries}
+\subsection{Getting up and running}
+\subsubsection{Installation from binaries}
 There are several ways to install MusE depending on your situation. The
 most convenient way is to install a prepackaged version from your chosen
 distribution. The drawback of this is that it may not be the most recent
 version, though often there is a more recent package from a private packager.
-\subsubsection {Installation from source}
+\subsubsection{Installation from source}
 Building MusE from source is not hard, there are a number of prerequistes
 that must be met but the actual building should be painless (ha, famous
 last words).\\
 Please follow the README in the source package and/or read the instructions
 on the homepage: \url{http://muse-sequencer.org/index.php/Installation}
 
-\subsubsection {Hardware}
+\subsubsection{Hardware}
 MusE on the Linux platform supports midi through ALSA and Jack-midi and audio
 through Jack. For information on what hardware is supported there are some
 convenient places to check:
-\begin {itemize}
-\item Alsa soundcard matrix
-\item \url{http://FFADO.org} for firewire devices.
-\end {itemize}
+\begin{itemize}
+\item Alsa soundcard matrix at 
+\url{http://www.alsa-project.org/main/index.php/Matrix:Main} 
+\item \url{http://FFADO.org} for firewire devices. 
+\end{itemize}
 Also, as is often a very good approach for Linux and open source, the
 various forums available on the internet often contain good information.
 Chances are someone has already tried your configuration and/or had your
 specific problem and the solution is already written down.
-\subsubsection {Launching}
+\subsubsection{Launching}
 After installation the binary muse2 is installed on the computer. If MusE
 was installed from a distribution repository the binary may have a
 different name depending on the distribution policies. Most distributions
 do however install a menu entry so MusE should be conveniently available
 from there.
-\subsubsection {Audio preconditions}
+\subsubsection{Audio preconditions}
 In the standard case MusE expects to find and connect to the Jack audio
 server \url{http://jackaudio.org}. Make sure jack is installed (if MusE was
 installed with a distribution-package Jack will very likely already be
@@ -227,50 +233,57 @@ installed) For Jack to run with best performance your system should be
 sufficiently tuned to allow it to run with realtime capabilities. The
 realtime configuration is configuration of the operating system and roughly
 consists of two parts.
-\begin {enumerate}
+\begin{enumerate}
 \item By default on most distros only the superuser lets applications setup
-realtime capabilities. Please see the APPENDIX for setting up realtime
+realtime capabilities. Please see the APPENDIX for setting up realtime 
 \item Maximizing performance. A standard linux installation may not able
 to reach the performance required by a power user. This requires exchanging
 the linux kernel for a so called lowlatency kernel, this is also covered by
 the realtime APPENDIX.
-\end {enumerate}
+\end{enumerate}
+
+\subsubsection{Running MusE}
+Find MusE in the menu or open a terminal and enter muse2.
 
-\subsubsection {Running MusE}
-Find MusE in the menu or open a terminal and enter muse2. A splash screen
-should pop up followed by the main application window and you are off!
-\shell{\$> muse2}\\
+\shell{\$> muse2}\\A splash screen should pop up followed
+by the main application window and you are off!\\
 If an error like the screenshot below pops up the Jack audio server is
 either not running or started as a different user than what you are trying
 to start MusE as.
 \begin{figure}[htp]
-\centering
-\includegraphics[width=\screenshotwidth]{pics/no_audio}
+\centering \includegraphics[width=\screenshotwidth]{pics/no_audio} 
 \caption{Jack server missing}
-\label{fig:no_audio}
+\label{fig:no_audio} 
 \end{figure}
-\subsubsection {Midi only}
+\subsubsection{Midi only}
 MusE can be started in Midi-only mode where MusE does not have any external
 dependencies apart from ALSA midi. In this case start MusE from a terminal:
 \shell{\$> muse2 -a}
 
-\subsection {Beginners tutorial}
+\subsubsection{ALSA midi with Jack}
+If Jack is running, by default MusE will not use ALSA devices, preferring
+Jack midi instead. To force ALSA devices to be used as well as Jack
+midi, start MusE with the -A option: \shell{\$> muse2 -A}
+
+\subsection{Beginners tutorial}
 To get a quick grip of what MusE can achieve please follow this beginners
 tutorial.
-\subsubsection {Setup}
+\subsubsection{Setup}
 First off, fire up MusE as was described in the previous chapter, making
 sure that the jack audio server is started with sufficient configuration
 to allow for audio output without breakup. Also make sure your system can
-make sound.
-\subsubsection {Soft synth test}
+make sound. 
+\subsubsection{Soft synth test}
 With MusE up and running right click in the Track-pane (see screenshot in
-~\ref{Main/Arranger}) and select \menu{Add Synth > MESS > Organ}. A Soft
-Synth track called Organ-0 should appear as well as a separate GUI for
-the synthesizer.
+~\ref{Main/Arranger}) and select \menu{Add Synth > MESS > vam soft synth}.
+A Soft Synth track called vam-0 should appear as well as a separate GUI
+for the synthesizer.
 
 Now right click once more in the Track-pane and select \menu{Add Midi
-Track}. Another track appears called Track-1, you will notice that it is
-by default bound to the synth that was just created Organ-0.
+Track}. Another track appears called Track 1, and its track list Port
+column should show it is bound to the synth that was just created vam-0.
+If it is not, click on the Track 1 Port column to open a drop-down list
+of available devices and choose vam-0.
 \begin{wrapfigure}{r}{0.05\textwidth}
 \includegraphics[width=0.05\textwidth]{pics/arrow_tool}
 %\hrulefill
@@ -283,24 +296,23 @@ Draw a Part along the midi track using the mouse. For this exercise it is
 not important where or how large the drawn Part is. When you are done double
 click on the drawn part. This will open up the Piano Roll editor. To the
 left of the Piano Roll there are piano keys in a vertical line, try clicking
-on the keys in this virtual keyboard each click should be rewarded with an
-organ sound (maybe of questionable quality, a sound nevertheless)
+on the keys in this virtual keyboard each click should be rewarded with a
+synth sound (maybe of questionable quality, a sound nevertheless) 
 \begin{figure}[htp]
-\centering
-\includegraphics[width=.5\textwidth]{pics/organ_synth}
-\caption{Organ synthesizer}
-\label{fig:organ_synth}
+\centering \includegraphics[width=.5\textwidth]{pics/vam_synth}
+\caption{vam synthesizer}
+\label{fig:vam_synth}
 \end{figure}
 
-\subsubsection {Missing sound}
+\subsubsection{Missing sound}
 If you got sound from the previous exercise you can carry on to the next,
 or keep reading for further enlightenment in case you come upon trouble
-later on. If there are no sound we need to do some fault hunting. First
-of, click on Arranger window once more and select the Organ-0 track in the
+later on. If there is no sound we need to do some fault hunting. First
+off, click on Arranger window once more and select the vam-0 track in the
 track-pane.
-\begin{figure}[ht]
-\centering
-\includegraphics[width=\screenshotwidth]{pics/main_window_with_midi_editor}
+\begin{figure}[htp]
+\centering \includegraphics[width=\screenshotwidth]
+{pics/main_window_with_midi_editor_vam}
 \caption{Midi editor view}
 \label{fig:Midi editor}
 \end{figure}
@@ -313,7 +325,7 @@ When pressing one of the keys on virtual Keyboard the Meter on the Mixer
 Strip should light up in green to visualize that the Synth is making
 sound, if it is not try to trace back your steps and and see if you did
 anything differently than described.
-Now, if the Meter lights up but there is still no sound we need to to
+Now, if the Meter lights up but there is still no sound we need to
 check the routing between the tracks. Click on the Arranger window again
 and select the Out 1 track, this is the predefined output which MusE by
 default loads at startup, at the bottom of Mixer Strip there are two
@@ -321,12 +333,12 @@ buttons looking like tele- jacks, these bring up the inputs and outputs
 of the track, click on the right one, the output and make sure that it is
 connected to some valid outputs on your system.
 \begin{wrapfigure}{r}{0.25\textwidth}
-\includegraphics[width=0.25\textwidth]{pics/output_routing}
+\includegraphics[width=0.25\textwidth]{pics/output_routing} 
 %\hrulefill
 \end{wrapfigure}
 Click on the outputs to select them, if you did changes here go back and
 try clicking on the Piano Roll keyboard again, hopefully it helped. If there
- still are problems make sure your system actually can make sound through
+still are problems make sure your system actually can make sound through
 Jack, this is however getting outside the scope of this manual.\\\\
 \textit{This might be the time to bring up the concept of community support.
 Open source software could never be what it is without the support given by
@@ -335,22 +347,22 @@ document is not enough, try googling your problem and/or get in touch with
 one of the online forums for MusE or Linux audio in general. See some pointers
 in the Support chapter.}
 
-\subsubsection {Recording}                                               %TODO: walkthrough of recording midi
+\subsubsection{Recording}                                                %TODO: walkthrough of recording midi
 TBD
 
 
-\section {Basic overview}
+\section{Basic overview}
 In this section we will make a step by step walk-through of all the
 different editors, their purpose and what functions they support.
 
 \subsection{Main/Arranger}
 
-\label{Main/Arranger}
+\label{Main/Arranger} 
 \begin{figure}[htp]
-\centering
-\includegraphics[width=\screenshotwidth]{pics/main_window_annotated}
+\centering \includegraphics[width=\screenshotwidth]
+{pics/main_window_annotated} 
 \caption{MusE main window}
-\label{fig:Main Window}
+\label{fig:Main Window} 
 \end{figure}
 Above is the main window of MusE, the Arranger, this is what greets you
 when launching MusE. The Arranger consists of two main parts, the Track-pane
@@ -359,60 +371,61 @@ and the Arranger canvas contains all Parts of the composition. The
 screenshot above shows an empty project. Below is MusE with a song in
 progress, turns out it wasn't a very good song, but for our purposes it
 is fine. In the below screenshot there are a lot of tracks visible in the
-Track-pane, each have an icon which indicate it's type, wave-trace, input,
+Track-pane, each have an icon which indicate it's type, wave-track, input,
 output etcetera, more about that later. In the Arranger canvas a number of
 parts are visible, the ones in yellow are in this composition wave files,
 the multicolored line are different Parts of a drum track.
-\label{Main/Arranger}
+\label{Main/Arranger} 
 \begin{figure}[htp]
-\centering
-\includegraphics[width=\screenshotwidth]{pics/main_window_with_arrangement}
+\centering \includegraphics[width=\screenshotwidth]
+{pics/main_window_with_arrangement} 
 \caption{MusE main window with arrangement}
-\label{fig:Main Window with arrangement}
+\label{fig:Main Window with arrangement} 
 \end{figure}
 
-\subsection{Mixer}
+\subsection{Mixer} \label{mixer} 
 Choosing \menu{View > Mixer A} or \menu{B} from the menu in the main
-window will bring up the mixer as viewed below. The mixer will with all
-options enabled show channel strips for all tracks in the current setup,
-depending on how far you have gotten this view may become very large,
-at which point it may be a good idea to limit what is viewed in the
-Mixer. From the view menu all the different kinds of tracks can be
-toggled on/off from the mixer. Some may find it a good idea to use the
-two mixers A and B setup with different setup and store this in your
-song template(s), more about this in the Song Template section. It can
-be argued that everything in MusE is a track analogous to the Unix
-idiom that everything is a file.
-The types of tracks viable in the mixer (and track-pane) are:
+window will bring up the mixer as viewed below. The mixer will open with
+all options enabled, showing channel strips for all tracks in the current
+setup, depending on how far you have gotten this view may become very large,
+at which point it may be a good idea to limit what is viewed in the Mixer.
+From the view menu all the different kinds of tracks can be toggled on/off
+from the mixer. Some may find it a good idea to use the two mixers A and B
+setup with different setup and store this in your song template(s), more
+about this in the Song Template section. It can be argued that everything
+in MusE is a track analogous to the Unix idiom that everything is a file.
+The types of tracks visible in the mixer (and track-pane) are:
 \begin{wrapfigure}{r}{0.5\textwidth}
-\includegraphics[width=0.5\textwidth]{pics/mixer}
+\includegraphics[width=0.5\textwidth]{pics/mixer} 
 %\hrulefill
 \end{wrapfigure}
-\begin {itemize}
-\item Audio output
-\item Audio input
-\item Group track
-\item Aux track
-\item Wave track
-\item Synth track
-\item Midi track
+\begin{itemize}
+\item Audio output 
+\item Audio input 
+\item Group track 
+\item Aux track 
+\item Wave track 
+\item Synth track 
+\item Midi track 
 \end{itemize}
 
 
-There are also a Midi Track variation called Drum Track, they are 
-however not distinguishable from Midi Tracks in the Mixer. Also the 
-strips for midi tracks are different in the Mixer than in the 
+There is also a Midi Track variation called Drum Track, they are
+however not distinguishable from Midi Tracks in the Mixer. Also the
+strips for midi tracks are different in the Mixer than in the
 Track-pane view.
 
-
-\subsection{Tracks}
+\section{Tracks and parts}
 MusE arranges your music in \emph{tracks} and \emph{parts}. The following
-section shall provice you an overview of how things are done with MusE.
+section shall provide you an overview of how things are done with MusE.
 If you are or were a Cubase or Cakewalk user, you will feel familiar with
-this. There are
-MIDI and drum tracks (which are internally MIDI tracks) which can hold
-note data, wave tracks which hold wave data, and several kinds of
-audio tracks, synthesizers etc.
+this. 
+
+\subsection{Tracks}
+There are two general classes of tracks: MIDI tracks and audio
+tracks. MIDI tracks (and drum tracks which are internally MIDI tracks)
+can hold note data. The Wave track is a type of audio track which holds
+wave data. There are also several other kinds of audio tracks.
 
 \paragraph{MIDI tracks}
 MIDI and drum tracks hold MIDI event data. They don't differ much,
@@ -423,79 +436,88 @@ for drum editing.
 They hold audio data which can be just played back or be piped through
 effect plugin chains. They offer automation for these plugins.
 
-\paragraph{Audio inputs}
+\paragraph{Audio input tracks}
 These provide the path for your audio data from outside into your
-project. Set up the physical audio inputs you want to connect your audio
-in track with, and then route them to some wave tracks.
-
-                                                                         % TODO: what are audio outs and auxs?
-                                                                         %       someone please write this!
-                                                                         
-\subsection{Parts}
-Tracks are split in parts. These contain MIDI events or wave chunks.
-You can copy, clone them, move them around, delete them etc.
-
-\subsection{MIDI ports}
-Ports provide an abstraction layer for your MIDI synthesizers (which
-can be both software and hardware synthesizers). Port are numbered.
-In order to produce sound, each MIDI track is assigned to exactly one
-MIDI port, to which the MIDI events are then sent.
+project. Set up the physical audio inputs you want to connect your
+audio input track with, and then route the input tracks to various
+other tracks such as wave tracks.
+
+\paragraph{Audio output tracks}
+These provide the path for your project's audio data to outside. Set
+up the physical audio outputs you want to connect your audio out track
+with, and then route various other tracks, such as wave tracks, to
+the output tracks.
+
+\paragraph{Audio group tracks}
+Group tracks are like busses, where you can route other tracks to
+them, then route the groups to other tracks. Since group tracks have
+all the features of other audio tracks, like volume and pan, they
+provide a convenient common routing point where you have control of
+the sound before it is passed to other tracks.
+
+\paragraph{Audio aux tracks} \label{aux_tracks} 
+These provide a more convenient way to mix several audio tracks
+together. With each audio aux track added, other audio tracks will
+gain a common send knob for adjusting the level sent to the aux
+track. This can be more convenient than using several group tracks.
+
+\paragraph{Synthesizer tracks}
+This type of track is a software synthesizer which MIDI and drum tracks
+can be assigned to.
 
-In the configuration menu, you must map the port numbers to the actual
-synth devices (by selecting ALSA or jack midi ports, or synth plugins).
-
-Try left-clicking on the "Ports" column of some MIDI track. If you
-use a soft synth, right-clicking the Ports column of the synth or any
-track using the synth lets you launch the synthe's GUI.
-
-\section{Tracks and parts}
-\subsection{Tracks}
 \paragraph{Creation}
 You can create a track by either right-clicking in the arranger's track   % TODO: insert screenshot
 list and then adding the desired track, or via the edit menu.
 
-\paragraph{Attributes}                                                    % TODO: this should be a list
-Tracks have several attributes.
-\subparagraph{Mute} If you click on the \emph{Mute} field (denoted with
+\paragraph{Attributes}                                                    
+Tracks have several attributes:
+\begin{description}
+\item [{Mute:}] If you click on the \emph{Mute} field (denoted with
 a "M" column header), the track gets muted and stops producing sound.
-\subparagraph{Solo} The solo button ("S" column header) mutes all other   % TODO: soloing chains etc?
-tracks.
-\subparagraph{Record} The R column "arms" your track for recording.
+\item [{Solo:}] \label{track_attr_solo} The solo button ("S" column
+header) singles out a track for listening. It mutes
+some other tracks but may phantom solo others. 
+For more info see the section on soloing: \ref{track_soloing} and
+phantom soloing: \ref{phantom_soloing}
+\item [{Record:}] The R column "arms" your track for recording.
 When you rec-arm your song and have no tracks rec-armed, you won't be
 able to record anything. See also the config option "move rec-arm with    % TODO: reference to rec-arm config option
-selection".
-\subparagraph{Track name} Double-click and you will see.
-\subparagraph{Port} For MIDI tracks, this lets you select the MIDI
+selection". 
+\item [{Track name:}] Double-click to edit the track name.
+\item [{Port:}] For MIDI tracks, this lets you select the MIDI
 port to which the events should be routed. This can be your physical
-synthesizer or a software synthesizer. For soft synthes, this is the
+synthesizer or a software synthesizer. For soft synths, this is the
 port the synth is associated to. For other track types, this is disabled.
-\subparagraph{Channel} For MIDI tracks, this is the MIDI channel the
+\item [{Channel:}] For MIDI tracks, this is the MIDI channel the
 output is sent to. For any kind of audio tracks, this is the number of
 channels (mono, stereo).
                                                                           % TODO: what's that "T" column?!
-\subparagraph{Automation} For audio tracks, this lets you set up the
-automation display in the arranger. Clicking this will provide you with
-a popup menu with lots of submenus. The submenus let you select the
-color you want to associate with the automation parameter. \emph{Clicking % TODO: this is nonstandard
-on a submenu} will select or unselect it, making the automation parameter % TODO: put reference to automation section
-shown or hidden.
-
-\subparagraph{Clef} For MIDI tracks, you can specify a clef here. This
+\item [{Automation:}] \label{track_attr_automation} For audio tracks,
+this lets you set up the automation display in the arranger. 
+(See automation \ref{audio_automation}). Clicking this will provide you
+with a popup menu with lots of submenus. Clicking on a submenu will
+select or unselect it showing or hiding the automation parameter as a 
+graph overlaid on top of the track.\\
+The submenus let you select the color you want to associate with the
+automation parameter. There you can also assign midi controllers to
+the parameters, a dialog is shown where you can manually choose the
+midi controller, with a \emph{learn} button to 'listen for' and
+automatically recognize any midi controller operated by you.
+
+\item [{Clef:}] For MIDI tracks, you can specify a clef here. This
 only affects the score editor.
 
-\paragraph{The trackinfo side bar}
+\end{description}
+
+\subsubsection{The trackinfo side bar}
 In the arranger and the part editors, you'll have a trackinfo sidebar
 on the left side. You can set up track-type specific things there.
 
-\subsubsection{MIDI tracks}
-MIDI parts have no automation settings. However, they support various     % TODO: this will hopefully become wrong soon
-controllers, program changes etc.. The MIDI trackinfo sidebar lets you
-change program, volume, pan and more. Just editing the value in the
-boxes will send an event, but not write it to the track. In order to
-write it, you will need to click on the corresponding button ("Vol" for
-writing down volume information).
-
-\subsubsection{Old style drum tracks}
+\paragraph{MIDI trackinfo sidebar} \label{midi_trackinfo_sidebar}
+The MIDI trackinfo sidebar lets you change program, volume, pan and
+more. This sidebar can also be viewed at the left of the pianoroll
+editor.                                                                        %%FIXME Ref to pianoroll
+\subparagraph{Old style drum tracks:}
 These are MIDI tracks as well, but with a few differences. They allow
 you to map certain drum sounds with different input notes, and you
 can change the output settings of a certain "drum instrument" without
@@ -520,14 +542,73 @@ from multiple drum tracks in \emph{one} drum editor (MusE will separate
 the sounds from different tracks according to your settings, see the
 "Window Config" menu), and you can set programs as with normal MIDI tracks.
 
-\subsubsection{Audio tracks}
-\paragraph{Effect rack}
-On the top of the sidebar, there is an effect rack which allows you to
-apply various plugins on the audio. For more information on this, refer
-to \ref{plugins}.
-
-\paragraph{Controls}
-Lorem ipsum % TODO FINDMICH HIER WEITER
+\subparagraph{MIDI trackinfo controls:}
+\begin{description}
+\item [{Output port:}] This drop-down list selects the midi port
+to send midi output from this track. 
+\item [{Output channel:}] This box selects the midi channel to be
+used on the output port.
+\item [{Input and output routing:}] Selects midi ports and
+channels to receive midi from, and soloing paths. (See Routes
+\ref{routes}).
+\item [{Midi through:}] This button selects whether midi input is
+passed through to the selected output port.\\
+Depending on your midi devices and settings, there are cases when
+this should be off such as using the same port and channel for
+input and output (otherwise a double-note \emph{echo} will be heard),
+and cases when it must be on such as when using a synthesizer track
+as output device. 
+\item [{Input detect indicator:}] Blinks when midi activity is
+detected on the selected midi channels on the selected midi input
+ports.
+\item [{Transpose:}] This transposes midi input notes up or down
+in pitch. This is very useful if your midi keyboard hasn't enough
+keys or the selected output device plays an octave too low or high,
+and you would like to shift the octave of the incoming notes to
+compensate.
+\item [{Delay:}] Adjusts the delay of the notes.                               %% FIXME What is this again? Does it work?
+\item [{Length:}] Adjusts the length of the notes.                             %% FIXME What is this again? Does it work?
+\item [{Velocity:}] Adjusts the velocity of incoming notes.
+Use it to compensate for a too-loud or too-soft keyboard.
+\item [{Compression:}] Adjusts the compression of incoming note
+velocities. Use it to make soft incoming notes louder, and loud
+notes not so loud. 
+\item [{Instrument:}] Selects the midi instrument patch to be used
+by the selected output port. This is equivalent of dialing the patch
+in the bank and program boxes, except it displays a more friendly
+patch \emph{name} as defined by the selected output port's midi
+instrument. See instruments, or port configuration                             %% FIXME Ref to instruments. 
+\ref{midi_port_config}
+\item [{H-Bank:}] Selects the high bank number of the current patch.
+\item [{L-Bank:}] Selects the low bank number of the current patch.
+\item [{Prog:}] Selects the program number of the current patch.
+\item [{Volume:}] Adjusts the midi volume controller.
+\item [{Pan:}] Adjusts the midi pan controller.
+\end{description}
+The buttons beside the Prog, Volume, and Pan boxes store the value,
+at the current transport position, for midi automation. (See
+automation \ref{midi_automation}).
+
+Note that the 'Prog' button stores H-Bank and L-Bank along with
+'Prog' value, so there are no H-Bank and L-Bank buttons.
+
+The 'All' button simply stores all three Program (and banks), Volume,
+and Pan values at once.
+
+\emph{Tip:} If the Song Type is GM, GS, or XG, you may need to store           %% FIXME Ref to song type
+desired values at transport position zero, otherwise your adjustments
+may be overriden by the instrument when the transport is moved back
+to position zero. If this behaviour is undesired, you can set the 
+Song Type to 'NO' meaning no song type.                                        %% FIXME Ref to explanation of instruments and default controller values
+
+\paragraph{Audio trackinfo sidebar}
+Unlike the midi trackinfo sidebar, the audio trackinfo side bar
+is nothing more than an embedded audio mixer strip, the exact same 
+strip as found in the mixers. (See mixer \ref{mixer}).
+\subparagraph{Effects rack:}
+On the top of the audio trackinfo sidebar, there is an effects rack
+which allows you to apply various plugins on the audio. For more
+information on this, refer to \ref{effects_rack}.
 
 
 \subsection{Parts}
@@ -549,24 +630,297 @@ You can also copy parts with the mouse by moving the part with the mouse
 while holding down the \key{CTRL} key.
 
 
+\section{Routes} \label{routes}
+Routes are how tracks are connected together and to the outside world.
+(They are also how Jack midi ports connect to the outside world. See
+midi port configuration \ref{midi_port_config}).
+Each track strip has two buttons whose icons look like plugs. One button
+is for input routing and the other is for output routing. Clicking on
+these buttons will pop up a menu of available input or output routes that
+you can connect to. Most audio tracks list other tracks to connect to, 
+but audio input and output tracks are special: Audio input track input
+routing menus list available Jack audio input ports. Conversely audio
+output track output routing menus list available Jack audio output ports.
+
+\begin{wrapfigure}{r}{0.25\textwidth}
+\includegraphics[width=0.25\textwidth]{pics/output_routing} 
+%\hrulefill
+\end{wrapfigure}
+
+Meanwhile MIDI and drum tracks allow you to route available MIDI ports
+and channels to the track using a handy popup matrix.
+
+\begin{wrapfigure}{r}{0.25\textwidth}
+\includegraphics[width=0.25\textwidth]{pics/midi_routing_matrix} 
+%\hrulefill
+\end{wrapfigure}
+
+
+\subsection{Anti circular routing} \label{anti_circular_routing}
+Any routing menu item which would cause a circular routing condition
+is grayed out. Find out why the condition would exist by examining 
+routing paths involved and correct the situation if required.
+
+Also, you cannot use a track's aux sends if the track has an input
+route path from ANY Aux Track. (See aux tracks \ref{aux_tracks}).
+Aux send knobs and labels are disabled in that case.
+
+\subsection{Soloing chain routes} \label{soloing_chain_routes}
+Soloing chains (see solo chains \ref{soloing_chains}) are really just
+routes like any other. The available solo chaining paths are displayed
+in the routing popup menus.
+
+\section{Track soloing} \label{track_soloing}
+Soloing allows you to single out a track for listening while muting others,
+without you having to mute the other tracks. (See soloing track attribute
+\ref{track_attr_solo}).
+
+\subsection{Phantom soloing} \label{phantom_soloing}
+In order to solo a track and mute others so that it is heard, MusE
+employs 'phantom' soloing: When a track is soloed, MusE automatically
+solos all tracks routed to and from this track. (See routes
+\ref{routes}). A phantom soloed track is indicated by a black square
+in the track pane solo column. (See track attributes
+\ref{track_attr_solo}).
+
+
+\begin{figure}[htp]
+\centering \includegraphics[width=\screenshotwidth]{pics/soloing_window}
+\caption{Soloing, with phantom soloing}
+\label{fig:Soloing} 
+\end{figure}
+
+\subsection{Soloing chains} \label{soloing_chains}
+When an audio output track sends audio to some external entity, such
+as an external running application, and audio from the external entity
+is fed back into a MusE audio input track, solo chains allow you to
+solo the input or output, and MusE will complete the path automatically
+soloing the other, and all paths that came before or after it.
+
+Solo chains also work with MIDI tracks chained to audio inputs:
+When a MIDI track drives some MIDI device whose audio is fed into MusE,
+solo chains allow the entire chain to be soloed.
+
+Solo chains are accessed via routing menus. (See solo chain routes
+\ref{soloing_chain_routes}).
 
-\section{Plugins and automation} \label{plugins}
-There are several kinds of plugins. First, there are audio plugins, which
-can be applied to any track handling audio (that is, inputs, outputs,
-wave tracks, synth tracks). Plugins can be added by double-clicking
-on an entry in the effect rack in the track info pane (which is shown
-at the left side of the arranger when the according track is selected).
-Right-clicking them offers a self-explanatory popup menu.
+\section{Plugins} \label{plugins}
+Plugins are small add-ons which can process a track's data.
+
+MIDI plugins operate on midi and drum tracks, and are found in
+the \menu{Midi} menu.
+
+Audio plugins can be applied to any track handling audio (that is,
+inputs, outputs, wave tracks, synth tracks). The effects rack
+section describes this. (See effects rack \ref{effects_rack}).
+
+\subsection{The audio effects rack} \label{effects_rack}
+All audio track types (Input, Output, Group, Wave, Synth, and Aux) have
+an effects rack into which audio plugins can be inserted in a chain.
+Currently each rack can accomodate up to four plugins.
+
+MusE currently supports LADSPA plugins and DSSI synth and effects
+plugins.
+
+Plugins can be added by double-clicking on an entry in the effect rack
+in the track info pane (which is shown at the left side of the arranger
+when the according track is selected). Right-clicking the rack items
+offers a self-explanatory popup menu.
+
+All plugin controls can be automated. (See audio automation
+\ref{audio_automation}).
+
+One must carefully consider how many audio inputs and outputs a plugin
+has, and how may channels the particular audio track has (1 mono or
+2 stereo), and how MusE uses the plugins in the rack.
+
+Learn more about this in the appendix Understanding the Effects Rack:
+\ref{apx_effects_rack}
+
+\subsubsection{Audio plugin Graphical User Interfaces (GUIs)} 
+\label{plugin_guis} Once a plugin is added, you need a way to 
+manipulate its controls, which affect its behaviour and operate
+on the sound.
+
+MusE can show a generic GUI which contains all of the
+plugin's controls arranged in a rather plain generic fashion.
+
+Some plugins may also have a native GUI which looks much better (it
+was specifically designed for the plugin).
+
+Both GUI types are opened from the effects rack right-click popup menu.
+
+\section{Automation} \label{automation}
+Automation is the ability to record (or construct) and playback
+exact sequences of control movements.
+
+MIDI and audio automation are each currently uniquely different,
+but share some similarities.
+
+\subsection{Audio automation} \label{audio_automation}
+Almost all graphical audio controls in MusE can be automated.
+
+This includes an audio track's volume and pan, and the controls
+of any plugins in the effects rack, and if the track is a
+synthesizer track, all of the synth's controls.
+
+Each control has a manual adjustment value. This value is shown
+when there is no automation data at all, or automation has been
+disabled.
+
+For plugin and synth controls, it is usually more desirable to
+manipulate automation with the generic plugin GUIs, because
+MusE has full control over their behaviour. (See plugin GUIs
+\ref{plugin_guis}).
+
+There are a few ways to enter audio automation data:
+\begin{itemize}
+\item By adjusting audio controls while the transport is rolling.
+MusE will record the exact movements.
+\item By adjusting audio controls while the transport is stopped,
+at different transport positions. TOUCH mode allows this.
+\item By right-clicking any audio control and choosing an operation
+from the automation popup menu. This includes storing, erasing,
+and clearing automation events, and seeking the next or previous
+event.
+\item By drawing the data on the audio track's automation graphs.
+(See track automation \ref{track_attr_automation}).
+\end{itemize}
+\paragraph{Audio automation modes} 
+Each audio track strip has an automation mode button
+at the bottom. There are four automation modes:
+\begin{description}
+\item [{OFF:}] Disables all automation, uses manual value always.
+\item [{READ:}] Automation data is applied to controls. If any
+automation data exists, the manual value is overridden and has
+no effect.
+\item [{TOUCH:}] Allows you to alter a control at any time, while
+transport is stopped or rolling, If rolling, when the control is
+released it returns to reading from automation data. 
+\item [{WRITE:}] Allows to adjust an initial value before rolling
+the transport. While rolling, when the control is released it does
+not return to reading from automation data. 
+\end{description}
+Here is a screenshot of automation WRITE mode, and some automation
+data, with the track pane automation popup menu showing (see track
+automation \ref{track_attr_automation}):
+\begin{figure}[htp]
+\centering \includegraphics[width=\screenshotwidth]
+{pics/main_window_with_automation}
+\caption{Audio automation graphs}
+\label{fig:audio_automation} 
+\end{figure}
+
+\label{midi_automation} \subsection{Midi automation} 
+MIDI automation is a slightly different concept: Unlike audio
+automation, currently there is no automation 'mode' and it doesn't
+record graphical control movements. Data is viewed from within
+the pianoroll and drum editors, by clicking on the 'Ctrl' button               %% FIXME Ref to pianoroll
+on those canvases.
+                                       
+Similar to audio controls, each midi control has a manual adjustment
+value. This value is overridden when there is midi automation data.
+
+There are a few ways to enter MIDI automation data:
+\begin{itemize}
+\item By adjusting external MIDI controls (such as a midi keyboard
+pitch or modulation wheel) while the transport is rolling and both
+the transport and midi track are in record mode. MusE will record
+the exact movements. As mentioned earlier, note that graphical control
+movements are not recorded.                                                    %% FIXME Feature requests for true midi automation
+\item By right-clicking any midi control and choosing an operation
+from the automation popup menu. This includes storing and erasing
+automation events.                                                             %% FIXME Store/erase not enough functionality
+\item By adjusting volume, pan, bank or program boxes in the midi
+trackinfo panel and clicking the corresponding volume, pan, or 
+program buttons. (See midi trackinfo \ref{midi_trackinfo_sidebar}).
+\item By drawing the data on a midi part's automation graphs.
+\end{itemize}
+Here is a screen shot of a midi track, containing a midi part
+which has been opened with the pianoroll editor and automation                 %% FIXME Ref to pianoroll
+data showing.
+                                                         
+The 'Ctrl' popup menu (bottom left) shows available midi controllers
+and the green dot indicates there is some data.
+
+\begin{figure}[htp]
+\centering \includegraphics[width=\screenshotwidth]
+{pics/main_window_with_midi_automation}
+\caption{MIDI automation graphs}
+\label{fig:midi_automation} 
+\end{figure}
+ 
 
 \section{Configuration}
+
+\subsection{MIDI ports} 
+MIDI ports provide an abstraction layer for your MIDI hardware and
+synthesizers (which can be both software and hardware synthesizers),
+and other MIDI applications. Port are numbered. In order to produce
+sound, each MIDI track is assigned to exactly one MIDI port, to which
+the MIDI events are then sent.
+
+The advantage of this abstraction layer is that if your system changes,
+for example you change MIDI hardware, then you need only modify the
+ports instead of all the tracks using those ports. This is similar
+to the audio input and output track abstraction to the outside world.
+
+\label{midi_port_config} \paragraph{MIDI port configuration} 
+In the midi/softsynth configuration menu, you must map the port numbers
+to the actual devices (by selecting ALSA or jack midi ports, or synth
+plugins).
+
+Try left-clicking on the "Ports" column of some MIDI track.
+If you use a soft synth, right-clicking the Ports column of the synth
+or any track using the synth lets you launch the synth's GUI.
+
+\begin{figure}[htp]
+\centering \includegraphics[width=\screenshotwidth]
+{pics/midi_config_window} 
+\caption{Midi configuration window}
+\label{fig:midi_config_window} 
+\end{figure}
+
+\paragraph{Columns in the MIDI configuration ports list:}
+\begin{description}
+\item [{GUI:}] For synthesizer devices, indicates if a gui is available
+and if it is showing. Click to show.
+\item [{I:}] If present, the port can accept MIDI input. Click to
+enable or disable it.
+\item [{O:}] If present, the port can send MIDI output. Click to enable
+or disable it.
+\item [{Instrument:}] Selects the instrument to be used when MIDI is
+played through the port.
+\item [{Device name:}] Selects or creates a MIDI device assigned to the
+port. These can be Jack MIDI devices or ALSA MIDI devices (if ALSA is
+enabled), or soft synthesizers. Jack MIDI devices are created by selecting
+Create Jack Device from the Device name drop-down menu. Jack MIDI devices
+can be renamed as you wish by clicking the device name. Soft synthesizers
+are created by clicking in the soft synthesizer list and then Add
+Instance. Or you can simply create a new synthesizer track from the
+arranger track list, or even the mixer menus.
+\item [{In and Out routes:}] These are for Jack MIDI devices, they are
+the routes to and from available Jack MIDI ports. Jack may provide
+different alias names for these ports, you can select which alias
+is shown.
+\item [{Default in channels:}] Auto-connect these port channels to
+new midi or drum tracks.
+\item [{Default out channel:}] Auto-connect new midi or drum tracks
+to this channel on the port.
+\item [{State:}] Indicates the state of the port including any errors
+opening it.
+\end{description}
+
+\subsection{Global settings}
+\subsubsection{Audio settings}
 \paragraph{Minimum control period}
-Plugins can usually process an arbitrarily small (or large) amount of
-samples. If some plugin control value changes continously, to provide
+Plugins can usually process an arbitrarily small (or large) amount
+of samples. If some plugin control value changes continously, to provide
 ideal listening experience, MusE would need to call the plugin 44100
 times a second, asking for one single value at a time. With the minimum
 control period setting, the user can force MusE to ask the plugin for
 at least N values. Setting this value to 64 would in this situation
-make MusE call the plugin $689 = \frac{44100}{64})$ times a second,
+make MusE call the plugin $689=\frac{44100}{64})$ times a second,
 asking for 64 values at a time. While doing this will reduce accuracy
 of control changes, it may also reduce CPU usage, because calling
 the plugin more often, requesting smaller chunks, is more expensive
@@ -576,16 +930,101 @@ If you have no performance problems, or if you want to do the final
 downmix of your project, set this to a low value. If you're experiencing
 performance problems, increasing this value might help.
 
-
-
-
-
+\chapter{Appendix}
+\label{apx_effects_rack} \section{Understanding the effects rack} 
+One must carefully consider how many audio inputs and outputs a plugin
+has, and how may channels the particular audio track has (1 mono or
+2 stereo), and how MusE uses the plugins in the rack.
+
+MusE will try to internally create as many independent copies
+(instances) of a plugin as necessary, to satisfy the number of channels
+in the audio track.
+Basically it divides the number of track channels by the number of 
+plugin audio inputs or outputs to determine how many copies to make.
+First it examines the number of plugin audio outputs, and if there are
+none, it will examine the number of audio inputs, and if there are
+none, it will simply use just one plugin copy.
+
+For mono tracks with plugins having more than one audio input or
+output, MusE uses the first input or output and ignores the rest. 
+
+For stereo tracks:
+
+\begin{tabular}{|c|c|c|c|c|}
+\hline 
+plugin inputs & outputs & copies & track in route channels &
+track out route channels\tabularnewline
+\hline 
+\hline 
+0 & 0 & 1 & 0 & 0\tabularnewline
+\hline 
+0 & 1 & 2 & 0 & 2\tabularnewline
+\hline 
+0 & >=2 & 1 & 0 & 2\tabularnewline
+\hline 
+1 & 0 & 2 & 2 & 0\tabularnewline
+\hline 
+1 & 1 & 2 & 2 & 2\tabularnewline
+\hline 
+1 & >=2 & 1 & 1 (L only) & 2\tabularnewline
+\hline 
+>=2 & 0 & 1 & 2 & 0\tabularnewline
+\hline 
+>=2 & 1 & 2 & 2 & 2\tabularnewline
+\hline 
+>=2 & >=2 & 1 & 2 & 2\tabularnewline
+\hline 
+\end{tabular}
+
+Notice that on a stereo track with a plugin having one audio input and
+two audio outputs, only the first track input route channel is used
+(left only).
+ 
+These same rules apply to inter-plugin audio when more than one plugin 
+is in the rack chain. Extra audio outputs of one plugin may be ignored
+by the next plugin if not used. 
+ 
+Currently specialized plugins with many inputs and/or outputs are not 
+really useful in MusE.
+
+Nor are so-called 'realtime' control plugins which use audio inputs 
+and outputs for control signals. 
+
+Loud noise alert! Beware of using such plugins in an audio effects
+rack. 
+
+Example: Consider a stereo Audio Input track with these effect rack 
+ LADSPA plugins: 
+ 
+\begin{itemize}
+\item comb\_splitter Comb Splitter by Steve Harris
+\item tap\_stereo\_echo Tap Stereo Echo by Tom Szilagyi
+\end{itemize}
+    
+
+The Comb Splitter has one audio input and two audio outputs. 
+The Stereo Echo has two audio inputs and two audio outputs.
+  
+The stereo Audio Input track will therefore ignore its second
+input route connection. It will process the left input only,
+separating it into stereo with the Comb Splitter, passing the  
+split stereo signal into the Stereo Echo, finally producing 
+stereo output available at the Audio Input track's output routes.      
+  
+  
+One improvement would be not creating unused redundant plugin copies
+between plugins in stereo tracks.
+For example, for a plugin having one audio input and one audio output,
+feeding a plugin having one audio input and two audio outputs,  
+the extra copy of the first plugin is redundant and not required,
+but currently it is created anyway.
+  
 
 \chapter{Internals -- how it works}
 This chapter explains how MusE is built internally, and is meant
 to be an aid for developers wanting to quickly start up with MusE.
 For details on \emph{why} stuff is done please refer to the following
-chapter.
+chapter. 
 \section{User controls and automation}
 \subsection{Handling user input}
 \subsubsection{Plugins and synthesizers}
@@ -613,15 +1052,14 @@ the change into a "to be recorded"-list (\sym{AudioTrack::{\_}recEvents})
 (depending on whether the song is stopped or played).
 
 The \sym{AudioTrack::{\_}recEvents} list consists of \sym{CtrlRecVal}
-items (see \file{ctrl.h}), which hold the following data:
+items (see \file{ctrl.h}), which hold the following data: 
 \begin{itemize}
-\item the frame where the change occurred
-\item the value
+\item the frame where the change occurred 
+\item the value 
 \item the type, which can be \usym{ARVT{\_}START}, \usym{ARVT{\_}VAL} or \usym{ARVT{\_}STOP}.
       \usym{ARVT{\_}VAL} are written by every \usym{AudioTrack::recordAutomation}
       call, \usym{ARVT{\_}START} and \usym{ARVT{\_}STOP} are generated by
-      \sym{AudioTrack::startAutoRecord} and \sym{stopAutoRecord},
-      respectively.
+      \sym{AudioTrack::startAutoRecord} and \sym{stopAutoRecord}, respectively.
 \item and the id of the controller which is affected
 \end{itemize}
 It is processed when the song is stopped. The call path for this is:
@@ -640,7 +1078,7 @@ in \sym{AudioTrack::{\_}controller}, which is a \sym{CtrlListList},        % "de
 that is, a list of \sym{CtrlList}s, that is, a list of lists of
 controller-objects which hold the control points of the automation graph.
 The \sym{CtrlList} also stores whether the list is meant discrete
-(a new control point results in a value-jump) or continous (a new control
+(a new control point results in a value-jump) or continuous (a new control
 point results in the value slowly sloping to the new value).
 Furthermore, it stores a \sym{{\_}curVal} (accessed by \sym{curVal()}),
 which holds the currently active value, which can be different from the
@@ -663,8 +1101,8 @@ access \sym{{\_}controller} are:
 \end{itemize}
 
 Whenever a \sym{CtrlList} has been manipulated,
-\sym{MusEGlobal::song->controllerChange(Track*)} shall be called,
-which emits the \sym{MusEGlobal::song->controllerChanged(Track*)}
+\sym{MusEGlobal::song->controllerChange(Track{*})} shall be called,
+which emits the \sym{MusEGlobal::song->controllerChanged(Track{*})}
 signal in order to inform any parts of MusE about the change (currently,
 only the arranger's part canvas utilizes this).
 
@@ -695,7 +1133,7 @@ The responsible functions are: \sym{PluginI::oscControl} and
 default GUIs and \sym{PluginI::guiParamPressed},
 \sym{guiParamReleased}, \sym{guiSliderPressed} and
 \sym{guiSliderReleased} for MusE GUIs read from a UI file;
-\sym{guiSlider*} obviously handle sliders, while \sym{guiParam*}
+\sym{guiSlider{*}} obviously handle sliders, while \sym{guiParam{*}}
 handle everything else which is not a slider. They call
 \sym{PluginI::enableController} to enable/disable it.
 
@@ -711,7 +1149,7 @@ this are:
 \item For seek: \sym{Audio::seek} sends a message ("\sym{G}") to
                 \sym{Song::seqSignal} which calls
                 \sym{Song::clearRecAutomation} which calls
-                \sym{PluginI::enableAllControllers}                
+                \sym{PluginI::enableAllControllers}
 \end{itemize}
 
 
@@ -794,7 +1232,7 @@ The hearable result shall be the same.
 Once the user changes any parameter (automation data or plugins for
 wave tracks, MIDI events or effect plugin stuff for MIDI tracks),
 then MusE shall generate the sound for this particular track in the
-"old" way (send MIDI data to synthes, or pipe audio data through plugins).
+"old" way (send MIDI data to synthes, or pipe audio data through plugins). 
 (So that the user will not even notice that MusE actually pre-renderered
 stuff.) Either MusE automatically records this while playback (if possible)
 or prompts the user to accordingly set up his cabling and then record
@@ -853,7 +1291,7 @@ Create a wave track, MusE will allow you to set or unset prerendering
 for every plugin in the plugin rack (recording the actual track is
 useless because it would be a plain copy).
 Create a MIDI track, MusE will ask you on which physical audio input
-your synth is connected. Setting up multiple synthes on one physical 
+your synth is connected. Setting up multiple synthes on one physical
 audio in is allowed, see below.
 
 \paragraph{Pre-rendering stuff}
@@ -906,8 +1344,8 @@ blend the old recording with the updated part.
 \section{Slotted editors}
 Currently, MusE has the pianoroll editor, drum editor, score editor,
 then the controller editor which is inside the pianoroll/drum editor.
-All these editors have a very similar concept: the "time axis" is
-vertical and (almost) linear, they handle parts, and events are
+All these editors have a very similar concept: the "time axis" is 
+vertical and (almost) linear, they handle parts, and events are 
 manipulated similarly.
 
 A unified editor shall be created which allows you to combine different
@@ -923,7 +1361,7 @@ unified editor window consists of:
 \item A time-scrollbar with zoom
 \end{itemize}
 
-Each slot contains the following:
+Each slot contains the following: 
 \begin{itemize}
 \item A menu button, button box or control panel for setting up this
       particular slot. This could contain "note head colors", "show
@@ -1007,3 +1445,4 @@ Maybe make this behaviour default for discrete controllers?
 
 % bug in arranger/pcanvas/automation: if a controlpoint is directly on
 % a line of another ctrl graph, you can't click it
+
-- 
cgit v1.2.3

