[SCM] calf/master: Minor grammar/spelling fixes.
js at users.alioth.debian.org
js at users.alioth.debian.org
Tue May 7 15:40:54 UTC 2013
The following commit has been merged in the master branch:
commit 7d3df6383b3f5545378b51892d61aca2476eb305
Author: Krzysztof Foltman <wdev at foltman.com>
Date: Wed Feb 22 11:59:00 2012 +0000
Minor grammar/spelling fixes.
diff --git a/doc/manuals/Analyzer.html b/doc/manuals/Analyzer.html
index 287374f..bc38b10 100644
--- a/doc/manuals/Analyzer.html
+++ b/doc/manuals/Analyzer.html
@@ -12,14 +12,14 @@
<a href="images/Calf - Analyzer.png" title="Calf - Analyzer" class="thickbox"><img class="thumbnail" src="images/Calf - Analyzer.png" /></a>
<h2>Functionality</h2>
<p>
- An Analyzer inspects the audio signal and displays different graphics to
+ An Analyzer inspects the audio signal and displays various graphs to
give an impression of the structure of a sound. It is able to draw a
frequency response graph with adjustable accuracy and some other features
as well as a phase correlation meter (goniometer). The frequency response shows
how much energy a signal has over the frequency range. The goniometer gives
a great impression of the stereo behavior of your track.
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
The <strong>goniometer</strong> shows mono and stereo allocation of your audio
signal. A signal mostly vertical around the center shows a high mono ratio while
diff --git a/doc/manuals/Bass Enhancer.html b/doc/manuals/Bass Enhancer.html
index 54a492b..8f40ad0 100644
--- a/doc/manuals/Bass Enhancer.html
+++ b/doc/manuals/Bass Enhancer.html
@@ -14,7 +14,7 @@
<p>
A Bass Enhancer is used to produce very low sound that is not present in the original signal. This is done by creating harmonic distortions of the signal which are restricted in range and added to the original signal. A Bass Enhancer raises the lower end of an audio signal without simply raising the lower frequencies like an equalizer would do to create a more "fat" or "boomy" sound.
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<ul>
<li>Use the enhancer in the master channel of your audio suite to bring some low end, bassy or full sound to your mix</li>
<li>Add back some bass to old digitalized recordings</li>
diff --git a/doc/manuals/Compressor.html b/doc/manuals/Compressor.html
index cbada4c..faad7b6 100644
--- a/doc/manuals/Compressor.html
+++ b/doc/manuals/Compressor.html
@@ -28,7 +28,7 @@
<p>
The line graph shows exactly what your compressor is doing at the moment. <strong>The x-axis shows the input level and the y-axis</strong> displays the output. <strong>The dot</strong> represents the actual level of the detected signal. Here you can see exactly how much your audio is reduced.
</p>
- <h2>Examples and Tipps</h2>
+ <h2>Examples and Tips</h2>
<p>
Nearly every signal in modern music can benefit from some kind of compression. Even if you have a signal at a constant level (ex. a bassdrum from a sampler) the right compression could raise the sustain of it (shorter attack and release) or add a harder attack (vice versa) for example. <strong>Mainly a compressor is used to reduce the dynamics of natural sound sources</strong> like vocals, piano, guitars, drums and so on to fit the loudness levels widely used today.
</p><p>
diff --git a/doc/manuals/Deesser.html b/doc/manuals/Deesser.html
index 017ed8a..9757f8f 100644
--- a/doc/manuals/Deesser.html
+++ b/doc/manuals/Deesser.html
@@ -18,7 +18,7 @@
<p>
Calf Deesser is able to be driven in <strong>split mode</strong>. It means that not the full range signal will be affected by the gain reduction but only frequencies above the split frequency are manipulated in gain. Normally a wideband deesser sounds much cleaner on a single vocal track. But <strong>multitimbral vocal recordings</strong> could benefit a lot from this functionality. It also gives a great advantage for processing instrument tracks like strings for example. If you haven't understand it by now, think of a sidechain deesser like of a <strong>dynamically processing highshelf equalizer</strong>.
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
A neat special in the sidechain is the <strong>additional peak</strong>. Normally "sssss" and "shhhh" are dynamically far apart. With this bell filter you can <strong>accentuate or reduce significant frequencies</strong> to get the most precise control over your highs before they will reduce your main signal. The peak affects the sidechain signal but <strong>isn't added to the main signal's high band in split mode</strong>.
</p><p>
diff --git a/doc/manuals/Equalizer12band.html b/doc/manuals/Equalizer12band.html
index 4817874..2bbbbe2 100644
--- a/doc/manuals/Equalizer12band.html
+++ b/doc/manuals/Equalizer12band.html
@@ -28,7 +28,7 @@
<p>
Calf Equalizers are designed to give you the most control over your frequency response. The peak filters can add or subtract <strong>up to 36dB at a really high Q</strong> to your signal. This can result in a self resonating tone in comparison to a nearly complete removal of a single narrow band.
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
<b>Please note:</b><br/>
<strong>All values stated here are not the wisdom of mankind</strong>. They should only act as an indicator to have a look at or to give you some inspiration for your own experiments.
diff --git a/doc/manuals/Equalizer5band.html b/doc/manuals/Equalizer5band.html
index 4097593..c4cc7b0 100644
--- a/doc/manuals/Equalizer5band.html
+++ b/doc/manuals/Equalizer5band.html
@@ -27,7 +27,7 @@
<p>
Calf Equalizers are designed to give you the most control over your frequency response. The peak filters can add or subtract <strong>up to 36dB at a really high Q</strong> to your signal. This can result in a self resonating tone in comparison to a nearly complete removal of a single narrow band.
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
<strong>Please refer to the <a href="Equalizer12band.html" title="Equalizer 12 Band">Equalizer 12 Band manual</a> for more information on equalization.</strong>
</p>
diff --git a/doc/manuals/Equalizer8band.html b/doc/manuals/Equalizer8band.html
index 0058a00..d6ef558 100644
--- a/doc/manuals/Equalizer8band.html
+++ b/doc/manuals/Equalizer8band.html
@@ -20,7 +20,7 @@
<p>
<strong>Please refer to the <a href="Equalizer12band.html" title="Equalizer 12 Band">Equalizer 12 Band manual</a> for a description of the filters.</strong>
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
<strong>Please refer to the <a href="Equalizer12band.html" title="Equalizer 12 Band">Equalizer 12 Band manual</a> for more information on equalization.</strong>
</p>
diff --git a/doc/manuals/Exciter.html b/doc/manuals/Exciter.html
index 7a3d96d..0acf9ae 100644
--- a/doc/manuals/Exciter.html
+++ b/doc/manuals/Exciter.html
@@ -14,7 +14,7 @@
<p>
An Exciter is used to produce high sound that is not present in the original signal. This is done by creating harmonic distortions of the signal which are restricted in range and added to the original signal. An Exciter raises the upper end of an audio signal without simply raising the higher frequencies like an equalizer would do to create a more "crisp" or "brilliant" sound.
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<ul>
<li>Use the exciter in the master channel of your audio suite to bring some air, brilliance or brightness to your mix</li>
<li>Add back some brightness to old digitalized recordings</li>
diff --git a/doc/manuals/Filter.html b/doc/manuals/Filter.html
index 09bcdc6..8f824de 100644
--- a/doc/manuals/Filter.html
+++ b/doc/manuals/Filter.html
@@ -17,7 +17,7 @@
<p>
<strong>The quality of the filter</strong> can be chosen in three levels. Every level a filter stage is added. The higher the amount of filter stages the steeper the rolloff of the filter is.
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
<b>Please note:</b><br/>
<strong>All values stated here are not the wisdom of mankind</strong>. They should only act as an indicator to have a look at or to give you some inspiration for your own experiments.
@@ -33,16 +33,16 @@
If you need an acoustic recorded <strong>drumset in modern dry productions</strong> cut away rumbling and booming sounds from the overheads. The lower end of the snaredrum can also be removed from the hihat track. Achieve this with a <strong>highpass somewhere between 300 and 800Hz</strong> (depending on "dryness" level).
</p>
<p>
- If you have some <strong>noise on your e-bass</strong> line (not metal or hardcore - it doesn't really matter there anway) you can cut away everything <strong>above 3-5 kHz</strong>.
+ If you have some <strong>noise on your e-bass</strong> line (not metal or hardcore - it doesn't really matter there anyway) you can cut away everything <strong>above 3-5 kHz</strong>.
</p>
<p>
- To create a <strong>simple oldscool sound</strong> process your signal with a <strong>bandpass around 1000Hz</strong>. More complex sounds could be better done with an equalizer since you have a lot more options to cut away or accentuate the spectrum. Tipps on this point can be found in the <a href="Equalizer12band.html" title="Equalizer 12 Band">Equalizer 12 Band manual</a>.
+ To create a <strong>simple oldschool sound</strong> process your signal with a <strong>bandpass around 1000Hz</strong>. More complex sounds could be better done with an equalizer since you have a lot more options to cut away or accentuate the spectrum. Tips on this point can be found in the <a href="Equalizer12band.html" title="Equalizer 12 Band">Equalizer 12 Band manual</a>.
<h2>Controls</h2>
<ul>
<li><strong>Mode:</strong> Choose the type of the filter</li>
- <li><strong>Resonance:</strong> Add an accentuation to the center frequency. Used on a bandpass the surrounding frequencies are decreased in level and the band gets more narrow, a bandreject is increased to a thin needle</li>
- <li><strong>Frequency:</strong> The center frequency of the filter</li>
- <li><strong>Inertia:</strong> Smooth your automated jumps between frequencies</li>
+ <li><strong>Resonance:</strong> Add an accentuation to the center frequency. Used on a bandpass the surrounding frequencies are decreased in level and the band gets more narrow, a bandreject is narrowed down to a thin needle</li>
+ <li><strong>Frequency:</strong> The center or cut-off frequency of the filter</li>
+ <li><strong>Inertia:</strong> Smoothen your automated jumps between frequencies</li>
</ul>
</div>
</body>
diff --git a/doc/manuals/Filterclavier.html b/doc/manuals/Filterclavier.html
index 1d2cafb..58e913f 100644
--- a/doc/manuals/Filterclavier.html
+++ b/doc/manuals/Filterclavier.html
@@ -14,7 +14,7 @@
<p>
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
</p>
diff --git a/doc/manuals/Flanger.html b/doc/manuals/Flanger.html
index c964d2c..f782ff5 100644
--- a/doc/manuals/Flanger.html
+++ b/doc/manuals/Flanger.html
@@ -14,7 +14,7 @@
<p>
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
</p>
diff --git a/doc/manuals/Gate.html b/doc/manuals/Gate.html
index 514cbec..d2434e6 100644
--- a/doc/manuals/Gate.html
+++ b/doc/manuals/Gate.html
@@ -24,7 +24,7 @@
<p>
The line graph shows exactly what your gate is doing at the moment. <strong>The x-axis shows the input level and the y-axis</strong> displays the output. <strong>The dot</strong> represents the actual level of the detected signal. Here you can see exactly how much your audio is reduced.
</p>
- <h2>Examples and Tipps</h2>
+ <h2>Examples and Tips</h2>
<p>
When it comes down to modern music production todays listeners are used to you need to compress and limit the signal which brings unwanted noise to the foreground. For example compressing the toms of a drumset raises every other signal the microphone received inbetween the hits on the drum. This may be disturbing even without compression so it's useful to reduce the unwanted signals from the particular track. It may be useful to reduce the resonating sound of openly tuned drums as well and make the signal shorter and more "direct".
</p><p>
diff --git a/doc/manuals/Monosynth.html b/doc/manuals/Monosynth.html
index fea600e..50b7015 100644
--- a/doc/manuals/Monosynth.html
+++ b/doc/manuals/Monosynth.html
@@ -14,7 +14,7 @@
<p>
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
</p>
diff --git a/doc/manuals/Multi Chorus.html b/doc/manuals/Multi Chorus.html
index dc507bf..b8f2675 100644
--- a/doc/manuals/Multi Chorus.html
+++ b/doc/manuals/Multi Chorus.html
@@ -14,7 +14,7 @@
<p>
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
</p>
diff --git a/doc/manuals/Multiband Limiter.html b/doc/manuals/Multiband Limiter.html
index 59df892..ea6bd46 100644
--- a/doc/manuals/Multiband Limiter.html
+++ b/doc/manuals/Multiband Limiter.html
@@ -13,11 +13,11 @@
<h2>Functionality</h2>
<p>
The Multiband Limiter splits the incoming signal into different bands according to the settings of the crossover stage and <a href="Limiter.html" alt="Calf - Limiter">limits</a> them individually afterwards before they are summed up again. This signal processor is normally used for mastering a mixdown to bring a lot of loudness and power to your tracks. It keeps the signal <em>always</em> below the threshold to prevent digital equipmenmt from clipping.<br /><br />
- This limiter uses lookahead technology to prevent your signal from distorting. That means that there is a small delay after your signal is processed. Keep in mind that the delay it produces is two times the lookahead time you set.<br /><br />
+ This limiter uses lookahead technology to prevent your signal from getting distorted. That means that the signal is getting delayed by a few milliseconds when it is processed. Keep in mind that the delay it produces is two times the lookahead time you set.<br /><br />
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
- With the <strong>weight</strong> coefficient you can give importance to signals you don't want to loose in the limiting process. E.g. if your high-mid band (containing most of the vocals) starts fading in the background from now and then turn up its weight to let other bands process the gain reduction for reaching the desired limit. Your vocals will remain in the foreground even if heavy gain reduction is necessary. Values below zero will remove weight from a band and means "prefer this band for gain reduction when it comes to harder limitation". The weighting is affecting all bands equally, so setting all knobs to 1 has the same effect as having them all set to 0 - that is to say none.
+ With the <strong>weight</strong> coefficient you can give importance to signals you don't want to lose in the limiting process. E.g. if your high-mid band (containing most of the vocals) starts fading in the background from now and then turn up its weight to let other bands process the gain reduction for reaching the desired limit. Your vocals will remain in the foreground even if heavy gain reduction is necessary. Values below zero will remove weight from a band and means "prefer this band for gain reduction when it comes to harder limitation". The weighting is affecting all bands equally, so setting all knobs to 1 has the same effect as having them all set to 0 - that is to say none.
</p>
<p>
The <strong>ASC</strong> (Automatic Smoothing Control) produces soft gain reduction even if the signal is reduced permanently. Normally the release time would try to reduce the gain reduction to 0 in the set time while a steady reduction (because of hard limiting) needs a release time to the average gain reduction instead of no gain reduction. The result is a slightly smoother signal even on heavy gain reduction. Control the ASC effect via the ASC Level setting. ASC depends on your release time settings and slightly extends the desired time value depending on the average gain reduction. Disabling ASC will result in a slightly higher loudness for the cost of some smoothness. It may be preferred on harsher material.
diff --git a/doc/manuals/Organ.html b/doc/manuals/Organ.html
index 2b4da28..efb8ad0 100644
--- a/doc/manuals/Organ.html
+++ b/doc/manuals/Organ.html
@@ -14,7 +14,7 @@
<p>
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
</p>
diff --git a/doc/manuals/Phaser.html b/doc/manuals/Phaser.html
index 89ab85e..1e639be 100644
--- a/doc/manuals/Phaser.html
+++ b/doc/manuals/Phaser.html
@@ -14,7 +14,7 @@
<p>
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
</p>
diff --git a/doc/manuals/Pulsator.html b/doc/manuals/Pulsator.html
index cc32e04..2c8699c 100644
--- a/doc/manuals/Pulsator.html
+++ b/doc/manuals/Pulsator.html
@@ -22,7 +22,7 @@
<p>
A <strong>mono switch</strong> forces Pulsator to use <strong>autopanner input stage</strong>, where both left and right channels are merged and redistributed to the amplifier stage again. Otherwise it has to be called "autobalancer" since a panoramic fader needs a mono signal at input. Leaving "Mono-in" switch untouched doesn't affect the input signal at all.
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
Strange effects can be achieved with <strong>square or saw waveforms</strong>. Try it with a setting matching your bpm on a crushed drum track or on a synth pad with delay. You will get your frequency if you divide your bpm by 60. So 120 bpm will result in 2Hz which matches the quarters. If it should wobble on the eighths, halve the frequency. If you want a triplet feeling, divide the quarter freqency by 4 and multiply it with 3 afterwards.
</p><p>
diff --git a/doc/manuals/Reverb.html b/doc/manuals/Reverb.html
index 532dd22..0845970 100644
--- a/doc/manuals/Reverb.html
+++ b/doc/manuals/Reverb.html
@@ -14,7 +14,7 @@
<p>
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
</p>
diff --git a/doc/manuals/Rotary Speaker.html b/doc/manuals/Rotary Speaker.html
index 2e44ec4..a5d8828 100644
--- a/doc/manuals/Rotary Speaker.html
+++ b/doc/manuals/Rotary Speaker.html
@@ -14,7 +14,7 @@
<p>
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
</p>
diff --git a/doc/manuals/Saturator.html b/doc/manuals/Saturator.html
index 1634439..54d29ae 100644
--- a/doc/manuals/Saturator.html
+++ b/doc/manuals/Saturator.html
@@ -14,7 +14,7 @@
<p>
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
</p>
diff --git a/doc/manuals/Vintage Delay.html b/doc/manuals/Vintage Delay.html
index db19f50..f7eeb79 100644
--- a/doc/manuals/Vintage Delay.html
+++ b/doc/manuals/Vintage Delay.html
@@ -14,7 +14,7 @@
<p>
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
</p>
diff --git a/doc/manuals/_blank.html b/doc/manuals/_blank.html
index d5f9bec..cf4779d 100644
--- a/doc/manuals/_blank.html
+++ b/doc/manuals/_blank.html
@@ -14,7 +14,7 @@
<p>
</p>
- <h2>Tipps</h2>
+ <h2>Tips</h2>
<p>
</p>
--
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