More little stuff.

doc/1-intro/concepts.md

@@ -32,5 +32,5 @@ The **order list** is a smaller spreadsheet showing the overall song structure.
 Different chips have different capabilities. Even within the same chip, each channel may have its own ways of making sound.
 - Some channels use one or more waveform **generators** (sine, square, noise...) to build up a sound.
 - Of special note are **[FM (frequency modulation)](../4-instrument/fm.md)** channels, which use a number of generators called **operators** that can interact to make very complex sounds.
-- Some channels use **[samples](../6-sample/README.md)** – recordings of sounds, often with defined loop points to allow a note to sustain.
+- Some channels use **[samples](../6-sample/README.md)** - recordings of sounds, often with defined loop points to allow a note to sustain.
 - Some channels use **[wavetables](../5-wave/README.md)**, which are like very short samples of fixed length that automatically loop.

doc/2-interface/song-info.md

@@ -11,7 +11,7 @@ All of this metadata will be included in a VGM export. This isn't the case for a
 
 # subsongs
 
-This window allows one to create **subsongs** – multiple individual songs within a single file. Each song has its own order list and patterns, but all songs within a file share the same chips, samples, and so forth.
+This window allows one to create **subsongs** - multiple individual songs within a single file. Each song has its own order list and patterns, but all songs within a file share the same chips, samples, and so forth.
 
 - The drop-down box selects the current subsong.
 - The **`+`** button adds a new subsong.

doc/4-instrument/README.md

@@ -94,6 +94,6 @@ Finally, the sequence of values can be directly edited in the text box at the bo
 ![LFO macro editor](macro-LFO.png)
 
 - **Bottom** and **Top** determine the range of values generated by the macro. (Bottom can be larger than Top to invert the waveform!)
-- **Speed** is how quickly the values change – the frequency of the oscillator.
+- **Speed** is how quickly the values change - the frequency of the oscillator.
 - **Phase** is which part of the waveform the macro will start at, measured in 1/1024 increments.
 - **Shape** is the waveform used. Triangle is the default, and Saw and Square are exactly as they say.

doc/4-instrument/snes.md

@@ -39,8 +39,8 @@ if envelope is off, select gain mode as described below.
   - echo: enables echo.
   - noise: enables noise generator.
 - **Gain**: sets mode and value of gain.
-  - 0 – 127: direct gain from 0 to 127
-  - 128 – 159: linear gain from -0 to -31
-  - 160 – 191: exponential gain from -0 to -31
-  - 192 – 223: linear gain from +0 to +31
-  - 224 – 255: exponential gain from +0 to +31
+  - 0 - 127: direct gain from 0 to 127
+  - 128 - 159: linear gain from -0 to -31
+  - 160 - 191: exponential gain from -0 to -31
+  - 192 - 223: linear gain from +0 to +31
+  - 224 - 255: exponential gain from +0 to +31

doc/7-systems/nes.md

@@ -13,7 +13,7 @@ also known as Famicom. it is a five-channel sound generator: first two channels
     - `0`: 12.5%
     - `1`: 25%
     - `2`: 50%
-    - `3`: 75% (inverted)
+    - `3`: 75%
   - may be `0` or `1` for the noise channel:
     - `0`: long (15-bit LFSR, 32767-step)
     - `1`: short (9-bit LFSR, 93-step)

doc/7-systems/pcspkr.md

@@ -1,6 +1,6 @@
 # PC Speaker
 
-40 years of one square beep – and still going! Single channel, no volume control...
+40 years of one square beep - and still going! Single channel, no volume control...
 
 # real output
 

doc/7-systems/pet.md

@@ -2,7 +2,7 @@
 
 a computer from 1977 which was leader on US schools back then. subsequently the Apple II took its throne.
 
-maybe no better than a computer terminal, but somebody discovered a way to update the screen at turbo rate – and eventually its sound "chip" (it was nothing more than an 8-bit shift register) was abused as well.
+maybe no better than a computer terminal, but somebody discovered a way to update the screen at turbo rate - and eventually its sound "chip" (it was nothing more than an 8-bit shift register) was abused as well.
 
 some of these didn't even have sound...
 

doc/7-systems/ricoh.md

@@ -1,6 +1,6 @@
 # Ricoh RF5C68
 
-YM2612's sidekick – poor man's SNES DSP. 8-channel PCM sample-based synthesizer used in Sega CD, Fujitsu FM Towns and some of Sega's arcade machines. supports up to 64KB of external PCM data.
+YM2612's sidekick - poor man's SNES DSP. 8-channel PCM sample-based synthesizer used in Sega CD, Fujitsu FM Towns and some of Sega's arcade machines. supports up to 64KB of external PCM data.
 
 # effects
 

doc/7-systems/x1-010.md

@@ -8,7 +8,7 @@ Allumer rebadged it for their own arcade hardware.
 it has 16 channels, which can all be switched between PCM sample or wavetable playback mode.
 wavetable playback needs to paired with envelope, similar to AY PSG, but shapes are stored in RAM and as such are user-definable.
 
-in Furnace, this chip can be configured for original arcade mono output or stereo output – it simulates early 'incorrect' emulation on some mono hardware, but it is also based on the assumption that each channel is connected to each output.
+in Furnace, this chip can be configured for original arcade mono output or stereo output - it simulates early 'incorrect' emulation on some mono hardware, but it is also based on the assumption that each channel is connected to each output.
 
 # waveform types