{"diffoscope-json-version": 1, "source1": "/srv/reproducible-results/rbuild-debian/r-b-build.g8hjYgRi/b1/pmw_5.22-1_amd64.changes", "source2": "/srv/reproducible-results/rbuild-debian/r-b-build.g8hjYgRi/b2/pmw_5.22-1_amd64.changes", "unified_diff": null, "details": [{"source1": "Files", "source2": "Files", "unified_diff": "@@ -1,4 +1,4 @@\n \n  5e98c7a7b3545212424ef7e16b33d90f 506532 debug optional pmw-dbgsym_5.22-1_amd64.deb\n- 01e80e8a7c4940e97477a8c326c4aea2 942176 doc optional pmw-doc_5.22-1_all.deb\n+ 445ecc4ca4b5f3494c7aadbae83e726c 934916 doc optional pmw-doc_5.22-1_all.deb\n  3ae2053da32de4e5d8e9ddb30da1d271 411872 tex optional pmw_5.22-1_amd64.deb\n"}, {"source1": "pmw-doc_5.22-1_all.deb", "source2": "pmw-doc_5.22-1_all.deb", "unified_diff": null, "details": [{"source1": "file list", "source2": "file list", "unified_diff": "@@ -1,3 +1,3 @@\n -rw-r--r--   0        0        0        4 2023-12-22 00:05:36.000000 debian-binary\n--rw-r--r--   0        0        0     2528 2023-12-22 00:05:36.000000 control.tar.xz\n--rw-r--r--   0        0        0   939456 2023-12-22 00:05:36.000000 data.tar.xz\n+-rw-r--r--   0        0        0     2524 2023-12-22 00:05:36.000000 control.tar.xz\n+-rw-r--r--   0        0        0   932200 2023-12-22 00:05:36.000000 data.tar.xz\n"}, {"source1": "control.tar.xz", "source2": "control.tar.xz", "unified_diff": null, "details": [{"source1": "control.tar", "source2": "control.tar", "unified_diff": null, "details": [{"source1": "./control", "source2": "./control", "unified_diff": "@@ -1,13 +1,13 @@\n Package: pmw-doc\n Source: pmw\n Version: 1:5.22-1\n Architecture: all\n Maintainer: Wouter Verhelst <wouter@debian.org>\n-Installed-Size: 1019\n+Installed-Size: 1012\n Depends: pmw\n Section: doc\n Priority: optional\n Homepage: https://philiphazel.github.io/pmw/\n Description: Philip's Music Writer - Documentation\n  This package contains the documentation, in PDF format, of pmw, as well\n  as a number of examples.\n"}, {"source1": "./md5sums", "source2": "./md5sums", "unified_diff": null, "details": [{"source1": "./md5sums", "source2": "./md5sums", "comments": ["Files differ"], "unified_diff": null}]}]}, {"source1": "xz --list", "source2": "xz --list", "unified_diff": "@@ -1,13 +1,13 @@\n   Streams:           1\n   Blocks:            1\n-  Compressed size:   2528 B\n+  Compressed size:   2524 B\n   Uncompressed size: 20.0 KiB (20480 B)\n   Ratio:             0.123\n   Check:             CRC64\n   Stream Padding:    0 B\n   Streams:\n     Stream    Blocks      CompOffset    UncompOffset        CompSize      UncompSize  Ratio  Check      Padding\n-         1         1               0               0            2528           20480  0.123  CRC64            0\n+         1         1               0               0            2524           20480  0.123  CRC64            0\n   Blocks:\n     Stream     Block      CompOffset    UncompOffset       TotalSize      UncompSize  Ratio  Check\n-         1         1              12               0            2492           20480  0.122  CRC64\n+         1         1              12               0            2488           20480  0.121  CRC64\n"}]}, {"source1": "data.tar.xz", "source2": "data.tar.xz", "unified_diff": null, "details": [{"source1": "data.tar", "source2": "data.tar", "unified_diff": null, "details": [{"source1": "file list", "source2": "file list", "unified_diff": "@@ -85,10 +85,10 @@\n -rw-r--r--   0 root         (0) root         (0)      171 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex65\n -rw-r--r--   0 root         (0) root         (0)      224 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex66\n -rw-r--r--   0 root         (0) root         (0)      175 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex67\n -rw-r--r--   0 root         (0) root         (0)     1045 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex68\n -rw-r--r--   0 root         (0) root         (0)      154 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex69\n -rw-r--r--   0 root         (0) root         (0)      171 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex70\n -rw-r--r--   0 root         (0) root         (0)      103 2023-12-21 17:01:20.000000 ./usr/share/doc/pmw-doc/examples/ex71\n--rw-r--r--   0 root         (0) root         (0)   901891 2023-12-22 00:05:36.000000 ./usr/share/doc/pmw-doc/spec.pdf.gz\n+-rw-r--r--   0 root         (0) root         (0)   894707 2023-12-22 00:05:36.000000 ./usr/share/doc/pmw-doc/spec.pdf.gz\n drwxr-xr-x   0 root         (0) root         (0)        0 2023-12-22 00:05:36.000000 ./usr/share/doc-base/\n -rw-r--r--   0 root         (0) root         (0)      230 2023-08-26 10:37:00.000000 ./usr/share/doc-base/pmw-doc.pmw-doc\n"}, {"source1": "./usr/share/doc/pmw-doc/spec.pdf.gz", "source2": "./usr/share/doc/pmw-doc/spec.pdf.gz", "unified_diff": null, "details": [{"source1": "spec.pdf", "source2": "spec.pdf", "unified_diff": null, "details": [{"source1": "pdftotext {} -", "source2": "pdftotext {} -", "unified_diff": "@@ -1060,15 +1060,15 @@\n standard accidental notation in PMW. A sharp is represented by the character #, which is easily\n remembered. Unfortunately, there are no keys on the computer keyboard that resemble flats or naturals, so instead the two keys that are next to # on some keyboards were chosen: $ for a flat (think\n \u2018dollar\u2019 for \u2018down\u2019) and % for a natural. For example, the key signatures C sharp minor and G flat\n major are coded as C#m and G$ respectively.\n time 3/4\n The sixth directive sets the time signature. If no time signature is given, 4/4 is assumed. As well as the\n usual numeric time signatures, the letters C and A can be given, signifying \u2018common\u2019 and \u2018alla breve\u2019\n-time. These are output as ^ and _ respectively.\n+time. These are output as C and _ respectively.\n unfinished\n \n The \ufb01nal directive tells PMW that this is not a complete piece of music; this stops it from putting a\n thick bar line at the end. The header ends and the stave data begins with the \ufb01rst line that starts with a\n square bracket:\n [stave 1 treble 1 text underlay]\n You will notice that a bit further down there is a line containing just [endstave]. This marks the end of\n@@ -2645,15 +2645,15 @@\n the start of a slur up and to the right one might have &sa(/u4/r2). There is also a macro called es\n to end a slur, where again options may be given as an argument.\n 7.3.3 Octavo marks\n The macros S8a and S8b notate the start of an \u20188va\u2019 marking above or below the stave, respectively,\n with E8a and E8b marking the end. There a discussion of how these work below (\u261e 11.12.5).\n 7.3.4 Piano pedal marks\n \n-The macro ped puts a conventional \u00a3 sign below the stave, and pedstar outputs $. There also\n+The macro ped puts a conventional \u00a3 sign below the stave, and pedstar outputs \u22c6. There also\n three macros for pedal markings with horizontal lines: &pedline follows \u00a3 with a horizontal line\n that continues till &pedend is reached. Intermediate \u2018blips\u2019 can be created with &pedblip. Here is\n a simple example:\n &ped C e &pedstar g | &pedline Cdg | &pedblip geC &pedend |\n \n 4 3 6 6 3 5 6 6 6 3\n 4\n@@ -3241,36 +3241,36 @@\n for individual staves is speci\ufb01ed with [transpose]. If more than one transposition is present, the effect\n is cumulative.\n PMW transposes key signatures as well as notes, but there is a special pseudo-key N that does not\n transpose. This is described below. Custom key signatures (X1 to X10) can be transposed, but\n additional information, supplied by one or more keytranspose directives (\u261e 10.1.59), must be supplied for this to work.\n A piece that is to be transposed should be input with its original key signature(s) speci\ufb01ed in the usual\n way. When [transpose] is used to transpose a single stave, only those key signatures that follow the\n-directive in the input are transposed. When transposing a non-custom key signature, the key Fzz% major\n-is used in transposed output only if specially requested via the transposedkey directive, Gz ' being\n+directive in the input are transposed. When transposing a non-custom key signature, the key Fzz\u266f major\n+is used in transposed output only if specially requested via the transposedkey directive, Gz \u266d being\n used by default. A number of other keys are also not used by default but can be specially requested.\n The complete list is as follows:\n-Czz' major instead of the default\n-Cz % major\n+Czz\u266d major instead of the default\n+Cz \u266f major\n \"\n-Fz % major\n+Fz \u266f major\n \"\n-Azz' minor\n+Azz\u266d minor\n \"\n-Az % minor\n+Az \u266f minor\n \"\n-Dz % minor\n+Dz \u266f minor\n \"\n \n B major\n-Dzz' major\n-Gzz' major\n-Gzz% minor\n-Bzz' minor\n-Ezz' minor\n+Dzz\u266d major\n+Gzz\u266d major\n+Gzz\u266f minor\n+Bzz\u266d minor\n+Ezz\u266d minor\n \n The transposedkey directive also has uses when transposing music in which the key signature has\n fewer accidentals than the tonality.\n Except when using the pseudo-key N, if a note is speci\ufb01ed with an accidental, an accidental will\n always be present by default after transposition, whether or not it is strictly necessary. This ensures\n that \u2018cautionary accidentals\u2019 are preserved over transposition. There is an option to suppress this\n action for individual notes, and the [transposedacc] and transposedacc directives can be used to\n@@ -3291,37 +3291,37 @@\n \u2022 If the new note\u2019s accidental is redundant, discard it, except in one speci\ufb01c circumstance: when a\n note that is notated with a natural is the \ufb01rst non-tied note in the bar. The reasoning behind this is\n that the original natural must be \u2018cautionary\u2019. Apart from this special case, the behaviour is as if\n [transposedacc noforce] has been applied. However, an accidental can be forced for individual\n notes by following the original accidental with ^+, for example #^+a.\n \u2022 Do not use double sharps or double flats unless the original note had a double sharp or double flat,\n respectively.\n-\u2022 Convert new notes Ezz% and Bzz% into F and C, respectively.\n-\u2022 Convert new notes Czz' and Fzz' into B and E respectively.\n+\u2022 Convert new notes Ezz\u266f and Bzz\u266f into F and C, respectively.\n+\u2022 Convert new notes Czz\u266d and Fzz\u266d into B and E respectively.\n 8.10.2 Transposition of key and chord names\n PMW can automatically transpose the names of standard keys and chords in text strings. This is\n achieved by means of a special escape sequence \\t.\n \"Sonata in \\tE$\"\n \n-In this example, the sequence \\tE$ is replaced by Ez ' when no transposition is taking place and by F\n+In this example, the sequence \\tE$ is replaced by Ez \u266d when no transposition is taking place and by F\n when a transposition of +2 is set. Full details of string escape sequences, including key and chord\n name transpostion, are given in section 8.15.\n \n 8.11 Time signatures\n Time signatures are speci\ufb01ed by separating two numbers with a slash. For example, 3/4 speci\ufb01es\n waltz time. PMW imposes no limitations on the values of the numbers used in time signatures. There\n are two special time signatures that are speci\ufb01ed as letters:\n-\u2022 The letter C speci\ufb01es \u2018common time\u2019 \u2013 equivalent to 4/4 but output using the conventional character ^.\n+\u2022 The letter C speci\ufb01es \u2018common time\u2019 \u2013 equivalent to 4/4 but output using the conventional character C.\n \n \u2022 The letter A speci\ufb01es \u2018alla breve\u2019 \u2013 equivalent to 2/2 but output using the conventional \u2018cut time\u2019\n character _.\n \n A time signature can be preceded by a number and an asterisk. This has the effect of multiplying the\n number of notes in the bar for the purposes of checking bar lengths. However, the time signature is\n-output as given. Thus, for example, the time signature 2*C is shown as ^, but expects there to be four\n+output as given. Thus, for example, the time signature 2*C is shown as C, but expects there to be four\n minims rather than four crotchets in a bar, and 2*3/4 is shown as 3/4 but expects three minims in a\n bar.\n There are options for suppressing time signatures at various places, and the printtime directive can be\n used to specify exactly how certain time signatures are to be shown. For example, 8/8 could appear as\n 3+3+2/8, or only a single, large number could be used.\n By default, numerical time signatures use the bold font. However, the timefont header directive can\n specify an alternative. In addition, if printtime is used, the normal font-changing escape sequences\n@@ -3738,16 +3738,16 @@\n When a string that involves a transposable name appears in a heading or footing line, only external\n transposition speci\ufb01ed by the -t command line option plus any transpose header directives that are\n earlier in \ufb01le are applied to it, because the transposition is performed when the string is read. It is also\n important to specify the key signature before the transposable heading or footing, in case it affects the\n result. For example, consider this directive:\n heading \"Sonata in \\tC minor\"\n If no key is speci\ufb01ed before this line in an input \ufb01le, and a transposition of +1 is applied, the result is\n-\u2018Sonata in Dzz' minor\u2019, because PMW assumes the key of C major. However, if the key is set to C\n-minor before the heading line, the result of transposing by +1 is \u2018Sonata in Czz% minor\u2019.\n+\u2018Sonata in Dzz\u266d minor\u2019, because PMW assumes the key of C major. However, if the key is set to C\n+minor before the heading line, the result of transposing by +1 is \u2018Sonata in Czz\u266f minor\u2019.\n 8.15.8 The transposition setting\n Another use for the \\t escape sequence is to insert the transposition value into a string. In this case,\n \\t must be followed by a backslash. For example:\n heading \"(Transposed by \\t\\ semitones)\"\n The insertion happens when the string is read.\n 8.15.9 Font changes\n Roman, italic, bold and bold italic fonts are available for all text. By default, these use the Times\n@@ -5491,15 +5491,15 @@\n PMW puts a double bar line before a change of key by default. The keysinglebar directive can be\n used to request a single bar line instead; keydoublebar can be used to reset the default for a new\n movement.\n 10.1.59 Keytranspose\n When transposing a piece, for each transposition amount, PMW needs to know two things: the new\n key and the number of letter changes for each note. For the standard keys this information is built in.\n For example, if you transpose the key of B up by a semitone, the result is C, and every note has its\n-letter name increased by one, whereas if the transposition is down a semitone, the new key is Bz ' with\n+letter name increased by one, whereas if the transposition is down a semitone, the new key is Bz \u266d with\n no change of letter.\n For custom keys de\ufb01ned by the makekey directive (\u261e 10.1.69) the transposition information must be\n explicitly supplied in one or more keytranspose directives. This directive is followed by the name of\n a key and then any number of triples that specify a transposition amount, a new key, and the number\n of letter changes. An equals sign and a slash are used as separators. For example:\n keytranspose X1 2=X2/1 -1=X3/0\n This example speci\ufb01es that if the custom key X1 is transposed up by 2 semitones, the new key is X2\n@@ -6517,22 +6517,22 @@\n If transposedacc is followed by the word \u2018noforce\u2019, it changes this behaviour such that accidentals\n are shown only when strictly necessary. The standard behaviour can be reinstated for subsequent\n movements by specifying \u2018force\u2019. There is also a [transposedacc] stave directive that can alter the\n behaviour within a single stave. It is possible to force either behaviour for individual notes (\u261e\n 11.6.7). For the special treatment of the pseudo-key N, see section 8.10.1.\n 10.1.135 Transposedkey\n When there is a choice of standard key signature after transposition, PMW uses a \ufb01xed default. For\n-example, it uses the key of Gzz' rather than Fzz%. There is a complete list of the relevant key signatures\n+example, it uses the key of Gzz\u266d rather than Fzz\u266f. There is a complete list of the relevant key signatures\n in section 8.10. This list also applies when key or chord names in strings are being transposed. The\n default can be overridden by specifying:\n transposedkey <key1> use <key2>\n This means \u2018if transposing a key signature yields <key1>, use <key2> instead\u2019.\n transposedkey G$ use F#\n \n-This example ensures transposition into Fzz% instead of Gz '. A transposition of zero is different to no\n+This example ensures transposition into Fzz\u266f instead of Gz \u266d. A transposition of zero is different to no\n transposition at all, and if it is speci\ufb01ed, any settings of transposedkey are consulted. This makes it\n easy to process the same piece of music with or without a key signature. The transposedkey directive\n has other uses when transposing music that is notated using the 18th century convention of fewer\n accidentals in the key signature than in the tonality. It makes it possible to format the transposed\n music either with a modern key signature, or using the same convention.\n 10.1.136 Trillstring\n \n@@ -7536,15 +7536,15 @@\n The options that start with the letter n adjust the notehead setting for an individual note. The default is\n set by the [noteheads] stave directive, whose description contains the full details (\u261e 12.2.57). In a\n chord, these options apply only to the note on which they appear, so it is possible to have a mixture of\n noteheads in a chord.\n 11.6.18 General accent notation\n The item \\a<n>\\ is a general notation for specifying accents. The values that <n> may take are:\n 1 staccato dot >\n-2 horizontal bar T\n+2 horizontal bar \u0127\n 3 horizontal wedge U\n 4 small, closed vertical wedge Y\n 5 large, open vertical wedge W\n 6 string down bow e\n 7 string up bow g\n 8 ring (harmonic) \u0086\n 9 \u2018start of bar\u2019 accent \u009c\n@@ -8994,15 +8994,15 @@\n 2\n ,\n @\n !\n CCCCCCCCCCCC\n @\n \n-Character 136 is the \u0088 character, and character 96 is the tilde `zzz, which gives a wiggly line when\n+Character 136 is the \u0088 character, and character 96 is the tilde \u02dczzz, which gives a wiggly line when\n repeated. The invisible \ufb01nal syllable is moved right eight points to ensure that the wiggly line covers\n the \ufb01nal note. If such features are required in several places in a piece, the best thing to do is to use\n the macro facility to save having to type the complicated strings each time. This approach is taken in\n the next example.\n The conventional octave mark of 8va followed by a line of dashes can be handled using an overlay\n string. However, it is normal to have a small \u2018jog\u2019 on the \ufb01nal dash to indicate the end of the section.\n To achieve this, an additional feature is available. If an underlay or overlay option string contains a\n@@ -9238,15 +9238,15 @@\n 12.2.16 [Breakbarline]\n An occurrence of this directive causes the bar line at the end of the current bar not to be extended\n downwards onto the stave below, unless it is at the end of a system. See also [unbreakbarline].\n 12.2.17 [Cbaritone]\n This speci\ufb01es a C-clef on the 5-th stave line (\u261e 12.1).\n 12.2.18 [Comma]\n \n-The [comma] directive inserts a comma zzzN pause mark above the current stave. See also [tick].\n+The [comma] directive inserts a comma zzz, pause mark above the current stave. See also [tick].\n 12.2.19 [Contrabass]\n This speci\ufb01es a bass clef with a little \u20188\u2019 below it (\u261e 12.1).\n 12.2.20 [Copyzero]\n This directive takes a dimension as an argument, and adjusts the vertical level of any stave zero\n material in the current bar when stave zero (\u261e 8.16) is overprinting the current stave.\n [copyzero 4]\n This example raises the stave zero material in the current bar by 4 points. It is not necessary for there\n@@ -12149,29 +12149,29 @@\n 1.2\n \n Char\n !\n \"\n #\n \n-$\n-%\n+\u22c6\n+\u266f\n &\n-'\n-(\n+\u266d\n+\u266e\n )\n \n *\n +\n ,\n .\n /\n \n 0\n-1\n+\u02d8\n 2\n \n 3\n \n 4\n \n 5\n@@ -12403,37 +12403,37 @@\n \n I\n J\n K\n \n L\n M\n-N\n+,\n O\n P\n Q\n R\n S\n-T\n+\u0127\n U\n \n V\n W\n X\n Y\n Z\n \n [\n \n \\\n ]\n-^\n+C\n \n _\n-`\n+\u02dc\n a\n b\n \n c\n d\n e\n \n@@ -12623,31 +12623,31 @@\n 1.0\n \n f\n g\n h\n i\n \n-j\n+7\n \n-k\n+4\n \n l\n \n m\n \n n\n o\n p\n q\n r\n \n-s\n+6\n \n-t\n+\u0121\n u\n \n \u0080\n \u0082\u0081\n \n \u0083\n \u0084\n@@ -12661,15 +12661,15 @@\n \u008c\n \n \u008d\n \n \u008e\n \u008f\n \u0090\n-\u0091\n+\u1e7d\n \u0092\n \n \u0093\n \n inverted down bow\n up bow\n inverted up bow\n@@ -12865,15 +12865,15 @@\n \n \u00af\n \n \u00b0\n \n \u00b1\n \u00b2\n-\u00b3\n+5\n \n \u00b4\n \u00b5\n \u00b6\n \u00b7\n \u00b8\n \n@@ -12963,15 +12963,15 @@\n 10.0\n 10.0\n 10.0\n 10.0\n \n \u00c2\n \u00c3\n-\u00c4\n+\u0209\n \u00c5\n \u00c6\n \u00c7\n \n \u00c8\n \n \u00c9\n"}]}]}]}, {"source1": "xz --list", "source2": "xz --list", "unified_diff": "@@ -1,13 +1,13 @@\n   Streams:           1\n   Blocks:            1\n-  Compressed size:   917.4 KiB (939456 B)\n+  Compressed size:   910.4 KiB (932200 B)\n   Uncompressed size: 1020.0 KiB (1044480 B)\n-  Ratio:             0.899\n+  Ratio:             0.893\n   Check:             CRC64\n   Stream Padding:    0 B\n   Streams:\n     Stream    Blocks      CompOffset    UncompOffset        CompSize      UncompSize  Ratio  Check      Padding\n-         1         1               0               0          939456         1044480  0.899  CRC64            0\n+         1         1               0               0          932200         1044480  0.893  CRC64            0\n   Blocks:\n     Stream     Block      CompOffset    UncompOffset       TotalSize      UncompSize  Ratio  Check\n-         1         1              12               0          939420         1044480  0.899  CRC64\n+         1         1              12               0          932164         1044480  0.892  CRC64\n"}]}]}]}