tation of audio is necessarily an abstraction, it has the advantage that the observer can "visit" the image according to her will. For instance, she may see a note having a certain undesirable (or desirable) property; find the same trait in another note of the same pitch; formulate a hypothesis of systematic error (or accuracy); and validate or refute this theory on subsequent notes. In contrast, audio data must be digested nearly at the rate it comes into the ear. We apply the "face the music" approach to the practice of intonation -- the precise tuning of frequencies corresponding to different musical pitches. While good