Gold Medal Software 2/Gold Medal Software Volume 2 (Gold Medal) (1994).iso/os2/pmpiano.arj/PIANO.INF

OS/2 Help File | 1994-01-02 | 29KB | 748 lines

ΓòÉΓòÉΓòÉ 1. Introduction ΓòÉΓòÉΓòÉ

Piano is an Presentation Manager application (for OS/2 2.x) that turns your
computer into a MIDI controller.  In other words, it allows you to play notes
on external MIDI sound modules from your computer via a MIDI Interface.  If you
have a sound card with a built-in sound module that is triggered via MIDI notes
(such as a Turtle Beach MultiSound or Roland RAP-10, SCC-1, or other such
cards, with appropriate OS/2 driver), then you can play those as well.  Piano
also allows you to generate many other types of MIDI data such as Volume, Pan,
Reverb Level, Chorus Level, Pitch Wheel, Modulation Wheel, AfterTouch (Key
Pressure), and Channel Pressure so that if your MIDI sound module supports
these codes, you can control the module appropriately.


Some of the words in this manual are highlighted in bold text, such as Program
Change.  These are words that refer to controls (ie, buttons, sliders,
checkboxes) which you manipulate in the Piano window.  Other words are in
colored text such as Channel Pressure.  These refer to MIDI messages (ie,
data).  Underlined words, such as Pitch Wheel, refer to hardware, such as if I
was referring to the Pitch Wheel on your MIDI unit.  Words that are in colored
text such as as Read This are meant to be emphasized.  Words in italics refer
to aspects of OS/2.

This is version 1.0 copyright 1993 by Jeff Glatt.


ΓòÉΓòÉΓòÉ 2. Driver Requirements and Setup ΓòÉΓòÉΓòÉ

Piano requires that your MIDI interface or Sound Card has an OS/2 driver.
Information sent to this driver via DosWrite() must be interpreted as MIDI
data.  (It would have to be a rather strange driver if it didn't interpret data
in this way, but if you're using a sound card with WAVE playback in addition to
a MIDI interface, it's conceivable that the Sound Card might interpret
DosWrite() data to be WAVE data).

You must also know your driver's internal name (which might be different than
the filename of the driver).  Often, this is the driver filename minus the .SYS
extension.  For example, I use a Roland RAP-10 audio card which has an MPU-401
compatible MIDI interface built into it.  There is a shareware OS/2 driver
available for the MPU-401 by the following manufacturer:

Delta Music Systems
2615 Ginghamsburg-Frederick Rd.
Tipp City, OH 45371

This driver's internal name is MPU401.  It properly interprets DosWrite() data
as MIDI data, and ships it out of any MPU-401 compatible interface.  So, you
can use this driver with Piano, and any card that has an MPU-401 compatible
interface (in hardware, not just a software driver simulation).

By default, Piano will use that driver, and so you don't have to supply it with
that name.  If you want Piano to use a different driver, then you must supply
the name of the driver to Piano.  If you run piano from an OS/2 Command Prompt,
then simply type the name of your driver as an argument.

If you run Piano from a Desktop icon, open up the Settings menu for that
program.  In the Parameters field, type the name of your driver.  Now whenever
you run Piano from the Desktop, it will use that driver.

Note:  Remember to omit the .SYS extension from the driver name.

If Piano can't open the specified driver, it will display an error dialog box.
At this point, the program will run, but it won't really do anything.


ΓòÉΓòÉΓòÉ 3. MultiTimbral Modules ΓòÉΓòÉΓòÉ

Some MIDI modules are "multi-timbral".  These means that the module can listen
to all 16 MIDI channels, and play any 16 of its "patches" simultaneously, which
each of the 16 patches set to a different MIDI channel.  It's as if the module
had 16 smaller modules inside of it, with each being able to play a patch on
its own MIDI channel.

So is there a name for these 16 "sub-modules" inside of your MIDI module?
Well, different manufacturers refer to them in different ways, and I'm going to
use the Roland preference, a Part.  A Roland multi-timbral module has 16 Parts
inside of it, and each usually has its own settings for such things as Volume,
Panning, Reverb and Chorus levels, Brightness, and its MIDI channel (ie, which
MIDI data the Part "plays").  Furthermore, each Part has its own way of
reacting to MIDI data such as Channel Pressure (often used to adjust volume or
brightness), MOD Wheel controller (often used for a vibrato effect), and Pitch
Wheel (used to slide the pitch up and down).  For example, one Part can cause
its patch to sound brighter when it receives Channel Pressure messages that
increase in value.  On the other hand, another Part could make its volume
increase when it receives increasing Channel Pressure messages.  These Parts
are completely independent of each other.  Just because one Part is receiving a
Pitch Wheel message and bending its pitch doesn't mean that another Part has to
do the same.


ΓòÉΓòÉΓòÉ 4. General MIDI Standard ΓòÉΓòÉΓòÉ

Nowadays, most MIDI modules have specific Patches setup in a specific order
according to a standard known as General MIDI (or GM).  All this means is that
on every GM module, a Piano patch must be the very first patch.  Patch #49 must
be a Flute.  Patch #25 must be a Nylon String Guitar.  There are 128 defined
patches that a GM module must have, in the proper order.  The chart, GM
Patches, shows you the names of all Patches, and their respective Program
Numbers.

Furthermore, all patches must sound a middle C when receiving a MIDI note
number of 60.  This corresponds to setting the QWERTY octave to 6 and pressing
the z key.

If the GM module also has a built-in "drum module" (ie, usually one of 16
Parts), then each of that Drum Part's MIDI notes triggers a different drum
sound.  The assignments of drum sounds to MIDI notes is shown in the chart, GM
Drum Sounds.  The Drum Part is usually set to receive MIDI data on channel 10.


ΓòÉΓòÉΓòÉ 5. Piano Window ΓòÉΓòÉΓòÉ

When run, Piano opens a Presentation Manager window that has a number of
controls that you can operate to do 2 things:

 1. Setup how the QWERTY keyboard operates.  These controls don't change
    settings on your MIDI modules, but rather, affect how your computer
    controls those modules.  In other words, if your computer was a real MIDI
    controller, it would need some means of setting itself to a particular MIDI
    channel(s), and perhaps offer features such as being able to transpose its
    "piano keyboard" (if it were a keyboard controller), etc.  These controls
    setup the controller, rather than the external modules that are slaved to
    the controller.

 2. Directly generate MIDI events with sliders, buttons, and the QWERTY
    keyboard.  These MIDI events are what control and change settings on the
    external modules.

You exit Piano by selecting Close from its System Menu, or double-clicking on
the window upper left corner icon.


ΓòÉΓòÉΓòÉ 5.1. QWERTY Keyboard ΓòÉΓòÉΓòÉ

The QWERTY keyboard is just the bottom 2 rows of your computer keyboard, which
are setup as if they were the black and white keys on a piano keyboard.  The z
key corresponds to a C note.  Therefore, the x key next to it would correspond
to a D note.  You'll note that the s key is above and inbetween the z and x
keys.  As you might expect, this would be a D# key.  This physical piano
keyboard extends all of the way up to the / key which represents a high E.  In
other words, it has an octave and a third range.

When you press down one of these keys, it sends a MIDI Note On message to your
MIDI interface on each of the MIDI channels that you have selected.  The net
result is that it will play this one note on each sound module that is assigned
to one of those selected MIDI channels.

Note:  By default, the QWERTY keyboard is set to output MIDI data on only MIDI
       Channel 1.  If your external module allows you to set its MIDI channel,
       make sure that it is set to the same channel as the QWERTY keyboard (or
       vice versa).

You can even press down several keys simultaneously and play a chord.  For
example, press the z, c, and b keys simultaneously to hear a C Major chord.
When you release the keys, the QWERTY keyboard sends the appropriate Note Off
messages to your MIDI interface on each of the selected MIDI channels.

You'll notice that there is a picture of a piano keyboard in the QWERTY window.
You can move the mouse pointer over one of the keys on this graphical piano,
and click the mouse button 1 to sound that note (ie, in lieu of using the
computer keyboard).  When you release the mouse button, the note stops playing.
(ie, A Note Off is sent).

There is a checkbox for each of the 16 MIDI Channels.  Make sure that a
channel's box is checked if you want the QWERTY keyboard to output upon that
channel.  You can check as many of those channels as desired, and the QWERTY
keyboard will broadcast its notes on all of those channels simultaneously.
Because the QWERTY keyboard is "multi-channel", it allows you to play any
combination of sound modules (set to various MIDI channels), at any time.  So,
you could use the QWERTY keyboard to play your MIDI modules or check the setup
of those modules.

Note:  You must have at least one channel selected in order for any MIDI
       messages to be sent.

By default, the z key is middle C, but you can change the octave that the
QWERTY keyboard plays within by using the Octave spin button.  Click on either
the up or down arrows to increment/decrement the octave, or click into the text
field, type the desired octave (1 to 10), and press ENTER.

If you ever get any "stuck" notes, use the All Notes Off button to turn them
off.  If you really get into big trouble with stuck notes, and out of sync
controllers, click on the Reset button.

By default, MIDI Note On messages are sent with a velocity of 127 (ie, the
highest possible velocity).  Generally, velocity is used to set the volume on a
per note basis, although some modules can use velocity for other effects such
as attack time of a voltage controlled generator (VCA).  Now, your computer
keyboard does not generate velocity information (which is how fast you press
and release the keys).  Piano allows you to set the QWERTY keyboard to one of
12 preset velocity ranges.  The 12 Function keys represent those 12 levels,
with function key 12 being full velocity (ie, 127).  So, you can change the
velocity while you're playing by pressing the function keys.

Note:  OS/2 uses function keys 1 and 10 for its own use.

The mouse buttons 2 and 3 simulate a Hold Pedal, and send MIDI Hold Controller
messages.  When you push the button down (and hold it down), the hold pedal is
on.  When you release the button, the hold pedal is also released.


ΓòÉΓòÉΓòÉ 5.2. MIDI Sliders ΓòÉΓòÉΓòÉ

As mentioned, Piano generates MIDI Note On and Note Off messages on the
selected MIDI channels when you play the QWERTY keyboard.  Virtually all MIDI
modules respond to these messages.  But, there are many more types of MIDI
messages that Piano can generate and send to your MIDI module.  The sliders on
the left side of the window generate some of these different types of MIDI
messages.

Note:  Not all MIDI sound modules respond to all of these types of MIDI
       messages.  In particular, old and very cheap equipment may not respond
       to any of these messages.  If you get a response to the QWERTY keyboard
       (ie, the MIDI module makes some sound), but a particular slider doesn't
       seem to be having any effect, then you're probably dealing with such
       limited equipment.  On the other hand, sophisticated gear often allows
       you to turn on/off the module's response to these types of messages, so
       check your unit's setup.

You operate a slider by "grabbing" its knob with mouse button 1 and moving it
to a new position.  You have to "let go" (ie, release the mouse button) before
Piano sends out any MIDI message (and you perhaps hear the result on your MIDI
sound module).  Alternately, if you want to increment/decrement the knob's
position, move the mouse pointer inside of the slider's shaft, but not on top
of the knob itself (ie, to either side of the knob), and click the mouse button
1 once.  If you're to the left of the knob, it will increment by 1 position,
and a MIDI message will be sent.  If you're to the right of the knob, it will
decrement by 1 position, and a MIDI message will be sent.

Note:  Each slider has a small arrow above it.  (The arrow may be in different
       positions on different sliders).  This arrow marks the default position
       of the slider.  If you want to quickly set the slider to this default
       position, click on that arrow, and the knob will move to that position,
       and send out an appropriate MIDI message.  This is very handy for such
       things as Pan and Pitch since the default is to center the Pan and Pitch
       wheel.  Note that when Piano is first started or when you change the
       MIDI channel checkboxes, the settings shown for the sliders may not
       reflect the actual state of your external MIDI modules.  You could click
       on each default arrow in order to send those settings to your module.

You can hold down a key on the QWERTY keyboard to sound a note on your external
module.  Then, without releasing the key (ie, so that the note on the external
module is still sounding), you can operate a slider.  If your external unit
responds to such a MIDI message while sounding a note, then you will hear the
result on the currently sounding note.  In fact, that's really how AfterTouch
and Channel Pressure are meant to be applied.  Some modules won't make changes
to any already sounding notes, so you'll have to release the note and play it
again in order to hear the results of moving a slider.  You don't have to be
playing a note when you move a slider.  You can simply move the slider, and
then play a note to hear the result.  It's just that moving a slider while
listening to a note sounding can give you a much clearer sonic idea of what
that slider is doing to the sound (assuming that your module responds to the
slider's MIDI messages).

Note:  Remember that if you "grab and move" the slider's knob with the mouse,
       you must eventually "let go" of the knob in order for Piano to send any
       MIDI message.

Some modules use AfterTouch and Channel Pressure to affect the Brightness of
the sound (ie, Filter cutoff), or Volume, or some other such parameter.
Normally, AfterTouch and Channel Pressure are generated by pressing harder and
softer on the piano keyboard while you're holding down a note.  Obviously, your
computer's keyboard doesn't generate AfterTouch and Channel Pressure.  If you
press down harder, you'll only break it.  So, when you release notes after
having adjusted the AfterTouch or Pressure sliders, you may wish to click on
the respective default arrow to turn the effect off (which is what would happen
as you released the keys on a real controller).  If you're adjusting the
AfterTouch slider, you should only play one note at a time, and reset
AfterTouch to default upon releasing each note, since AfterTouch only works on
the last key that you've played.  The Reset button also resets AfterTouch and
Channel Pressure if your MIDI module understands a MIDI All Controllers Off
message.


ΓòÉΓòÉΓòÉ 5.3. Controls ΓòÉΓòÉΓòÉ

What follows is a description of the controls in the Piano window; what they
control, and additional notes about any MIDI information that they send.


ΓòÉΓòÉΓòÉ 5.3.1. Program Change ΓòÉΓòÉΓòÉ

Affects        Which one of its Patches, Presets, or Instruments the MIDI
               module will play.  If the module is a MultiTimbral unit, then it
               usually can play 16 "Parts" at once, each receiving data upon
               its own MIDI channel.  This changes all Parts which are set to
               one of the selected MIDI channels to use that one chosen GM
               Patch.

               Note:  If a module's Part receives a Program Change message on
                      the channel to which it is assigned, then its Patch will
                      change to the program number embedded in that message.
                      For example, assume that a Part is set to MIDI channel 1,
                      and its Patch is set to Grand Piano.  If a Program Change
                      message with a program number of 41 is sent on MIDI
                      channel 1, then the Part will switch to the Violin (ie,
                      which is GM Patch #41).  A Program Change can be sent
                      while the Part is playing -- even while the Part is
                      playing some Grand Piano notes.  The Part will simply
                      play subsequent MIDI notes using the new Patch.

Range          One of the 128 GM Patches.  You pick out which one from the list
               box.


ΓòÉΓòÉΓòÉ 5.3.2. Pan ΓòÉΓòÉΓòÉ

Affects        Where within the stereo field the module will be placed.  If the
               module is a MultiTimbral unit, then each one of its Parts
               usually has its own pan position.  This changes the pan of all
               Parts assigned to one of the selected MIDI channels.

               Note:  If the Part receives a Pan Controller message on the
                      channel to which it is assigned, then its pan will change
                      to the value embedded in that message.  For example,
                      assume that a Part is set to MIDI channel 1, and is
                      panned hard left.  If a Pan Controller message with a
                      value of 64 (ie, center) is sent on MIDI channel 1, then
                      the Part's sound will switch to center position.  A Pan
                      Controller can be sent while the Part is playing -- even
                      while the Part is playing some notes.  The Part will
                      simply play with a new pan position.

Range          128 possible positions, with 0 being hard left, 64 being center,
               and 127 being hard right.  You must center the slider's knob for
               center pan (ie, where the default arrow is), and moving the knob
               to the left or right pans in those directions respectively.


ΓòÉΓòÉΓòÉ 5.3.3. Reverb ΓòÉΓòÉΓòÉ

Affects        The reverb amount (ie, level) for the module.  If the module is
               a MultiTimbral unit, then each one of its Parts usually has its
               own reverb level.  This changes the reverb level of all Parts
               assigned to one of the selected MIDI channels.

               Note:  If the Part receives a MIDI Reverb Controller message on
                      the channel to which it is assigned, then its Reverb
                      Level will change to the value embedded in that message.
                      For example, assume that a Part is set to MIDI channel 1,
                      and has a Reverb Level of 64.  If a Reverb Controller
                      message with a value of 0 is sent on MIDI channel 1, then
                      the Part will switch to having no reverb (ie, reverb
                      level=0).  A Reverb Controller can be sent while the Part
                      is playing -- even while the Part is playing some notes.
                      The Part will simply play with a new reverb level.

Range          0 to 127, with 0 being no reverb applied at all.  Moving the
               fader all the way to the left gives a reverb level of 0.


ΓòÉΓòÉΓòÉ 5.3.4. Chorus ΓòÉΓòÉΓòÉ

Affects        The chorus effect amount (ie, level) for the module.  If the
               module is a MultiTimbral unit, then each one of its Parts
               usually has its own chorus level.  This changes the chorus level
               of all Parts assigned to one of the selected MIDI channels.

               Note:  If the Part receives a Chorus Controller message on the
                      channel to which it is assigned, then its Chorus Level
                      will change to the value embedded in that message.  For
                      example, assume that a Part is set to MIDI channel 1, and
                      has a Chorus Level of 64.  If a Chorus Controller message
                      with a value of 0 is sent on MIDI channel 1, then the
                      Part will switch to having no chorus (ie, chorus
                      level=0).  A Chorus Controller can be sent while the Part
                      is playing -- even while the Part is playing some notes.
                      The Part will simply play with a new chorus effect level.

Range          0 to 127, with 0 being no chorus effect applied at all.  Moving
               the fader all the way to the left gives a chorus level of 0.


ΓòÉΓòÉΓòÉ 5.3.5. Volume ΓòÉΓòÉΓòÉ

Affects        The MIDI module's volume.  If the module is a MultiTimbral unit,
               then each one of its Parts usually has its own volume.  This
               changes the volumes of all Parts assigned to one of the selected
               MIDI channels.

               Note:  If a Part receives a Volume Controller message on the
                      channel to which it is assigned, then its Volume will
                      change to the value embedded in that message.  For
                      example, assume that a Part is set to MIDI channel 1, and
                      has a Volume of 127.  If a Volume Controller message with
                      a value of 64 is sent on MIDI channel 1, then the Part's
                      volume will drop by half.  A Volume Controller can be
                      sent while the Part is playing -- even while the Part is
                      playing some notes.  The Part will simply play with a new
                      Volume.

Range          0 to 127, with 0 being no volume at all.  Moving the fader all
               the way to the left gives a volume of 0.


ΓòÉΓòÉΓòÉ 5.3.6. MOD Wheel ΓòÉΓòÉΓòÉ

Affects        Sends MOD Wheel messages to the MIDI module.  If the module is a
               MultiTimbral unit, then each one of its Parts may respond
               differently (or not at all) to MOD Wheel.  This sends a MOD
               Wheel message to all Parts assigned to one of the selected MIDI
               channels.

               Note:  If a Part receives a MOD Wheel Controller message on the
                      channel to which it is assigned, then it may or may not
                      do something depending upon how the Part is set to
                      respond to this message.  Usually, MOD Wheel introduces
                      some sort of vibrato effect.  For example, assume that a
                      Part is set to MIDI channel 1.  If a MOD Wheel Controller
                      message with a value of 64 is sent on MIDI channel 1,
                      then a medium vibrato effect may be applied to the Part's
                      sound.  A MOD Wheel Controller can be sent while the Part
                      is playing -- even while the Part is playing some notes.
                      A vibrato effect will simply be applied to any sounding
                      notes.

Range          0 to 127, with 0 being no modulation.


ΓòÉΓòÉΓòÉ 5.3.7. Pitch Wheel ΓòÉΓòÉΓòÉ

Affects        Sends Pitch Wheel messages to the MIDI module.  If the module is
               a MultiTimbral unit, then each one of its Parts may or may not
               respond to Pitch Wheel.  This sends a Pitch Wheel message to all
               Parts assigned to one of the selected MIDI channels.

               Note:  If a Part receives a Pitch Wheel message on the channel
                      to which it is assigned, then it may or may shift its
                      pitch up/down depending upon whether the Part is set to
                      respond to this message.  A value of 64 (MSB only) is
                      centered pitch, and values below that shift the pitch
                      downward, whereas values above shift the pitch upward.
                      For example, assume that a Part is set to MIDI channel 1.
                      If a Pitch Wheel message with a value of 95 (MSB only) is
                      sent on MIDI channel 1, then the pitch shifts upward.  A
                      Pitch Wheel can be sent while the Part is playing -- even
                      while the Part is playing some notes.  The pitch will
                      simply shift accordingly.

Range          0 to 127, with 64 being no pitch shift (ie, center position).

               Note:  Piano only sends the MSB of Pitch Wheel.


ΓòÉΓòÉΓòÉ 5.3.8. Pressure ΓòÉΓòÉΓòÉ

Affects        Sends Channel Pressure messages to the MIDI module.  If the
               module is a MultiTimbral unit, then each one of its Parts may
               respond differently (or not at all) to Channel Pressure.  This
               sends a Channel Pressure message to all Parts assigned to one of
               the selected MIDI channels.

               Note:  If a Part receives a Channel Pressure message on the
                      channel to which it is assigned, then it may or may not
                      do something depending upon how the Part is set to
                      respond to this message.  Usually, Channel Pressure
                      adjusts the brightness (ie, filter cutoff), the volume,
                      and/or introduces some sort of vibrato effect.  For
                      example, assume that a Part is set to MIDI channel 1.  If
                      a Channel Pressure message with a value of 64 is sent on
                      MIDI channel 1, then a medium vibrato effect may be
                      applied to the Part's sound.  Channel Pressure can be
                      sent while the Part is playing -- even while the Part is
                      playing some notes.  Some effect will simply be applied
                      to any sounding notes.  Indeed, Channel Pressure is
                      usually generated by pressing harder or softer on the
                      keys while holding them down (ie, so you are playing some
                      notes).  So, Channel Pressure is meant to affect sounding
                      notes in some way.

Range          0 to 127, with 0 being no channel pressure (ie, off).


ΓòÉΓòÉΓòÉ 5.3.9. AfterTouch ΓòÉΓòÉΓòÉ

Affects        Sends AfterTouch messages (sometimes referred to as Key
               Pressure) to the MIDI module.  If the module is a MultiTimbral
               unit, then each one of its Parts may respond differently (or not
               at all) to these messages.  This sends an AfterTouch message to
               all Parts assigned to one of the selected MIDI channels.

               Note:  If a Part receives a AfterTouch message on the channel to
                      which it is assigned, then it may or may not do something
                      depending upon how the Part is set to respond to this
                      message.  Usually, AfterTouch adjusts the brightness (ie,
                      filter cutoff), the volume, and/or introduces some sort
                      of vibrato effect.  For example, assume that a Part is
                      set to MIDI channel 1.  If an AfterTouch message with a
                      value of 64 is sent on MIDI channel 1, then a medium
                      vibrato effect may be applied one of the Part's sounding
                      notes.  AfterTouch can be sent while the Part is playing
                      -- even while the Part is playing some notes.  Some
                      effect will simply be applied to the note corresponding
                      to the message.  Indeed, AfterTouch is usually generated
                      by pressing harder or softer on a key while holding it
                      down (ie, so you are playing a note).  So, AfterTouch is
                      meant to affect a sounding note in some way.  What's the
                      difference between AfterTouch and Channel Pressure?
                      Well, AfterTouch messages are for individual keys.  Every
                      key that you press down generates its own AfterTouch
                      messages.  If you press on one key harder than another,
                      then the one key will generate AfterTouch messages with
                      higher values than the other key.  The net result is that
                      some effect will be applied to the one key more than the
                      other key.  You have individual control over each key
                      that you play.  With Channel Pressure, one message is
                      sent out for the entire keyboard.  So, if you press one
                      key harder than another, the module will average out the
                      difference, and then just pretend that you're pressing
                      both keys with the exact same pressure.  The net result
                      is that some effect gets applied to all sounding keys
                      evenly.  You don't have individual control per each key.
                      A controller would use either Channel Pressure or
                      AfterTouch, but usually not both.  Most MIDI controllers
                      don't generate AfterTouch because the circuitry required
                      is a bit too costly.  Piano's QWERTY keyboard is no
                      exception.  (Hey, you got it free.  What do you expect?).
                      It only generates AfterTouch messages for the last key
                      that you play.  If you play a chord, only one of the
                      notes gets the AfterTouch effect when you move the slider
                      (ie, the last one that you pressed down).  Ideally, there
                      should be AfterTouch messages happening for each key
                      being held down, but that's irrelevant here because your
                      computer keyboard doesn't have some way of detecting
                      pressure for each key, and it would be impractical to be
                      adjusting an AfterTouch slider for every key that you
                      hold down.  You should avoid playing chords while
                      adjusting the AfterTouch slider.  If you do, you may need
                      to Reset in order to clear aftertouch from all of the
                      keys that you played.

Range          0 to 127, with 0 being no aftertouch (ie, off).


ΓòÉΓòÉΓòÉ 6. GM Charts ΓòÉΓòÉΓòÉ

These charts give information about the 128 Patches and Drum Note Assignments
in a GM Sound Module.

The GM Patches chart shows the names of all 128 Instruments, and the MIDI
Program Change numbers which select those Instruments.

The GM Drum Sounds chart shows what drum sounds are assigned to each MIDI note.


ΓòÉΓòÉΓòÉ 6.1. GM Patches ΓòÉΓòÉΓòÉ

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Γöé1  Γöé00hΓöé Acoustic Piano  Γöé  Γöé65 Γöé40hΓöé Soprano Sax     Γöé
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Γöé2  Γöé01hΓöé Bright Piano    Γöé  Γöé66 Γöé41hΓöé Alto Sax        Γöé
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Γöé3  Γöé02hΓöé Electric Grand  Γöé  Γöé67 Γöé42hΓöé Tenor Sax       Γöé
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Γöé4  Γöé03hΓöé Honky Tonk      Γöé  Γöé68 Γöé43hΓöé Baritone Sax    Γöé
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Γöé5  Γöé04hΓöé Elec. Piano 1   Γöé  Γöé69 Γöé44hΓöé Oboe            Γöé
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Γöé7  Γöé06hΓöé Harpsichord     Γöé  Γöé71 Γöé46hΓöé Bassoon         Γöé
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Γöé8  Γöé07hΓöé Clavinet        Γöé  Γöé72 Γöé47hΓöé Clarinet        Γöé
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Γöé9  Γöé08hΓöé Celesta         Γöé  Γöé73 Γöé48hΓöé Piccolo         Γöé
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Γöé10 Γöé09hΓöé Glockenspiel    Γöé  Γöé74 Γöé49hΓöé Flute           Γöé
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Γöé11 Γöé0AhΓöé Music Box       Γöé  Γöé75 Γöé4AhΓöé Recorder        Γöé
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Γöé15 Γöé0EhΓöé Tubular Bells   Γöé  Γöé79 Γöé4EhΓöé Whistle         Γöé
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Γöé16 Γöé0FhΓöé Dulcimer        Γöé  Γöé80 Γöé4FhΓöé Ocarina         Γöé
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Γöé17 Γöé10hΓöé Drawbar Organ   Γöé  Γöé81 Γöé50hΓöé Square Wave     Γöé
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Γöé18 Γöé11hΓöé Percussive OrganΓöé  Γöé82 Γöé51hΓöé Sawtooth Wave   Γöé
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Γöé19 Γöé12hΓöé Rock Organ      Γöé  Γöé83 Γöé52hΓöé Synth Calliope  Γöé
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Γöé20 Γöé13hΓöé Pipe Organ      Γöé  Γöé84 Γöé53hΓöé Chiffer Lead    Γöé
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Γöé21 Γöé14hΓöé Reed Organ      Γöé  Γöé85 Γöé54hΓöé Charang         Γöé
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Γöé22 Γöé15hΓöé French AccordionΓöé  Γöé86 Γöé55hΓöé Solo Voice      Γöé
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Γöé23 Γöé16hΓöé Harmonica       Γöé  Γöé87 Γöé56hΓöé Saw in 5ths     Γöé
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Γöé24 Γöé17hΓöé Tango Accordion Γöé  Γöé88 Γöé57hΓöé Bass & Lead     Γöé
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Γöé25 Γöé18hΓöé Nylon Guitar    Γöé  Γöé89 Γöé58hΓöé New Age         Γöé
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Γöé26 Γöé19hΓöé Steel Guitar    Γöé  Γöé90 Γöé59hΓöé Warm Pad        Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé27 Γöé1AhΓöé Jazz Guitar     Γöé  Γöé91 Γöé5AhΓöé PolySynth       Γöé
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Γöé28 Γöé1BhΓöé Clean Guitar    Γöé  Γöé92 Γöé5BhΓöé Space Voice     Γöé
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Γöé29 Γöé1ChΓöé Muted Guitar    Γöé  Γöé93 Γöé5ChΓöé Bowed Glass     Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé30 Γöé1DhΓöé Overdrive GuitarΓöé  Γöé94 Γöé5DhΓöé Metal Pad       Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé31 Γöé1EhΓöé Distorted GuitarΓöé  Γöé95 Γöé5EhΓöé Halo Pad        Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé32 Γöé1FhΓöé Harmonics GuitarΓöé  Γöé96 Γöé5FhΓöé Sweep Pad       Γöé
Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòí  Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòí
Γöé33 Γöé20hΓöé Acoustic Bass   Γöé  Γöé97 Γöé60hΓöé Ice Rain        Γöé
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Γöé34 Γöé21hΓöé Fingered Bass   Γöé  Γöé98 Γöé61hΓöé SoundTrack      Γöé
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Γöé35 Γöé22hΓöé Picked Bass     Γöé  Γöé99 Γöé62hΓöé Crystal         Γöé
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Γöé36 Γöé23hΓöé Fretless Bass   Γöé  Γöé100Γöé63hΓöé Atmoshpere      Γöé
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Γöé37 Γöé24hΓöé Slap Bass 1     Γöé  Γöé101Γöé64hΓöé Brightness      Γöé
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Γöé38 Γöé25hΓöé Slap Bass 2     Γöé  Γöé102Γöé65hΓöé Goblin          Γöé
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Γöé39 Γöé26hΓöé Synth Bass 1    Γöé  Γöé103Γöé66hΓöé Echo Drops      Γöé
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Γöé40 Γöé27hΓöé Synth Bass 2    Γöé  Γöé104Γöé67hΓöé Star Theme      Γöé
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Γöé41 Γöé28hΓöé Violin          Γöé  Γöé105Γöé68hΓöé Sitar           Γöé
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Γöé42 Γöé29hΓöé Viola           Γöé  Γöé106Γöé69hΓöé Banjo           Γöé
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Γöé43 Γöé2AhΓöé Cello           Γöé  Γöé107Γöé6AhΓöé Shamisen        Γöé
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Γöé44 Γöé2BhΓöé Contrabass      Γöé  Γöé108Γöé6BhΓöé Koto            Γöé
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Γöé45 Γöé2ChΓöé Tremolo Strings Γöé  Γöé109Γöé6ChΓöé Kalimba         Γöé
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Γöé46 Γöé2DhΓöé Pizzicato Strs  Γöé  Γöé110Γöé6DhΓöé Bag Pipe        Γöé
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Γöé47 Γöé2EhΓöé Harp            Γöé  Γöé111Γöé6EhΓöé Fiddle          Γöé
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Γöé48 Γöé2FhΓöé Timpani         Γöé  Γöé112Γöé6FhΓöé Shannai         Γöé
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Γöé49 Γöé30hΓöé Strings         Γöé  Γöé113Γöé70hΓöé Tinkle Bell     Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé50 Γöé31hΓöé Slow Strings    Γöé  Γöé114Γöé71hΓöé Agogo           Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé51 Γöé32hΓöé Synth Strings 1 Γöé  Γöé115Γöé72hΓöé Steel Drums     Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé52 Γöé33hΓöé Synth Strings 2 Γöé  Γöé116Γöé73hΓöé Woodblock       Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé53 Γöé34hΓöé Choir Aahs      Γöé  Γöé117Γöé74hΓöé Taiko           Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé54 Γöé35hΓöé Choir Oohs      Γöé  Γöé118Γöé75hΓöé Melodic Tom     Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé55 Γöé36hΓöé Synth Voice     Γöé  Γöé119Γöé76hΓöé Synth Drum      Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé56 Γöé37hΓöé Orchestra Hit   Γöé  Γöé120Γöé77hΓöé Reverse Cymbal  Γöé
Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòí  Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòí
Γöé57 Γöé38hΓöé Trumpet         Γöé  Γöé121Γöé78hΓöé Gtr Fret Noise  Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé58 Γöé39hΓöé Trombone        Γöé  Γöé122Γöé79hΓöé Breath Noise    Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé59 Γöé3AhΓöé Tuba            Γöé  Γöé123Γöé7AhΓöé Seashore        Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé60 Γöé3BhΓöé Muted Trumpet   Γöé  Γöé124Γöé7BhΓöé Bird            Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé61 Γöé3ChΓöé French Horn     Γöé  Γöé125Γöé7ChΓöé Telephone Ring  Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé62 Γöé3DhΓöé Brass 1         Γöé  Γöé126Γöé7DhΓöé Helicopter      Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé63 Γöé3EhΓöé Synth Brass 1   Γöé  Γöé127Γöé7EhΓöé Applause        Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé64 Γöé3FhΓöé Synth Brass 2   Γöé  Γöé128Γöé7FhΓöé Gun Shot        Γöé
ΓòÿΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¢  ΓòÿΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¢

PGM # refers to the MIDI Program Change message that causes this Patch to be
selected.  For example, sending a MIDI Program Change #64 to a Part causes the
Synth Brass 2 Patch to be selected for playing that Part's MIDI data.  The
number with the appended "h" is the hexidecimal equivalent program number,
which is the way that some software displays the values in MIDI messages.


ΓòÉΓòÉΓòÉ 6.2. GM Drum Sounds ΓòÉΓòÉΓòÉ

 Note #     Drum Sound
ΓòÆΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòò
Γöé35 B1  ΓöéAcoustic Kick   Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé36 C2  ΓöéKick 1          Γöé
Γöé37 C#2 ΓöéSide Stick      Γöé
Γöé38 D2  ΓöéSnare 1         Γöé
Γöé39 D#2 ΓöéHand Clap       Γöé
Γöé40 E2  ΓöéSnare 2         Γöé
Γöé41 F2  ΓöéLow Tom 2       Γöé
Γöé42 F#2 ΓöéClosed HiHat    Γöé
Γöé43 G2  ΓöéLow Tom 1       Γöé
Γöé44 G#2 ΓöéPedal HiHat     Γöé
Γöé45 A2  ΓöéMid Tom 2       Γöé
Γöé46 A#2 ΓöéOpen HiHat      Γöé
Γöé47 B2  ΓöéMid Tom 1       Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé48 C3  ΓöéHigh Tom 2      Γöé
Γöé49 C#3 ΓöéCrash Cymbal 1  Γöé
Γöé50 D3  ΓöéHigh Tom 1      Γöé
Γöé51 D#3 ΓöéRide Cymbal 1   Γöé
Γöé52 E3  ΓöéChinese Cym.    Γöé
Γöé53 F3  ΓöéRide Bell       Γöé
Γöé54 F#3 ΓöéTambourine      Γöé
Γöé55 G3  ΓöéSplash Cymbal   Γöé
Γöé56 G#3 ΓöéCowbell         Γöé
Γöé57 A3  ΓöéCrash Cymbal 2  Γöé
Γöé58 A#3 ΓöéVibra-slap      Γöé
Γöé59 B3  ΓöéRide Cymbal 2   Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé60 C4  ΓöéHigh Bongo      Γöé
Γöé61 C#4 ΓöéLow Bongo       Γöé
Γöé62 D4  ΓöéMuteHi Conga    Γöé
Γöé63 D#4 ΓöéOpenHi Conga    Γöé
Γöé64 E4  ΓöéLow Conga       Γöé
Γöé65 F4  ΓöéHigh Timbale    Γöé
Γöé66 F#4 ΓöéLow Timbale     Γöé
Γöé67 G4  ΓöéHigh Agogo      Γöé
Γöé68 G#4 ΓöéLow Agogo       Γöé
Γöé69 A4  ΓöéCabasa          Γöé
Γöé70 A#4 ΓöéMaracas         Γöé
Γöé71 B4  ΓöéHigh Whistle    Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé72 C5  ΓöéLow Whistle     Γöé
Γöé73 C#5 ΓöéShort Guiro     Γöé
Γöé74 D5  ΓöéLong Guiro      Γöé
Γöé75 D#5 ΓöéClaves          Γöé
Γöé76 E5  ΓöéHi WoodBlock    Γöé
Γöé77 F5  ΓöéLow WoodBlock   Γöé
Γöé78 F#5 ΓöéMute Cuica      Γöé
Γöé79 G5  ΓöéOpen Cuica      Γöé
Γöé80 G#5 ΓöéMute Triangle   Γöé
Γöé81 A5  ΓöéOpen Triangle   Γöé
ΓòÿΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¢

The QWERTY keyboard counts its octaves from 1.  Most MIDI devices count their
octaves from -2.  What this means is that, to play the Snare 1 sound, which is
a D2 (ie, a D note in octave 2), set the QWERTY keyboard to octave 4 (ie, 2
octaves higher than written) and play the x key (ie, a D note).