Monster Media 1996 #14

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─────═══════════════════════════════════════════════════════════════╕ Fast_Introduction: Simply run LIQ WASTETIM (or any MOD/S3M/LIQ name). The program will autodetect your SB1,2,Pro,16 or PAS16 card, and will start playing. Use <LEFT-CTRL> and <LEFT-SHIFT> to scroll the screen. Use <TAB> for 80x50 mode switching. Have fun. ╘══════════════════════════════════════════════════════════════────── THE █ ▀█▀ █▀▀▀█ █ █ ▀█▀ █▀▀▀▄ ─────────────────────────────── █ █ █ █ █ █ █ █ █ ──────────────────────────────── █▄▄▄█ ▄█▄ █▄▄▄▀▄ █▄▄▄█ ▄█▄ █▄▄▄▀ ─────────────────────────────── ──────────────────────── ▀▀█▀▀ █▀▀▀▄ █▀▀▀█ █▀▀▀▀ █ ▄▀ █▀▀▀▀ █▀▀▀▄ ──────────────────────── █ █▄▄▄▀ █▀▀▀█ █ █▄█ █▀▀▀▀ █▄▄▄▀ ──────────────────────── █ █ █ █ █ █▄▄▄▄ █ ▀▄ █▄▄▄▄ █ █ ───────────────────────────────────────────────────────────────────────── v1.00 Professional Soundtracks Development System All Rights Reserved - Nir Oren 1993-1996 ** Running Under Tran's Dos Extender ** ╒════════════════╗ │ Features ║ └────────────────╜ ■ Sound Routines ──────────────── ■ Multichannel, up to 64 channels ■ Utilizes extended memory for samples and patterns. ■ Unlimited sample size (a must for 16bit samples) ■ Up to 100 samples ■ 16bit/Stereo samples support ■ 16 bit mixing even with 8 bit samples ■ 64 positions individual channels panning ■ Surround sound ■ 9 Full Octaves ■ Support for MOD/S3M/LIQ file formats, thus giving compatibility with thousands of high quality modules from the Amiga and PC. ■ Supports all S3M, LIQ and MOD various panning commands ■ Very fast, 32 bit code mixing routines ■ High sound quality, even when playing maximum of 64 channels ■ 16 bit fraction frequency precision ■ Dynamic alterable mixing frequency (ALT F3,F4) (Usefull for slow machines) ■ Support for the following sound devices: Sound Blaster v1.5 - 2.0, Sound Blaster Pro, Sound Blaster 16, Pro Audio Spectrum 16, Pro Audio Spectrum and output to file ■ Full ProTracker effects supported [except SetFilter/FunkIt] ■ Implementation for some of the ScreamTracker ]I[ and ProTracker playing bugs, so modules are likely to be played accurate even when they were written relying on these programs' bugs, and should have played wrong. ■ User Interface ──────────────── ■ Complete SuperVGA text-modes support, up to 9 full channels on screen using 132 column screen modes, yet still allow editing in the eye-convenient good old 80x25 screen mode ■ More channels on screen (up to 31) can be viewed using fields folding. ■ Many features turn the tracker into a complete playing environment. These include an internal filemanager, enhanced Info Screen and more. ■ C00l scroller in the InfoScreen! ■ 32bit code, loading the program into Extended Memory ■ Fast loaded, meaning that you can execute LIQ.EXE from other program (think like MOD manager) and the program will be loaded at once, and will load a module (if defined at command line) very fast, without any DOS/4GW or similar delay/HD swapping. ╒════════════════════╗ │ Introduction ║ └────────────────────╜ The Liquid Tracker is a program capable of playing and composing digitized modules, with the ability to play up to 64 different samples simultaneously, with variable pitch,volume,pan position and effect. Since I assume you already know what Tracker is, I'll just suggest you play around with the program. A complete document is not available at the moment, but the most essential tables and specifications are listed here. Later on, a complete document and on-line manual will be implemented. ╒════════════════════╗ │ The Keyboard ║ └────────────────────╜ ≡ Global tracker hotkeys ══════════════════════════════════════════════════════════════════════ ESC - Go back one menu (multiple presses brings to Main Menu) F1 - Online Help *Not Implemented Yet* F2 - Jump to pattern editor F3 - Jump to samples editor F4 - Jump to sequence table editor F5 - Play whole module in loop F6 - Play current pattern in loop F8 - Stop playing F9 - Jump to Info Screen F10 - Jump to Parameters/Software Mixer Editor CTRL P - Pause/resume playing CTRL M - Toggle Mono/Stereo (state will be stamped on setup save) ALT 1-0 - Mute channels 1-10 SHIFT 1-0 - Mute channels 11-20 ALT { } - Change BPM ALT [ ] - Change speed ALT F1,F2 - Change master volume ALT F3,F4 - Change mixing frequency SHIFT F1->F4 - Change mixing frequency to 11Khz, 22Khz, 33Khz or 44Khz respectively Ctrl PGDN - Jump one sequence forwards [+ disable channels* ] Ctrl PGUP - Jump one sequence backwards [+ disable channels* ] CTRL L - Load module CTRL S - Save module (commercial version only) (* = disable channels - turns off any active voice before playing the next or previous pattern so that looped samples played in the previous pattern are turned off). ≡ Info Screen keys ══════════════════════════════════════════════════════════════════════ LEFT SHIFT - Scroll display up LEFT CTRL - Scroll display down L-SHIFT + L-CTRL- Reset scroll position ENTER - Load module +, - - Change volume (for a faster change use ALT-F1/F2) S - Dos shell F - Exit from program with volume fade (Another F/F2 cancels) P - Pause/resume playing M - (Mute) Toggle Master Volume 6/64 PGUP, PGDN - Jump one sequence backward/forward HOME - Jump to first sequence END - Jump to last sequence 1 - 0 - Mute channels 1-10 TAB - Switch between 80x50 and 80x25 display ≡ Pattern editor keys ══════════════════════════════════════════════════════════════════════ +, - - Change pattern /, * - Change octave <, > - Change sample White arrows - Move around pattern Gray arrows - Scroll in pattern (scroll if cursor crossed center) Arrows + Shift (or NUMLOCK on)- Scroll in pattern F6, Numpad[5] - Play current pattern in loop CTRL F2,F3,F4 - Toggle fields folding CTRL F1 - Toggle spaces folding TAB,SHIFT TAB - Change current track Z-/ , Q-\ - Enter notes 1 - Enter NOTEOFF command Space - Erase current note DEL - Delete note INS - Insert space . - Erase current field ALT . - Toggle dot char for empty field BACKSPC - Toggle current channel ON/OFF CTRL BACKSPC - Toggle current channel SOLO ALT BACKSPC - Mute all channels SHIFT BACKSPC - Unmute all channels ScrollLOCK - Toggle Tracer On/Off (Under trace mode, up/down arrow keys effect music also, and '+' and '-' keys change pattern according to sequence order rather than the physical patterns order) Block Commands -------------- CTRL-Gray Arrow - Mark block ALT B - Mark block's upper left corner ALT E - Mark block's lower right corner CTRL B - Consider current pattern as FIRST in marked range CTRL E - Consider current pattern as LAST in marked range CTRL E x 2 - Consider all patterns as in marked range ALT U - Unmark block ALT Z - Erase block ALT C - Copy block to cursor position ALT M - Move block to cursor position ALT Y - Swap block with same sized block in cursor position ALT D [x Y] - Mark Y quarters (16 intervals) ALT L [x Y] - Mark Y lines (can be combined with ALT D) ALT T [x 2] - Mark whole pattern (x 2 - mark all patterns) ALT Q, A - Increase/Decrease all notes in block in halfnote ALT-ENTER - Special block functions ≡ Samples Editor keys ══════════════════════════════════════════════════════════════════════ ARROW KEYS - Move around PAGE UP/DOWN - 16 rows up/down TAB/SHIFTAB - Field next/previous ENTER - One line down CTRL - ENTER - Pop-up file manager of which a sample can be loaded ALT - L - Load sample (from samples dir) specified in sample name ALT - S - Save sample (to samples dir) specified by sample name ALT - C - Convert 8 bit samples from unsigned format ALT - R - Release (clear) sample from memory [Sample Type field] +, Space - Toggle 16/8 bit sample - - Toggle Stereo/Mono sample ≡ Sequence Editor keys ══════════════════════════════════════════════════════════════════════ UP/DOWN Arrows - Change editing sequence entry PGUP/PGDN - Jump 16 entrys upwards/downwards HOME/END - Go to first/last entry SPACE - Clear current sequence entry DELETE - Delete current sequence entry INSERT - Insert empty sequence entry ENTER - Play song from current sequence entry ≡ Parameters/Panning/Mixer Editor keys ══════════════════════════════════════════════════════════════════════ UP/DOWN - Change editing field/channel PAGE UP/DOWN - Change field faster TAB - Switches between Panning Editor/Channels Volume/Parameters O - Toggle "Auto Solo Mode" option I - Toggle edit Current/Initial panning K - Toggle "Lock Panning" option - if panning are locked, the module effect 'P' (Set Pan) will be discarded so pan settings will remain at their position. C - Copy pan positions to the other editing mode. (if current editing mode is "initial panning", this will copy to "current panning". If current mode is "current panning", this will copy to "inital panning") On Panning Editor ─────────────────── RIGHT/LEFT - Move panning bar [, ] - Move panning bar, more accurate L,M,R,S - Set pan to LEFT, RIGHT, MID or SURROUND 1,2,3,4,5,6,7 - Use ready-made panning sets: 1 - Default LEFT/RIGHT panning 2 - LEFT/RIGHT mixed panning 3 - MID/SURROUND panning 4 - Full Surround panning 5 - Full Mid panning 6 - Default amiga LEFT/RIGHT/RIGHT/LEFT panning 7 - LEFT/RIGHT amiga mixed panning On Channels Volume Editor ─────────────────────────── RIGHT/LEFT - Move volume bar [, ] - Move volume bar, more accurate L,M,R - Set Channel Volume at 0,32 or 64 1,2,3...0 - Set all Volume Bars to a respective volume -, = - Dec/Increase all Volume Bars ≡ File Manager keys (on CTRL-L, CTRL-S, CTRL-ENTER on Samples Editor) ══════════════════════════════════════════════════════════════════════ ARROWS - Travel around the File Manager: select file, select directory, manual line editor TAB - Switch between file, directories and manual line editor SHIFT TAB - Same as above, opposite direction In files area ------------- SPACE - Move cursor to next file BACKSPACE - Move cursor to previous file ENTER - Select file CTRL R - Enable/disable filenames sorting In directories area ------------------- ENTER - Change directory In manual line editor --------------------- [Drive]:[Directory]\[Filename/wildcards] ╒═══════════════════════════════╗ │ Command line options ║ └───────────────────────────────╜ Usage: LIQ [switches] [filename[.ext]] [switches] /? - Quick summery on command line options /O? - Set output device to: 1=SB1 2=SB2 3=SBPro 4=SB16 8=File 9=PAS16 /B??? - specifies sound card address /I? - specifies IRQ /D? - specifies DMA /F?? - specifies mix frequency (Khz) * /L - Don't loop module Usable for player's SHELL such as ModMan, will cause exiting to Dos when module reaches last pattern * /E - Quit Liquid upon pressing ESC Also usable for player's SHELL. It will cause Liquid to exit to Dos when pressing ESC at Info Screen, instead of going to main menu /M - Force mono mode /8 - Force 8bit mode /R - Reliable Mode, meaning: 1) Plays a bit faster, and ALOT faster under EMS mode (this is not triggered on by default, because it takes some more memory and also causes a delayed response when entering notes in the pattern editor). 2) Remains stayble under programs that reprogram the timer, like Dos's EDIT, QBASIC and GWBASIC 3) Switches to 'Violent' mode, if another program resets the sound card in Dos Shell (thus halting Liquid's playing task), it will re-initialize the sound card and restart playing from the same position it has been stopped. * Features marked with an asterisk involves auto exiting to Dos, and will be discarded if the Pattern or Samples Editor is accessed, to avoid loss of data. -------------------------------------------------------------------- ! The command line switches force overriding both the setup and the autodetection (which is invoked on every execution) results. Appendix 1: Module effects (commands) (Currently, not fully detailed. You can find more details at any MOD or S3M effects documentation (like ST3.DOC, MODEDIT3.DOC etc.)) ┌─────┐ │ Axy │ [A]rpeggio [x,y= Halftones added to 2nd and 3th notes] │ Bxx │ set [B]PM to xx. range is 0Ah-FFh. │ Cxx │ [C]ut pattern, start next pattern at interval xx (decimal) │ Dxy │ portamento [D]own (Fine Porta if x=F, ExtraFine if x=E) │ E │ │ Fxy │ [F]ine vibrato: X = speed, Y = depth │ G │ │ H │ │ I │ │ Jxx │ position [J]ump [xx = entry at sequence table] │ K │ │ L0x │ vo[L]ume slide down by X │ Lx0 │ vo[L]ume slide up by X │ LFx │ [F]ine vo[L]ume slide down by X (if x=0 then normal slide UP by F) │ LxF │ [F]ine vo[L]ume slide up by X (if x=0 then normal slide DOWN by F) │ │ LFF - Fine volume slide up by F │ │ │ M │ [M]iscellaneous │ │ │ │ M3x = Glissando control; 0=Off, 1=On, 2=On+Retrigger │ │ M4x = vibrato wave (0=Sine, 1=Ramp Down, 2=Square)* │ │ M5x = finetune note │ │ M6x = pattern loop (if x=0 then mark. elsewhere, loop x times) │ │ M7x = tremolo wave (0=Sine, 1=Ramp Down, 2=Square)* │ │ MCx = note Cut (x=time to wait until note cut) │ │ MDx = note Delay (x=time to wait until sample start) │ │ MEx = pattern delay (x=intervals to stay still) │ │ │ │ * Note: Add 4 to waveform value if you don't want it to │ │ be resetted upon every new note. │ │ │ Nxx │ [N]ote portamento (also known as SLIDE TO NOTE, PORTA TO NOTE, │ │ and TONE PORTAMENTO) │ Oxx │ sample [O]ffset (start sample at offset xx00h) │ Pxx │ Channel [P]an control (Decimal) 0=Left>32=Mid>64=Right/66=Surround │ │ 70=Reset ALL channels pan settings │ Rxy │ [R]etrig note at Y │ Sxx │ set [S]peed to xx. Range is 0-50 hex. If xx=0 ignore effect. │ Txy │ [T]remolo: X = speed, Y = depth │ Uxy │ portamento [U]p (Fine Porta if x=F, ExtraFine if x=E) │ Vxy │ [V]ibrato: X = speed, Y = depth │ W │ │ Xxy │ Note port & volume slide (if either nibble is F, effect discarded) │ Yxy │ Vibrato & volume slide (if either nibble is F, effect discarded) └─────┘ - All references are Hexadecimal, unless otherwise noted. - Note that the effects VOLUME SLIDE, VIBRATO+VOLSLIDE, NOTEPORT+VOLSLIDE, PORTA UP, PORTA DOWN and ARPEGGIO support the S3M's parameter 0 feature. (if the parameter given is 0, the effect uses the last parameter used by any previous effect in the same track. i.e., you can specify D01 and then a column of D00, for easier tracking) - The letter representing an effect is usually the first letter of the effect, so it should not be too difficult remembering them. - Full description of the effects and their purposes will be included in later versions. ╒════════════════╕ │ L E G A L │ ╘════════════════╛ The Liquid Tracker program and documentation are copyright (c) 1993-1996 by Nir Oren, and all rights are reserved. No modifications may be made on the program nor on it's documentation, except for the author; and in no event such modified version may be distributed. The program may be distributed only as a whole, with all the files included in the original archive. You can use the Liquid Tracker (disribution version) in your program, if you include the whole Liquid Tracker archive in it. No reverse-engineering, debugging or and kind of sourcing may be done on the program, except for the author; No money may be charged for the Liquid Tracker program, except for the author and the case of sharewares or CD-ROM distributor, as long as there is no special fee for the Liquid Tracker itself and as long as this is not the commercial version of Liquid Tracker. The author reserve the right to make any change in the program updates, including the changing, adding or removal of certion features. There is no warranty, and the author is not liable for any damage caused (although highly unlikely) by the use or the improper use of this program; use at your own risk. All the trademarks in this document are registered by their respective owners. ┌══════════════════════╗ │ P E R S O N A L ║ └──────────────────────╜ So what do we got here? Another module tracker. I know, this could have been much better, and will. I have started this project in the early days, when the most advanced trackers for the time being were ST2 & Komposer669. The first version was released in September '93. Since then, many trackers (dis)appeared, notably FastTracker1, MultiTracker, ScreamTracker 3 and FastTracker2. Module players? more than the water drops in sea (We need one module player for every 50 users now don't we). However, this is a Tracker, not a player (as one can figure). And will be a good one, when finished. Lots of TOTALLY AMAZING, useful and essential ideas are on the way. Also as a module player, it acts perfectly, loading all data into extended memory, plays modules pretty accurately, providing very good sound quality, and nice InfoScreen. I think we have an issue here of using LIQUID as a S3M/MOD player on a daily basis (use it, I do! ;-) If you think Liquid Tracker is a usable tracker with great interface, then register it! Tracker programming is probably the most non-profitable application a programmer can write, comparing to the work invested on it. It sometimes takes years to develope, and it's market is pretty low, but it's an addiction. Nothing compares to the Tracker's concept in making computerized music. Special thanx must go to my beta team which is Adi Sapir [DoC], Hay Shalom [Dr.Music], Ofer Wald [Sharky] Yossi Zinger [Quadri], Adi Berger [EagleBerger], Motti Koskas, Lior Elkotser (thanks for the Tseng!) and... Moti Radomski [Chompi] Greeting goes out to all those who MADE the PC sound scene di best sound scenes around - with such an uncompatible PC architecture - Sami Tammilehto (for ST/FC/DIGIPLAY/EMS/16CHN), Otto Chrons (DMP/16bit), Thomas Pytel (8CHN/GUS), Mark J Cox (StereoCovox/Modplay), David López & Angel Trigo (SBPro), Fredrik Huss & Mognus Hogdakl (FT[2]) Joshua C. Jensen (GUS) Keep up with the good work! ╒═════════════════════════╗ │ Technical Information ║ └─────────────────────────╜ - Everything you wanted to know about 16 bits sound and were ashamed to ask... 16 BITS sound Many people wonder "what is the real difference between 8 bit and 16 bits sound ? Is it worth buying a 16 bit sound card ?" the answer is simple. 16 bits sound gives you the benefit of a better amplitude precision. This becomes more noticeable as the number of playing channels increases (Naturally, more channels will cause each channel to play softly, but this can be perfectly resolved by post-amplifying the output sound) and is less noticeable when less channels are playing. With 16 bit sound, you can hear clearly the minor details of the sound, too, whereas with 8 bit these will get distorted (try listening to a multichannel module starting from a low volume and you should clearly hear the difference, or better, if you are able to find SUB.LIQ by Adi Sapir, test this one). As for the profitability from buying 16 bit card: nowadays 16bit cards' prices are quite low (the SB16/PAS16 are really cheap in their basic version; the PAS16 BASIC is significantly cheap; 70$ in Israel (probably half the price in USA (=35$))) So, if you have a good amplifier and hi-fi system, get a 16bit card right away (and if you don't have good hi-fi, then buy one; if you don't want to spend any money on a good amplifier, what the heck are you doing here reading Tracker documentations, anyway?!) The Mixing Frequency (= sampling rate) That is the speed at which the sound is mixed, which means how many times per seconds the sound is updated (ex. 44.1Khz means sound is updates 45158 times per second). This also refers to the maximum frequency the player will allow a sample to play with full representation of all the bytes in the sample. The higher, the better the sound will get, and more CPU time the sound routines require to mix the channels. Now one can ask... Why not produce a card with 32 bit sound support? why not produce a card with 88 Khz sound support (for example)? The answer to that question is that the human ears can't get more than a certain frequency and amplitude resolution and thus increasing those values is absolutely redundant. To my humble opinion, 33 Khz sound with 12 bits sound is far more than the human ear can get. I would have stated even lower frequency, but the sound filters existing on many 16 bit sound cards (notably the SB16 with it's CODEC chip) require about 33 Khz to get the maximum quality possible. Today's standards in studio recordings (also in compact disc) are 16 bits sound sampling at 44.1 Khz. ■ 16 BIT cards with built-in memory vs. software mixing routines ----------------------------------------------------------------- Performing the channels-mixing by software is a relatively complicated process and not easy to program. In addition, it takes some CPU time, depending on the sound routines optimization, channels number, mixing frequency, pan positions and more... Those facts (mostly the first one) make the development of high-quality* 'multi-tracks' sound software a property of few "addicted" programmers and groups (this number is however increaseing day by day, due to sources releases by some of the programmers despair from creating their software). In the year 1992 Advanced Gravis started their revolution with their UltraSound card which is basically an enhanced version of the "Paula" Chip on the Amiga. It does the mixing by hardware, and no CPU time is involved. Of course, this method has it's disadvantage: the output sound cannot be post- processed! This means that you cannot mix specific channel with a special method (like "robotize" for example), or any sort of digital effects (of course, you can always wait until the hardware manufacture develops a new hardware with "effects" but this always costs more and it does not upgrade as fast as software which does the same). * High-quality means that the playing routines will support 16bit sound and 16bit cards as well as support >4 channels (this needs highly optimized sound routines), and support XMS or EMS. A nice bonus would be if the routines fully support panning, 16bit, over 64K samples and various sound devices. ╒══════════════════════════════════════════════════════════════╕ │ Software Mixing vs. Hardware Mixing Comparison Table │ ╘══════════════════════════════════════════════════════════════╛ REALTIME SOFTWARE MIXING HARDWARE MIXING (SB16, SBPro, SB1,2, PAS, (Gravis Ultrasound, Windows Sound System, DAC, Soundblaster AWE32) GUS/AWE in their software mixing mode (which is not widely supported by prog- rams), Pc-Speaker) CPU TIME USED Alot. Very dependant on the Minimal. optimization of the software, The Mixing itself does vary from one to another. not require any CPU when a 486DX33 machine is time. This is actually dedicated to sound calc. the biggest advantage you can use more than 32 of the GUS/AWE, less tracks playing at 33Khz, important if you don't 16Bit, Stereo and still have plan on playing games, lots of CPU time available. and you only want on a 386SX/33, you can mix to play music. about 9 channels with BEST QUALITY - and still have CPU time (even up to 13 channels but with no CPU time left, just remember to run LIQ -R) SOUND QUALITY Excellent on 16 Bit! Very Excellent (some says GUS good at 8 Bit, depends in quality goes down with the software and the sound more channels (?)), Also filters on specific cards. depends on the hardware Since sound can be post- sound filters on the processed the quality can specific sound card. be improved by software usually cannot be improved based digital filters in by new releases of various new versions of various software. software. SUPPORT Supported by most of the Supported by most of players/trackers available. the NEW players/trackers Not widely supported by available. games games; Companies prefer Supported by new games. to use the FM. see next Foreseen to be a standard section. in games since it doesn't take CPU time and deliver great quality. PROGRAMMING Depend on the sophistica- Relatively easy. tion level of the software; full panning? fast routines? 16bit? stereo? software amplifying? various output devices? relatively complicated. MEMORY Latest programs can utilize You have to pay extra all available memory which cost for on-card memory means that if you have 32MEG chips. Vary from 256K board memory you can dedicate to 2 MEGA. it all to samples! memory is shared which means less cost. MIXING DIGITAL. ANALOG. ╓───────────────────────────────= CONTACTS =───────────────────────────────╖ ║ ║ ║ New versions of Liquid can be obtained from ║ ║ ║ ║ Home Board: The Loan Shark BBS ■ 28K x 4 lines ■ (972)-3-9318789 Ringdown║ ║ LiquidTeam Folder support ║ ║ Liquid can be FREQed using the magic name LIQUID _______ ║ ║ More than 2100 MODs/LIQs/STMs/S3Ms online! \ \_\ ║ ║ / \_______\║ ║ You can cont(r)act the author by: │ SnailMail: ||__\ | ║ ║ │ (°° ________/ ║ ║ Fidonet : <2:403/650@fidonet.org> │ Nir Oren ║ ║ ------------------------------------- │ P.O. box 8180 ;-) ║ ║ Internet : <ofer@glz.co.il> │ Petah Tikva 49181 ║ ║ ------------------------------------- │ Israel <reply guaranteed!> ║ ║ │ (The SNAIL is (C) !!! ;-) ║ ╙──────────────────────────────────────────────────────────────────────────╜ or al, al ; Are we at null? jnz Fast_Introduction * * * End if LIQ.DOC * * *