Windows Game Programming for Dummies (2nd Edition)/WinGamProgFD.iso/pc/DirectX SDK/DXSDK/essentls/DMusProd/data1.cab/Help_Files/dmusprod.txt

Text File | 2001-10-16 | 26.3 KB | 444 lines

DirectMusic Producer: DX8.1

Hello and welcome to the DX8.1 release of DirectMusic Producer, the suite
of authoring tools for DirectMusic.  This release introduces some new features
that were not found in the DX8 final release of Producer.

We hope that you will find DirectMusic to be an exciting technology to explore.
DirectMusic introduces ways of creating, playing and interacting with music
that have never been before possible.  Don't be daunted by the sheer number
of ways you can approach musical performance - most people find a few good
techniques that fit their creative needs and build from there.  Have fun!

The Producer setup will automatically uninstall any existing versions of
Producer found on your machine. It's recommended that you close Producer
before attempting to install.

The DirectX8 version of Producer defaults to a different folder than previous
versions, so if you have a shortcut pointing to the old location that shortcut
will no longer work.

Producer requires the DirectX8.1 version of DirectMusic, as Producer functionality
is built entirely on top of DirectMusic. (The Producer installation process will
prompt you to install the DirectX8.1 runtime bits, if they are not already present.)

DirectMusic Producer also requires IE6.0 (or higher).  Attempting to access
Producer Help documentation will result in scripting errors with versions of
Internet Explorer before IE6.0.

Note that Producer is very memory-intensive because of all of the editing, display
and undo information that is processed.  The overall authoring experience will be
improved by having machines with a significant amount of memory.  Note also that
DirectMusic runtime performance is much more efficient by comparison.

DX8.1 Producer is not intended to be an authoring application for DX7 content.

Demo8 Sample Content
--------------------
A project of sample content can be found on the SDK CD at
"\dxf\dxsdk\essentls\dmusprod\democontent\dmpdemocontent.exe".  The project will
install to "My Documents\DMUSProducer\Demo8\" on your hard drive.

New in this Release
-------------------
1. Super low latency
This option is defined via the MIDI/Performance Options button, enabling much lower
latency, low enough to input notes from a keyboard in real time.  This is only
available if your soundcard uses a WDM driver, and actual performance will vary
depending on the speed of the machine.
Note also that the threshold for auditioning the software synth while recording MIDI
in Producer has been increased to 60 milliseconds.  If the total latency (as displayed
in the Synth Status toolbar) is under 60 milliseconds then you'll hear the software
synth play back notes while recording.  If it is over 60 milliseconds, then the
software synth will be muted; in this case it is recommended to enable the local
output of a hardware synth for recording MIDI input.
2. Wave capture streamlined
While the 'File Output' DMO is still available, it is no longer required for wave
capture.  Users can simply turn on "super low latency" (see #1) and set up wave
capture in the wave/MIDI export toolbar.
3. DLS/wave editing
a. The user has the option of selecting L, R or stereo files when selecting waves
for DLS regions (stereo waves are still 2 mono waves under the hood though).
b. "Replace" functionality for waves in DLS.  Right click on the wave to be replaced
in the Waves folder, then select the new wave to take its place.
c. Text labels provided on DLS regions (listing the wave used per region).
d. Many more edit boxes (in addition to sliders) are writable in DLS.
e. Insert Silence option in Wave Editor
Right click in the wave editor, specify amount to be inserted at cursor.
f. Resample Wave
Right click in the wave editor: Resample, specify the new sample rate.
4. Segment Designer
a. Multiple waves imported as segments
There is a new item in the File menu: Import>Wave File as Segment.  In the file
requester, users can multiple select wave files via Ctrl or Shift keys.  The
resulting segments are clocktime segments that match the length of each wave.
b. Ability to edit segment length based on clocktime
In the segment property page, users can now set length based on minutes, seconds
and milliseconds.
c. Wave Track objects can be multiple selected via Ctrl or Shift Clicking.
d. Ability to start/stop segment while editing DMO in audiopath
Keyboard shortcuts (Alt+< and Alt+>) are functional while the DMO property page is
open.
5. Project Tree sort by Name, File Type or File Size
Right click project name: Sort Tree>Name, Type or Size
6. Direct Connection to Band per part
Applicable to pattern or sequence tracks in segments, or patterns in styles.  There
is a new band icon on the left side of the part.  To the left of the icon is the
current instrument name (based on current position of the cursor) which enables the
user to define a new instrument without opening the band.  By clicking the icon itself
the user can select Open Band Editor, Insert New Instrument (position based on cursor)
or Locate Band (which is helpful if you have a number of bands in a segment).
7. Cosmetic
a. Strip shading: strips in segments have a little more 3D look to them.
b. Customizable wallpaper
Users can use custom bitmaps for the background area in Producer.  To edit, open
DMusprod.ini and specify the path to the custom bitmap, for example:
[Custom]
Wallpaper=C:\WINNT\yourpicturehere.bmp
8. Bug fixes
Many performance and usability bug fixes are in this Beta release, too numerous to
mention here.  One of the most egregious bugs that limited the size of scripts has
thankfully been fixed.
9. A new transition flag: Don't Cut Off Secondary Segments, which allows secondary
segments not to be invalidated (or stopped) when switching to a new primary segment.

New in DirectX 8
-------------------------------------
1. Scripts
One of the major new areas in DirectX Audio is the ability to create scripts,
giving the composer or sound designer much more control in actually implementing
music and sound effects in interactive scenarios.  There are examples of scripting
included in the Demo8 project and in a DirectMusic sample.

2. Audiopaths
Audiopaths provide users with a number of new capabilities, including the
ability to create mix groups, route mix groups to specific buses, and to set up
effects.

Audiopaths in most cases should be created as independent files. Audiopaths can
also be embedded in segments.  Right click the segment object New:Audiopath.  In
order to be heard, "Play on new instance of embedded audiopath" must be checked in
the segment properties.  However, the user is cautioned not to rely too heavily on
embedded audiopaths as it is not economical - generally use global audiopaths and
reserve embedded ones for situations where it is essential.

To create a new audiopath, select File/New: Audiopath. At this point you'll be
prompted to create an empty audiopath or one based on an existing one.  Next you'll
be prompted to add pchannels to this mix group.  You should create a new mix group
for each set of instruments that you wish to have independent control over the effects.

If you wish to add more mix groups or add/remove pchannels to an existing mix group,
right click under Mix Group.

You can right click the Mix Group and select Properties to change the name of the
Mix Group and to specify the Synthesizer.  Generally you'll want this to be the
Default Synth.

The default Audio Bus is Stereo (L+R), although you can right click to change it to
a number of possibilities.  Note that you can insert additional buffers and specify
standard Reverb or Chorus send.  These sends can be modified via CC 91 (Reverb) and
CC 93 (Chorus).

One of the most exciting aspects of the audiopath is the ability to include a new
format for what are commonly known as DirectX plug-ins.  The new format is called
DirectX Media Objects (DMO's), and allows for real-time control via the Parameter
Control track in segments.  Standard effects as well as third-party plug-ins can be
integrated.

On the right side of the audiopath editor is the effects palette.  These effects can
be dragged into an audiopath.  Each instance of an effect can have unique properties
(as defined in the property page).

To integrate effect sends, create mix groups with no pchannels, then insert sends in
the Effects List.  The destination mix group, as well as a standard reverb send, will
appear in the dropdown of the send property page.

IMPORTANT: To make an audiopath "active" as the default audiopath, select the audiopath
file in the Transport Options toolbar.

3. DLS2
Editing of DownLoadable Sounds level 2 files are supported in this release.  DLS2
includes layering of waves (with velocity mapping), a low pass filter, six segment
envelopes and conditional chunks.

To get started, select File/New: DLS Collection, and right click Insert Wave...
(stereo or mono).  Double clicking the wave icon will open the wave editor.

Right click the Instruments folder: Insert Instrument.  After renaming the instrument
(if you wish), double click the Instrument icon to open the Instrument editor.  To
work in DLS1 mode, just use the bottom layer above the piano keyboard (marked DLS1).
Use standard resize and move icons to define regions.  Select the Wave (in the Wave
dropdown) that you wish to use for each region in the Wave, and redefine Root if
needed.

In this release, Stereo files can added to a DLS region (although under the hood they
remain two mono regions that are linked).  Stereo files can also be broken into Right
and Left when assigning to a region.

To add other layers (DLS2 only), right click Insert Region in the 2nd layer above the
piano keyboard.  Define the waves and resize the regions as previously described. If
you wish to define regions by velocity, use the Velocity Range spin controls.

DLS2 provides a second LFO, as represented by the Vib LFO tab in the Instrument
Articulation.  While the Mod LFO allows pitch or volume low frequency modulation,
the Vib LFO only allows pitch.

To enable filtering, uncheck the DLS1 checkbox on the top right of the Articulation
editor and check the Enable Filter in the Filter tab.  Here you can define the Initial
Filter Cutoff, and Initial Q (resonance).  You can map these to Envelope 2 (the Pitch
Envelope).  MIDI control of filtering is also enabled via CC 74.

One of the features of the DLS2 specification is to be able to define certain
conditions under which a particular region or articulation would be downloaded. Select
the Edit button to the right of the Condition dropdown (in the region or articulations
list property page) to open the Condition Script Editor.  Right click in the editor to
find the Queries and Operators supported.

By using the DLS Conditions (audition) toolbar, you can test out various conditions as
defined for each DLS2 region (or articulation).  Click the icon to the right of the
dropdown to create a new configuration.  Give a name to the configuration, and set
values for each of the queries. Regions and articulations that are not supported by
the current configuration (and therefore not downloaded) are displayed with a circle/
slash ("verboten") symbol.

4. New segment track types in DX8
╖ Wave track
Enabling one shot or streaming waves placed on a timeline.  File/Insert Files into
Project and select your waves you wish to use.  The wave editor is available for basic
cut and paste functions on the wave files (they become .wvp design files).

File/New: Segment, then right click in the editor Add Track(s): Wave Track. Double
click the wave track to expand, then position the cursor at insertion point, right
click Insert.  Select the wave in the Wave dropdown of the Wave Properties.  Drag and
drop waves anywhere in the track.  The initial setting of a wave part is a single layer
(a) and the next unnamed layer below.  As you insert or drag waves into the unnamed
layer, this next layer is automatically created (b), and another unnamed layer is added.
For each Wave Part, 32 variations are available via the variation buttons at the top of
the Part.

Wave track is one of the tracks that currently supports clocktime (as set in the track
properties).  When in this mode, editing and performance is done on a clock basis using
minutes, seconds, grids per second and milliseconds.  Music time tempo does not affect
the track in this mode.

╖ Parameter Control Track
Parameter Control Track enables users to control the parameters of DMOs (DirectX Media
Objects) in Audiopaths or tools in Toolgraphs over time.

File/New: Audiopath, then edit the Audiopath  (or create an embedded Toolgraph) to
contain the desired DMOs or Tools. Select the Audiopath in the Transport Options Toolbar
to make it the active one.

File/New: Segment, then right click in the editor Add Track(s)/Parameter Control Track.
This creates an empty minimized track. Right click on this track and select Add New
Parameter. This brings up the Add Parameter dialog which enables adding parameters for
DMOs and Tools from the active Audiopath, an Audiopath embedded in the segment,  or a
Toolgraph in the segment. Maximize the track once the desired parameters have been added
then right click on the track: Draw Curve.  Draw the parameter control curve on the track
by dragging a bounding box. The curve properties can be set through the property page.
The start and end values and the position on the timeline can also be modified
graphically by dragging the bounding frame for the curve or by dragging the curve across
the timeline.

Note that while there is a Toolgraph Designer shipping with DX8, there are no standard
tools available with this release.  However, custom tools can be created by developers.
If you wish to integrate tools, please consult the documentation.

╖ Script track
Script tracks allow users to reference scripts at specific points in the timeline.

See the scripting section of the help file for more detail.

╖ Pattern track
The Pattern track is essentially a sequence track that takes advantage of style note
functionality and variations.  While it doesn't provide new functionality per se, it
is a very quick way to create variable content that responds to chords.

File/New: Segment, then right click in the editor Add Track(s): Pattern Track.  Add
Parts, define Bands and enter notes just as you would for the Sequence Track, but keep
in mind that you have 32 variations available, and that the notes respond to chord
changes based on their functionality.  (If you have a chord track in the segment, you
can right click in the function bar on the left to define Keep Contant> MIDI Notes or
Functionality.)

╖ Segment Trigger track, allowing users to cue primary or secondary segments (both
segments and motifs) along the timeline.  Note that triggering a primary segment will
cause the currently playing primary segment to stop.

File/New: Segment, then right click in the editor Add Track(s): Segment Trigger Track.
Right click Insert on beat boundaries in the timeline, then select either a Segment or
a Motif in the Segment Trigger Properties.  If you choose a motif, then you must first
select a style that the motif belongs to.

╖ The Lyric track already existed in design-time only Producer files, and is now
enhanced to be an actual DirectMusic track type, allowing the user to use text cues
for notifications.

5. Segment enhancements
╖ Groove ranges (as opposed to groove levels)
Notice in groove tracks that a range of values can now be defined, permitting another
level of variability in performance.  If there are multiple patterns possible for a
given groove definition, then a number of options for pattern repeat are available,
including Random, Repeat Same, Sequential from 1st, Sequential from Random, No Repeats,
and Shuffle (all possible will be played before repeating any patterns).

╖ Bypassing activity level
Previously in template property pages, the Activity Level is now defined in the properties
of the signpost track.  The activity level defines how many chords should be composed from
the chordmap and signpost combination.  There is now an option to bypass this activity
level, and simply choose a valid chord path at random.  This is now the default setting
for activity level.

6. Expanded Style functionality
╖ User defined embellishments
In addition to the standard Intro, Break, Fill and End transition patterns, custom
patterns can be assigned a number between 100 and 199.  Segments can also be designated
in the A/B (Transition Options) button as transition segments.

╖ Embellishment destination level
In DX7 a transition pattern looked at the previous pattern and played a transition
that matched that groove level.  In DX8 a transition pattern can (in the property page)
be assigned both a groove range (previous) and a destination range (next pattern).
This greatly enhances the possibilities for continuity in performance.

╖ Enhanced variation performance
In addition to the previous Play commands for variations (in random order and in order
from first) there are three additional available: in order from random, with no repeats
and shuffle (all possible will be played before repeating any variations).

╖ Variation switch points
In DX7 a variation could only play in its entirety.  In DX8 the user can define specific
enter and exit points for a variation.  These switch points are defined at the bottom of
each part in the pattern editor, between the piano roll and the CC tracks. Switch points
can be defined on grid boundaries (right click for options).  They exist in two broad
categories: normal switch points, or switch only if a chord change warrants it (in
conjunction with the Variation Choices Window).

╖ New variation order options
In parts included in patterns, motifs and pattern tracks, previously only two modes were
available: play "in random order" or "in order from first".  Now there are new options for
ordering variations, including play "in order from random" (starts at a random variation,
then proceeds in numerical order), "with no repeats" (won't play any two variations in a
row) and "by shuffling" (won't repeat any variation until all variations have been played).

╖ New flags
There are a number of areas that expose new flags (or options) for performance.  Some
that are notable include: the option whether to invalidate the segment when you cue a
new primary segment, and the ability to regenerate the note when you encounter a new chord
change while the note is sounding.

7. Containers
Containers exist to allow users to package up all of the files used for a given purpose
into a single parent file.  Files can be referenced or embedded, or any combination of
the two.  The container is populated by right clicking and selecting "Add/Remove Files".
You can also drag files from the project tree into either the Embed Runtime or Reference
Runtime folders (design files are always referenced). There is a right click Locate in Tree
function that allows the user to quickly find the source of any file in a container.

Container files also exist in script files as a way of referencing multiple files.  They
appear in script files as Script Content, and also have Embed Runtime and Reference
Runtime options.

Compression
-----------
╖ Generally ADPCM compression types have the most flexibility in regard to sample rate.
  You'll find the most success with MP3 and WMA when you compress at the same sample
  rate as the wave file.
╖ Wave tracks do not support WMA compression.  They do, however, support other mono and
  stereo ACM codecs.  DLS supports mono compression only, and does support WMA.

Can lead to performance problems:
---------------------------------
╖ Generally, it is bad practice to write script routines with large loops.  Doing so
  could cause the routine to take a long time to execute.  If such a routine is used in
  the script track, it could stall the performance, causing the segmentÆs playback to
  stall or skip.  Once a routine is called, it cannot be stopped-even if a segment that
  triggered it (via a script track) is stopped.  If such a routine is called directly
  from the application, it could stall the application, preventing it from performing
  other important tasks.
╖ Setting the read-ahead value for streaming waves below 500 ms can cause part of the
  wave to fall silent before it loops back.
╖ Curve reset duration is longer than the curve's segment by default.  In most cases
  this will have no impact but if you have problems with reset values it's something to
  watch out for.
╖ In some hardware (e.g., Yamaha DS-1) changing the synth properties in the audiopath
  property page can cause the pchannels to affected to play back as monophonic.  The
  workaround is to reopen the property page, touch one parameter and close.
╖ When there are tempo changes in the vicinity of a wave in a wave track (e.g., via
  controlling segments or starting in the middle of a segment) the wave length can
  be affected and may not play for the full duration.

Not intuitive:
--------------
╖ While audiopath is "active", adding or removing effects will stop the performance
  and recreate the audiopath.
╖ When creating a new audiopath based on an existing audiopath, the volume and pan
  information does not get copied.  With this release, however, a new GUID is assigned
  to the new audiopath.
╖ DirectSound always sorts the Bus IDs so that they are always in ascending order.
  In this release we have prevented the user from creating busses that are inappropriate
  based on DirectSound ordering.
╖ Transitioning a segment with an embedded audiopath back to itself will cause playback
  to revert to the global audiopath.
╖ If you're compressing with WMA, append the sample with blank space at the end -
  otherwise the sample may get truncated.  Also note that WMA compression is supported
  for DLS, but not for waves in wave tracks.
╖ When authoring DLS1 files, there are two checkboxes that need to be checked, one in the
  articulation (on by default, next to the ADSR display in the instrument editor) and one
  in the articulation list property page (off by default).  Note that the "Check for DLS1
  Compatibility" function does not check for both checkbox states.
╖ Lyrics and script error messages will not appear in the Message Window if the segment
  playing does not have pchannel 1.
╖ If any referenced segments in a segment trigger track fail to load, then the entire
  track will fail to load (or play).  Likewise with wave tracks: if any referenced waves
  fail to load the entire wave track will fail to load (or play).
╖ If wave edits are made in the Wave Editor while a segment references that wave in
  a wave track, the wave will fall silent.  To work around this, force a redownload by
  stopping the segment and making another edit to the wave (alternately by reinitializing
  the performance by changing the number of voices for the synth).
╖ If your soundcard does not have WDM drivers (and hence, no "Super Low Latency" option),
  Wave Export in the Wave/MIDI Export Toolbar relies on the "FileOutput" DMO to capture
  and record music. To use the Wave Export feature you must create an audiopath that
  contains the "FileOutput" DMO, which can be found in the audiopath designer's Effect
  Palette, and then select this audiopath as the default audiopath.  If the performance
  you are recording creates more than one instance of the "FileOutput" DMO, your recording
  will span two or more .wav files because each instance of this DMO creates a separate
  .wav file and records only the audio data that enters it.  Note that multiple mix groups
  can have sends to a mix group with the FileOutput DMO.
╖ Tip: if you have trouble with particular ports failing to create, switch to no audiopath
  in the dropdown in the Transport Options, then to one of the Standard audiopaths.  Another
  effective workaround is to switch to no input ports in the MIDI/Performance Options, then
  reselect the port.
╖ Under certain circumstances recording, playback and/or cursor timing may become out of sync.
  A workaround is to change the default audiopath in the Transport Options Toolbar.
╖ The user can set latency for the DirectMusic synth in the MIDI/Performance Options
  dialog, but DirectSound latency is added to this number.  Depending on the speed of your
  machine, it may take some tweaking to find the point where latency is low enough for real-
  time input but high enough for solid audio performance.  With the Super Low Latency option
  the DirectSound latency is greatly reduced.

Other things to watch out for (from DX7):
-----------------------------------------
╖ You can usually switch to other music and sound applications without any
  conflicts by hitting the "toggle MIDI" button (it's in the Transport
  Options toolbar - the icon has music notes and is to the left of the MIDI
  Options button).
╖ Saving Producer files to a network share is generally not recommended.
. It is recommended that waves placed in DLS collections have sample rates
  between 4kHz and 80kHz. If a wave's sample rate happens to fall outside of
  these boundaries its pitch will be incorrect on playback.
╖ Be very cautious when referencing files to external projects, as links can
  be easily broken (e.g., if the external project is not open at the
  time that the referenced file is opened).
╖ Watch out for MIDI files with GM or GS resets at the start of the file.
  Bands created from MIDI files are given a tick value of -1 (to start
  before the notes), and a GM/GS reset will override the band at that point.
╖ When two events are placed at exactly the same point in time, DirectMusic makes
  no guarantee about which will occur first.  With this in mind, very often
  Bands in segments should have a negative offset to ensure that the proper
  instrument settings will occur before the note start times. By default, bands
  inserted into segments will have a start time of -1 in relation to the beat.
╖ Selecting Voxware codecs for DLS compression may cause your machine to hang.
  If this occurs, the only known recourse is to reboot your machine.