Sound, Music & MIDI Collection 2/SMMVOL2.bin/DRIVER/RAP10ED.ZIP/RAP10_ED.HLP

OS/2 Help File | 1995-03-06 | 74.6 KB | 1,943 lines

ΓòÉΓòÉΓòÉ 1. RAP-10 Editor Usage ΓòÉΓòÉΓòÉ

The RAP-10 Editor allows you to edit the settings of a Roland RAP-10 audio
card.  It displays the settings for the 15 Parts and the Drum Part (ie, the GM
Sound module), as well as the Digital Audio Tracks, and Effects and Master
settings that affect all sound output.  The Editor does the job of sending the
appropriate MIDI messages to the RAP-10 in order to effect changes to those
settings.  In other words, if you want to assign the Violin to Part #1, you
just change the displayed setting for Part #1's Instrument to Violin.  You
don't have to know what MIDI message the Editor is sending to the RAP-10 in
order to implement the setting.  All that you need to know is that after you
make this change, Part #1 will be playing the Violin Instrument.  The Editor
takes advantage of the fact that the RAP-10 can implement changes in real-time
in order to allow you to change settings while playing the RAP-10 GM Sounds.

After you adjust all of the settings for the 15 Parts, Drum Part (and
individual settings for each of its 62 Keys), the 2 Digital Audio tracks
(playback settings), the Reverb and Chorus settings, and Master settings, you
can save all of these settings to disk.  The Editor makes a standard MIDI file
(format 1), which can be read by a number of programs (including the Editor)
and "played back" to the RAP-10 to restore those settings.  So, for example, if
you have a MIDI file for which you'd like to have it automatically setup the
RAP-10's drum sounds panned to specific positions, you'd do the following:

 1. Edit the Pan settings for each of the 62 Drum Keys as desired.

 2. Save a MIDI file of those settings.

 3. Using a sequencer program that supports importing and "mixing" MIDI files,
    insert the RAP-10 MIDI data before the MIDI note data in the song file.

    Note:  Some MIDI files already have MIDI controller and program change
           messages at the beginning of tracks, which you may wish to filter out.

 4. Save this new MIDI file.

Now, when you play that MIDI file, it will first setup the RAP-10 to the same
settings that you made via the RAP-10 Editor (regardless of what the current
RAP-10's state is), and then play the song file.


Some of the words in this manual are highlighted in bold text, such as
Brightness.  These are words that refer to RAP-10 settings which can be edited
using the RAP-10 Editor software.  Other words are in italics such as
Instrument.  These refer to some aspect of the RAP-10 which may be preset (ie,
unable to be altered) or is a part of the hardware.  Underlined words, such as
Open, refer to menu items in the RAP-10 Editor's windows.  Words that are in
colored text such as Channel Pressure refer to types of MIDI messages (ie,
data).  Words that are in colored text such as Read This are meant to be
emphasized.

This is version 1.0, copyright 1994 by Jeff Glatt.


ΓòÉΓòÉΓòÉ 2. Edit Windows ΓòÉΓòÉΓòÉ

The RAP-10 Editor separates the RAP-10's settings into 2 Presentation Manager
windows.

One window is called the Parts window because it displays the settings for the
15 Instrumental Parts.  It also displays the Reverb/Delay and Chorus settings.
Furthermore, it displays the Master Volume, Fine Tune, and Transpose that
affect the entire system.

The other window is called the Drums/Digital Audio window because it displays
the settings for the Drum Part (including the 62 Keys) as well as the settings
for the 2 Digital Audio tracks.

The Editor has a third window called the QWERTY Keyboard which doesn't alter
any settings on the RAP-10, but allows you to play the RAP-10's GM Sound Module
(so that you can hear the results of your edits).

Note:  You can immediately bring up an appropriate Help panel in the "Parts" or
       "Drums/Digital Audio" windows, by pressing the F1 key.  For example, if
       the Current Part is Instrument, and you press F1, then a help panel pops
       up for the Instrument setting.  If you then move over to the Pan setting
       and press F1, the Pan help panel pops up.  Pressing F1 while the mouse
       pointer is over a menu item also brings up an appropriate help panel.
       For example, if the mouse pointer is over the Save As menu item, and you
       press F1, the Save As help panel pops up.  If you want to save some
       memory and don't need this online help, then you can remove the
       RAP10_ED.HLP file from your hard drive.

The Window Menu allows you to select 1 of the 3 windows (ie. opens the window
if it isn't already open, restores the window if it is minimized, or brings the
window to the front and active if it is behind other windows).  In addition,
clicking Mouse Button 2 in either the Parts or Drums/Digital Audio windows will
cause the QWERTY keyboard window to open (if it isn't already open), pop to the
front, and become active.  Clicking Mouse Button 3 in the Parts Window will
open and bring the Drums/Digital Audio window to the front.  Clicking Mouse
Button 3 in the Drums/Digital Audio Window will bring the Parts window to the
front.


ΓòÉΓòÉΓòÉ 2.1. Parts Window ΓòÉΓòÉΓòÉ

By default, the Parts window opens when you start the RAP-10 Editor.

Note:  The Parts Window opens with a default size and position determined by
       OS/2.  But, you can subsequently resize the Parts Window, and
       maximize/minimize it.  You should maximize the window now for the sake
       of this discussion.  This window's size and position can also be
       adjusted from a REXX script (including a configuration REXX script) via
       the RAPPOS command.

This window displays and allows you to edit the settings for the 15
Instrumental Parts, Reverb, Chorus, and Master settings.  The initial settings
are all defaults that the RAP-10 uses when it powers up.  You always begin from
this "clean slate" (unless you load a MIDI file of previous settings, or have a
REXX configuration file that alters settings).

The RAP-10 can play any 15 of its 128 Instruments simultaneously.  You pick out
the 15 desired instruments, and assign each to 1 of the 15 Parts.  Each Part
has its own settings for such things as Volume, Panning, Reverb and Chorus
levels, Transpose (in half steps), Tuning (in cents), the minimum amount of
voices reserved to it (beyond which voice stealing by other Parts won't occur),
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, MOD
wheel, and Pitch bend.  For example, one Part can cause its instrument to sound
brighter when it receives Channel Pressure messages that increase in value.  On
the other hand, another Part could make its vibrato speed up when it receives
increasing Channel Pressure messages.

The 15 Parts' settings are displayed on the bottom part of the window in a
grid.  Each Part's settings are on 1 horizontal line, starting with the
Instrument assigned to this Part, and ending on the right side of the window
with the Part's Fine Tune setting.  Part #15 is at the very bottom of the
window.  You'll note that on the left side of the Window, the lines are labeled
with the Part number.  Since all of the Parts have the same total and type of
settings to edit (ie, all Parts are alike), their settings are arranged on a
grid.  Atop of the grid, there are labels over the columns such as Instrument,
Pan, Reverb, etc, which identify what the values in that column signify.  For
example, if you start at the label Instrument and go down that column beneath
it, all of the way to the bottom of the window, you'll see which Instruments
are assigned to each of the 15 Parts.

Note that all of the Labels for settings (whose values you edit) are displayed
in a black color.  The Labels that merely group settings together into
"sections" (ie, so aren't related to any specific setting) such as the Part
numbers are in a dark gray color.  Notice that the actual values for the
settings are displayed in a blue color, except for only 1 setting which is
displayed in red.  (By default, this is Part #1's Instrument setting).  I'll
refer to the setting in red as the Current Setting.  It's highlighted in red to
inform you that this is the setting that you're currently editing.  There are 2
ways to change the value of this setting.

If you want to increment or decrement the setting through all of its possible
values, you use the PAGEUP and PAGEDOWN keys.  For example, if you press the
PAGEUP key now, you'll see Part 1's Instrument change to Bright Piano.  This is
because Bright Piano is the next GM Instrument after Grand Piano.  If you press
the PAGEUP key again, Part 1's Instrument will change to Elec. Grand.  Of
course, you could go backwards with the PAGEDOWN key.  If you press PAGEDOWN
now, Part 1's Instrument will go back to Bright Piano.  Press PAGEDOWN again,
and you'll be back to Grand Piano.  Of course, if you press PAGEDOWN again, the
Instrument will remain at Grand Piano because that's the first (ie, lowest
numbered) GM Instrument available.

Using the PAGEUP and PAGEDOWN keys is fine if you need to step through the
possible values one at a time, and perhaps listen to the results of each
change.  But, what if you wanted to set Part 1's Instrument to Gun Shot?  You
probably don't want to be forced to step through all 128 Instruments (even
though as you hold the PAGEUP key down, it will automatically continue to
increment the setting).  For this reason, there is a method to Direct Enter a
new value.  If you press the ENTER key, then a dialog box will pop up which
allows you to quickly choose the exact value that you want for this setting.
In this case, you're presented with a LIST BOX that contains all 128 available
Instrument names.  Using the mouse (or arrow keys and ENTER key), peruse the
list and select the desired Instrument (by clicking Mouse button 1 twice over
the desired name, or highlighting the name and pressing ENTER).  The LIST BOX
will disappear, and Part 1's Instrument will change to your chosen selection.
To dismiss the LIST BOX without changing the setting, press ESC or select the
Close menu for the LIST BOX.

Note:  You can also invoke a Direct Enter by moving the mouse pointer over the
       setting that you wish to edit, and clicking the Mouse button 1 twice,
       very fast (ie, double-clicking).  Make sure that you place the pointer
       over the actual value that you wish to change, not its Label.

Ok, so how do you make some other setting the Current Setting so that you can
change that?  You use the 4 cursor (ie, arrow) keys to move from setting to
setting.  For example, if you press the Right Arrow key now, you'll notice that
Part 1's Instrument setting turns blue, and Part 1's Pan setting turns red (ie,
you moved over one setting to the right.  Now, you can change Part 1's Pan
setting by using the PAGEUP and PAGEDOWN keys, or Direct Enter a new value.
Note that the UP and DOWN ARROW keys can move from line to line.

Note:  You can also change the Current Setting by moving the mouse pointer over
       the setting that you wish to make current, and clicking the Mouse button
       1 once only (ie, no double-clicking).  Make sure that you place the
       pointer over the actual value that you wish to make current, not its Label.

If you Direct Enter a new value for Pan, you'll note that the GM Instrument
LIST BOX doesn't pop up.  Rather, a STRING ENTRY dialog pops up, asking you to
type in a numeric value.  This is because the Pan setting wants to know where
in the stereo spectrum you wish to place this Part, and it needs a numeric
value with a < prepended for values off to the left, a > prepended for values
off to the right, or a 0 for center.  Note that the STRING ENTRY's titlebar
informs you of the maximum range of values from which you can choose the one
that you want to enter.  For example, <63 would pan the Part hard left.  A pan
of < 64 is not allowed.  The Editor will clip any value outside of the allowed
range to the nearest allowed value.  You simply type in the desired value,
press ENTER, and the new value will be applied to the setting.

Different RAP-10 settings have different allowed ranges.  For example, the
Transpose can be from -24 to 24.  On the other hand, the Volume must be in the
range 0 to 127.  When you increment/decrement a setting using the PAGEUP and
PAGEDOWN keys, these will stop changing the value when the range limit is met.
When you Direct Enter a value, the dialog will clip the value to an allowed
value (and will tell you the allowed range in the titlebar).

Note:  Because a window can only display a limited amount of information, not
all of the Parts' settings appear on the grid.  For example, you'll notice
that, above the grid, there are 4 settings under the Label Channel Pressure
called Brightness, Volume, Vibrato Speed, and Vibrato Depth.  There are 2
settings under the Label Modulation Wheel called Vibrato Speed and Vibrato
Depth.  There is 1 setting under the Label Pitch Wheel called Range.  Every
Part has its own values for these 7 settings.  So, whose settings are being
displayed right now?  These are the values for the Current Part, which is
simply the last Part whose settings you altered in the grid.  To the left of
the grid, before the Part number labels, there is a small, green arrow that
shows you which Part is the Current Part.  Position the Mouse pointer over the
grid setting for Part 15's Instrument (ie, which by default says Fingered
Bass), and click Mouse Button 1 once.  Notice that not only have you made that
setting the Current Setting, but you have also made Part 15 the Current Part.
The settings displayed for Channel Pressure, Modulation Wheel, and Pitch Wheel
are now those for Part 15.  (By default, these settings are the same values for
all 15 Parts).  Press the RIGHT ARROW key to move over to Part 15's Pan
setting.  Although the Current Setting is now Pan, you'll still editing Part
15, so the green arrow remains on Part 15.  Now, press the UP ARROW key to move
up to Part 14's Pan.  Note that Part 14 is now the Current Part, and the
settings displayed for Channel Pressure, Modulation Wheel, and Pitch Wheel
change to those for Part 14.  This scheme allows you to access the settings for
all Parts, and yet still fit all of this information into one window.
Generally, you'll adjust the Channel Pressure, Modulation Wheel, and Pitch
Wheel settings once only, and don't need to reference them to the settings for
the other Parts.  On the other hand, the settings on the grid are often
adjusted complimentary to other Parts (ie, if you Pan Part 1 hard left, you
might want to Pan Part 2 hard right), so you'll want to see them all displayed
simultaneously.

Note:  If you use the UP ARROW key to move off of the Parts grid to Channel
       Pressure, Modulation Wheel, and Pitch Wheel settings, then you'll always
       end up seeing Part 1's settings.  This is because as the Current Setting
       is moved up along the grid, so too is the Current Part.  You should use
       the Mouse to click once on any Channel Pressure, Modulation Wheel, or
       Pitch Wheel setting in order to make it the Current Setting.  That way,
       you don't change the Current Part.  Remember that the green arrow tells
       you which Part those Channel Pressure, Modulation Wheel, and Pitch Wheel
       settings represent.

Here now are all of the settings in the Parts window.  The descriptions for
each tell you what this setting affects on the RAP-10, what the range of
allowed values is, and what is involved with Direct Enter for this setting.

Instrumental Part

Instrument
Pan
Reverb
Chorus
Volume
Chan
Min Voices
Transpose
Fine Tune
MOD Vibrato Speed
MOD Vibrato Depth
CHANNEL PRESSURE Brightness
CHANNEL PRESSURE Volume
CHANNEL PRESSURE Vibrato Speed
CHANNEL PRESSURE Vibrato Depth
PITCH Range

Reverb

Type
Volume
Time

Delay

Time
Repeat

Chorus

Volume
Feedback
Delay
Rate
Depth

Master

Volume
Fine Tune
Transpose


ΓòÉΓòÉΓòÉ 2.2. Sliders ΓòÉΓòÉΓòÉ

There are two sliders in the Parts window, beneath the Channel Pressure
settings.  They are labeled as Pressure and Modulation.  These 2 sliders
generate MIDI Channel Pressure and Modulation Wheel respectively.  After you
change the Mod Wheel and/or Pressure settings for a Part, you need some way to
generate those MIDI messages in order to test the effects of your settings.

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
any MIDI message is sent to the RAP-10 (and you perhaps hear the result
depending upon whether you've set Channel Pressure or Mod Wheel to control some
aspect of the Part's sound).  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:  The slider broadcasts MIDI events according to the settings of the
       QWERTY keyboard.  If you have the QWERTY keyboard set to MIDI channel 1,
       then the sliders will broadcast on channel 1 (ie, affect any Parts set
       to channel 1).  If you have the QWERTY keyboard set to Track Part, then
       the sliders will broadcast on the Current Part's channel.

You can hold down a key on the QWERTY keyboard to sound a note on the RAP-10.
Then, without releasing the key (ie, so that the note is still sounding), you
can operate a slider to hear the result on the currently sounding note.  In
fact, that's really how AfterTouch and Channel Pressure are meant to be
applied.  For example, set the Channel Pressure's  Vibrato Depth to 127, pick
out a sustaining Instrument such as Drawbar Organ, and hold a note.  Now, move
the slider labeled Pressure and hear how these MIDI messages make the Vibrato
fade in and out on the sustaining note.  Moving the slider's knob all of the
way to the left corresponds to Channel Pressure (or Modulation Wheel) off.  All
of the way to the right is full Channel Pressure (or Modulation Wheel).

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.

If you move the sliders, before you proceed to edit a Part on another channel,
it's good practice to return the sliders to full left (ie, off) position.  This
ensures that Channel Pressure and Mod Wheel are off on that first channel.

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.

The settings of these sliders are for playback only.  They aren't saved in a
MIDI file.  In that respect, they're really only part of the QWERTY keyboard,
except that it's more convenient to have them in the same window near the
settings that pertain to these MIDI events.

The Drum Part's window also has the sliders.  Remember to set the QWERTY
keyboard to the Drum Part's MIDI channel, or have Track Part selected before
using these sliders.


ΓòÉΓòÉΓòÉ 2.3. Drums/Digital Audio Window ΓòÉΓòÉΓòÉ

This window displays and allows you to edit the Drum Part settings (including
the settings for all 62 Drum Keys), and the Digital Audio Tracks settings.

The Drum Part settings are on the bottom half of the window.  On the bottom
left are some Master settings for the entire Drum Part (ie, affect all 62
Keys).  Furthermore, the 4 Channel Pressure settings and 2 Modulation Wheel
settings are for the entire Drum Part.  Most of these settings are just like
the same settings for an Instrumental Part, except that these are for the Drum
Part.  For example, the Master Volume goes from 0 to 127, and controls the
entire Drum Part's volume.

As mentioned, there are 62 Drum sounds, or Keys in a Drum Kit.  Now, there
isn't enough room in the window to show you the settings for all 62 Keys, so
only 1 Key's settings are displayed at a time.  Under the Label Current Drum
Key is the name of the Key whose settings are currently being displayed.  By
default, this is High Q.  Each Drum Key has its own settings for Volume, Pan,
Reverb and Chorus levels, and Transpose.  These are much like the settings for
an Instrumental Part.  You can step through the 62 drum keys by highlighting
the Name setting (ie, making it the Current Setting) and using the PAGEUP and
PAGEDOWN keys.  Alternately, you can double-click on the current Name setting,
and this will bring up a LIST BOX with the names of all Drum Keys.  Choose the
one that you want to edit, and its settings will be displayed.

There is a Play Drum Key button below the Key settings.  Clicking this will
cause the current Drum Key to be triggered.  This is a convenient way to hear
the results of your adjustments to the current Key.  Of course, you could set
the QWERTY keyboard to the Drum Part's MIDI channel (which is 10, by default),
or select Track Part, and play the Drum Part with the QWERTY keyboard.  But,
remember that each MIDI note number is a different drum sound.  So, to play the
High Q sound (which is note #27), you'd have to set the QWERTY keyboard to
Octave 3 and play the low D#.  That's the one key that High Q is assigned to
(ie, note 27).  Consult the Drum Kit chart for a list of which sounds are
assigned to which note numbers.

One of the master settings is the Kit.  You have your choice of 1 of 6 kits.
Note that if you change to the Orchestra Kit, then High Q changes to Closed HH.
Why is this so?  That's because, if you look at the chart for Drum Kits, you'll
see that while note 27 is High Q for the Standard kit, note 27 is Closed HH for
the Orchestra kit.  Note that some kits share the same sounds.  For example,
the Shaker appears in all 6 kits.  Does this mean that you can pan the Shaker
in the Orchestra kit to a different position than the Shaker in the Standard
kit?  No.  The 2 Shakers are really the same, and so have only 1 pan position.
If you pan the Standard's Shaker hard left, then the Shaker will be hard left
in the other kits as well.  Each unique drum sound has its own Volume, Pan,
Transpose, and Chorus and Reverb levels.  The Editor only displays and saves
one kit worth of drum keys.  For example, if you set the Low Tom 1's Volume to
80 and then switch to the Orchestra kit, the display will show the Timpani G
with a Volume of 80, although that may not be the actual setting on the RAP-10.
Furthermore, the Timpani G can have a different volume than Low Tom 1 even
though they are assigned to the same MIDI note number (in different kits).
But, only one of those settings gets saved.  So, it's best to only edit the
sounds in the kit that you intend to save.

The only other Drum Part setting which is different than the Instrumental Parts
is Receive NRPN.  This is sort of a "memory protect" switch for the Drum Part.
If you turn it on, then any adjustments that you make to a Drum Part Key won't
be accepted by the RAP-10.  So, it prevents you (and any other MIDI device)
from inadvertently altering the settings for individual keys.  Make sure that
this is off if you want to edit individual Key settings.

Here are the settings that are for the Drum Part.

Master Drums

Kit
Min Voices
MIDI Channel
Receive NRPN
Volume
Pan
Reverb
Chorus
MOD Vibrato Speed
MOD Vibrato Depth
CHANNEL PRESSURE Brightness
CHANNEL PRESSURE Volume
CHANNEL PRESSURE Vibrato Speed
CHANNEL PRESSURE Vibrato Depth

Drum Keys

Name
Volume
Pan
Reverb
Chorus
Transpose

The settings for the Digital Audio tracks are on the top half of the window.
These settings are for playback only.  Normally, the program that you use to
record digital audio will allow you to adjust settings for recording.

If you're going to be using the 2 tracks as 2 MONO tracks (ie, each one plays
back a different WAVE file), then you'll use the Left and Right track settings.
If you're going to be playing a stereo WAVE file, you're use the Stereo
settings, which affect both tracks equally.  Note that, just like the 15
Instrumental Parts, the Digital Audio tracks settings are arranged on a grid.

Here are the settings that are for Digital Audio tracks.

Left/Right/Stereo

Volume
Pan
Reverb
Chorus
Brightness
Rate
Transpose
Fine Tune


ΓòÉΓòÉΓòÉ 2.4. QWERTY Keyboard ΓòÉΓòÉΓòÉ

This window displays the settings for the QWERTY keyboard.

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 D note.  Therefore, the x key next to it would correspond
to a E 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 RIGHT SHIFT key which represents a
high G.  In other words, it has an octave and a fifth range.

When you press down one of these keys, it sends a MIDI Note On message to the
RAP-10 on each of the MIDI channels that you have selected.  The net result is
that it will play this one note on each Part that is assigned to one of the
selected MIDI channels.

Note:  By default, the QWERTY keyboard is set to Track Part.

You can even press down several keys simultaneously and play a chord.  For
example, press the RIGHT SHIFT, x, and v keys simultaneously to hear a C Major
chord on whichever Part (or Parts) is assigned to the selected channel(s).
When you release the keys, the QWERTY keyboard sends the appropriate Note Off
messages to that Part(s).

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 Parts (set to various MIDI channels), at any time.  So, you can
use the QWERTY keyboard to play each Part individually, or a combination of
Parts, to check your settings of those Parts.  To the right of the MIDI Channel
boxes is a box for Track Part.  When checked, instead of broadcasting on each
of the selected MIDI channels, the QWERTY keyboard broadcasts only on the MIDI
channel of the Current Part.  For example, assume that the Current Part's MIDI
channel happens to be 1.  If you make some other Part the Current Part (by
selecting one of its settings as the Current Setting),  then the QWERTY
keyboard will switch to broadcasting on that Part's channel.  If that Part
happened to be on channel 2, then the QWERTY keyboard would switch to that
channel regardless of the state of the 16 MIDI Channel boxes.  Track Part makes
it easy to switch the Current Part back and forth between Parts on different
MIDI channels, and have the QWERTY keyboard follow the Current Part without
having to constantly change the MIDI Channel boxes.  Note that if the Drum Part
window is made active, then the QWERTY keyboard switches to playing the Drum
Part if Track Part is enabled.

Note:  You must have at least one Channel box selected in order for any MIDI
       messages to be sent, unless Track Part is enabled.

By default, the RIGHT SHIFT 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.

By default, MIDI Note On messages are sent with a velocity of 100.  On the
RAP-10's GM sound module, velocity is used to control the volume on a per note
basis (and may also affect the "tone" of an Instrument).  Your computer
keyboard does not generate velocity information (which is how fast you press
and release the keys).  The QWERTY window 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 the F1 and F10 keys for its own use, so these do not control velocity.

If you ever get any "stuck" notes, use the Panic button to turn them off.  This
also resets all controllers (ie, MOD and Pitch wheels, Channel Pressure).

Note:  The bottom two rows of the computer's keyboard function as a piano
       keyboard in all 3 windows (ie, not just the QWERTY window).  So, you
       don't need to use the QWERTY window in order to play notes, but you do
       need this window to set the MIDI channel(s) it plays upon (unless Track
       Part is enabled), the octave, and velocity.  You can always pop up the
       QWERTY keyboard by clicking Mouse Button 2 in the Parts or Drums/Digital
       Audio windows.


ΓòÉΓòÉΓòÉ 3. File Menu ΓòÉΓòÉΓòÉ

The File menu contains commands that you use to create, load, and save data
files.  This menu appears in both the Parts and Drums/Digital Audio windows.
The following commands appear in the File menu:

New         Creates a new, untitled (default) setup

Open        Opens an existing MIDI file

Save        Saves any changes to current MIDI file

Save As     Saves the current settings using a new MIDI file name

Filter      Chooses which settings are saved to disk (and subsequently
            transferred to the RAP-10 upon load of that file)


ΓòÉΓòÉΓòÉ 3.1. New ΓòÉΓòÉΓòÉ

You can create a new, default setup by using New.  The defaults are values that
the RAP-10 normally powers up with.  To create a default setup, do the
following:

 1. Select the File menu and choose New.

Note:  The word "Untitled" appears in the title bar of the new setup.  There
       will be no * before the "Untitled" until you make your first change to
       the setup.  The * indicates that you have made an edit that hasn't yet
       been saved to disk.


ΓòÉΓòÉΓòÉ 3.2. Open ΓòÉΓòÉΓòÉ

You can open a MIDI file that exists on any drive or in any directory by using
Open.  To open a file, do the following:

 1. Select the File menu and choose Open.

 2. Using the File dialog box that appears and which shows you a list of .mid
    files in the current directory, select a file either by typing in the name
    or double-clicking the mouse on the desired name in the list.

As the file is loaded, the settings in it are sent over to the RAP-10.  So,
after the load, the RAP-10's state is changed to reflect the loaded settings.
Note that only those settings that are loaded are sent to the RAP-10.  Some
settings might not be present in a file if they were filtered out when the file
was saved.

Note:  The Editor can only read a MIDI file that it made.  So, always save the
       original copy if you mix the MIDI file with another MIDI file.


ΓòÉΓòÉΓòÉ 3.3. Save ΓòÉΓòÉΓòÉ

You use Save to save changes you've made to your setup.  The changes are saved
to the last MIDI file that you loaded or already saved to.

Note:  If you haven't yet used Save As to pick out a filename and saved data to
       a MIDI file, or haven't loaded a MIDI file, then this will present the
       File Dialog to allow you to pick out a new name.  The next time that you
       use Save, it will not present this dialog and instead use the last
       filename that you saved or loaded.

To Save, do the following:

 1. Select the File menu and choose Save.

The settings that are saved are those which are check-marked using the Filter
dialog (ie, see Filter Selections).  You may wish to review those settings
before saving a file.  Any Filter selections that you made previously are used
for the current save.

Note:  If the save is successful, the filename appears in the title bar of the
       Parts window with no * before the name (until you make another change to
       the setup).  The * indicates that you have made an edit that hasn't yet
       been successfully saved to disk.  If you try to exit the Editor with
       unsaved changes, you'll be asked whether you want to discard them.


ΓòÉΓòÉΓòÉ 3.4. Save As ΓòÉΓòÉΓòÉ

You use Save As to name and save a new MIDI file.

Follow these steps to save a new file:

 1. Select the File menu and choose Save As.

 2. Using the File dialog box that appears and which shows you a list of MIDI
    (ie, .mid) files in the current directory, type in the desired name.

    Note:  You must type in the name.  The list of file names is only for a
           reference so that you can type in a unique name assuming that you
           don't want to overwrite an existing file.  The editor will prompt
           you before it ever overwrites an existing file, giving you the
           option of aborting the save.

The settings that are saved are those which are check-marked using the Filter
dialog (ie, see Filter Selections).  You may wish to review those settings
before saving a file.  Any Filter selections that you made previously are used
for the current save.

Note:  If the save is successful, the filename appears in the title bar of the
       Parts window with no * before the name (until you make another change to
       the setup).  The * indicates that you have made an edit that hasn't yet
       been successfully saved to disk.  If you try to exit the Editor with
       unsaved changes, you'll be asked whether you want to discard them.


ΓòÉΓòÉΓòÉ 3.5. Filter Parameters ΓòÉΓòÉΓòÉ

Sometimes, you may want to save a MIDI file that only has a few of the many
RAP-10 settings saved in it.  Such a MIDI file is smaller than a MIDI file in
which all of the RAP-10's settings are saved.  The smaller MIDI file also takes
less time to transmit to the RAP-10.

For example, if you wanted to save a MIDI file that was going to be prepended
to a sequencer MIDI file that contained no digital audio WAVE events, then you
would have no need to save the RAP-10's Digital Audio settings.  Prior to
saving the MIDI file, you would bring up the Filter dialog, and turn off the
check on the Digital Audio settings.

As another example, maybe you don't intend to use the RAP-10's drum sounds.
You could make a much smaller MIDI file by turning off all of the drum keys so
that none of their settings get saved.  The Clear All button does this.  (Or,
if you were only going to play a few of the drum sounds, you could select only
those keys that you intend to use.  You wouldn't care how the other keys were
setup).  Note that the Drum Keys are listed by name in a LIST BOX.  A selected
Key has a dark background, and not selected have a lighter (ie, yellow)
background.  The names reflect the current kit.

You also can save selected Parts.  This saves all of that Parts' settings in
the grid as well as its Channel Pressure, Modulation Wheel, and Pitch Wheel
settings.

A very good use of the Filter dialog is to allow you to save and combine
"pieces" of various setups.  For example, say that you want to take Part 1 and
Part 2's settings from one MIDI file and combine them with the settings in
another MIDI file named "Blort".  Here's what you do:

 1. Open the file with the desired Part 1 and 2.

 2. Bring up the Filter dialog and turn off ALL checkmarks except the ones for
    Part 1 and Part 2.

 3. Use Save As to make a new MIDI file.  This MIDI file has only Part 1 and
    Part 2's settings in it.

 4. Open the file named "Blort".

 5. Now, Open that new MIDI file you made.  Because that MIDI file only
    contains the settings for Part 1 and Part 2, the RAP-10 Editor will not
    disturb your other settings.  Therefore, Part 1 and Part 2's new settings
    will overwrite the old Part 1 and Part 2 settings, but all other settings
    will remain as they were before loading.  You've now combined these new
    settings with the rest of the settings in the "Blort" setup.  You can now
    use Save As to save this brand new setup, but make sure that you go back to
    the Filter dialog and check all of the settings that you want saved.  (You
    still have only the Part 1 and Part 2 settings checked).

Note:  If a Part (ie, Instrumental or Drum Part) has its MIDI channel set to
       OFF, then the following parameters will not be saved, even if the Part
       is selected with the Filter dialog: Instrument (or Drum Kit), Pan,
       Reverb Level, Chorus Level, Volume, Fine Tune, Transpose, and Pitch
       Wheel Range.  If the Drum Part's MIDI channel is OFF, then none of the
       Key settings are saved (ie, individual Volume, Reverb and Chorus Levels,
       and Transpose for each Key).


ΓòÉΓòÉΓòÉ 4. Settings ΓòÉΓòÉΓòÉ

What follows are the Settings that the RAP-10 Editor allows you to edit.  For
each Setting, I describe what the Setting affects on the RAP-10, its allowed
range, and what is involved with Direct Enter.

There are remarks about how each Setting is adjusted over MIDI.  You don't have
to know this information when using the RAP-10 Editor, because it takes care of
sending the RAP-10 those MIDI messages when you manipulate the values in the
RAP-10 edit windows.  But, if you're using a sequencer program and wish to
manually add MIDI messages at various places within some MIDI song file, to
adjust various RAP-10 settings, you'll need to know this info.


ΓòÉΓòÉΓòÉ 4.1. Instrument ΓòÉΓòÉΓòÉ

Affects        Which GM Instrument the Part will play.

               Note:  If the Part receives a MIDI Program Change message on the
                      channel to which it is assigned, then its Instrument will
                      change to the program number embedded in that message.
                      For example, assume that Part 1 is set to MIDI channel 1,
                      and its Instrument is set to Grand Piano.  If a Program
                      Change message with a program number of 41 is sent on
                      MIDI channel 1, then Part 1's Instrument will switch to
                      Violin (ie, which is GM Instrument #41).  A Program
                      Change can be sent while the RAP-10 is playing -- even
                      while Part 1 is playing some Grand Piano notes.  The Part
                      will simply play subsequent MIDI notes using the new
                      Instrument.  So, even though you can only play 15
                      Instruments simultaneously, you can change a Part's
                      Instrument at any given time, and over the course of
                      playing a MIDI file, even use all 128 Instruments (15 at
                      any one instant).

Range          One of the 128 GM Instruments.

Direct Enter   A LIST BOX with the 128 GM Instrument names.


ΓòÉΓòÉΓòÉ 4.2. Pan ΓòÉΓòÉΓòÉ

Affects        Where within the stereo field the Instrumental Part, Drum Part,
               Drum Key, or Digital Audio track will be placed.

               Note:  If the Part receives a MIDI 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 Part 1 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
                      Part 1's Instrument will switch to center position.  A
                      Pan Controller can be sent while the RAP-10 is playing --
                      even while Part 1 is playing some notes.  The Part will
                      simply play with a new pan position.

               For Digital Audio tracks, a SYSEX message is used rather than
               Pan Controller.

               For each individual Drum Key, an NRPN Controller message is used
               with the respective Key number on the Drum Part's MIDI channel.
               Otherwise, a Pan Controller will affect the entire Drum Part.

               Of course, the RAP-10 editor takes care of which MIDI message to
               send when you change a Pan setting.

Range          128 possible positions, with <63 being hard left, 0 being
               center, and 63> being hard right.

Direct Enter   Type a < followed by a value from 1 to 63 to pan off to the
               left.  Type a 0 for center.  Type a value from 1 to 63 followed
               by > to pan off to the right.

               Note:  The > is optional for panning to the right.  You can omit
                      it when direct entering the value.  But, the < is
                      required for left panning.


ΓòÉΓòÉΓòÉ 4.3. Reverb ΓòÉΓòÉΓòÉ

Affects        The reverb amount (ie, level) for this Part, Drum Key, or
               Digital Audio track.

               Note:  If the Part receives a MIDI Effects 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 Part 1 is set to MIDI channel 1,
                      and has a Reverb Level of 64.  If an Effects Controller
                      message with a value of 0 is sent on MIDI channel 1, then
                      Part 1's Instrument will switch to having no reverb (ie,
                      reverb level=0).  An Effects Controller can be sent while
                      the RAP-10 is playing -- even while Part 1 is playing
                      some notes.  The Part will simply play with a new reverb
                      level.

               For Digital Audio tracks, you send a SYSEX message rather than
               Effects Controller.

               For each individual Drum Key, you must send an NRPN Controller
               message with the respective Key number on the Drum Part's MIDI
               channel.  Otherwise, an Effects Controller will affect the
               entire Drum Part.

               Of course, the RAP-10 editor takes care of which MIDI message to
               send when you change a Reverb setting.

Range          0 to 127, with 0 being no reverb at all.

Direct Enter   Type a value from 0 to 127.


ΓòÉΓòÉΓòÉ 4.4. Chorus ΓòÉΓòÉΓòÉ

Affects        The chorus effect amount (ie, level) for this Part, Drum Key, or
               Digital Audio track.

               Note:  If the Part receives a MIDI 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 Part 1 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
                      Part 1's Instrument will switch to having no chorus (ie,
                      chorus level=0).  A Chorus Controller can be sent while
                      the RAP-10 is playing -- even while Part 1 is playing
                      some notes.  The Part will simply play with a new chorus
                      effect level.

               For Digital Audio tracks, a SYSEX message is used rather than
               Chorus Controller.

               For each individual Drum Key, an NRPN Controller message is used
               with the respective Key number on the Drum Part's MIDI channel.
               Otherwise, a Chorus Controller will affect the entire Drum Part.

               Of course, the RAP-10 editor takes care of which MIDI message to
               send when you change a Chorus setting.

Range          0 to 127, with 0 being no chorus effect applied to this Part or
               Track at all.

Direct Enter   Type a value from 0 to 127.


ΓòÉΓòÉΓòÉ 4.5. Volume ΓòÉΓòÉΓòÉ

Affects        There are many components of the RAP-10 whose volume can be
               adjusted.  Of course, there are each of the 15 Instrumental
               Parts, the Drum part, each of the 62 Drum Keys, and each Digital
               Audio track.  Furthermore, there are Volume settings for the
               Reverb/Delay and Chorus units, and a Master Volume for the
               system.

               Note:  If the Part receives a MIDI 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 Part 1 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 Part 1's
                      Instrument Volume will drop by half.  (Actually, there is
                      a logarithmic taper).  A Volume Controller can be sent
                      while the RAP-10 is playing -- even while Part 1 is
                      playing some notes.  The Part will simply play with a new
                      Volume.

               For Digital Audio tracks, a SYSEX message is used rather than
               Volume Controller.

               For each individual Drum Key, an NRPN Controller message is used
               with the respective Key number on the Drum Part's MIDI channel.
               Otherwise, a Volume Controller will affect the entire Drum Part.

               For the Reverb/Delay and Chorus units, and Master Volume, SYSEX
               messages are used.

               Of course, the RAP-10 editor takes care of which MIDI message to
               send when you change a Volume setting.

Range          0 to 127, with 0 being no volume at all.

               Note:  A volume of 0 doesn't turn a Part OFF.  In order to do
                      that, you must set its MIDI channel to OFF.  A volume of
                      0 would make the Part not be heard, but unless its MIDI
                      channel was OFF as well, the Part would still be
                      "playing" MIDI data on its channel (and using up RAP-10 voices).

Direct Enter   Type a value from 0 to 127.


ΓòÉΓòÉΓòÉ 4.6. MIDI Channel ΓòÉΓòÉΓòÉ

Affects        The MIDI channel that the Part is set to play upon.  Any MIDI
               messages sent to the RAP-10 on that channel will be played by
               the Part, including Note-On, Channel Pressure, Program Change,
               Pitch Wheel (not for the Drum Part), MOD Wheel, and many other
               controllers which adjust the Part's Pan, Volume, Reverb and
               Chorus Levels, Tuning/Transpose, and Pitch Bend Range (not for
               the Drum Part) during playback.

               Note:  Digital Audio tracks are not assigned to a MIDI channel.
                      This is because all of their settings are adjusted via
                      MIDI SYSEX messages, which have no channel.  What this
                      also means is that the Digital Audio tracks can't be
                      controlled by such MIDI controllers as Channel Pressure,
                      Pitch Wheel, MOD Wheel, and many other controllers that
                      send Pan, Volume, Reverb and Chorus controller messages,
                      but not SYSEX messages.  Digital Audio tracks can only be
                      adjusted by sending SYSEX messages.

Range          1 to 16 for the 16 MIDI channels, or OFF.

               Note:  When no Part is set to a particular MIDI channel, then
                      MIDI data on that channel simply passes through to some
                      external device connected to the RAP-10's MIDI interface.
                      Otherwise, a Part uses MIDI data on the channel to which
                      it is assigned.  For example, if no Part is set to
                      channel 16, then any data on that MIDI channel will pass
                      through to the external MIDI connector box, and the
                      RAP-10 will not attempt to play that data on its internal
                      GM Sound Module.  So, how do you use external MIDI
                      devices connected to the RAP-10 as well as the RAP-10 GM
                      Module, without having each playing the others' musical
                      parts, if you only have 16 MIDI channels?  Well, you've
                      got to divide up those MIDI channels between the RAP-10
                      and the external devices.  Even though a MIDI device may
                      be capable of listening to all 16 MIDI channels
                      simultaneously (ie, is multitimbral, or in omni mode),
                      you'll have to set each device to listen to only a few
                      MIDI channels.  How do you do that on the RAP-10?  Well,
                      you can turn some of the 15 Instrumental Parts or the
                      Drum Part OFF.  If you don't need 15 instruments all
                      playing at once, then this is a good approach.  Since
                      you'll have less than the 15 Parts and Drum Part going,
                      you won't need all 16 MIDI channels for the RAP-10.  Set
                      the external modules to those MIDI channels that aren't
                      being used by one of the RAP-10 Parts left on.
                      Alternately, you could set 2 RAP-10 Parts to the same
                      channel if they are always going to be playing the same
                      musical part, and that will free a channel for external
                      use.  This second method means that MIDI messages such as
                      Program Change will change both Part's Instruments to the
                      same Instrument.  Furthermore, you lose individual
                      control over MOD and Pitch Wheel, Channel Pressure, and
                      many other MIDI controllers such as Pan, Volume, Reverb
                      and Chorus Levels, and Tuning.  Unless you don't intend
                      to send such MIDI messages on that MIDI channel (after
                      the initial setup done by the MIDI file), you run the
                      risk of altering both Parts simultaneously.  Otherwise,
                      you must treat the 2 Parts as if they were a single
                      Instrument.

               Also, note that if a Part is turned OFF, then its other settings
               should not be adjusted with the editor.  Otherwise, when you
               turn the Part back on, those settings won't reflect the actual
               settings on the computer display.  You would have to adjust each
               setting again with the Part ON.

Direct Enter   Type 1 to 16, or type a 0 for OFF.


ΓòÉΓòÉΓòÉ 4.7. Min Voices ΓòÉΓòÉΓòÉ

Affects        The number of Voices below which another Part can't steal notes
               from this Part.  The RAP-10 has a 26 Voice limit.  When enough
               Instruments are sounding enough notes such that another arriving
               MIDI Note-on exceeds the Voice limit, then a Voice is stolen
               from another Part.  Of course, that other Part must be currently
               sounding more notes than its Min Voice setting in order for the
               RAP-10 to steal a Voice from it.  If this isn't the case, then
               the RAP-10 can't steal a Voice from that other Part.  You use
               the Min Voice settings of all 15 Parts and the Drum Part to
               determine which Parts will get priority when Voice stealing must
               occur (ie, who loses notes and who doesn't when the 26 Voice
               limit is surpassed, and how few Voices is a Part allowed to play
               simultaneously that can't be stolen).

               Note:  The total number of Voices between all 15 Parts and the
                      Drum Part can't exceed 26.  For example, if Part 1's Min
                      Voices is set to 16, then even if you set Part 2's Min
                      Voices to 26, it will only have an effective Min Voices
                      setting of 10.

Range          0 to 26, with 0 meaning that another Part can steal all of this
               Part's currently playing notes, if need be.

Direct Enter   Type 0 to 26.


ΓòÉΓòÉΓòÉ 4.8. Transpose ΓòÉΓòÉΓòÉ

Affects        The transpose amount in half steps.  Used to change the musical
               key that a Part or Digital Track plays back in, or change the
               pitch of a Drum Key.  There is also a Master Transpose setting
               for the RAP-10.

               Note:  If the Part receives a MIDI Data Entry Controller message
                      (with RPN=Transpose) on the channel to which it is
                      assigned (Drum Part uses NRPN instead for each key), then
                      its Transpose will change to the value embedded in that
                      message.  For example, assume that Part 1 is set to MIDI
                      channel 1, and has a Transpose of 0.  If a Data Entry
                      Controller message with a value of 65 (one more than
                      center pitch) is sent on MIDI channel 1, then Part 1's
                      Instrument will transpose up a half step.  A Data Entry
                      Controller can be sent while the RAP-10 is playing --
                      even while Part 1 is playing some notes.  The Part will
                      simply transpose subsequent notes in half steps.

               For Digital Audio tracks, a SYSEX message is used rather than
               Data Entry Controller.

               For each individual Drum Key, an NRPN Controller message is used
               with the respective Key number on the Drum Part's MIDI channel.

               Master Transpose is adjusted with a SYSEX message.

               Of course, the RAP-10 editor takes care of which MIDI message to
               send when you change a Transpose setting.

Range          -24 to 24, with 0 being no transposition.

Direct Enter   Type -24 to 24.


ΓòÉΓòÉΓòÉ 4.9. Fine Tune ΓòÉΓòÉΓòÉ

Affects        The tuning amount in cents.  Used to make fine tuning
               adjustments to a Part or Digital Track.  There is also a Master
               Fine Tune for the RAP-10.

               Note:  If the Part receives MIDI Data Entry Controller messages
                      (with RPN=Tuning) on the channel to which it is assigned
                      (Drum Part not applicable), then its Tuning will change
                      to the value embedded in those messages.  For example,
                      assume that Part 1 is set to MIDI channel 1, and has a
                      Transpose of 0.  If Data Entry Controller messages with
                      values of 40h 01h (one more than center tuning) are sent
                      on MIDI channel 1, then Part 1's Instrument will shift
                      its pitch up a cent.  A Data Entry Controller can be sent
                      while the RAP-10 is playing -- even while Part 1 is
                      playing some notes.  The Part will simply shift its pitch
                      by cents.

               For Digital Audio tracks and Master Tune, SYSEX messages are
               used rather than Data Entry Controller.

Range          For Parts and Digital tracks, -1638.4 to 1638.2, in .2 steps,
               with 0.0 being A440 tuning.  For Master Fine Tune, -100 to 100
               in increments of .1, with 0.0 being A440.

Direct Enter   For Parts and Digital tracks, type -1638 to 1638.  If you add
               the decimal portion, it should be in increments of .2 (ie,
               1001.2 instead of 1001.1).  For Master Fine Tune, type -100 to
               100, and you can add one decimal place (ie, 50.1).

               Note:  Adding the decimal place is optional.  If you omit it, it
                      defaults to .0, so typing a 0 is the same as 0.0.


ΓòÉΓòÉΓòÉ 4.10. Vibrato Speed ΓòÉΓòÉΓòÉ

Affects        The Vibrato speed (ie, how fast the pitch "wavers") can be
               affected by MIDI Modulation Wheel Controller and/or Channel
               Pressure messages.  Messages sent on a Part's MIDI channel can
               speed up or slow down that Part's Vibrato.  Messages with lower
               values make the vibrato slower.  Messages with higher values
               make the vibrato faster.  This is applicable to the 15 Parts and
               Drum Part.

               Note:  Although the Digital Audio tracks have Fine Tune and
                      Transpose settings, the RAP-10 can't automatically apply
                      a Vibrato effect to Digital Audio.

Range          -64 to 64, where more positive values mean "give me faster
               vibrato as I receive Modulation Wheel Controller and/or Channel
               Pressure MIDI messages with increasing values", more negative
               values mean "give me slower vibrato as I receive MIDI messages
               with increasing values" (ie, reverse logic), and 0 means "don't
               change the vibrato speed when I receive MIDI messages".

Direct Enter   Type -64 to 64.


ΓòÉΓòÉΓòÉ 4.11. Vibrato Depth ΓòÉΓòÉΓòÉ

Affects        The Vibrato depth (ie, how much the pitch "wavers") can be
               affected by MIDI Modulation Wheel Controller and/or Channel
               Pressure messages.  Messages sent on a Part's MIDI channel can
               make that Part's Vibrato more or less pronounced.  Messages with
               lower values make the vibrato waver less.  Messages with higher
               values make the vibrato waver more.  This is applicable to the
               15 Parts and Drum Part.

               Note:  Although the Digital Audio tracks have Fine Tune and
                      Transpose settings, the RAP-10 can't automatically apply
                      a Vibrato effect to Digital Audio.

Range          0 to 127, where higher values mean "give me even wider vibrato
               as I receive Modulation Wheel Controller and/or Channel Pressure
               MIDI messages with increasing values", and 0 means "don't give
               me any vibrato effect at all when I receive MIDI messages".

Direct Enter   Type 0 to 127.


ΓòÉΓòÉΓòÉ 4.12. Brightness ΓòÉΓòÉΓòÉ

Affects        For the 15 Parts and Drum Part (ie, only certain drum sounds,
               see the Drum Kits chart), the Brightness (ie, Filter cutoff) can
               be affected by MIDI Channel Pressure messages.  Messages sent on
               a Part's MIDI channel can make that Part more or less bright
               (ie, give it more or less of a boost to the high end).  Messages
               with lower values make the Part less bright.  Messages with
               higher values make the Part brighter.

               Note:  The Digital Audio tracks' Brightness can be set via SYSEX
                      messages, but it can't be controlled via Channel Pressure.

Range          If editing a Part's Channel Pressure Brightness setting, the
               range is -64 to 64, where more positive values mean "make me
               brighter as I receive Channel Pressure MIDI messages with
               increasing values", more negative values mean "make me less
               bright as I receive MIDI messages with increasing values" (ie,
               reverse logic), and 0 means "don't change my timbre at all when
               I receive MIDI messages".

               If editing a Digital Tracks' Brightness setting, then the range
               is 0 to 127, where 127 is as bright as possible (ie, the filter
               is wide open, and actually not being applied to the Digital
               Audio at all, so that what you hear is what you recorded.  You
               can only make a Digital Audio track less bright by lowering its
               Brightness below 127).

Direct Enter   Type -64 to 64 for a Part's Channel Pressure Brightness.  Type 0
               to 127 for a Digital Audio track's Brightness.


ΓòÉΓòÉΓòÉ 4.13. Volume (Channel Pressure) ΓòÉΓòÉΓòÉ

Affects        For the 15 Parts and Drum Part, the Volume can be affected by
               MIDI Channel Pressure messages.  Messages sent on a Part's MIDI
               channel can make that Part softer or louder.  Messages with
               lower values make the Part softer.  Messages with higher values
               make the Part louder.

               Note:  The Digital Audio tracks' Volume can be set via SYSEX
                      messages, but it can't be controlled via Channel Pressure.

Range          -64 to 64, where more positive values mean "make me louder as I
               receive Channel Pressure MIDI messages with increasing values",
               more negative values mean "make me softer as I receive MIDI
               messages with increasing values" (ie, reverse logic), and 0
               means "don't change my volume at all when I receive Channel
               Pressure messages".

               Note:  You can also change a Part's Volume with Volume
                      Controller messages.  What's the difference?  Well, you
                      usually generate Channel Pressure by pressing down harder
                      on the piano keyboard.  You usually generate Volume
                      Controller by moving a volume knob.  It's your preference.

Direct Enter   Type -64 to 64.


ΓòÉΓòÉΓòÉ 4.14. Pitch Range ΓòÉΓòÉΓòÉ

Affects        For the 15 Instrumental Parts, you can set the range that the
               pitch is shifted by MIDI Pitch Wheel messages.  Messages sent on
               a Part's MIDI channel can make that Part's pitch smoothly shift
               up and down (ie, for glissandos, slides, etc).

               Note:  Although the Digital Audio tracks' Fine Tune can be set
                      via SYSEX messages, it can't be controlled via Pitch
                      Wheel.  The Drum Part also does not respond to Pitch
                      Wheel., although each key can have its pitch altered in
                      half steps via Transpose.

Range          0 to 24, in half steps, where 0 means "no pitch bend when I
               receive Pitch Wheel messages".  Note that a value of 2, for
               example, means that when you move the pitch wheel fully upward,
               it will bend the pitch up 2 half steps.  When you move the pitch
               wheel fully downward, it will bend the pitch down 2 half steps.
               At a setting of 24, you can slide a Part's pitch up or down 2
               entire octaves using a pitch wheel.

Direct Enter   Type 0 to 24.


ΓòÉΓòÉΓòÉ 4.15. Reverb Type ΓòÉΓòÉΓòÉ

Affects        Sets the Reverb to one of the 3 Rooms, 2 Halls, or 2 types of
               Delay.

Range          One of the 7 Reverb types.

Direct Enter   A LIST BOX with the 7 Reverb Types.


ΓòÉΓòÉΓòÉ 4.16. Reverb Time ΓòÉΓòÉΓòÉ

Affects        How long it takes the Reverb to fade away.

Range          0 to 127, where 0 is the shortest possible reverb.

Direct Enter   Type 0 to 127.


ΓòÉΓòÉΓòÉ 4.17. Delay Time ΓòÉΓòÉΓòÉ

Affects        How long it takes before the first echo sounds, and the time
               inbetween subsequent echoes if Repeats is high enough to cause
               subsequent echoes to be heard.

               Note:  This setting has no effect on the RAP-10 unless the
                      Reverb Type is set to either Delay or Panning Delay.  In
                      other words, you can use the Reverb/Delay unit as a
                      reverb or a delay, but not both.

Range          0 to 127, where 0 is the shortest possible time between echoes.

               Note:  Echo times shorter than 30 will start to produce a
                      "doubling" effect, because you won't be able to hear a
                      distinct echo.  For doubling, you'll also probably want
                      to keep Repeat set to low values or 0.

Direct Enter   Type 0 to 127.


ΓòÉΓòÉΓòÉ 4.18. Delay Repeat ΓòÉΓòÉΓòÉ

Affects        How many subsequent echoes sound after the first echo.

               Note:  This setting has no effect on the RAP-10 unless the
                      Reverb Type is set to either Delay or Panning Delay.  In
                      other words, you can use the Reverb/Delay unit as a
                      reverb or a delay, but not both.

Range          0 to 127, where 0 is no repeats (ie, only 1 echo).

               Note:  The setting of Repeat does not correlate to the number of
                      actual echoes that you hear.  (ie, If Repeat is 2, you
                      won't hear 2 echoes).  This is because the RAP-10
                      automatically makes each subsequent echo softer than the
                      previous so that they "fade out".  So, in order to hear 2
                      echoes, you may have to adjust Repeat higher than 2.  Use
                      your ears.  That's what you bought a RAP-10 for.

Direct Enter   Type 0 to 127.


ΓòÉΓòÉΓòÉ 4.19. Chorus FeedBack ΓòÉΓòÉΓòÉ

Affects        The "complexity" of the Chorus effect (as opposed to the
               Volume).  Lower values give a more subtle, less "detuned"
               effect.

Range          0 to 127

Direct Enter   Type 0 to 127.


ΓòÉΓòÉΓòÉ 4.20. Chorus Delay ΓòÉΓòÉΓòÉ

Affects        The "complexity" of the Chorus effect (as opposed to the
               Volume).

Range          0 to 127

Direct Enter   Type 0 to 127.


ΓòÉΓòÉΓòÉ 4.21. Chorus Rate ΓòÉΓòÉΓòÉ

Affects        Speed of the Chorus.  A fast rate can produce a noticeable
               "warbling" effect, whereas slower rates provide a more subtle,
               gradually shifting sound.

               Note:  The range is set by Chorus Depth.

Range          0 to 127

Direct Enter   Type 0 to 127.


ΓòÉΓòÉΓòÉ 4.22. Chorus Depth ΓòÉΓòÉΓòÉ

Affects        Depth of the Chorus effect.  Higher values give more of a
               "vibrato" effect.

               Note:  The speed of this effect set by Chorus Rate.

Range          0 to 127

Direct Enter   Type 0 to 127.


ΓòÉΓòÉΓòÉ 4.23. Drum Kit ΓòÉΓòÉΓòÉ

Affects        Which of the 6 Kits the Drum Part plays.  Each kit has
               approximately 62 drum sounds mapped out across its MIDI note
               range, where each MIDI note plays a different drum sound.  The
               Drum Part plays 1 of the 6 Kits.

               Note:  If the Drum Part receives a MIDI Program Change message
                      on the channel to which it is assigned, then its Kit will
                      change based upon the program number embedded in that
                      message.  Program #'s 1 to 16 select the Standard kit.
                      Program #'s 17 to 24 select the Power kit.  Program #'s
                      25 or 27 to 40 select the Electric kit.  Program # 26
                      selects the TR-808 kit.  Program #'s 41 to 48 select the
                      Brush kit.  Program #'s 49 to 56 select the Orchestra
                      kit.  For example, assume that the Drum Part is set to
                      MIDI channel 10, and its Kit is Standard.  If a Program
                      Change message with a program number of 49 is sent on
                      MIDI channel 10, then the Drum Part will switch to
                      Orchestra.  A Program Change can be sent while the RAP-10
                      is playing -- even while the Drum Part is playing some
                      drum sounds.  The Drum Part will simply play subsequent
                      MIDI notes using the new kit.  So, even though you can
                      only play 1 kit at a time, you can change the kit at any
                      given time, and over the course of playing a MIDI file,
                      even use all 6 kits.

Range          One of the 6 Kits.

Direct Enter   A LIST BOX with the names of the 6 Kits.


ΓòÉΓòÉΓòÉ 4.24. Receive NRPN ΓòÉΓòÉΓòÉ

Affects        Whether the RAP-10 allows the individual Drum Keys' settings to
               be altered.  This is sort of a "memory protect" switch for the
               Drum Keys.  If you turn it on, then any adjustments that you
               make to a Drum Part Key won't be accepted by the RAP-10.  So, it
               prevents you (and any other MIDI device) from inadvertently
               altering the settings for individual keys.  Make sure that this
               is off if you want to edit individual Key settings.  You may
               wish to turn this Off before saving a MIDI file, so that after
               that MIDI file sets up the RAP-10, it prevents any other MIDI
               data from altering the Drum Keys.  On the other hand, if you
               want to be able to adjust individual Keys' Volume, Pan, Reverb
               and Chorus levels, and Transpose during playback, leave this On.

Range          On or Off.

Direct Enter   There is no direct enter for this setting.  If you click the
               Mouse Button 1 over the setting, it will toggle between On and
               Off.


ΓòÉΓòÉΓòÉ 4.25. Drum Key Name ΓòÉΓòÉΓòÉ

Affects        Chooses the Current Drum Key whose settings are displayed and
               which you can then edit.

Range          One of the Drum Keys in the Drum Part's Kit.

Direct Enter   A LIST BOX with the names of the available Keys.

               Note:  The names in this list will be determined by the Drum
                      Part's Kit.  For example, the Key name for the first
                      sound in the Standard kit is High Q, but the first sound
                      in the Orchestra kit is Pedal HH.  Indeed, High Q is not
                      even in the Orchestra kit.


ΓòÉΓòÉΓòÉ 4.26. Sampling Rate ΓòÉΓòÉΓòÉ

Affects        The playback sampling rate of the Digital Audio track.

               Note:  It is possible to playback a WAVE at a different rate
                      than what it was recorded at.  You usually won't want to
                      do this.  But, when a WAVE has been recorded at a rate
                      that the RAP-10 doesn't support, you'll need to select
                      the closest rate, and perhaps use the Transpose and Fine
                      Tune to arrive at the correct playback.  The RAP-10
                      Editor does not playback WAVE files.

Range          11KHz, 22Khz, or 44KHz (CD-quality).

Direct Enter   A LIST BOX with the 3 rates.


ΓòÉΓòÉΓòÉ 5. GM Charts ΓòÉΓòÉΓòÉ

These charts give information about the RAP-10's GM Sound Module (ie, the 128
Instruments and 6 Drum Kits).

The GM Instruments chart shows the names of all 128 Instruments, the MIDI
Program Change numbers which select those Instruments, the number of Voices
used per each MIDI note (for each Instrument), and whether the Instrument's
Brightness can be controlled by MIDI Channel Pressure messages.

The Drum Kits chart shows what drum sounds are assigned to each MIDI note for
the 6 Drum Kits.  It also shows which drum sounds cutoff other drum sounds, as
well as which sounds can have their Brightness controlled by MIDI Channel
Pressure messages.  It shows what MIDI Program Change numbers select which Drum
Kit.


ΓòÉΓòÉΓòÉ 5.1. GM Instruments 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 Grand Piano patch must be the very first patch.  Patch
#49 must be a Flute.  Patch #25 must be a Nylon String Guitar.  Etc.  There are
128 defined Patches that a GM module must have, in the proper order.  The
following chart shows you the names of all Patches (referred to as Instruments
in this manual), 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 keyboard octave to 6 and
pressing the LEFT SHIFT key.

If the GM module also has a built-in "drum module" (ie, as the RAP-10 does),
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 Drum Kits chart, and
that is also standardized under GM.  The Drum Part is should be set to receive
MIDI data on channel 10.

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Γöé13 Γöé0ChΓöé Marimba         Γöé 1 Γöé   Γöé  Γöé77 Γöé4ChΓöé Bottle Blow     Γöé 2 Γöé   Γöé
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Γöé17 Γöé10hΓöé Drawbar Organ   Γöé 1 Γöé   Γöé  Γöé81 Γöé50hΓöé Square Wave     Γöé 2 Γöé   Γöé
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Γöé18 Γöé11hΓöé Percussive OrganΓöé 1 Γöé   Γöé  Γöé82 Γöé51hΓöé Sawtooth Wave   Γöé 2 Γöé   Γöé
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Γöé19 Γöé12hΓöé Rock Organ      Γöé 2 Γöé   Γöé  Γöé83 Γöé52hΓöé Synth Calliope  Γöé 2 Γöé   Γöé
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Γöé20 Γöé13hΓöé Pipe Organ      Γöé 1 Γöé   Γöé  Γöé84 Γöé53hΓöé Chiffer Lead    Γöé 2 Γöé   Γöé
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Γöé21 Γöé14hΓöé Reed Organ      Γöé 1 Γöé   Γöé  Γöé85 Γöé54hΓöé Charang         Γöé 2 Γöé   Γöé
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Γöé22 Γöé15hΓöé French AccordionΓöé 2 Γöé   Γöé  Γöé86 Γöé55hΓöé Solo Voice      Γöé 2 Γöé   Γöé
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Γöé23 Γöé16hΓöé Harmonica       Γöé 1 Γöé   Γöé  Γöé87 Γöé56hΓöé Saw in 5ths     Γöé 2 Γöé   Γöé
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Γöé24 Γöé17hΓöé Tango Accordion Γöé 2 Γöé   Γöé  Γöé88 Γöé57hΓöé Bass & Lead     Γöé 2 Γöé   Γöé
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Γöé25 Γöé18hΓöé Nylon Guitar    Γöé 1 Γöé   Γöé  Γöé89 Γöé58hΓöé Fantasia        Γöé 2 Γöé   Γöé
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Γöé26 Γöé19hΓöé Steel Guitar    Γöé 1 Γöé   Γöé  Γöé90 Γöé59hΓöé Warm Pad        Γöé 1 Γöé   Γöé
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Γöé27 Γöé1AhΓöé Jazz Guitar     Γöé 1 Γöé   Γöé  Γöé91 Γöé5AhΓöé PolySynth       Γöé 2 Γöé   Γöé
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Γöé28 Γöé1BhΓöé Clean Guitar    Γöé 1 Γöé   Γöé  Γöé92 Γöé5BhΓöé Space Voice     Γöé 1 Γöé   Γöé
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Γöé29 Γöé1ChΓöé Muted Guitar    Γöé 1 Γöé   Γöé  Γöé93 Γöé5ChΓöé Bowed Glass     Γöé 2 Γöé   Γöé
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Γöé30 Γöé1DhΓöé Overdrive GuitarΓöé 1 Γöé   Γöé  Γöé94 Γöé5DhΓöé Metal Pad       Γöé 2 Γöé   Γöé
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Γöé31 Γöé1EhΓöé Distorted GuitarΓöé 1 Γöé   Γöé  Γöé95 Γöé5EhΓöé Halo Pad        Γöé 2 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé32 Γöé1FhΓöé Harmonics GuitarΓöé 1 Γöé   Γöé  Γöé96 Γöé5FhΓöé Sweep Pad       Γöé 1 Γöé   Γöé
Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí  Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí
Γöé33 Γöé20hΓöé Acoustic Bass   Γöé 1 Γöé   Γöé  Γöé97 Γöé60hΓöé Ice Rain        Γöé 2 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé34 Γöé21hΓöé Fingered Bass   Γöé 1 Γöé   Γöé  Γöé98 Γöé61hΓöé SoundTrack      Γöé 2 Γöé   Γöé
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Γöé35 Γöé22hΓöé Picked Bass     Γöé 1 Γöé   Γöé  Γöé99 Γöé62hΓöé Crystal         Γöé 2 Γöé   Γöé
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│36 │23h│ Fretless Bass   │ 1 │   │  │100│63h│ Atmoshpere      │ 2 │ √ │
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé37 Γöé24hΓöé Slap Bass 1     Γöé 1 Γöé   Γöé  Γöé101Γöé64hΓöé Brightness      Γöé 2 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé38 Γöé25hΓöé Slap Bass 2     Γöé 1 Γöé   Γöé  Γöé102Γöé65hΓöé Goblin          Γöé 2 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé39 Γöé26hΓöé Synth Bass 1    Γöé 1 Γöé   Γöé  Γöé103Γöé66hΓöé Echo Drops      Γöé 1 Γöé   Γöé
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Γöé40 Γöé27hΓöé Synth Bass 2    Γöé 1 Γöé   Γöé  Γöé104Γöé67hΓöé Star Theme      Γöé 2 Γöé   Γöé
Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí  Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí
Γöé41 Γöé28hΓöé Violin          Γöé 1 Γöé   Γöé  Γöé105Γöé68hΓöé Sitar           Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé42 Γöé29hΓöé Viola           Γöé 1 Γöé   Γöé  Γöé106Γöé69hΓöé Banjo           Γöé 1 Γöé   Γöé
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Γöé43 Γöé2AhΓöé Cello           Γöé 1 Γöé   Γöé  Γöé107Γöé6AhΓöé Shamisen        Γöé 1 Γöé   Γöé
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Γöé44 Γöé2BhΓöé Contrabass      Γöé 1 Γöé   Γöé  Γöé108Γöé6BhΓöé Koto            Γöé 1 Γöé   Γöé
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Γöé45 Γöé2ChΓöé Tremolo Strings Γöé 1 Γöé   Γöé  Γöé109Γöé6ChΓöé Kalimba         Γöé 1 Γöé   Γöé
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Γöé46 Γöé2DhΓöé Pizzicato Strs  Γöé 1 Γöé   Γöé  Γöé110Γöé6DhΓöé Bag Pipe        Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé47 Γöé2EhΓöé Harp            Γöé 1 Γöé   Γöé  Γöé111Γöé6EhΓöé Fiddle          Γöé 1 Γöé   Γöé
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Γöé48 Γöé2FhΓöé Timpani         Γöé 1 Γöé   Γöé  Γöé112Γöé6FhΓöé Shannai         Γöé 1 Γöé   Γöé
Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí  Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí
Γöé49 Γöé30hΓöé Strings         Γöé 1 Γöé   Γöé  Γöé113Γöé70hΓöé Tinkle Bell     Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé50 Γöé31hΓöé Slow Strings    Γöé 1 Γöé   Γöé  Γöé114Γöé71hΓöé Agogo           Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé51 Γöé32hΓöé Synth Strings 1 Γöé 1 Γöé   Γöé  Γöé115Γöé72hΓöé Steel Drums     Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
│52 │33h│ Synth Strings 2 │ 1 │   │  │116│73h│ Woodblock       │ 1 │ √ │
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé53 Γöé34hΓöé Choir Aahs      Γöé 1 Γöé   Γöé  Γöé117Γöé74hΓöé Taiko           Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
│54 │35h│ Choir Oohs      │ 1 │   │  │118│75h│ Melodic Tom     │ 1 │ √ │
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
│55 │36h│ Synth Voice     │ 1 │   │  │119│76h│ Synth Drum      │ 1 │ √ │
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
│56 │37h│ Orchestra Hit   │ 1 │ √ │  │120│77h│ Reverse Cymbal  │ 1 │ √ │
Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí  Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí
│57 │38h│ Trumpet         │ 1 │   │  │121│78h│ Gtr Fret Noise  │ 1 │ √ │
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé58 Γöé39hΓöé Trombone        Γöé 1 Γöé   Γöé  Γöé122Γöé79hΓöé Breath Noise    Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé59 Γöé3AhΓöé Tuba            Γöé 1 Γöé   Γöé  Γöé123Γöé7AhΓöé Seashore        Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
│60 │3Bh│ Muted Trumpet   │ 1 │   │  │124│7Bh│ Bird            │ 2 │ √ │
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
│61 │3Ch│ French Horn     │ 1 │   │  │125│7Ch│ Telephone Ring  │ 1 │ √ │
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé62 Γöé3DhΓöé Brass 1         Γöé 1 Γöé   Γöé  Γöé126Γöé7DhΓöé Helicopter      Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé63 Γöé3EhΓöé Synth Brass 1   Γöé 1 Γöé   Γöé  Γöé127Γöé7EhΓöé Applause        Γöé 2 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
│64 │3Fh│ Synth Brass 2   │ 1 │   │  │128│7Fh│ Gun Shot        │ 1 │ √ │
ΓòÿΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓò¢  ΓòÿΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓò¢

PGM # refers to the MIDI Program Change message that causes this Instrument to
be selected.  For example, sending a Program Change with a value of 64 to the
RAP-10 causes the Synth Brass 2 Instrument to be selected for playing 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.  The RAP-10 Editor does not use hexidecimal notation when displaying
the values of any RAP-10 settings.

V stands for how many voices are used for each note played.  For example, the
Harpsichord uses only 1 of the RAP-10's 26 voices for every MIDI note that it
plays.  So, if a 4 note chord is played by the Harpishord (ie, 4 MIDI notes
received), then it uses up 4 voices.  On the other hand, if the Square Wave
plays those same 4 MIDI notes, then it will use 8 voices, because each note
uses up 2 of the RAP-10's 26 voices.

A check under TVF means that the Instrument's Brightness (ie, Filter Cutoff)
can't be changed via MIDI Channel Pressure messages.


ΓòÉΓòÉΓòÉ 5.2. Drum Kits ΓòÉΓòÉΓòÉ

This chart shows the RAP-10 assignments of drum sounds to MIDI notes for each
Kit.  The Standard Kit is more or less the GM kit, except that it has some
extra sounds on the bottom and top.  Specifically, notes 27 to 34, and notes
above 81 are not on all GM Instruments.  You should not use those sounds if you
want to make a GM MIDI file.  Furthermore, you should only use the Standard
kit.  The Drum Part should be set to receive MIDI data on channel 10.

ΓòöΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòù
Γòæ       Γöé    Standard    Γöé Power Set Γöé Electric  Γöé     TR-808      Γöé  Brushes   Γöé   Orchestra   Γòæ
Γòæ PGM #
Γòæ       Γöé      1-16      Γöé   17-24   Γöé 25,27-40  Γöé       26        Γöé   41-48    Γöé     49-56     Γòæ
ΓòÜΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¥
 Note #
ΓòÆΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòò
Γöé27 D#1 ΓöéHigh Q          Γöé           Γöé           Γöé                 Γöé            ΓöéClosed HH     8Γöé
Γöé28 E1  ΓöéSlap            Γöé           Γöé           Γöé                 Γöé            ΓöéPedal HH      8Γöé
Γöé29 F1  ΓöéScratch Push    Γöé           Γöé           Γöé                 Γöé            ΓöéOpen HH       8Γöé
Γöé30 F#1 ΓöéScratch Pull    Γöé           Γöé           Γöé                 Γöé            ΓöéRide Cymbal    Γöé
Γöé31 G1  ΓöéSticks          Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé32 G#1 ΓöéSquare Click    Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé33 A1  ΓöéMetro Click     Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé34 A#1 ΓöéMetro Bell      Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé35 B1  ΓöéKick 2          Γöé           Γöé           Γöé                 Γöé            ΓöéConcert BD 2   Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé36 C2  ΓöéKick 1          ΓöéMONDO Kick ΓöéElec BD   Γöé808 BD          Γöé            ΓöéConcert BD 1  Γöé
Γöé37 C#2 ΓöéSide Stick      Γöé           Γöé           Γöé808 Rim Shot     Γöé            Γöé               Γöé
Γöé38 D2  ΓöéSnare 1         ΓöéGated SnareΓöéElec Snare Γöé808 Snare        ΓöéBrush Swish ΓöéConcert Snare Γöé
Γöé39 D#2 ΓöéHand Clap       Γöé           Γöé           Γöé                 ΓöéBrush Slap  ΓöéCastanets      Γöé
Γöé40 E2  ΓöéSnare 2         Γöé           ΓöéGated SnareΓöé                 ΓöéBrush SwirlΓöéConcert Snare Γöé
Γöé41 F2  ΓöéLow Tom 2       Γöé           ΓöéE. LowTom 1Γöé808 LowTom 2     Γöé            ΓöéTimpani F     Γöé
Γöé42 F#2 ΓöéClosed HiHat   1Γöé           Γöé           Γöé808 Closed HH  7Γöé            ΓöéTimpani F#    Γöé
Γöé43 G2  ΓöéLow Tom 1       Γöé           ΓöéE. LowTom 2Γöé808 LowTom 1     Γöé            ΓöéTimpani G     Γöé
Γöé44 G#2 ΓöéPedal HiHat    1Γöé           Γöé           Γöé808 Closed HH  7Γöé            ΓöéTimpani G#    Γöé
Γöé45 A2  ΓöéMid Tom 2       Γöé           ΓöéE. MidTom 2Γöé808 MidTom 2     Γöé            ΓöéTimpani A     Γöé
Γöé46 A#2 ΓöéOpen HiHat     1Γöé           Γöé           Γöé808 Open HH    7Γöé            ΓöéTimpani A#    Γöé
Γöé47 B2  ΓöéMid Tom 1       Γöé           ΓöéE. MidTom 1Γöé808 MidTom 1     Γöé            ΓöéTimpani B     Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé48 C3  ΓöéHigh Tom 2      Γöé           ΓöéE. Hi Tom 2Γöé808 Hi Tom 2     Γöé            ΓöéTimpani c     Γöé
Γöé49 C#3 ΓöéCrash Cym. 1   Γöé           Γöé           Γöé808 Cymbal      Γöé            ΓöéTimpani c#    Γöé
Γöé50 D3  ΓöéHigh Tom 1      Γöé           ΓöéE. Hi Tom 1Γöé808 Hi Tom 1     Γöé            ΓöéTimpani d     Γöé
Γöé51 D#3 ΓöéRide Cym. 1     Γöé           Γöé           Γöé                 Γöé            ΓöéTimpani d#    Γöé
Γöé52 E3  ΓöéChinese Cym.    Γöé           ΓöéReverse CymΓöé                 Γöé            ΓöéTimpani e     Γöé
Γöé53 F3  ΓöéRide Bell      Γöé           Γöé           Γöé                 Γöé            ΓöéTimpani f     Γöé
Γöé54 F#3 ΓöéTambourine      Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé55 G3  ΓöéSplash Cym.    Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé56 G#3 ΓöéCowbell         Γöé           Γöé           Γöé808 Cowbell      Γöé            Γöé               Γöé
Γöé57 A3  ΓöéCrash Cym. 2   Γöé           Γöé           Γöé                 Γöé            ΓöéCymbal 2      Γöé
Γöé58 A#3 ΓöéVibra-slap      Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé59 B3  ΓöéRide Cym. 2     Γöé           Γöé           Γöé                 Γöé            ΓöéCymbal 1       Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé60 C4  ΓöéHigh Bongo      Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé61 C#4 ΓöéLow Bongo       Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé62 D4  ΓöéMuteHi Conga    Γöé           Γöé           Γöé808 Hi Conga    Γöé            Γöé               Γöé
Γöé63 D#4 ΓöéOpenHi Conga    Γöé           Γöé           Γöé808 Mid Conga   Γöé            Γöé               Γöé
Γöé64 E4  ΓöéLow Conga       Γöé           Γöé           Γöé808 Low Conga   Γöé            Γöé               Γöé
Γöé65 F4  ΓöéHigh Timbale    Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé66 F#4 ΓöéLow Timbale     Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé67 G4  ΓöéHigh Agogo      Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé68 G#4 ΓöéLow Agogo       Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé69 A4  ΓöéCabasa          Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé70 A#4 ΓöéMaracas         Γöé           Γöé           Γöé808 Maracas      Γöé            Γöé               Γöé
Γöé71 B4  ΓöéHigh Whistle   2Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé72 C5  ΓöéLow Whistle    2Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé73 C#5 ΓöéShort Guiro    3Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé74 D5  ΓöéLong Guiro     3Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé75 D#5 ΓöéClaves          Γöé           Γöé           Γöé808 Claves       Γöé            Γöé               Γöé
Γöé76 E5  ΓöéHi WoodBlock    Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé77 F5  ΓöéLow WoodBlock   Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé78 F#5 ΓöéMute Cuica     4Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé79 G5  ΓöéOpen Cuica     4Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé80 G#5 ΓöéMute Triangle 5Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé81 A5  ΓöéOpen Triangle  5Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé82 A#5 ΓöéShaker          Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé83 B5  ΓöéJingle Bell     Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
Γöé84 C6  Γöé ----           Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé85 C#6 ΓöéCastanets       Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé86 D6  ΓöéMute Surdo    6Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé87 D#6 ΓöéOpen Surdo    6Γöé           Γöé           Γöé                 Γöé            Γöé               Γöé
Γöé88 E6  Γöé ----           Γöé           Γöé           Γöé                 Γöé            ΓöéApplause       Γöé
ΓòÿΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòºΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¢

Blank positions have the same sound as the Standard kit.  For example, you'll
note that the Power Set has no sound listed for note #27.  This means that the
Power kit has the High Q sound assigned to note #27.  On the other hand, for
the Orchestra kit, a Closed HiHat sound is assigned to note #27 (as opposed to
the High Q sound).

A ---- means that no sound is assigned to that particular note number.  For
example, in the Standard kit, note #88 has no drum sound assigned to it.

A number after the drum sound indicates that it cuts off any drum sounds with
the same number.  For example, you'll note that both the Mute Surdo and Open
Surdo have the number 6 after them.  This means that if the Mute Surdo is
sounding and a note #87 is received (ie, to play the Open Surdo), then the Open
Surdo sound will cut off the Mute Surdo sound.  This is a useful feature since
if a musician was playing a real Surdo, then he wouldn't be able to make "open"
and "mute" sounds simultaneously.

A  after the sound indicates that Channel Pressure MIDI messages can alter the
Brightness (ie, Filter cutoff) for this drum sound.  Sounds without a  can't
have their Brightness altered.


ΓòÉΓòÉΓòÉ 6. Keys ΓòÉΓòÉΓòÉ

UP ARROW            Moves to the setting above the current setting, making that
                    setting the new current one (ie, the one whose value you
                    can edit).

DOWN ARROW          Moves to the setting below the current setting, making that
                    setting the new current one (ie, the one whose value you
                    can edit).

LEFT ARROW          Moves to the setting to the left of the current setting,
                    making that setting the new current one (ie, the one whose
                    value you can edit).

RIGHT ARROW         Moves to the setting to the right of the current setting,
                    making that setting the new current one (ie, the one whose
                    value you can edit).

PAGE UP             Increments the value of the current setting.

PAGE DOWN           Decrements the value of the current setting.

ENTER               Brings up an ENTRY or a LISTBOX to directly enter the new
                    value for the current setting.

F1                  Brings up help for the current setting.

F2 - F24            Executes a REXX script


ΓòÉΓòÉΓòÉ <hidden> Help for Open ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for Open ΓòÉΓòÉΓòÉ

 1. Select the down arrow to the right of the Drive list to display all the
    drives on your system.
 2. Select a drive from the Drive list.
 3. Select a directory from the Directory list.
 4. Select a MIDI file name from the File list or type in a file name and
    select the Open pushbutton to display the file you want to edit.

For specific help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> List of Fields ΓòÉΓòÉΓòÉ

File name           Type of file
Drive               File
Directory           Open pushbutton


ΓòÉΓòÉΓòÉ <hidden> Help for File name ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for File name ΓòÉΓòÉΓòÉ

Type the name of the MIDI file you want to open in the File name field and
select the Open pushbutton.

For more help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> List of Fields ΓòÉΓòÉΓòÉ

File name           Type of file
Drive               File
Directory           Open pushbutton
                    General help


ΓòÉΓòÉΓòÉ <hidden> Help for Type of file ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for Type of file ΓòÉΓòÉΓòÉ

Select the down arrow to the right of the Type of file field to display the
available file types.  By default, this field displays all file types.

For more help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> Help for Drive ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for Drive ΓòÉΓòÉΓòÉ

The Drive list displays the drives on your system.  Select the drive that
contains the files you want to edit.

For more help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> Help for File ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for File ΓòÉΓòÉΓòÉ

The File list displays all the files in the directory you selected from the
Directory list.  Select the file you want to open.

For more help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> Help for Directory ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for Directory ΓòÉΓòÉΓòÉ

The Directory list displays the directories on the selected drive.  Select a
directory to display the list of files from that directory in the File list
box.

For more help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> Help for Open ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for Open ΓòÉΓòÉΓòÉ

Select the Open pushbutton to display the MIDI file you want to edit.

For more help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> Help for Save ΓòÉΓòÉΓòÉ

Use Save to store the setup you are editing as a MIDI file.  After the file is
saved, the setup remains in the window so that you can continue editing it. An
* before the file name which is displayed in the window title bar means that
you have made edits that have yet to be saved to disk.

Note:  If you are editing a new file, select the Save or Save as choices to
       display the Save as pop-up so that you can name the file you are
       editing.  A file must have a name in order to be saved.


ΓòÉΓòÉΓòÉ <hidden> Help for Save as ΓòÉΓòÉΓòÉ

Use Save as to name and save a new MIDI file or to save an existing file under
a different name, in a different directory, or on a different disk.


ΓòÉΓòÉΓòÉ <hidden> Help for Save as ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for Save as ΓòÉΓòÉΓòÉ

 1. Select the down arrow to the right of the Drive list to display all the
    drives on your system.
 2. Select a drive from the Drive list.
 3. Select a directory from the Directory list.
 4. Type the name of the MIDI file you want to save in the File name field and
    select the Save pushbutton.

For specific help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> List of Fields ΓòÉΓòÉΓòÉ

File name           Type of file
Drive               File
Directory           Save pushbutton


ΓòÉΓòÉΓòÉ <hidden> Help for File name ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for File name ΓòÉΓòÉΓòÉ

Type the name of the file you want to save in the File name field and select
the Save pushbutton.

For more help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> List of Fields ΓòÉΓòÉΓòÉ

File name           Type of file
Drive               File
Directory           Save pushbutton
General help


ΓòÉΓòÉΓòÉ <hidden> Help for Type of file ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for Type of file ΓòÉΓòÉΓòÉ

Select the down arrow to the right of the Type of file field to display the
available file types.  By default, this field displays all file types.

For more help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> Help for Drive ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for Drive ΓòÉΓòÉΓòÉ

The Drive list displays the drives on your system.  Select the drive that
contains the files you want to save.

For more help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> Help for File ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for File ΓòÉΓòÉΓòÉ

The File list displays all the files in the directory you selected from the
Directory list.  Select the file you want to rename and save.

For more help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> Help for Directory ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for Directory ΓòÉΓòÉΓòÉ

The Directory list displays the directories on the selected drive.  Select a
directory to display the list of files from that directory in the File list
box.

For more help, select a topic below.


ΓòÉΓòÉΓòÉ <hidden> Help for Save ΓòÉΓòÉΓòÉ


ΓòÉΓòÉΓòÉ <hidden> Help for Save ΓòÉΓòÉΓòÉ

Select the Save pushbutton to save the file to the drive and directory you
selected and with the file name you specified.

For more help, select a topic below.