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

OS/2 Help File | 1995-09-21 | 121.3 KB | 3,288 lines

ΓòÉΓòÉΓòÉ 1. Introduction ΓòÉΓòÉΓòÉ

The RAP-10 Editor is an Presentation Manager application (for OS/2 2.x) that
displays and 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.  These settings can be saved to disk, and later
loaded and sent back to the RAP-10 to quickly restore the RAP-10 to these
settings.  The editor saves a standard MIDI file (Format 0) so that this can be
"played back" by any sequencer, or prepended to any MIDI song file in order to
setup the RAP-10 as desired automatically and immediately before playing a
particular MIDI song file.

To a certain extent, some of the parameters of the RAP-10 Editor will also work
with other sound cards that have an MPUDEV.SYS compatible driver.  For example,
setting many of the parameters for each Part and Rhythm Part such as Volume,
Reverb, Chorus, Pan, and Instrument should work with any sound card.  Other
settings such as Master Volume may work if the card supports it.  The
individual Drum key parameters may work with the SCC-1 (although this is
untested).

The actual executable is RAP10_ED.EXE.


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 Tone.
This refers 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.


ΓòÉΓòÉΓòÉ 2. Copyright ΓòÉΓòÉΓòÉ

This OS/2 Online Book and the related files RAP10_ED.EXE, RAP10_ED.HLP,
RXDLG.DLL, RXDLG.INF, MPUDEV.SYS, MPUDEV.INF, and GENMIDI.DLL are all copyright
1995 by Jeff Glatt.  These files are freely redistributable, provided that
these files are not internally modified, nor specifically sold as a complete
product by themselves, and are distributed together.  The only price that you
have to pay is the one that you're already paying by spending all of your time
in front of a computer instead of developing healthier outlets.

NOT SO STANDARD DISCLAIMER:

These programs are provided "as is" without warranty of any kind either
expressed or implied or tatooed in a place that only a few people have ever
seen, including but not limited to the implied warranties of merchantability,
fitness for a particular purpose, and the dubious assumption that the software
has been created by a sane individual who would never do anything that may hurt
you. The entire risk as to the results and performance of the programs is
assumed by you or someone who looks exactly like you.  Jeff Glatt does not
guarantee that the functions in these programs will meet your requirements,
especially if your requirements involve lots of latex and some docile,
domesticated animal.  Nor does Jeff Glatt warranty the programs to be
uninterruptable or error-free, although mercifully free of "General Protection
Faults".  If you use said programs, you can not say anything nasty about the
author, even if the programs inadvertently cause the erasure of your collection
of X-rated GIFs of a conservative, overweight and overrated TV "personality"
plooking himself vigorously with his royalty checks from some rancid paperback.
Jeff Glatt is not responsible for any damages as a result of anything that he
has done, or hasn't done, or was supposed to do but never got around to it, and
furthermore, he doesn't even care so leave him alone, ratface.  You may have
more or less protections in certain states of the union, depending upon how far
your local politician is willing to bend over for some bribe from a business
lobbyist.  Just remember that Jeff Glatt has no money, so don't bother suing
him as a result of any damages caused by this OS/2 program.  Tell your greasy
lawyer to go after IBM, and make sure that you pick 12 really stupid pinheads
for the jury.  If swallowed, induce vomiting immediately by contemplating the
asthetics of Microsoft Windows.

OS/2 is a trademark (and mismarketed product) of International Business
Machines Corporation.

Windows is a trademark of Microsoft Incorporated, and furthermore, Bill Gates
is to blame for it.

If you have unreasonably presumptuous suggestions (ie, an enduser who expects
outrageous amounts of free support), snide comments, criticisms, and anything
else other than dollar bills, then send them to someone else because you got it
for free, and you know what you get for nothing?  On the other hand, any type
of positive contribution from other programmers is very much welcome and
encouraged as these are the only folks who can made things happen for OS/2.
IBM ain't gonna do it.  If you do need to contact the author, then either phone
some of the more prominent psychiatrict clinics in central New York state, or
try this:

Jeff Glatt
6 Sycamore Drive East
New Hartford, NY 13413
[phone]

Sure, this copyright notice has attitude.  Get used to it, or kill yourself.


ΓòÉΓòÉΓòÉ 3. Driver Requirements and Setup ΓòÉΓòÉΓòÉ

Of course, your computer needs a Roland RAP-10 card to fully exploit the
Editor, although as mentioned, certain parameters may be set for other sound
cards too, provided that you can find an MPUDEV.SYS compatible driver for the
card.  The RAP-10 Editor requires that your card has an OS/2 driver compatible
with my MPUDEV.SYS driver (included).  The MPUDEV.SYS driver will work with not
only a RAP-10, but also any card that is hardware compatible with the MPU-401.

Note:  The RAP-10 Editor does not use MMPM.  An MMPM driver will not work with
       it.  MMPM is going to die a horrible death anyway due to lack of useful
       support, as well as IBM introducing a new protocol.  You may as well get
       your shovel and bury MMPM right now.  The Editor probably also doesn't
       support IBM's "Realtime MIDI subsystem".  I wouldn't know.  I didn't
       look at it, and I don't intend to buy $300 worth of CD-ROMs in order to
       find out that it may not be for me anyway, plus I'm not too keen upon
       tying my stuff to an "IBM MIDI subsystem" given IBM's disinterest in
       pursuing vertical markets like the music market to the extent that
       Microsoft does.  Who's to say that IBM won't traipse off with the
       development and promotion budget, fawning after their big buck corporate
       client accounts, and we won't end up with another OS/2 item of
       "secondary importance" like MMPM on our hands?

Of course, you need to add a DEVICE= statement to your CONFIG.SYS file to
install the driver upon boot-up.  If using MPUDEV.SYS, see the documentation
MPUDEV.INF for installation and usage instructions.  You should specify the /R
option (but NOT /I) for any RAP-10 card when using MPUDEV.SYS.

You must also know your driver's internal name (which might be different than
the filename of the driver).  Often, this is the driver filename minus the .SYS
extension.

If you own an MPU-401, or some card that has an MPU-401 compatible interface
(UART mode is good enough, but it must be actual hardware compatibility, not
just some TSR software driver emulation such as what you get with cheesy sound
cards), such as an SCC-1, RAP-10, MusicQuest MQX-16 or MQX-32, etc, then you
can use my MPUDEV.SYS OS/2 driver.

By default, the Editor will use my MPUDEV.SYS driver (ie, the first port
MPUDEV1$), and so you don't have to supply it with that name.  But, if you want
the Editor to use a different (but MPUDEV compatible) driver, then you must
supply the name of the driver to the Editor.  If you run the Editor from an
OS/2 Command Prompt, then simply type the name of your driver as an argument,
prepended with /D.  For example, to use a driver with the internal name BLORT,
you would specify /DBLORT.

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

Note:  You must omit the .SYS extension from the driver name.

If the Editor can't open the specified driver, it will display an error message
and its template, and then terminate.

There are other startup parameters that you can pass to the Editor, either by
adding them to the command line, or entering them in the Parameters field of
the Desktop icon. These will be covered later.

The Editor also requires that the files GENMIDI.DLL and RXDLG.DLL be placed
somewhere along the LIBPATH as specified in your CONFIG.SYS file.  Usually,
placing them in the same directory as RAP10_ED.EXE will suffice.

If you want to be able to invoke the Editor's online help, then copy the file
RAP10_ED.HLP to where the other help files are located on your system (or
putting it in the same directory as the Editor executable also usually works).
If you want to save some disk space, and RAM while running the Editor, and
don't need the online help, remove RAP10_ED.HLP from your hard drive.  All of
the info in the online help is also available in the RAP10_ED.INF doc file,
which isn't automatically opened when the Editor is run.


ΓòÉΓòÉΓòÉ 4. Errata ΓòÉΓòÉΓòÉ

This version of the Editor seems to occasionally have some problems properly
refreshing its Window, especially when you move a dialog that is open within an
Editor window.  On occasion (usually only upon start-up), the cursor seems to
disappear when moved to certain areas of the window.  I haven't tracked down
these video problems, but it's merely cosmetic (and perhaps has something to do
with the video drivers for my particular video card).  You can easily cause the
window to properly refresh by resizing the window, or maximizing/minimizing it
followed by a restore.  So, I've left this bug for the day when I have the time
to trace it down.


ΓòÉΓòÉΓòÉ 5. The RAP-10 ΓòÉΓòÉΓòÉ

Before you start using the RAP-10 Editor, it's important to understand what
features the RAP-10 audio card has, and in what way those features can be
customized by you.

The following sections describe the RAP-10 audio card itself.


ΓòÉΓòÉΓòÉ 5.1. GM Sound Module ΓòÉΓòÉΓòÉ

The RAP-10 has a built-in General MIDI (ie, GM) Sound Module.  What this means
is that the RAP-10 has built-in sounds as opposed to needing a MIDI sound
module attached to its MIDI interface, or needing to load WAVE files (ie,
sampled data) off of a hard drive in order to make sound.

Note:  In fact, the RAP-10 also has the ability to play back sampled data
       files, as well as play external MIDI devices attached to its built-in
       MIDI interface (which requires an external connector box attached to the
       DB-15 connector on the RAP-10 in order to provide the actual MIDI In and
       Out jacks).  But since the RAP-10 already has some very nice built-in
       sounds, you aren't required to load WAVE files or attach external MIDI
       sound modules.  Of course, you could do that, and furthermore, the
       RAP-10 can play sampled data files, external MIDI sound modules, AND its
       internal GM sounds ALL AT THE SAME TIME.

The RAP-10's GM Sounds consist of CD-quality (ie, 16-bit, 44KHZ sample rate)
waveforms burned into a ROM chip on the RAP-10 itself.  You can modify the way
that these waveforms play back to a certain extent.  For example, you can
control the Brightness of a waveform by adjusting the RAP-10's filter cutoff
(via Channel Pressure MIDI messages).  But, you can't edit any waveform's
sample data per se, or replace those GM waveforms with new waveforms.


ΓòÉΓòÉΓòÉ 5.1.1. Instruments ΓòÉΓòÉΓòÉ

The RAP-10's GM waveforms are organized into 128 different Tones, plus 6 Drum
Kits (each kit being comprised of numerous waveforms of various drums and
percussion).  I like to refer to the Tones as Instruments, since each tone
happens to consist of a single waveform, and each Tone's waveform is preset to
sound like a different musical instrument than the other Tones.  For example,
the RAP-10 has a Tone referred to as Trumpet.  As you might guess, this Tone
consists of a waveform of a Trumpet.  So, I prefer to call it an Instrument
since that's exactly what a Trumpet is.  Refer to the chart, GM Instruments, in
order to see what the names of the 128 Instruments are.  Most of these are
self-explanatory.  For example, the Instrument referred to as Flute is indeed
comprised of a Flute waveform.  The Instruments numbered after 80 are mostly
synthesizer type of sounds, so the Instrument names can be rather arbitrary.
For example, how do you describe an Instrument that sounds like
"whuh-aah-oohzzzzz"?  Well, maybe you refer to it as Sweep Pad.  Whatever.
This chart is essentially the same as the one on pages 16/17 of your RAP-10
Owner's Manual.

The RAP-10 Instruments are played by sending MIDI data to the RAP-10's internal
MIDI port.  This may be done by using Sequencer software with a RAP-10 device
driver in order to play a MIDI file through the RAP-10.  Alternately, you can
attach a MIDI controller to the external MIDI connector box for the RAP-10, and
play the GM sounds via the controller's keyboard.  Each RAP-10 Instrument is
designed so that it can playback over the entire MIDI note range.  So for
example, the Clavinet can play all of the MIDI note numbers from 0 to 127, for
over a 10 octave range.  Obviously, some Instruments that are waveforms of real
instruments, such as Trumpet, won't sound very natural if played outside of
their natural note ranges.  But, each Instrument can sound across the entire
MIDI note range (and will do so if it receives MIDI messages on its respective
Part's channel.  You'll learn about Parts later).


ΓòÉΓòÉΓòÉ 5.1.2. Drum Kits ΓòÉΓòÉΓòÉ

The RAP-10 also has 6 Drum Kits.  Each Drum Kit is comprised of dozens of
waveforms of various drum and percussion sounds.  In this respect, a Drum Kit
is different than the 128 Instruments (each of which is only 1 waveform
transposed across the entire MIDI note range).  For the Drum Kit, each MIDI
note from 27 to 88 (inclusive) is assigned a different drum sound (for a total
of 62 drum sounds per kit).  For example, MIDI note #36 may play a Kick drum,
whereas MIDI note #38 may play a Snare drum.  Think of the MIDI note numbers
not as pitches, but as triggers (or "drum pads or drum Keys") for the 62 drums
in a kit.  The assignment of drum sounds within each of the 6 kits is
hard-wired.  In other words, you can't change which drum sounds are assigned to
which MIDI note numbers, nor can you change sounds within kits.  But, for each
drum sound in a kit, you can alter its volume, panning, reverb and chorus
levels, and also transpose it up or down 2 octaves (although it is always
triggered by the one MIDI note number to which it is assigned).  The 6 kits are
referred to as Standard, Power, Electric, TR-808 (analog drum machine), Brush,
and Orchestra.  Some of the kits share sounds.  For example, the Power kit has
all of the same sounds as the Standard kit except that MIDI notes #36 and #38
are MONDO Kick and Gated Snare instead of the Standard kit's normal Kick 1 and
Snare.  Refer to the chart, Drum Kits, to see what drum sounds are assigned to
which MIDI notes for the 6 kits.  This chart is essentially the same as the one
on page 18 of your RAP-10 Owner's Manual.


ΓòÉΓòÉΓòÉ 5.1.3. Voices ΓòÉΓòÉΓòÉ

The RAP-10 can play upto 26 Voices at any given time.  Usually, this equates to
playing 26 MIDI notes at any given time, but if you're using Instruments that
require 2 Voices per each MIDI note, then you'll be limited to playing less
notes simultaneously.  For example, all at the same time, you could have a
Piano Instrument playing a 9 note chord, a Picked Bass Instrument playing a
bass note (ie, 1 note), a Jazz Guitar Instrument playing a 6 note chord, and
the Drum Part sounding a hihat and kick drum together (ie, 2 notes).  All of
these Instruments use one Voice per note, so you're using 9+1+6+2=18 Voices.
But, if you switched the Piano Instrument for an Instrument that uses 2 Voices
per note (such as Fantasia), then you'd be trying to use (9x2)+1+6+2=27 Voices.
This is 1 above the RAP-10's Voice limit, so one note of one of those
Instruments wouldn't play.  Maybe one of those Jazz Guitar notes wouldn't
sound.  Whenever you send the RAP-10 enough MIDI Note Ons to surpass the 26
Voice limit, the RAP-10 may "steal" notes from certain Instruments in order to
play notes on other Instruments.  Consult the GM Sound Module chart for how
many Voices each Instrument uses per MIDI note.


ΓòÉΓòÉΓòÉ 5.1.4. Parts ΓòÉΓòÉΓòÉ

So, can the RAP-10 play all 128 of its GM Instruments simultaneously?  No.
First of all, there are only 16 MIDI channels, so it would be very difficult,
if not impossible, to send 128 musical parts over MIDI.  Secondly, the RAP-10
only has 26 Voices, so 128 Instruments couldn't simultaneously play even one
note each.  But of course, who wants to hear a piece of music with 128
different instruments squawking away simultaneously?

What the RAP-10 does is allow you pick out 15 of those 128 Instruments to play
simultaneously.  In effect, what you have is 15 Parts, referred to as Parts 1
to 15.  Furthermore, you can pick out 1 of the 6 Drum Kits, which can also play
simultaneously with the 15 Instruments.  We'll call this the Drum Part.
Together, these 15 Parts and Drum Part can sound upto 26 Voices at any given
instant.

For example, you might assign the following Instruments to the 15 Parts.

 Part #
  1  - Grand Piano
  2  - Trombone
  3  - Trumpet
  4  - Steel Guitar
  5  - Fingered Bass
  6  - Alto Sax
  7  - Tenor Sax
  8  - Baritone Sax
  9  - Muted Trumpet
 10  - Flute
 11  - Violin
 12  - Viola
 13  - Cello
 14  - Acoustic Bass
 15  - Vibraphone

Typically, you'll have each Instrument play its own musical part (although some
Instruments might play unison lines).  Therefore, you must assign each Part to
a different MIDI channel so that you can send its musical performance (ie, MIDI
data) on its own channel, separated from the data sent to the other Parts.  (Of
course, if you did want 2 Instruments to always play the exact same notes, you
could assign them to 2 Parts which were set to the same MIDI channel).
Furthermore, so that the Drum Part doesn't try to play some other Part's MIDI
data, and vice versa, the Drum Part must be set to its own MIDI channel.
That's where the 16 MIDI channels are used; 15 channels for the 15 Instrumental
Parts, and 1 channel for the Drum Part.

Note:  Usually, the Drum Part is set to MIDI channel #10.  Most MIDI sequencer
       files assume this to be the case.

So, then you're limited to playing only 15 different Instruments throughout the
course of a musical piece?  No.  You're limited to playing only 15 Instruments
simultaneously.  There's nothing that prevents a Part from switching to a
different Instrument at any given moment.  For example, maybe Part #1 starts
out playing a Violin for the first 16 bars of a piece, then it switches to a
Trumpet Instrument.  Remember that these Instrument waveforms are in the
RAP-10's ROM, so it takes very little time for a Part to "put down one
Instrument and pick up another".  In fact, you can quickly tell the Part to do
so by sending it a MIDI Program Change message.


ΓòÉΓòÉΓòÉ 5.1.5. Conclusion ΓòÉΓòÉΓòÉ

The RAP-10's GM Instruments and Drum Kits(ie, ROM waveforms) are of sufficient
quality and quantity to make them useful for most any musical purpose, and
there are enough settings which can be adjusted for each Instrument and each
drum sound in a Kit such that the RAP-10 has versatile sound capabilities using
merely its internal GM sounds without needing digital audio (ie, WAVE) playback
or attaching external MIDI sound modules to it.  The 26 Voice polyphony means
that the GM Sound Module can play fairly complete band arrangements (ie, with
several Instruments and a Drum Kit playing simultaneously).


ΓòÉΓòÉΓòÉ 5.2. Digital Audio ΓòÉΓòÉΓòÉ

The RAP-10 also has the ability to play and record 2 tracks of CD-quality
Digital Audio.  Normally, you do this using software that works with the RAP-10
device driver to record audio data onto your hard drive, and then play that
data back off of your hard drive.  In this way, the size of your Digital Audio
waves is limited only by the free space on your hard drive.  The most common
use of these Digital Audio tracks is to record acoustic instruments (or vocals)
for playback in sync with a sequencer that is playing the RAP-10's GM sounds
and any external MIDI units.  This is possible because, with the proper
software, the RAP-10 can record/play Digital Audio while also playing its GM
Sound Module and doing MIDI input/output to external modules.  Think of the 2
Digital Audio tracks as the digital equivalent of a stereo magnetic tape
recorder (with really great frequency response and noise suppression, and
overdub ability for each of the 2 tracks.  Plus, you don't have to use tape
sync to get it in sync with your MIDI sequencer).

Note:  If desired, you could use the Digital Audio tracks to make a stereo
       master mixdown of all of your MIDI sequenced sound modules, including
       the RAP-10's GM Module, playing some MIDI file.  But a big disadvantage
       is that this takes up much more hard drive space than saving the MIDI
       sequencer file only.  An advantage is that, in order to play back the
       mixdown, you don't have to hook up all of the MIDI sound modules that
       were used to create the mixdown.  So, you have the choice of using the
       Digital Audio as 2 more tracks of your MIDI sequencer (which just happen
       to record acoustic instruments instead of MIDI gear), or to record and
       playback a master mixdown of your MIDI gear.

The Digital Audio tracks offer a choice of 44KHz, 22KHz, or 11KHz sampling
rates.  They also offer a choice of recording 8-bit or 16-bit waveforms at
those rates.  Furthermore, the 2 tracks can be used in a stereo mode (ie, both
tracks recording the signal at the stereo Mic/Line Input jack on the RAP-10
card, and then subsequently playing back that stereo waveform), or in a mono
mode (ie, one track can be recording a mono waveform coming into the Mic/Line
Input while the other is playing back a different mono waveform to the RAP-10's
stereo Audio Output jack, and then subsequently each plays back its own mono
waveform through the Audio Output).


ΓòÉΓòÉΓòÉ 5.3. MIDI Interface ΓòÉΓòÉΓòÉ

As mentioned, the RAP-10's GM Sound Module taps off of its internal MIDI
interface.  But, by adding an external connector box to the RAP-10's DB-15
joystick connector (which provides the actual MIDI In and Out jacks), any MIDI
data not used by the GM Sound Module is allowed to pass on out to external MIDI
sound sources.  So, the RAP-10 can be used as an interface to external MIDI
units through which MIDI sequencer files can be played on those units (in
addition to the GM Sound Module, simultaneously).


ΓòÉΓòÉΓòÉ 5.4. Audio Mixing/Effects/Output ΓòÉΓòÉΓòÉ

The RAP-10 has a Stereo Audio Output jack.  (The one jack is a stereo plug).
All 15 Instrumental Parts, the Drum Part, and the Digital Audio tracks produce
sound through this one jack.

Because the RAP-10 has a stereo output, that implies that you have the ability
to Pan each of the 15 Instrumental Parts, the Drum Part, and each of the 2
Digital Audio tracks anywhere within the stereo spectrum.  In fact, there are
127 different positions across the stereo field.  So, for example, you could
pan one Instrument hard left, another Instrument off to the right a little bit,
one of the Digital tracks halfway between center and hard right, and the Drum
Part to the center.  In other words, think of the RAP-10 as having an 18
channel stereo mixer built into it (ie, 15 channels for the 15 instrumental
parts, 1 channel for the Drum Part, and 1 channel for each Digital Audio
track).  These 18 channels automatically mix down to the RAP-10's stereo output
jack.  Of course, the RAP-10 doesn't have any physical "pan pots" on it, but
using a program like the RAP-10 Editor, you can adjust software "pan pots" for
the 15 Instruments, Drum Part, and 2 Digital Audio tracks.

Likewise, each of the 15 Instruments, Drum Parts, and each Digital Audio track
has its own Volume setting.  Again, there are no physical "faders" on the
RAP-10, but via software, you can adjust the volume of each component
separately.

Furthermore, each Instrumental Part, the Drum Part, and each Digital Audio
track has its own individual settings for Tuning (+/- in cents), Transpose (in
half-steps, ie, to transpose the musical key in which a MIDI file plays without
having to alter the MIDI data), Reverb Level (ie, the RAP-10 has a built-in
digital reverb that can be added to any of the Instruments, Drum Part, and even
Digital Audio tracks, and whose sound goes out of the Audio Output too), and
Chorus Level (ie, the RAP-10 also has a Chorus unit that can be applied to any
Parts and tracks).

In addition, the Brightness (ie, Filter cutoff) of the Instrumental Parts, Drum
Part, and Digital Audio tracks can be controlled separately.  While this is
basically just akin to having a "Treble" knob, it does offer some broad,
individual control over the timbre of each component.  For the Parts,
Brightness is controlled by MIDI Channel Pressure messages sent to a particular
Part.  (The Digital Audio tracks' Brightness is set via MIDI SYSEX messages).

Also, you can individually set how each of the 15 Instrumental Parts and Drum
Part respond to MIDI Mod Wheel Controller messages.  The MOD wheel can control
the Depth (ie, amount) of vibrato applied to a Part, and/or the Speed of that
vibrato.  (The Digital Audio tracks do not respond to any such MIDI messages).
In fact, MIDI Channel Pressure messages can also control Vibrato Depth, Vibrato
Speed, and Volume, in addition to Brightness.

Finally, each of the 15 Instrumental Parts has a separate adjustment for its
Pitch Bend Range which determines how far the pitch can be "slid" (ie, for
slides, glissandos, and other pitch effects) when MIDI Pitch Wheel messages are
sent.  (The Drum Part and Digital Audio tracks do not respond to those MIDI
messages).

Note:  The Drum Part is actually more than just a mono Instrument (like the
other 15 Parts).  As mentioned previously, the Drum Part (ie, 1 of the drum
kits) consists of upto 62 different drum sounds (or Keys as I refer to them).
In fact, besides having overall Pan, Volume, and Reverb and Chorus Levels for
the entire Drum Part (ie, affecting all 62 Keys at once), you also can
individually set the Volume, Pan, Reverb and Chorus Levels, and Transpose
amount for each Drum Key.  So, that channel on the mixer for the Drum Part is
really 62 individual channels!  For example, you can have the Mid Tom 1 panned
hard left and the Mid Tom 2 panned off to the right.  So, the RAP-10 can do a
true stereo drum mix.  The way that the master Drum Part settings work is to
"offset" the individual settings.  For example, if you moved the master Pan
setting to the right, that Mid Tom 1 sound would start to travel right, as well
as the Mid Tom 2 sound which would always be further right than Mid Tom 1
(until the master Pan setting was moved all of the way to the right, in which
case both sounds would end up forced hard right).  The master settings are
convenient for making general, sweeping changes to the Volume, Pan, and Reverb
and Chorus levels of the entire Drum Part after you've adjusted individual Key
settings.

In conclusion, the RAP-10 has a mixing console inside of it.  It has 15
channels for the 15 Parts, 2 channels for the 2 Digital Audio tracks, and 62
channels for the Drum Part (with a master submix control for all 62).  These
all mixdown to a stereo output jack on the RAP-10.  In addition, each channel
has a "MIDI" volume fader, pan knob, brightness control, tuning knob, transpose
knob, reverb level, and chorus level.  For the 15 Instrumental Parts, you can
also apply vibrato, pitch, and volume effects via certain MIDI messages.


ΓòÉΓòÉΓòÉ 5.5. Real-time Control ΓòÉΓòÉΓòÉ

As just mentioned, virtually all of the RAP-10's settings for the 15 Parts, the
Drum Part, and the Digital Audio tracks (playback) are adjusted via MIDI
messages.  Some settings such as Volume, Pan, Reverb and Chorus Levels, etc,
use MIDI controller messages.  Most of the settings for the 15 Instrumental
Parts, and the Drum Part, are adjusted by such MIDI messages.  Some other
settings, particularly for the Digital Audio tracks, are made by MIDI SYSEX
messages.  You can send the RAP-10 these MIDI messages at any time and it will
make the appropriate adjustments instantly (to the human ear).  You can even
send these MIDI controller and SYSEX messages interspersed with MIDI note data
(assuming that you have some sequencer software that supports SYSEX in this
manner).  In other words, you can make adjustments to such things as Volume,
Pan, Reverb and Chorus Levels, Pitch Bend, MOD wheel, Tuning, Transpose,
Brightness, etc while the RAP-10 is playing its GM Sounds and Digital Audio.
The RAP-10 will not "stop" or make some sort of audible "glitch" when it is
asked to change a setting.  Instead, you will hear the change while the notes
are playing.  This is referred to as "real-time control".  For example, you
could raise the Volume of a Trumpet Instrument which is about to play a solo,
Pan that Trumpet from left to right across the stereo spectrum while it is
playing the solo, and then lower the Volume after the solo is finished, all
without interrupting the musical performance, nor affecting the other Parts and
Digital Audio.  You can do this by inserting the appropriate MIDI messages (ie,
on the MIDI channel to which the Trumpet Part is assigned) at the appropriate
places within your MIDI file.  From that point on, everytime that you play that
MIDI file, it will have the exact same effect on the Trumpet's Volume and
Panning.  This is referred to as "automated mixdown" because the computer does
the control of settings during playback that a recording engineer would do
while seated at a mixing console.


ΓòÉΓòÉΓòÉ 5.6. Effects ΓòÉΓòÉΓòÉ

Reverb/Delay
The RAP-10 has a built-in digital Reverb, which can alternately be used as a
digital Delay device.  You have a choice of 5 different Reverb Types.  They
are:

 Room 1
 Room 2
 Room 3
 Hall 1
 Hall 2

Alternately, you can use the reverb unit as a digital delay, in which case you
have 2 types of delay.

 Delay
 Panning Delay

When the Reverb Type is set to one of the Rooms or Halls, you can adjust the
Time (ie, how long it takes for the reverb to fade away) and the reverb master
Volume (although each Part and Digital track has an individual Reverb Level).

When the Reverb Type is set to Delay or Panning Delay, then you can also adjust
the Repeats (ie, how many subsequent echoes continue to sound after the first
echo), and the Time (ie, 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:  For Panning Delay, each subsequent echo bounces back and forth between
       hard left and hard right Pan).

Chorus
The RAP-10 also has a built-in Chorus.  You can adjust the master Volume
(although each Part and Digital track has an individual Chorus Level),
Feedback, Delay, Rate, and Depth.


ΓòÉΓòÉΓòÉ 5.7. Master Settings ΓòÉΓòÉΓòÉ

The RAP-10 has a few Master settings that affect all 15 Parts, the Drum Part,
and the Digital Audio tracks simultaneously.  There settings are Volume (ie, a
master "fader" that controls the Volume of all RAP-10 generated audio), Tuning
(in cents), and Transpose (in half steps, ie, to quickly change the musical key
of not only the GM Sound module, but also the Digital Audio tracks).


ΓòÉΓòÉΓòÉ 6. RAP-10 Editor Usage ΓòÉΓòÉΓòÉ

As mentioned, the RAP-10's settings for the 15 Parts, the Drum Part, and the
Digital Audio tracks (playback) are adjusted via MIDI messages.  Of course, you
don't have to deal with MIDI messages when using the RAP-10 Editor.  It simply
has "displayed settings" that you adjust for such things as Volume, Pan, etc.
The RAP-10 Editor does the job of sending the appropriate MIDI messages to the
RAP-10 in order to implement 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 RAP-10
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 RAP-10 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.


ΓòÉΓòÉΓòÉ 6.1. Starting the Editor ΓòÉΓòÉΓòÉ

If invoking the Editor from an OS/2 Command Prompt window, the syntax is as
follows:

rap10_ed [Filename /Ddrivername]

Filename is the name of some MIDI file that you wish initially loaded.  This
arg is optional.

drivername is the name of the MIDI driver that the Editor will use.  This is
optional, and if not specified defaults to MPUDEV1$, the first unit of
MPUDEV.SYS.

The Editor can also be run from the Desktop.  Simply copy the RAP10_ED.EXE file
to some folder on the desktop, and you will see its icon (ie, object).  Or, you
can copy the Program object from OS/2's Templates folder.  Open up the Settings
and specify the path where RAP10_ED.EXE resides.  You can also associate the
Editor with MIDI type files.  Then, when you click upon the icon for any one of
those MIDI files, it will automatically load up into the Editor.


ΓòÉΓòÉΓòÉ 7. 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 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 7.1. 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 7.2. 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 7.3. 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 7.4. 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 8. 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 8.1. 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 8.2. 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 8.3. 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 8.4. 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 8.5. 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 9. Rexx ΓòÉΓòÉΓòÉ

REXX is a computer language.  It's interpreted, like BASIC, which means that
you simply write your program as an ordinary text file, and some interpreter
runs that text file directly.  There's no need for you to compile and link your
source code into an executable program.  Your text file *IS* your program.  So,
REXX is a script language.  But, it has lots of features, including variables,
string processing, looping, etc.  Consult the "Rexx User's Guide" on the OS/2
PDK, or the "Rexx Procedures/2" online book for a description of fundamental
things that can be done with REXX.

The REXX interpreter is built into OS/2.  That's why you can run a REXX script
(ie, text file containing REXX source code) just by typing its name from an
OS/2 Command Prompt window.

OS/2 programs may be written to also start up REXX scripts.  The RAP-10 Editor
is one such program.  It allows you to bind 23 REXX scripts to 23 Function keys
on your computer keyboard.  When you press 1 of those function keys, it runs
its respective REXX script.

There's a very important difference between running a REXX script from the
RAP-10 Editor, and running a script from a Command Prompt window.  When you run
a REXX script from the RAP-10 Editor, the Editor allows your script to use 7,
"special" commands (in addition to all of the standard REXX commands) which
directly manipulate the RAP-10 Editor.  These special commands allow your
script to find out the value of any RAP-10 setting, change that setting (and
send the new setting to the RAP-10), load and save MIDI files, change the
Filter Dialog selections, sound notes, and do just about anything that you can
manually do with the program.  In other words, this offers a very powerful
scripting language for the RAP-10 Editor.  Among the things that you might do
with it are: have the program come up with a customized configuration, write a
random "patch" generator that also had some intelligent features to it (using
the standard RANDOM command in conjunction with RAPSET), create a script to
save Settings in your own, customized file format, create a script that plays a
sequence of notes, etc.

Note:  It's advisable to first read the OS/2 documentation on REXX, and
       experiment with the standard commands and features.  The REXX examples
       here may use some standard features without explaining them.  Mostly,
       the examples will illustrate the 9, special commands for the RAP-10 Editor.

The RAP-10 Editor also uses Rexx Dialog, which means that in addition to the 7
special REXX commands for the Editor, you can also use all of Rexx Dialog's
commands (ie, RXDLG, RXSET, etc) in order to create Presentation Manager
windows with controls such as menus, sliders, list and drop boxes, etc.
Consult the Rexx Dialog manual for an explanation and examples of those
commands.

You can start a REXX script by pressing F2 to F24 in either the Drums/Digital
Audio or the Parts window.  Whichever window that you choose is usually the one
where message boxes and dialogs invoked by the REXX script pop up.

Note:  Some computer keyboards do not have 24 function keys.  Also, OS/2 uses
       function keys 10 and 12 for its own use, so you should not use these
       (ie, don't name any script RAP10.CMD or RAP12.CMD).  Furthermore,
       remember that the function keys in the QWERTY window (ie, when it's the
       active window) instead set the velocity for the QWERTY keyboard.


ΓòÉΓòÉΓòÉ 9.1. Writing a Script ΓòÉΓòÉΓòÉ

Writing a script is easy.  You just start up some text editor (such as the OS/2
System Editor, or the Enhanced Editor), write your program, and then save the
file.  You must follow these rules when saving a REXX script:

 1. Save the file in the same directory that the RAP-10 Editor is in.

 2. Name the script RAPn.CMD where n is a number from 1 to 24 depending upon
    which function key that you want to invoke the script.  For example, to
    write a REXX script that is invoked by function key 2, then the script name
    is RAP2.CMD.

The script named RAP1.CMD is a special script.  As you'll note, the F1 key in
the RAP-10 Editor is used for Help.  RAP1.CMD is automatically run (if it
exists) when the RAP-10 Editor first starts up.  After that, you can't run this
script from the Editor.  This script will obviously be used to implement things
that you want to be done automatically when the Editor first starts (ie,
configuration).  Do not create this filename if you don't desire this feature.

Note:  Scripts are loaded off of disk when you invoke them.  They are not
       stored in the computer's RAM.


ΓòÉΓòÉΓòÉ 9.2. RAP-10 Commands ΓòÉΓòÉΓòÉ

The 7 special commands that directly communicate between your script and the
RAP-10 Editor all begin with the 3 letters RAP.  Here are the 7 commands:
RAPSET
RAPQUERY
RAPLOAD
RAPSAVE
RAPDLG
RAPFILT
RAPKEYS

You can begin a line in your REXX script with one of these commands.  Then,
when the script is run, the REXX interpreter executes the command when it gets
to that line.

Most of the commands will have arguments.  This is just additional text that
you place after the command, on the same line.  Arguments modify the way that a
RAP-10 command works, or provide necessary additional information for the
RAP-10 Editor to use.

Note:  It's OK to put blank spaces before and after commands, and inbetween
       arguments.  This makes your script easier for you to read.

All commands return either a string or number (depending upon RXERR, but some
commands always return strings).  The return is stored in the special REXX
symbol RC.  As each command is issued, RC reflects what that command returns.
The return usually tells you whether a command worked or failed (although
sometimes the return provides other info instead).  In the case of a command
that could fail as a result of something that goes wrong within the Editor, you
should always check RC after issuing that command.

Some commands always work if they make it past the REXX interpreter to the
Editor.  But of course, any command can fail as a result of some syntax error
(ie, you typed it in incorrectly) or other errors that occur before the REXX
interpreter ships the command off to the Editor to process.  In this case, the
ERROR or FAILURE flag is usually raised by the REXX interpreter itself, and it
will return an RC value (usually a number that is not 0, instead of an empty
string).  Or, the interpreter may abort the script and return an error number
to the Editor.

If the Editor has a problem launching the REXX script or REXX aborts the script
(ie, the script can't be found, or it doesn't begin with a comment, etc), then
REXX will return an error number.  The Editor will display this number in a
message box.  The message box will have a heading that says "REXX INTERPRETER
ERROR:".  This is different than the RXSAY box you may use in your script,
which always has a heading of "Rexx Dialog".  So, you can visually
differentiate between errors with the REXX interpreter (ie, usually with the
standard commands), and errors with the Editor processing your 7 special
commands (or Rexx Dialog commands).  For the meaning of REXX INTERPRETER ERROR
numbers, consult the Rexx Dialog manual.

The following descriptions of each command tell what the template for the
command is (ie, how you notate it in your script), what the command does, what
the arguments are, what it returns to your REXX script, and examples of using
the command.


ΓòÉΓòÉΓòÉ 9.2.1. RAPSET ΓòÉΓòÉΓòÉ

Template       RAPSET SettingNumber Value

Description    This is used by your script to set a particular Setting in the
               Editor to a specific value, and also send that value to the
               RAP-10.  It also can be used to change which part becomes the
               Current Part, and which drum key becomes the Current Key.  The
               RAP-10 Editor's display is automatically updated to reflect the
               results of this command.

Args           SettingNumber is a number from 0 to 74, or the number 10,000.
               It tells the RAP-10 Editor which Setting you want to change.  If
               SettingNumber is 0, then this means that you want to change the
               Current Part number (without altering its settings).  You may
               need to do this since RAPSET works on one part's Settings at a
               time; the Current Part.  In this case, the Value arg is the
               desired Part number.  For example, say that you want to set the
               Current Part to Part 3.  Here's the complete command:

               RAPSET 0 3  /* Note: SettingNumber=0 for "set current part",
                        Value=3 for "part 3" */

               SettingNumbers from 1 to 16 edit the settings for the Current
               Part.  The settings that you can edit are as so:

               Instrument is setting 1.  Value is 0 to 127 for the 128 GM
               Instruments (ie, a Value of 6 selects Harpsichord.  Consult the
               Instruments chart).
               Pan is setting 2.  Value is -63 to 63, where negative values are
               panned to the left.
               Reverb Level is setting 3.  Value is 0 to 127.
               Chorus Level is setting 4.  Value is 0 to 127.
               Volume is setting 5.  Value is 0 to 127.
               MIDI Channel is setting 6.  Value is 1 to 16 for the 16 MIDI
               channels, or 0 for OFF.
               Min Voices is setting 7.  Value is 0 to 26.
               Transpose is setting 8.  Value is -24 to 24.
               Fine Tune is setting 9.  Value is -1638.4 to 1638.2.

               Channel Pressure:
                 Brightness is setting 10.  Value is -64 to 63.
                 Volume is setting 11.  Value is -64 to 63.
                 Vibrato Speed is setting 12.  Value is -64 to 63.
                 Vibrato Depth is setting 13.  Value is 0 to 127.

               Modulation Wheel:
                 Vibrato Speed is setting 14.  Value is -64 to 63.
                 Vibrato Depth is setting 15.  Value is 0 to 127.

               Pitch Wheel:
                 Range is setting 16.  Value is 0 to 24.

               Remember that the above affect the Current Part.  So, if you
               wanted to set the Reverb and Chorus Levels for Part 2 to 80, and
               then set the Volume of Part 15 to 127, here's the commands:

               RAPSET 0 2   /* Set the Current Part to 2 */
               RAPSET 3 80  /* Set Part 2's Reverb to 80 */
               RAPSET 4 80  /* Set Part 2's Chorus to 80. Note that I don't
               have to
                        do RAPSET 0 2 again because the Current Part is still
               2. */
               RAPSET 0 15  /* Now change the Current Part to 15 */
               RAPSET 5 127  /* Set Part 15's Volume to 127 */

               A SettingNumber from 17 to 29 is for the other Settings in the
               Parts window as so:

               Master:
                 Volume is setting 17.  Value is 0 to 127.
                 Fine Tune is setting 18.  Value is -100.0 to 100.0.
                 Transpose is setting 19.  Value is -24 to 24.

               Reverb:
                 Type is setting 20.  Value is 0 to 6 for the 7 reverb types.
                 Volume is setting 21.  Value is 0 to 127.
                 Time is setting 22.  Value is 0 to 127.

               Delay:
                 Time is setting 23.  Value is 0 to 127.
                 Repeats is setting 24.  Value is 0 to 127.

               Chorus:
                 Volume is setting 25.  Value is 0 to 127.
                 Feedback is setting 26.  Value is 0 to 127.
                 Delay is setting 27.  Value is 0 to 127.
                 Rate is setting 28.  Value is 0 to 127.
                 Depth is setting 29.  Value is 0 to 127.

               A SettingNumber from 30 to 49 is for Drum Settings (and Current
               Drum Key) as so:

               Master Chorus Level is setting 30.  Value is 0 to 127.

               Channel Pressure:
                 Brightness is setting 31.  Value is -64 to 63.
                 Volume is setting 32.  Value is -64 to 63.
                 Vibrato Speed is setting 33.  Value is -64 to 63.
                 Vibrato Depth is setting 34.  Value is 0 to 127.

               Master Reverb Level is setting 35.  Value is 0 to 127.
               Master Pan is setting 36.  Value is -63 to 63, where negative
               values are panned to the left.
               Master Volume is setting 37.  Value is 0 to 127.

               Modulation Wheel:
                 Vibrato Speed is setting 38.  Value is -64 to 63.
                 Vibrato Depth is setting 39.  Value is 0 to 127.

               NRPN Receive is setting 40.  Value is 0 (OFF) or 1 (ON).
               MIDI Channel is setting 41.  Value is 1 to 16 for the 16 MIDI
               channels, or 0 for OFF.
               Min Voices is setting 42.  Value is 0 to 26.

               The following 5 are for the Current Drum Key.  Just like with
               the Current Part, you may want to set the Current Key before
               changing these settings.
                 Volume is setting 43.  Value is 0 to 127.
                 Pan is setting 44.  Value is -63 to 63.
                 Reverb Level is setting 45.  Value is 0 to 127.
                 Chorus Level is setting 46.  Value is 0 to 127.
                 Transpose is setting 47.  Value is -24 to 24.

               Drum Kit is setting 48.  Value is 0 to 5 for 1 of the 6 kits.
               Drum key is setting 49.  Value is 0 to 61 for one of the 62 drum
               keys.  Use this to set the Current Drum Key.

               So, if you wanted to set the Volume for Drum key 0 (ie, High Q
               in the Standard Kit) to 80, and then set the Volume of Drum Key
               1 to 127, here's the commands:

               RAPSET 49 0   /* Set the Current Drum Key to 0 */
               RAPSET 43 80  /* Set Key 0's Volume to 80 */
               RAPSET 49 1   /* Now change the Current Drum Key to 1 */
               RAPSET 43 127  /* Set Key 1's Volume to 127 */

               SettingNumbers from 50 to 74 edit the settings for the Digital
               Audio tracks.  The settings that you can edit are as so:

               Right Channel:
                 Volume is setting 50.  Value is 0 to 127.
                 Pan is setting 51.  Value is -63 to 63.
                 Reverb Level is setting 52.  Value is 0 to 127.
                 Chorus Level is setting 53.  Value is 0 to 127.
                 Brightness is setting 54.  Value is 0 to 127.
                 Sample Rate is setting 55.  Value is 0, 1, or 2 for 11, 22, or
               44 KHz.
                 Transpose is setting 56.  Value is -24 to 24.
                 Fine Tune is setting 57.  Value is -1638.4 to 1638.2.

               Left Channel:
                 Volume is setting 58.
                 Pan is setting 59.
                 Reverb Level is setting 60.
                 Chorus Level is setting 61.
                 Brightness is setting 62.
                 Sample Rate is setting 63.
                 Transpose is setting 64.
                 Fine Tune is setting 65.

               Stereo:
                 Volume is setting 66.
                 Pan is setting 67.
                 Reverb Level is setting 68.
                 Chorus Level is setting 69.
                 Brightness is setting 70.
                 Sample Rate is setting 71.
                 Transpose is setting 72.
                 Fine Tune is setting 73.

               Master Volume is setting 74.  Value is 0 to 127.

               A SettingNumber of 10,000 means to change the current Setting in
               the active window, whatever it may be.  For example, if the
               Parts window is active and its current Setting is Reverb Time,
               then this sets it to 100.

               RAPSET 10000 100

Returns        If you try to change a Setting in the Drums/Digital Audio
               window, and that window isn't open, then the Editor will pop it
               open.  If, for some reason, OS/2 won't open that window, the
               Setting won't be changed, and an error message or number
               (depending upon RXERR) will be returned for RC.  If all goes
               well, RC will be an empty string (ie, '') or 0 (depending upon
               RXERR).  For an error, the Editor raises the REXX ERROR
               condition.

Examples

If you omit the Value arg after a SettingNumber arg, then the RAP-10 Editor
will bring up a dialog to get the value from the user just as if he invoked
Direct Enter on the Setting.  For example, this forces the Instrument LIST BOX
to come up to choose the Instrument for Part 5.

RAPSET 0 5  /* Set Current Part to 5 */
RAPSET 1    /* Set Part 5's Instrument, but notice no Value arg */

The RAPSET command can contain multiple pairs of SettingNumber and Value args,
if you want to change several settings with one invocation of the command.  For
example, if you wanted to change the Current Part to 7, and then set its
Volume, Pan, and Reverb, you could do the following:

RAPSET 0 7  5 127  2 -63  3 80

The 0 7 sets the Current Part to 7.  The 5 127 sets Part 7's Volume to 127.
The Pan is set hard left.  And, the Reverb Level is set to 80.  Note that it
isn't important in which order the settings are changed, except that the
Current Part must be changed first (if you want all changes to affect Part 7).
In fact, you could change Part 8 identically in the same command as so:

RAPSET 0 7  5 127  2 -63  3 80    0 8  5 127  2 -63  3 80

Note:  The extra blank space inbetween pairs of args is just for readability.

Of course, you can even include arg pairs for other settings, for example to
set the Current Drum key to 3 and set its Volume.

RAPSET 0 7  5 127  2 -63  3 80    0 8  5 127  2 -63  3 80   49 3  43 99

Any and all arg pairs can be included in a RAPSET.  The display isn't redrawn
until all of the arg pairs for a given RAPSET command are completed, so it's
more efficient to use one RAPSET command rather than several.

Of course, you can also use REXX variables.  Here's a loop that sets the volume
of all 15 Parts to 127.

volume=127
DO i=1 to 15       /* Do 15 times, for the 15 parts */
  RAPSET 0 i      /* Set the Current Part */
  RAPSET 5 volume   /* Set the Current Part's Volume to 127 */
END

Of course, we could have condensed it as so:

volume=127
DO i=1 to 15
  RAPSET 0 i 5 volume  /* Set the Current Part, and then its volume */
END

If you include multiple arg pairs, don't omit any Value args (except for
perhaps the last one on the line).


ΓòÉΓòÉΓòÉ 9.2.2. RAPQUERY ΓòÉΓòÉΓòÉ

Template       RAPQUERY SettingNumber

Description    RAPQUERY is the exact opposite of RAPSET.  RAPQUERY fetches the
               current value of the SettingNumber, returning it to your REXX
               script in a REXX variable (ie, not in RC).  Use this to find out
               what some Setting's value is.  The SettingNumber corresponds to
               the RAPSET.  For example, to query what the Current Part is, use
               SettingNumber 0.  To query what the Current Part's Volume is,
               use SettingNumber 5.

Args           Refer to RAPSET for which SettingNumbers query which RAP-10
               settings.

Returns        This sets a REXX variable.  The variable is a stem variable
               whose name is RAP.n where n (ie, the stem) is the SettingNumber.
               For example, to query the Current Part, and then display that
               Part number:

               RAPQUERY 0   /* Returns the Current Part number in RAP.0 */
               RXSAY 'The Current Part is #'RAP.0

               This may return an error message or number (depending upon
               RXERR) for RC if there's a problem setting the value of the REXX
               variable.  If all goes well, an empty string or 0 is returned
               for RC.  For an eerror, the Editor raises the REXX ERROR
               condition.

Examples

Just like with RAPSET, you can query several Settings with one invocation.
Here I set the Current Part to 1, and then query its Volume, Pan, and Reverb
settings which will be returned in the REXX variables RAP.5, RAP.2, and RAP.3
respectively.  I store those values and then repeat the query for Part 2.

RAPSET 0 1     /* Set to Part 1 */
RAPQUERY 5 2 3  /* Ask for Volume, Pan, and Reverb of Current Part */
PART1.VOL=RAP.5  /* Copy volume to another variable */
PART1.PAN=RAP.2  /* Copy pan to another variable */
PART1.REV=RAP.3  /* Copy reverb to another variable */
RAPSET 0 2     /* Set to Part 2 */
RAPQUERY 5 2 3  /* Ask for Volume, Pan, and Reverb of Current Part */
PART2.VOL=RAP.5  /* Copy volume to another variable. NOTE Part2 variable */
PART2.PAN=RAP.2  /* Copy pan to another variable */
PART2.REV=RAP.3  /* Copy reverb to another variable */

This queries the value of the current Setting in the active window, whatever
Setting that may be.

RAPQUERY 10000

Here I ask for the volumes of all 62 drum keys, and stuff those into a stem
variable.

DO i=0 to 61    /* Do all 62 keys */
   RAPSET 49 i  /* Set the Current Key */
   RAPQUERY 43  /* Ask for its volume */
   IF RC \= '' THEN DO  /* Here's some error checking. This isn't necessary if
you already have SIGNAL ON ERROR since your script will jump there if there's
an error */
      RXSAY 'ERROR:'RC
      RAP.43=127   /* whatever */
   END
   Volumes.i = RAP.43  /* Store it in the next stem */
END


ΓòÉΓòÉΓòÉ 9.2.3. RAPLOAD ΓòÉΓòÉΓòÉ

Template       RAPLOAD Filename

Description    This causes the Editor to load the specified MIDI file, sending
               all of the loaded Settings to the RAP-10 too.

Args           Filename arg is the complete name of the file to load (ie,
               C:\mydir\myfile).  If you omit the arg, then the Editor brings
               up the File Dialog for the user to pick a file to load.

Returns        This may return an error message or number (depending upon
               RXERR) for RC if the file can't be found or opened, or it's not
               a MIDI file created by the Editor, or there's not enough memory
               to read it in, or there's a problem reading it in (ie, perhaps
               corrupted), or the File Dialog was cancelled by the user (if he
               needs to choose a name).  If all goes well, an empty string or 0
               will be returned for RC.  If an error, the Editor raises the
               REXX ERROR condition.

Examples

RAPLOAD 'C:\OS2\MY FILE.MID'

fn='.\myfile.mid'  /* Note: in the current directory */
RAPLOAD fn
IF RC \= '' THEN RXSAY 'ERROR:'RC  /* If an error, then print the error message
or number. If you've already got SIGNAL ON ERROR, then this test is unnecessary
since the Editor will raise a REXX ERROR if there's a problem. You'll jump to
your ERROR label */


ΓòÉΓòÉΓòÉ 9.2.4. RAPSAVE ΓòÉΓòÉΓòÉ

Template       RAPSAVE Filename

Description    This saves the Settings in a MIDI file (as if the user selected
               the Save menu item) with the specified filename.  Note that no
               warning will be given if the filename that you specify already
               exists.  If desired, use the standard REXX STREAM command to
               test the name first.

               Note:  The Filter Dialog Selections determine which Settings get
                      saved.  See RAPFILT.

Args           Filename arg is the complete name of the file to save.  If it
               has imbedded spaces, double quote it.  If omitted, the Editor
               will bring up the File Dialog for the user to pick a name.

Returns        This may return an error message or number if the file can't be
               created, or there's a problem writing it out, or there's not
               enough memory to write it out, or the File Dialog is cancelled
               by the user (if he has to choose the name).  If all goes well,
               an empty string or 0 will be returned for RC.  If an error, the
               Editor raises the REXX ERROR condition.

Examples

See RAPLOAD.


ΓòÉΓòÉΓòÉ 9.2.5. RAPFILT ΓòÉΓòÉΓòÉ

Template       RAPFILT Selection State

Description    This sets or clears or queries the state of one of the
               Selections (ie, checkmarks) in the Filter Dialog.  It is used
               before a Save in order to determine which RAP-10 Settings get
               saved.

Args           Selection refers to which Filter Dialog checkmark you want to
               set/clear/query.  The Selections are as so:

               Set/Clear Effects (ie, Reverb, Chorus, Delay) is Selection #0.
               Set/Clear Parts 1 through 15 are Selection #'s 1 through 15.  In
               other words, Selection #3 determines whether Part 3's Volume,
               Pan, Reverb, Chorus, Transpose, and Fine Tune get saved.
               Set/Clear the Drum Part is Selection #16.
               Set/Clear Min Voice is Selection #17.
               Set/Clear Master Tune/Transpose/Volume is Selection #18.
               Set/Clear Digital Audio Tracks is Selection #19.
               Set/Clear Drum Keys 1 through 62 are Selection #'s 20 through
               81.

               For the above, the State arg should be a 0 if you want to clear
               the Selection (and omit those respective Settings from the saved
               MIDI file).  State should be a 1 to set the Selection.

               Here's how to set the Filter Dialog's check for Part 15.

               RAPFILT 15 1

               If you set the Selection arg to 82, and the State arg is also
               less than 82, that means that you want to query the state of one
               of the above checkmarks.  In this case, your State arg will be
               the Selection # that you wish to query (as above).  Just like
               with RAPQUERY, this command sets a REXX stem variable.  The
               variable name is FILT.n where n is the Selection #.  For
               example, to request the current state of Part 15's checkmark:

               RAPFILT 82 15  /* Tell the Editor to return the checkmark state
               of Part 15 in FILT.15 */
               IF RC = '' THEN DO  /* This error check is unnecessary if you
               have SIGNAL ON ERROR */
                 IF FILT.15 = 1 THEN RXSAY "Part 15 is checked and will be
               saved."
                 IF FILT.15 = 0 THEN RXSAY "Part 15 isn't checked and won't be
               saved."
               END

               If you set the Selection arg to 82, and the State is also set to
               82, this means that you want to clear all checkmarks in the
               Filter Dialog (as well as all Drum Keys).  If the Selection is
               82, and the State is 83, this will set all checkmarks and select
               all Drum Keys.

Returns        This may return an error message or number for RC if there's a
               problem setting the value of the REXX variable.  If all goes
               well, an empty REXX string or 0 is returned for RC.  For an
               error, the Editor raises the REXX ERROR condition.  Note that an
               error would only happen with a query of some Selection.

Examples

RAPFILT 82 83  /* First make sure that everything is selected */
RAPFILT 1 0   /* Clear the checkmark on Part 1 */
RAPFILT 20 0   /* Clear the checkmark on Drum Key 0 */

Like the RAPSET and RAPQUERY, you can condense pairs of Selection #'s and
States into 1 invocation.  Here's how to condense the above.

RAPFILT 82 83  1 0  20 0


ΓòÉΓòÉΓòÉ 9.2.6. RAPDLG ΓòÉΓòÉΓòÉ

Template       RAPDLG Type Title | Choice1 | Choice2 | Choice3 etc...

Description    This is used to get input directly from the user via a dialog
               that opens in the Editor's Parts or Drums/Digital Audio window
               (whichever is active).  Since you aren't running the script from
               an OS/2 Command Prompt window, you can't use the PULL command.
               Use this to get input instead.  This will open either a STRING
               (ENTER) dialog, or a LIST BOX dialog.  Since the dialog pops up
               within an Editor window, it will not suspend other apps or the
               Desktop, and will minimize along with the Editor window.  The
               user operates the dialogs in the same way that he uses similiar
               dialogs for Direct Entering settings in the Editor.

               Note:  Alternately, you can use Rexx Dialog's RXDLG command to
                      create a PM window with various controls, but that PM
                      window will not open in the Parts or Drums/Digital Audio
                      windows, but rather, as a seperate window upon the Desktop.

Args           The Type arg is a 0 if you want an ENTER dialog, or a 1 if you
               want a LIST BOX.  The Title arg is a string that you want to be
               presented in the dialog's title bar.  This should tell the user
               what to do with the dialog.  You must place a | character after
               the title in order to separate it from the following args.  If
               the Type is a LIST BOX, then you can have more args, and these
               will be the strings that are displayed in the LIST BOX (of which
               the user chooses one).  You can add as many Choice args as you
               like, but each must be separated from the next by a | character.
               If Type is an ENTER dialog, then if you supply an additional
               arg, that is the text that appears in the ENTER control by
               default.

Returns        If the Type is an ENTER dialog, RC will be the text that the
               user typed (which could be the default string if he simply
               pressed ENTER).  If the Type is LIST BOX, then RC will be the
               number of the item chosen (where the first Choice in the list is
               0, the second is 1, etc).  If the user presses ESC or selects
               the CLOSE menu item, then an empty string will be returned, and
               the Editor will raise the REXX ERROR condition.

Examples

/* Present a LISTBOX with four items in it; Apples, Oranges, Bananas, and
Grapes */
myvar='Bananas'  /* just to stick a variable in here */
RAPDLG 1 '"Pick one:"' 'Apples' 'Oranges' myvar 'Grapes'
IF RC=1 THEN RXSAY "He picked Oranges"

/* Present an ENTER dialog, and then just echo what he typed in (if he typed
something) */
RAPDLG 0 '"Type something, stupid:"'
IF RC \= '' THEN DO
  RXSAY RC
END


ΓòÉΓòÉΓòÉ 9.2.7. RAPKEYS ΓòÉΓòÉΓòÉ

Template       RAPKEYS ParamNumber [Arg2]

Description    This command is closely tied to the QWERTY keyboard.  It allows
               your script to sound notes and set the channels that those notes
               are broadcast upon.

Args           If ParamNumber is 0, then this sets or clears the checkmark for
               Track Part, depending upon whether Arg2 is 0 (clear) or 1 (set).

               If ParamNumber is 1 to 16, then this sets or clears the
               checkmarks for the 16 MIDI channel checkmarks, depending upon
               whether Arg2 is 0 (clear) or 1 (set).  For example, to set the
               QWERTY keyboard to broadcast on channel 9 (as well as any other
               channels that are already checked):

               RAPKEYS 9 1

               If ParamNumber is 17, then this clears all 16 MIDI channel
               checkmarks.  There is no Arg2.

               If ParamNumber is 18, then Arg2 is the Octave number for the
               QWERTY keyboard.

               If ParamNumber is 19 to 55, these play 1 of the 36 notes on the
               QWERTY keyboard in the current octave.  The Arg2 is the MIDI
               velocity, where 0 would indicate a Note Off.

               If ParamNumber is 56, this is the same as pressing the QWERTY's
               PANIC button.  It turns off all notes and controllers on all 16
               MIDI channels.

Returns        This always returns an empty string or 0 for RC.

Examples

RAPKEYS 0 0   /* Turn off Track Part */
RAPKEYS 17   /* Turn off all 16 MIDI channels */
RAPKEYS 1 1   /* Now turn on only channel 1 */

You can perform several operations with 1 invocation.  Here's the above
condensed.

RAPKEYS 0 0   17   1 1

This example uses the REXXUTIL SysSleep function to sustain notes (ie, pause
inbetween the Note On and Note Off).

CALL RxFuncAdd 'SysSleep', 'RexxUtil', 'SysSleep'
RAPKEYS 19 127  /* Play a low C (in the current octave) with full velocity */
CALL SysSleep 2  /* Give the note time to sustain */
RAPKEYS 19 0   /* Turn off that note */
RAPKEYS 19 127  23 127  26 127  /* Play a C Major chord */
CALL SysSleep 2
RAPKEYS 19 0  23 0  26 0  /* Release that chord */

Note:  By using the SysSleep function with various timeouts, inbetween RAPKEYS
       commands that play notes and turn those notes off, you can make a
       sequenced playback.


ΓòÉΓòÉΓòÉ 9.2.8. RAPPOS ΓòÉΓòÉΓòÉ

Template       RAPPOS Flags WindowNum X Y Width Height

Description    Allows you to move, minimize, maximize, or restore (ie, from min
               or max) the Drums/Digital Audio or Parts windows.  Also allows
               you to set the window position (ie, X and Y coordinates of the
               bottom left window corner, where 0 for both X and Y is the
               bottom left corner of the desktop).  For the Parts window, you
               can also specify the width and height of the window.  Finally,
               this command can be used to activate the Parts or Drums window.

Args           The Flags arg determines what operation(s) are performed.  Here
               are the possible values, and what they do:

               1     Resize the window. The Width and Height args specify the
               size in pels.  This is only applicable to the Parts window.

               2     Move the window. The X and Y args specify where the
               window's bottom left corner falls upon the Desktop.

               128   Make this window the active one.

               1024  Minimize the window.

               2048  Maximize the window.  This is only applicable to the Parts
               window.

               4096  Restore the window (from min or max).

               Simply add up the values that you wish.  For example, to resize
               and move the window, specify 1+2.

               The WindowNum arg is 0 for the Parts window, 1 for the
               Drums/Digital Audio window, or 2 for the QWERTY window.  If you
               specify either of the latter two windows, and the window isn't
               open, then it will be opened.

               Depending upon the Flags arg, you can either omit certain args
               or set them to 0.  For example, if you aren't specifying a
               resize, then the X and Y args can be set to 0 or omitted.

Examples

/* Set the size of the Parts window to open just enough to display all of the
parameters in it, and move it to the bottom left corner of desktop. Assume
SuperVGA */
RAPPOS 3 0 0 0 648 480
EXIT

/* Minimize the Parts window */
RAPPOS 1024 0
EXIT

/* Restore the Drums window. If it isn't open, this simply opens it and makes
it active. If it was minimized, this restores it. */
RAPPOS 4096 2
EXIT


ΓòÉΓòÉΓòÉ 9.3. Errors ΓòÉΓòÉΓòÉ

Whenever some or error is encountered, such as a RAPLOAD where the specified
Filename can't be found, the Editor raises the ERROR flag and returns either a
message (string) or a positive, non-zero number for RC.  (You can choose
whether you want messages or numbers with the NUMS Flag of RXERR.  The default
is messages).

The error number is the same as the display level.  For example, if you want an
error message box to be automatically displayed when RAPLOAD returns a "Can't
open MIDI file." error, then set the display level (via Rexx Dialog's RXERR) to
89 or above.

Here's a list of the error messages and their numbers which might be returned
for each Editor command.  If any of these errors happen, then the Editor raises
the REXX ERROR flag, so if you have a SIGNAL ON ERROR, your script will
automatically jump to your ERROR label with RC being the message or number.

RAPLOAD
"Not a MIDI file made by this program."   94
"Not enough memory."             95
"Can't open MIDI file."            89
"Error reading file."              88
"File Dialog cancel"              199

Note:  "File Dialog cancel" indicates that either the user cancelled the File
       Dialog, or it couldn't open.  This may happen only if you don't specify
       the Filename arg when issuing RAPLOAD and therefore the File Dialog is
       utilized, and an error or cancellation occurs.  This particular error
       does not set the REXX ERROR condition, so you should explicitly check
       the RC return value for this error message or number if you wish to
       determine whether the user aborted the filename selection.

RAPSAVE
"Not enough memory."             95
"Can't open MIDI file."            99
"Error writing file."              98
"File Dialog cancel"              199

RAPQUERY
"Failed to create/set REXX variable."    XXXXXXXX

Note:  The Editor couldn't setup some REXX return variable for the parameter
       that is being queried.  See the comments on this error in the Rexx
       Dialog manual's Errors section.

RAPFILT
"Failed to create/set REXX variable."

Note:  The above would only happen if you queried the state of a Filter
       Selection (ie, checkmark). Doing a Set/Clear of a Filter Selection
       always succeeds.

RAPSET
"Can't create window."             97
"Unable to load help manager."         198

Note:  The above 2 may happen if the Drum/Digital Audio window can't open when
       you try to set the value of one of the Settings in that window.  The
       second error is trivial, and won't prevent RAPSET from changing the
       setting.  So, it can be ignored.  The first error means that RAPSET
       didn't change the Setting.

If you receive the "REXX dialog unknown command" error message, consult the
Rexx Dialog manual for an explanation.


ΓòÉΓòÉΓòÉ 10. 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 10.1. 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 10.2. 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 10.3. 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 10.4. 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 10.5. 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 10.6. 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 10.7. 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 10.8. 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 10.9. 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 10.10. 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 10.11. 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 10.12. 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 10.13. 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 10.14. 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 10.15. 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 10.16. 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 10.17. 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 10.18. 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 10.19. 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 10.20. 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 10.21. 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 10.22. 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 10.23. 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 10.24. 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 10.25. 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 10.26. 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 11. Hints ΓòÉΓòÉΓòÉ

You may playback a MIDI song file that someone else made, and hear a
wonderfully "thick" and complex string sound out of your RAP-10.  "Why don't I
hear that string sound out of my RAP-10 when I play my own MIDI song files?
What do I have to do?", you may ask.

Actually, what may likely be happening is that the MIDI file is sending the
same MIDI data to 2 or more similiar sounding Instruments (ie, assigned to 2 or
more Parts), and they are all playing the exact same notes simultaneously.
These Instruments (ie, Parts) may be panned in stereo, and have different
effects applied to them.  But because they're all playing the exact same
musical notes in perfect (to the human ear) sync, your ear doesn't so much hear
separate Instruments so much as it hears one, really complex Instrument.

Here's an experiment.  Follow these steps:

 1. Make sure that Part 1 is the only Part set to MIDI Channel 1.

 2. Assign the Instrument Strings to Part 1, and pan it center.

 3. Set the QWERTY keyboard to play only on channel 1.

 4. Play some notes and chords on the QWERTY keyboard, and listen to the sound.

Now try this:

 1. Make sure that Part 2 is the only Part set to MIDI Channel 2.

 2. Assign the Instrument Syn. Strings 1 to Part 2, and pan it hard right (ie,
    63>).

 3. Pan Part 1 hard left (ie, <63).

 4. Set the QWERTY keyboard to play both channels 1 and 2.

 5. Play some notes and chords on the QWERTY keyboard, and listen to the sound.

You'll note a fuller string sound with the second example.  That's because each
note is playing 2 Instruments simultaneously, but because they are similiar
sounding Instruments and therefore blend well together, and because each
Instrument is playing in sync with the other, your ear tends to perceive them
as one Instrument.  But because there are some differences in the sounds of the
Instruments, and because they are panned in stereo, your ear does detect that
there is something more complex (and therefore "fuller", "thicker", etc) about
this sound than with the first example.  In essense, we've got a stereo string
sound here, whereas before we had a mono string sound.  We're getting into
Psycho-Acoustics here, which include ways to fool the ear into hearing things a
certain way.

Note:  Taking 2 Parts, perhaps altering them in slightly different ways (ie,
       panning them in opposite directions, assigning different Instruments to
       them, Fine Tuning them slightly apart, applying different levels of
       Reverb or Chorus, etc), and then making them play the exact same MIDI
       data is the basis for getting fuller, "stereo" sounds out of the RAP-10.
       The Editor's grid layout makes it easy to compare differences and
       similiarities between Parts.

Of course, there is a price to pay for such stereo shenanigans.  When you had
15 Parts playing in mono (ie, each playing its own MIDI part), you could have
15 musical parts.  Now, if you pair up Parts to play the same musical part, the
RAP-10 can play less musical parts.  And there's the 26 voice limit to
consider.  With a stereo sound, each MIDI note is going to use up twice as many
voices as with a mono part.

Here are my favorite techniques for getting more complex or "stereo" sounds out
of the RAP-10.  All of them involve 2 Parts, usually panned in stereo (ie, one
Part is hard left and the other is hard right).  You can pan them not so far
apart if you want to make the sound "tighter" or more focused toward center
without losing much complexity.  Also, who's to say that you can't add a third
or fourth Part with slightly different settings, and make it play the same MIDI
data, in order to thicken the sound even more?  In any event, I think that,
beyond 2 Parts, you get diminishing returns.

In all of these examples, we'll assume using Parts 1 and 2.  One is panned <63,
and the other is 63>.

Note:  You can mix and match these Techniques.  For example, you can use both
       Technique 1 and Technique 2 on the same pair of Parts for an even more
       dramatic stereo effect.

Technique 1

 1. Increase Part 1's Fine Tune to some positive value (ie, 5.0).

 2. Decrease Part 2's Fine Tune to an opposite, negative value (ie, -5.0).

Note:  This is my favorite for when using the same Instrument for both Parts.
       Sometimes, if I can't find another Instrument that blends well with the
       desired Instrument, or I want the sound to be distinctly perceived to be
       one instrument, I'll assign the same Instrument to both Parts, pan in
       stereo, and alter the Fine Tune.  This is particularly good at improving
       the RAP-10 piano by using Grand Piano for both Parts and making a stereo
       piano.  Of course, that doesn't mean that this Technique is any less
       effective combined with Technique 2.  Indeed, the combo is the most
       effective way to get the fullest stereo sounds.

You can increase the difference between the Fine Tune settings for the 2 parts
(ie, 6.0 and -6.0) for more depth to the sound, but the farther that you widen
the difference, the more of a "detuned" sound you get (which may be what you
want).  Always make the Fine Tune settings complimentary (ie, don't set one to
3.0 and the other to -5.0) so that the ear hears a "centered" tuning.

Technique 2

 1. Pick out the desired Instrument for Part 1.

 2. Now find a different Instrument for Part 2, but one that blends well with
    (ie, sounds similiar to) Part 1.

Note:  Take a look at the default setup when running the Editor.  Note how I
       pair up Strings/Syn. Strings 1, Perc. Organ/Drawbar Organ,
       Vibraphone/Elec. Piano 1, Jazz Guitar/Steel Guitar, and Picked
       Bass/Fingered Bass.  Use the QWERTY keyboard to play each pair of Parts.
       Compare the sound to each Instrument alone.

Technique 3

 1. Transpose one of the Parts 12 or 24 steps above the other Part (or -12 or
    -24 steps below).

Note:  If you want to create some sort of "overtone" sound, generally you'll
       make the higher transposed Part much softer volume than the lower Part ;
       just enough to flavor the sound.  It's also more subtle to not pan the
       Parts in stereo.

Technique 4

 1. Set both Part's Channel Pressure to control Brightness, but use opposite
    values.  For example, if Part 1's Brightness is 63, then set Part 2's
    Brightness to -63.

Note:  As varying MIDI Channel Pressure arrives, each Part will respond
       differently and contrary, creating a sensation of "movement" to the
       sound.  Alternately, you could send only one Channel Pressure message to
       the Parts before playing any notes, and then do not allow any more
       Channel Pressure to be sent to the Parts.  For example, if you send
       Channel Pressure with a value of 100 or so, then Part 1 will have less
       high end than Part 2 throughout the performance of a song.  The
       difference in the timbre of the 2 Parts yields a stereo effect that
       doesn't shift about.  This is particularly useful for when both Parts
       use the same Instrument.

Technique 5

 1. Set both Part's Modulation Wheels to control Vibrato Speed, but use
    opposite values.  This is the same concept as Technique 4, but now
    Modulation Controller controls the stereo effect.

Technique 6

 1. Add lots of Reverb to one Part, but no Reverb to the other Part.

Note:  Because the RAP-10's reverb unit is mono (ie, the reverb sound always
       ends up in the center), this is not as effective as it could be.  So, to
       get something useful out of this Technique, you should combine it with
       one of the other Techniques.

Technique 7

 1. Add Chorus to one Part, but no Chorus to the other Part.

Note:  Again, because the RAP-10's chorus unit is mono, this is not as
       effective as it could be.  So, use this Technique in combination with
       one of the other Techniques.


ΓòÉΓòÉΓòÉ 12. 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 12.1. 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.

ΓòÆΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòò  ΓòÆΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓòò
Γöé PGM # Γöé Instrument Name Γöé V ΓöéTVFΓöé  Γöé PGM # Γöé Instrument Name Γöé V ΓöéTVFΓöé
Γò₧ΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí  Γò₧ΓòÉΓòÉΓòÉΓòñΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí
Γöé1  Γöé00hΓöé Acoustic Piano  Γöé 1 Γöé   Γöé  Γöé65 Γöé40hΓöé Soprano Sax     Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé2  Γöé01hΓöé Bright Piano    Γöé 1 Γöé   Γöé  Γöé66 Γöé41hΓöé Alto Sax        Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé3  Γöé02hΓöé Electric Grand  Γöé 1 Γöé   Γöé  Γöé67 Γöé42hΓöé Tenor Sax       Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé4  Γöé03hΓöé Honky Tonk      Γöé 2 Γöé   Γöé  Γöé68 Γöé43hΓöé Baritone Sax    Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé5  Γöé04hΓöé Elec. Piano 1   Γöé 1 Γöé   Γöé  Γöé69 Γöé44hΓöé Oboe            Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé6  Γöé05hΓöé Elec. Piano 2   Γöé 1 Γöé   Γöé  Γöé70 Γöé45hΓöé English Horn    Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé7  Γöé06hΓöé Harpsichord     Γöé 1 Γöé   Γöé  Γöé71 Γöé46hΓöé Bassoon         Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé8  Γöé07hΓöé Clavinet        Γöé 1 Γöé   Γöé  Γöé72 Γöé47hΓöé Clarinet        Γöé 1 Γöé   Γöé
Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí  Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí
Γöé9  Γöé08hΓöé Celesta         Γöé 1 Γöé   Γöé  Γöé73 Γöé48hΓöé Piccolo         Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé10 Γöé09hΓöé Glockenspiel    Γöé 1 Γöé   Γöé  Γöé74 Γöé49hΓöé Flute           Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé11 Γöé0AhΓöé Music Box       Γöé 1 Γöé   Γöé  Γöé75 Γöé4AhΓöé Recorder        Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé12 Γöé0BhΓöé Vibraphone      Γöé 1 Γöé   Γöé  Γöé76 Γöé4BhΓöé Pan Flute       Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé13 Γöé0ChΓöé Marimba         Γöé 1 Γöé   Γöé  Γöé77 Γöé4ChΓöé Bottle Blow     Γöé 2 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé14 Γöé0DhΓöé Xylophone       Γöé 1 Γöé   Γöé  Γöé78 Γöé4DhΓöé Shakuhachi      Γöé 2 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
│15 │0Eh│ Tubular Bells   │ 1 │   │  │79 │4Eh│ Whistle         │ 1 │ √ │
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé16 Γöé0FhΓöé Dulcimer        Γöé 1 Γöé   Γöé  Γöé80 Γöé4FhΓöé Ocarina         Γöé 1 Γöé   Γöé
Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí  Γò₧ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓò¬ΓòÉΓòÉΓòÉΓòí
Γöé17 Γöé10hΓöé Drawbar Organ   Γöé 1 Γöé   Γöé  Γöé81 Γöé50hΓöé Square Wave     Γöé 2 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
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
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Γöé32 Γöé1FhΓöé Harmonics GuitarΓöé 1 Γöé   Γöé  Γöé96 Γöé5FhΓöé Sweep Pad       Γöé 1 Γöé   Γöé
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Γöé33 Γöé20hΓöé Acoustic Bass   Γöé 1 Γöé   Γöé  Γöé97 Γöé60hΓöé Ice Rain        Γöé 2 Γöé   Γöé
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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
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
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
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé43 Γöé2AhΓöé Cello           Γöé 1 Γöé   Γöé  Γöé107Γöé6AhΓöé Shamisen        Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé44 Γöé2BhΓöé Contrabass      Γöé 1 Γöé   Γöé  Γöé108Γöé6BhΓöé Koto            Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
Γöé45 Γöé2ChΓöé Tremolo Strings Γöé 1 Γöé   Γöé  Γöé109Γöé6ChΓöé Kalimba         Γöé 1 Γöé   Γöé
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
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
Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ  Γö£ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöñ
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 12.2. 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
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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.