Sound Sensations!/sound_sensations.iso/demos/percomp/errata

Text File | 1986-03-07 | 16KB | 267 lines

    We apologize that the following information has not yet been
    incorporated into the manual.  Future updates will incorporate this
    info into new manuals that will be included in the distributions.
    Special thanks to Don Gilbert for reviewing the manual.

1.  Errata to the Introduction:
    a. Personal Composer now has a sixth mode: a Lisp Interpreter with
       classes and objects.  This system is integrated with Personal
       Composer's functions, and may even be accessed inside keystroke
       macros.  The interpeter is useful for applications in education
       and research, as well as for producing utilities not implemented
       as a Personal Composer command.
    b. When making a working copy of the distribution diskette, step 7
       should request you make at least 2 copies by replying "y" to the
       prompt that asks you if you want to copy another disk.

2.  Errata for "Edit Mode Tutorial #1":
    a. Page 2, introducing the 3rd musical example, the last sentence
       should read:  "...type '3' (beats per measure), press Enter, and
       type '4' (quarter note gets...".
    b. Page 2, introducing the last example, the 2nd sentence should
       read: "Move the cursor to the 2nd line...".
    c. Page 3, between the 4th & 5th examples, the way that you "get
       normal" is with the "Del" key.
    d. Page 3, introducing the next-to-last example, the instruction
       should read: "type 'br' for bracket...".

3.  Errata for "Edit Mode Tutorial #2":
    -  Page 4, step 6 should read: "...Play the first bar a few times."
       The rest of step 6 should be deleted since "u" and "d" no longer
       control tempo.  To make real-time tempo changes, you must go into
       the recorder and type "-" or "+" or <enter> over the tempo field.

4.  Errata for "RECORDER Mode Tutorial":
    a. Page 6, in paragraph 2 it should read "...the RECORD function is
       OFF by default." place the cursor on RECORD and hit <enter> to
       toggle it from OFF to ON.
    b. Page 6, under "To record your first track", the metronome will not
       start ticking unless you first place the cursor on METRONOME and
       hit <enter> to toggle it from OFF to ON.
    c. Page 56 discusses CHANNEL#.    If you hit <enter> to the prompt for
       the record-channel #, it will switch to "ANY" to allow recording
       of multi-channeled inputs.  It is the CHANNEL# of the recorded
       input that determines which staff a track is targeted on during
       conversion to graphics.  For example, if track 1 is recorded with
       CHANNEL# 1, and track 2 is recorded with CHANNEL# 2, then track 1
       will convert to a channel 1 staff and track 2 will convert to a
       channel 2 staff.  The type of staff used (p=piano, t=treble,
       b=bass) is determined by the entry in the CLF field on the CHANNEL
       NAMES page using the "cn" command (see CHANNEL mode discussion).
    d. To stop playback, press <enter> over the STOP command (the STOP
       command replaces the PLAY command in RECORD mode during playback)
       or type "pl" to toggle playing off.

5.  Errata for "LIBRARIAN Mode Tutorial":
    a. Page 12 gives an example for receiving bulk voices from a DX7.
       The information given about using function key #8 is correct;
       however, before executing the LIBRARIAN's RECEIVE or SEND
       commands, press the DX7's INTERNAL MEMORY SELECT button so that,
       for example, STRINGS1, or some other voice name shows in the DX
       display.
    b. Page 13 describes using the "fi" command to load in a DX bank
       file.  The "fi" command is only available from EDIT mode, so you
       will have to quit the LIBRARIAN using "qu" or the EXIT command,
       and then reenter the LIBRARIAN using "li".
    c. Page 13 says that "internal memory protect must be ON".  Actually,
       it doesn't matter either way.

6.  Errata for ALL modes:
    a. To abort any 2-stroke command in the middle, simply type any key
       not listed on the prompt line such as the space bar to return to
       the ready prompt.
    b. Files can be saved ('sa') or read ('fi') from any drive and from
       any path as in: "b:\path\filename.extension".  For example, to get
       the librarian file "koto.v" from Library#1 in drive A the filename
       is "a:koto.v".  See the DOS Manual to gain facility with file naming.
    c. The "ex" (external) command will only work if the file "command.com"
       is in the COMSPEC directory identified by typing "set" from the DOS
       prompt.  See your DOS manual for further information about COMSPEC.
       Also, the "ex" command will only work if there is enough memory for
       both command.com and the requested external command to execute:
       512K is not enough for this - 640K is strongly recommended now.
    d. A new mode is included: a Lisp interpreter with classes & objects,
       invoked by typing the single character '('.

7.  EDIT mode errata.
    a. Accidentals needed in 2nd measure for tie across measure line
       if 1st note of tie has an accidental.
    b. Always put barlines under repeat lines.
    c. The "me" (merge) command should not be used while recording.
    d. Rests placed on a staff center-line add to stems-up rhythms only.
    e. Use the "ks" (keystroke command) for easy grouping of notes: for
       example, assign function key #1 with "ks<enter>e<esc>" (five
       keystrokes: k, s, the enter key, e, and then the escape key to
       end the keystroke definition).  Then when grouping notes,
       F1 will place an eighth note at the cursor.    Use other function
       keys for 1/16 and 1/32 notes.
    f. Page 19 gives the steps for drawing a staff.  Step 2 says
       to move the cursor down IF you need room at the top for a margin.
       It should be stated more strongly to leave at least 1/2 inch to
       allow the clef and notes to display above the staff.
    g. Page 20's last sentence say to "press enter".  You do not have to
       press enter.  Also, time signatures, like key signatures, must
       appear on every staff unless the time signature is the default 4/4.
    h. Pages 22 & 49 do not explain ties fully.  A tie will tie all
       notes with the same stem direction; for example, a chord can be
       tied to an identical chord with a single tie.  Also, to tie notes
       at the end of staff 1 to the beginning of staff 2: place the cursor
       next to the staff 1 notes to be tied and type "ti", then <enter>,
       then move the cursor to the right screen margin and type <enter>.
       Do the same on staff 2 but use the left screen margin for the 2nd
       endpoint.
    i. Page 24 states the range is 0-128 for key velocity ("kv" command).
       Actually, we use a 1-16 range as stated on pages 43 & 76.
    j. Page 36, the Insert and Delete examples are mixed up.
    k. Page 43 shows a sharp instead of a natural drawn for the "na"
       (natural) command.
    l. Page 45, "pl" plays to the end (if LOOPING in the RECORDER is off)
       or until another "pl" is typed or until "STOP" in the RECORDER is
       entered.
    m. Page 45 talks about the letters 'u' & 'd' being used to move
       tempo up and down during playback.  This has changed:  use '+' &
       "-" with the cursor over the tempo command in the RECORDER mode.
    n. Page 47 shows an example of a sharp next to a note.    This is good
       practice.  But avoid placing a note in the column just before an
       accidental, because accidentals have a range +- 1 column just as
       ties do.
    o. Page 48 discusses the "su" (sustain pedal) command.  Note that
       to make this work with a synthesizer, you must use "cn" to go into
       CHANNEL mode and set the PED field with the correct pedal controller
       code (64 for DX7's).

8.  MIDIGRAPHICS mode errata.
    -  Page 54 states that the MACRO function is currently disabled.  It
       is now enabled to the extent that one MIDIGRAPHICS definition may
       "play" at a time.  Its purpose is to attach a MIDI byte stream to
       the symbol; when the symbol is placed in a score, the MIDI stream
       will commence "playing" when playback reaches that point in the
       score.  The MIDI byte stream can be from one of 3 sources:  from
       the LIBRARIAN, from the RECORDER, or entered manually.  These are
       the options presented when the MACRO function is executed by
       placing the cursor over it and typing <enter>.  If you choose the
       LIBRARIAN as the source, you will enter the LIBRARY item name.  If
       RECORDER, the entire sequence is associated with the symbol, and
       during playback will take into account all timing information as
       well.  If MANUAL, you can enter, byte by byte, any meaningful MIDI
       stream, hopefully interpretable by some MIDI hardware.  You can
       enter 3 types of bytes:  CHANNEL, MIDI, and TIMING.    The
       difference between CHANNEL and MIDI bytes are that CHANNEL bytes
       are channelized with the channel of the staff on which the
       MIDIGRAPHIC symbol is placed, while MIDI bytes are sent straight
       out.  TIMING bytes are in pulse units with 120 pulses per quarter
       note.  All values are in decimal, including CHANNEL & MIDI bytes.

9.  RECORDER mode errata.
    a. The RECORDER has a very fundamental change not described in the
       manual.  The RECORDER now executes in the background (it is a
       background process).  This means that you can do other things
       during playback such as changing FADER values, changing TEMPO,
       scrolling graphics, etc.  To stop playback, press <enter> over
       the STOP command (the STOP command replaces the PLAY command during
       playback) or type "pl" to toggle playing off.
    b. To produce a graphical score using the "GRAPHICS" command where
       each part gets a separate staff, record each part on a different
       channel.  This is done by setting the "channel#" field in the
       "RECORD" column in the lower left-hand corner in RECORD mode.
       Then, using the 'cn' command from EDIT mode, you can set the type
       of staff produced for each MIDI channel under the "CLF" column
       (clef types may be 'p' for piano, 't' for treble, or 'b' for bass.
    c. Currently, only RECORD and ERASE work within the bounds of
       1ST-LAST MEAS.  For example, BOUNCE will bound a whole track as
       if 1ST-LAST MEAS were set at 1-OFF.
    d. A new command "wm" (wait for measure) has been added to aid in
       automated mixing and other control on a measure by measure basis.
       During playback, a keystroke macro may be executed since playback
       is now a background process.  If "wm" commands are used in the
       macro, the system will wait until the beginning of the indicated
       measure begins to play before executing the next part of the macro.
       Automated mixing is accomplished by using "wm"s interspersed with
       changing fader values.
    e. A new command, REP BREAK, has been added.  During repetition loops
       set by using the "rp" command in EDIT mode, REP BREAK will jump out
       of the repeat loop at the end of its current loop.  This is useful
       for jazz vamps.
    f. A new command, FAST, has been hastily added for fast forward.  It
       doesn't seem to handle fast rhythms well yet.  Hope it is of some
       use until the next version when we'll have it wired.
    g. Page 57 discusses the METRONOME command.  The last sentence should
       be extended to say that if METRONOME is OFF or if RECORD is OFF,
       playback starts immediately without a lead-in.
    h. Page 58 discusses the ERASE command.  If 1ST MEAS and or LAST MEAS
       are set to any value but 1-OFF, ERASE works only within those bounds.
    i. Page 58, experimenting with the Q factor will NOT affect the
       transcription process.  Currently the GRAPHICS command uses only a
       16th note quantization.  However, experimenting with Q tolerance
       will have some effect on the transcription.
    j. Page 61 states that the FADER is not implemented.  It is now
       implemented as an attenuator with range 0-16.  The affect is to
       scale note key velocity.

10. LIBRARIAN errata.
    a. The CHANNEL command only affects the channel for SEND & RECEIVE.
       It does not affect playback of score.
    b. How to replace a single voice in a DX/TX synth with a voice inside a
       bank in a disk file:
           1)  Use the "ex" command, then "dir a:*.v", for example, to
           see names of voice files on the disk in drive A:.  Remember
           the file name and hit any key to continue back into the
           program.  For our example, we will use the file "koto.v"
           from the Personal Composer DX7 LIB#1.
           2)  Use the "fi" command in the EDIT mode, then "koto.v" to
           read in the koto voice bank.
           3)  Use the "qu" command to quit "koto.v".  The actual library
           item "koto" will still be accessible in the librarian.
           4)  Use the "li" command to invoke the librarian, then "koto"
           to select the koto voice bank.  For the rest of this
           example, assume we wish to replace the TX816 module #1
           voice P.ICE with the koto voice RASH RHODES.
           5)  Use the LIST command to find RASH RHODES (#25).
           6)  Use the VOICE# command, then "25" to make RASH RHODES the
           current voice (its parameters will be displayed).
           7)  Use the MARK command to mark RASH RHODES as the single voice
           that will later be transferred into the TX816.  Only 1 voice
           can be marked at a time.
           8)  Use the NAME command, then "n" for new voice bank, then "tf1"
           to select a new voice bank into which the TX816 module #1
           will be transferred.  The "tf1" name is arbitrary.
           9)  Use the MACHINE command, if necessary, to change the status
           line (at bottom of screen just above prompt line) to
           32 TX VOICES.
           10) Use the CHANNEL command, if necessary, to change the status
           line OUTPUT channel to the correct receive channel of the
           TX816 module #1.
           11) Use the RECEIVE command to input the TX module #1 bank.
           Insure that the TX OUT SLOT button is switched to #1 in
           this case.
           12) Use the LIST and VOICE# commands, as above, to locate and
           select P.ICE.
           13) Use the REPLACE command to replace P.ICE with RASH RHODES.
           14) Use the SEND command to send the new bank back to the TX.
           The only change in the TX module is RASH RHODES.  Insure
           that the memory protect switch is off for this module before
           sending.

11. Hardware errata.
    a. The Hercules card is 10-columns wider than the EGA graphics,
       so staves created on the Hercules full-width will wrap around
       on the EGA.    If you are producing music on one system that will
       see distribution to other users, try to produce all the music on
       a single scroll using EGA width (10 cols shorter than Hercules).
    b. ITT XTRA needs version 2.0 ROM's to run with an EGA.
    c. There are many EGA compatible boards such as STB, QuadEGA+,
       Video7, etc.  There are also many ECD (Enhanced Color Display)
       compatible monitors such as the Amdek 722, Princeton HX12E, etc.
       There are also many other compatible computers, monitors, Hercules
       graphics cards, etc. not listed in the manual.  There are also
       MANY computers working fine not listed such as the AT&T 6300
       (which must be handled similarly to Compaq - see COMPAQ.DOC).
    d. Page 79 warns to use an MPU-401 version 1.5 or higher.  This
       should read "1.5A only".  A ROM with #7 is a version 1.5A.  Units
       without ROM's should be referred to Roland; the serial number will
       determine the version in this case.    When checking your MPU-401
       version, the 4 screws to remove are on the side of the MPU box,
       not the bottom.