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Dr. T's Keyboard Controlled Sequencer
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CHAPTER 1
~~~~~~~~~
GETTING STARTED
~~~~~~~~~~~~~~~
Thank you for purchasing Dr. T's Keyboard Controlled Sequencer for the
Atari ST or Commodore Amiga. You now owm the most powerful music
processing program available at this time. Before reading this manual,
check your disk directory for a file entitled README. If one exists print
or view the file before diving into the manual. The file contains any
corrections or additions to this manual which were made after it went to
press. This manual is current for version 1.6 of the KCS.
If you haven't already done so, turn to Appendix 1 of this manual and read
it carefully. This appendix contains important information on obtaining
backups, warranty service, and customer support. We have made every effort
to test the program and eliminate serious software bugs. Still, there is
always some possibility that bugs exist. We suggest that you become
thoroughly familiar wdth the program before using the sequencer on stage.
Dr. T's music Software assumes NO RESPONSIBILlTY for losses caused by
software errors or other problems in using the program!
How to Use This Manual
~~~~~~~~~~~~~~~~~~~~~~
The Keyboard Controlled Sequencer is a program which operates in three
modes and performs several independent, yet inter-retated, functions. Our
philosophy in designing this program has been to give the musician a wide
variety of methods for creating and manipulating music while imposing a
bare minimum, of restrictions on the form of that music. This allows each
user to develop a unique method of creating music without regard to our own
ideas of what form the music should or should not take.
In addition to this chapter, the manual contains two short tutorial
chapters describing the six disk operations and sequencer options, and
several chapters of application notes and general information. We
recommend that you start by reading this chapter and the tutorials,
followed by Chapter 4 (OPEN AND TRACK MODE EDITING) for more information on
editing and Chapter 11 (SET OPTIONS) for information on the sequencer's
operating parameters. Refer to the other chapters as the need arises.
Once you become familiar with all the features of the Keyboard Controlled
Sequencer, you will develop your owm method of using it, depending on the
equipment you are using and your own personal approach to music.
Program Overview
~~~~~~~~~~~~~~~~
The Keyboard Controlled Sequencer provides three distinct modes of
operation: Track mode, Open mode, and Song mode. In Track mode, the
program acts as a 48 track tape recorder with many special functions that
make it far more powerful than an actual tape deck. Open mode is a more
generalized sequencing system which allows for completely independent
looping of up to 128 separate sequences. Song mode is used to chain
sequences created Track and Open modes into complete songs much like a drum
machine.
The three modes allow different approaches to be used for different pieces
of music depending on the requirements of the piece or the mood of the
composer. An entire song can be done in Track or Open mode without ever
going to the other two modes or a composition could be started in one mode,
edited in another, and completed in a third mode. Individual notes,
phrases sequences or entire songs can be easily transferred between the
various modes using special copy commands, or with cut and paste
techniques. Sequences and tracks can also be merged, unmerged, split, or
appended to other sequences or tracks.
Sequences and tracks can contain any type of MIDI data including note data,
continuous controllers pitch bend, aftertouch, system exclusive messages,
and real time commands. Tempo changes can be added at any point in a track
or sequence. In addition, Open mode sequences can contain events which
start, stop, and otherwise influence other Open mode Sequences. This
provides a means for creating music of enormous complexity, or it can be
used simply as an alternate method for creating traditional song
structures.
Each mode has its own edit and play/record screens. While each edit screen
has some unique features, many of the editing commands, as well as the
overall operation of the edit screens, are similar in all three modes. The
three play screens each have their own special methods for interacting with
a sequence as it is Playlng.
Which mode you choose for a given piece of music will depend on your level
of familiarity with the program, as well as the requirements of the piece.
Users who are familiar with the Commodore or Apple versions of the KCS will
probably want to dive right into Open mode, to take advantage of its
expanded structuring capabilities. If you are new to sequencing but are
familiar with multi-track tape recording you may want to work exclusively
in Track mode until you have finished a couple of small pieces. Once you
feel comfortable with Track mode, you can transfer your tracks to Open mode
for assembly into songs, either in Song mode or, after you've gained more
experience, with Open mode control sequences. We do some or our pieces
exclusively in Track mode, other pieces in Track and Song modes, and other
pieces using the generalized control structure of Open mode.
The KCS supports a number of load and save operations, for maximum
flexibility in transferring music from one file to another. Indivdual
songs, tracks, and sequences may be saved, all 48 tracks may be saved as a
block, or the entire contents of memory . may be saved. MIDI files are
supported via an external conversion program, and the settings of a number
of important playback and record options can be saved in an "environment"
file. As with any piece of Software, it is a good idea to periodically
save a copy of your work to disk in case of an accident. Any work which
takes more than 15 minutes is probable worth backing up, and you should
also keep alternate takes of pieces in progress, as well as archive copies
of completed works.
Open Mode Sequences
~~~~~~~~~~~~~~~~~~~
A sequence in Open mode may contain any type of MIDI data or commands to
start or stop other sequences. Sequences are divided into two types,
primary and secondary. There are 35 primary sequencesc designated by the
single numerals 1 - 9, and the letters A - Z. Primary sequences can be
started and stopped from the Open mode play screen by pressing the
appropriate alphabetic or numeric key. The remaining 93 sequences are
called secondary sequences and are designated by two digit numbers from 00
through 92. These sequences may be started from the Open mode play screen
by pressing two digits on the numeric keypad. They playback of both
primary and secondary sequences may be independently controlled in real
tine using the computer keyboard, and as many sequences as desired can be
played simultaneously.
The KCS contains two reserved sequences, sequence Y and sequence Z.
Sequence Y is used from, the edit screen by the BACKUP function. The
program will not let you create or edit sequence Y, but you may play or
append an existing sequence Y. Sequence Z is used as an automatic backup
for certain editing functions, and is not accessible to the user.
Using the Keyboard and Mouse
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Atari ST and Amiga keyboards consist of a basic typewriter layout with
a row of ten function keys above, a group of cursor control and editing
keys to the right, and further right, a numeric keypad. Dr. T's Keyboard
Controlled Sequencer uses the mouse to move the edit cursor, to access the
various options on all three edit screens, to oontrol playback from the
edit screens, and to control playback and rocording in Track mode.
Clicking the left mouse button selects the option under the mouse pointer
or places the edit cursor at that point, while clicking the right mouse
button, or both buttons at once, select a play option. When we use the
expression *Click the mouse on xxx", we are asking you to move the mouse
pointer to xxx and then to click the left button. "Double click" means to
click the appropriate button twice in quick succession.
The computer keyboard is used heavily on the various play and record
screens. the functions or the keys vary from screen to screen, and are
described in detail in Chapters 6 - 9, and summarized in the Appendix.
When selecting tracks or sequences on the play and recoed screens, numerals
on the numeric keypad will NOT have the same effect as the numerals on the
typewriter keyboard. Function keys Fll - F20 are accessed by pressing
SHIFT and Fl - FlO. The function of the FlO key is also duplicated
throughout the program by the SPACE bar. In many cases, the RETURN and
ENTER keys will perform the same function, though there are some parts of
the sequencer in which these keys act differently. Such instances will be
pointed out in the manual, as well as the Appendix.
Special Note for Amiga Users
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Fortunately for us at Dr. T's, the Atari ST and the Amiga are similar
enough that no significant changes had to be made to the program when we
ported it from the ST to the Amiga. Due to some slight differences in the
two computer's keyboards, however, some of the keys used for control
functions in the program are not available on both computers. In the Amiga
version of the program, we have substituted the following keys for keys on
the Atari keyboard.
Atari ST Amiga
~~~~~~~~ ~~~~~
UNDO Right AMIGA key
INSERT Right ALT key
CLR HOME Shift-DEL
Numeric ( Numeric - (1000 only)
Numeric ) Shift-Numeric - (1000 only)
Numeric * Numeric . (1000 only)
Numeric / Shift-Numeric . (1000 only)
Edit Windows and Dialog Boxes
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
When selecting an edit operation or some other function in the KCS, it is
often nccessary to provide additional information to the program. Two
methods are utilized to set the parameters for these operations. Dialog
boxes are an element of the ST's GEM operating system, and are used to
enter data for some functions in the ST version of the program, and edit
windows, which were specifically designed for the KCS, are used by
operations requiring more than a few data entries in the ST version, or for
all operations in the Amiga version.
Dialog boxes, which are described in the manual that came with your ST,
appear in the center of the screen when certain operations are selected.
The box will contain two or more edit buttons, and possibly one or more
areas for entering numeric data or text, called data fields. Clicking on a
data field will place the cursor at the end of that field and the BACKSPACE
and ESC keys can be used to clear the data field. When done entering data
click on the appropriate exit button. If one of the exit buttons is
heavily outlined, it can also be selected by pressing RETURN.
Some dialog boxes may have radio buttons as well, which are used to choose
one of several options. These buttons are similar to the buttons on a car
radio, because selecting one will turn the previous selection off.
Edit windows are used by moost operations which have more than two or three
options to setect. Some edit windows are quite small, while one, the SET
OPTIONS window, occupies the entire screen. Edit windows contain an
assortment of radio buttons, data fields, and exit buttons but, look quite
different from, dialog boxes. The radio buttons are the cyan (blue-green)
text areas which describe the various options used to turn an option on or
off (called toggling), while others are used to select one or another of a
set of mutually exclusive choices (such as one of the three clock source
options). Whether a button is a toggle switch or a selector switch is
usually obvious from context, and is easily determined through
experimentation.
Data may be typed into the data felds, or data can be entered using the
arithmetic strip, which is a row of red arrow and diamond icons at the
bottom of the edit window. After clicking on a data feld, clicking on
different parts of the arithmetic strip will change the value there.
Clicking on the leftmost diamond sets the entry to its lowest legal value,
the right diamond selects the highest value, and the middle diamond selects
the center of that parameter's range. Clicking on the >>> or <<< symbols
increases or decreases the entry by ten units, while > and < change the
value by one unit. The functions of each of the icons in the arithmetic
strip are duplicated by the M, <, COMMA, L, PERIOD, >' and / keys. The CLR
HOME key will clear a data field, which is not always the same as entering
zero. The cursor control keys can also be used to move from one data field
to another.
The exit buttons for the edit windows are the white text at the bottom of
the edit wAndow. The RETURN key duplicates OK, and the UNDO key duplicates
the CANCEL button.
Hard Disks and Multiple Programs
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hard disks can be extremely useful in a studio or live MIDI system. The
KCS can be installed on a hard disk, but the oriUnal program disk must be
inserted in drive A: on the ST, or any floppy drive on the Amiga, as a
"key disk" when the program boots. In addition to the KCS program file,
you will need to copy the files DEFAULT.ENV and DEFAULT.VRY to the hard
disk.
For Atari ST owners who would like to have more than one program, available
for use at any time, a new feature which allows this has been added to
version 1.6 of the KCS. The Multi Program Environment (MPE) allows you to
load up to four additional Dr. T programs into the computer at once, by
releasing memory normally used for sequence storage for use by the other
programs. Note that the KCS is NOT compatible wdth other programs which
perform this function externally such as K-Switch. Because of memory
limitatations when the KCS is running the only desk accessory you may use
with the KCS is CONTROL.ACC, which was suppUed with your Atari.
In the Amiga version of the KCS, the Amiga's multi-taskung features
are fully suppoded. Chapter 4 contains complete details.
Equipment Hookup
~~~~~~~~~~~~~~~~
Depending on the equipment you have, there can be several ways to connect
the various synthesizers, drum machines, sync boxes, etc. Basically you
want to connect your recording synth or master keyboard's MIDI out to the
computer's MIDI in then connect the computers MIDI out to the master
synth's MIDI in. If you're using an Atari ST, you can connet your MIDI
cables diretly to the computer's built-in MIDI port. If you have an Amiga,
you can use any commercial or home-built MIDI interface that connects to
the Amiga's serial port. (This includes just about every Amiga MIDI
interface on the market, wnth the notable exception of Roland's MPU 401.)
It is considered good practce to plug the MIDI interface into the computer
before turning your system on.
If you have more than one synth, you will need to connect any additional
synths to the computer using a MIDI through jack on your master
synthesizer, if present. Assign each instrument to its own MIDI channel,
and make sure that data reception is enabled on each instrument. If you want
to use drum, machine or other MIDI clock source as a master clock while
recording you will need a MIDI merger to connect the computer's MIDI input
to both devices simultaneously.
When connecting your system, there are two common conditions to watch out
for that can cause major headaches. The first is a MIDI loop, caused by
routing the computer's MIDI out back to its input, either through a MIDI
merger or a synth with a built in merge or echo function. The other
condition, which occurs only on the Atari ST, is caused by the ST's
slightly nonstandard MIDI output jack. While the MIDI spec calls for pins
1 and 3 of a MIDI connector to be left open, the ST uses these pins to
provide a thru connection from the ST's MIDI in. Normally, this would not
be a problem, but some manufacturers of MIDI cables also violate the MIDI
spec and short these two pins to pins 4 and 5, which carry MIDI data. When
used with the ST, these cables can cause data to become garbled, so check
your cables carefully before using them. Worse yet, some instruments short
these pins together at their MIDI inputs, so that even simple 5 conductor
MIDI or DIN cables can cause the problem! If seeminly correct MIDI
connections result in playback problems, check for these conditions. MIDI
connectors are optically coupled so a wrong connection will at worst result
in no data transmissi@on.
Running the ST KCS
~~~~~~~~~~~~~~~~~~
To run the Keyboard Controlled Sequencer on the Atari ST, insert the
program disk in the disk drive and turn the computer on, or press the
computer's reset button. The desktop will appear, with the disk directory
enclosed in a window. Double click on the icon labeled KCS16.PRG,, and the
program will load and run. <Note that future versions of the program may
have slightly different file names.) The program will come up on the Track
mode record screen.
Running the Amiga KCS
~~~~~~~~~~~~~~~~~~~~~
The KCS program disk is a bootable WorkBench disk. After the WorkBench
appears, run the program by double clicking on the large monitor-shaped
icon, or by typing KCS when in CLI.
Before the program finishes booting a requestor box will appear, where you
may allocate a portion of the Amiga's free memory for use as sequence
storage. The amount of memory reserved for the KCS is expressed in events,
where an event is the equivalent of a note on/off pair, and is six bytes
long. The default is 50% of the Amiga's free memory, but you may select
any proportion you want. The trade off here, of course, is that if you
allocate all your memory to the KCS, you'll be able to store a maximum
number of notes in the sequencer, but yu won't have as much memory
available for any other programs such as patch editors. You may want to
adjust this slider differently at the start of each session depending on
how much multi-tasking you plan to do. This setting can't be changed once
it's set without re-starting the KCS. After you click on OK the program's
Track mode play/record screen will appear.
CHAPTER 2
~~~~~~~~~
Track Mode Recording Tutorial
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The purpose of this tutorial is to familiarize the first time user of the
KCS with the program's Track mode play/record screen. The tutorial also
provides an introduction to the Song mode edit screen, the set options
screen, and to transferring data between the three modes.
If you have a multi-timbral synthesizer system, set it up with a four voice
fuzz guitar or similar patch on channel 1, and a two voice dynamic bass on
channel 2. Your recording keyboard should be set to play some sort of horn
or other contrasting sound on channel 3. If your instrument is not
multi-timbral, set its MIDI receive mode to Omni On/Poly.
If your drum machine recognizes MIDI note messages as drum hits, then set
its mode to Omni Off/Poly, and its channel to 16. If it has programmable
drum key assignments, set them according to the table at the end of Chapter
12; if not, it should work as is. If your drum machine can't be played via
MIDI, set it to sync to MIDI clock and select a plain vanilla 4/4 pattern.
Boot the program as described at the end of Chapter 1, and the Track mode
Play/record screen will appear. If your system is connected as suggested
in Chapter 1, the sequencer is ready to record immediately. (If you are
using a master keyboard and a set of expander modules, you will probably
need to turn on MIDI mergng by clicking the mouse on the MERGE button in
the lower right corner of the screen.)
Play a few notes on your recording keyboard, and the sequencer will gtart
to record. The metronome will start to tick, and the MIDI channel of the
first MIDI message recorded will be displayed for track 1 in the upper left
corner of the screen. Record a few bars of keyboard noodling then press
the FlO key. The sequencer will continue to record to the end of the
measure, and then loop back to the beginning of track 1. The material that
you just recorded should now play back.
If you were to continue playing on your keyboard, recording would start on
track 2, and both tracks would loop at the end of track 1. This process
can be repeated for all 48 tracks, in much the same way that drum machines
allow continuous overdub recording.
Now click on the EXIT button at the bottom of the screen. The sequencer
will stop, and the Track mode edit screen will appear. This screen is used
for editing tracks, and for accessing other parts of the program. In this
case, we want to load a set of previously recorded tracks from disk, so
insert the KCS program disk in drive A and click on LOAD/SAVE, in the
second column of text on the right half of the screen.
The LOAD/SAVE dialog box will now appear on the screen. The .ALL button
(and the A: button on the Attari) should be highlighted; if not, change
these settings by clicking on the appropriate button. Click on the LOAD
button and a file selector box will appear. Click on the name of the file
to be loaded (RECORTUT.ALL) followed by OK.
Once the file is loaded, the program, will return to the play/record scree,
which should now look like this:
The play/reoord screen is divided into two major sections: the control
panel at the bottom of the screen, and the track status area, at the top.
Thc control Panel contains buttons for the most important Track mode
recording functions, and there is a set of hidden controls for lesser used
runctions. The status area shows the status and name of each of the first
36 tracks. A message line at the bottom of the screen diplays messages
regarding the status of various hidden controls, and other information.
Click the mouse on the PLAY button to start the sequencer. Six of the
eight tracks in use will start to play. The RECORD button is still
highlighted, which indicates that the sequencer is ready to record. We
won't bem recording anything for a while, so click on this button to
disable recording.
The control panel contains other buttons which correspond to controls on a
tape deck. The PLAY, STOP, and PAUSE buttons perform the obvious
functaons, and the << and > > icons next to the CLOCK display are used to
change the sequencer's tempo, or speed. All of these controls are
activated by left clicking on them, just as if they were actual physical
buttons. Experiment with these controls then return the sequencer to PLAY
status at a comfortable tempo.
Click the mouse on the display for track 1 in the status area, and the word
MUTE will appear on that line, and the track will be silenced. Clicking on
the track again, or pressing the 1 key on the computer's typewiter
keyboard, will unmute the track.
Note that the MUTE button is highlighted. If MUTE is on, then selecting
any track, either with the mouse or by pressing a track key will mute or
unmute that track. The track keys are single keys on the computer keyboard
which correspond to one of the 48 tracks, and are listed in the right hand
column under TRACK in the status area. Experiment with the MUTE function
on the other tracks, using the mouse and the track keys. (You might want
to avoid unmuting track 6 at this point, as his track is in a different key
than the others.)
After you get a feel for muting tracks, return each track to its original
MUTE status (see the screen shot earlier in this chapter) and unmute track
4. This track is a slight variation on track 5, and doesn't contribute
anything of interest, yet.
Hold down the SHIFT key and press F1. The MUTE light will go off and the
words "SHIFT 1" will appear on the message line. Click on track 4, and the
hi-hat part will be augmented by a slightly delayed version of itself.
Click on track 4 again to increase the delay time. At this setting, it
sounds less like an intentional delay and more like slop, so let's shift
the track back one step. Press SHIFT and F4, and the message line will
change to SHIFT 1. Click on track 4 once, to return it to its slightly
delayed position.
MUTE, SHIFT 1, and SHIFT - 1 are all part of a set of functions called
track options. A track option determines what will happen to a track when
it is selected with the mouse or its track key. There are over a dozen
different track options, but only one can be turned on at any time. Some
track options can be selected on the control panel, while others can only
be selected from the computer's keyboard. Another important track option
which can be accessed from the control panel is the SOLO option. Click on
the SOLO button, and experiment with the track option on each track.
Select MUTE when you have soloed every track and they will all return to
their originl statuses.
Now let's copy these tracks into Open mode sequences, which will be
assembled into a song in Song mode. The ALL TRACKS TO; SEQ Option will
copy all unmuted tracks into a specified sequence. By muting various
combinations of tracks and copying all tracks to a number of sequences it's
possible to build sections of a song in Track mode. We will use this
technique to make a short song from these tracks.
Stop the sequencer, and mute tracks 1, 2 4, 6, and 8. Press the !
(SHIFT-1) key, and an edit window labeled COPY TO SEQUENCE will appear.
This window allows you to specify a sequence number, name, and comments for
the sequence. (For the moment, ignore the INCLUDE MUTED TRACKS button.)
The sequence number defaults to the lowest empty sequence (in this case,
sequence 2), and the comments field will show a list of the unmuted tracks.
Cllck on OK or press RETURN to copy the unmuted tracks (tracks 3, 5, and 7)
into sequence 2.
Now, using the method described in the last paragraph copy the following
track combinations into sequences 3 to 8: .
Mute tracks 1, 2, 4, and 6, and copy the other tracks into sequence 3.
Mute tracks 1, 4, and 6, and copy the other tracks into sequence 4,
Mute tracks 4 and 6, and copy the other tracks into sequence 5.
Mute track 6 only and copy the other tracks into sequence 6.
Mute tracks 1 and 6, and copy the other tracks into sequence 7.
Mute tracks 1, 5, and 8, and copy the other tracks into sequence 8.
Now that we've created the parts to our song we can go to Song mode and
chain them into a song. Click on SONG MODE on the Track mode edit screen,
and the Song mode edit screen will appear. Songs are created by typing in
entries in the event list, the large empty area on the left side of the
screen, The small square in the upper left corner of the event list is
called the edit cursor, and determines where data entry and editing occurs.
The number or letter in the column labeled SEQ determines which sequence
will play. Type 2 on the computer keyboard, and note the changes on the
screen. The white box shows the valid area for cursor placement, and the
columns to the right of the SEQ column are used to enter tempo,
transposition, and other information. Use the cursor control keys to move
the cursor to the right end of the box, and type 2 under REP, followed by
RETURN.
In the same way type in the number shown in the following screen shot. Use
the UNDO key to erase mistakes before pressing RETURN, or use the mouse to
place the edit cursor over your mistake and type in the corrected data on a
previously entered line. The NAME column will remain blank as you enter
each sequence, though if we had named the sequences when creating them the
names would appear at this point.
The numbers in the SEQ column indicate which sequence will be played at
that point in the song. TRN specifies a pitch transposition for the
sequence, in half steps, and REP shows how many times the sequence will
repeat. Once the song is complete, it can be played from the Song mode
play screen; but since this is a Track mode tutorial, we will use Song
mode's SONG TO ALL TRACKS option, which will erase all tracks and create a
new set of tracks that are the equivalent of the song. This will be much
longer than the original tracks, and will allow us to overdub tracks that
are the length of the entire song.
Before coping the song to all tracks, there is one minor adustment to the
sequencer's operating parameters that must be made. Click on SET OPTIONS,
and a large edit window will appear. A number of different parameters can
be set from this screen, but for the moment, we are only interested in one,
DRUM CHANNEL, on the right side of the screen. The space to the right of
this button displays the drum channel. Click on this space, then click on
the rightmost diamond in the arithmetic strip at the bottom of the window
to set the drum channel to 16. Press RETURN or click on OK to exit the
edit window. Setting a channel to drum channel status tells the sequencer
not to transpose that channel, which would change each drum to another drum
if applied to a MIDI drum part. Since sequence 8 is transposed each time
it's played in this song the drum channel must be set to 16 BEFORE coping
the song to all tracks to protect the drum parts on channel 16.
Click on SONG TO ALL TRACKE, and a dialog box will appear to confirm your
choice. After clicking on OK, the program will take a few seconds to
create the new tracks. When the working message disappears from the
message line, click on TRACK MODE.
When the Track mode play/record screen appears note that the eight original
tracks have been compressed into four tracks - one for each channel used,
and a "conductor" track (track 1) which sets the length of all tracks.
Click on the PLAY button, and the song will start to play.
With the song "stretched out" into four song tracks it is now possible to
overdub tracks that are the length of the entire song. This allows you to
add parts that are not locked into the repetitious patterns created by the
original tracks such as lead lines and drum fills.
The exact set up for recording tracks will vary depending on the
keyboard/sound generator arrangement you are using. For the rest of this
tutorial, we will assume that your recording keyboard is a single channel
synthesizer such as a DX7 or a Mirage. If you are using some other
arrangement see the sections on MIDI MERGE, ECHO, and Local Control OFF in
Chapters 6 and 12, as well as your owner's manuals, for information on
configuring your system.
Before starting to record, click on the CNTRLRS button. This enables the
recording of MIDI controller infonmation such as pitch beet modulataon
wheel, and sustain pedal movement. Play along with the sequencer until you
get an idea of what you'd like to record then click on RECORD, and play
your part.
Chances are, the first track that you record will not be to yur liking. In
this case, click on RE-RECORD; the track you are recording will be erased,
the sequencer will stop, and you can sart over. Once you've recorded a
good take, you will be ready to record another track in the same way.
By now, you should have a good idea of the basic technique of Track mode
recording on the KCS. The Track mode play/record screen has many other
features which have not been discussed here. At this point, you might want
to record a short picce of your own, referring to Chapter 6 for more
detailed information on the recording process: or continue with the Open
mode editing tutorial for a look at how the sequencer stores and
manipulates musical data.
CHAPTER 3
~~~~~~~~~
Open Mode Editing Tutorial
~~~~~~~~~~~~~~~~~~~~~~~~~~
The purpose of this tutorial is to familiarize the first time user of the
KCS with the program's Open and Track mode edit screens. The tutorial also
provides introductions to the program's representations of various types of
musical events, and to creating and editing control sequences. The "raw
material" for the editing tutorial consists of three previously recorded
sequences, which are to be loaded from disk.
If you have a multi-timbral synthesizer system, set it up with a buzzy clav
voice on channel 1, a bass on channel 2, and some type of reed or fluid
lead synth sound on channel 3. If your synth isn't multi-timbral, set its
MIDI receive mode to Omni On/Poly. If you have a drum machine, set it to
synchronize to MIDI clock, disable the reception of MIDI channel messages,
and select a simpIe 4/4 pattern.
Now boot the program as described at the end of Chapter 1, and you will see
the Track mode record screen. Since we will be editing Open mode
sequences, the first step is to move to the Open mode edit screen. Click
on the EXIT button in the lower left part of the screen, and the Track mode
edit screen will appear.
The Track mode edit screen is very similar to the Open mode edit screen,
but only tracks can be edited in Track mode, not sequences. On the right
side of the screen is a list of editing options. Click on the OPEN MODE
option, in the lower right corner, and the Open mode edit screen will
appear.
Now the sequences to be edited must be loaded in from the disk. Place your
program disk in the disk drive, and click on the LOAD/SAVE option on the
right half of the screen. A dialog box will appear, and will ask you for
the file type you wish to access, the drive to use, and what action to
perform!. Confirm that the sequence type selected is .ALL and that the A:
drive is selected if you're using an Atari. If not, change these
selections by clicking on the appropriate box. Click on LOAD, and a file
selection box will appear.
Click on teh name of the file to be loaded (EDITTUTR.ALL) and click OK.
Once the file is loaded, the program will return to the
edit screen which should now look like This:
The edit screen is divided into two major sections: the edit options area
on the right side of the screen, and the event list on the left half of the
screen. The event list displays the actual data which makes up the
sequence, and the edit options are used to select editing operations, or to
move other parts of the program. There is also a message line at the
bottom of the screen, which displays information and prompts when an edit
option is selected, and a set of select boxes below the edit options, for
moving to another sequence.
The edit cursor, the small solid square in the upper left corner of the
event list, is used to select an event for editing or to set the beginning
or end of a range of events. It can be moved to any point in the event
list by clicking on the ncw position, or it can be moved with the cursor
control keys. Practice moving the cursor around the screen with both the
mouse and the cursor control keys.
The edit screen can only display 21 events at a time: other parts of the
event list can be accessed by scrolling through the list with the red
scroll arrows, located on the left edge of the event list. Clicking on any
of the top three sets of arrows will move the diplay window up the event
list, and clicking on the lower sets moves the window down the list.
Clicking on the scroll diamonds above or below the scroll arrows will move
the window to the top or bottom of the event list, and clicking on the
middle diamond will cause continuous scrolling. Practice scrolling through
the event list with these controls then return to the top of the list.
Before editing sequencc 1, we want to play it through a few times to hear
what it sounds like. Double click the right mouse button, and the Open
mode play screen will appear. Press the 1 key on the typewriter keyboard
and sequence 1 should start playing on MIDI channel 1. After listening for
a bit, return to the edit screen by pressing F1.
Sequence 1 sounds interesting, but is too repetitive, and is out of sync
with the drum machine and metronome. To correct these problems we will
adjust the timing of the sequence, shorten it, and make a few changes to
the second repetition of the sequence.
Before doing any editing on the sequence, it's a good idea to make a backup
copy Click on BACKUP, and a confirmation message will appear in the message
line. Clicking on GET BACKUP will swap the backup and the edited sequence,
for qufck comparisons. After you're sure you're done an editing operation
correctly, make a new backup so that you won't have to redo the whole
tutorial if you accidentally mangle the sequence.
The timing of the sequence is controlled by the data in the TIME field,
which is the third column in the event list. Each entry in the TIME field
represents the number of clock steps which go by before the remainder of
that event occurs. One quarter note equals 24 clock steps so a TTME value
of 12 means that an eighth note's worth of time goes by before the first
note in this sequence piays; in other words this sequence starts on an
offbeat, namely the second haaf of the first beat of the measure. This is
why the sequence doesn't sync properly with the metronome.
Place the edit cursor over the first digit of the first value in the TIME
field, type a space, and look at the screen. The white box which now
outlines the first event indicates the data that can be edited. The CURSOR
LEFT and CURSOR RIGHT keys, as well as the TAB and SHIFT-TAB keys@ can be
used to move the edit cursor within the box; experiment with these keys a
bit, then place the cursor over the 2 in the TIME field, type 0, and press
RETURN (not ENTER).
When RETURN is pressed all the entries in the MSR-ST field will change.
This field marks the location of each event in measures and clock steps.
Note that the MSR-ST field now reads 1-1 for the first event, which means
that the first note now occurs on the first step of measure one.
Since the essential theme of this sequence repeats every measure, we can
delete all but the first measure of the sequence. The first event of the
second measure is event 13; the event number is listed in the EVNT field.
Click on event 13, then while holding the left mouse button down move the
mouse pointer all the way down to the area between the end of the event
list and the message line. The list will scroll down when the pointer
moves below the event list; when the highlight reaches the last event
(event 43) in the sequence, release the mouse button. The highlighted
region has now been selected for editing. (You may need to "jiggle" the
mouse a bit at the end of the event line, to highlight event 43.)
The highlighted portion of the sequence can be played by clicking the right
ouse button. Do this now and note that the measure/step display and a
message appear at the bottom of the Screen.
Now click on DELETE in the edit options area. A dialog box will ask for
the range of notes to be deleted, which defaults to the range that we just
selected. To delete the selected range, click on OK. Clicking on UNDO at
this point will swap the sequence with a backup copy that was automatically
created as part of the DELETE operation. Click on UNDO again to retrieve
the edited version.
Return to the Open mode play screen by double clicing the right mouse
button, and press 1 on the typewriter keyboard. The sequence starts okay,
but loses sync at the start of the first repetition; something is obviously
not right. Press Fl to return to the edit screen and look at the data in
the MSR-ST field. The sequence ends on measure 1, step 85, which makes it
84 steps long; but a full measure of 4/4 time at 24 steps per quarter note
is 94 steps. The sequence must be extended by 12 steps if it[ is to
synchronize properly with the drum machine.
To add an event to the end of the sequence, place the cursor in the TIME
field immediately below the last event in the list, and enter 12. Move
over to the TYP field and type DE. The screen should now look like this:
The data on the TYP field indicates the event type. All the events up to
this point have been ON events, which represent note on and off messages.
ON events make up the majority of most sequences. The DE event is a
"deleted event", a dummy event in which nothing occurs except the passage
of time. When used at the end of a sequence, it sets a time delay between
the occurrence of the previous event, and the start of the next sequence.
Press RETURN, go to the play screen and play sequence 1. Everything should
sync properly now.
Upon listning to the sequence, it seems that it might make a bit more
musical sense to double its length and make a slight change to the second
half. We'll do this by first copying part of the sequence into the paste
buffer, and then pasting it at the end of the original sequence.
Since there is no need to duplicate the DE event, we only need to copy
events 1 to 12 into the paste buffer. Place the edit cursor on event l2,
and highlight the events from 1 to 12 by holding the left mouse button down
and moving the mouse pointer to event 1. (This is known as "dragging" the
mouse). Click on COPY and an edit window will appear on the screen. The
default parameters will work for this operation, so click on OK. These
events are now stored in the paste buffer.
Move the edit cursor to event 13, and click on PASTE. A rather complex
edit window will appear for the moment, just confirm that INSERT is
selected in the upper left corner, and enter 12 for FIRST EVENT TIME. This
is to made up for the DE event and its associated TIME value that weren't
copied. Click on OK and move to the end of the event list by clicking on
the bottom scroll diamond. The screen should now look like this:
If your sequence doesn't end with a DE event on MSR-ST 3-1, retrieve your
backup copy and go through the cut and paste proeedure again.
The last step in editing sequence 1 is to make a slight change in the
second measure by erasing the last note in the sequence. Place the edit
cursor on event 24, and click on ERASE. When the dialog box appears, click
on OK to erase event 24. ERASE is similar to erasing a small section of a
tape recording and doesn't affect the timing of the sequence, while DELETE
is more like cutting out a piece of the tape, since the sequence in
shortened when events are deleted.
Now double click the right mouse button to go to the Open mode play screen,
and start sequence 1. While the sequence is running press the DELETE key
the word ALIGN will appear on the screen. Watch the measure-step display
and, while the measure is an even number, press 2 on the typewriter
keyboard. This will start sequence 2 at the start of the next measure.
This simple three note bass line fits with sequence 1, but the timing is a
bit rough.
Return to the edit screen and move to sequence 2 by clicking on the box
labeled 2 at the bottom of the right part of the screen. Note that while
the TIME values in sequence 1 were all multiples of six, this is not true
for sequence 2. This can be fixed with the AUTO-CORRECT option.
Click on TRANSPOSE/AUTO in the edit options area and an edit window will
appear. This is where most of the data maniplation operations are done.
Click on AUTO-CORRECT and confirm that 6 is entered in the space next to
AUTO-CORRECT. When this is done, click on OK at the bottom of the edit
wndow. The sequence is now auto-corrected; the four values under TIME
should be 0, 192, 6, and 186.
Now let's return to the play screen and cue sequences 1 and 2 to start
together. First press the DELETE key to align the sequences, and then ESC
to pause the sequencer. The word PAUSE will appear above ALIGN; press 1
and 2 to select these sequences, and press ESC a second tune to turn off
PAUSE and start the sequencer. After listening to this for a bit, wait for
an even numbered measure and press 3 on the typewriter keyboard to start
sequence 3. This lead line was recorded using quite a bit of mod wheel and
foot pedal motion, perhaps too much: but the notes themselves are okay.
The best thing to do is probably to strip the controller data from the note
data and to re-record the controllers at a later time.
Return to the edit screen by pressing Fl. Sequence 3 looks a little
different from the earlier sequences because of the mod wheel and foot
pedal data it contained. The CC events represent data from these and other
continuous controllers. The value under NOTE is the MIDI controller number
for that event (1 for mod wheel, 4 for foot pedal), and that under VEL is
the value of that controller. Scroll through the sequence, and note two
facts: first, that continuous controllers use up much more memory than
notes do, and second, that the many CC events make it difficult to view and
edit the ON events.
CC events can be deleted from a uequence using the ERASE CNTROLLERS option,
which is reached from the TRANSPOSE/AUTO edit window. Click on
TRANSPOSE/AUTO, followed by ERASE CONTROLLERS and OK. Sequence 3 should
now look like this:
The note data from the lead synth part is much easier 3 read with the
controlier data eliminaned, and can be edited more easily as well.
Now that we've got all three parts edited, let's combine them into a short
song. This as done using primary sequence start events in a separate Open
mode sequence known as a control sequence. Primary sequence start events
are represented in the event list by the number or letter of the sequence,
and the NOTE, VEL, and DUR fields are used to indicate the pitch
transposition, velocity transposition, and number of repeats for that
sequence.
We will create the control sequence in sequence A, which doesn't exist yet,
and therefore is not shown in the select boxes at the bottom of the edit
options area. To get to a sequence that isn't shown here, click on the **
symbol in the last select box and enter A in response to the prompt. Place
the cursor on the single DE event, and press the INSERT key. When the
white box appears, type in the following data, pressing RETURN after each
line and moving the edit cursor up or down with the cursor control keys
after the last line.
MSR ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 1 0 -20 2W
1- 1 2 0 1 0 0 4
1- 1 3 0 2 0 0 2W
1- 1 4 0 3 0 0 1
1- 1 5 0 1 0 0 2W
1- 1 6 0 2 0 0 12W
The W's in the the duration fields are WAIT flags which cause playback of
the control sequence to wait until the sequence in that line is done
playing. In this example, starting sequence A will pause until sequence 1
finishes its two repetations. After waiting for the TIME value of zero
steps, sequences 1 and 2 will start and run for 2 repetitions of sequence
2; after which sequences 1, 2 and 3 will start together. the -20 in the
VEL field for event 1 causes sequence 1 to play its note velocities 20
units lower than normal.
This sequence can be played from the Open mode play screen just like the
others were, but there is another method for playing sequences that is more
convenient when editing. Place the edit cursor on the first event, and
click the right mouse button; the sequenoc will play from the first event.
Clicking the left button will stop the sequence. The sequence can be
played from any event by placing the edit cursor on that line and right
clicking which makes it easier to listen to just part of the sequenoe.
This tutoril has by no means covered the full range of edit options
available on the KCS, but you should now be familiar enough with the
sequencer operaton to get started making some music. More details on
editing can be found in Chapter 4.
CHAPTER 4
~~~~~~~~~
Open and Track Mode Editing
~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Open mode and Track mode edit screens let you make individual or global
changes to pitch, duration, velocity, MIDI channel, and timing for all
notes in a sequence or track. Notes and other MIDI events can be edited
individually, copied to another sequence or track. New events can be typed
in from the computer keyboard, or can be entered in step time using a MIDI
keyboard in conjunction with the computer's keyboard. In many ways, the
KCS;s edit screens act as a word processor designed for music. In
addition, the edit screens are used to access the computer's disk drive(s),
to set the sequencer's operation options, and to move from one mode to the
next.
The edit screens for Open and Track modes are quite similar, though each
mode has a few commands not shared by the other mode.
The edit screen is divided into four sections: the event list on the left
half of the screen, the edit options on the right side, the message line at
the bottom of the screen, and the select boxes, below the edit options. The
event list displays up to 21 events (notes, program changes, control
changes, etc.) of the currently selected sequence or track, and is where
the actual editing takes place. The edit options section is used to select
which editing operation is to be performed, and also contains options for
selecting a new track or sequence, changing modes, setting the sequencer's
operating parameters, and exiting the program. The message line is used to
display messages about certain editing options, and to ask for more
information about other options. The select boxes are used to select a
different sequence or track.
There are two cursors on the edit screen: the mouse pointer, and the edit
cursor. The mouse pointer indicates the current position of the mouse, as
in all ST and Amiga programs, while the edit cursor indicates the point at
which editing will take place, or from which playback will begin if the
right mouse button is clicked.
The Event List
~~~~~~~~~~~~~~
The event list consists of five editable data fields; two fields whose
contents are determined by the program, and a set of icons for scrolling
though the list. Here is a description of each of the fields:
MSR-ST: The measure and step at which the event occurs. For example, 2-13
means the thirteenth step of measure two. This is computed by the program
and cannot be changed.
EVNT: The number of the event. EVNT is used to specify a range of events
in the sequence or track when you are using the various edit options. This
is also computed by the program and cannot be changed.
TIME: The time at which this event occurs in relation to the start of the
previous event. Time is measured in steps of the internal or MIDI clock.
Changing the current value will move this event and all subsequent events
forward or backward in time (with the exception of entries followed
by the ENTER key as described later in this chapter). The range of
permissible values is 0 to 65535.
CH: The MIDI channel or the event. The CH field is not used for non-MIDI
events, or for MIDI events which don't carry channel information. Channel
numbers must be between 1 and 16.
TYP: The event type. The KCS uses over twenty different event types,
which are explained later in this chapter. The most commonly used event
type is the note on event, which has a TYP value of ON. The meaning of the
data in the next three fields is dependent on the data in the TYP field so
the names of these fields are only meaningful for a note on or note off
event.
NOTE: The note value and octave, where the lowest note on a five octave
keyboard is C2. Since computer keyboards don't contain flat symbols, flats
are spectGed as the coresponding sharps (B flat 3 becomes A#3, for
instance.) The range of valid MIDI notes in the KCS is C-1 to G9, though
some other companies, most notably Yamaha, number MIDI notes from C-2 to
G8.
VEL: Key velocity The permissible range is 0 - 127.
DUR: The duration of the note, or how long the key was actually held down.
The range for duration is 1 is 999. A duration of 0 produces a note on
with no corresponding note off, which is useful for creating notes with
durations greater than 999 clock steps.
Scrolling through the event list is done by clicking the mouse pointer on
one of the diamonds or arrows to the left of the event list. Clicking on
the top diamond moves the cursor to the first event in the event list,
clicking on the bottom, diamond moves to the end of the list, and clicking
on the middle diamond causes continuous scrolling from the edit cursor's
current position. When the middle diamond is used, pressing the CONTROL
key will cause scrolling to pause until the CONTROL key is pressed again,
while pressing the ESC causes scrollmg to terminate.
The scroll arrows provide another method for scrolling through the event
list. Clicking on one of the triple arrows moves the event list forward or
backward by eighteen events, the double arrows move the list by nine
events, and the single arrows move the list down by one event. Holding the
left mnouse button down while the mnouse pointer is positioned over an
arrow causes continuous scrolling.
The edit cursor may be moved to any point in the event list using the
cursor keys or by clicking the mouse on the appropriate point in the list.
Note that the edit cursor can not be moved into either of the noneditable
fields (MSR-ST and EVNT), so clicking the mouse on these fields has no
effect.
Select Boxes and Edit Options
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The select boxes which are the small numbered boxes stacked at the bottom
of the right half of the screen are used to select a new sequence or track
for editing. In track mode, each of the 48 tracks has its own box. Tracks
which contain data are shown as boxes with a number in them while empty
tracks are represented by an empty box. Clicking on a box will select that
track for editing or clicking on ** will allow you to type the track
number.
Two sequences or tracks can also be swapped using the select boxes.
Holding the left or right SHIFT key down when clicking on a select box will
exchange that track or sequence with the currently selected track or
sequence.
In Open mode, only the first 33 primary sequences (A - X) and the first 26
of the secondary sequences (00 - 25) can be acccssed with the select boxes.
Sequences Y and X are represented for use by the program and can't be
dirctly edited. Seconddary sequences above 25 must be selected by clicking
on ** and typing the sequence numbber.
The edit options are displayed on the right half of the screen. An option
is selected by cllicking on its name. Depending on the option chosen, a
message, edit window, or dialog box may appear. The specific details on
each option are explained later in this chapter.
While most of the edit options are identified in both Track and Open modes,
there are slight differences in some cases, and some options appear only in
one mode or the other. If this is the case, it will be noted in the
section on that option.
Selecting a Range for Editing
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Most of the edit options will work on a range of events, as well as a
single event. The range can be entered in the dialog box or edit window
for that option, or a range may be selected with the mouse. To select a
range of events for editing. Place the edit cursor at the top or bottom of
the range, and while holding the left mouse button down, move the edit
cursor to the other end of the range. (This is called "dragging" the edit
cursor.) The selected range will be highlighted, as shown below.
You can drag the cursor beyond the bottom, of the screen, and the event
list will automatically scroll to the new position. The selected range can
be played by clicking the right mouse button.
After a range is selected, a new range may be selected in the same way, and
the active select range can be toggled between the two by pressing the
ALTERNATE key. If a range extends over more than a single screen you can
move from one end of the range to the other by pressing the CONTROL key.
When a range is selected, the first and last event numbers of that range
will be diplayed on the message line.
Playing the Sequence or Track from the Edit Screen
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
In additaon to the PLAY edit option found on all three edit screens the KCS
allows you to play part or all of the sequence or track being edited using
the mouse buttons. On both the Track mode and Open mode edit screens a
single right click on the mouse will play the selected sequence or track,
starting at the location of the edit cursor. If a range has been
highlighted a single right click will play only the highlighted events.
Note that this occurs even if the selected range has been scrolled on the
screen. If a single right click does not produce the expected results
check the message line to confirm that the proper range is selected.
A double right mouse click will transfer you directly to the Track or Open
play screen. If the program seems to have a problem distinguishing single
and double clicks you can also move to the play screen by holding down the
SHIFT button while right clicking. The Amiga may have problems with double
clicks if you click too fast; try clicking a little slower in this case.
In Open mode, pressing the left and right mouse buttons simultaneously will
play the currently selected cue. In Track mode, all limited tracks will be
played starting at the cue point, or if a range is selected, that range
will be played for the selected track, as well as all other umnuted tracks.
To stop the sequencer when playing from the edit screen, click the left
mouse button. Holding the SHIFT key when doing this will place the last
event played about 2/3 of the way down the edit list, which is handy when
you need to locate a specific event by ear.
When piaing from the edit screen, the internal clock is always used, even
if MIDI or MIDI W SONG POINTER is selecled as the clock source on the SET
OPTIONS screen.
Editing or Entering a Single Event
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
To change a value in the event list, move the edit cursor to the location
of the value, and type in the new value. When you start to type, a white
box called the edit box will outline the fields you may edit. You can use
the cursor control and BACKSPACE keys to move over characters in the field
and the SPACE bar to clear them out. The TAB key will move the cursor to
the next field, and SHIFT-TAB will move the cursor back one field. The
cursor can also be moved to any point within the edit box by clicking the
mouse on that point. When you're done entering data press RETURN to enter
the data or UNDO to cancel the change. Clicking the mouse outsfde the edit
box has the same effct as pressing RETURN.
Since the program expects to see only certain types of data in each field,
(numbers from, 1 to 16 in the CH field, for example), entering invalid data
in a field will cause your entry to be misinterpreted or ignored. You must
enter data that is appropriate for the type of event that you are editing.
To add notes to the end of a sequence or track, place the edit cursor in
the TIME field on the first line after the end of the sequence or track,
and enter the data as described above.
In most cases, the RETURN and ENTER keys perform the same function in the
KCS, but there is one important difference between these two keys when
editing events. If the TIME value for an event has been changed and the
ENTER key is pressed instead of RETURN, the time of the next event will be
adusted so that the measure and step of that event will remain the same.
See the sect@on on INSERT and ADJUST for more details.
Defaults and Shortcuts for Event Editing
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
If a field is left empty when entering a note or other event, then the
value in that field will default to some value which depends on the event
type and other factors. If all fields are left blank and the previous line
in the event list is an ON event, then each field will default to the value
in the previous line, except the TIME field, which always defaults to zero.
If the previous event is not an ON event, the defaults are not always
predictable. Usually, the TYP field defaults to the value in the previous
line, and all other empty fields default to zero. If the octave number in
the previous line; the same holds for octave values entered without notes.
There is also a group of single letter abbreviations for commonly used TIME
values. Typing any of these abbreviations while the cursor is in the TIME
column will cause the program to immediately display the selected time in
the TIME column . The TIME abbreviations and the corresponding number of
steps using the system default of 24 steps/quarter note are given in the
following table:
Key Value Steps Dotted Triplet
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A Last used
C Last calculated
Z Zero 0 0 0
W Whole note 96 144 64
H Half note 48 72 32
Q Quarter note 24 36 16
E Eighth note 12 18 8
S 16th note 6 9 4
T 32nd note 3 5 2
The "last calculated" value assooated with the abbreviation "C" refers to
the value returned by the most recent use of the CALC edit option,
described later in this chapter.
A dotted note of any of the types listed can be entered by pressing
CONTROL and the letter at the same time. A triplet is entered by
pressing SHIFT and the letter. Changing the STEPS/BEAT setting, on the
SET OPTIONS screen, will change the number of steps for each letter in the
table correspondingly.
Event Types
~~~~~~~~~~~
The KCS recognizes 22 different types of events. Seven of these are MIDI
events and the rest are non-MIDI. A sequence or track may contain different
types of events. The seven MIDI events that the Keyboard Controlled
Sequencer recognizes are:
ON - Note on
OF - Note off (also entered as OFF)
PG - Program change
CC - Control change
AT - Aftertouch, or channel pressure
PB - Pitch bend
* - Single byte event
The non-MIDI events are:
PRIMARY sequence start (1 - 9, A - Z)
ST - Secondary sequence start
XX - Sequenct stop
XL - Loop stop
MS - Mute sequence
US - Unmute sequence
PT - Transpose sequence pitch
VT - Transpose sequence velocity
TM - Tempo value
AC - Accelerando (increase tempo)
DC - Decelerando (decrease tempo)
SM - Steps/measure
RA - Random event
CU - Wait and see
DE - Deleted event (rest)
PRIMARY, ST, XX, XL, MS, US, PT, and VT events are ignored when the program
is not in Open mode. ST events can also be used to start PRIMARY sequences
by entering a single digit or letter. Each event type is described in
detail below.
Note On and Off
~~~~~~~~~~~~~~~
ON events are the most common events used in the KCS. The meaning of the
date in ecah field is exastly as described in the explanation of the
fields.
When recording note on and note off messages, if any note has a duration of
more than 999 clock steps, the DUR value for that ON event becomes 0, and
the program records a separate The program maintains 64 duration counters,
Whch are used to keep track of the durations for up to 64 ON events. When
this limit is exceeded during playback, the program will cut short the note
that would normaly end next, and play the new note. This should not be a
problem in most applications. One other important point to be aware of
when programming durations is that when note on and note off messages are
programmed to occur on the same time step, the note off messages are sent
after the note on messages. (This is done to keep the note on timing which
is more critical than note off timing, nice and crisp.) This means that if
you want to create legato parts without overlapping (slurred) notes the
durations used should be one less than the corresponding TIME values.
Program Change
~~~~~~~~~~~~~~
PG events will make the instrument on the specified MIDI channel change
programs. For most synthesizers, you should make sure the instrument is
not currenly playing a note when it is to change sounds. Some instruments
may quietly shut on the note and make the change, while other instruments
will make a very undesirable popping sound when changing. When entering a
program change, the value under NOTE represents the program number. Not
all instruments begin program numbering with 0. See the synthesizer's
owner's manual, for specifics on your instruments.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 1 PG 0
1- 1 2 0 16 PG 5
Control Change
~~~~~~~~~~~~~~
CC cvents are control change events. They are generated by a mod wheel,
pedal, joystick, sustain pedal, etc. The value undcr NOTE will represent
the controller being changed. The numbers used to represent each
controller have been pretty much standardizd by the MIDI manufacturer's
Association, and are listed in the MIDI chapter. The value under VEL will
be the new value for a control paramater. The range is 0 - 127, but only
certain values may be valid for a particular instrument and type of CC
event. CC events do not use the DUR column. The following table shown
part of a sequence in which the mod wheel was moved slowly seven steps
after a note was played.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 1 ON C 4 64 12
1- 8 2 7 1 CC 0 2
1- 8 3 0 1 CC 1 4
1- 9 4 1 1 CC 1 6
1- 10 5 1 1 CC 1 8
1- 10 6 0 1 CC 1 10
CC events can be recorded in real time, or entered one at a time from the
edit screen. You will probably find it too time consuming to enter or edit
from the edit control changes from, a continuous controller (mod wheel,
pedal, breath controller, etc.) one event at a time. You may find it
useful to enter sudden changes from the edit screen or to create a sequence
of controller events and call it up at diffrent points in the piece using
sequence start events in Open mode.
Aftertouch
~~~~~~~~~~
AT events have values From 0 - 127 in the NOTE feld, 1 and do not use the
VEL or DUR fields. Since AT events use up lots of memory when recorded in
real time, you should set the sequencer to not record aftertouch unless it
is specifically required.
Pitch Bend
~~~~~~~~~~
The value entered under NOTE for PB events can be in the range of -8192 to
8191. The MIDI spec allows 14 bits for pitch bend, hence the huge numbers.
Not all synths interpret these values similarly so experiment and check
your manual. PB events do not use the VEL or DUR columns.
Single Byte Events
~~~~~~~~~~~~~~~~~~
A single byte event may be sent over MIDI by entering a * under event TYP
and the byte value to - 255) under NOTE. This allows sending any system
common or system exclusive information from your sequences. When sending a
single byte command from the KCS, specify the command in decimal. Some
instrument manuals may show commands in hex In the following example, the
single byte events would send a MIDI song select command for song 11.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 * 243
1- 1 2 0 * 11
System exclusive messages can be sent by entering a single byte event for
each byte in the message. This is obviously impractical for long sysex
messages such as program dumps, but works well for shorter messages. NOTE:
IT IS THE USER'S RESPONSIBILlTY TO UNDERSTAND HOW A PARTICULAR INSTRUMENT
WILL RESPOND. PLEASE DO NOT CALL DR.T'S MUSIC SOFTWARE WITH QUESTIONS
REGARDING THE RESPONSE OF YOUR INSTRUMENTS TO SYSTEM EXCLUSIVE DATA.
Version 1.6 of the KCS has the ability to record short system exclusive
messages as single byte events. See the SET OPTIONS and TIPS AND TROUBLE
SHOOTING chapters for details.
Sequence Control Events
~~~~~~~~~~~~~~~~~~~~~~~
There are eight types of sequence control events that can control the
playing of other sequences. These are PRIMARY events (which start primary
sequences), ST events (which start secondary or primary sequences), XX
events (which stop a sequence), XL events (which stop a sequence from
looping), MS events (which mute a sequence), US events (which unmute a
previously muted sequence), PT events (pitch transposition) and VT
(velosity transposition). These event types can be created only from the
edit screen and are ignored if the program is in Track mode or Song mode.
The next few sections of the chapter describe how each of the sequence
control events work. For more information on control sequence techniques
see Chapter 13.
Primary Events
~~~~~~~~~~~~~~
PRIMARY events are used to start any primary sequence (1 - 9, A - Z), When
a PRIMARY event is encountered the sequence whose key is specified will be
started automatically. The value under NOTE will be a pitch transposition
in half steps while the number under VEL represents a velocity
transposition. The permissible range for each is -64 to 63. If a note is
transposed out of the MIDI keyboard range, it will be transposed to the end
of its range. If a channel has been designated as a drum channel (see
Chapter 11), the channel will not be affected by any pitch transpositions.
The following sequence will start sequences A, 2, and F as soon as it is
started. A will be transposed up two half steps, and 2 will be transposed
down four half steps.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 A 2 0 1
1- 1 2 0 2 -4 0 1
1- 1 3 0 F 0 0 1
The value under DUR is the number of times the sequence will repeat. It
overrides the originally programed repeat value for the sequeocc. If the
value under DUR is 99, the sequence will repeat until stopped by the user
or by an XX or XL evnt. A W in the DUR column repeesens a WAIT flag. This
causes the control sequence to wait until the scquence started by the
sequence start event has finished before any new evens can begin. In the
next example the program will start sequence A and play it four times. No
other event in the sequence will be played until sequence A completes its
four repetitions. When sequence B is started, the control sequence will
wait again.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 A 0 0 4W
2- 1 2 96 E -2 8 1
5- 1 3 288 A 7 12 2
5- 1 4 0 B 0 0 2W
ST Events
~~~~~~~~~
ST events are another form of sequence start event. Secondary sequences
can only be started using ST events, or from the numeric keypad. To type
in an ST event put the desired event time under the TIME column, put ST
under TYPE and put the desired sequence (primary or secondary) under NOTE.
If you would like to specify a piteh transposition, enter it in the VEL
field. Specify the number of repeats under DUR. You cannot specify a
velocity transpisition with an ST event.
Note that secondary sequences can start other sequences <including primary
sequences) with sequence start event. In this example, sequences 01, 23
and A are started a measure apart. Sequence 23 will play twice, transposed
up eight half steps. Sequence 01 will play four times and the control
sequence will wait for sequence A to finish before proceeding.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 ST 01 0 1
2- 1 2 96 ST 23 0 2
3- 1 3 96 ST A 0 4W
XX and XL Events
~~~~~~~~~~~~~~~~
XX events are sequence stop events. They allow you to
automatically stop one or more sequences, even in the
middle of playing. To stop a single sequence with an XX event, enter
XX under TYPE, and the desired sequence, left justified under NOTE as
shown below.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3- 1 1 192 XX 23
7- 1 2 384 XX A
9- 1 3 192 XX 01
More than one sequence may be stopped with a single XX event by placing an
asterisk (*) under NOTE. An asterisk by itself will stop all sequences
that are currently playing (active), or an asterisk followed by a channel
number will stop all active sequences that start with an event on that
channel. The following example would immediately stop all sequences on
channel 1, then stop the remaining sequences one measure later:
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 XX *1
2- 1 2 96 XX *
Note that sequence control events that use the * option take longer to
execute than similar events affecting only one sequence, and may result in
audible delays if overused.
XL events are much like XX events except that the sequences specified in
the NOTE field will continue to play to their ends before stopping.
MS and US Events
~~~~~~~~~~~~~~~~
MS and US events are much like XX and XL events, except that the specified
sequences will be muted rather than dopped. The main difference is that
when a sequence is muted, it will continue to play, but the events in the
muted sequence will not be executed. This is useful if, for instance, you
are creating a piece by stringing together complex control sequences and
would like to remove a portion of a sequence from, one occurrence of a
particular section, without actually editing the affected sequences.
Inserting an MS event in the master control sequence, followed by a US
event at the appropriate time, will blank out the designated sequence in
that portion of the composition.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 ST 01 0 1
2- 1 2 96 MS 01
3- 1 3 96 MS 01
As with the XX and XL events, multiple sequences may be specified in MS and
US events usng a * in the NOTE column.
PT and VT Events
~~~~~~~~~~~~~~~~
PT ana VT events cause a pitch or velocity transposition to oocur in the
specified sequences. The sequence number, or an asterisk and an optionl
channel number, are entered in the NOTE column, and the transposition
amount from -64 to + 63, is entered under VEL. If the DUR column is blank,
the value under VEL is added to the current transposition value for that
sequence, or if an S is placed in the DUR column, the program will set the
transposition to that value. Notes played on the drum channel are not
affected by PT events. The pitch and velocity transpositions for each
sequence are set to 0 when the sequencer is started, and transpositions
will be "chased" when starting from a cue point.
In the following example, secondary sequence 01 is transposed up an octave
from it's current transposition and four measures later, all active
sequences that start with events on channel 3 will be set to a velocity
transposition of 0.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 PT 01 12
5- 1 2 384 VT *3 0 S
When a PT or VT event is encountered in a sequence while playing from the
Open mode play screen, the first four letters of the sequence's name will
be replaced on the screen by the sequence's pitch transposition, and the
last four letters by the sequence's velocity transposition.
TM Events
~~~~~~~~~
TM events in a sequence will imnmediately force the internal clock to
change the tempo to the specified value. Sequences may have more than one
TM event. In fact, several sequences may contain TM events. When a TM
event as encountered the tempo will change to that value until another TM
event is encountered.
TM events have no effct on the tempo if the program is using MIDI clock as
its clock source, though they are used for calculations when synchronizing
to an external clock. See the section on timing resolution in Chapter 13
for details.
Enter TM under TYP, the desired tempo (in beats per
minute) in the NOTE field, and the tenths portion or the tempo under VEL.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 A 0 0 4
2- 1 2 96 E 0 0 1
5- 1 3 288 TM 140 2
5- 1 4 0 B 0 0 2W
In this example sequence A is played four times, one measure later sequence
E plays one time, and three measures later the tempo is set to 140.2 BPM as
sequence B starts playing. You should put a TM event as fhc first event in
your control sequence to assure that it always plays at the correct tempo.
To maintain optimum accuracy when using the real time clock or
synchronizing to an external MIDI clock, you should place all The events on
multiples of six clock steps. This is because MIDI song pointer messages
(which are used in conjunction with tempo settings and a SMPTE or
equivalent synchronizer to communicate the time of day between the KCS and
external devices) are quantized in units of six MIDI clocks.
AC and DC Events
~~~~~~~~~~~~~~~~
AC and DC events are used to create proportional changes in tempo, as
opposed to the absolute changes created by TM events. Entering a number
between 1 and 3000 under NOTE will cause the tempo to change by that number
of parts in 1024. For example, if an AC event has a value of 1024, the
tempo will double, or if the number under NOTE were 512, the tempo would
increase by 50%. AC events cause an increase in tempo, while DC events
cause a decrease in tempo. AC and DC events can only be entered from the
edit screen.
Gradual tempo changes can be made by creating a string of evenly spaced AC
or DC cvents, and playing them along with a sequence or track either by
merging them into the sequence or track, or by playing them simultaneously
from a separate sequence or track. This example would cause the tempo to
increase ty 1O% over the space of one measure.
MSR ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 AC 13
1- 13 2 12 AC 13
1- 25 3 12 AC 13
1- 37 4 12 AC 13
1- 49 5 12 AC 13
1- 61 6 12 AC 13
1- 73 7 12 AC 13
1- 85 8 12 AC 13
2- 1 9 12 DE
Generally speaking the best way to add AC or DC events to a sequence is to
first add one or two by hand to determine the corrcct values and spacing to
use, then using the PASTE edit option to merge multiple copies of these
events with the sequence or track. As with TM events AC and DC events
should be placed on multiples of six clock steps for best results when
using the real time clock. You should also remember to start any pieces
that contain AC or DC events with a TM event. Otherwise, you will need to
reset the tempo each time you play the piece.
DE Events
~~~~~~~~~
DE events are most often used at the end of a sequence to instruct
the computer to wait a specified number of steps before looping or going on
to play the next sequence. In the following example sequence A starts (and
repeats four times), and four measures later (384 clock counts) the sequence
shown ends. If another control sequence is waiting for this one, that
sequence will now continue playing.
MSR ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 A 0 0 4
2- 1 2 384 DE
DE events may also be used to erase or silence a wrong note without
affecting the numbering of subsequent events, by typing DE over the event
type of the undesired note. Clicking anywhere on the event line and
pressing the DELETE key followed by RETURN will have the same effect.
SM Events
~~~~~~~~~
SM events are used to change the sequencer's
steps/measure setting during playback. This will have no effect at all on
the music being played but it will change the operation of the
measure/step counter.
Use SM events anywhere that the music changes time signatures, and the new
time signature will be used by the
measure/step counter during playback. The number of steps/measure is
entered under NOTE, and the remaining fields are unused.
If you use a lot of SM events in a portion of a piece to represent a varing
time signature, it may prove less confusing to use a single SM setting that
is one beat long, and then treat the measure/step display as a beat
counter. See the SET OPTIONS chapter for more information on the
steps/measure setting, as well as a table of common time signatures and
their corresponding steps/measure values.
RA Events
~~~~~~~~~
RA events are used to select one of a number of events at random. The "hat"
out of which an event is drawn is a list of events immediately following
the RA event, and the length of this list is set by the numbmr in the NOTE colunn. The
limits for the length of the list are 2 - 255. After the selected event is
executed, the sequence or track will continue from the next event
after the end of the list.
Here are two examples that illustrate the use of the RA event. The first
will play one of the five notes in the list, then continue from the G4.
Note that since the D4 occurs twice in the list, it is twice as likely to
be selected as any of the others.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 RA 5 77 5
1- 1 2 0 ON D 4 77 5
1- 1 3 0 ON A 4 77 5
1- 1 4 0 ON F#4 77 5
1- 1 5 0 ON D 3 77 5
1- 1 6 0 ON D 4 77 5
1- 7 7 6 ON G 4 84 5
1- 13 8 6 ON A 4 76 4
The next example shows how an RA event is used to change the structure of a
piece of music by selecting from, a list of sequence control events. The
sequences in the list could each be a set of tom rolls; for instance, which
would inject an illusion of spontaneity into a drum part.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 RA 4
1- 1 2 0 ST 01 0 1
1- 1 3 0 ST 11 0 1
1- 1 4 0 ST 03 0 1
1- 1 5 0 ST 05 0 1
2- 1 6 96 ST 23 0 1
3- 1 7 96 ST A 0 4W
The TIME values for the list of possible events are ignored when playing
though they should all be set to 0 to avoid confusion when editing tracks
or sequences and especially to avoid conflicts when merging tracks or
sequences. Also note that while the RA event is recognized in all three
modes, the list of candidate events should only contain events that are
appropriate for that mode.
CU Events
~~~~~~~~~
CU events cause the sequence, track, or song that contains them to wait
until a specified time on the real time clock. The NOTE, DUR, and VEL
columns hold the minutes, seconds and tenths of seconds values for the cue
point. Minutes can be any value from 0 - 255, and seconds, of course, must
be less than 60. CU events are ignored if the MIN:SEC switch, on the SET
OPTIONS screen, is turned off.
Care should be exercised when using CU events. If the time specified has
already passed when the event occurs, the program will think it is late,
and will spew out notes and MIDI clocks at maximum speed, in an attempt to
catch up with itself. This can happen if a sequence containing a CU event
is looped, or if tracks containing CU events are appended or doubled.
See the section on TIMING RESOLUTION, in Chapter 13, for more information
on the real time clock.
Edit Options
~~~~~~~~~~~~
The right half of the screen displays the available edit options. When an
edit option is selected, a message will appear on the message line, and a
dialog box or an edit window may appear. Dialog boxes and edit windows are
described in Chapter 1 of this manual, and details on the individual edit
options appear below.
Name and Comments
~~~~~~~~~~~~~~~~~
The name of a track or sequence consists of eight characters. When you
start to record on an unnamed track or sequence, the program will name the
track or sequence with the MIDI channel number. The event type will be part
of the name if the first event is not a note. If you click on NAME, the
edit cursor will move to the top of the screen where the name is displayed.
Type in the new name, and press RETURN.
In Open mode, a thirty character comment field, directly below the EVENTS
LEFT line, can also be accessed by clicking on NAME. Typing more than
eight characters in the name, or using the cursor control keys after
Clicking on NAME, will move the edit cursor to the comment field.
Transpose/Auto
~~~~~~~~~~~~~~
The TRANSPOSE/AUTO option manipulates data in a variety of ways. An edit
window appears in which you can specify the range of events to be
processed, the operation to perform, and the parameters used by the
available options. Only one of the available options can be chosen for a
single edit operation.
The range of events to be edited is selected by clicking on ALL, EVENT
RANGE, or MEASURE RANGE. If either of the last two options is chosen, the
numbers to the right of these buttons set the upper and lower limits of the
range.
Clicking on UNDO or pressing the UNDO key after a TRANSPOSE/AUTO operation
will return the track or sequence to its previous state.
Pitch, Velocity, and Duration
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The PITCH, VELOCITY, and DURATION and Duration transpose options allow you
to transpose (change by a constant amount) or invert the pitch, velocity or
duration of all ON and OFF events in the range processed. Pitch
transposition has many obvious uses and is found in all serious sequencer
programs. Inversion and velocity and duration transpositions are logical
extensions of this concept. You will probably transpose pitch much more
often than any of the others, but they are there any time you have use for
them.
After selecting PITCH, VELOCITY, or DURATION, click on TRANSPOSE or INVERT.
The number next to TRANSPOSE is the transposition amount (-63 to +63), and
the value beside INVERT sets the center point for the inversion.
Transposing pitch by -12 drops all notes down one octave, and a pitch
transposition of 7 would raise the pitch up seven half steps (a fifth). A
velocity transposition of 24 increases all MIIDI velocities by 24 (making
the notes louder or brighter, depending on your synth's response to MIDI
velocity), and transposing duration by -3 shortens all notes by three time
steps (making notes more staccato). The program will assign the largest or
smallest allowable value to a pitch, velocity or duration if you attempt to
transpose out of range. It is possible to transpose pitch, velocity and
duration to values that are not useful for your instrument and patch.
Selecting INVERT causes high values to become low and low values to become
high. The acceptable range for the inversion point is 1 - 127. The
program will perform the inversion around the value you enter. For
example, if you invert velocity around 50, a velocity of 70 will become 30,
while a velocity of 20 will become 80.
If you are inverting pitch, the number that you enter must be the MIDI key
number of the pitch that you wish to invert around. MIDI key numbers range
from 0 for the lowest MIDI key (C - 1 in our notation), to 127 for the
highest, G9. The MIDI chapter has a table of note values and MIDI note
numbers. To invert pitch around middle C, enter a value of 60. Inverting
the C scale from, sequence 1 around middle C will produce a descending
scale that goes from C4 down to C3. Be careful, though, since inversions
will usually cause the part to change keys, except for certain inversion
points. In the example of the C minor scale, inverting around 60 changes
the scale to a G Phrygian scale, while inverting around 62 gives an E minor
scale, etc.
Auto-Correct
~~~~~~~~~~~~
AUTO-CORRECT is used to round all of the TIME and/or DUR
values in a track or sequence to multiples of some number. This is usually
done to smooth out the timing of a less than perfect recording but can also
be used for special effects. The number next to AUTO-CORRECT sets the
step count for
auto-correction. After auto-correction all times in the selected range
will be a whole number multiple of the step count.
The following table shows the step counts corresponding to several
common note values at the
stdandard 24 steps/beat:
3 for 32nd notes 4 for l6th note triplets
6 for l6th notes 8 for 8th note triplets
12 for 8th notes 16 for quarter note triplets
24 for quarter notes 48 for half notes
96 for whole notes
The number next to DUR on the same line has a similar effect on the
durations in the selected range: The entry is optional. You can also
quantrize only the duration by leawng out the value for step count. When
duration is auto-corrected, the resulting duration values are actually one
less than the nearest multiple of the duration auto-correct value. For
instance, entering a value of 6 for duration auto-corretion results in
duration values of 5, 11, 17, etc. instead of 6, l2 and 18. This allows
notes played on monophonic instruents to retrigger when legato parts are
played, by ensuring that a note off message is sent before the next ON
event in the sequence or track.
When a portion of a track or sequence containing events other than ON and
OFF events is auto-correted, the program treats all the non-note events
between each pair of On events as part of the first note, and moves them
along with that note. This is handy when a sequence contains pitch bends
or other controller messages that you want to time to particular notes. If
you want to auto-correct a part without affecting the non-note data use the
SPLIT edit option to separate the note data to another track or sequence,
as described later in this chapter.
Compress/Expand
~~~~~~~~~~~~~~~
The COMPRESS/EXPAND option changes the timing of the overall sequence or
track. This option can also be used to speed up or slow down a part,
relative to the other part of your song. The number next to
COMPRESS/EXPAND sets the amount of compression or expansion (in percent),
and the DUR button on the same line causes durations to be affected as well
as time. Each note's TIME and/or DUR value will be multiplied by the
amount you enter, divided by 100. Entering an amount of 200 results in a
sequence or track which is twice as long as the original, 50 makes the part
half as long, etc.
Time Reverse
~~~~~~~~~~~~
The TIME REVERSE option will re-arrange events
so that they play in reverse order. The TIME values of
the first and last notes are not changed and if the last event in the range
selected is a DE event it won't be
affected either. Note that since the value in the TIME
field represents the amount of time that elapses before
an event occurs time reversal will not preserve the relationship between an
event's TIME and DUR values. For example, consider the following sequence:
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 1 ON C 3 50 10
1- 13 2 12 1 ON D 3 50 10
1- 25 3 12 1 ON E 3 50 10
1- 37 4 12 1 ON F 4 50 10
1- 49 5 12 1 ON G 3 50 10
1- 61 6 12 1 ON A 3 50 10
1- 73 7 12 1 ON B 3 50 10
2- 1 8 24 1 ON C 4 50 94
3- 1 9 96 DE
Reversing the order of tbe sequence yields:
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 1 ON C 4 50 94
1- 25 2 24 1 ON B 3 50 10
1- 37 3 12 1 ON A 3 50 10
1- 49 4 12 1 ON G 3 50 10
1- 61 5 12 1 ON F 3 50 10
1- 73 6 12 1 ON E 3 50 10
1- 85 7 12 1 ON D 3 50 10
2- 1 8 12 1 ON C 3 50 10
3- 1 9 96 DE
Now the C4 with the duration of 94 sustains while the other notes are
playing. In a case such as this you might want to swap the durations of
events 2 and 9, to preserve the original timing relationships.
Channel Assign
~~~~~~~~~~~~~~
CHANNEL ASSIGN changes the MIDI channel numbers of events in the selected
range. If only the first of the two data fields to the right of this
switch contains a value, all events will be assigned to this channel if
these values are present, then consccutive events will be assigned to the
next higher MIDI channel within the specified range. This is useful for
playing polyphonic parts on a synth in mono mode, or for adding space to an
arrangement.
Velocity Scale
~~~~~~~~~~~~~~
Selecting VELOCITY SCALE will create a "velocity fade-in" or "velocity
fade-out", depending on the values you gve it. The values next to this
button represent the beginning and ending velocities; leaving the second
field empty will set all velocities to the first value.
The range for velocily is 0 - 127, with 127 being the loudest or brightest.
Synths that respond to velocity can then be programmed to respond in
sevcral different ways, so the result of your velocity scale will depend on
the particular patch you are using on your instrument. Here is a
monophonic sequence consisting of sixteenth aod eighth notes all at the
same velocity.
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 1 ON C 3 50 10
1- 7 2 6 1 ON C 3 50 10
1- 13 3 6 1 ON C 3 50 10
1- 19 4 6 1 ON C 3 50 10
1- 25 5 6 1 ON C 3 50 10
1- 31 6 6 1 ON C 3 50 10
1- 37 7 6 1 ON C 3 50 10
1- 43 8 6 1 ON C 3 50 10
1- 55 9 12 1 ON C 3 50 10
If we apply velocity scaling and enter a starting velocity of 100 and an
ending velocity of 1, the sequence will now look like this:
MSR- ST EVNT TIME CH TYP NOTE VOL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 1 ON C 3 100 10
1- 7 2 6 1 ON C 3 89 10
1- 13 3 6 1 ON C 3 80 10
1- 19 4 6 1 ON C 3 66 10
1- 25 5 6 1 ON C 3 58 10
1- 31 6 6 1 ON C 3 45 10
1- 37 7 6 1 ON C 3 34 10
1- 43 8 6 1 ON C 3 23 10
1- 55 10 12 1 ON C 3 1 10
Note that the difference in velocity between the last two events is twice
that between any other two events. This is because the KCH scales velocity
linearly over time, NOT the number of events. Since the time of the last
note is twice that of the others, the velocity drops twice as much in that
time period as in the others.
Erase Controllers and Clear Deletes
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The ERASE CONTROLLERS option is used to strip all MIDI data except note on
and off events from the selected range. CLEAR DELETES is a convenience
feature which erases all DE events from a sequence or track, except for the
final "trailing DE, if any. This option affects the entire sequence or
track.
Insert and Adjust
~~~~~~~~~~~~~~~~~
These options are used to insert new data in a sequence or track at the
current position of the edit cursor. Clicking on either will create a new
blank line ahead of the current event, at which point new events can be
typed in as describwd earlier in this chapter.
When INSERT is selected, events are simply inserted in the sequence or
track, with no adustments to timing. When ADJUST is chosen, the program
will attempt to keep the length of the sequence constant, by subtracting
from the TIME value of the first event after the insert point. If the TIME
value for this event becomes 0, the program will no longer be able to
adjust, and the length of the sequence or track will increase as more
events are entered.
You can also insert nrw material by pressing the INSERT key. In this case,
the program, will use the most recently chosen of the INSERT or ADJUST
options.
When you have finished inserting use the cursor keys to move to a new event
line or click the left mouse button.
Cut, Copy, and Paste
~~~~~~~~~~~~~~~~~~~~
The CUT, COPY, and PASTE options are among the most powerful in the KCS.
These commands utilize what we call the paste buffer. You can use the
paste buffer to move and copy part or all of a sequence or track to another
sequence or track. The same paste buffer is used for Open and Track modes,
so you can use this to move information between the two modes. Any time
you CUT or COPY, the previous contents or the paste buffer are discarded.
Cut
~~~
The CUT command will delete or erase the events in a desired range and
place the events into the paste buffer. The CUT edit window allows you to
set a range by event or by measure. Cutting all the events in a sequence
or track is not allowed. Click on EVENT RANGE or MEASURE RANGE to set the
range; the values to the right of these buttons contain the start and stop
points for the cut.
DELETE ORIGINAL and ERASE ORIGINAL affect the data that is left in the
original sequence or track. DELETE ORIGINAL will remove the specified
section and shorten the sequence or track. ERASE ORIGINAL removes the
events specified but adds their time values to the next event after the
selected range, thus preserwng the original timing.
ZERO FIRST TIME forces the TIME value of the first event to zero: this is
usually the most convenient value when pasting. Click on OK and the data
will be moved to the paste buffer. This data will remain in the paste
buffer until you next use the CUT or COPY command.
Copy
~~~~
The COPY command is identical to the CUT command except that the selected
range is not deleted or erased from the sequence or track. It is also
possible to copy all of a sequence or track.
Paste
~~~~~
Once you have moved data into the paste buffer using the CUT or COPY
command, you can use the PASTE command. There are a number of different
ways to paste material to a track of sequence, which are outlined below.
Because the PASTE edit window has so many options, a HELP button has been
provided, next to the standard edit buttons.
When you use PASTE in Track mode, remember that all tracks will loop when
track 1 finishes playing. Notes that are pasted onto a track at a measure
and step that is past the end of track 1 will not sound when all tracks are
played at once, and extending track 1 will cause a gap in the other tracks
when the sequencer loops.
PASTE OPTIONS
~~~~~~~~~~~~~
INSERT will placw the contents of the paste buffer at the specified
location, without changing the existing data at the paste location. INSERT
is like cutting a piece of tape, and splicing in one or more copies of the
paste buffer. The rest of the sequence will be pushed back in time, and
the sequence will become longer.
REPLACE will take the contents of the paste buffer and put it at the
specified location. The previous contents of the sequence will be written
over for the length of the phrase. REPLACE is like erasing a section of
tape and replacing it with the contents of the paste buffer. The timing of
events after the end of the paste will not be altered.
MERGE will mix the contents of the paste buffer with the sequence. Both
parts will play with their original timing. The result will be the same as
if both the sequence and paste buffer were played together.
MERGE TO END is similar to MERGE, except that copies of the paste buffer
are mixed into the sequence, one after the other, until the end of the
sequence is reached. A simple application would be to have the paste
buffer consist of one note, say a bass drum hit on a drum machine. Setting
the phrase length to 98 steps (one measure) and performing a MERGE TO END
would cause one bass drum hit to be added every measure of the sequence.
FILL TO END is like REPLACE, except that all data is erased from the
sequence after the paste location. This data is replaced with enough
copies of the paste buffer to make the resulting sequence the same length
as the original.
After an INSERT or REPLACE paste operation is executed, the pasted range
will be highlighted in the event list. This allows you to see that the
paste was done properly.
PHRASE LENGTH
~~~~~~~~~~~~~
The length of the phrase which is pasted to the new location can also be
changed by entering a phrase length, in measures and steps, under PHRASE
LENGTH. These features can be particularly useful when doing multiple
pastes. Note that the program will not allow you to increase the time or
decrease the phrase length in a way which affects the relative timing of
the event being pasted.
LOCATION
~~~~~~~~
There are two different ways to select a paste location: either by event
number, or by specifying a measure and step. If you specify EVENT NUMBER,
the paste occurs immediately before the event specified to the right of the
button. If you want to paste at the beginning of the sequence, enter 1.
MEAS/STEP is used primarily when you want to paste at a point in the
sequence which is not a location of an event in the sequence. The program
will do the paste before any event at the selected measure and step.
Remember, the sequence or track begins at measure 1, step 1, and the next
step of any new measure in step 1 of that measure NOT step 0.
The values for EVENT NUMBER and MEAS/STEP will default to the current
location of the edit cursor.
Times to Paste and First Event Time
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
You can also select the number of times you wish to paste. The program
will paste copies of the paste buffer, one after the other, for the number
of times selected. TIMES TO PASTE is used for the first three paste
options only; it is ignored if you select FILL TO END or MERGE TO END.
FIRST EVENT TIME sets the time of the first event in the paste, same as in
the CUT and COPY edit windows.
Backup, Get Backup, and Undo
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Clicking on BACKUP will make a copy of your current sequence or track. The
message "Backup accomplished" will appear on the message line, or an error
message will appear if there is no room for the copy. It is a good idea to
make a backup before making any change that can not easily be reversed.
The GET BACKUP command exchanges your current sequence or track data with
the most recently made backup. This allows you to swap and compare the
sequences.
A separate backup sequence is created whenever a TRANSPOSE, CUT, PASTE,
DELETE, ERASE, or SPLIT operation occurs. Clicking on UNDO or pressing the
UNDO key will swap this sequence with the altered original track or
sequence.
The manual and automatic backups are stored by the program in sequences Y
and Z, respectively. You can thus hear either backup sequence from the
Open mode play screen by pressing the appropriate key. If you decide that
you want to keep both your edited material and the backup, copy the edited
sequence or track to a new location and retrieve the original data by
clicking on GET BACKUP or UNDO.
If you are planning extensive changes to a sequence or track, you may wish
to make a copy of your original using one of the copy commands described
below before you start editing and then make frequent backups as you edit.
Delete and Erase
~~~~~~~~~~~~~~~~
DELETE and ERASE are used to remove a range of events from a sequence or
track. DELETE will shorten the length of the sequence or track, while
ERASE preserves the length of the sequence or track . by adding the time
values of the events that are erased to the time or the first event after
the selected range.
After choosing one of these options, a dialog box will prompt you for the
range of events to be removed. The beginning and end of the range can be
specified by typing in the event numbers for each, or they can be set to
the beginning by clicking on START or END. It is not possible to delete or
erase an entire sequence or track - at least one event must remain.
Text and Map
~~~~~~~~~~~~
Clicking on TEXT provides access to a 16 line by 68 character text area
which can be used to hold comments about a piece. The text area is saved
and loaded with .ALL files.
The mouse and the BACKSPACE and cursor control keys can be used to move the
cursor around the text area, and the CLR HOME key will erase the entire
line which holds the cursor. Note that .ALL files saved by versions of the
program before 1.5 will display gibberish in the text area when loaded.
This is normal, and can be written over with no danger of damaging your
data.
The MAP option displays a map of all track, sequences, and songs in memory,
including their names, comments and lengths in measures and events, as well
as the channel number and event type of the first event in each track and
sequence. The map and text area may be listed to a printer by pressing P
after the map is displayed on the screen. The CONTROL key will terminate
printing when sending the map to a printer. If SHIFT is held down when MAP
is selected. The map will be sent directly to the printer, without going
to the screen.
Print
~~~~~
PRINT sends a copy of the current sequence or track to the printer. The
range is set as described above for DELETE and ERASE. If there is no
printer conected or if the printer doesn't respond, a dialog box will ask
if you want to abort or try again.
Change Repeats
~~~~~~~~~~~~~~
This option, which only appears in Open mode, sets the number of times a
sequence will play when started from, the Open mode play/record screen. A
dialog box will ask you to specify a number from 1 - 99. Enter 99 if you
want the sequence to repeat immediately. When a sequence is started from a
control sequence, it will play the number of times that are specifed by
that control sequence.
Step Time Track
~~~~~~~~~~~~~~~
STEP TIME APPEND is used to enter notes at the end of the current sequence
or track with the step time recording feature of the KCS. See Chapter 9,
STEP TIME RECORD for more information. If you are in Track mode, you
should remember that the entire length of all tracks is the length of track
1. Appending to track 1 thus increases the effective length. Appends that
make another track longer than track 1 will not be heard when all tracks
are played together.
STEP TIME TRACK allows you to create a new track in step tine. A dialog
box will ask the measure at which you wish to start recording and the
program will set the time of the first event recorded so that it is at the
selected measure. This feature allows you to add new material at any point
in a set of tracks.
Pressing F1 or left clicking on EXIT when in step time record will return
you to the edit screen.
Find and Calc
~~~~~~~~~~~~~
FIND is used to locate a particular measure in a track or sequence.
Entering a number after clicking on FIND will place the edit cursor on the
event nearest to the start of that measure.
The CALC option is a convenience for calculating the number of steps
between two points. Click on CALC, and an edit window will prompt you for
two measure/step values, the second of which defaults to the current
position of the edit cursor. After entering the values and clicking on OK,
the difference between those two points, in steps, will be shown on the
message line. If the exit button labeled CORRECT is chosen intead of OK,
the program will attempt to "correct" the time of the current step to that
in the second measure/step entry by adding the calculated time to the
current time. This allows you to enter a new event location in terms of
it's measure and step directly in the CALC window without dealing with the
TIME setting.
After CALC is used to compute a time value, typing a "C" in the TIME column
will enter the calculated time value at that point.
Split
~~~~~
SPLlT allows you to split the current sequence or track into two parts by
note value. A dialog box will ask you to specify the entire sequence or a
range. It will also ask for a split point. This must be entered as a MIDI
note number (60 = middle C). All note events with note values greater than
or equal to the entered note number will be copied to the first unused
sequence or track and erased from, the original sequence. Selecting SPLIT
with a split point of 60 will therefore remove all in notes at or above
middle C (C4) from the current sequence or track and place them on a new
one.
SPLIT followed by CHANNEL ASSIGN allows you to create a split keyboard
effect for a part that was recorded on a single MIDI channel. It is also
possible to nondestructively separate all the note data in a track or
sequence from any control changes, pitch bends or non-MIDI events by
setting the split point to 0; in this case, all note data will be sent to
the new sequence or track, and the original sequence or track will contain
only the other data types.
Vary
~~~~
The VARY option is used to generate a variation on the current sequence or
track by randomly changing the pitches, velocities, and/or location of the
ON events in the sequence. The original sequence or track is unaffcted,
the variation is piaced in the first available sequence or track, and the
variation is selected for editing. In Track mode, the original track is
also muted.
The VARY dialog box displays six variation presets, and asks for the number
of individual variations to perform. The actual number of variations
performed might be lower, as sometimes a note will be randonly chosen for
variation more than once. The presets consist of different algorithms for
altering the sequence or track. HALFSTEP changes the pitch of a randomly
selected note by a semitone. This will add new notes to the sequence or
track and thereby change the tonality of the phrase. PITCHES randomly
transposes selected notes by larger amounts, but won't allow any new notes
to be created. (For instance, if the original sequence consisted or
nothing but C4s and C5s, the variation might contain C4, C3, C5, etc., but
no Bs or other notes.)
SWAPS will@ randomly swap the pitches and velocities of two notes; if they
are adjacent notes, the time, channel and duration values may also be
swapped. The first note of the sequence or track is not affcted by SWAPS.
DYNAMICS randomly varies the velocities of the notes in the sequence or
track. The amount or variation is determined by the amount in the
original.
MIX 1 and MIX 2 make random changes to the pitches, velocities and
durations of selected notes. The amount of variation will depend on the
amount of variation in the original sequence or track. MIX 1 will allow
new notes to occur, and MIX 2 only permits notes that are found in the
original to be used.
The VARY feature in the KCS is a very early spinoff from the Programmable
Variation Generator/Master Editor portion or the Level II KCS, which is
available as an upgrade to owners or the current KCS. Contact us or see
our advertising for details.
Copy Sequence, Copy Track to Track and Copy Track to Seq
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Each of these options makes a permanent copy of the current sequence or
track. In Open mode, the COPY SEQUENCE option will bring up a dialog box
asking you to select the sequence that you wish to copy to. The default
will be the first unused sequence. If you copy to an existing sequence,
that sequence will be lost.
In Track mode, there are two ways to make a copy. COPY TRACK TO TRACK will
copy the current track to the first unused track. Remember that both this
track and the current track will play unless you mute one of them. The
MUTE and SWITCH features described in Chapter 6 allow you to easily compare
the original and edited track within the context that they are to be used.
COPY TRACK TO SEQ is used in the same way as COPY SEQUENCE. This option is
useful for making a backup that will not be heard with your other tracks in
Track mode. It is also useful if you have a part that you want to use in
Track mode in more than one context, as you can use the COPY SEQ TO TRACK
option to get it back into Track mode at a later time.
Copy Seq to Track
~~~~~~~~~~~~~~~~~
This option copies an Open mode sequence into the first unused track in
Track mode. Note that neither this option or the APPEND and MERGE options
descrebed below will have any effect on the sequence being copied, merged
or appended.
Seq to All Tracks and All Tracks to Seq
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These options allow you to move data back and forth between the 48 track
tape recorder environment of Track mode and individual Open mode scquences.
These sequences can be chained or otherwise combined into longer pieces in
Song mode or by using control sequences in Open mode.
SEQ TO ALL TRACKS copies an Open mode sequence into Track mode. All
existing tracks are erased by this Option. Events in the sequence copied
will be sorted by MIDl channel, with each channel assigned to a diffrent
track, which makes this option handy for unmerging open mode sequences, for
editing channels independently and for splitting up sequences recorded
from, another sequencer. Each track will be named with the channel of the
data that it contains.
ALL TRACKS TO SEQ will merge the data from all active tracks (tracks that
are not muted) into a single Open mode sequence. The length of the merged
sequence will be determined by the length of Track 1. For some
applications you may want to create different sequences using this option
with different combinations of muted and unmuted tracks.
When ALL TRACKS TO SEQ is chosen an edit wmdow will appear after the
sequence selection dialog box in which you can enter a name and comments
for the sequence. The comments for the sequence will default to a list of
the unmuted tracks or the list can be cleared by clicking on the field and
pressing CLR HOME. The edit window also has a button labeled INCLUDE MUTED
TRACKS. If INCLUDE MUTED TRACKS is turned on, all tracks will be copied to
the new sequence, regardless of their status. ALL TRACKS TO SEQ can also
be selected directly from, the Track mode play screen with the ! (SHIFT-1)
key.
Append and Append Seq to Track
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These options allow you to append an Open mode sequence to the current
sequence or track. A copy of the appended sequence is simply tacked onto
the end of the sequence or track being edited.
Merge
~~~~~
Available in Open mode only, this option merges a second sequence with the
sequence being edited. The sequence will now sound as though both
sequences were playing at once. In track mode, this task is accomplished
using the BACKSLASH key from the play/record screen.
Delete Sequence and Delete Track
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These options allow you to delete an unwanted track or sequence. A dilog
box will request the sequence or track number; the selection in this box
defaults to the current track or sequence. Sequences Y and Z and track 1,
can not be deleted.
Clear and Double
~~~~~~~~~~~~~~~~
CLEAR erases all tracks in memory. It does not erase anything from Open or
Song modes. An edit window will allow you to set the length of all tracks,
in measures. If you do so, the program will create track 1 with a single
DE event whose TIME is the desired length. This will determine the
effective length of any additional tracks that you record. If you change
your mind, you can also cancel the operation from this wondow. After the
clear operation, the program will put you on the Track mode play/record
screen.
DOUBLE simply doubles the length of all tracks. Any events which would
havc played after the end of track 1 are lost. Since the length of track 1
sets the loop point for all 48 tracks, you could extend a set of tracks by
half their length by using the DOUBLE option, then shortening track 1 by
the required amount.
Ext (Atari ST Only)
~~~~~~~~~~~~~~~~~~~
If your ST has 1 meg or more of memory, the EXT option can be used to load
up to four other Dr. T programs into memory at once, thanks to our mulli
Program Environment (MPE). Clicking on EXT will cause a GEM file selection
window to appear, where you must select a .INF file for the program to be
loaded. This file contains information about the program to be loaded. If
there is enough memory available to load the new program, it will be loaded
and a three letter abbreviation for the new program (FTN for Fingers, for
example) will appear on the EXT line.
Once an external program is loaded, clicking on it's abbreviation will take
you to that program, or clicking here while holding down the SHIFT key will
erase the last prcgram loaded and free up the memory used.
Note that the external programs use memory that would otherwise be used for
event storage, so there are some tradeoffs involved in loading mulyiplr
programs, especially on the 1040 ST (as opposed to a Mega ST, that is).
Some programs, especially our algorithmic composers, may also overwrite one
or more sequences when they are loaded. Check the manual for each program
for this type of thing before loading the program, in order to prevent
accidental and unsightly loss of data.
Programs to be loaded via the MPE MUST be loaded from drive A. It is not
possible to load MPE programs from a hard disk, even if the original disk
is inserted in drive A. Attempting to do so will result in a system crash.
.INF files may be stored on any drive, however.
WorkBench, NewCLI, and Drag Bar -> (Amiga Only)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These buttons are used to access the Amiga's multi-tasking functions. The
WORKBENCH switch is used to toggle the state of the WorkBench window (that
is open the WorkBench if it's closed, or close it if it's open). If you
attempt to close the WorkBench while a window is open on the WorkBench,
either a CLI wndow or a window from some other program, the KCS will not be
able to close the WorkBench.
The NEWCLI switch is used to open a CLl window. When this button is
selected, the WorkBench screen will move to the fore and a CLI window will
appear. The operation of the KCS will be suspended until you type the
command "EndCLI".
The DRAG BAR -> button is intended as a reminder on how to toggle the KCS
drag bar at the top of the screen. Moving the mouse to the right edge of
the screen and clicking the left mouse button will cause a drag bar to
appear at the top of the screen. You can now move the KCS screen in
relation to any other screens using the gadgets on the drag bar, as with
most other Amiga programs.
The Amiga version of the KCS will continue running when other windows are
in use (except as noted above), so you may use any of your other Amiga
software (including Dr. T's Caged Artist patch editors for the Amiga!)
while your music plays. See your Amiga documentation for more on
multi-tasking.
Play and Play/Record
~~~~~~~~~~~~~~~~~~~~
These options take you to the play screen of the mode that you are
currently in. The Track and Open mode play screens are described in detail
in Chapters 6 and 7. The Track Mode Play screen automatically puts you in
record. To record in Open mode, you have to select the record option
described below.
The PLAY option displays a dialog box with five options. GO TO PLAY SCREEN
takes you directly to the play screen. Double clicking the right mouse
button from the edit screen (or single clicking the right mouse while the
SHIFT key is held down) will accomplish the same thing. PLAY CURRENT
SEQUENCE plays the sequence or track currently displayed. PLAY FROM CURSOR
POSITION plays the current sequence or track from the position of the edit
cursor; clicking the right mouse button once does the same thing. PLAY
CURRENT CUE plays the sequence or track from the current cue point, which
can be set from the play screen, or with the SET AND PLAY NEW CUE option.
In Open mode, a dialog box will ask for a sequence and a starting measure
when the SET AND PLAY CUE optIon is selected; play will then start from
this point. In Track mode, the dialog box will ask you to enter the
measure of the new cue point, and all tracks will be started from that
measure.
If you choose any option other than Go To PLAY SCREEN, the edit sreen will
be displayed during play. The word PLAY will appear on the mcssage line.
You can stop play at any point by pressing the left mouse button or Fl.
You can also restart play from, the beginning by pressing FlO, the SPACE
bar, or the right mouse button. Tf you do neither, the word PLAY will be
erased and all edit functions will return to normal as soon as play
completes.
If a range of events is highlighted, then clicking the right ouse button
will play only that range. If no events are highlighted clicking the right
mouse will play the track or sequence from the edit cursor position.
Record
~~~~~~
This is used to enter the record screen from Open mode only. Open mode
recording is described in detail in Chapter 7.
Load/Save
~~~~~~~~~
Thc LOAD and SAVE options are described in detail in Chapter 10.
Set Options
~~~~~~~~~~~
This feature lets you change a number of parameters that are used by
different parts of the program. It brings up an edit window that is
described in more detail in Chapter 11.
TRACK Mode, OPEN Mode, and SONG Mode
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These options, only two of which are available from any screen, are used to
move between the program's three operating modes. When you enter Open or
Song modes, the program, will place you on the edit screen; when you enter
Track mode, the program will place you on the play/record screen. You can
then get to the Track mode edit screen by pressmg F1 or clicking on EXIT.
Colors (Amiga Only)
~~~~~~~~~~~~~~~~~~~
When the COLORS option is selected, a small requestor box will appear,
where you may adjust the screen colors used by the program. The screen
colors are automatically saved and loaded with enviroment (.ENV) files.
Quit
~~~~
QUIT will exit from the KCS and return you to the desktop (or WorkBench).
Be sure to save your data before quitting. A dialog box will ask you to
confirm the choice.
Chapter 5
~~~~~~~~~
SONG MODE EDITING
~~~~~~~~~~~~~~~~~
Song mode provides a simple environment for creating longer pieces (songs)
by chaining Open mode sequences. This task can be accomplished much more
generally with control sequences in Open mode, but Song mode is
conceptually much simpler. You may want to create a few pieces in Song
mode before you attempt to use control sequences. You may also choose to
do all of your sequence chaining in Song mode. Song mode is intended
primarily for use with multi-instrument sequences created in Track mode, as
only one sequence can play at any time. There is certainly no limit to the
complexity of the music that you can create using Track mode and Song mode.
The Song mode edit screen allows you to create songs that consist of up to
100 linked segments. For each segment you can specify the sequence to be
played, a tempo change, a delay, a pitch transposition, and the number of
times the segment is to repeat. You can also specify program and/or volume
changes on any or all of the 16 MIDI channels for each segment. Tempo,
program and volume change entries are optional; if you do not specify a
tempo change for a segment, it will play at the current tempo. No program
or volume changes will be made by the program on channels for which they
have not been specified. Sequences entered in Song mode should not contain
PRIMARY, ST, XX, XL, MS, or US events, as these are ignored in Song mode.
Entering Segments
~~~~~~~~~~~~~~~~~
Song segments are entered into an event list that is similar to the one
used in Track and Open modes. Although the headings are different, the
procedure for is entry and edit of individual segments is similar to that
described in Chapter 4. As in the other modes, any of the edit options on
the right side of the screen can be selected by clicking on that option,
and songs can be selected with the select boxes in the lower right corner.
The fields used in the Song mode event list are:
SEG: A number supplied by the program indicating the position of the
segment in the list. SEG is used to specify a range of segments in the
song when you are using the various edit options.
SEQ: The number <1 - 9, A - X, or 00 - 92) of the sequence to be paayed
for the segment. Frequently, this will be the only entry that you need to
make for a segment.
NAME: The name of the sequence to be played. This is supplied by the
program, and cannot be changed in Song mode.
TEMPO: The tempo at which the segment is to be played. If this is
omitted, the segment will play at the previously established tempo. Tempo
changes will have no effect unless you are using the internl clock, though
it is used in calculations when synchronizing to an external clock.
DELAY: The number of time steps that you wish the program to pause before
playing the segment. Most of the time, you will probably not need to enter
a DELAY.
TRN: The number of half steps that you wish the segment to be transposed
in pitch. If a drum channel has been defined on the SET OPTIONS screen,
notes on that channel will not be transposed.
REP: The number of times that you wish the segment to repeat. If you want
the segment to play only once, you do not need to enter this field.
When you first enter Song mode, the edit screen will come up, and the
cursor will be under SEQ on the first line. To enter a segment, type the
desired sequence number, and any other fields that you wish to enter, and
press RETURN. You can use the TAB and SHlFT-TAB keys to move forward and
back along a line. The DELAY and TRN fields default to 0, and the REP
field to 1, so if you want your sequence to play once vwih no delay,
transposition, or tempo change, you need only enter the sequence number.
Here is a shot of the Song mode edit screen, with a representative song
in ihc event list:
These seven segments illustrate all of the options available on the left
side of the screen. The first segment entered was sequence 1, at a tempo
of 90 BPN. If no tempo had been entered, the segment would play at the
previously set tempo, shown at the bottom of the play screen. Tempo change
events within the sequences themselves will change the tempo from that
programmed on the Song mode edit screen.
The second segment plays sequence F with the tempo increased to 120.
Sequences 3 and 4 are each played once at the same tempo. Sequence 5 is
then played twice at a tempo of 140, and then twice again transposed up 12
half steps (an octave). Finally, sequence 6 plays at a tempo of 120. This
segment does not start until 48 time steps (half a measure at the default
setting) after the previous segment ends.
To play the song, click the right mouse button, and the Song mode play
screen will come up. Click the right mouse button or press Fl to play the
song. The Song mode play scrcen is described in detail in Chapter 8.
Editing Single Segments
~~~~~~~~~~~~~~~~~~~~~~~
Segments are edited using the same procedure used in the Track and Open
mode edit screens. Move the edit cursor to the line that you wish to edit,
and click the mouse. Type in any desired changes, and press RETURN, or
press UNDO to cancel any changes. If you want to remove a tempo, repeat or
delay specification, just type over it with blanks. You can delete an
entire segment by pressing the DELETE key while the cursor is on the line
you wish to delete.
If you want to add segments to a song, click under SEQ on the line below
the last segment shown. If your song is more than a full screen long, you
can use the scroll arrows to move up and down. A song can contain up to
100 segments.
Song Mode Editing Options
~~~~~~~~~~~~~~~~~~~~~~~~~~
The Song mode edit options, on the right side of the screen, are selected
by clicking the mouse as in the other modes. Most of the options are
similar to corresponding options on the Open and Track mode edit screens,
described in Chapter 4.
Name
~~~~
The song name is 60 characters long, and stretches across the top of the
screen. Clicking on NAME, or anywhere on the line, will move the cursor to
this line. Type in the desired name and press RETURN.
Text and Map
~~~~~~~~~~~~
The TEXT option provides access to the KCS's comment text area, and MAP
displays information about every active track, sequence, and song. See
Chapter 4 for more on these options.
Prog/Vol Changes
~~~~~~~~~~~~~~~~
You can specify program and/or volume changes for any or all of the 16 MIDI
channels to be sent before a segment is started. Move the edit cursor to
the line containing the segment that you want to insert changes for, and
then click the mouse on PROG/VOL CHANGES on the right side of the screen.
An edit window with data fields for MIDI program and volume change commands
on all 16 channels will appear. The segment number will be displayed at
the top of the window.
Data is entered in the usual manner for edit windows. MIDI program and
volume numbers range from 0 - 127, though not all instruments respond to
MIDI volume changes and most instruments do not use all 128 patch numbers.
Different instrumens also use different patch numbering systems. MIDI
patch number 0 will for example, call up patch off on an Oberheim Matrix 6,
patch 1 on Yamaha instruments, preset 1 on a CZ-10l, and patch 11 on Korg
instruments. In general when you have difficulties interfacing MIDI
devices, the Doctor's precription is REXMAN (Relax, EXperiment, and read
your owner's MANuals).
The program and volume changes will be sent before the selected segment in
played. No program or volume information will be sent for channels for
which no data was entered.
Insert and Delete
~~~~~~~~~~~~~~~~~
Clicking on INSERT or pressing the INSERT key will open up a blank line, as
in the other modes. Type in the new segments pressing RETURN after each
one, or UNDO after any mistakes. Click the m*ouse on a new line to cancel
INSERT.
Pressing the DELETE key will delete the segment under the cursor.
Copy Song to Song and Copy Song to Sequence
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
COPY SONG TO SONG lets you copy the current song to the first unused song.
COPY SONG TO SEQ lets you copy the segment list to an Open mode control
sequence. Open mode control sequences, described in Chapter 4, provide a
more general way to arrange your sequences into songs. If you decide that
your song needs some more parts, you may want to use Copy Song to Seq to
get the song into Open mode, and then add more parts using overdub or
record with cue. Copying a song to a sequence is also a good starting
point for understanding the structure of control sequences. you should
remember that you cannot go the other way; there is no way to copy a
control sequence to a song.
Append and Delete Song
~~~~~~~~~~~~~~~~~~~~~~
You can append another song to the current song or delete an unwanted song
from memory by clicking on APPEND or DELETE SONG. Dialog boxes will prompt
for the song to append or delete.
Song to All Tracks
~~~~~~~~~~~~~~~~~~
Clicking on this option will delete all tracks currently in Track mode
memory and place the current song in all tracks by copying each sequence
used in the song to all tracks. This is useful for overdubbing solo parts
or controllers over an entire song: but makes editing the song more
difficult.
Since coping a song to all tracks requires quite a bit of the computers
memory for work space, it is possible that you may get an "out of memory"
message when doing this with a long song.
Other Options
~~~~~~~~~~~~~
The remaining options on the Song mode edit screen are identical to the
coresponding options in Open and Track modes. See Chapters 4, 10 and 11
for more details on PLAY, LOAD/SAVE, SET OPTIONS, OPEN MODE, TRACK MODE,
and QUIT.
Chapter 6
~~~~~~~~~
TRACK MODE PLAY/RECORD
~~~~~~~~~~~~~~~~~~~~~~
The Track mode play/record screen of the KCS functions as a 48 track tape
recorder, with all the controls usually found on a mehanical tape recorder,
as well as many more that have no counterparts on the physical instrument.
All aspects of recording and playback are controlled in real time from the
play/record screen.
Track mode can be used in many different ways in composition. An entire
piece can be recorded in Track mode, using tracks that run the whole length
of the piece, or completed tracks can be moved to Open mode and linked with
other tracks in Song mode, or in Open mode using control sequences.
Play/Record
~~~~~~~~~~~
The Track mode play/record screen will appear whenever
Track mode is entered from one of the other
two modes, and when the program is first booted. The play/record
screen looks like this:
The screen is divided into three sections: the track status area, the
control panet, and the message line. The track status apea, in the upper
portion of the screen, displays the play status of each of the first 36
tracks. Activity on any track is also shown in the track status area by a
musical note icon, which changes color as notes occur on that track. The
control panel, in the lower part of the screen, contains a number of
buttons and indicators which mimic the operation of a trap recorder, the
message line, at the very bottom of the screen, displays messages relating
to various controls that aren't shown on the control panbel. All of the
buttons on the control panel can be activated with the mouse, or from the
computer's key6board. In addition, there are a number of other controls
which can be accessed only from the keyboard or the SET OPTIONS screen.
Each control is described in detail later in this chapter.
Each track has two designations: its track number, which is a number from 1
- 48, and an associated track key, which is a single key on the computer
keyboard. Tracks are selected either by pressing the appropriate track key,
or by clicking on that track in the status area. Selecting a track is not
used to determine which track to record on, since recording is always done
on the lowest numbered free track, but to apply the currently selected
track option to a track. The track options are used to mute or solo a
track, as well as for other functions.
Recording in Track Mode
~~~~~~~~~~~~~~~~~~~~~~
Recording starts when a note is played on the controller connected to the
computer's MIDI in, when the PLAY button is clicked, or when the FlO key
(or the SPACE bar) is pressed. As soon as recording starts the visual
metronome will start to flash, the audible metronome will start to beep,
and the measure/step counter will start counting. Recording ends when the
FlO key is pressed, or when the end of track 1 is reached, if track 1 has
already been recorded. (The time at which recording stops is also affected
by the ALIGN option, described later.) At this point, recording will start
on the next available track, and continue until the end of track 1 is
reached again. This process repeats until all 48 tracks are full, or until
the sequencer is stopped. Recording can be turned on and off while the
sequencer is running by clicking on the RECORD button or pressing F2, and
all of the other controls can be changed during recoed or playback as well.
Track Options
~~~~~~~~~~~~~
The track options allow you to determine what will happen to a track when
it is selected, either with the mouse or by pressing a track key. Only one
track option can be active at a time. Some of the track options can be
selected from the control panel or the keyboard, while others which are
used less frequently can only be selected from the keyboard.
The default track option is MUTE. When MUTE is active, selecting a track
will "silence" that track; the track can be unmuted by selecting it a
second time, as long as the MUTE track option is active. Muting a track
will cause that track's status display to change from PLAY to MUTE.
The other track options are SOLO, SET SWITCH, SET PUNCH, CLEAR/RESET PUNCH,
ERASE PUNCH, COPY PUNCH, ERASE TRACK, SHIFT, SWAP, EDIT SELECT, and NAME.
Each track option is described in detail later in this chapter.
Punch-In
~~~~~~~~
Punching is used to replace a portion of an otherwise good track. The term
"punching" is borrowed from multi track terminology, where it refers to
re-recording a section of a track by punching the record button in at the
start of the unwanted section and punching out at the end.
Punching on the KCS is a little different than punching on a tape deck.
Instead of erasing the punched portion of a track, the track is simply
muted for the duration of the punch and new data is recorded on a new
track. Once a good replacement track has been recorded, the original
punched data can be erased and the two tracks merged. The details on
punching can be found latcr in this chapter, in the section on the PUNCH
buttons.
RECORD
~~~~~~
The RECORD button on the control panel is used to turn recording on and
off. This button will light up when recording is activated. Record can
also be turned on or off with the F2 key.
STOP, PAUSE, and PLAY
~~~~~~~~~~~~~~~~~~~~~
Clicking on STOP will stop playback of all tracks, complete the current
recording (if record is on), and reset the sequencer to the beginning of
all tracks, or to the current cue point, if one is selected. The ENTER key
duplicates this function.
Clicking on PAUSE or pressing the ESC key will temporarily stop the
sequencer. Notes played on the keyboard will not be recorded when paused
though controllers may be recorded depending on the setting of the
CONTROLLER PAUSE switch on the SET OPTIONS screen. Clicking on PAUSE will
restart the sequencer.
PLAY starts the sequencer. If recording is enabled recording will start
when PLAY is selected. If a cue point has been set, playback or recording
will start from that point. Playback can also be started with the FlO key,
the SPACE bar, or the right mouse button.
CLOCK and MEASURE
~~~~~~~~~~~~~~~~~
The CLOCK display shows the current clock source, and the tempo of the
internal clock. If MIDI is displayed next to CLOCK, then the external MIDI
clock is in use. Otherwise, the internal clock tempo is shown in beats per
minute (BPM).
Clicking on the >> or << symbols will incrcase or decrease the internal
tempo by an amount set by the TEMPO CHANGE BY RATIO control, described
under HIDDEN CONTROLS, below. Holding the mouse button down while the
mouse pointer is on one of these symbols will cause a rapid change in
tempo. Pressing the, and . keys (COMMA and PERIOD) will also change the
tempo.
The MEASURE display shows the current location of the sequencer during
record and playback, in measures and steps.
RE-RECORD, RE-RECORD STOP and ERASE TRK
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Clicking on RE-RECORD or pressing UNDO will erase the current track.
Normally, this option will stop the sequencer and set the measure/step
counter to the beginning of the sequence (or current cue point). The
automatic stop feature can be turned off from the SET OPTIONS screen by
turning off the RE-RECORD STOP button. In this case, clicking on RE-RECORD
will erase the current track, without affecting the sequencer's playback.
ERASE TRK causes the most recently recorded complete track to be erased,
along with the current record track. This function is duplicated by the ?
key. Be careful when using this button, as the sequencer will not ask you
to confirm this selection before erasing these tracks!
Tracks can also be erased with the erase track option. When this option
(which can only be selected with the CLR HOWlE key) is active, selecting a
track will erase that track. A question will appear on the message line to
confirm this choice. Answer "y" to erase the track, or "n" to keep the
track. Select another track option, such as MUTE, to turn this option off.
CNTRLRS and AFTOUCH
~~~~~~~~~~~~~~~~~~~
These options are used to enable or disable the recording of MIDI
controllers such as pitch bend patch changes and aftertouch. CNTRLRS
affects all MIDI data except note data and aftertouch, and can also be
toggled with the COLON (:) key. The AFTOUCH function is duplicated with
the QUOTE (') key.
When recording controllers, if a pitch bend or sustain pedal (CC 64) event
is recorded, a zero pitch bend and/or sustain pedal off event are placed at
the end of the recording. This prevents hanging or mistuned notes if the
affected sequence is looped or joined to another sequence, either in Open
mode or by using the DOUBLE or APPEND options in Trace mode. This is
helpful in most circumstances, but you may need to edit these events out if
you are recording a part that is to be spliced into an existing sequence.
QUANT
~~~~~
When this switch is on, any events recorded will be rounded to the nearest
time interval represented by the musical icon below the QUANT switch. This
is similar to the AUTO-CORRECT edit option, but also effects controller and
other non-note data types as well, and cannot be undone. Only quantize
values represented by the available note icons may be selected from the
play/record screen, but any value desired may be entered from the SET
OPTIONS window.
MERGE and ECHO
~~~~~~~~~~~~~~
The MERGE and ECHO buttons toggle the MIDI merge and echo features. MIDI
merge is used to mix data from the computer's MIDI in with data from the
sequencer, for transmission through the MIDI out jack. This is necessary
when using the KCS in conjunction with a master keyboard to control a set
of expander modules.
ECHO is similar to MERGE, except that data is rechannelized prior to
mergina and/or recording. Clicking on ECHO causes a display of the current
echo channel to appear beneath the ECHO button; clicking on the associated
>> and << symbols will change the echo channel.
The functions of the MERGE and ECHO buttons are duplicated with the
SEMICOLON (;) and BACKSPACE keys, respectively. When ECHO is active, the
status of the MERGE switch is ignored.
MUTE, SOLO and SET SWITCH
~~~~~~~~~~~~~~~~~~~~~~~~~
These three track options are used to selectively mute one or more tracks
during playback. MUTE, which was described earlier in the section on track
options can also be activated with the F3 key.
A block of adjacent tracks can be muted or umuted by holding down the left
mouse button and dragging the mouse over those tracks. The status of each
track will toggle as the mouse passes over it.
The MUTE function can also be modified using the SHIFT and ALTERNATE keys
in conjunction with the mouse. If ALTERNATE is held down while MUTE is
active and a track is selected with the mouse, that track will be muted if
it ts playing, but will not be unmuted is it is already muted. Conversely,
holding down SHIFT while selecting a track with the mouse will unmute any
muted tracks, but will not mute tracks. (Think of the ALTERNATE and SHIFT
keys as meaning "mute only" and "unmute only" respectively.)
The SOLO track option is used to solo a track, that is, mute all tracks
except the selected track. Selecting the track a second time will unmute
the other tracks. SOLO can also be selected by pressing F8.
SET SWITCH is used to set up a "switch" which will alternately mute and
unmute two selected tracks. Selecting a track after this option is chosen
will change that track's status to SWITCH; selecting a second track will
change the first track's status to PLAY and the second track's to MUTE.
The RETURN key can then be used to alternately switch between the two
tracks. After the second track is selected, the track option will
automatically change to MUTE. The SET SWITCH option can only be selected
with the F9 key, and not from the control panel.
Note that muting a track which contains OFF events (which are only recorded
for notes with release velocity or for notes greater than 999 steps long)
could cause some notes to stick. Stopping the sequencer, or pressing the "
(SHIFT-ACCENT) key, will clear any stuck notes.
EXIT and Help
~~~~~~~~~~~~~
Clicking on EXIT or pressing F1 will stop the sequencer and transfer you to
the Track mode edit screen. Pressing the HELP key will stop the sequencer
and display a list of the track mode keyboard commands. These commands are
also listded in the TRACK MODE COMMAND REFERENCE LISTS at the end of this
manual.
PUNCH
~~~~~
The buttons under PUNCH are used to access the sequencer's punch in and out
capabilities. The punch buttons are all track options so only one can be
selected at a time, and selecting any other track option will deselect the
punch buttons.
SET PTS is used to set the start and stop points for a punch. The F4 key
duplicates this function. When this track option is active, selecting a
track will set the start point for the punch: the track will also be muted
and will appear in the status display under PUN. Selecting the track a
second time will set the end point for the punch, and the track will be
umnuted and the word ON will appear under PUN. If the track is not
selected again before the track stops, the end punch point will default to
the end of the track. As the track loops, the display under PUN will
change from ON to OFF when the punched out section is playing, and back
again when the end punch point is reached.
If punch points have already been set for a track, then selecting that
track will change either the start or end point of the punch. Selecting a
track while that track is punched OUT will change the end punch point, and
selecting the track while it is on will set a new start point. Each track
can only have one set of punch points, but separate punch points can be set
for as many tracks as needed.
The clear punch points track option is selected by clicking on CLR PTS, or
by pressing F5. Selecting a track while this option is active will
temporarily remove the punch points in that track, and unmute the punched
section. Click the mouse a second time to restore the punch points.
Clicking on ERS PUN or pressing F6 selects the erase punch option.
Selecting a track while this option is active erases the punched section of
that track and optionally merges the most recently recorded track with the
original. When a track is selected, a prompt asking for one of three keys
to be pressed will appear on the message line. Press Y to erase the
punched data, L to erase the punched data and merge the track with the last
track recorded (thereby replacing the punched data), or N to cancel the
command.
CPY PUN or the F7 key will select the copy punch track option. Selecting a
track with active punch points will copy the punched data to the next empty
track, and delete that data from the original track. The new track will
also be muted.
CUE
~~~
The CUE button is used to activate Track mode's cue loop. When CUE is on,
the sequencer will repeatedly loop the material contained between the start
(FROM) and end (TO) points of the cue loop. Clicking on CUE will
immediately start all tracks at the beginning of the cue loop; clicking on
PLAY when the CUE button is lit has the same effect. The TAB key can also
be used to activate the cue loop, and the SLASH (/) key will turn cueing
off.
The start and stop points for the cue loop can be changed in a number of
ways. With the mouse, clicking on the > > and << symbols will move either
cue point forward or backward. These controls are duplicated on the
computer keyboard by the cursor control keys, with the CURSOR UP and CURSOR
DOWN keys controlling the start point, and the CURSOR LEFT and CURSOR RIGHT
keys affecting the end point.
The amount the cue points move each time one of these buttons is pressed
can bm changed with the INSERT key. Normally, the cue point move amount is
one measure; pressing the INSERT key changes this to eight measures and
pressing it again will change it back to one measure.
The last one, two, four, or i@ght measures played can be replayed by
pressing the LEFT BRACKET ([), RIGHT BRACKET (]), ACCENT('), and EQUAL (=)
keys respectively, Pressing one of these keys will move the cue point back
by the appropriate amount and start the sequencer at that point, though the
cue loop will not be activated. These buttons are handy if you hear a
mistake or other point of interest while listening to the tracks and want
to hear it again.
Cueing can be used for recording as well as playback. When a new track is
recorded with the cue loop active, the program adds time to the beginning
of that track to align it to the other tracks.
If the start point for the cue loop has been changed since the last time
the cue was played, there may be a slight delay between loops as the
sequencer advances to the start of the loop.
Track Merge
~~~~~~~~~~~
Pressing the BACKSLASH (\) key, just to the right of RETURN, selects the
Track merge option. This is used to combine two or more tracks tnto a
single track, which can simplify the editing of tracks that are on the same
MIDl channel, and frees up tracks for further recording.
When this option is selected, the message line will prompt you for a list
of tracks to be merged; select the tracks with the mouse or the track keys,
and press RETURN. Each track in the list will be merged with the lowest
track, and then erased.
ALlGN
~~~~~
The sequencer's ALIGN feature is used during recording to force the length
of track 1 to a whole number of measures. If ALIGN is off while recording
track 1, recording stops as soon as the sequencer is stopped, so the last
measure of the track may be less than 96 steps (or whatever the current
measure length is), and the sequencer will loop unevenly. When ALIGN is
on, the sequencer will continue to record to the beginning of the next
measure after recording is stopped. ALIGN is turned on and off with the
DELETE key.
Since track 1 sets the length of all tracks, ALlGN has no effect when
recording tracks other than track 1.
Hidden Controls
~~~~~~~~~~~~~~~
There are a number of other controls which can only be accessed from the
keyboard. Most can also be set from the SET OPTIONS screen, which can be
reached directly from the play/record screen by pressing 0 (ZERO) on the
computer's typewriter keyboard. See the SET OPTIONS chapter for more on
these controls. The HELP key and this manual's appendix also list the
hidden control keys.
When a hidden control is changed from the play/record screen, a message
confirming the change will appear on the message line. Hidden controls can
be changed while the sequencer is playing or recording.
AUTO-RECORD is selecled with the | (SHIFT-BACKSLASH) key. When this switch
is turned off the RECORD switch will turn on when it finishes recording a
track. AUTO-RECORD is normally on.
The visible metronome can be turned on or off with the $ (SHIFT-4) key, and
the audible metronome is toggled with the % (SHIFT-5) key. The & (SHIFT-7)
key disables the step display in the measure/step counter.
Track looping is turned on or off with the ( (LEFT PARENTHESIS) key, and
FILTER is toggled with the ) (RIGHT PARENTHESIS) key. The filter channel
is a changed with the PLUS (SHIFT-EQUAL) and UNDERSCORE (SHIFT-MINUS) keys.
SILENT PUNCH is turned on or off with the MINUS (-) key. TEMPO CHANGE BY
RATIO is toggled between one BPM and 2.5% by pressing the ^ (SHIFT-6) key.
A few hidden controls are not duplicated on the SET OPTIONS screen. The
PANIC BUTTON (the ~ key, or SHIFT-ACCENT) sends an All Notes Off message on
all 16 MIDI channels as well as sustain pedal off and zero pitch bend
messages for the appropriaate channels. Pressing # (SHIFT-3) will mute all
tracks and pressing @ (SHIFT-2) wills unmute all tracks regardless of their
current statuses. Finally, the ! (SHIFT-1) key brings up the ALL TRACKS
TO SEQ edit window, which is described in detail in Chapter 4.
Track Shift, Swap, and Name
~~~~~~~~~~~~~~~~~~~~~~~~~~~
Function keys Fll through F16 are used to select the SHIFT track options.
The SHIFT options are used to shift a track forward or backward in time,
relative to the other tracks. The shift amounts are + 1, + 3, + 12, -1,
-3, and -12 for keys F11- F16. (Remember, function keys Fll to F20 are
selected by pressing SHIFT and a function key from Fl to F10.)
The DELETE key can be used to toggle between a positive and negative shift
amount when a SHIFT option is active. Note that since the DELETE key is
normally used to toggle ALIGN, the ALIGN feature can not be changed when a
SHIFT option is active.
The program cannot shift a track if its first event would be placed before
the start of the track, which means that negative shift values cannot be
used on tracks which start on the first beat. Nor will events shifted
beyond the end of track 1 be phayed. Shifting a track changes the time
value of the first event in the track by adding or subtracting the shift
amoumt, and this change will be reflected in the event list on the edit
screen. The TIME value for the first event of the track will be displayed
in the right part of the message line whenever a SHIFT operation is
performed.
You should be careful to turn SHIFT off by clicking on the MUTE button when
you are done shifting tracks, as we have found that it is easy to
accidentlly mess up a track by shifting it when you really want to mute it.
SWAP is activated by pressing F18. The SWAP track option is used to swap
the position of two tracks in the track display. Since notes on the lower
numbered tracks are played before notes on the higher tracks swapping
tracks can be used to correct for minor timing problems caused Eyb MIDI
bandwidth limitations or differences in instrument response times. See
Chapter 13 for more on sequencer timing.
When the NAME track option is selected with the F20 key, selecting a track
will allow you to enter a name for that track. The input from the keyboard
is not parsed (interpreted) as it is entered, so the BACKSPACE, DELETE, and
similar keys will insert funky graphics symbols in the name, rather than
performing the expected operations. Typing mktakes can be corrected from
the edit screen.
MIDI Song Pointer
~~~~~~~~~~~~~~~~~
If a MIDI song pointer message is received while in Track mode, the program
will start all tracks from the specifed point. Song pointer messages will
be ignored if the clock source, on the SET OPTIONS screen, is not set to
MIDI WITH SONG POINTER. The correct time value will be inserted at the
beginning of any track that is recorded after a song pointer message is
received.
Song pointer is sent by the sequencer at the beginning of the cue loop, if
cueing is activated and if SONG POINTER SEND has been enabled, as described
in Chapter 11.
Countin
~~~~~~~
If a countin has been set on the SET OPTIONS screen the program, will wait
for the programmed number of steps before starting to play or record. For
example, a value of 96 will create a one measure countin. The metronone
will sound and MIDI clock will be sent during the countin.
Velocity Pedal
~~~~~~~~~~~~~~
The velocity pedal feature of the KCS allows you to modify the note on
velocities of a part being recorded with a continuous controller. This can
be used, for example, to play accents on synths which recognize velocity
but don't send it, or to do a MIDI mixdown on a synth which recognizes
velocity but not volume control. In conjunction with the live edit feature
described later in this chapter or the loopback recording technique
discussed in Chapter 13, the velocity pedal can be used to affect
velocities of previously recorded tracks or sequences as well.
When velocity pedal is active, all continuous controllers on the velocity
pedal channel (which is set from the SET OPTIONS screen only) will be
combined with the note velocities of the incoming MIDI data in one of three
ways. The three velocity pedal modes are selected with the F19 (SHIFT-F9)
key, which is also used to turn the velocity pedal on or off. When the
velocity pedal is on, control changes on the velocity pedal channel are not
recorded or merged by the program. Pitch bend and aftertouch are not used
for the velocity pedal.
Pressing F19 once selects the FULL velocity pedal mode, where the note on
velocities are simply replaced with the last controller value received.
FULL is most useful when recording a part from a non-velocity sensitive
keyboard, which is played on a velocity sensitive slave. A mod wheel or
foot pedal can be used to set the not velocity between 1 and 127,
regardless of how hard you strike the keys.
MIX averages the last controller value received with the velocity of the
note. This is most useful for making minor changes in a previously
recorded track using live edit or loopback recording.
SCALE combines the last controller value and the note velocities in such a
way that the controller has more effect at the top and bottom of its range,
but very little near the middle. For example, if the controaler is at or
near 1, the recorded velocities will be at or near 1, no matter how hard
the keys are struck. If the controller is at or near 127, the recorded
velocities will be at or near 127. BUT, if the controller is near 64 (the
center of its range), the recorded velocities will be determined mostly by
the note velocities sent by the keybeard. SCALE is best suited to major
editing on prerecorded tracks or sequences using live edit or loopback
recordmg.
Note that the velocity pedal channel, on the SET OPTIONS screen, need not
be set to the channel that the keyboard or receiving synth is on, but must
be set to the channel of the device with the continuous controller beung
used.
Live Edit
~~~~~~~~~
Live edit is an advanced feature of the Keyboard Controlled Sequencer which
allows you to delete notes from a track or alter their velocities in real
time, as the sequencer is playing. Since live edit is much more
complicated than the other features of Track mode, we recommend that you
become thoroughly familiar with the rest of the KCS before diving into live
editing.
Live edit is activated by selecting the EDIT SELECT track option with the
F17 (SHIFT-F7) key. When this option is selected the words EDIT SELECT
will appear in the message line, and the PUNCH buttons will be replaced
with a set of EDIT buttons. The edit buttons are used to handle backup
tracks and to turn live editing off and the ALTERNATE CONTROL, and LEFT and
RIGHT SHIFT keys are used to edit the selected track.
When a track is selected, the word EDIT will appear in its status display
and a backup track will be created in the first available track. The track
can now be edited with the keys mentioned earlier.
RIGHT SHIFT will delete notes that play while it is held down, by replacing
them with DE events.
ALTERNATE will replace note velocities with velocity value Y from the step
time record screen, which defaults to 127. If one of the true velocity
pedal options is selected, pressing ALTERNATE will set the note velocities
from the velocity pedal.
LEFT SHIFT will replace note velocities with step time velocity value W
(default 64).
ALTERNATE plus LEFT SHIFT will replace note velocities with step time
velocity value U (default 16).
CONTROL will replace notes in the edit track with notes from, the backup
track. Normally, this acts as an "undo" command but can also be used as a
compositional device if the backup track is changed from the edit screen.
For instance, if the backup is transposed up an octave, then pressing
CONTROL will have the effect of transposing notes up an octave when it is
pressed.
The edit buttons are used to manage the current edit track's backup tract
and to disable or exit from live edit. Clicking on an edit button will
affect only the currently selected edit track.
The BACKUP button will replace the backup track with the edited track. Use
this only when you are satisfied with any editing you have done, and be
careful, as the original track will be lost when this button is pressed.
RESTORE is the opposite of BACKUP. It replaces the edid track with its
backup track. Use this when you make catastrophic mistakes in your
editing.
DONE changes the status of the track from EDIT to PLAY, and turns off live
editing for that track. The backup track can be deleted as well, if
desired. Clicking on DONE again will replace the edit buttons with the
punch buttons; pressing the * (SHIFT-8) key has the same effect.
OFF temporarily disables the editing keys, without turning live edit off.
This allows you to select functions which require the SHIFT keys, such as
velocity pedal or certain track options. Note that OFF doesn't turn live
editing off - that is done with the DONE button.
Chapter 7
~~~~~~~~~
OPEN MODE PLAY/RECORD
~~~~~~~~~~~~~~~~~~~~~
Open mode is the Keyboard Controlled Sequencer's generalized sequencing
mode. In Open mode, you can define up to 128 independent sequences, any
number of whdch may be played back simultaneously. These may be completely
independent of each other, or some sequences may include commands to start
and stop other sequences. A sequence which starts or stops another
sequence is called a control sequence. By chaining control sequences
together, you can realize very complex pieces of music. Chapter 4
describes how you can create control sequences using the edit screen.
There are two types of sequences: primary and secondary. Primary
sequences are designated by the numbers 1 - 9 and the letters A - Z, and
are activated from the Open mode play screen by pressing the corresponding
key on the typewriter keyboard. Secondary sequences are designated by the
two digit numbers 00 - 92. They are activated from the Open mode play
screen by typing two digts on the numeric keypad on the right side of the
computer keyboard.
Play/Record Screen
~~~~~~~~~~~~~~~~~~
Entering Open mode from either the Track or Song mode edit screens will
place you on the Open mode edit screen. The play/record screen is entered
by double clicking the right mouse button, by clicking on PLAY and
selecting GO TO PLAY SCREEN, or by single clicking the ri@ht mouse button
while holding down the SHIFT key. The program uses the same screen for
both play and record operations.
An important difference between Open mode and Track mode is that going to
the Open mode play screen does not automatically allow you to record. To
record in Open mode, you must eiiher select the RECORD option from the edit
screen, or activate Open mode real time recording from the play screen.
This procedure is described in detail later in this chapter.
The Open mode play/record screen looks like this:
The play screen consists of two areas: the sequence area at the top, and
the status lines at the bottom of the screen. The sequence area shows the
status of the 35 primary sequences and the first 45 secondary sequences.
(The remaining secondary sequences can be played from this screen as well,
but no status information is shown for these sequences.) Four consecutive
sequences are displayed on each lime. The P, F and W columns contain
information concerning the status of each sequence. The S (Sequence)
column contains the designator for each of the 80 sequences displayed. The
RE (REpeats) column shows the number of repeats programmed for each
sequence. A 99 in the RE column means that the sequence will loop
indefinitely. NAME shows the name of each sequence. The P (Play) column
shows the number of times each sequence has left to play and counts down as
each repitition of the sequence occurs. A 9 will be displayed in the P
column if that sequence has nine or more repeats left to play. The F
(From) colunn contains the letter or number of the control sequence that
started the sequence. This field is blank if the sequence was started from
the computer keyboard. A W in the W (Wait) column indicates that the
sequence is currently waiting for another sequence to finish, and an M
means the sequence is currently muted.
The status lines at the bottom of the screen display information about
various record and play options and also show the measue/step counter, the
real time clock and the clock source or tempo. The words RECORD, CUE, MIDI
MERGE, PAUSE, etc. will appear on the status lines when these features are
activated and dissappear from the status lines when they are de-actavated.
The current cue point and cue sequence are also shown.
CLOCK, Metronome and Measure/Step Display
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The cunrent clock source is displayed next to the word CLOCK on the next to
last line. This will be the current clock rate in beats/minute if the
internal clock display is being used, MIDI if MIDI clock is being used
without song pointer, or MIDI WITH SP if MIDI clock is bemg used with song
pointer.
If the internal clock is in use, the clock rate can be changed during play
by using the COMMA (,) key to increase the tempo, or the PERIOD (.) key to
decrease the tempo. The clock rate can also be changed from within a
sequence using TM, AC, or DC events, or from the SET OPTIONS screen,
described in Chapter 11. The SET OPTIONS screen is the only way to change
the clock source.
The measure/step counter displays the current measure and step being
played. It will be reset to measure 1 if you press UNDO to stop all
sequences or CLR HOME to erase the current recording. It will be set to
the cue or song pointer location if you start a cue or a song pointer
message is received.
The program provides both a visible and an audible metronome. The visible
metronome appears in the bottom, right hand corner of the screen. The
audible metronome can be heard through the speaker of your monitor. The
separation between metronome clicks can be programmed from the SET OPTIONS
screen.
Playing Sequences
~~~~~~~~~~~~~~~~~
Primary sequences 1 - 9 and A - X are started by pressing a key on the
typewriter keyboard, and secondary sequences 00 - 92 can be started by
typing a two digit number on the numeric keypad. (Primary sequence 1 - 9
cannot be started from the numeric keyboard, nor can secondary sequences be
started from the typewriter keyboard.) If ALIGN is turned off, the sequence
will start immediately; otherwise it will wait for the beginning of the
next measure and then start.
The numeric keypad also has a "bank lock" feature, which allows selecting
any secondary sequence from within a bank of ten sequences using a single
key. Pressing the ASTERISK (*) key on the numeric keypad after entering
one or both digits of a secondary sequence will lock the 10's place (the
first digit) of that number, and subsequent numeric keypad digits will
immediately start the appropriate sequence in the bank. For example,
pressing on the numeric keypad after pressing 1 will lock the 1 in as the
first digit of the secondary sequence, and pressing numeric keys 2, 3, and
4 will start sequences 12, 13, and 14. Bank lock is turned off with the (
(LEFT PARENTHESIS) key on the numeric keypad. The most recently started
secondary sequence is displayed in the lower right corner of the screen,
which is helpful when you are using the bank lock feature, and the word
BANK will appear beside the sequence number if bank lock is turned on.
Normally, the sequence will play for the programmed number of repeats and
stop. To stop a sequence from, looping press the appropriate sequence key
or numeric keypad number once. The sequence will play to the end and then
stop. To stop a sequence immediately, press the sequence key or number
twice if it is looping, or once if it is in its last play. To play several
sequences at once, press the ESC key to put the program into pause, start
the sequences, then press ESC again.
Muting Primary Sequences
~~~~~~~~~~~~~~~~~~~~~~~~
To mute any primary sequence that is playing press SHIFT and the sequence
key simultaneously. An M will appear under the W heading for the sequence.
The sequence will continue to keep time, but no events will be sounded.
Notes currently playing will be shut off unless they were defined with
separate ON and OFF events. Such notes will stick until Fl, UNDO, or the
PANIC BUTTON is pressed.
To unmute a sequence, press the sequence key again (no SHIFIt this time).
The M will disappear and the sequence will resume sounding at the same
point it would have been at, had the mute feature not been invoked. Use
mute to cue in and out multiple overdubs in real time, or to isolate and
listen to individual sequences.
Secondary sequences cannot be muted from the Open mode play screen, though
they can be muted and unmuted with MS and US events.
Cancel
~~~~~~
Pressing the UNDO key will canccl, or stop, all active sequences, and set
the measure counter to 0. If you are currently recording it will erase the
recorded sequence and allow you to start recording again. Cancel will not
erase a sequence which you recorded earlier in the current play/record
session.
Pause
~~~~~
The ESC key can be used as a pause button during playback or record.
Pressing ESC shuts off any notes being played and stops the internal clock,
or if MIDI clock is being used, all clocks will be ignored until the pause
button is pressed again. The word PAUSE is displayed on the middle status
line until it is deactivated or you leave the play/record screen.
Notes played on the keyboard are not recorded when paused, but the last
controller of each type played is recorded, if the CONTROLLER PAUSE switch
is active on the SET OPTIONS screen. See Chapter 11 for more details.
Cueing
~~~~~~
The TAB key activates the cue feature. Each time you press the TAB key the
cue sequence will begin playing from the cue point. Program changes that
occur earlier in the cue sequence will be sent over MIDI, and sequence
start events and tempo changes will be executed.
The cue sequence is set from the play options dialog box described in
Chapter 4. It can also be changed from the play/record screen using the
left and right cursor control keys. The CURSOR LEFT key decreases the cue
sequence by one, and the CURSOR RIGHT key increases the cue sequence by
one.
The cue point determines where phayback will begin in the cue sequence.
This also can bm set from the play options dialog box and changed from the
play/record screen using the CURSOR UP and CURSOR DOWN keys and the INSERT
key. The up arrow moves the cue point higher, the down arrow moves the cue
point lower, and INSERT tnggles the amount that the cue point moves between
one measure and eight measures.
The cue feature is particularly useful when the cue sequence is a control
sequence that plays an entire piece. You can use cue to hear the piece
starting from any point. By keeping alternate arrangemems of your songs on
consecutive sequence keys, you can quickly go back and forth between the
same pmint of different arrangements of a piece with the cursor keys.
Align
~~~~~
When activated, ALlGN forces the program to wait till the end of a measure
before exiting the record mode. This assures that all sequences recorded
will loop properly. ALIGN also forces all sequences that are started from
the computer keyboard to wait until the beginning of the next measure
before playing.
ALlGN is normally on when recording, and off when in play and not
recording. It can be toggled on or off with the DELETE key.
MIDI Merge
~~~~~~~~~~
MIDI MERGE is activated by pressing the SEMICOLON (:) key. All incoming
MIDI data, including system exclusive messages received by the computer is
merged with the sequence data being played. Press the : key again to
de-activate MIDI merging. MIDI mergng is disabled when ECHO is on.
Echo
~~~~
The ECHO feature is used to rechannelize MIDI data recorded by the program
and send it out the computer's MIDI out. This allows you to record on any
channel while using a keyboard controller that transmits on a single
channel. If ECHO is active, the word ECHO will appear on the bottom of the
screen, followed by the echo channel. You can use the BACKSPACE key to
toggle echoing on and off from the play/record screen, and use the > and <
(SHIFT-PERIOD and SHIFT-COMMA) keys to increase or dccrease the echo
channel.
Filter
~~~~~~
FILTER is used to force the sequencer to accept MIDI data on only one
channel, the filter channel. Incoming data on other channels as ignored.
FILTER is turned on with the ) (RIGHT PARENTHESIS) key, and the filter
channel can be lowered or raised with the UNDERSCORE (SHIFT-MINUS) or PLUS
( + ) keys respectively.
Set Options and Help
~~~~~~~~~~~~~~~~~~~~
The SET OPTIONS screen can be reached directly from, the Open mode play
screen by pressing the 0 (ZERO) key. The SET OPTIONS screen is described
in Chapter 11.
Pressing the HELP key will bring up the Open mode help screen, which shows
the functions of each key on the computer keyboard in Open mode. These
functions are also summarized in the Appendix to this manual.
Exit
~~~~
Pressing F1 will immediately end the play/record process and take you
dirctly to the edit screen. The left mouse button duplicates this function
in Open mode.
Panic Button
~~~~~~~~~~~~
Pressing the ~ (SHIFT-ACCENT) key will send All Notes Off messages on all
16 MIDI channels. This is useful for canceling stuck notes on any
synthesizers that, for one reason or another, did not receive a note off
message. The All Notes Off message is not recognized by all instruments,
so this button may not always clear all stuck notes. The panic button also
clears any sustain pedal or pitch bend settings that may have been left
"hanging".
Recording in Open Mode
~~~~~~~~~~~~~~~~~~~~~~
Open mode recording can be selected in one of two ways. Clicking on RECORD
from the Open mode edit screen will bring up an edit window which allows
you to select one of four recording methods, or pressing the RETURN or
ENTER keys on the Open mode 1 play screen will enable real time recording.
Generally speaking selecting RECORD from the edit screen provides more
flexibility in recording while the RETURN/ENTER method is more convenient
if you are playing an Open mode sequence and want to record a part whenever
inspiration strikes. Real time recording is described later in the
chapter.
When you select RECORD from, the edit screen, an edit window will ask which
sequence you want to record, and will also present a set of record options.
The sequence will default to the next empty sequence, or you can enter a
sequence. Enter one key for a primary sequence or two digits for a
secondary sequence. Remember that sequences Y and Z are reserved for
internal use by the program and cannot be recorded.
Four record options are displayed in the left part of the edit window, one
of which must ge selected. STEP TIME allows you to create a sequence using
a method similar to step mode entry on a drum machine. Step time entry is
useful for entering fast arpeggios, regular chord patterns or other parts
with few changes in note to note timiing. The step time recording process
is described in detail in Chapter 9.
REAL TIME records events from the synthesizer keyboard in real time. In
this mode the program is similar to a tape recorder, recording all notes as
you play. OVERDUB will automatically play the overdub sequence and set the
length of the current sequence to match that of the sequence you are
overdubbing to. You must select an existing sequence to overdub to if you
choose OVERDUB. RECORD WITH CUE is another way to record a new sequence in
sync with an existing sequence. RECORD WITH CUE differs from OVERDUB in
that the existing sequence may be started at any measure. It is
particularly useful when the existing sequence is a partly completed song
that you want to add parts to in specific places. You must select an
existing sequence to be the cue sequence. The real time record options are
described in detail later in this chapter.
Controllers, Aftertouch, Note Off Vel, and Echo
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These record options set the sequencer to record or ignore MIDI
controllers, aftertouch, and note off (release) velocity. CONTROLLERS
enables the recording of pitch bend, control changes, and program changes.
If a pitch bend or sustain pedal (MIDI controller 64) event is recorded, a
zero pitch bend or sustain pedal off message will be placed at the end of
the recording. AFTERTOUCH controls the recording of aftertouch (pressure)
information. Since aftertouch and controller data use such large chunks of
memory, it is best to disable CONTROLLERS and AFTERTOUCH uless specifically
required.
NOTE OFF VEL allows separate storage of note off events, including note off
velocity. There are only a few synths capable of sending and receiving
note off velocity. Notes recorded with note on velocity are stored as
separate note on and note off events, and are more difficult to edit. The
KCS can only remember to hold down 64 notes (on all synths) at one time
using ON events, so if you need more than that, you need to record some
parts with note off velocity.
The letters C A O will appear beside RECORD on the play/record screen if
any of these options are turned on. The options can also be turned on and
off directly from the play/record screen. The COLON (:) key toggles
controllers, the QUOTE (') key aftertouch, and the DOUBLE QUOTE (") key
note off velocity.
ECHO can also be toggled from this window. ECHO is described earlier in
this chapter.
Real Time Record
~~~~~~~~~~~~~~~~
If you select the REAL TIME, OVERDUB, or RECORD WITH CUE options, the
play/record screen will be diplayed. The only visible differences between
play and record are that the words RECORD and ALIGN appear at the bottom of
the screen along with any other active record options.
The following example shows the screen that would appear if your first
action in Open mode is to record sequence 2, echoing onto channel 4. The
number of the sequence being recorded is shown in red on a color monitor.
When you besn playing on the synth keyboard, the metronoe (bottom right of
screen) will begin flashing and the measure/step counter will start
counting up. A metronome will also sound on your monitor speaker. If you
did not specify a name, the MIDI channel of the first event recorded will
be d@splayed under NAME. If you want to begin the sequence with a rest,
press the FlO key.
If, during recording you make a mistake and wish to start again press the
UNDO key. The current recordLng will be erased and the program will start
recording again when you play the keyboard or press FlO. When you have
finished recording press FlO and the sequence will begin playing back
immediately if ALIGN is off or when the measure completes if ALIGN is on.
If your new sequence is playing back and you decide you don't like it, you
can erase it and record again by pressing CLR HOME. Recording will start
again when you play the keybeard or press FlO. Press FlO a second time to
end recording and hear what you just played.
All of the play features described earlier in this chapter also function
when recording. To stop recording and go to the edit screen, press Fl.
As mentioned earlier, real time recording can also be selected directly
from the Open mode play screen by pressing the RETURN or ENTER key. If
RETURN is pressed, recording will start as soon as a note on or other
relevant MIDI event is received at the MIDI in jack, and if ENTER is
pressed, recordjng begins immediately. The first unused sequence will be
used for recording. Pressing FlO will turn recording off and play the
newly recorded sequence, pressing UNDO will erase the current recording and
stop all sequences, and the CLR HOME key will erase the last sequence
recorded in the current session.
Additional Open mode sequences can be recorded in a single real time
recording session by pressing either RETURN or ENTER, even if recording
was initiated from the edit screen. This process can be repeated as many
times as needed, to record additonal sequences.
Overdub
~~~~~~~
The OVERDUB option allows you to record a new sequence in sync with an
existing sequence called the overdub sequence which is automatically played
back by the prograrn as you record. You can start the overdub process by
playing a note on your synth or by pressing F10. In either case, the
overdub sequence will automatically be started and recording will begin.
When the overdub sequence completes, the program will automatically end the
recording process and play back both sequences together. If you make a
mistake during recording or are dissatisfied after the recording, you can
use the UNDO or CLR HOME keys to start over, as described above under REAL
TIME RECORD.
Since the overdub sequence can be any Open mode sequence, including a
control sequence, It is possible to overdub a sequence to a section of a
song, or an entire piece. Overdubbing to a control sequence is done in the
same mamer as overdubbing to any other sequence.
If you start the overdub sequence with FlO and don't play any notes at all
before it ends, the overdub sequence will still loop, and the program will
remain in record. This allows you to listen to your overdub sequence a few
times before recording.
Record with Cue
~~~~~~~~~~~~~~~
RECORD WITH CUE is very similar to OVERDUB, but allows you to start the
overdub sequence at any measure. This is useful for things like adding tom
fills to a section, adding some grace notes to a long piano sequence, or
adding controllers to a piece after the basic arrangement was done. The
program will automatically insert the correct amount of time before the
first event.
When the RECORD OPTIONS edit window is displayed, select RECORD WITH CUE
and then click the mouse to OVERDUB/CUE SEQ, and enter a sequence key or
number. If you select an unused sequence, the program will alert you. You
can also set a new cue point at this time. This will be the measure at
which the program will start the cue sequence.
When you get to the play/record screen the cue sequence and cue point
displays will reflect the values you entered. Play a note or press FlO to
start recording. The cue sequence will begin playing at the specifed cue
point. Press FlO when you have completed recording. Both the cue sequence
and sequence you recorded will start playing back from the selected cue
point. You can restart both sequences at any later time by pressing FlO or
TAB. If you make mistakes and want to start over, you can press UNDO if
you are still recording or CLR HOME if you have completed recording. The
program will erase your recording and return to the beginning of the
recording procedure.
Recording with Velocity Pedal
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
When the VELOCITY PEDAL option has been activated from the SET OPTIONS or
Track mode record screens, the sequencer will not directly record note on
velocities, but will instead record values based on the position of any
continuous controllers on the velocity pedal channel. The velocity pedal
function cannot be accessed from the Open mode play/record screen. See the
chapter on the Track mode play/record screen for more information on the
velocity pedal.
Recording with a Countin
~~~~~~~~~~~~~~~~~~~~~~~~
You can use the SET OPTIONS screen to set a recoring countin. This allows
you to use the metronome or an external MIDI drum machine to get the feel
for a few beats before recording. If you are using a countin, press F10
when you are ready to record or overdub. The program will sound the
metronome and send MIDI clock, but it will not start recording or start the
overdub sequence until the number of steps specified for the countin have
passed.
MIDI Song Pointer
~~~~~~~~~~~~~~~~~
If the MIDI W SONG POINTER clock sourse option was selected from the SET
OPTIONS screen, and the program receives a MIDI song pointer message during
Open mode play, the program will turn on all active sequences, and start
the current cue sequence at the point specified by the song pointer
message. The only MIDI events that will be sent while the program is
chasing the song pointer are program changes. It may take a few seconds
for the program to chase many measures into a complex piece, and songs with
a lot of continuous controller data will take a little longer than other
songs.
Recording with song pointer is similar to recording with cue. If the clock
source has been set to MIDI WITH SONG POINTER, and the program receives a
song pointer message, the cue sequence will be started at the location
specifed by the song pointer message, and recording will begin. If a
second song pointer message is received, and no notes have been recorded,
the program will start the record process again.
If a second song pointer message is receeved after some notes have been
recorded, the program will end recording and play back both the cue
sequence and the newly recorded sequence, starting at the song pointer
location. You can still use CLR HOME to erase the new sequence and restart
the recording process.
Chapter 8
~~~~~~~~~
Song Mode Play
~~~~~~~~~~~~~~
The Song mode play screen allows you to play songs created on the song mode
edit screen described in Chapter 5. You cannot record while in Song mode.
The Song mode pIay screen is reached from the Song edit screen by clicking
on PLAY or pressing the right mouse button.
The following example shows the Song mode play screen as it might look
before a song is started:
The Song mode play screen has severl sections. The top line has the song
number and title. The bottom of the screen is used for status lines, as in
Open and Track modes. Most of the rest of the screen is used for a list of
up to 48 song segments. A song can have up to 100 segments, but only the
first 48 can be seen on the play screen. Each song segment shown has a
number , and a segment key. The segment keys are used to select segments
much like track keys can be used to select tracks in Track mode.
Typewriter keys 1 - 9 are used for segments 1 - 9, keys A - Z for segments
10 - 35, and keys on the numeric keypad for segments 36 - 48. There is
also a set of segment/channel options, seleted with the function keys which
determine how the song is affected by selecting a segment.
Each segment plays a single Open mode sequence. The sequence key (for
primary sequences) or a two digit sequence number (for secondary sequences)
is shown in the SQ column. The sequence name is displayed in the NAME
column, and the number of times the segment is to play is shown under REP.
Other information will appear in the REP column as the song is played.
The right edge of the screen displays the status of the 16 MIDI channels.
Each channel has a channel number and a corresponding key (1 - 9 and A -
G). Channels can be soloed and muted, in the same way that tracks are in
Track mode.
Playing the Song
~~~~~~~~~~~~~~~~
The song is started by pressing FlO or clicking the right mouse button.
When play starts, the measure/step counter starts to count, and a red
musical note will appear in the REP column for segment 1. This symbol
indicates the segment currently playing. If the segment is programmed to
play more than once, the number in the REP column will count down as it
plays.
PAUSE and MIDI MERGE
~~~~~~~~~~~~~~~~~~~~
The Song can be paused at any point by pressing the ESC key; pressing ESC a
second time lets the song continue. MIDI merging can be toggled using the
SEMICOLON (;) key. PAUSE or MIDI MERGE will appear in red on the status
line if either of these functions are active.
See the chapters on the Track and Open mode play screens for details on
PAUSE and MIDI MERGE.
Cueing and Single Segment Looping
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A song may also be started at an arbitrary cue point, just as in Track and
Open modes. Pressing the TAB key stacts the song at the current cue point.
The cue point is moved forward or backward using the CURSOR UP and CURSOR
DOWN keys, and the cue point move amount is toggled between one and eight
measures with the INSERT key. See the chapters on the Track and Open mode
play screens for more details on cueing.
The F2 key will cause the current segment to loop indeinitely. 99L appears
under REF to show looping, Pressing F2 again will cause the segment to end
after its current play.
Segment/Channel Options
~~~~~~~~~~~~~~~~~~~~~~~
Song mode provides seven segment/channel options channel which allow you to
alter the playback of a song just as the track options discussed in Chapter
6 allow you to alter the playbach of individual tracks. These options can
assist you in composition by allowing you to hear sections of a piece in
different contexts and instrunents in different combinations. They can
also be used to provide real time control in performance.
The current segment or channel option is selected with one of the function
keys F3 - F9. Pressing a segment or channel key will cause the current
option to be applied to the corresponding segment or channel. The
segment/channel options are MUTE/UNMUTE, PLAY IMMEDIATE, PLAY AFTER
CURRENT, SET LOOP START, SET LOOP END, SOLO, and SET SWITCH.
The MUTE/UNMUTE, SOLO, and SET SWITCH options are similar to the
corresponding options in Track mode, but they apply to MIDI channels
instead of tracks. The PLAY IMMEDIATE, PLAY AFTER CURRENT, SET LOOP START,
and SET LOOP END options are unique to Song mode and apply to segments.
The current segment/channel option is displayed on the right end of the top
status line. The default is PLAY IMMEDIATE, as shown in the screen example
on the last page. Only one segment option or one channel option may be
active at any time.
MUTE, SOLO and SET SWITCH
~~~~~~~~~~~~~~~~~~~~~~~~~
The MUTE, SOLO, and SET SWITCH options are very similar
to the corresponding options in Track mode. MUTE is
selected with the F3 key, SOLO with F8, and SET SWITCH with F9. When one of
these options is active, keys 1 - 9 control channels 1 - 9, while keys A -
G control channels 10 - 16.
When a channel is muted, MIDI data for that channel is not sent. When a
channel is soloed, only data for that channel is sent. When a switch
between two channels is set, the RETURN key alternately mutes one channel
and unmutes the other. The words MUTE, SOLO, or SWIT will appear next to a
channel which is currently muted or soloed, or for which a switch is in the
process of being set.
See the chapter on the Track mode play screen for more details on muting
soloing or switching.
PLAY IMMEDIATE and PLAY AFTER CURRENT
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These features allow you to alter the order in which segments as a song is
playing. When PLAY is active, pressing the segment key for any segment tn
the song will cause the program to immediately stop playing the current
segment and start the new segment. The song will then continue normally
from that segment.
PLAY AFTER CURRENT differs from PLAY IMMEDIATE in that the current segment
is allowed to finish its current repetition before the new segment is
started. This is especially useful when altering the structure of a song
in real time with Song mode's interactive control features.
Song Mode Loops
~~~~~~~~~~~~~~~
Song mode allows you to set a starting and ending loop point, and to loop
the song between these points. The loop points are defined in terms of
segment numbers, not measures. The SET LOOP START and SET LOOP END Segment
options allow you to set the starting and ending segments for the loop.
The letters B and E will appear in the REP column next to the beginning and
end segments of the loop as they are set. Pressing the SLASH (/) key turns
looping on and off. The word LOOP appears on the left end of the top
status line when looping is active.
The followng example shows the Song mode play screen after a song has been
started, and loop points set:
In this example, a loop has been set up between segments 3 and 5. Since
looping is actiwe, segments 3, 4, and 5 will play repeatedly until the loop
as turned off with the / key. The red musical note indicates that segment
5 is currently playing.
Channels 3 and 5 have been muted. MIDI events on these channels other than
program changes will be ignored. The segment/channel option is PLAY
IMMEDIATE. Pressing any key in the range 1 - 6 will cause the program to
immediately jump to the beginning of the corresponding segment.
Song Pointer in Song Mode
~~~~~~~~~~~~~~~~~~~~~~~~~
If the MIDI W SONG POINTER clock option has been selected on the SET
OPTIONS screen, and a song pointer message is received, the program will
start playing the current song from the point specified by the song pointer
message.
Exit
~~~~
Press Fl or the left mouse button to exit to the Song mode edit screen.
Chapter 9
~~~~~~~~~
STEP TIME RECORDING
~~~~~~~~~~~~~~~~~~~
The step time recording features of the KCS allow you to record note
information from your synthesizer keyboard, while using the computer
keyboard or mouse to specify tuning information. Note velocity can be
specified from either keyboard. This can be a faster and more intuitive
way of precisely entering rhythmically regular passages than the typing
method described in Chapter 4. It is particularly convenient in Track
mode, as the new passage can be played along with tracks that were
previously recorded.
The step time recording screen contains fifteen choices fOf note times,
fifteen choices for note durations and six choices for note velocity. The
current choices are indicated by a red asterisk. As you play notes on the
synth keyboard they are recorded with the current time, duration, and
velocity values. Each choice is assigned to one of the numeric or
alphabitic keys shown to the left of the possible values. You can make a
new choice for time, velocity or duration by pressing the appropriate key
on the computer keyboard, or by clicking the mouse on your choice. The red
asterisk will move to display your choice. If you select a zero velocity
which is norally assigned to the Z key the program will record the actual
velocity with which each note is played on your synth.
A new Open mode sequence can be recorded in step time by selecting the STEP
TIME option from the record dialog box. A new track can be recorded in
step time by selecting the STEP TIME TRACK option. If you pick this
option, the program will allow you to select the measure at which you will
start recording. You can also extend an existing sequence or track using
step time record by selecting the STEP TIME APPEND option. The step time
recording procedure is the same in any case.
The step time record screen is shown below:
The choices for time, duration and velocity are listed in columns, along
with the keys used to select the choices.
The bottom line shows the current measure and step, which will be the
MST-ST value for the next note entered. The box directly aboxe this
contains buttons for a number of step time recording options, as well as
two edit buttons.
Recording in Step Time
~~~~~~~~~~~~~~~~~~~~~~
Once the various record parameters are set up, recording in step time is
simply a matter of entering the notes for each step from the synth's
keyboard. Pressing and releasing a single key puts a single note at that
step; pressing more than one key before any key is released puts a chord at
that step. All notes played will be assigned the chosen duration and
velocity values. The first note or chord will get a time of 0, while
subsequent notes get the selected time value. The measure and step
counters will be updated as each note is played.
While recording you can select a new time, duration, or velocity value from
any of the choices displayed by pressing the key shown next to the desired
value, or by clicking on the new value with the mouse. The asterisk moves
next to your choice, and subsequent notes will use the new choice.
If the DUR FOLLOW feature is active, selecting a new time will cause the
program to select a new, proportional duration as well. This is convenient
when entering data with a lot of different time values. The durations of
the last note or chord entered will also be adjusted to the new value if
DUR FOLLOW is on. This prevents the previous note from overlapping the new
one if the time is reduced. DUR FOLLOW is on when the step time record
screen is first entered, and can be turned on or off with the F4 key.
Changing the Time, Duration and Velocity Values
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
You can easily enter time, duration, or velocity values other than the ones
initially supplied by the program. While holding the SHIFT key, press the
key for the time, duration, or velocity value you vwsh to alter; or place
the mouse pointer on the value to be changed at click both mouse buttons
together. A red ! will appear next to the selected value at the top of
the screen and the message line will prompt you for a new step time value.
You may enter up to a three digit number. If you enter a one or two digit
number press RETURN. The new value will appear on the screen, and will be
selected as the current value.
The fifteen time and duration values, as well as the five preset
velocity
levels, are stored along with other sequencer parameters in .ENV
(environment) files, which are described in more detail in the next two
chapters.
Time Chg Delay
~~~~~~~~~~~~~~
Normally, selecting a new time value when entering a step time sequence or
track causes the next note played to get the new time value. Enabling TIME
CHG DELAY causes the new time value to be assigned to the next note
entered, rather than the current note. This is more naturl when entering a
score from sheet music. TIME CHG DELAY can be activated with the mouse, or
by presswing the SLASH (/) key. The default setting for this switch is
offF but intuatively obvious.
Rest, Tie, and Delete
~~~~~~~~~~~~~~~~~~~~~
Click on REST or press the F3 key to insert a rest in your recording. The
measure and step counters will be increased, and the time value of the next
note will be increased by the current time value. Click on TIE, or press
RETURN to enter a tie. This will increase the time and also add the
current time value to the duration of the most recently recorded note or
chord. Clicking on DELETE or pressing UNDO will delete the last note or
chord entered.
Play Options
~~~~~~~~~~~~
The PLAY OPTIONS allow you to play back part or all of the sequence or
track being entered. Each option can be selected by clicking on that
option, or by pressing a key on the computer's keyboard.
SEQ/TRACK plays the current sequence or track from the beginning and can
also be selected by pressing F6. 24 NOTES and 8 NOTES cause the last 24 or
eight notes entered to be played; the associated keys are F7 and F8,
respectively. Play can be stopped with the F1 key or left mouse button, or
restarted with FlO or the right mouse button.
8 BARSS and 2 BARS, or the F9and FlO keys, let you hear the last eight or
two bars of your recording. In Open mode, you will hear the sequence in
isolation; but in Track mode, all previously recorded and unmuted tracks
will also be heard. The cue point will also be reset if you use these
options in Track mode. In Open mode, LAST CUE or the TAB key will play the
current cue sequence from its cue point. If the current CUE sequence is a
control sequence that plays the sequence being recorded, this allows you to
hear your recording in context. In Track mode, LAST CUE will play all
tracks from the current cue point. You can interrupt or restart play as
described earlier.
Audition Velocity
~~~~~~~~~~~~~~~~~~
If you are not sure of the dynamics you wish to use for your recording you
can use the AUDITION VELOCITY feature to try different note velocities
until you find the one that sounds best. Use the mouse, or press F5 to
activate AUDITION VELOCITY. New notes will not be recorded; instead the
current velocity selection will be changed to the velocity of each note as
it is played. When you decide that you like the velocity of the last note
played, press F5 again. Recording will resume using the new velocity
value.
Note that if you're using a keyboard that sends release velocity the
current velocity selection will change when you release a key as well as
when a key is pressed. In this case, be sure to turn AUDITION VELOCITY off
before releasing the key.
Duration Adjust
~~~~~~~~~~~~~~~
Clicking on one of the four DURATION ADJUST values or pressing one of the
four cursor control keys allows you to make small adjustments to the
current duration selection, and to hear the result in the context of the
current time value. Press the CURSOR RIGHT key to increase the duration by
one, the CURSOR LEFT key to decrease by one, the CURSOR UP key to increase
by four, or the CURSOR DOWN key to decrease by four. The most recently
recorded note will be played eight times with the new durataon and the
current time and velocity values. If no notes have been recorded yet, a
middle C will be played.
Pause
~~~~~~
If you want to play some notes without recording, press the ESC key. The
word PAUSE will appear, and the program will stop recording. Press ESC
again to resume recording.
ECHO and MIDI MERGE
~~~~~~~~~~~~~~~~~~~
Iaf you are using a master keyboard and an external synth module, you will
need to activate either ECHO or MIDI MERGE, just as you do on the other
screens. These functions can be selected and the echo channel changed with
the BACKSPACE, SEMICOLON (;), > (SHIFT-PERIOD), and < (SHIFT-COMMA) keys,
as described in Chapters 6 and 7, or the mouse can be used.
If ECHO or MIDI MERGE is on while in step time record, the velocity of all
notes received from MIDI will be reset to the currently selected velocity
before the notes are transmitted to the MIDI out jack.
Exit from Step Time
~~~~~~~~~~~~~~~~~~~
Click on EXIT or press Fl to go to the edit screen, or use EXIT TO PLAY or
F2 to go to the play screen.
Chapter 10
~~~~~~~~~~
LOAD/SAVE
~~~~~~~~~
The Atari ST and Amiga vergions of the KCS use six different types of disk
files to store the data used by the program. Each file has a unique
extension. When you select LOAD/SAVE from one of the edit screens a dialog
box or edit window will ask whether you want to load or save a file, which
disk drive to use, and what file type is to be accessed.
After selecting a drive (on the ST only) and file type, click on LOAD or
SAVE. Another dialog box will display a directory of files with the
selected extension on the current disk. In the Atari version, files are
selected in the window using the GEM protocols that are discussed in the
STs docuentation. In the Amiga version, a fairly self explanatory file
select window will appear. After selecting a file name, click on CANCEL to
exit or OK to load or save the file. You do not have to specify .ALL,.SEQ,
.ENV, etc. as these extensions will be added by the program.
In the ST version of the program, clicking on FORMAT will format a blank
disk for data storage. The file type selected is irrelevant when
formatting a disk. Dialog bexes will confirm your choice, and ask for the
disk type. (In the Amiga version of the program, you may format disks
directly from the WorkBench.) Clicking on CANCEL exits the LOAD/SAVE
screen.
File Types
~~~~~~~~~~
.ALL files contain all songs, sequences and tracks, plus the status of each
individual track and the contents of the text area, in memory at the time
the file was saved. .. dtLL files can only be loaded or saved from Track
or Open modes. Loading a .ALL file will erase all data in the sequencer's
memory.
.SEQ files hold a single track or sequence. These files can only be loaded
or saved from Track or Open mode. The file saved will be the currently
selected track or sequence; when loaded, the file will be put in the next
available track or sequence, depending on the mode selected.
.TRK files hold all 48 tracks, plus their statuses. Savng all tracks can
be done from any mode, but loading tracks can only be done from Track mode.
.SNG files hold a single song as wel1 as the sequences used in that song.
When a .SNG file is loaded, each sequence is put in its original location,
unless that slot is already occupied, in which case the sequence is moved
to the first empty slot and the song is changed to reflect the new
location. This allows merging multiple songs into a single .ALL file.
Songs can only be loaded or saved from Song mode, and the song loaded or
saved is the currently selected song or the next available song,
respectively.
A set of Open mode sequences that are not otherwise used in a song can be
saved and loaded as a group by creating a dummy song made up from a list of
the desired sequences. In this case, though, PRIMARY and ST events
contained in Open mode sequences will not be reassigned if that sequence is
already in use, so you will need to be careful to avoid such conflicts if
you use the dummy song method.
.ENV files are environment files, and contain most of the parameters
diplayed in the SET OPTIONS edit window, as well as the time, duration, and
velocity values used in step time recording. If a file named DEFAULT.ENV
is saved on the KCS program disk, this file will be loaded when the program
boots.
.ENV files are also created automatical@y whenever you save a .ALL file.
When a .ALL file is saved, the searches for a .ENV file with the same name
and loads that file as well.
MIDI Files and File Formats
~~~~~~~~~~~~~~~~~~~~~~~~~~~
For Atari ST owners who would like to use KCS
sequence files with other sequencers that support the MIDI sequence
file
format, we have written a utility program entitled CONVERT.PRG, which
will convert KCS sequence files to MIDI standard files, and vice versa.
(An
Amiga version will be available shortly.) The MIDI sequence file
fornhat is an emerging standard, which has been unofficially adopted by
many music software publishers, including Dr. T's, Opcode, Intelligent
Music, Passport, and others. Instructions for the use of this program are
contained in a README file, which is included with the program. CONVERT.PRG
may be found on many MIDI related bulletin boards, or it may be obtained
directly from Dr. T's for a nominal fee.
For advanced computer musicians who would like to write programs that can
exchange files with the KCS, the file formats for the .ALL, .SEQ, .SNG, and
.TRK file types are available for a nominal charge to cover printing and
shipping. Contact us for more information.
Caveats
~~~~~~~
One point to be aware of when saving ,ALL or other long files is that a
computer with 1 meg or more of memory can hold many more notes than can fit
on a single disk. A double sided disk can hold about 120000 notes, and a
single sided disk (on the ST only) only holds about half this number. If
you somehow find yourself with more notes than will fit on a single disk,
you will have to save some individual sequences or songs then delete them
and save the remaining data in a .ALL file.
CAUTION: With the exception of the DEFAULT.ENV file mentioned earlier, you
should NEVER save your data files on the KCS program disk! This could
cause conflicts with the program,'s copy protection, which will make it
impossible to load the program. The write protect tab on the program
diskette should be left open at all times except when saving a DEFAULT.ENV
file.
Chapter 11
~~~~~~~~~~
SET OPTIONS
~~~~~~~~~~~
The SET OPTIONS edit window allows you to set a number of important
parameters used by the prog@am. The SET OPTIONS screen can be reached from
any edit screen by clicking on SET OPTIONS, or from any play screen by
pressing the 0 (ZERO) key.
The SET OPTIONS screen is divided into six areas, each of which contain
buttons and numeric data fields for a group of related parameters.
Settings for the different parameters are changed as described in the
section on edit window in Chapter 1. Most of the parameters on this screen
can also be loaded from or saved to disk in a .ENV file, which is described
later in this chapter.
MIDI
~~~~
MIDI MERGE causes the program, to transmit all data received at its MIDI in
to the MIDI out jack. MIDI merge can be turned on and off from this
screen, or with the SEMICOLON (;) key on any of the play screens. You will
need MIDI merge if you are using a master keyboard and remote modules.
MIDI merge functions when the program is on one of the play/record
screens, though not on the edit
screens, and MIDI merging is overridden when ECHO is on. Also
note that if a system exclusive message being received by the program is
interrupted for some reason, the program will hang up until you press Fl.
START IS 1ST CLOCK allows you to tell the program whether it should
respond to a MIDI start or continue command as though it were the first
MIDI clock, or simply as an instruction to start listening
for MIDI clocks. If you are syncing to an external MIDI clock source, pick
the setting which seems to sync better with your other equipment. In
particular, if you are transferring sequences from another instrument using
the techniques outlined in chapter 13 and the time of the first event recorded
is always off by one clock step, yu should change this setting. This option
has no effect if the internal clock is being used.
NO MIDI START lets the program respond to MIDI clock even if a MIDI start
command is not received. This is sometimes needed for certain specialized
applications involving recording from other sequencers, and has no effect
when the internal clock is selected.
SONG POINTER SEND activates the transmission of MIDI song pointer messages
by the KCS. When this option is turned on, the program will send an
apropriate song pointer message whenever a song, sequence, or track is
started from a cue point, or when a track loops to the beginning of a cue
loop. The DLY button, to the left of SONG POINTER SEND, adds a one second
delay between the MIDI Song Pointer and Continue messages after CUE is
selected on any play screen. This allows the external instruments to catch
up to the sequencer before it starts.
MIDI CLOCK OUT tells the program to enable or disable the sending of MIDI
clock. If you are not syncing a drum machine to the KCS via MIDI clock,
you may want to turn this off to reduce the amount of data sent via MIDI.
For some specialized applicaions, you may want to send MIDI clock
selectively from your sequences using * events, and not send it
automatically with every clock step.
RUNNING STATUS reduces the amount of MIDI data transmitted by eliminating
redundant status bytes, which can help reduce timing or other problems
caused by MIDI data overload. Use with caution, especially if you are
using a MIDI switch box.
MIDI SLOW adds a slight delay after each byte sent out over MIDI. Some
MIDI instruments cannot respond to MIDI data when transmitted at the
standard MIDI transmission rate (the baud rate to you techies). Yamaha
instruments are the most notorious for this, but it is also a problem with
some MIDIed Drumulators. If your instruments randomly miss or stick on
some notes, try setting MIDI SLOW to a value in the 60's. Use the smallest
value that you can for MIDI SLOW, as increasing it causes the program to
spend time waiting around when it could be working.
MIDI instruments can also miss data because too much is being sent at one
time. This sounds like the problem described above, but is acutally quite
different. The instruments get so much MIDI data that they have no place
to put it while they are doing their other work, and some gets lost. MIDI
SLOW will probably not help this problem. You will have to get some MIDI
channel filters, so instruments only receive data intended for them, or you
will have to record less data. Continuous controllers (mod wheels, pitch
wheels, aftertouch, etc.) are a likely cause of this problem
RECORDING
~~~~~~~~~
The options in this portion SET OPTIONS screen are used to set certain
parameters which affect recording in Track and Open modes. With the
exception of MUTE NEW TRACKS, all recording options affect both Track and
Open mode recording. Many of these options can also be changed from the
record screens as well, and further information can be found in those
chapters.
CONTROLLERS, AFTERTOUCH, and NOTE OFF VELOCITY are used to enable or
disable the recording of MIDI controllers (coninuous controllers, pitch
bend, and program changes), aftertouch, and note off, or release, velocity.
The PAUSE switch, next to CONTROLLERS, allows recording controller settings
when the sequences is paused. When this switch is on, the last value only
of any controller that is adjusted when the sequencer is paused will be
recorded. This could be used, for example, to enter a single volume
control message in a previously recorded part, by playing the sequence to
the point of the insertion, pressing PAUSE, and then playing a few notes on
the keyboard while adjusting the volume. Once you've found the proper
setting, restart the sequencer by pressing PAUSE again, and the final
volume setting will be recorded. (Of course, the RECORD switch must be
turned on, as well, and the sequence or track containing the newly recorded
data will need to be merged with the original track or sequence, as
always).
SYSEX enables the recording of system exclusive messages. When this switch
is on, sysex messages of up to 5000 bytes can be recorded as single byte
events. This is less memory efficient than storing sysex data in a
librarian program, but it may be more convenient in some instances.
ALIGN is used to force tracks or sequences to "line up" with the start of
each measure, when recording or playing. If ALIGN is on while you are
playing sequences from the Open mode play screen, sequence playback will
not start as soon as the sequence key is pressed, but at the beginning of
the next measure. If ALIGN is on while recording in either Track or Open
modes, recording will not stop immediately when the F10 key is pressed, but
will continue until the start of the next measure.
MUTE NEW TRACKS causes tracks to be muted as soon as they are recorded.
This is convenient, for instance, when recording multiple takes of a long
solo over a track, since earlier takes of the solo will not be played back
as the sequencer loops. It is also handy when looping over a short cue, to
give you a chance to play a short riff many times while you work on getting
it right.
QUANTIZE toggles real time auto-correction. When QUANTIZE is on, the time
values and durations of all events recorded will be rounded to the nearest
multiple of the number to the right of QUANTIZE. Unlike auto-correction
from the edit screens, quantization cannot be undone. Another difference
is that all event types, including controller events and program changes,
will be rounded when QUANTIZe is on, whereas only note messages are
affected by autocorrection.
ECHO is similar to MIDI merging, except that all data received is
rechannelized before recording or transmission to the MIDI out jack. The
number to the right of ECHO is the echo channel.
FILTER forces the sequencer to only receive data on a single MIDI channel,
called the filter channel. Data on all other channels is filtered out.
This is especially useful when recording data from another sequencer into
the KCS, or when "expanding" a single channel's data from many sequences
into a single sequence using the loopback recording technique described in
Chapter 13. The number to the right of FILTER is the filter channel.
COUNTIN allows you to select the number of "free" steps that you get before
recording starts in real time. The metronome will sound and MIDI clock
will be sent during the countin, but the program's clock will be held at 0
until the count is over. Remember, this is set in steps, not metronome
beats, so to get a one measure countin at 96 steps per measure, you must
enter 96. The maximum value for COUNTIN is 255 steps.
OTHER
~~~~~
SILENT PUNCH only affects the operation of the sequencer in Track mode.
When SILENT PUNCH is on, notes that are being punched out will be muted
while punch points are being set. Once the punch points are set, the
punched portion of the track will be muted regardless of the setting of
this switch. SILENT PUNCH also affects notes that are deleted when LIVE
EDIT is active - if SILENT PUNCH is off, notes that are being deleted will
still sound when LIVE EDIT is on.
ACTIVITY DISPLAY enables the musical icons which appear next to active
tracks in the track status display. You might want to turn the activity
display off when recording or playing very dense musical passages, or when
using high clock resolutions.
STEP DISPLAY enables the step portion of the measure/step counter. Turning
the step display off reduces the computer's work load slightly, and allows
the program to concentrate on more important tasks.
MIN:SEC DISPLAY enables the real time clock, which displays the amount of
time elapsed since the sequencer was started. As with the STEP DISPLAY
switch, turning this switch off may help in hypercritical timing
applications. See Chapter 13 for details on the real time clock.
RE-RECORD STOP affects the operation of the UNDO key and RE-RECORD button
in Track mode only. When this switch is highlighted, pressing the UNDO
will erase the current recording, stop the clock, and reset the
measure/step counter. When Re-RECORD STOP is off, pressing UNDO will erase
the current recording, but the sequencer will continue to play.
TRACK MODE LOOP, suprisingly enough, controls looping in Track mode. When
this switch is off, all trakcs will play through only once. It is also
possible to play or record past the end of track 1 (which normally sets the
loop point for Track mode) by turning TRACK MODE LOOP off. You should be
careful about recording on tracks other than track 1 when TRACK MODE LOOP
is turned off, since any data recorded past the end of track 1 will be lost
when a DOUBLE, APPEND, or ALL TRACKS TO SEQ operation is performed, unless
the length of track 1 is extended by changing the TIME value of track 1's
final DE event.
TEMPO CHG BY RATIO changes the amount of tempo change which occurs when
tempo is changed from the Track mode control panel, or from the computer
keyboard. When this switch is off, the tempo will change by 1 BPM when any
of the tempo controls is pressed; when this switch is on, the tempo will
change by about 2.5% for each button press.
MIDI KEYS is a convenience feature for advanced KCS users, that allows
controlling certain sequencer functions from an external MIDI footswitch
controller. When this switch is on, MIDI controllers 64, 65, and 66 (the
sustain, portamento, and sustenuto pedals, respectively) duplicate the
functions of certain keys on the computer's keyboard on the program's Track
mode, Open mode, and step time record screens. The sustain pedal
duplicates the F10 key and right mouse button on all three screens, but is
especially useful in Track mode, since this allows you to start recording
and set the track loop point with no hands. In Track mode, the portamento
pedal is equivalent to the RE-RECORD button, and the sustenuto pedal
controls the STOP button. In Open mode, the portamento and sustenuto
pedals are used to start real time recording, and duplicate the functions
of the RETURN (record on next event) and ENTER (record immediate) keys,
respectively. On the step time record screen, the portamento pedal inserts
a rest, and the sustenuto pedal deletes the previous note. These
controllers are recognized on all MIDI channels, and are not merged or
recorded when MIDI KEYS is active.
DRUM CHANNEL selects one channel which will not be affected by any pitch
transpositions, either as part of a song or control sequence, or when
editing a sequence or track. This is intended for use with MIDI drum
machines. Since drum machines assign each drum to a separate MIDI note,
transposing a drum part will cause the wrong drums to be played by the
sequencer; hence the need for a drum channel.
DEBOUNCE sets the amount of time a mouse button must be held down before it
will repeat on the Open or Track mode play screens, in 5 millisecond
increments. A value of 100 corresponds to 1/2 second. You may find that
different values of debounce are needed for different applications.
CUE MOVE AMOUNT sets the amount that the cue point(s) will move when the
cue move buttons are pressed. This will toggle between one and eight
measures when the INSERT key is pressed on any play screen, but can be set
to any value from 1 to 99 on the SET OPTIONS screen.
VELOCITY PEDAL
~~~~~~~~~~~~~~
The switches in the VELOCITY PEDAL section are used to choose one of the
three velocity pedal options, as well as the velocity pedal channel, which
are used to affect note velocities during Open or Track mode recording, or
when LIVE EDIT is active in Track mode. Velocity pedal in Open mode can
only be selected from this screen. See the chapters on the Open and Track
mode play/record screens for details on velocity pedal functions.
TIMING
~~~~~~
The parameters in the TIMING section of the SET OPTIONS window are used to
select the clock source and set the timing resolution of the sequencer.
Chapter 13 has more information on timing resolution.
INTERNAL CLK selects the program's internal timer as the clock source. The
number to the right of the switch is the tempo, in beats per minute. The
tenths of BPM digit is treated as a separate field by the program, which
means you will need to use the mouse to place the cursor on this digit.
Remember that the internal clock is always used when playing a sequence or
track from the edit screen, so the setting of the clock source selector
switches will have no effect when working on the edit screen.
MIDI CLOCK selects an external MIDI clock as the clock source. The
sequencer will wait for a MIDI start or continue message before starting
any tracks or sequences unless the NO MIDI START button is turned on.
MIDI W SONG POINTER selects the external MIDI clock source and enables the
reception of MIDI song pointer messages. When a song pointer message is
received, the sequencer will move to that point in the current song cue
sequence, or track, and play from that point.
STEPS/MEASURE sets the number of steps in a measure, which only affects
the measure/step counter on the play and edit screens, and the event list
on the
edit screen. This value will change whenever an SM event is encountered by
a sequence or track. The followng table shows the correct STEPS/MEASURE
setting for the most common time signatures and STEPS/BEAT values.
Time Steps/Beat
Signature 24 48 96
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3/8 36 72 144
2/4 48 96 192
5/8 60 120 240
3/4 72 144 288
7/8 84 168 336
4/4 96 192 384
9/8 108 216 432
5/4 120 240 480
6/4 144 288 576
7/4 168 336 672
STEPS/BEAT sets the overall timing resolution of the sequencer. The
standard value for STEPS/BEAT is 24. Higher values allow for more precise
timing, but also make editing more difficult and put a greater strain on
the computer, by giving it less time between steps in which to do its
"housekeeping" chores.
If STEPS/BEAT is changed during a SET OPTIONS session, the program will ask
if you want to "Adjust all event times?" when you @eave the SET OPTIONS
screen. Answering "Y" to this question will compress or expand all event
times and durations to match the new resolution. The program will also ask
of you wish to adjust the related parameters. A "Y"$ answer here will
change the STEPS/MEASURE, STEPS/MIDI CLK, and STEPS/METRO settings
proportionally, or "N" will leave the settings unchanged.
STEPS/MIDI CLK sets the number of sequencer steps between each MIDI clock.
This should normally be set to 1 when STEPS/BEAT is 24, and adjusted
proportionally when STEPS/BEAT is increased. The sequencer uses the
current tempo setting to interpolate between MIDI clocks when an external
MIDI clock is used and STEPS/BEAT is greater than 24, so there will be an
improvement in resolution when STEPS/BEAT and STEPS/MIDI CLK are increased,
even if an enternl clock is in use.
METRONOME
~~~~~~~~~
STEPS/METRO sets the interval between metronome ticks. The default is for
the metronome to occur every 24 steps. If you want the metronome more or
less often, or you change the STEPS/BEAT setting, you will want to change
the number of steps per metronome.
AUDIBLE METRONOME enables or disables the metronome "click" that is
produced by the monitor speaker.
VISIBLE METRONOME enables or disables the musical icon metronome that is
shown on the Track mode and Open mode play/record screens.
PLAY METRONOME turns the metronome on when the sequencer is in play. If
this switch is off, the metronome will only occur when the program is
recording.
Environment Files
~~~~~~~~~~~~~~~~~
Most of the parameters shown on the SET OPTIONS screen can be saved in an
environment file. This allows you to quickly and accurately change the
recording and playback parameters when you move to a new recording
situation. Environment files have a .ENV extension.
Environment files contain the values for time, duration, and velocity used
on the Step time record screen, as well as the following SET OPTIONS
parameters. All the parameters from the MIDI and METRONOME sections of the
SET OPTIONS screen (except the DLY switch) are saved, and in the TIMING
section, all parameters are saved. In the RECORDING section, the
CONTROLLERS, AFTERTOUCH, and NOTE OFF VELOCITY record switches are saved,
as well as the ECHO status and channel. In the OTHER section, all
parameters except TRACK MODE LOOP, MIDI KEYS, and the CUE MOVE AMOUNT are
saved, and in the VELOCITY PEDAL section, only the CHANNEL is saved. In
the Amiga version of the program, the screen colors are also saved.
If a file named DEFAULT.ENV exists on the KCS program disk, it will be
automatically loaded when the program boots up. .ENV files are also loaded
and saved automatically with .ALL files, under the same file name.
If the STEPS/BEAT setting in the environment file is different than the
current setting when you are loading a .ENV file, the program will ask if
you want to adjust all event times. See the LOAD/SAVE chapter for more
information on .ENV files.
Chapter 12
~~~~~~~~~~
MIDI
~~~~
While it is possible to make good use of the Keyboard Controlled Sequencer
wdthout detailed knowedge of MIDI, you will undoubtedly find that as you
start to realize some of the enormous potential inherent in most MIDI
instruments; an understanding of the nuts and bolts of MIDI can be very
helpful. This chapter contains information on a number of subjects
pertinent to the KCS, but is by no means a complete guide to MIDI.
Fortunately, a number of well written books on the subject have appeared on
the market; we recommend tracking one down if you need more detailed
information.
MIDI Connections
~~~~~~~~~~~~~~~~
A MIDI cord consists of a twisted and shielded pair of wires, with the body
of the plug isolated from the shield. At the MIDI out jack, the MIDI cable
plugs directly into the synth or computer's circuitry; but at the MIDI in
of the receiving instrument, the cable connects to an "opto isolator",
which uses light, rather than electrons, to couple the signal into the
instrument. This means that there is no electrical conductor between the
MIDI in of one machine and the MIDI out of another, so you can't blow
something by incorrect patching.
Although MIDI cables look the same as standard DIN or Roland sync cables,
the grounding of the two cables is different. DIN cables can create
"ground loops", which will cause hum and other nasty sounds to appear at
the output of your synthesizer(s).
As mentioned in the first chapter of this manual, the Atari ST uses a
nonstandard method for creating a MIDI thru connection with its MIDI out
jack. This causes a conflict with some types of (nonstandard) MIDI cables
which have the two normally unused pins (1 and 3) shorted to the pins which
carry MIDI data (4 and 5). The best solution to this situation is to have
the ST permanently modified to meet the MIDI spec; a less drastic s9olution
is to check your cables with an ohm meter, preferably before leaving the
store with them.
MIDI Modes
~~~~~~~~~~
MIDI modes determing how an instrument will respond to incoming MIDI data.
MIDI modes can be a source of confusion to beginners and pro's alike,
primarily because one MIDI manufacturer mininterpreted the meaning of one
of the modes when they introduced their first MIDI synthesizer. The three
original modes were broken into four modes to allow for this. Since then,
other manufacturers have created new modes to take advantave of various
types of multi-timbral implementations. The original four MIDI modes can
be selected on any synth that implements them through a control change (CC)
event called a mode message; any other modes must be selected at the
instrument or with a sysex message. The section below on USEFUL MIDI
COMMANDS gives an example of how to select one of the four standard modes
from the KCS.
The four standard modes are called Omni On/Poly, Omni On/Mono, Omni
Off/Poly, and Omni Off/Mono; they are also known as modes 1 - 4,
respectively. The two Omni On modes cause the synth to receive data on all
16 MIDI channels at once; this is good for keyboards that are connected
together in a layering arrangement, but not so hot for sequencing
applications. Many earlier synths and drum machines power up in mode 1
(Omni On/Poly), and must be changed to one of the other modes to be used in
a multi instrument sequencing environment. Mode 2 (Omni On/Mono) is
virtually useless in all situations, as it causes an instrument to play
ponly one voice monophonically, from all MIDI channels. This is the extra
mode that was accidentally created in the early days of MIDI.
The two Omni Off modes, modes 3 and 4, are more useful in a sequencing
environment. Mode 3 (Omni Off/Poly) causes a synth to play all its voices
polyphonically on one MIDI channel, while Mode 4 (Omni Off/Mono) puts each
voice on a separate MIDI channel for monophonic operation. The CZ-101 and
Sixtrak both use Mode 4 to implement their multi-timbral features, while
more advanced synths like the Oberheim Xpander, Ensoniq ESQ1 and Yamaha
FB01 use non-standard MIDI modes to allow assigning some voices to one
channel, and some to others.
Other MIDI Messages
~~~~~~~~~~~~~~~~~~~
Some synthesizers can be placed in an operating condition called Local
Control Off. In this mode, they will respond only to signals coming in via
MIDI, while ignoring their keyboards. They will continue to send keyboard
information via MIDI OUT. Local Control On will return the synth to normal
operation. Local control messages are subset of the continuous
controllers, and are sent from the sequencer with CC events.
System real time messages are used to synchronize MIDI instruments in real
time. The timing clock message will advance drum machines and sequencers
to move in time with the sequencer. Other system real time messages
include the start, stop and continue commands. Normally, these events are
sent by the KCS at the appropriate times, but they can be sent as single
byte messages for specialized applications. Other less useful real time
messages include the reset and active sense messages.
System common messages are miscellaneous messages which can be sent to
instruments, regardless of what channel they are on. These include the
song select command, the tune command (which initiates oscillator tuning on
analog synthesizers), and the much ballyhooed song position pointer
message.
System exclusive (sysex) messages are used by individual manufacturers to
do whatever they want to do with their instruments that is not covered in
the normal MIDI spec. This includes, but is not limited to, functions such
as patch dumps, remote button pushing, and even displaying messages on an
instrument's display. You can use single byte events to send sysex
information, but it is your responsibility to determine the response of
your instruments to the information sent. The March 1987 issue of
Electronic Musician has an article on using system exclusive data with the
KCS.
Some Useful MIDI Commands
~~~~~~~~~~~~~~~~~~~~~~~~~
All of the message types described above can be sent from the KCS, either
as CC events, or with single byte messages. While many earlier
synthesizers, such as the Sixtrak, have their own controller assignments,
the assignments of all MIDI controllers are now standardized by the MIDI
Manufacturers Association, and are listed on the next page.
Many instruments also have assignable controls, which can be set to send or
recognize any MIDI controller. This allows you to use any of the
unassigned or less common controllers for whatever purpose you'd like.
Examples of such instruments are the Oberheim Xpander, Matrix 12, and XK
keyboard the Yamaha KX76 and KX88 keyboard controllers, and the Kurzweil
MIDIBoard.
Controller Name Number Range
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Modulation Wheel 1 0 - 127
Breath Controller 2 0 - 127
Early DX7 Aftertouch 3 0 - 127
Foot Controller 4 0 - 127
Portamento Time 5 0 - 127
Data Slider 6 0 - 127
Main Volume 7 0 - 127
Balance 8 0 - 127
Pan 10 0 - 127
Expression 11 0 - 127
General Purpose #1 16 0 - 127
General Purpose #2 17 0 - 127
General Purpose #3 18 0 - 127
General Purpose #4 19 0 - 127
LSB's for #'s 0 - 31 32 - 63 0 - 127
Sustain Pedal 64 0 or 127
Portamento On/Off 65 0 or 127
Sustenuto Pedal 66 0 or 127
Soft Pedal 67 0 or 127
Hold 2 69 0 or 127
General Purpose #5 80 0 or 327
General Purpose #6 81 0 or 127
General Purpose #7 82 0 or 127
General Purpose #8 83 0 or 127
Tremolo Depth 92 0 - 127
Chorus Depth 93 0 - 127
Celeste Depth 94 0 - 127
Phase Depth 95 0 - 127
Data Increment 96d 0 or 127
Data Decrement 97 0 or 127
Non Reg. Parameter MSB 98 0 - 127
Non Reg. Parameter LSB 99 0 - 127
Reg. Parameter MSB 100 0 - 127
Reg. Parameter LSB 101 0 - 127
Local Control On/Off 122 0 or 127
All Notes Off 123 0
Omni Off 124 0
Omni On 125 0
Mono On (0 = Omni Off) 126 0 - 16
Poly On 127 0
As an example of how these might be used, here is a sequence that sets a
CZ-101 on Channel 5 to MIDI mode 4 (Omni Off/Mono) and then turns Local
Control Off on channels 6 and 7:
MSR- ST EVNT TIME CH TYP NOTE VEL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 5 CC 126 0
1- 1 2 0 6 CC 122 0
1- 1 3 0 7 CC 122 0
The other three modes require two mode change messages to select a
particular mode, for instance, control changes on controllers 124 and 127
to select Omni Off/Poly On.
The numbers to be entered in single byte events for the other messge types
are given below:
Message Name 1st Byte 2nd Byte 3rd Byte
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Sysex Start 240 ID #
Song Pointer 242 LSB MSB
Song Select 243 Song #
Time Request 246
Sysex End 247
Timing Clock 248
Start 250
Continue 251
Stop 252
Axtive Sense 254
System Reset 255
The values used for the second and third bytes in the first three messages
must be in the range of 0 - 127. If is you are using the song select
message to select a song on an external drum machine or sequencer, you'll
need to send a stop message just before the song select message, and a
start message immediately thereafter. The form of system exclusive
messages varies from one instrument to another; consult your manual for
details.
Program Changes
~~~~~~~~~~~~~~~
The program numbers assigned to MIDI program change
numbers can vary quite a bit from one manufacturer to the next.
Generally
speaking, sending a program change to a Sequential of Oberheim synthesizer
will cause that patch number to be selected, while sending the same program
change to a Yamaha or Ensoniq instrument will select that patch number
minus one. Casio uses a strange overlapping system which is described in
the APPLICATIONS chapter, while Korg, Roland, and others use a "bank
system" in which programs are selected via a modified octal numbering
system.
The following table shows which numbers to enter in a PG event to select a
program on instruments that use the bank system. The Group A and Group B
columns respect another level of program selection used on some Roland
instruments. Use the values in the Group A column for synths without this
feature.
Program Group A Group B
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
11 - 18 0 - 7 64 - 71
21 - 28 8 - 15 72 - 79
31 - 38 16 - 23 80 - 87
41 - 48 24 - 31 88 - 95
51 - 58 32 - 39 96 - 103
61 - 68 40 - 47 104 - 111
71 - 78 48 - 55 112 - 119
81 - 88 56 - 62 120 - 127
The MIDI implementation chart which comes with each instrument should
describe the program numbering scheme for that machine: if not, REXMAN!
MIDI Note Numbers
~~~~~~~~~~~~~~~~~
MIDI note numbering is also handled differently by different manufacturers.
The note numbering system used by Dr. T's is shown in the chart below,
where th keyboard represents a five octave keyboard like those found on
most instruments today. Note that the system we use does not coincide with
that used by Yamaha. Yamaha designates the lowest key on the five octave
keyboard C1, whereas we call that key C2.
MIDI Drums
~~~~~~~~~~
When drum machines are played through MIDI, each drum is asigned to one or
more notes on the MIDI keyboard. While newer machines allow you to assign
each drum to a specific note (and possibly to a specific channel as well),
there is sort of a quasi-standard in effect regarding drum machine note
assignments. These assignments, which are also used in our Copyist
transcription program, are listed below.
Drum Note #'s Notes
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Bass 35, 36 B1, C2
Snare 38, 40 D2, E2
Rim 37 C#2
Claps 39 D#2
Floor Tom 41, 43 F2, G2
Low Tomm, 45, 47 A2, B2
Mid Tom 49 50 C3, D3
Hi Tom 52, 53 E3, F3
Open Hi Hat 46 A#2
Closed Hi Hat 42, 44 F#2, G#2
Crash cymbal 49 C#3
Ride Cymbal 51 D#3
Tamb/Crash 2 54 F#3
Cowbell 56 G#3
Shaker 58 A#3
Most drum machines only allow one note number to be assigned to a single
drum. In this case, use the higher note for any drums which are listed
with two numbers.
Chapter 13
~~~~~~~~~~
TIPS FOR ADVANCED USERS
~~~~~~~~~~~~~~~~~~~~~~~
In the four years since the release of Version 1.0 of the Commodore 64 KCS,
the thousands or musicians who use the program have undoubtably come up
with many thousands of useful techniques, tricks, and shortcuts. Much as
we would like to, space does not permit us to present all of them here.
This chapter discusses many fundmental KCS techniques which might not be
obvious at first, and will hopefully serve as a catalyst for further
experimentation.
Control Sequences in Open Mode
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A sequence shich consists of sequence control events (PRIMARY, ST, XX, XL,
MS, US, PT, or VT) is called a control sequence. You may find it beneficial
to record individual sequences or parts of songs and then use control
sequences to start them up. This example will start three sequences
together and end four measures later.
MSR- ST EVNT TIME CH TYP NOTE VEL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 A 0 0 1
1- 1 2 0 7 0 0 1
1- 1 3 0 2 -4 0 1
5- 1 4 384 DE
When the control sequence which follows is started, sequences A and B
immediately start and will play four times. One measure later, sequence 15
(which is a secondary sequence) starts playing for two repetitions. Two
measures later, sequence B is forced to shut off, and another two measures
later, the TM event will change the tempo to 100 beats/minute.
MSR- ST EVNT TIME CH TYP NOTE VEL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 B 0 0 4
1- 1 2 0 A 0 0 4
1- 1 3 96 ST 15 0 2
1- 1 4 192 XX B
1- 1 5 192 TM 100
Creating Songs with Control Sequences
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
There are two techniques that we recommend for using control sequences to
combine Open mode sequences into songs. The first technique involves
creating a control sequence that starts other control sequences and waits
for each sequence. This sequence controls the segueing of the sections of
the piece. The sequences started by this sequence each start the sequences
required by their section. In the following example, the song consists of
sequence 1, followed by 2, 3 and then 1 again.
MSR- ST EVNT TIME CH TYP NOTE VEL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 1 0 0 1W
1- 1 2 0 2 0 0 1W
1- 1 3 0 3 0 0 1W
1- 1 4 0 1 0 0 1W
MSR-ST EVNT TIME CH TYP NOTE VEL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 A 0 0 1
1- 1 2 0 B 0 0 2
1- 1 3 0 C 0 0 1W
1- 1 4 0 DE
The sccond sequence above is sequence 1. Sequences A, B, and C are started
together, and sequence 1 waits for sequence C to complcte before ending.
Sequence B is played tiwce. When using a structure such as this, you will
probably want all parts to play for the same Control amount of time. In
the case, sequence B would be half the length of sequences A and C. The W
(Wait) for sequence C prevents the song from, continuing to sequence 2
until sequence C has completed. The DE event may look superfluous, but it
is necessary to keep sequence 1 from ending after sequence C is started,
causing the main control sequence to continue. If you always end a control
sequence that will be started by another control sequence with a DE event,
you will prevent such problems without having to think about what goes on
inside the program.
The other technique is to use a single control sequence without waits to
"schedule" the starting of other sequences. This has the disadvantage of
requiring you to compute and enter the times necessary to get all of the
parts to start exactly when you want them to. It has the advantage of
comptete flexibility. Parts can be started while other parts are still
playing, and XX or XL events can be used to stop looping parts without
calculating their normal stop points.
MSR- ST EVNT TIME CH TYP NOTE VEL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 A 0 0 1
1- 1 2 0 B 0 0 2
1- 1 3 0 C 0 0 1
9- 1 4 768 B 0 0 2
9- 1 5 0 D 0 0 99
9- 1 6 0 E 0 0 1
13- 1 7 384 F 0 0 1
13- 1 8 0 XX D
This example might be used to play a song with the same beginning as the
one in the previous example. Eight bars into the piece, sequence B is
started for two more plays. Sequence D, perhaps just a sixteenth note hi
hat, is started indefinitely, and sequence E is started for a single play.
Four bars after that, sequence D is stopped and sequence F is started. The
second method is the one Dr. T usually prefers when he is composing music
instead of writing software.
Control Sequences as Real Time Controllers
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Many of the KCS's event types which modify the playback of other sequences
can be used as real time controllers themselves, by creating control
sequences which perform specific operations on other sequences. For
example, suppose that you find that, when creating songs in Open mode, you
often have a need to mute every part EXCEPT your drum sequences. Assuming
that you use channel 16 for your drum parts, enter the following sequences
in sequences 91 and 92.
MSR- ST EVNT TIME CH TYP NOTE VEL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 MS *
1- 1 2 0 US *16
MSR- ST EVNT TIME CH TYP NOTE VEL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 US *
Now typing 91 on the nuberic keyboard will mute all active sequences, and
immediately unmute all active sequences that start with an event on channel
16. This is effectively the same as muting all sequences but those on
channel 16. Sequence 92 will return all sequences to their original,
unmuted status.
Note that, as with all applications which involve starting Open mode
sequences from the keyboard, the number of repeats programmed for each
control sequence will have a profound effect on the operation of any real
time control sequences. In the preceeding example, if sequence 91 is set
to loop indefinitely, then all subsequent sequences on that start with a
channel other than 16 will be muted each time sequence 91 loops, and if
sequence 91 is set to loop only once, then sequences that start after
sequence 91 is played will not be muted. Generally speaking, real time
control sequences should be set to repeat only once, if predictable effects
are to be obtained.
Real time control sequences can perform more exciting functions than simply
muting tracks, though. Suppose that, for some reason, you'd like to
simulate the effect of playing a 33 RPM record at 45 RPM. In this case,
you'd need to speed up the sequencer's tempo, while simultaneously
transposing each part up by a corresponding amount. The following sequence
does just that:
MSR- ST EVNT TIME CH TYP NOTE VEL DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1- 1 1 0 AC 372
1- 1 1 0 PT * 5
If you're picky about details, you could program a sequence in which the
tempo and pitch transposition are gradually increased, to simulate the
flywheel effect caused by the inertia of the turntable. Of course, you
will probably want to create a corresponding sequence to return the speed
to normal, unless you really enjoy listening to records at the wrong speed.
If you have created a series of real time control sequences that are useful
in a number of applications, it may be convenient to save these sequences
in a group, so they can be loaded for use with other sequences. This can
be done by simply creating a song, in Song mode, which contains all of your
real time control sequences. Such a song would never be played as other
songs are, of course, but this technique allows these sequences to be saved
and loaded as a group. See Chapter 10 for details.
Additional Control Sequence Techniques
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
You may wish to create a separate control sequence that contains all of the
program changes needed for your song. You might want to put a few steps of
rest in this sequence if using the first technique, or start this sequence
slightly ahead of the others. The extra time gives the program changes a
chance to "settle" before any notes are played.
You may wish to set up the basic structure of your song using either of the
above techniques, and then use the RECORD WITH CUE feature to add
additional parts which can start at any point in the sequence. You must
then add a sequence start event (without a WAIT) for each new sequence at
the beginning of the main control sequence. Dr. T frequently uses this
technique to overdub continuous controller information after the basic
piece is completed.
Suggestions on Timing Resolution
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Keyboard Controlled Sequencer defaults to a resolution of 24
steps/beat. This corresponds to clocks that are separated by about 20
milliseconds (ms) at a tempo of 120 beats/minute. The program allows you
to increase the steps/beat value up to 384, but there are several reasons
that we recommend a value no higher than 96.
Given that it takes 1 ms to send most MIDI messages, and that no
instruments will respond instantly, setting the time between clock steps to
1 or 2 ms does not give you as much increased resolution as you might
think. A higher resolution creates larger time and duration values which
are more difficult to edit.
Other disadvantages stem from the design of the KCS. The program was
designed to use the time between clock steps to do work to get ready for
the next time step. If the time steps are too close together, the program
will not always be able to do this work. The program was also designed to
play the lower numbered tracks or sequences before the higher numbered.
This order is preserved even when tracks are copied to a sequence. You can
thus improve timing of critical parts by putting them on the lowest
numbered tracks or sequences. If the time steps are so close toghether
that the program has not finished with the previous time step before it is
supposed to start the next, this advantage will be lost.
When in Track mode, timing accuracy may be affected slightly by mouse
movement and placement. Generally speaking, if you have critical timing
requirements, you should avoid moving the mouse while in Track mode, and,
on the ST, keep the mouse away from any active display areas on the screen,
such as the measure/step counter or the activity displays. We have never
found a need to do this, but if you are a perfectionist and are working
with a high resolution clock, these steps may be helpful.
The real time clock is derived from the same clock used to step through the
sequencer. Thus, when an external clock is in use, the program has no
direct knowledge of the tempo - so the calculations used to maintain the
real time clock are based on the TM, AC and DC events within a sequence.
This might seem to be an inherently inaccurate method for calculating the
time, but as long as the external clock source is a SMPTE or similar sync
signal (such as that generated by our Model S synchronizer) that was laid
down using the same tempo changes, the results are excellent. In our
measurements, we have found the accuracy of this method to be around 1
second in 4 hours using the same computer as the clock source, though in
real life the accuracy of the clock will be limited by the accuracy of the
tape deck's motors. The tempo events in a piece are also used to calculate
the real time clock value when chasing a cue point, either in response to a
MIDI song pointer message or to selecting a "play from cue" operation, and
to interpolate between MIDI clocks when synchronizing to an external 24
PPQN clock (for instance) while using a higher internal clock resolution.
Since MIDI song pointer messages are quantized in units of six clock steps,
the time and tempo calculation routines used for these purposes by the KCS
expect to see TM, AC, and DC events auto-corrected to a six step grid.
Otherwise, timing inaccuracies will result.
The longest single rest (DE event) that the program can record is 65535
steps, which corresponds to about 683 bars at 96 steps/measure. If you are
recording a part that begins more than this number of steps into a track,
the part will play 65536 steps earlier than you expect, and you will have
to put extra rests in from the edit screen.
Syncing to Tape
~~~~~~~~~~~~~~~
If you are using a sync to tape box such as our Model S or the Roland
SBX80, we suggest that you mute all tracks, sequences, or channels when you
lay down the sync tone. The reason for this is that, when the sequences is
playing a full set of sequences, the MIDI data st5ream is pretty busy, and
the timing of individual clock messages may be affected slightly. By
muting all sequences, we allow the computer tofunction strictly as a very
expensive but deadly accurate MIDI clock source, which is all that is
needed when laying down a sync tone. However, be sure NOT to mute the
conductor track in Track mode, or any Open mode sequences that contain TM,
AC, or DC events, as this will eliminate all your tempo changes from the
sync track!
The exact procedure for recording a sync tone will depend on your sync box,
but the basic method is as follows. First, set up the sequencer as
described above, then start the tape recorder. After it has run for a bit,
start the sequencer. When the song has finished, stop the recorder and
rewind the tape. (You might want to let the clock run on for a while after
the song ends, in case you decide to lengthen the song later.) Now unmute
all the previously muted tracks or sequences, set the sequencer's clock
source to MIDI (or MIDI W SONG POINTER. if your sync box supports this
feature) on the SET OPTIONS screen, and patch the MIDI clock output from
the sync box into the computer's MIDI input. From here on, everything
should function as described in your sync box manual.
Sending System Exclusive Messages
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
System exclusive messages, which most MIDI hardware manufacturers use to
communicate patch data and other non-standard message types, can be set
from the KCS using single byte events.
For many shorter messages, the single byte events can be simply inserted in
the sequence without any adjustments to the remainder of the sequence, but
for longer messages such as data dumps, it may be necessary to add time to
the sequence after the message, to allow the KCS to "settle". For example,
it takes about 1 second to send a 3000 byte sysex message. This message
should all be sent on one time step (that is, each event in the message
should have a TIME value of zero) since the receiving instrument may react
strangely if delays are inserted into the message. While the message is
being sent, the sequencer is accumulating a "backlog" of other messages to
be sent (MIDI clocks, note messages, etc.) which will all be sent
immediately after the sysex message as the sequencer tries to catch up with
itself. For this reason, it's a good idea to put a dead space, with no
activity in eiher the sequence itself or any synchronized instruments, in
the song immediately following any large sysex messages.
The KCS can directly record system exclusive messages of up to 5000 bytes
if the SYSEX button on the SET OPTIONS page is active. Sometimes bulk
dumps (which may be longer than this limit) may consist of a series of
shorter sysex messages. These will be recorded properly if each individual
message does not exceed this limit. For larger messages, the public domain
program DRTSYSEX.PRG (ST only), which can be found on a number of MIDI
related bulletin boards, can be used to converert sysex messages of up to
32K bytes into sequence files.
To record a sysex data dump from a MIDI instrument, turn on the SYSEX
button on the SET OPTIONS screen, and select an Open mode sequence for
recording. Following the instructions in your instrument's manual,
initiate a data dump forom the instrument's front panel. If everything is
working properly, the sequencer will start to record immediately, and the
word SYSEX will appear on the screen as the name for that sequence. The
sequencer's clock may pause momentarily while long data dumps are being
recorded.
If you have an instrument that does not allow sending sysex data dumps
directly from its front panel, it may be possible to initiate a data dump
by sending a "dump request" message to the instrument from the Open mode
record screen, while recording the data dump in an Open mode sequence. Be
sure that your dump request sequence is set to play only once; otherwise,
strange behavior will certainly result. Synths which require handshaking
during sysex dumps, such as Casio and some Roland instruments, will need to
have delays inserted a certain points in the dump request. See your
owner's manuals for details on dump requests, and please don't call us for
help with specific instruments!
Transferring Sequences from Other Sequencers
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
If you are upgrading to the Keyboard Controlled Sequencer from a less
powerful hardware or software sequencer, you might be wondering if you will
have to redo all the work you've done on your old sequencer, to play the
same music on the KCS. Fortunately, transferring sequences into the KCS
from another instrument is quite simple. Essentially, we treat the older
sequencer as a keyboard player with a built in MIDI clock, and let it play
into the KCS while we record.
First, set the external sequencer to send MIDI clock, and disable looping,
if possible. If you can't turn looping off on the external sequencer, make
sure you have a blank sequence available in that machine. The tempo of the
external sequences can usually be set to its maximum value with no
problems, which is handy if you have a lot of sequences to transfer; but be
careful when transferring dense music, since minor timing discrepancies
might occur due to MIDI data logjams.
On the KCS, set the clock source to MIDI, enable the recording of
controllers and aftertouch, and turn MIDI MERGE on. ECHO should be off,
and you will probably want to leave FILTER off as well, unless you want to
record one channel at a time. QUANTIZE should be off, and ALIGN should be
on.
Now go to the Track or Open mode record screen, as you prefer, and you are
ready to record material from the original sequencer. If recording in
Track mode, be sure not to set the length of all tracks. You can either
record a single sequence, pattern, segment, whatever, from the external
device, or an entire song. We usually prefer to record single sequences
from the external device in Open mode, and then string them together using
control sequences or Song mode. Once a sequence is recorded in Open mode,
it is a simple matter to bread it into individual channels by copying the
sequence to Track mode.
When you enter the record screen, ensure that recording is enabled and
press F10 or the SPACE bar to start recording. The KCS will wait for a
start signal from the external sequencer. Start your song or sequence on
the external sequencer, and data on all 16 MIDI channels will be recorded
by the KCS. If looping is disabled on the older sequencer, then a stop
signal will be sent at the end of the sequence and recording will cease.
If looping is turned on, then select the blank sequence mentioned earlier
after starting the external sequencer. On most machines, this will cause
the blank sequence to start as soon as the first sequence is finished.
Stop both sequencers after the blank sequence starts. In this case, you
will undoubtedly need to remove some time from the end of the recorded
sequence or track, to compensate for recording part of the blank sequence.
In either case, you may also need to make slight adjustments to the timing
of the first event of the track or sequence.
Since drum machines are nothing but stripped down sequencers with built in
sounds, drum patterns can be transferred to the sequencer in the same way.
This allows you to keep all of your drum parts on the same disk as the rest
of a song.
For more information on transferring sequences between two instruments, see
the December 1986 issue of Music Technology.
Loopback Recording
~~~~~~~~~~~~~~~~~~~
Loopback recording is an extension of the idea of transferring sequences
from another sequencer; but in this case, the external device is replaced
by a previously recorded track or sequence in the KCS itself. This might
seem like a strange notion at first, but there are a number of applications
for this technique. For example, loopback recording can be used to reduce
a complex control sequence to a single sequence for use within a song, or
for capturing a performance using the interactive play features of Track or
Open modes.
To set up for loopback recording, connect the computer's MIDI in jack to
its own MIDI out, either directly or through a merger. Set the clock
source to INTERNAL CLK. ECHO and MIDI MERGE must very definitely be turned
off, and MUTE NEW TRACKS should be on of you're in Track mode. You will
need to turn FILTER on if you want to record on only one channel while
listening to all channels.
From here, the procedure is the same as recording from a keyboard, except
that the KCS is providing th ekeyboard player. Simply turn RECORD on and
start the sequencer. One way to use this technique would be to bounce
portions of several tracks down to one trakc, while muting and unmuting the
individual tracks as needed. The result would be a single track which
contains only the portions of the other tracks that you want to keep. You
could double portions of a track using loopback recording by muting the
track in the appropriate places, and then merging the new track with the
original. In Open mode, loopback recording can be used to reduce a song,
which may have evolved from a few simple sequences to an ungainly
collection of looped and unlooped control sequences interspersed with XX,
XL, and other events, to a more manageable single sequence. If you prefer
to create songs in real time by starting and stopping sequences from the
keyboard, loopback recording can be used to capture such a performance.
The velocity pedal feature of Open and Track modes was designed
specifically for use with this technique. As a sequence or track is
played, it is re-recorded in another sequence or track with velocity values
processed by the velocity pedal. When doing this, you will need to set the
filter channel to the channel of the sequence or track that is being
processed with the velocity pedal, so that only that channel is recorded.
Chapter 14
~~~~~~~~~~
TROUBLESHOOTING
~~~~~~~~~~~~~~~
While MIDI is one of the most successful and consistent interfacing
standards in the computer industry, it is still possible that certain types
of equipment won't work well together. Many times, what might seem like a
perfectly reasonable configuration won't give the expected results. This
could be because you are trying to use a feature which is not implemented
on a particular machine, or because you haven't initialized your synths
correctly, or for many other reasons.
When you get into a situation like this, a MIDI data display program can be
very helpful. You can then determine if a piece of equipment is doing what
it is supposed to do, or if the problem lies elsewhere. A MIDI display
program for the Commodore 64 was published in the September 1986 issue of
Electronic Musician, and instructions for adapting this program to the ST
appeared in the June 1987 issue. We're sorry, but Dr. T's can only answer
directions directly regarding the operation of our software, and not
questions regarding the idiosyncrasies of a particular piece of equipment.
See Appendix 1 for further information on customer support.
There are two general approaches that are useful when troubleshooting a
complex system. you can attempt to isolate the source of the trouble by
changing one aspect of the system at a time, or you can simplify the system
by using fewer pieces of equipment or program features. You should try
both approaches when confronted with a problem in the use of the software.
Don't forget the Doctor's prescription for dealing with MIDI technical
problems, REXMAN (Relax, EXperiment, and read your owner's MANuals). The
remainder of this chapter outlines solutions to various common problems.
Program Gives Errors on Loading
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Does the computer load other programs? If so, you might have a bad disk.
In this case, contact Dr. T's to arrange for a replacement disk. DO NOT
send back your disk without contacting Dr. T's for a return authorization
number. Returned products which do not display such a number on the
outside of the package will be returned to the sender. And remember, NEVER
save your data files on your KCS program disk!
Program Gives Errors While Running
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
If you booted your Atari ST from a system disk containing disk accessories,
try re-booting from the KCS program disk.
If you are using an Amiga, it is possible that some other programs may
cause problems when run concurrently with the KCS. Try eliminating all
other programs from the Amiga's memory, or re-booting from the KCS program
disk. We are interested in hearing about any problems you may have when
multi-tasking the KCS with another company's product, but we cannot
guarantee that we will be able to solve the problem.
Computer Appears to be Dead
~~~~~~~~~~~~~~~~~~~~~~~~~~~
Adjust your monitor settings and check for a loose monitor cable. is the
disk drive on and is the drive cable OK? Is the mouse properly inserted in
the correct jack? Try turning the computer's power off for at least 15
seconds, then re-boot. This forces the computer to completely clear it's
memory.
Instruments Do Not Respond
~~~~~~~~~~~~~~~~~~~~~~~~~~
First check to see that all your MIDI cables are connected properly, that
data reception is enabled on each instrument, and that the correct channel
assignments are being used.
If nothing plays at all, the program might be set to sync to a nonexistent
external clock. check the clock source on the SET OPTIONS page.
The program may have crashed. Save your files (if possible), remove the
disk, power down or reset the computer, and then run the program again.
If a sequence or track that you've just finished recording won't play back,
use the edit screen to confirm that you have acutally recorded data, and
that it's on the right channel. Check your master synth, as well as the
ECHO and FILTER settings on the SET OPTIONS screen if not.
Continuous Controllers are Recorded Incorrectly
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Occasionally, a long string of continuous controller messages, such as
pitch bend or the modulation wheel, may be recorded as a string of program
changes or other incorrect message types. This happens if the instrument
used for recording employs running status, and recording is turned on after
the start of the controller motion. When running status is used, a MIDI
status byte is sent only at the start of the controller motion, rather than
with each individual message, and if recording is enabled after this single
status byte is sent, the KCS (or any MIDI devide, for that matter) will not
interpret the subsequent data correctly. If this happens, simply re-record
the controller data, but play a single note before moving the controller.
This ensures that a status byte will be sent at the beginning of the
controller motion, and the note can be easily removed on the edit screen.
Note that changing the RUNNING STATUS switch on the SET OPTIONS screen of
the KCS will not help with this problem.
Some Instruments Don't Respond Correctly All the Time
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Some instruments can't respond to MIDI information at the full specified
MIDI rate. This is especially true for some DX7's. The symptom is that
the instrument appears to be missing notes. Sometimes changing programs
will fix the problem; a more drastic action is to re-power the instrument.
Use the MIDI SLOW function in the SET OPTIONS section of the program to
slow down the MIDI transmission rate. Use the lowest value which provides
acceptable results. MIDIed Drumulators are also susceptible to this
problem.
Sequencer Plays Back, but Notes are Garbled
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Using nonstandard MIDI cables on the Atari ST's MIDI output can cause this
problem, especially if you're playing an instrument that's connected to the
computer's MIDI in at the same time. Check your cables to make sure that
pins 1 and 3 are not shorted to pins 4 and 5. Some synthesizers also have
these pins shorted together at their MIDI inputs, which will cause problems
if you are using a 5 conductor MIDI cable, though three conductor cables do
not exhibit this problem.
Are notes overlapping improperly? If an instrument is in mono mode and
notes overlap, the instrument may not retrigger its envelopes. If an
instrument is in poly mode and notes of the same pitch overlap, undesirable
results might occur. If a note ends and a new note begins in the same time
step, the new note will start before the old one ends, causing an overlap.
Sending program changes too close to a note on or off message can cause
missing or stuck notes on some synths. Try moving any program changes in
the area of the affected notes.
Synthesizers Spit Out Notes at High Speed
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
If you loop an Open mode sequence that contains one or more MIDI events,
all with times of zero, the program will send these MIDI events as fast as
it can, causing your synthesizer to sound as if it's going haywire. If you
loop a control sequence of length zero, and the control sequence does not
have a WAIT programmed, that sequence will keep restarting all of the
sequences it is controlling, and they will keep replaying their first
notes. Don't loop any sequence whose times are all zero, unless it has a
WAIT programmed and a DE event at the end. A MIDI loop condition, where
the computer's MIDI out is fed back to its own MIDI in through a merger,
can also cause this to occur.
Instrument Sends Data, but Doesn't Receive
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The instrument may not be set to receive on the MIDI channel that it is
sending on. Are your MIDI cables good? Some sync cables look like MIDI
cables, but won't work properly for MIDI. Check that the synth's MIDI
receive channel is the same as its send channel, and that ECHO and FILTER
are set properly.
MIDI Controllers Are Not Recorded
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Have you set the KCS to record controllers? Does this instrument send and
receive the controllers you're using? Some early MIDI synths, such as the
Roland Jupiter 6, won't send control changes over MIDI. Others, like the
Prophet 600, must have controllers enabled from the front panel each time
the synth is turned on. Early DX7's sent aftertouch as controller 3.
Sequencer and Drum Machine Go Out of Sync When Looping
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
This can occur if the length of the sequence in Open mode or of track 1 in
Track mode is not a multiple of the length of the drum box pattern. Check
to make sure that the sequence ends on the first step of a measure, rather
than step 96 or some other nearby value.
If you do not use the ALIGN feature while recording you will almost always
end the recording process a little before or after the end of a measure.
On playback each loop will put the sequence further out of sync. When
using ALIGN, you must press the F10 key DURING the last measure that you
wish to record. Pressing F10 a fraction of a beat into the next measure
will force the program to continue recording for another entire measure,
even if you do not play any notes. Clicking on STOP or pressing F1
immediately stops recording and defeats the ALIGN feature.
If a drum box is synced to the program via MIDI, it may lose timing clock
information if too much MIDI information is being sent. As the piece
progresses the drum machine will go further out of sync. Does the drum
keep sync when only playing a few sequences? Does it play better if no
sequences with PB, AT or CC events are running? Select RUNNING STATUS on
the SET OPTIONS screen may help. Other ways around this are to use the
drum machine as the master, or to have the KCS play the drums instead of
sending time to the drum machine to play its own patterns.
Synths Not Accepting Program Changes
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Some synthesizers, for example Sequential's instruments, power up in a mode
in which they do not accept program changes via MIDI. Your synthesizer
manual should contain instructions on how to make them accept program
changes. Many instruments only accept a limited range of program numbers,
and reject all others.
A Programmed Wait Does Not Occur
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Sequences which call other sequences and use the WAIT feature should have a
DE event with a time of zero for the last event. If you do not do this,
you will encounter problems when you try to chain this sequence into a
higher level control sequence.
Noticeable Time Delays Occur When Sequences Start or Loop
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The computer is a powerful, but finite tool. If you attempt to play
several sequences simultaneously, which in turn each play a lot of notes
simultaneously, the computer may lag. If this occurs, rearrange your
sequence structure to reduce the amount of work the computer has to do in
one time step. Edit the timing so that not as many sequence start events
occur at the same time.
Most instruments will react strangely if you try to send a patch change and
play a note in the same time step. See the note on program changes under
Sequencer Plays Back, But Notes Are Garbled.
Synthesizer Not Functioning in Multi-Timbral Mode
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Some multi-timbral synthesizers (the Sixtrak and the CZ-101, for example)
power up in poly mode. To use the multi-timbral feature, you must set them
to mono mode, either through MIDI (see the MIDI chapter) or by following
the instructions in your owner's manual. The Sixtrak will always transmit
on its basic channel, so you may need to use Local Control Off and ECHO to
record in real time. you will have to use the edit screen to insert
program changes for each channel recorded, as selecting a program on the
Sixtrak affects all six voices.
If a synth appears to be responding sluggishly in multi-timbral mode (short
staccato notes are lost or one note may have a rough attack), try using the
MIDI SLOW option on the SET OPTIONS screen.
Chapter 15
~~~~~~~~~~
APPLICATION NOTES
~~~~~~~~~~~~~~~~~
This Chapter contains tips for making better use of certain instruments
with the Keyboard Controlled Sequencer. Since new equipment continues to
be released at an increasing rate, it is not possible to make a complete
listing of products that will work with the program. Many instruments
share design features, so the following information may be useful even if
you do not own the instruments discussed.
Casio CZ Series
~~~~~~~~~~~~~~~
The Casio CZ-101 is a programmable eight voice polyphonic digital
instrument. It can hold 32 programs (16 of these are presets and may not
be changed) or 48 programs if you buy the optional RAM cartridge. Dr. T's
also has available a patch librarian/editor for the CZ, and RAM cartridges
pre-loaded with 64 of our favorite sounds.
The CZ-101 is very useful with the KCS because it can also function as four
mono synths. It may be programmed to work on any four adjacent MIDI
channels, with each channel playing a different sound. One drawback is
that there is only one output jack for the four different sounds. You will
have to change DCA envelope levels to balance the relative volumes.
There is no MIDI thru on the CZ synthesizers, so you'll need a MIDI
junction box or else patch the CZ at the end of the MIDI chain. The CZ's
are not sensitive to velocity but respond well to variations in duration
because of their three 8 stage envelope generators. you can put the CZ-101
in mono multi-timbral mode by pressing the SOLO button. You can then use
the MIDI, cursor right, and up arrow buttons to select programs, or you can
select programs from the sequencer. Note in the multi-timbral mode the CZ
may not always react predictably. Notes may ge chopped or missed. If
doing serious recording, you may wish to use a syncing device and record
each Casio part in normal rather than in mono mode. This will also depend
on what patches you are using and the value of the notes it is receiving.
Casio has an "overlap" in its program calling. A program on the Casio can
be specified with either of two numbers when selected from the sequencer.
KCS PG Value CZ Program
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
0 - 15 Presets 1 - 16
16 - 31 Presets 1 - 16
32 - 47 Internal 1 - 16
48 - 63 Internal 1 - 16
64 - 79 Cartridge 1 - 16
80 - 95 Cartridge 1 - 16
The CZ's have one MIDI controller conflict with other instruments. MIDI
controller 6, which is assigned to the data slider on most instruments, is
used for a tune control on the CZ's, which can cause problems if data
slider information is accidentally sent to a CZ. Another quirk of the CZ's
is that in Mono mode, pitch bend is only received on one channe - and not
the basic channel, as you'd expect, but the most recently selected voice
channel, which is shown beside the letters VO in the Casio's MIDI display.
Korg EX-800, Poly-800 and DW-6000
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Poly-800 and EX-800 are similar, with the newer EX-800 being a
keyboardless version of the Poly-8OO with a few more features. Both
machines send on channel 1 and may be set to receive on any channel and
both may select an external MIDI clock to drive their own sequencer along
with the KCS. The Poly 800 sends its sequence data on channel 2.
The DW-6OOO is a 6 voice synth with 64 programmable memories. It features
a digital waveform generator system. The DW-6000 will send and receive
note data, program change, pitch bend, OSC mod, VCF mod, damper pedal,
podamento switch and system exclusive messages.
Korg instruments use a modifed octal numbering system to arrange patches
into "banks", as described in the MIDI chapter.
These Korg instruments neither send or receive velocity but they do respond
to MIDI volume information. Standard MIDI controller assignments are used
except for mod wheel and breath control (controllers 1 and 2), which are
used for joystack up and joystick down on the Korgs.
MIDI Clock and Merge Boxes
~~~~~~~~~~~~~~~~~~~~~~~~~~
The MIDI interfaces used by the Amiga and ST do not provide any inputs
other than MIDI in. If you want to sync to tape or to an external drum
machine, you need a device that provides MIDI clock to the computer. If
you want to be able to use the real time record features of the KCS while
syncing to tape, you need a device that can combine the MIDI clock signal
from your drum machine or sync box with the MIDI output of your keyboards.
The Yamaha KX76 and KX88 keyboards do this automatically, and some others
may as well. Harmony Systems, JL Cooper and others make MIDI merge boxex,
which merge two MIDI inputs into a single MIDI output. Yamaha makes a
device which does MIDI merge and provides several additional continuous
controllers. Any of these will allow you to merge MIDI clock with MIDI
keyboard data, and newer models will simultaneously generate a MIDI clock
and merge it with data from one or more MIDI instruments.
MIDI Junction or Thru Boxes and MIDI Switcher Boxes
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Many companies manufacture MIDI thru boxes. They consist of one MIDI input
and several MIDI outputs, and are useful if you have several instruments
with no MIDI thrus. Kamlet, 360 Systems, JL Cooper, and others make MIDI
switcher boxes. These are more elaborate boxes that allow you to choose
among several MIDI inputs for each of 8 or 10 MIDI devices. We find these
invaluable in our setups.
Ensoniq Mirage
~~~~~~~~~~~~~~
The Mirage samplwr responds to vwlocity changes particularly well with
velocity controlled ADSR's velocity sensitive oscillator mix, and keyboard
scaled decay. You may have several samples spread across the keyboard,
giving the impression that it is several instruments (although there is
only one audio output). You can balance the volunle between the two
keyboard sides. The instrument powers up in omni mode.
The Mirage Operating System Version 3 update adds a lot more MIDI control
to the instrument which the KCS can address using CC events or single byte
messages. Among the performance enhancements are aftertouch, breath
controller, and Local Control Off. The Mirage can also be made to initiate
a disk load by sending it an appropriate program change command; see your
Mirage manual for details.
Ensoniq ESQ1
~~~~~~~~~~~~~
The ESQl is a very powerful eight voice multi-timbral synthesizer, which
can receive on up to nine channels simultaneously when the instrument is in
multi mode. Channel assignments are controlled by the ESQ1's internal
sequencer. Since each sequence on the iESQ1 can be selected from MIDI by
sending an appropriate song select command, it is possible to re-assign the
channel that the ESQ receives on from one instant to the next.
Since voices are assigned to channel on an "as needed" basis, it is
possible to play up to eight voices on any of the nine channels at one
time, without worring about which channel has how many voices assigned to
it. The keyboard sends release velocity through MIDI, though the ESQ won't
recognize this information. It is also possible to push any button on the
ESQ's front panel via system exclusive messages; see the version 2.0 update
documentation for details.
Yamaha KX76 and KX88 Master Keyboards
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CAUTION: KX76's and KX88's can have problems when using the MIDI merge
feature of the KCS. If you patch a KX76 or 88 to receive data from the
KCS, and then send it on to the receiving synths, and the KX76 or 88 (or at
least ours) receives too much MIDI data at one time, it will erase its
internal memory and go back to the state it was in when it was shipped from
the factory. Beware of MIDI loops and length 0 sequences when using a KX76
of KX88 in this manner.
Yamaha RX11 and RX15 Drum Machines
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The RX11 features several variations of the most essential drums. There
are 8 snares, 3 kicks, 3 closed hats, 2 open hats, 2 cowbells, 2 claps, and
2 rimshots. It is possible to set the instrument select, note number,
volume, pan, and MIDI channel assignment for each drum from the KCS using
system exclusive messages; the codes for doing this are contained in the
RX11 service manual.
One problem with the RX11 is that it can not record when wynced to an
external device, either through MIDI or the tape sync input; nor will it
send a MIDI clock or tape sync pulse while recording. It also "hangs up"
and refuses to accept MIDI information for about two seconds after
receiving a MIDI start command, if it is set to an empty pattern or song.
For these reasons, it is best to ignore the RX11's pattern recording
features and use it strictly as a drum synthesizer, with the KCS
controlling the drums via MIDI note commands. In this case, set the RX11's
clock source to EXTERNAL.
The RX15 is similar to the RX11, but has fewer features. There are not as
many drums, fewer patterns and only two audio outputs. Nor does it receive
the system exclusive messages that the RX11 recognizes. One problem the
RX15 has when syncing to MIDI clock is that occasionally, if it receives
too much data (such as note information intended for another instrument) it
will start to miss MIDI clocks. This causes the drum machine to lose sync,
and the musician to pull his hair out. Try activating RUNNING STATUS on
the SET OPTIONS screen.
Appendix 1
~~~~~~~~~~
SERVICE AND SUPPORT
~~~~~~~~~~~~~~~~~~~
This program and the associated documentation are copyright (C) 1986, 1987,
and 1988 by Emile Tobenfeld. This program is licensed to be used on a
single machie, by the original purchaser only. It may not be copied
without explicit written permission.
The diskette on which the program is furnished is warranted for ninety (90)
days from the date of delivery. The program is not guaranteed to meet your
requirements, and operation of the program is not guaranteed to be
uninterrupted or error free. In no event will Emile Tobenfeld or Dr. T's
Music Software be liable for any damages, including any lost savings, lost
profits, or other incidental or consequential damages arising out of the
use or inability to use this program, even if we have been advised of the
possibility of damages. Dr. T's Music Software and Emile Tobenfeld shall
not be responsible for any damages claimed by any other party, resulting
from the use or attempted use of this program. All warranties implied are
Dr. T's, not your local dealer. If problems arise, call Dr. T's
directly.
Copy Protection and Backups
~~~~~~~~~~~~~~~~~~~~~~~~~~~
The disk containing the KCS is copy protected, and must be inserted in
drive A: on the Atari ST, or any disk drive on the Amiga, when running the
program from either the hard or floppy disk. We regret the necessity for
copy protection, but experience has shown this to be the only way to deal
with unauthorized distribution of our programs. Software piracy is a crime
and deprives your fellow artists of their rightful income. Because of this
problem, we are much more fun to deal with if we have your completed
warranty card in our hands when you call for technical support.
Backup disks may be obtained from Dr. T's for $15, when you send in your
warranty registration card. You must include either your completed
warranty card or your diskette serial number and a copy of the sales
receipt.
When calling Dr. T's for customer service, there are a number of things
that you can do to help us help you, which can also save you money on your
long distance bill. Here is a check list of things to have ready when
calling Dr. T's.
1. Your diskette regstration number
2. Your manual
3. Computer turned on and KCS booted
4. Any data related to the problem
5. Information on your computer's disk configuration, monitor type, printer
type, etc.
6. Paper and pencil
When you call us, we will walk you through the program and ask you
questions about what happens, so it is very important that you have this
material at hand when calling. If you don't have this ready, we will ask
you to call back later with the required information. After you've
completed the checklist, call us at (617) 244-1542 between 10 AM and 4 PM
Eastern Standard Time, Monday through Friday.
Appendix 2
~~~~~~~~~~
COMMAND KEY REFERENCE LISTS
~~~~~~~~~~~~~~~~~~~~~~~~~~~
The next few pages contain reference lists of the keyboard functions on the
Track, Open, and Song mode play and record screens, and the step time
record screen. You may make copies of these pages and keep the copies
close at hand when using the KCS, if you like.
TRACK MODE PLAY/RECORD SCREEN
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
TRACK SELECT KEYS
~~~~~~~~~~~~~~~~
1 - 9 : Tracks 1 - 9
A - Z : Tracks 10 - 35
Numeric 1 - 9 : Tracks 36 - 44
Numeric ( : Track 45
Nvmeric ) : Track 46
Numeric ' : Track 47
Numeric / : Track 48
CONTROL PANEL
~~~~~~~~~~~~~
F1 :EXIT
F2 :RECORD
F10/SPACE :PLAY
ESC :PAUSE
ENTER :STOP
. :TEMPO UP
, :TEMPO DOWN
UNDO :RE-RECORD
? :ERASE TRK
: :CONTROLLERS
' :AFTERTOUCH
* :NOTE OFF VEL
; :MIDI MERGE
BACKSPACE :ECHO
> :ECHO CHAN UP
< :ECHO CHAN DOWN
TAB :CUE
CRSR UP :START CUE UP
CRSR DOWN :START CUE DOWN
CRSR RIGHT :END CUE UP
CRSR LEFT :END CUE DOWN
LIVE EDIT
~~~~~~~~~
RIGHT SHIFT :DELETES NOTES
CONTROL :RESTORE NOTES
ALTERNATE :VEL = 127
LEFT SHIFT :VEL = 64
ALT/L.SHIFT :VEL = 16
AMIGA KEY SUBSTITUTIONS
~~~~~~~~~~~~~~~~~~~~~~~
Atari ST Amiga
~~~~~~~~~~~~~~~~~~~~~
UNDO :Right AMIGA key
INSERT :Right ALT key
CLR HOME :Shift-DEL
Numeric ( :Numeric -
Numeric ) :Shift-Numeric -
Numeric * :Numeric .
Numeric / :Shift-Numeric .
The four numeric key substitutions apply to the Amiga 1000 only.
TRACK OPTIONS
~~~~~~~~~~~~~
F3 :MUTE/UNMUTE
F4 :SET PUNCH
F5 :CLEAR PUNCH
F6 :ERASE PUNCH
F7 :COPY PUNCH
F8 :SOLO
F9 :SET SWITCH
F11 :SHIFT +1
F12 :SHIFT +3
F13 :SHIFT +12
F14 :SHIFT -1
F15 :SHIFT -3
F16 :SHIFT -12
F17 :EDIT SELECT
F18 :SWAP
F20 :NAME
CLR HOME :ERASE
ALTERNATE :MUTE ONLY
SHIFT :UNMUTE ONLY
HIDDEN CONTROLS
~~~~~~~~~~~~~~~
DELETE :ALIGN
RETURN :TRACK SWITCH
\ :TRACK MERGE
| :AUTO-RECORD
% :VISIBLE METRONOME
$ :AUDIBLE METRONOME
! :ALL TRACKS TO SEQ
^ :TEMPO CHG BY RATIO
& :STEP DELAY
# :MUTE ALL TRACKS
@ :UNMUTE ALL TRACKS
* :EDIT/PUNCH BUTTONS
- :SILENT PUNCH
/ :CUE LOOP
] :CUE BACK 1 BAR
[ :CUE BACK 2 BARS
' :CUE BACK 4 BARS
= :CUE BACK 8 BARS
INSERT :CUE MOVE AMOUNT
( :TRACK LOOP
) :FILTER
_ :FILTER CHAN DOWN
+ :FILTER CHAN UP
F19 :VELOCITY PEDAL
~ :PANIC BUTTON
0 :SET OPTIONS
SONG MODE PLAY SCREEN
~~~~~~~~~~~~~~~~~~~~~
SEGMENT KEYS
~~~~~~~~~~~~~
1 - 9 : Segments 1 - 9
A - Z : Segments 10 - 35
Numeric 1 - 9 : Segments 36 - 44
Numeric ( : Segment 45
Nvmeric ) : Segment 46
Numeric * : Segment 47
Numeric / : Segment 48
SEGMENT OPTIONS
~~~~~~~~~~~~~~~~
F4 :PLAY IMMEDIATE
F5 :PLAY AFTER CURRENT
F6 :SET LOOP START
F7 :SET LOOP END
CHANNEL KEYS
~~~~~~~~~~~~
1 - 9 : Channels 1 - 9
A - G : Channels 10 - 16
CHANNEL OPTIONS
~~~~~~~~~~~~~~~
F3 :MUTE/UNMUTE
F8 :SOLO
F9 :SET SWITCH
HIDDEN CONTROLS
~~~~~~~~~~~~~~~
F1 :EXIT
LEFT MOUSE :EXIT
F10/SPACE :PLAY
' :TEMPO UP
, :TEMPO DOWN
UNDO :STOP
RETURN :CHANNEL SWITCH
TAB :CUE
CRSR UP :CUE POINT UP
CRSR DOWN :CUE POINT DOWN
INSERT :CUE MOVE AMOUNT
CRSR LEFT :LAST SEGMENT
CRSR RIGHT :NEXT SEGMENT
F2 :LOOP CURRENT SEGMENT
\ :LOOP ON/OFF
; :MIDI MERGE
BACKSPACE :ECHO
> :ECHO CHAN UP
< :ECHO CHAN DOWNT
0 :SET OPTIONS
~ :PANIC BUTTON
============================================================================
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