Professional

MIDI Sequencer
Universal
Librarian
MIDI Data
Analyzer

Version 4
w-- .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ....

SEQUENCER Plus
Gold
VmsiON 4

REfmENCE M.wJAl
REVisiON 10

333 Fifth Avenue

Pelham, New York 10803

Phone: (914) 738-4500

Fax: (914) 738-6946
Sequencer Plus Gold- Version 4.0
Reference Manual 1.0 - November 1990
Copyright Notice
The contents of this manual are © Copyright 1990 by Voyetra Technologies.
All rights reserved.
No part of this publication may be reproduced, transmitted, or transcribed in any
form by any means without the written permission of Voyetra Technologies.
Trademarks
The Voyetra Logo, Sequencer Plus Junior, Sequencer Plus and Sequencer Plus
Gold are trademarks of Voyetra Technologies.
Windows 3.0 is a trademark of Microsoft Corp.
MPU-401 is a trademark of _Roland Corp.
Sound Blaster is the trademark of Creative Labs, Inc.
Ad Lib is a trademark of AdLib Inc.
PC, XT, AT, PS!l and IBM Music Feature are trademarks of International Business
Machines.
Where applicable, all other referenced products are trademarks of their intended
companies.
TAblE of
CONTENTS
 Sequencer Plus Gold

Getting Started
Introduction
System Requirements ...... ........ .. .......... .......... .. ........ 2
About this Manual. ... .......... ..... .... .. ........ .. .. ........ ........ 3
Optimizing Performance .. ..... ...... ............ .. .......... ...... 5

MIDI Interface Considerations 8

About VAPI ...... ... ... .. .. ...... .. ......... ........... ................... 8

VAPI Supported MIDI Interfaces 1O

Voyetra V-22/-24s .. ...... ......... .. ................................ 10
Yamaha C1 .. ........ ...... .......... .... ................ ............... 10
MPU-401 Compatible Interfaces .............. ...... ........ 1O
FM Synthesizer Cards .... .... .................... ..... ... ........ 11
Music Quest Interfaces .. ..... .......... .............. .... .... .... 11
IBM Music Feature Card (MFC) .... ..... .................... 12
Features Chart for Supported MIDI Interfaces ... .... 14

The Sp Gold User Interface 15

Using the PC Keyboard ........................ .............. .... 16
Using a Mouse ......... .... ................................ .......... 19

Setting Up The PC MIDI System

Installing Sp Gold .. ....... ...... .... .... ............................ 23
Running MIDITEST ...... ........................ .................. 24
Running Sp Gold .. .. .. .. .............. .... .. ........ ........ ........ 24
Using Sp Gold with Windows 3.0 ......... .......... ..... ... 26
Hardware Installation .... ...... ..... ............. .................. 27
Installing the Sound Blaster ..... .... .......... .......... .. .... 29
Testing The System .... ............... .............. ...... .... .... 31

Basic Concepts
Screens ........ ........ ....... ............... .. .... .... .. .... ........... .. 33
Building a song with the Sequencer .... ............ ...... 34
Controlling the MIDI network .................................. 35
Recording Techniques ...... ...... .... .............. ...... ........ 36

Table of Contents - v
Sequencer Plus Gold

Sequencer
Main Screen
Main Screen Status Area ....................................... 39
Main Screen Work Area ................ .............. .......... 41
Main Screen Menu Commands .............. ................ 46
Record and Playback from the Main Screen ......... 48
Main Screen Group/Arrange Menu .......... .. ............ 50
Multi Channel Recording .... .... ................ ................ 52
Recording with Multiple Ports ................................. 54
Beat-Leam .......... .. .............................. ............ ........ 56

View Screen
View Screen Work Area ........................................ 59
View Screen Menu Commands .............................. 61
Record and Playback from the View Screen ......... 63
View Screen Block Moves Menu ........................... 64

Tempo Track Window

Tempo Track Window Menu Commands ..... .......... 68
Entering Tempo Settings ........................................ 69

Edit Screen
Edit Screen Work Area ........................................... 71
Time Units in the Edit Screen ................................ 72
Moving the Cursor in the Edit Screens ...... ............ 73
Edit Screen Menu Commands .... ..... ...................... 73
Using the Edit Screen Buffer Commands ...... ........ 76
Manipulating Notes in the Edit Screen ............. ...... 76

Note Edit Screen

Environment Area .... ................. .................. .... ........ 79
Current Note/ Insert Note Area ...... ...... .... ............ .. 80
Note Edit Menu Commands ............ .. .................... 80

vi - Table of Contents
 Sequencer Plus Gold

Step Record Screen

Step Settings Area .... .. ......... .. ............ ......... ........... 83
Current Note/ Insert Note Area .................. ............ 84
Step Record Menu Area ....... ................................ .. 84
Step Entry Modes ......... ........ .... .. .................... ........ 86

MIDI Edit Screen

MIDI Line .... ................ ............................ .... .... ........ 89
MIDI Event Area .. .... ............................... ................ 91
MIDI Edit Screen Menu Commands ...................... 92

Transforms
Using Transfonns ................................................... 97

Normal Transforms 99
Time Transforms .. ................................................. 99
Pitch Transforms ............ .. ............ ........................ 103
Velocity Transforms ............. ...... .................... ...... 105
Split Transforms .... ............................................... 108
Random Transforms ........ .......... ...... .................... 109
Miscellaneous Transforms ... ....... .... .................... 11 O

MIDI/Tempo Transforms 111

Time Transforms ................ .................................. 111
Value Transfonns .... ............... ........ .... ............ ...... 112
Insert/Delete Transforms .. ...... .............................. 113
Tempo Transfonns ............... .. .. ............ ................ 115

Key Signature Window

Key Signature Window .... ... ........ .......... ........ ........ 117

Super-Quantize Transform 119

Quantize Grid ....................................................... 120

Tap Tempo Transform 126

Using Tap Tempo .. ............................................... 126

Table of Contents - vii

Sequencer Plus Gold

Global Functions
Files Screen
Files Screen Status Area ........... .......................... 130
Files Screen Work Area ........................... ............ 131
Files Screen Menu Commands ...... ...................... 132

About Song File Formats

File Format Summary .. ............................... .......... 138
Using MIDI Flies .. .. ......... ................................ ...... 139
Using Personal Composer Files ............... ........ .... 141

Notepad Screen
Notepad Screen .. .......... ........................................ 143

Pop-Up Windows
Bar Number Window .................. .............. .. .......... 146
Menu Area Commands .............. .......................... 146
Configuration Window ...... ......... .. .. .. .. .. ...... .......... 147
Configuration Window Menu Commands ...... 147
DDL Calculator Window ............................... ........ 149
Display Setup Window .. .. ............. ........ ................ 150
Text Fields ................. ............... .. ... .......... .. .... 150
Graphic Characters .. ........ ...... .... .... .. ...... ...... .. 150
Field attributes ...... ................... .. .. .. ................ 151
Display Setup Window Menu Commands .. .. 151
Hardware Configuration Window .... .......... ............ 152
SMPTE Implementation .... ..................... ... ..... 152
Markers Window ........................... ........................ 154
Markers Window Menu Commands .......... .. .. 155
Metronome Window ...... .... .................. ..... ... ... .. .. ... 157
Metronome Window Menu Commands ......... 158
MIDI Thru Window ........ .... ........ ...... ............ .... ...... 159
MIDI Thru Window Menu Commands ... ........ 159
Using the MIDI Thru Feature ..................... .... 161
Options Window .......... ...... .... ............ ........ .......... 162
Options Window Menu Commands ........... .... 163
Working with Time Signatures ........... ...... .... .. 167
Play Range Window ...... .... ...... ...... ...... .. ........ ...... 170
Play Range Window Menu Commands ..... .. .. 170
Punch-In Window ............................................... 171
Punch-In Window Menu Commands ............. 171
QWERTY Synth Window .. .. .... .... ........ .. ................ 172
QWERTY Synth Commands ...... ............... .. .. 172
Sync Window ...... ............ ...... .. .. .. ...... .......... ...... .... 174

viii - Table of Contents

 Sequencer Plus Gold
Sync Window Commands .............................. 174
Using External Sync .. .................. ............ ...... 182
Sync Techniques ........................................... 183

Table of Contents - ix
Sequencer Plus Gold

Librarian/
MIDI Data Analyzer
Bank Arranger Screen 187
Instruments vs. Librarian Features ......... .............. 188
Bank Arranger Status Area .................................. 188
Bank Arranger Work Area .................................... 189
Bank Arranger Menu Commands ......................... 189

Librarian Setup Screen 194

Setup Status Area ................................................ 195
Setup Work Area .................................................. 196
Setup Menu Commands ....................................... 197

Using Specific Instrument Types 201

PAUSE Instrument ............................................... 201
Generic Instrument ............................................... 201
Names Only Instrument. ....................................... 203

Instrument Data Formats 204

Programs and Patterns ........................................ 204
Cartridge Data ...................................................... 204
Unusual Arrangements of Program Banks .......... 205
Unusual Arrangements of Program Numbers ... .. 205
Scratch Buffers ..................................................... 205
Button Pushing .... ................................................. 205
Omni Mode ........................................................... 206
MIDI Channels and Sysex Data .................. ........ 206
Instrument Data Blocks ........................................ 206
Yamaha DX!TX Instruments ................................. 207
Roland Instruments .............................................. 209
IBM Music Feature Card (MFC) ........................... 209
Sound Blaster and Adlib FM Synth Cards .......... 210

FM Voice Editor Window 211

About FM Synthesis .... ......................................... 212

Librarian Options Window 213

Librarian Options Menu Commands .................... 213

x - Table of Contents
 Sequencer Plus Gold

MIDI Data Analyzer

MIDI Data Analyzer Status Area .......... ................ 216
MIDI Data Analyzer Menu Commands ...... .......... 217
About the MID I Protocol ......................... .... .......... 217

Grid Mode 219

Channel-specific MIDI messages ......... ...... .......... 219
Non-channel specific MIDI messages .. ........... .. ... 221
MIDI Real Time Monitor ....................... ................ 222

Formatted Trace Mode 223

Fonnatted Trace Work Area ....... ..... ... .. ................ 223

Bulk Hex Display Mode 225

MIDI Encoded ASCII ......... .................................. 225

History Mode 226

Capturing MIDI data into the History Buffer ... .. .... 226

Define Output Strings Screen 228

Define Output Strings Screen .............. ................ 228

MIDI Timecode Screen 230

MIDI Timecode Screen ......................... .............. 230

Table of Contents - xi
· Sequencer Plus Gold

Appendix
Features Summary
Transforms Summary ........... .. ...... ............ ...... ...... 234

Sound Blaster and Adlib Card

Controlling FM Synth Cards ............... ...... .. .......... 237
FM Synth Card Operating Modes ...... .. .... .......... .. 238
Sound Blaster MIDI In/Out Modes .. ..................... 240
Sound Blaster MIDI THRU Modes ....................... 241
Using Multiple Sound Blaster Cards ............ .... .... 243
FM Synth Card Program Listing ........................... 244

Command Line Options

Trackscan Options ...................................... .... .... .. 245
Metronome Options .. ...... .. .... ............ .................... 246
Mouse Options ............. .......... .. ...... ................ ...... 247
Song File Options ............ ................. .................... 248
Video Display Options .. ................ .... ........ ............ 248
VAPl/SAPI Options ............................... ................ 250
Misc. Options ............ ...... ........................ .............. 252

Troubleshooting
Hardware Problems .. ........ ........ ............................ 255
Common Questions .......................... ........ ............ 256

Index
Index .............. .................................................... i - xiv

xii - Table of Contents

GETTiNq
STARTEd
Introduction
Features Summary
Sequencer Plus Gold is a major upgrade of Sequencer Plus Mark III version 3.0
that includes a multitude of new and enhanced features. For a complete features
listing, see the section called "Features List."

Backing-Up Disks
Before proceeding, be sure to make back-up copies of the original disks included
with this package and put the originals away for safe keeping.

To make back-up copies of the original program disks:

CD Put the original diskette in the A: Drive and type:
DISKCOPY A:

~ Follow the on screen instructions.

Read Me Fife To see if there is additional documentation in a README file, place the Install
disk in the A: drive and type:
A:TYPE README
The message "File Not Found", indicates that there is no README file; all the
needed documentation is in this manual. If the README file is present, it will be
displayed on the screen.
To print the information on the screen, use the [Print Screen] key or open the file
in a text editor/word processor and print from there.
Because the README file is an ASCII text file, if it is loaded into a word
processor and then saved in that word processor's format, it may no longer display
on the screen as described above.

Registration
Please complete and return the software registration card
included with this package.

Only registered customers can take advantage of the following benefits:

0 Limited Warranty
0 Update Notifications
0 Upgrade Plan
0 Customer Support
0 Voyetracks Newsletter
To qualify for these benefits the completed registration form must be returned
within JO days of purchase.

INTRODUCTION - 1
System Requirements

System Requirements
<D IBM"' PC"' , X'l"" , A~ , and true compatibles equipped with one of
the following MIDI Interfaces:
• Voyetra V-22 .. l-24S .. multi-port interfaces
• MPU-compatible interface
(MPU-401 .., MPU-IPC '"', V-4000x ..)
•Music Quest MQX-16 tm !16S .., MQX-32 '"!32M ..
• Creative Labs' Sound Blaster ..
• Ad-Lib .. Game Card
•IBM Music Feature'"
-Or-
IBM PS/2'" (Mkro Channel), equipped with a Roland Micro Channel
MPU-401 interface
-Or-
IBM PS/l with MIDI feature
-Or-
Yamaha Cl'" Music Computer
® A Hard Drive (and one floppy drive for installation)
<ID DOS 2.0 or higher
® At least 512K of RAM (640K recommended)
<ID One of the following monitors:
•IBM Monochrome
•Hercules ..
• CGA
•EGA
•MCGA
•VGA
• Twinhead Magk Combo '" Display Adapter

Support for other interfaces may have been added since this manual
was printed. The README file will list any new inte1faces that have
been added.

2 - INTRODUCTION
 About this Manual

About this Manual

Symbols and Conventions
The + - [ ] keys are often used for data input and for toggling through menu
choices. Throughout this manual, these symbols will be printed as they were in the
previous sentence, and they simply represent the keys on the PC keyboard as
follows:

PC Keyboard Chart
Key Representation
+ Plus/ Equals key, with or without
pressing the Shift key
Minus/ Underscore key, with or
without pressing the Shift key.
Left bracket/ Curved bracket key,
with or without pressing the Shift
key.
Right bracket/ Curved bracket
key, with or without pressing the
Shift key.
< Less Than/ Comma key, with or
without pressing the Shift key.
> Greater Than/ Comma key, with
or without pressing the Shift key.

Individual keys to be typed at the PC keyboard will frequently appear in text with
no special formatting.
For example, if instructed to press F, simply press the F key on your PC keyboard;
pressing [Shift] or having [CapsLock] enabled makes no difference . When a
lengthy command is to be typed it will appear below the text and indented, as
follows :
cd\voyetra
In this instance you would be expected to type cd\voyetra.
Auxiliary keys, such as the Ctrl, Alt and Function Keys are contained in brackets
as follows:
Example: [Ctrl] [Alt] [Fl]
Key combinations are completed by holding down one key, while pressing another.
The following example instructs you to press the [Ctrl] key, and while holding the
control key, press the R key:
Example: [Ctrl] R

INTRODUCTION - 3
About this Manual
Special functions are printed so they are easier to find. For the most part these will
be direct instructions on how to do something. We have tried to make the most
commonly sought information the ea5iest to find by indicating its location with an
arrow, and by printing them in italic type as follows .
'- To access the View Screen. press V.
Instructions on using the mouse are printed as follows:

•!• lf you have a mouse ...

Press both mouse buttons to access the mouse menu

Particularly important information is printed within a box, like this.

4 - INTRODUCTION
 Optimizing Performance

Optimizing Performance
Computer Memory
Song Memory After loading Sp, the unused portion of PC RAM is available for recording MIDI
data. A PC equipped with a maximum DOS RAM of 640K allows a maximum
song size of over 50,000 notes.

The actual number of notes available for a song depends upon the
types of MIDI data recorded (eg . pitch bend, aftertouch, etc ..)

Track Memory Individual tracks have a memory limit of about 65K, (approximately 10,000 notes).
While this is not a limitation in normal use, recording five very long (or very
complex) tracks of over 10,000 notes each, can use up all of the available song
memory.
Memory remaining is shown in the top right hand corner of the screen status area.
While recording, this shows how much memory is available in the track being
recorded. Otherwise, it displays how much memory is available for the entire song.
Conserving Recording MIDI controllers (like pitch bend and aftertouch) uses a great deal of
Song Memory memory. Thus, it is best to eliminate unnecessary controller data in a recorded
track by using the MIDI Thin Transform in the MIDI Transforms screen.
To conserve memory while recording tracks:
0 Don't record MIDI data that may not be necessary. Use the Options
Window to set "MIDI Benders, etc." for recording only the desired
types of MIDI controllers.
0 Don't cut and paste a track section to create a repeating musical
pattern. Instead, try recording the pattern once (including rest
measures, if any), then LOOP the track from the Main screen.

Utilizing Extra Memory

Using a Memory above 640K can be set up as Extended or Expanded (EMS) memory. In
Disk Cache either case, it can be utilized to speed up disk intensive operations by setting up a
"disk cache" that uses RAM to store often-used data from the hard drive.
Disk caching programs are available from many third party developers, including
one called SMARTDRV that is part of the Windows operating system .
When using a disk cache to enhance Sp Overlay performance, allocate at least
50K-128K for the cache RAM.
Speeding up Sp is designed to optimize the 640K DOS RAM for song memory by minimizing
"Overlay" the amount of program code that resides in DOS RAM. This is accomplished by
Access swapping to disk the parts of the program that are not currently in use . The sections
of the program that are transferred to and from disk are called "overlays."

INTRODUCTION - 5
Optimizing Performance
When used with a hard drive, the process of swapping overlays is virtually
unnoticeable. However, the use of a disk cache program substantially minimizes
disk access by saving the overlays last read from the disk in a buffer area of EMS
or extended RAM. If your system has this RAM available, you may want to
consider this option.
Maximizing Certain utilities allow memory resident programs, such as V API and SAPI to be
Song RAM relocated into RAM above 640K. In particular, QEMM and QRAM by Quarterdeck
Systems are useful for relocating V API and SAPI outside of DOS memory and
increasing song RAM by lOK to 15K. If other memory resident programs are used
in conjunction with Sp, QEMM and QRAM can most likely be used to relocate
them as well.
Programs that are prime candidates for relocation into "High RAM" include the
mouse driver program, disk cache program, keyboard macro programs and other
utilities that may enhance the use of Sp.

Optimization Tips
Sp is a powerful program that perfonns complex calculations in real time while
maintaining the accµracy of the recorded music. As such, certain features that are
not essential in a particular situation may unnecessarily compromise program
response.
Computer The microprocessor in your PC is incredibly fast, but it also has limits. When MIDI
Choke data is juggled with Sp Gold, it's easy to create an extremely complex song file
that pushes the computer beyond its capabilities and chokes the song throughput.
The obvious solution to computer choke is to use a faster computer.

PCs based on the 80286, 80386 and 80486 microprocessors run a lot
faster than a standard PC-based on the 8088 and are less prone to
computer choke.

Besides upgrading to a faster PC, the next best remedy is to prevent computer
choke by avoiding the processes that cause it.
For example:

<D Don't transmit several tracks of data on the same MIDI channel
unless it's really necessary.
It's fine to compose that way, but once you have a part together, use
the Merge transfonn to combine short pieces on one track (this saves a
lot of processing time).

~ Don't make Sp Gold transpose and quantize too many tracks during
playback.
The Transpose and Quantize columns on the Main screen only change
the data in a track when it's played back. The changes are made
pennanent by using the Quantize and Transposition transfonns. Once
the data has been changed, Sp Gold has to work a lot less to play it
back than it does to juggle it into shape "on the fly."

6 - INTRODUCTION
 Optimizing Performance

@ Don't use "Smart" Time signature source unless necessary.

Using "Smart" Time signature source (See Options Window section
for details) forces Sp to perfonn substantial calculations in order to
line up time signatures in tracks. By using "Fixed" or "default", the
system editing and playback starting will work smoother.
Optimum To obtain the best perfonnance characteristics from Sp, an optimum PC music
Hardware system should have the following specifications:
Setup
<D Use a PC with a fast microprocessor and Hard Drive.
Using a PC with a fast (28ms or less) hard drive will yield the best
perfonnance characteristics when using Sp. In general, PC's based on
the 80286, 80386 and 80486 processors will provide the best
perfonnance.
~ Use the lowest IRES option your PC can handle.
The Command Line Options section describes the /RES option which
is used to "fine tune" Sp's perfonnance based on the speed of the
system microprocessor. While this option is set automatically when Sp
is installed, if your PC is exceptionally fast (eg. '286/20, '386/20,
'386/25, etc.), it may be possible to use the lowest setting of /RES:l,
which yields the best song-timing accuracy. This may be done by
editing the SEQ.BAT file with an ASCII text editor.
@ Maximize Song RAM.
Use QEMM or QRAM to relocate the VAPl/SAPI drivers, mouse
driver, disk cache program and other memory resident programs to the
RAM above DOS 640K.

INTRODUCTION - 7
About VAPI

MIDI Interface Considerations

Voyetra software runs on many different MIDI interface models by virtue of its use
of a device driver called V API (Voyetra Applications Program Interface.) This
section describes the features particular to each interface model when using Sp and
VAPI.

About VAPI
The V API device driver is a memory resident Sequencer Plus
program that allows Sp to communicate with the
MIDI interface. All of the features supported by
the interface are incorporated into its VAPI driver VAPI
version.

DRIVER.BAT MIDI Interface

The specific V API version required for the
interface installed is automatically copied onto the The VAPI device driver
handles the communication
Hard Drive by the VINSTALL program, based on between Sp and the MIDI
the information provided during installation. 1be Interface.
VINST ALL program creates a batch file called
DRIVER.BAT which contains all of the VAPI specific information for your system.

Each MIDI interface supported by Sp must use the specific VAPI

driver designed for it. If tire improper VAPI version is run, an error
message will appear and the program will run in demo mode. (i.e .. it
won't play or record.)

The V API version used for each

interface model is listed in the features
Sequencer Plus
summary chart in this section. For
example, the chart shows that a V-24s
must use the VAPI24S driver in order to
function properly with Sp. VAPI

SAP/
SAPI
For FM sound boards, such as the
Sound Blaster and AdLib, another driver
called SAPI provides a link between Sp
and the FM hardware. SAPI works in MIDI Interface FM Hardware
conjunction with V API- it may not be
used alone . The SAPI device driver works with VAPI to
handle the communication between Sp and
the FM hardware in PC sound cards.

8 - INTRODUCTION
 About VAPI

Removing VAPI and SAP/

When exiting Sp, VAPI and SAPI may be removed from memory with the /REM
command line option. This is done automatically if the SEQ.BAT file is used to
run Sp Gold. See the Command Line Options section for details.

JRQ and Address Options

PC MIDI Interfaces use specific interrupt (IRQ) and address settings which are
either selectable on the card or predetermined by the manufacturer.
For instance, while most MPU-401 compatible interfaces are set to address 330H,
their interrupt setting is often selectable.

VAPI automatically sets the proper MIDI interrupt setting when

loaded. To override the setting, it is best to re-install VAPI with the
VINSTALL procedure.

The V API address setting defaults to the common setting used for interfaces with
fixed addresses (such as the MPU-401 compatible.) For interfaces with selectable
addresses (such as the V-22/-24s), the VAPI address may be reset by re- installing
VAPI using the VIN STALL procedure. This process uses the V API command line
optionc; described in the section called "Command Line Options." The command
line options for V API and SAPI may be edited manually by loading the
DRIVER.BAT file into a text editor.

INTRODUCTION - 9
Voyetra V-22/-24s

VAPI Supported MIDI Interfaces

While Sp supports many features such as integrated control of SMPTE hardware,
click detection, multiple ports, etc., some interfaces may not support particular Sp
features described in this manual. The following table summarizes differences
between the supported interfaces.

For the most recent information on interface features, always check

the Hardware Configuration Window by pressing [F3], H.

Voyetra V-22!-24s
The V-22/-24s use VAPI22 and VAPI24S respectively.
MPU Option The V-22m/-24sm include an MPU option that allows MPU compatible software
to run on these interfaces. With the MPU option installed, the V-22/-24s boots up
in MPU mode. When Sp is run, VAPI turns off the MPU functions and turns on
the V-22/-24s functions. Upon exiting Sp, VAPI turns on MPU mode and the
V-22/-24s functions are shut down. This process makes the use of MPU compatible
software with a V-22m/-24sm completely transparent to the user.

Yamaha C1
When using Sp with a Yamaha Cl, use the Cl CAPI driver supplied with Sp.
Sp requires CAPI version 1.08 or greater. Earlier versions of CAPI will cause Sp to
function erratically.

MPU-401 Compatible Interfaces

Each of the following MPU-401 compatible interfaces use VAPIMPU:
CJ Roland MPU-401 and all Roland derivatives of this design.
CJ Roland LAPC sound card.
CJ Voyetra OP-4001, V-4001cs, V-4001 and V-4000.
CJ Music Quest interfaces used in MPU mode.
CJ All other MPU-401 compatible MIDI Interfaces.
VAPI does not utilize the MPU-401 intelligent mode. Instead, it turns on the MPU
UART mode, which defeats the intelligent mode FSK and Metronome features.

Because VAPI uses MPU UART mode, the FSK and metronome
outputs on the above interfaces will not function when used with Sp .

Sp sounds the Metronome on the PC speaker or as a MIDI note (See the

Metronome Window section for details.)

10 - INTRODUCTION
 Music Quest Interfaces

FM Synthesizer Cards
Sound Blaster (SB)
The SB uses V APISB to drive the :MIDI port and SAPIFMl to drive the FM
sounds.

For additional information about using the Sound Blaster with Sp,
refer to the Sound Blaster section in this manual.

To Replace the SB MIDI Port

The :MIDI Port on the Sound Blaster can be defeated by removing the IRQ jumper.
This allows another :MIDI interface to be used in its place.
For instance, to use a V-24s in place of the Sound Blaster :MIDI port, V API24S
would be installed instead of VAPIFMl. The Sound Blaster SAPIFMl would be
installed at Port 5 in order to access the FM voices on port 5 and the four V-24s
:MIDI ports on ports 1 - 4.

SB and the Bank Arranger

Sound Blaster cannot receive and transmit :MIDI simultaneously. As a consequence
of this, the Sp Gold Setup Screen and Bank Arranger cannot upload Banks from
:MIDI Instruments. This may be overcome by replacing the SB :MIDI Port with
another :MIDI interface.

Adlib Game Card

The AdLib card uses the Sound Blaster SAPIFMl to drive the FM sounds. Since
SAPI cannot function without a V API, the AdLib card uses V APINUL to provide
the V API function calls.
To use the AdLib card with a :MIDI interface, install the VAPI version for the
interface in place of V APINUL. This may be done by re-installing VAPI with the
VINST ALL procedure.

Music Quest Interfaces

MQX-32
The MQX-32 uses V APIMQX.

<D Although the MQX-32 has 2 physical input<;, they are merged at the
hardware level, and therefore are only recognized as 1 port by Sp.

~ Sp may function erratically with MQX ROM versions 013 and lower.
To determine ROM revision number, run the MQX diagnostics
included with the interface. If this reveals that the interface has ROM
revision 013 or lower, contact Music Quest for an upgrade.
The Freewheel function and four SMPTE rates on MQX-32 requires
ver 2.0ROM.

INTRODUCTION - 11
IBM Music Feature Card (MFG)

The MID/TEST program supplied with Sp may be used to test the

ROM Version. See the Installation section for details.

MQX-16s
The MQX-16s uses VAPI16S. It requires the version 2.0 ROM from Music Quest
to operate properly with Sp.

MQX-161 PCM/DI
The MQX-16 and PC MIDI card both use VAPIMPU, since they are essentially
MPU- 401 compatible with no enhancements.

IBM Music Feature Card (MFC)

The IBM Music Feature uses VAPIMFC for driving the MIDI functions. Unlike
the Sound Blaster and Adlib cards, the FM voices on the MFC are controlled via
MIDI rather than directly from the PC bus. SAPIMFC may optionally be used to
provide dynamic voice allocation.
Because the MFC voice assignment works much better with SAPIMFC,
VINSTALL automatically installs SAPIMFC and VAPIMFC. To use the MFC as a
standard FB-01, remove SAPFIMFC from the DRIVER.BAT file.
MFC MIDI port The MFC FM synth and MIDI interface are both mapped to Port 1. Tracks set to
mapping Port 1 will be transmitted via the MIDI port. The FM synth will respond to the
channels mapped by the MFC performance setting.
MFC The FM synth voices may be mapped to different channels by selecting various
Performances MFC performance settings. The default performance is number 17, which is a
sing)e 8 voice instrument on channel 1 which provides one timbre only.
/MUL Tl option MFC performance 18 sets the MFC as 8 monophonic voices on channels l through
8. VAPI assigns one channel to each voice, allowing a maximum of eight
monophonic tracks. Thus, no matter how many voices occur simultaneously in a
track, only one will play at a time. To activate this performance setting, run VAPI
with the /multi command line option as follows:
V APIMFC /MUL Tl
This command line option is most easily added by editing the DRIVER.BAT file .
Changing Assigning MIDI Data strings to the number keys in Sp Gold allows Sysex to be
Performances transmitted from the Data Analyzer to select any MFC performance. Check the
MFC manual for a list of performance assignments.
The MIDI message string to change performances is:
fO 43 75 0 10 22 xx 7f
(where xx Is the number of the performance minus 1)

12 - INTRODUCTION
 IBM Music Feature Card (MFG)

Using the Bank Arranger with the MFC

By selecting the FB-01 instrument, the MFC voices can be accessed with the Bank
Arranger in Sp Gold. This allows banks to be rearranged, uploaded and
downloaded from the MFC to the PC RAM. FB-01 patch banks can be downloaded
to the MFC with this method.

Using the MFC with VAPI and SAP/:

0 Drum sounds on the MFC are mapped to channel 10 with the same
note mapping as the Sound Blaster (see the section called "Using the
Sound Blaster" for the drum map assignment.)
0 FM voices will respond to channels 1 - 9 with the same patch
mapping as the Sound Blaster (see the section called "Using the
Sound Blaster" for the patch list.) The 8 MFC voices are assigned as
necessary by SAPIMFC. Thus, if more than 8 voices are used at any
point in the song, voice 1 will be robbed to play note 9, voice 2 will
be robbed to play note 10, etc.
0 Because SAPIMFC allocates voices and programs as necessary and
sends sysex data to the MFC while it plays, the MFC MIDI port
should not be used to control external MIDI devices. Thus, when
using SAPIMFC. the MFC should be considered as a stand alone
FM sound card.

Since the MIDI port does not function adequately when using
SAPIMFC , the MFC cannot utilize the Universal Librarian functions
with external MIDI instruments.

Using the MFC with VAPI only:

0 The MFC is limited to 45 programs.
0 The MIDI port on the MFC functions normally when using this
mode. Eight channels will be assigned to the MFC voices.
0 The Universal Librarian functions properly when using this mode.

INTRODUCTION - 13
Features Chart for Supported MIDI Interfaces

Features Chart for Supported MIDI Interfaces

Voyetra Music Quest Roi IBM CL

~
E

:::..
~
:::..
~
C'I
:::..
~
:::..
C)

:s
;r
~Jj
~..,
~~
~";"
~~
~· ~~ ~~
:IE-
.$:! ~
~ i;
:IE if
t>
l~
::i"'
o.!!
!/)in
.!
~
"
EO -
MIDI In Ports 2 2 2 2 1 2 1 1 1 1 1 1 2
MIDI Out Ports 4 4 2 2 1 2 1 1 1 1 1 1 8
MPU Compatible
VAPI Version
•
VAPI
24S
• Opllonal

VAPI
2.CS
VAPI
22
Optional

VAPI
22
• • • • • •
VAPI
MPU
VAPI
MOX
VAPI
1$$
VAPI
1&$
VAPI
MPU
VAPI
MPU
0
VAPI
MFC
0
VAPI
SB
0
CAPI

SMPTERead!
Generate • • D D 0
• • Optional D 0 0 0
•
SMPTE Frame 24, 25, OF, - - - 24, 25, - - - - - 24,
Rates 30, 29.97 OF, 30 25,0F
30
PgmSMPTE
Freewheel • • - - -
• • - - - - - 0

SMPTEtoMTC
• • - - -
• • - - - - - 0
SMPTE
Recondition er • • - - - 0 0 - - - - - 0

SMPTE Stall
Detector • • - - - D 0 - - - - - D

SMPTERate Auto or - - - Auto only - - - - - Auto

only
detection Manual

Audio Click
Detector • • D D D D D D D D D D D

Vari-Track
•- •- D 0 D D D D D D D 0
•
FMSynth - - - -
• •
- - - - -
Digital audio - - - - - - -
• - - - D -
Joystick Port - - - - - - -
• - - - D -
Selectable 110
address • • • • 0
• • • • • • D -
Selectable /RO
• • • • • • • • • • • •
• = lndudes feature.
-

0 = Does not include feature .

- = Feature does not apply to product.

14 - INTRODUCTION
 Features Chart for Supported MIDI Interfaces

The Sp Gold User Interface

Screen Layout
All screenc; share a common structure, illustrated in the figure below.

S tatus Area__.

Work Area-.
.Snng NDl-Sl1Nf:
Ik

Trk Na.Me
1 -------------------

--------------.-------------~
z ---------------
3 - - - -------- - ---
4 - - - - ------ - - - - -
5 --------------
G
~-""'*'®
ePM 11z

Pt Ch Gp Prg Trans Quant Loop Mute

( C. I n~fll! ~nn )
Fu net ton K~ts
DacJmp
Cl(,

Record
Sn1n
leMpo
l:DII
INTERNAL
lllml
1 :8

ou,...t
.......

Vol
18'.'147.4

Pan

7 - - ------ - --- --- J U"P FILES

8 --- ---- -------- Beat- learn l:RUUP
9 -------------- - Cha~-e H MULTI
Typical
"pop-up"
Window
-~""-·~
11
·
lJ - -
----...i
18 ---------------
- - ------------~

14 ---------------
Delete
Loot-"'
Mute
No.,.,.,
Ou It
OPTIONS
IUICH-IN
VIDI
xsi:rur
1s ---------------
16 --- --- - - ----- ---- ~-----------~
11------------- Main Menu
Beat-learn Chase Delete Loop Mute Na...e Quit Record Solo
-----------"8 lef'l'po EDIT
Menu Area-. FILES GROUP H_MULTI OPTIONS PUNCH-IN VIDI XSEIUP

Status Area Contains general information about c.urrent selections. This area can be removed to
expand the size of the work area.
Work Area Where most of the action is. Each screen shows different things in this area.
Menu Area Shows the commands you can use on the current screen, and other screens or
windows you can select (commands are capitalized, screens and windows are in all
upper case).
Windows Typically "pop-up" into the middle of the work area, and can be moved around as
needed.
Function key Press Fl to see a summary of the commands that are always available by using the
help function keys.
Instrument Gives specific instructions for using the selected instrument with the Librarian.
Help

INTRODUCTION - 15
Using the PC Keyboard

Using the PC Keyboard

Function Keys
•!• lf you have a mouse...
To access function Keys with a Mouse. activate the Mouse menu by pressing
both mouse buttons. Highlight the FUnction Keys option in the mouse menu,
then double-click the left button to activate the FUnction Keys Menu.

Key Function/Purpose
[Fl] Function Key Help
[F2] Metronome On/Off
[F3] Options Window
[F4] Configuration Window
[F5] Play Range
[F6] Sync Window
[F7] Note Pad
[F8] Current Bar
[F9] Chase Mode
[FlO] Quit

[Shift] Function Keys

Key Combination Function/Purpose
[Shift] [Fl] QWERTY Synth
[Shift] [F2] Metronome Window
[Shift] [F3] Lib Options
[Shift] [F4] Markers Window
[Shift] [F5] Program Name
[Shift] [F6] Display Setup
[Shift] [F7] Bar Sync
[Shift] [F8] Solo Current Track
[Shift] [F9] MlDI Thro Status Window
[Shift] [FlO] Digital Delay Length Calculator

16 - INTRODUCTION
 Using the PC Keyboard

[Ctr/] Key Combinations

Key Combination Function/Purpose

[Ctrl]-B Backup track
[Ctrl]-C Set MIDI Channel
[Ctrl]-G Go to track
[Ctrl]-J Jump to track
[Ctrl]-0 Set Port
[Ctrl]-P Set Initial Program number.
[Ctrl]-R Record

Sync Source
Key Combination Function/Purpose
[Alt]-1 Internal Oock
[Alt]-M MIDI Time Code
[Alt]-S Song Pointer
[Alt]-T SMPTE

FM Synth Cards Only

Key Combination Function/Purpose

[Alt]-D ToggJe between Drum
and Instrument Mode

Sound Blaster Only*

Key Combination Function/Purpose
[Alt]-X Toggle MJDI IN/ MIDI OUT

* Tl1isfeatures applies to Sound Blaster"s equipped with pre 2.0

ROM. If your Sound Blaster has ROM 2 .0 or higher this feature will
not be needed and will not be available .

INTRODUCTION - 17
Using the PC Keyboard

Keyboard Commands

Key Function/Purpose
I Activates menu help. Press the
first letter of each command to
activate them.
[Enter] Execute commands, confirm
values.
[:&c] :&cape to the previous screen,
remove a pop-up window, and
abort a command.
[Ins] [Del] Insert and delete measures, notes,
or MIDI data in View and Edit
Screens.
[Spacebar] Run and Stop during play or
record.
[Tab] and [Shift][Tab] Main and View Screen: [Tab]
moves the cursor down to the
next track containing data.
[Shift][Tab] moves the cursor up
to the next track containing data.
Edit Screen: [Tab] moves to the
next note. [Shift][Tab] moves the
cursor to the previous note.
+ - (Plus/Minus) Increment and decrement values
by single units. Toggle through
lists in pop-up windows.
] (Left/Right Brackets) Increment and decrement values
by tens.
Edit Screen: Change pitch by
octaves; change a note's Start
time or Length by 4 units.
< >(Less Than/ Greater Than symbols) Edit Screen: Change note start
time or length by clicks.

18 - INTRODUCTION
 Using a Mouse

Using a Mouse
To use a mouse with Sp. you must first run the "mouse driver"
program supplied with the mouse. The driver may be installed
temporarily or permanently as per the instructions supplied with the
mouse.

If the mouse moves the cursor, the mouse driver was installed properly. If not, try
the mouse with another program that supports a mouse (there is probably a test
program with the mouse package) to see if the mouse driver was installed properly.

Basic Mouse Techniques

Technique Action
Click Press a mouse button once and
release it.
Double Oick Quickly press and release a
mouse button twice.
Drag Press and hold one or both
mouse buttons, move the mouse,
and release the buttons to
complete the drag.

Accessing the Mouse Menus

Each screen has a Mous.e Menu window accessed by simultaneously pressing the
left and right mouse buttons. Items in the Mouse Menu perform the same function
as their keyboard menu equivalents, except that they're accessible with the mouse.

Song NEW- SONG ll!ll!llll MeM 1834Z4

Jk 1 ----- -------------- BPM llZ CK:INTERNAL 1 :8
Irk NaMe Pt Cit Gp Prg Trans Quant Loop Mute Offset Uol Pan
Ill --------------- ~-------------­
z ---------------
3 ------ --------- -.1mmnm Record
4 -------------- - ((Jo~e Menu) Solo
5 --------------- Function Keys Tenpo
6 --------------- Backup EDIT
7 ------------ --- JuMp FILES
8 --------------- Beat-learn GROUP
9 ------------ --- Chase H MULTI
18 - -------------- Delete OPTIONS
11 -------- ------- Loop PUNCH- IN
12 - - - - - ---------- Mute VIEW
13 -------- ------- NaMe XSEIUP
14 --------------- Quit
15 ---- -----------
16 --------------- ' - - - - -- - - - -- - -- - - - - - '
!!----~~--------Main Menu ----------~---11
Beat- learn Chase Delete Loop Mute Na.Me Quit Record Solo TeMpo EDIT
FILES GROUP H_MULTI OPTIONS PUNCH- IN VIEW XSEJUP

INTRODUCTION - 19
Using a Mouse

On a tlrree button mouse. the center button is equivalent to pressing

the left and right buttons simultaneously.

• To activate the mouse menu in any screen, press both mouse buttons
simultaneously.
• To select an item from a pop-up menu, lrighliglrt the item and double-click the
left mouse button.
• To close the menu wit/rout selecting anything, select Close from Mouse Menu
-Or-
._ Double-click the right button. (Equivalent to hitting [Esc]) .
-Or-
._ Hit [Esc] on tire keyboard.
• To move from the Main, to View, to the Edit screens, double click the left
mouse button.
• To return to the previous screen, double click the right mouse button. This is
always equivalent to pressing [Esc] .

Mouse Actions
Many functions require additional information before they execute. lbis
information can be provided from the keyboard, or with the mouse.
There are two types of responses in Sp:
0 Fixed Responses: A choice of word answers.
0 Values: A number, usually within a required range .

t
- u-
Both Buttons Up Moves cursor in respective
direction.

l
t t
Hold Left Button and Drag
up or down

Increments values by+/- 1.

(Equivalent to + - keys.)
uu l l
Hold Right Button and
Drag up or down

Increments values by+/- 10.

(Equivalent to )[keys.)

20 - INTRODUCTION
 Using a Mouse

• The responses to a prompt can be selected by dragging the mouse so the

cursor moves vertically on the screen while pressing the left or right button.
0 If the left button is pressed fixed responses will be shown one at a
time and values will increment/decrement by ones.
0 If the right button is pressed some fixed responses will be skipped as
they are shown and values will be incremented/decremented by tens.

To Exit with the Mouse

<D Click the Left and Right mouse buttons to call the Mouse Menu, then
highlight QUIT and double click the Left mouse button.
<2) Double click again on Quit to confirm exiting.
-Or-
-. Double-click the right button during any step to escape, and not quit the
program.

INTRODUCTION - 21
22 - INTRODUCTION
Setting Up The PC MIDI System
Setting up your PC MIDI system involves several steps:

<D Installing the Sp Gold program onto the hard drive.

~ Installing and testing the MIDI interface.

@ Hooking up the sound system to the synthesizers.

© Connecting the MIDI cabling between the MIDI Interface and MIDI
devices.
If you 're experienced with these tasks, you probably won't need to refer to this
section. However, if your new to the PC, MIDI or both, take your time and follow
the instructions. If you do, your complete system will be up and running quickly,
and you'll learn some important things about MIDI in the process.

Installing Sp Gold
When the VINST ALL program transfers the Sp Gold program files and V API
driver to the hard disk, it creates batch files that run the V API driver and Sp Gold
with the proper command line options for your system.

To install Sp Gold
<D Place the Install disk in the A: drive and type:
A: [Enter]
VINST ALL [Enter]

~ Follow the on screen instructions. If you change the MIDI interface,

run VINSTALL again to make the corrections for the new setup.

VINSTALL will halt the installation if any hardware inconsistencies

are detected.

VINSTALL automatically creates two batch files that are used in running Sp Gold:
DRIVER. BAT Automatically installs the proper drivers and command line
options for your MIDI interface.
SEO.BAT First rups DRIVER.BAT to install the drivers, then runs Sp Gold.
When you quit Sp Gold the V API drivers are removed from memory.

Setting Up The PC MIDI System - 23

Running MID/TEST

Running MID/TEST
The MIDITEST program should be run immediately after running VINSTALL to
test for proper installation of V API, Sp Gold and the MIDI interface.

To run MID/TEST
<D Cltange to the drive and directory where SpG is installed. For
example, if the defaults were used, SpG would be in the
C:\VOYETRA directory and you'd type:
C: [Enter]
CD\VOYETRA [Enter]
~ Load the V API driver by typing:
DRIVER [Enter]
@ Run the test program by typing:
MIDITEST [Enter)
Follow the on screen instructions. You 'U be asked to connect the
MIDI Input to the MIDI Output on the MIDI interface so that a "loop
back" test may be performed.

@ If the MIDI interface does not pass MIDITEST, check the hardware's
documentation to see if it's installed properly.
<ID After running MIDITEST, remove the MIDI cable connected in step 3.
After running VINSTALL, and checking your hardware with MIDITEST, you are
ready to run Sp Gold.

Running Sp Gold
Sp Gold must be nm from a hard disk. it will not run from a floppy.

When Sp Gold is run, it will halt if any problems are detected in the hardware
setup. For example, a mismatch between the Sp and MIDI interface address
settings would cause SEQ.BAT to not load the V API/SAPI drivers. If this happens,
Sp Gold will stop during the loading process and list the nature of the problem it
found. If Sp loads without stopping, this indicates that everything's fine.
If Sp is instructed to continue loading in spite of the error encountered, it will run
in "demo" mode. (ie. it will not play or record, but the screen functions will be
active.)

24 - Setting Up The PC MIDI System

 Running Sp Gold

To run Sp Gold
CD Switch to the directory used by VINSTALL during installation. For
example, if the defaults were used, SpG would be in the
C:\VOYETRA directory and you'd type:
C: [Enter]
CD\VOYETRA [Enter]
@ Run the SEQ.BAT file as follows.
SEQ [Enter)
The SEQ.BAT file uses DRIVER.BAT to load the V API driver and
then runs Sp Gold. When you Quit Sp Gold, SEQ.BAT will remove
the V API driver from memory.
-Or-

@ To bypass the SEQ.BAT program, run the DRIVER.BAT file, and

then run SPG.EXE directly, as follows:
DRIVER [Enter]
SPG [Enter]
This would load the V API driver but not remove it when you quit SpG.
The DRIVER.BAT file may also be included as part of your
AUTOEXEC.BAT file to automatically load V API when the PC boots.
To do this, add the following command to the AUTOEXEC file:
CALL DRIVER

The SEQ.BAT provides a simple way to run Sp Gold and the VAPI
driver. If do not /rave a firm understanding of the DOS batch
language. do not attempt to edit the original batch files created
during installation. If you do try to edit copies of these files be aware
that they refer to each other by name. If you rename them, you must
also alter the names in the calling files .

Setting Up The PC MIDI System - 25

Using Sp Gold with Windows 3.0

Using Sp Gold with Windows 3.0

Although Sp Gold is not written for Microsoft Windows 3.0, it may be run as a
DOS application from within the Windows environment. Other than the
convenience of not having to exit Windows, running Sp Gold from Windows 3.0
doesn't provide any Windows enhancements for Sp Gold (eg. Clipboard,
multitasking, etc.).

To run Sp Gold in Windows 3.0:

<D Put the V API driver into the AUTOEXEC.BAT file. (Don't try to run
it after running Windows.) If you want to use a mouse with Sp, put the
mouse driver in the AUTOEXEC.BAT file too.

® From the Windows Program Manager, select "New ... " from the "File"
menu. Add a new item for Sp. The command line must specify the
drive and path to Sp. (You do not need a batch file that will change to
your Sp directory, Windows will do this for you.)

® The default ICON selection is the DOS prompt ICON, but choosing
the "Change Icon" option lets you select any of the icom in the
program manager's executable file for your Sp icon.
Don't run other MIDI programs while running Sp in Windows since the PC may
crash as a result of too many IRQ requests.
If you experience any interrupt problems, try changing your MIDI interface
interrupt. Windows does some strange things with interrupts, so you never can be
sure what you'll run into. Running Sp Gold from within Windows also reduces the
maximum song file size as follows :

Memory Decrease when using SpG with

Microsoft Windows 3.0
Windows Mode Lost Memory
(Decrease in note capacity)
Real 76K (12,700 Notes)
Standard 64K (10,700 Notes)
386 Enhanced 7K (1,170 Notes)

For instance, the chart shows that running Sp Gold in Windows Real Mode
decreases the maximum song size by 12,700 notes.
Sp Gold is a complicated program that juggles MIDI data while keeping track of
timers, MIDI hardware, etc .. Windows was designed to run spreadsheets, word
processors, drawing programs, database programs, etc., none of which work in
"real time" as does Sp. Because of this, you may run into strange problems that are
related to Windows sitting in the background while Sp does its job. Thus, it is
advised that Sp Gold be run from DOS by exiting Windows. Since this can be
done effortlessly with the proper batch files, it's a better (and safer) alternative than
experiencing puzzling problems and reducing song memory.

26 - Setting Up The PC MIDI System

 Hardware Installation

Hardware Installation
Because Voyetra products run on so many different hardware platforms we can't
tell you all the particulars about installing your MIDI interface. We can, however,
make some suggestions about MIDI cabling, hooking up your synths, etc. If you
need any further details concerning your interface, consult its documentation.
Please note that a "MIDI device", as referred to throughout this manual, is
anything (other than your PC) that uses MIDI (ie. synthesizer, drum machine,
external hardware sequencer, etc.)

Connecting Single Port MIDI Interfaces

To connect MIDI devices to the MIDI interface
<D Connect the MIDI OUT from the interface, to the MIDI IN on the
MIDI synth to be used as a master keyboard.
@ Connect the MIDI IN from the interface, to the MIDI OUT on the
master keyboard .

® Connect any slave devices to the MIDI Thro output on the Master. If
the devices do not have Thro Ports, an external MIDI Thru Box will
serve the same purpose as the MIDI Thru Port.

Master Syn th

PC equipped with
single-port MIDI
Interface

MIDI In

SlaveSynth

Setting Up The PC MIDI System - 27

Hardware Installation

Connecting Multi-Port Interfaces

Multi port interfaces such as the Voyetra V-22/-24s, Yamaha Cl and Music Quest
MQX-32 usually do not need to use MlDI Thru outputs since each MIDI device
may be connected to the individual port outputs.

Using a Multi-Port Interface with a single master keyboard

<D Connect the Master Synth to Port 1 as shown in the diagram.
® Connect the slave inputs to each output port.
® Use the slave MlDI thru outputs when you run out of ports .

V-24s Connector Box

MIDI out MIDI In

4321 12
•
PC equipped with
V-24s Ouad-port MIDI

M::Oullfili~111i~H11
The In and Out are
connected on the master
since It Is used to record
and playback.

The outputs are not used

on the slaves since they
are only used to
play back.
,____Mtmtn liiill SlaveSynth

M•m•· l•~1lf~1ll
Slave Synth

Slave Synth

28 - Setting Up The PC MIDI System

 Installing the Sound Blaster

Installing the Sound Blaster

Before proceeding, follow the instructions in the Sound Blaster Manual to make
sure the Sound Blaster is properly installed.

Connecting the Sound Blaster MIDI Box

<D Plug the Sound Blaster MIDI Connector Box into the 15 pin Joystick
connector on the back of the Sound Bla"!ter.
@ If you have a joystick, connect it to the joystick port that's on the
MIDI Connector Box (The joystick is not used by Sp.)

Connecting the MIDI Synthesizer

The MIDI connection instructions for the Sound Blaster are similar to the previous
in"!tructions for single port MIDI Interfaces:

<D Connect a MIDI cable from the Our jack on the MIDI Synthesizer to
the IN jack on the Sound Blaster MIDI Connector Box.
@ Connect another MIDI cable from the OUfl jack on the Sound
Blaster MIDI Connector Box to the MIDI IN jack on the MIDI
Synthesizer.
@ If you have more than one MIDI synthesizer, connect the MIDI Inputs
to the other Sound Bla"!ter MIDI Outputs (2 through 6).

OUT 1 - 6 on the Sound Blaster MIDI Connector Box are not

separate MIDI ports, they are all connected to MIDI port one.

Connecting the audio

<D To bear the FM sounds from Sound Blaster, connect the Sound Blaster
audio output to the sound system as per the directions in the Sound
Blaster manual.
~ To bear the sounds from the MIDI syntb, connect its audio output to
the sound system as per the instructions included with the syntb.
@ To bear both the MIDI keyboard and the Sound Blaster at the same
time will require an audio mixer. Connect the outputs from the MIDI
keyboard and the Sound Blaster to the mixer's inputs and connect the
sound system or.headphones to the mixer's output.

Affordable mixers are available from Radio Shack type stores.

Setting Up The PC MIDI System - 29

Testing The System

To Hear Sound Blaster FM Synth

Connect Sound Blaster Output to Headphones, Speakers or Amplifier.

To Hear MIDI Synth

Connect MIDI Synth Output to Headphones, or Amplifier.

To Hear Both FM Synth and MIDI Synth

Connect Sound Blaster
Output to Mixer Input.

Connect Mixer Output

to Headphones or Amplifier.

From MIDI Keyboard Output to Mixer Input.

30 - Setting Up The PC MIDI System

 Testing The System

Testing The System

To play a song file
<D From the Main Screen, press F, for Files, to access the Files screen.

@ Using the cursor/arrow keys on the PC keyboard, move the highlight

to the word DEMOSNG2.

@ Press L, for Load, and press [Enter].

@ DEMOSNG2 will load and the program will return to the Main
Screen. (The words Song DEMOSNG2, should appear in the upper
left hand corner of the Main Screen.)
<ID After the song loads, press the [Spacehar] on the PC keyboard to play
the song. If your system has been set up properly you should be
hearing music from the MIDI system (or Sound Blaster.)

® To stop the song, press the [Spacebar] again.

If the song doesn't play

<D Be sure the V API drivers were loaded when Sp was run. Exit Sp and
run it again to see if it stops to prompt you that the drivers weren't
loaded.
@ Check the audio cables and amplifier/speaker.

To quit Sp and return to DOS

<D Press Q from the Main Screen. Or press [Fl OJ from any screen. (If
you accidentally press Q or [FlO) and don't want to quit, press [Esc]
to resume working.)

To record from the MIDI keyboard

If you're using a Sound Blaster: First check that Sp is set to MIDI

.IN by noting the indicator at the top of the Main screen. Since the
SB can· t record and play MIDI at the same time, Sp must be set it to
MIDI IN using [Alt][X] .

<D From the Main screen, press R, then [spacebar).

@ Run your finger up and down the MIDI keyboard to generate as much
MIDI data as possible.

@ While doing this. watch the Mem Counter (top right of the Main
screen) and note if it's decrea5ing in response to the MIDI data.

Setting Up The PC MIDI System - 31

Tes ting The System

® If it's dropping as the MIDI keyboard is played, MIDI is being

recorded. To confirm this, press [spacebar] and enter the View screen
(press V.) If there are no solid squares in the track just recorded, it
indicates that MIDI data was not recorded. If there are solid squares,
MIDI has been recorded.

32 - Setting Up The PC MIDI System

Basic Concepts
Sp Gold is an incredibly powerful MIDI program used for recording, editing, and
arranging MIDI music in limitless ways. In addition, it's Universal Librarian and
MIDI Data analyzer offer complete control over a PC MIDI setup.
This section provides a quick overview of how Sp Gold is organized so that the
rest of the Reference can be easily utilized by first time users.

Screens
The illustration below shows the relationships between Sp Gold's major screens
which are grouped into four basic sections: Sequencer, Universal Librarian,
Network Organizer and MIDI Data Analyzer.

Sp Gold Screen Flow

Note
Edit

Main Edit MIDI

View Edit

Step
Record

'\::-
QJ c:
.~·~
~~
~ Bank
0-.1
-
..:.c !1l
....
0 (I)
~
Setup Arranger

~.~
z:§
....

· · · · 1· · ·~~~:·· · 1·• · • 1•·

(JJ
MTC
~
!1l
c:

l1:• i
"'(

~
a
-cs
~
De me
Output
Strings

33 - Basic Concepts
Building a song with the Sequencer

Sequencer Record/ Playback

The sequencer section is used to Sequencer MIDI Music
record, edit and playback MIDI
data generated when playing a Manage Synthesizer
Librarian sound progrsms
MIDI keyboard. When the MIDI
data is played back by the PC, Control MIDI
the MIDI synthesizers respond to Network Organizer Network settings
the MIDI commands and I
generate music. MIDI Data Analyzer I. MIDI
View, Store, Transmit
data

Universal Librarian The four sections of Sp Gold provide complete

control over evety aspect of a PC MIDI music setup.
The Universal Librarian is used
for transferring synthesizer programs (or patches) between the synthesizers and PC.
These programs represent the settings in the synthesizer voice that determine the
final sound. By transferring these programs to the PC, they can be saved to disk
and rearranged so that a library of sounds is always easily accessible.

Network Organizer
The Universal Librarian Setup screen provides global control over the MIDI
devices in a MIDI setup. The Bank Arranger allows the programs for each devices
to be manipulated.

MIDI Data Analyzer

The MIDI Data Analyzer provides a view of the MIDI data activity in the PC
MIDI system. This is useful for diagnosing problems or directly controlling MIDI
devices. The MIDI data Analyzer is accessed from the Setup screen and provides
three views of MIDI data along with a MIDI Time Code (MTC) monitor and a
MIDI data strings transmit screen.

Building a song with the Sequencer

Sp Gold's sequencer is comprised of independent, polyphonic tracks that are
somewhat analogous to those on a multitrack tape deck. Unlike a multitrack tape
however, the PC records MIDI data rather than audio. Thus, it provides complete
control over the intricate nuances in a performance.
The Main screen provides
Control lndlvldual
control over individual track Main Screen track settings.
settings, acting as a "track sheet"
summary for the song. The View
Edit on the measure
screen provides control over the level. to modify large
contents of each track on a View Screen sections of the song.
measure level, while the Edit
screen shows the data in each Edit notes and MIDI
measure. For finer control, the data In each measure
Note, MIDI and Step Edit
Edit Screen for intricate control
over every note.
screens provide access to each
parameter of every note in a The sequencer in Sp Gold allows music to be
measure. edited on a macro or micro level.

34 - Basic Concepts
 Controlling the MIDI network

Controlling the MIDI network

Sp Gold's Universal Librarian and Network Organizer is used to create setups that
are representations of the settings in your MIDI network.

Setups
A setup is a list of the banks of patches to be transferred from the PC's disk library
to the instruments. With a single keystroke, up to 32 different instruments are
loaded with patches and set to specified program numbers.
The settings for a setup are stored along with your song so the instruments may be
loaded with the proper sounds before the song begins.

Managing Sound Libraries

The Universal Librarian is used to
upload, download, manipulate, Control port and
Main Screen channel settings for
and store banks of patches from each track
over 130 supported instruments.
With this power, Sp Gold can Download program
eliminate dedicated librarian Setup Screen banks Into every
programs, RAM cartridges, and MIDI Instrument.
cassettes and be used to manage
programs for each instrument you
Upload, download
own. Since so many instruments Bank Arranger and rearrange
are predefined, making a selection Screen programs from MIDI
is as ea5y as highlighting the Instruments
name and pressing the Enter key. The Librarian/ Networl< Organizer in Sp Gold provides
total control over the sounds in MIDI instruments.

Getting to the Heart of MIDI

Sp Gold's MIDI Data Analyzer
View channelized MIDI
provides a window to the MIDI Grid Screen data In sn organized
world by providing a way to "chart" fashion.
communicate with MIDI
in<;truments in their own language. Easlly decipher
It's indispensable for studio Formatted Screen streams of MIDI
owners, MIDI musicians, software ~-------~· commands.
I
developers, and educators,
virtually anyone who uses MIDI in View large blocks of
his/her profession. MIDI network Bulk Screen MIDI data.
activity can be monitored in three The MIDI Data Analyzer in Sp Gold acts as a
different display formats to check "window" into the world of MIDI.
for the occurrence of specific
messages and easily decipher MIDI commands. MIDI in<;truments can also be
controlled from the PC keyboard by transmitting strings of MIDI commands for
doing anything from playing a note to initiating a patch dump. There's also a full
screen MIDI Time Code monitor.

35 - Basic Conceots
Recording Techniques

Recording Techniques
Like a multi track tape deck, but better, Sp Gold allows a song to be built by
adding tracks one at a time (or several at a time). Most of the manipulations can be
done on multiple tracks at the same time.
There are many ways to build a song with Sp Gold, and after a while you will
likely find one that you prefer above the others. This section briefly discusses some
of the alternatives.

Laying the Foundation

A song is begun by recording one track that can serve as a melody line, b:t.'!S line,
or chord riff. You can record the complete track from beginning to end, or just a
piece of it. Once you have the initial track, record additional tracks from the
beginning of the song (in the Main screen) or from any measure of the song (from
the View screen) to add drums, a lead pattern, etc..
If the song consists of different sections music (verse, choms, bridge, etc.), you
could work with each section on a different group of tracks and then piece it
together with the editing functions. This technique is handy when recording a
bridge that would normally occur in the middle of the song. If the bridge were on
the same tracks as the rest of the music, you 'd have to set a play range before
recording, use punch-in recording (which limits your choice of final versions), or
record regularly on the View screen, and lose everything after the bridge section.

Real Time vs Step Time Recording

A song can be recorded in either real time or step time.
In real time, you play a MIDI keyboard and record the MIDI data directly into a
track. In step time , the notes are entered one at a time at a fixed rhythm, allowing
for far more complex musical passages. In step time, you can use the mouse, PC
keyboard or an external keyboard to enter the notes. The two methods may be
combined to realize virtually any performance.
Once the MIDI data is recorded into a track, it may be edited on a measure level or
a note level with a "piano roll" style note display.
The "top" of the program is the Main screen, which provides a "track sheet" for
your song. To edit tracks on the macro level, the View screen displays the song's
entire structure by showing which measures in the recorded tracks contain MIDI
data. From here you can cut, paste, copy, etc. large song sections.
To edit the data in any measure, zoom in on the micro level with the Edit screens,
which allow individual notes and MIDI data to be exan1ined and precisely
manipulated.
There are also several 0ther screens that make it especially easy to work with your
music. The Notepad, for instance, lets you write and save text about a particular
musical piece you 're working on.

36 - Basic Concepts
 Recording Techniques

Overdubbing
One common way to overdub later in the piece is to record onto the end of a track
in the View screen by putting the cursor at the end of the track and pressing
[Ctrl]-R, [Spacebar]. With this technique, however, the recording starts
immediately, making it hard to begin playing on time.
To avoid this, you can set a lead-in of one or more bars, during which you'll hear
the last 'n' bars the song. (Don 't worry, you aren "t recording over them!) After the
lead-in, the REC indicator turns solid, indicating that recording has begun.
This technique ha<; a drawback in that you may accidentally erase the end of a
track. Also, there 's no easy way to keep alternate takes. Instead, try opening up
some blank tracks next to the one you want to extend and use them to record the
new material. That way, you can start at the bar you want and not only keep from
killing a good track, but also mute all the old takes .
Once you have a good take, copy it to the end of the track and delete (or hide) the
takes you don 't want.
In some cases you may want to add new material to a bar without losing what was
there originally. Although you could use the above technique to create a bar in a
new track with the desired part, you can't just paste the new material onto the end
of the old track because they must overlap. In this situation, you 'II need the Merge
transform, which preserves the original material in the destination track.

Group Commands
Recording at the beginning of a song may be preferable in certain cases because:

0 It's easy to jump to the first bar, record from the first bar, etc ..
0 It's nice to be able to make a simple loop to use for a drum or bass
part, which can 't eac;ily be done in the middle of a song.
Sp Gold's group commands come in handy in this situation, because you can
assign different groups to mute and solo each part while deciding which to keep.
To use group commands while recording at the beginning of a song, put each
section on different tracks, all starting on bar zero. Keep all tracks muted, except
the ones that belong to the section you 're working on. Then assign each section its
own group letter to make it easy to mute and unmute sections.
Once you have each section in a somewhat finished form, you can unmute all of
them and use the block copy functions to put them to where they should be.

Punch-in vs View Recording

To correct mistakes in a track without re-recording the whole track, you could use
the note editor (if the mistake is just a few notes), or punch-in (to re-record a larger
section.)
In many cases, the View record functions are much more powerful and easier to
use than Punch-In.

37 - Basic Concepts
Recording Techniques
For instance, to re-do a section in the middle of a track, try using the zap function
and/or the note editor to get rid of the material you want to replace. Then go to a
new track and record the correct material. When satisfied with the new take, use
the merge transform to put it back into the original track.
Tiris technique is superior to punch-in for the following reasons:

Cl You aren't limited to bar boundaries.

Cl You have more control over saving and archiving of old takes (and
won't have to answer so many annoying prompt questions!)
Cl You can see what you 're doing.
Tiris technique can be extended to other, situations. For instance:

Cl If you played a drum part on your pags, but want to re-record only
the snare, use the Split xform to remove all the snare notes, reco.rd
the new ones on a new track, and merge.
Cl You can also use this technique to easily re-record pitch bend or
other midi controller data.

Syncing to the Outside World

Through intricate synchronization methods, Sp Gold interfaces with tape decks,
other MIDI and non MIDI devices, and even another computer. Using a variety of
techniques, Sp Gold can act as the master of the multi system network or as the
slave.
By syncing the PC song to a tape deck, you can add vocals on audio tape that play
right along with the MIDI music. When the song s.ounds exactly the way you want
it to, a mix of all the MIDI instruments can be recorded onto the spare tracks of the
tape for a final version.
Fix It In The You can also create a sync track on multi.track tape with a matching MIDI song in
MIDI Mix Sp Gold. Then record with tape and Sp Gold simult{\QeousJy. At a later time, you
can edit the MIDI song, sync the tape and song together, and drop the corrected
take into place on the tape.
You can even go back and fix bad balances in bounced tracks, by redoing them, if:

Cl all the components of the bounce were sequencer tracks, or

0 the non-sequencer tracks are still on the tape.
Virtual Tracks If you have lots of parts or you would like to put more tracks onto your song than
you have room for in your multi-track recorder (eg. if want to record 16 tracks, but
only have a 4-track recorder) you could try the following:
Set up the sync code track/song combination as described, then tum off the tape
deck and record everything that can be MIDied into Sp Gold alone. Use the tape
deck only for recording acoustic tracks. When the time comes to mix, sync Sp

\V
\:f
Gold to tape, let it drive your MIDI network in real time, and mix straight to the
2-track mixdown deck. Tiris saves a generation of tape, and gives
you more tracks 10 wmk with.

38 - Basic Concepts
SEQUENCER
 -~=--~-------- Main - - - - - - - - - - - - - - - .
Song BEBOP llDIIll Me.. 04988
Tk 11 Sax So lo BPM 112 CK:INTERNAL 1:0

Trk Na ..e Pt Ch Gp P1· g Trans Quant Loop Mute Off set Vol Pan
1 Cilek 1 10 A 49 ON 0
2 Hlhat 1 B A 49 8: 1t ON +27
3 Dru"s 1 11 A 49 e ON
4 Plano 2 lZ B lZ
5 Plano 1 2 B 11 "
40
6
7
Bass
High Brass
1
1
6 C
16 D
6
6 ":
H
16t MUTE 8 :1 ..
+18
18
B Low Brass 1 4 D 2 98
9 Tenor 2 5 D 62 1: "' ":1 • 43
18 Tru.,pet 1 3 D 12 0:1 .. rr -56
Ill Sax Solo 1 9 E 62 il!JI!
12 Sax Gllss t 7 E 62 -64
13 - ------------------- 1 1
14 -------------------- 1 1
15 ------------ -------- 1 1
16 - - ---- -------------- 1 1
- - - - - - - - - - - - - - M8ln Menu ------------~
Beal- learn Chase Delete Loop Mule N.,,.., Quit Record Solo Te.,po EDIT
FILES GROUP H_MULTI OPTIONS PUNCH-IN VIEM XSETUP

Main Screen
The Main Screen provides direct control over track-related functions and is
displayed each time Sp Gold is run. To return to the Main Screen from any other
screen press [Esc] repeatedly.

Main Screen Status Area

Song Filename assigned to the current song.
Tic (Track) Highlighted track number and name. (Also referred to as the Current
Track.)
BPM (Beats Per Minute) Current tempo setting. Set with the Tempo command.
MIDl:IN! OUT Used only with the Sound Blaster, whose MIDI port cannot simultaneously receive
and send MIDI. Toggle with [Alt] X .

This features applies to Sound Blaster's equipped with pre 2.0 ROM.
lf your Sound Blaster hos ROM 2.0 or higher this feature will not be
needed and will not be available.

IN Sound Blaster will receive MIDI data but not transmit it. Used for recording
from a MIDI instrument.
OUT Sound Blaster will send MIDI data but not receive it. Used for playing
MIDI instruments from a track assigned to Port 1.
CK (Clock source used as a timing reference for the song. (For details, see the Sync
Window section.) The source of timing may be one of the following:
Internal Uses an internal timing source. which can be either the PC's timer or
if available. the timer on the MIDI interface.

MAIN SCREEN - 39
Main Screen Status Area
SMPTE Uses the MIDI interface SMPTE reader/ generator.
NO SPP Uses MIDI docks, ignoring Position Pointer (SPP).
SONG PTR Uses Oocks and locates the song position using Position Pointer.
MTC Uses external TC).
The clock source may be set in the Sync Window or with the following [Alt] key
combinations:

To set the Clock Source:

Key Combination Oock Source
[Alt) I IN'IERNAL
[Altj T SMPTE
[Alt) s SONGPTR
[Alt) M MTC
Use Sync Window NoSPP

Bar:Beat Song position displayed as har:beat. The value is updated a.<i the cur..;or position is
changed manually in the View Screen, or when play/record is activated.
When recording with one leact-in measure (as set in the Options Window) the
counter starts at 0:0 and counts the number of beats per measure before recording
begins. If more than one lead in meac;ure is set, the counter will begin at a negative
number. When the counter reaches 1:1, recording begins.
REC Appears while recording. Flashes when Record Mode has been activated, but
recording hasn't started.
Indicates that playback or record is active.
STOP Indicates that record or playback is not active.
Mem (Memory) During playback, shows memory remaining in the song.
During record, shows memory left in the track (approximately 65K max).

40 - MAIN SCREEN
 Main Screen Work Area

Main Screen Work Area

Irk Hute Pt Ch Gp Prg Trans Quant Loop Mute Offset Vol Pan
1 Click 1 10 R 49 OH 0
2 Hlhat 1 9 A 49 0 : 1t OH +27
3 Druns 1 11 A 49 a OH
4 Plano 2 12 B 12 0
5 Plano 1 2 B 11 40
6 Bass 1 6 c 6 0: u .. 10
7 High Brass 1 16 D 6 16t MUTE 0 :1 .. 18
8 Low Brass 1 4 D 2 1: 0l 90
9 Tenor 2 5 D 62 8 :1 .. 43
10 Trunpet 1 3 D 12 0 :1 .. 77 - SS
Ill! Sax Solo 1 9 E 62 il!D!
12 Sax GI lss 1 7 E 62 -64
13 -------------------- 1 1
14 ------------- ------- 1 1
15 -------------------- 1 1
16 -------------------- 1 1

•!• lf you have a mouse

Change pammeter values in the Work Area by highlighting the pammeter.
holding the left button and dmgging up/down to increase/decrease the value.
Dragging the right mouse button ls equivalent to pressing the { J keys which
decrement/ increment in larger steps.
Trk (Track) Default is 1 - 64, but it can be increased with the /tk command line option.
• [Tab] moves the cursor down to the next track containing data . [Sltift][Tab]
moves it up to the next track containing data.
Name Name assigned to each track using the Name command. When a track is first
recorded, it is automatically named "New Track."
Port Port number assigned to a track. Cannot be changed while song is playing.
• Highlight the Port field. use the + - keys to toggle the setting. Can also be
changed by pressing [Ctrl] 0.

Not all inte1faces support multiple ports. Use the Hardware

Configuration Window [F3] H to determine the number of ports
available on your inteiface.

If the interface has only one port, assigning a track to anything other than port 1
will disable that track's output.
With the Sound Blaster, port 1 is assigned to the l\1IDI connector box, and port 2 is
normally assigned to the FM sounds.
Ch (Channel) Each track can be assigned to one of 16 l\1IDI Channels. The Channel
setting cannot be changed during playback.
• Highlight the Ch field, use the + - keys to toggle the setting, or type in the
number and press [Enter]. Can also be changed using [Ctr/] C.
Sound Blaster's port 1 channels correspond to 16 l\1IDI channels, port 2 channels
correspond to FM sound,,;.

MAIN SCREEN - 41
Main Screen Work Area
Gp (Group) Tracks can be grouped into 26 separate groups (from A - Z). Once
grouped using the Group/Arrange Menu, certain functions can be performed on
groups of tracks from the Main and View Screens instead of individual tracks.
Prg (Program) The program number transmitted at the beginning of playback. This
determines the sound that will be played by the instrument responding to the
track's channel and port setting. Range is 0-127)

_., Highlight the Prgfield, use the+ - []keys to toggle through Program
settings, or type the number directly and press [Enter] . Can also be changed
using [Ctrl] P.
0 A period(.) in the Prg column indicates that no program change will
be sent when that track plays. By not sending a program change, the
instrument on that port/channel will not be initialized. This is
convenient with samplers, since a program change can activate their
disk drive and cause excessive waiting as a sample loads.
0 Tracks set to the same channel and port numbers will respond to the
same program number settings.
0 Program changes can also be embedded throughout the track using
the MIDI Edit screen.

See the Oprions window [F3] Programs command for details on how
tlzese embedded program changes are sent to MIDI instruments.

Trans (Transpose) Raises or lowers the pitch of the entire track.

_., Highlight the Trans field, use the + - keys to toggle by semitones, [] to toggle
by octaves. Or type the number directly and press [Enter] .
Transpose can be changed during playback, but there is a slight delay when it
changes from one key to another. It does not permanently alter the track data, as
do the Transpose transforms.

Transposition Display Examples

Display Transposition
No transposition.
1:0 i Transposed up one octave.
1:0 J, Transposed down one octave.
0:6 i Transposed up six semi-tones.
2:8 J, Transposed down two octaves
and eight semi-tones.

Transpose data can also be displayed in musical inten•als by setting

XPOSE display in the Configuration window to CHROMATIC.

42 - MAIN SCREEN
 Main Screen Work Area
Quant (Quantize) Shifts notes onto the beats, a handy way of cleaning up sloppy playing.
0 When quantizing during playback there is a slight delay before the
change takes affect.
0 Does not permanently alter the track data, as Quantize transfonns do.
0 Quantizing a track containing MIDI controllers could cause tinting
glitches. If this occurs, use the Quantize Transform to permanently
quantize the track data.
-
Quantize Time-Units
Normal Triplets
No Quant) n/a
4 Quarter Notes 4t Quarter Note Triplets
8 Eighth Notes 8t Eighth Note Triplets
16 Sixteenth Notes 16t Sixteenth Note Triplets
32 Thirty Second Notes 32t Thirty Second Note Triplets
64 Sixty Fourth Notes 64t Sixty Fourth Note Triplets

Loop ' - Toggle with L key, or use + - when Loop field is highlighted.
LOOP Track will replay when the end of the track is reached.
---- Track will play through once and stop.
Mute '- Toggle with M key, or use + - when Mute field is highlighted.
MUTE Track is muted; i.e. it will not sound during playback or record.
---- Track is not Muted.

It is possible for a note to stick if you mute a track that has sent a
Damper Pedal Down message, but has not yet sent the Damper
Pedal Up message. This may happen even if the Pedals Up option is
ON in the Options Window .

Solo • Toggle with the S key, or use {Shift][FB].

SOL 0 Track is Soloed. It is the only track you will hear when song plays
back. The word SOLO and track number will flash in the Status Area, next to the
Song display when active. To Solo a different track while playing move the
cursor to that track and press S twice.
---- Track is not Muted or Soloed.
Mute and Solo can be changed while playing.

MAIN SCREEN - 43
Main Screen Work Area

When a track is muted in Sequencer Plus, it is truly muted. Other

programs differentiate between "muted" and "arced" (archived).
Sequencer Plus always "arcs," and can do so "on the fly," i.e. while
the sequencer is playing. With this method tire Muted tracks are not
processed and thereby MIDI choking problems are avoided.

Moving the cursor from track to track while playing does not change which track is
soloed.
1be following Mute and Solo features operate while the song is playing.
0 Mute/ Un-Mute
0 Solo/ EndSolo
0 Group Mute/ Group Unmute
0 Group Solo/ Group EndSolo
Offset Shifts track data forwards or backwards in time with respect to the other tracks;
displays Offset status of track.
i.. + - [ ) offsets track by quarter notes:clicks. To enter just clicks, press 0 and :
or just : then enter number of clicks.
Display format is Quarter Notes:Clicks, and an arrow indicating direction.

Offset Screen Display

Display Offset
No Offset
1:0~ Offset one quarter note later
1:0 r Offset one quarter note earlier
0:112 ~ Offset one hundred and twelve
clicks later
2:98 r Offset two quarter notes and
ninety eight clicks earlier

Vol (Volume) Track volume is controlled in two ways.

0 MIDI Volume Control Change Messages (Unsigned numbers
ranging from 0 to 127.)
0 Velocity Scaling (Signed numbers ranging from -127 to +127.)
i.. To toggle between MIDI Volume Control Change Messages and Velocity
Scaling. highlight tire field and use tire [Enter] key.
The advantage to velocity scaling is that most synths have velocity sensitivity.
Also, it can have different values for the same MIDI channel assigned to different
tracks. The disadvantage of velocity scaling is that the music can lose some of its
dynamic range when the scaling value is truncated too often.

44 - MAIN SCREEN
 Main Screen Work Area

To set the Volume for a track

CD Confirm that your instrument is set to receive control change
messages. (The message sent for Volume is controller number 7. )
Some synths can be set to receive that specific message; some can
only be set to receive all controller messages, and others do not
respond to controller number 7 at all. Check your synths
documentation for more information.
® Move the cursor to the volume field in the desired track.
@ C'hoose the Volume Control Change Messages option by toggling with
the [Enter] key. (An unsigned number indicates the MIDI Volume
Control Change Messages method is active.)

@ Use the + - keys to increment/decrement the value by ones, the [ ] to

increment/decrement by tens, or type the number directly and press
[Enter]. (Range 0 - 127)

@ To return to no volume setting press •, and a dot will appear in the

column.

Volume messages are only sent from the start of a song from the
main screen. or when the its value is changed.

A typical syn th' s default setting for volume is 127. Once volume lras
been set using the Control Change method, the syntlt will remain at
that setting even if the track 1•olume is set to . i.e. no setting, or is
toggled to the velocity scaling method. Titus, if the volume is set to
20 using control change messages, then toggled to velocity scaling, it
may suddenly sound very weak.

To use Velocity Scaling

CD Move the cursor to the volume column in the desired track.
® Choose Velocity Scaling option by toggling with the [Enter] key. A
signed number indicates Velocity Scaling is active.
@ Use the + - keys to toggle by ones, the [ ] to toggle by tens, or type
the number directly and press [Enter]. (Range -127 to +127)

This is a real time velocity filter that adds or subtracts velocity

values from each note as it is played.

The velocity scaling value is added to the refocity portion of a MIDI

Note On message. and increases or decreases the volume accordingly.

MAIN SCREEN - 45
Main Screen Menu Commands
When t.he sum goes out of the acceptable velocity range, the extra amount is
truncated.
When toggling between Volume and Velocity Scaling the values are converted, not
saved. Thus, if the Volume setting is 100 and Velocity Scaling is toggled on, the
conversion will be approximately +72. If the +72 Velocity Scaling value is
changed and Volume is toggled back on, the Volume setting will be a conversion
of the new value- not the original value of 100.
Pan The Pan setting lets instruments with stereo outputs send sound to the left and right
speakers at different levels.

Many synths do not implement Pan; check your synths

documentation for more information.

0 is equivalent to center panning, +/- 64 is equivalent to Pan fuU Left/ Right.

-. Move the cursor to the Pan field in the desired track, use the + - keys to
toggle by ones and the [] keys to toggle by tens, or type the number directly
and press [Enter].
To return to no pan setting, press (.). A typical synth's default Pan setting is 0.
Once Pan has been set, the synth will remain at that setting even if the track Pan
setting is set to no Pan with the dot "• ".
0 The MIDI instrument must be able to understand MIDI control
change message # 10 (pan) for panning to take effect.
0 When using Pan, all tracks on the same Port and MIDI channel will
have the same setting.
0 Before using the Pan setting, be sure to set your instrument to
receive control changes.

Main Screen Menu Commands

....-~~~~~~~~~~~~Haln Hem•~~~~~~~~~~~~"""'
Beat-learn Chase Delete Loop Mute Na..., Oult Record Solo Tenpo EDIT
FILES GROUP H_MULTI OPTIONS PUNCH-IN UIEM XSETUP

•:• If you have a mouse

Press both mouse buttons to activate the Mouse Menu which allows access to
all the menu commands.
Beat-learn Beat-learn listens for an audio reference click on a recorded tape and creates a
Tempo Map that is used to automatically set the proper SMPTE offset. This allows
a song to be synchronized to a multi-track tape that has a metronome reference
rather than a sync track. By doing so, you can add sequenced tracks to a recorded
song using a metronome as a timing reference .
See the end of this Main Screen section for details on using the Beat-learn feature .

46 - MAIN SCREEN
 Main Screen Menu Commands
Chase Chase lock to tape. AJlows hands off use with Sync Window section in this
Reference for further details.)

' - Chase mode is also activated with tfte [F9] key.

Delete Deletes the current track. To delete all tracks, press D, followed by A.

0 The /Keep command line option allows you to delete a track while
retaining all the track's Main screen settings such as channel and
group. See command Line Options section at the end of this
Reference for details.
Loop Activates looping for current track as indicated by the ON setting in the Loop
column. Length and time signature of each looping track can be different.

0 Loops can be turned on and off during playback.

0 Turning a loop back on after the track has ended has no effect until
you stop and restart the song.
Mute Toggles the Mute function to silence a track, as indicated by the word MUfE
displayed in the Mute column.
0 If Mute is turned ON while playing, the song will continue to play
beyond the end of the song until the [Spacebar] is pressed.
Name Used for entering a track name.
Highlight the track, press N, and type in a name of up to 20 characters. The name
Track is automatically entered when a track is first recorded.

Quit '- To exit tfte program, press Q. then Q again to confirm. Or, press [FJO], then
Q to confirm.
Record Activates record mode. (See next section.)
Solo Makes a track the only audible track during playback, as indicated by the Mute
column setting (SOLO). AJso activated by pressing [Shift] [F8]
0 If Solo is turned ON while playing, the song will continue to play
beyond the end of the song until you press the [Spacebar].
Tempo Sets the song playback speed as the number of Beats Per Minute (BPM). Default
tempo setting is 120 BPM; range is 16 to 255 BPM. Tempo can be changed during
playback.
Edit Accesses the Edit Screen for detailed editing. (See separate section in this
Reference.)
FILES Accesses the Files Screen for file management. (See separate section in this
Reference.)
GROUP Accesses the Group/Arrange menu to create and manage groups of tracks. (See
separate section in this Reference.)
H_MUL Tl Accesses Multitrack record mode for recording more than one track at a time. (See
separate section in this Reference .)
OPTIONS Accesses Options window for setting Metronome, Time Signature, MIDI Options,
etc. (See separate section in this Reference.)

MAIN SCREEN - 47
Record and Playback from the Main Screen
PUNCH-IN Accesses In record window. (See separate section in this Reference.)
View Screen View Screen. (See separate section in this Reference .)
XSETUP Access the Setup Screen. (See separate section in this Reference.)

Record and Playback from the Main Screen

Main Screen erases all of the original track's data.

Playback and recording from the Main screen always begins at the start of the
track. To playback or record from any measure in the track, use the View screen.
For single-track recording, connect the master keyboard to Port #J. Sp Gold only
records MIDI data from Input Port #2 when Multi-Track record floating mode is
active. In other recording situations, port 2 is used to connect an external MIDI
clock used as a MIDI Sync Sync Window [F6] for more information.

To record a track from the Main screen

<D Place the cursor anywhere on the line for the track to be recorded.
~ Press R to activate Record Mode, press the [Spacebar] and begin
playing on the MIDI keyboard.

© MIDI Thro Status Mode, [Shift][F9] M, should be set to CURRENT.

@ When finished, press the [Spacebar] to stop recording.

If the Assignment feature in the Options window [F3] is ON, Sp Gold

reads the channel number from the data and automatically enters it
in the Chn column for the new track.

To record with a Sound Blaster

<D Use [Alt) X* to set MIDI IN/OUT to IN to activate the Sound
Blaster's MIDI input port.

~ Place the cursor anywhere on the line for the track to be recorded.

® Set the track to Port 2 (FM) and the MIDI Thro window [F91 to
CURRENT if you want to monitor your playing with one of the Sound
Blaster's FM sounds. Setting the track to Port I will not have any
effect since the MIDI:OUT is not active and the MIDI data will not be
routed to the external synth.

© Press R to activate Record Mode, press [Spacebar] and begin playing

on the MIDI keyboard.

@ When finished, press the [Spacebar] to stop recording.

48 - MAIN SCREEN
 Record and Playback from the Main Screen

To play back from the Main Screen

CD Load a song from the Files Screen, F, highlight song, L, [Enter].

® Press the [Spacebar] and the song will play.

If the track's MIDI channel setting doesn' t match the Synth' s receive
channel. the synth won ' t respond to the MIDI data in the track.

To play back using the Sound Blaster FM sounds

CD To hear tracks play the FM sounds, set them to Port 2.

® Press the [Spacebar]. The tracks set to Port 2 will playback with the
FM sound it's set to in the Prg column. Assign a different channel to
each track to get multiple tracks playing multiple sounds.

To play Sound Blaster FM sounds with a MIDI keyboard

CD Use [Alt] X to set MIDI IN/OUT to IN. This activates the Sound
Blaster's MIDI input port.
® Set MIDI Thro Mode to current - [Shift][F9], press the M key until
CURRENT appears in the Mode field.
@ If the highlighted track is set to Port 2 (FM), then the program setting
on the track will determine the FM sound that's played.
© If the track is set to port 1 (MIDI), nothing happens since the Sound
Blaster can't receive and send MIDI at the same time.

For more information about using the Sound Blaster FM sounds, see
the Hardware Window and Sound Blaster sections in this reference.

MAIN SCREEN - 49
Main Screen Group/Arrange Menu

Main Screen Group/Arrange Menu

Assign Backup Close EndSolo Gsort Hide Ju"p Mute Open Rena"" Solo
Un--te

'- G fo enter from the Main menu. [Esc] to return to the Main menu.
Commands in the Group/Arrange menu are used to move and reorganize tracks and
control the mute and solo status of track groups.
Each track can be assigned to one of 26 groups (A-Z) by entering a letter in the
Grp column.
'The Period(.) is a special group designation, meaning not assigned to any group. It
is used to leave a track out of the track grouping system.
Tracks can be assigned to groups by highlighting the group column and using the +
- ] and [ keys to change the group letter assignment. Tracks can also be assigned
to a group by activating the Assign command.
'The /grp command line option puts all tracks in the A group, instead of the period
(.)grouping as the program is started. See the section on Command Line Options
for details.
'The wild card character("') can be used to designate all groups. You can mute,
sort, or solo all groups (with the"'), yet leave the unassigned tracks as they were.

Group/Arrange Menu Commands

Assign Used for assigning tracks to a group by typing the letter directly instead of using
the + - ] and [ keys.
Press A, cursor up/down between tracks, assign the track to a group by typing the
letter key. The Assign command is cancelled by moving the cursor horizontally, or
pressing [Enter] or [Esc].
Backup Copies an entire track, including note and MIDI data and Main screen settings.
Will not copy over a track already in use.

' - Place the cursor on the track, press B, type the number of the empty
destination track, press [Enter]. Can also be selected from the Main or View
screens by pressing [Ctrl]B .
Close Removes a blank track from between other tracks, moving others up.
EndSolo Restores each track to the mute/non-mute status it had prior to the issuance of the
Solo command. Used for soloing the desired group without affecting the mute
status of all tracks.
GSort Sorts the tracks by group letter designation. When the track groups are sorted,
you'll be asked if you want to insert blank tracks between the groups.
Hide Moves the selected track to the highest numbered empty track, mutes it, and
assigns it to the (.)period group.

50 - MAIN SCREEN
 Main Screen Group/Arrange Menu
Jump Moves a track's position. Will not move a track to a destination track already in
use.
Place the cursor on the track, press J, type the number of the empty destination
track, press [Enter]. Can also be selected from the Main or View screens by
pressing [Ctrl]J.
Mute Mutes every track in the specified group.
Open Inserts a blank track between two other tracks, moving others down. Tracks that
have been moved to the bottom of the track sheet are not deleted.
Rename Changes the letter assigned to the specified track group.
Solo Mutes every track that is not in the specified group. The mute status of every track
is saved first, so any muted tracks will stay muted when you use EndSolo.
Un-Mute Un-mutes every track in the specified group.

MAIN SCREEN - 51
Multi Channel Recording

Multi Channel Recording

'- H to enter from tire Main or View menus. [Esc] returns to the Main or View
menu.
The Main and View screens each provide access to the H_Multi menu option
which allows recording up to 16 tracks of MIDI data at one time. When H_Multi is
activated:
Cl The left side of the status area shows which tracks have been
selected for recording.
Cl The memory indicator shows how much memory is left in the
smallest track.
Cl The cursor in the work area changes to a "Multi-Track" cursor.
Cl The Multi-Track menu appears at the bottom of the screen.

H Multi Menu Area Commands

I
. - - - - - - - - - - - Holt! Channel Rec Menu _ _ _ _ _ _ _ _ _ _
Fix/Float
1
-

'- Press F to toggle between the two modes (fixed or floating). The right side of
tire status area shows the channel assignment mode.
Fixed Channels must first be assigned to the tracks to be recorded. MIDI data can only be
recorded from Port I.
Port 2 can be used to record MIDI Sync signals from an external controller, such as
a drum machine, MTC, etc ..

To Record in Fixed Mode

G) From the H_Multi menu, use the up I down cursor keys to select a
block of destination tracks. Select one track for each channel of data to
record.
~ Use the left I right cursor keys to highlight the track's channel number
column. Enter a different channel number for each track in the block.

If two or more tracks in tire destination block are assigned to the

same channel. Fixed mode cannot be used.

<ID Press F to select Fixed mode.

© Press the [Spacebar] to start recording.
While recording, Sp Gold reads the incoming data channel numbers
and routes it to the track with a matching channel number.

52 - MAIN SCREEN
 Multi Channel Recording
Float Channels are assigned to recorded tracks automatically on a first come first serve
basis. MIDI data can be recorded from both input Ports.
For example, if both input ports are receiving data from instruments transmitting on
Ch 1, Sp Gold sorts the data so the two instruments are kept on separate tracks.
When recording is stopped, tracks made by data from port 2 are indicated by "p2"
in parentheses after the track names.
Each input port accepts data from any number of channels, but tire total number of
tracks you can record at one time from both inputs is 16. If both inputs contain
more than 16 channels, Sp Gold records the first 16 it receives.

When recording multiple track data on two ports, the MIDI data rate
far exceeds the nonnal data rate for nonnal recording. To minimize
the load on Sp Gold. the MIDI THRU options in the MIDI Thru
window {Shift)[F9] should be turned off. This allows the Sp Gold to
devote all of its processing power to recording rather than divert
resources to rechanneling data to multiple output ports.

To Record in Floating Mode

CD From the H_Multi menu, use the up/down cursor keys to select a
block of destination tracks- one for each channel of data to record.
<ID Press the [Spacebar] to start recording. While recording, Sp Gold sorts
the incoming data by channel number and sends it to the next
available track in the order the channels are received.
@ Press the [Spacebar] to stop recording. The channel numbers appear
next to each new track.

To Record Multiple Tracks from the View Screen

When using the multi-track recording features on the View screen, recording starts
from the current measure, shown by the cursor's position. As with single-track
recording, music may be added to the end of a group of tracks by moving the
cursor to the measure where recording should start.

CD From the H_Multi menu, move the cursor to the first track of the
group into which you want to record.
<ID Move the cursor to the measure where recording should start.
® Move the cursor down to select the additional tracks.

Ctrl-C may be used to conveniently enter the track's MIDI channel

number in the View screen.

If recording starts from a point past the end of the tracks, the blank sections of the
recording tracks are automatically filled in with measures of silence.

MAIN SCREEN - 53
Aecording with Multiple Ports

Recording with Multiple Ports

When you have more than one synthesizer, recording can get complicated. Since
the synths are all on different MIDI channels, you 'II have to do some juggling to
get everything to go to the correct channel.
Every time you record on another synth, you may have to change the MIDI
transmit channel so that you can hear what you're recording on the synth that will
play the part back. You 'II also have to set the playback channel (in the Main
screen) to play the track back to the desired tone generator.
Sp Gold's "auto channel assign" and "MIDI thru rechannelize" features help you
automate various aspects of this common procedure. Here are some examples of
three recording methods to illustrate the use of these features.
In all cases, you should never have to change the receive channel settings on your
tone generators.

Method 1:
If you have no more MIDI instruments than output ports (eg. 4 instruments with a
V-24s or 8 instruments with a Cl), connect each one to its own output port and set
all of them to receive on Channel 1. In this case, you won't have to reset the
instrument's receive channel, because each instrument receives data from different
ports.
In this case, set Sp Gold as follows:

<D From the MIDI Tbru window [Shift][F9], set the Mode to CURRENT
and tum Rechannel OFF.
® From the Options window [F3], turn Auto Channel Assign OFF.
@ From the Main screen, assign an empty track to each output port that's
connected to an instrument.
This method makes it easy to connect a master keyboard to other instruments. The
MIDI data that enters the PC is sent "Thru" the multi-port interface to the
instrument that's assigned to the CURRENT track. When you move the cursor to
another track, the data is sent "Tbru" to a different instrument.
Although this is the easiest recording method to use, you can't use more than 8
channels with a Cl (or 4 in the case of a V-24s). If you own a rnulti-timbral
instrument and want to send it data on more than one channel, you 'II have to use
method 2 or 3 (at least for that instrument).

Method 2:
In this method, the master keyboard can be set to transmit on any channel. Set Sp
Gold as follows:

<D From the MIDI Thru window [Shift][F9], set the Mode to CURRENT
and turn Rechannel ON.
® From the Options window [F3), tum Auto Channel Assign OFF.

54 - MAIN SCREEN
 Recording with Multiple Ports

@ Before recording the track, enter the port number and channel number
of the target instrument on the Main screen (this same port and
channel will be used later when the track plays back).
When you start recording, the data that's sent "Thru" is Rechannelized
to match the receive channel of the target instrument on the
CURRENT track. You can record the track, then play it back without
changing channel settings on the master keyboard or the target
instrument.
If you're recording over a track that's already set up, the port and
channel will have been set.
This method is similar to Method 1 and almost as easy to use. The only time you'll
have to select channels is when you first assign a track. After that, you can overdub
or re-record any track without changing channel assignments.

Method 3:
Here we use the Auto Channel Assign feature. Before recording a track, change the
master keyboard's transmit channel to match that of the target instrument. Set Sp
Gold as follows:

<D From the MIDI Thro window [Shift][F9], set the Mode to CURRENT
and turn Rechannel OFF.
® From the Options window [F3], turn Auto Channel Assign ON.
@ From the Main screen, assign an empty track to the desired output port.
After recording, Sp Gold reads the MIDI channel number from the
data and enters it in the Cho column. The track will play back on the
same channel you used when you recorded it.
This method requires you to change the transmit channel on your master keyboard
every time you record on a different track. Although this isn't difficult, it can be a
problem if your keyboard only transmits on Channel 1 (such as the original DX-7).
If you use a synthesizer as a master keyboard and need to play back tracks with its
internal voices, you may also have problems if you can't change the transmit and
receive channels independently.

MAIN SCREEN - 55
Beat-Learn

Beat-Learn
Beat-learn listens for an audio reference on tape and creates a Tempo Map from
the detected sound. Once created by the beat-learn function, the Tempo Map is
used to set the proper SMPTE offset. The tempo map with SMPTE offset value can
then be used to sync Sequencer Plus to the tape without a sync track.

To use Beat-learn you must have

U A Voyetra V-24s MlDI interface with click detector and SMPTE
hardware.
U A multi-track tape deck.
0 A tape recorded with one track of quarter note clicks and other
tracks with music played in sync with the metronome.

To set up for Beat-learn

<D If one does not exist, record a SMPTE track that starts before the
beginning and ends past the end of the song. (Any frame rate may be
used.)
® Set an initial SMPTE offset that starts before the beginning of the song.
@ Use the Sync Window to set clock source to SMPTE counter to
ABSOLUTE, so you can see what the current time is.
@ A song without tracks will not play, so put in a dummy track (eg. one
note in a looped bar.)
@ Run the tape, and start the song with the [Spacebar]. When the tape
reaches the start of the song, stop Sp with the [Spacebar].

<ID Note the SMPTE time, this will he the rough offset. Subtract a second
or two from the SMPTE time and enter it into Tape Offset in the Sync
Window. The idea is to have the song start up a bit before the first
beat of the song.

To record the Reference metronome track recorded on the

tape into the Audio Trigger -24s.
® Set the Click Lockout Time in the Sync Window to something
reasonable, such as 10.
@ Press B to activate Beai-leam. nien press the srace bar and start the
tape.
® Once everything works, repeat step 3.
@ Once the Reference track is recorded. you can run tap-tempo to
generate the tempos (see Tap Tempo in the transforms section). The
track you just recorded from tape into the Audio Trigger In is the

56 - MAIN SCREEN
 Beat-Learn
Reference trnck. Since there is no Track yet, use a blank track as the
source track.

metronome click that's detected (after the tape offset) will become
the first beat of the song.

Using Tap-Tempo will generate all of the tempos in the Reference Track, and the
tape-offset should have been set to the accurate offset.

To make sure everything worked

CD Use the Options Window to enter the Reference Track.
~ Turn on the metronome, [F2].

@ Play back the tape while syncing to it. The clicks on the tape should
be in sync with the metronome.

MAIN SCREEN - 57
58 - MAIN SCREEN
 Song BEBOP Men 66336
Tk 1 Click BPH 112 CK:JNTERNAL

Jrk NaMe Pt Ch Gp Prg Bars~ 18 116 124 132

Ill] Cl !ck 1 18 A 49 llD C•••••••••••••••••••••••••-- ------- -~
2 HI hat 49
3 Dru Ms
1 8 A
1 11 A 49 z ····································~
4 Plano z lZ B 12 3 ··························----------~
5 Plano 1 2 B 11 54 --························-··········
----- ------------------ -------------~
6 Bass 1 6 c 6
7 High Brass 1 16 D 6 6 -·························-··········
8 Low Brass 1 4 D 7 - -················------------------·
2 B --••••••••••••••••- --- - - ------- - - ---~
9 Tenor z 5 D 6Z
9 --················------------------·
10 JruMpet 1 3 D 12
11 Sax Solo 1 9 E 62 18 --················--- - --------------·
12 Sax Gllss 1 7 E 62 11 ------ - - - - - - ------··········
12 - - - ---------- - ------ - -----·· . . .. . .. .
13 -------------------- 1 1 13 . ... . . - . - . . . .. - . - .. .
14 -------------------- 1 1 14 .. .. ..... .
15 -------------------- 1 1 15 ..... . ...... .
16

Add
--------------------
11---------------- 1 1
View Menu
16
----------------c1
Copy Delete Goto-bar Insert Loop Mute Hane Replace Solo
...... . . . . . .. . .. . .

Width
Zap BLOCK EDIT FILES H MULTI OPTIONS PUNCH-IN TEMPO XFORMS

View Screen
• V to enter from the Main Screen . [Esc] to return to the Main Screen .

•!• lf You Have a Mouse ...

You can access the View screen from the Main scn<!en by double clicking the
left button. Double cUck the right button from View to return to Main.
The View Screen is used to:
0 View the tracks and measures in a song.
0 Cut and paste by measures to create musical fonnats.
0 Record from any point in the song.
The Width command (see menu area commands) removes the track infonnation on
the left, so the measure display fills the screen.

The View Screen status area is identical to the Main Screen.

View Screen Work Area

Graphic characters represent tracks and measures. The grid of dots represents
measures. Every eighth measure is highlighted and marked with a number (8, 16,
24, 32, etc.) along the -top of the Work Area. The table below is a key to the View
Screen's graphic display.

VIEW SCREEN - 59
View Screen Work Area

View Screen Graphic Characters

Character Meaning
DOTS· Measures not recorded
BOXES• Measures containing notes or
other MIDI data
DASHES • Recorded measures containing
no MIDI data
Track continues beyond the edge
of the screen
M Track is MUTED; no dashes or
boxes will be visible
L Track is LOOPED

Moving the Cursor

Key Function/Purpose
Move up/down/left/right
[Ctrl] [~] [~] Move Left/Right by 8 measures
[Home ]/[End] Scroll one screen L I R
[Ctrl] [Home]/[End] Go to the start/end of track
[PgUp ]/[PgDn] Scroll one screen up/down
[Ctrl] [PgUp]/[PgDn] Move to first / last track
[Tab ]/[Shift](Tab] Move to next/ previous track in
use

Special Keys
Key Function/Purpose
[Ins] Inserts an empty measure at the
cursor position. Not the same as
the INSERT command.
[Del] Removes the measure at the
cursor position to shorten track
(not the same as DELETE
command)
[Back~pace] Deletes one measure to the left

60 - VIEW SCREEN
 View Screen Menu Commands

To view the notes in any measure

<D Highlight the measure and press E to enter the Edit screen.
@ Press [Esc] to return to the View Screen.

•!• if you have a mouse ...

Enter the Edit screen by moving the cursor to the desired measure in the
View screen and double clicking the le.ft button.

View Screen Menu Commands

- - - - - - - - - - - - - - Vtew Menu - - - - - - - - - - - - -
Add Cop~ Delete Goto-bu· lnse1·t Loop Mute Ne.Me Replace Solo Width
Zap BLOCK EDIT FILES H_MULTI OPTIONS PUNCH-IN TEMPO XFORMS

•!• if you have a mouse ...

You can access the menu area commands by pressing both buttons
simultaneously to activate the Mouse Window.
Add Inserts any number of blank measures into a track at a user defined point.
The Add command is similar to the [Ins] key, except that it provides control over
time signature and number of bars to insert.
Copy Copies a range of measures into a memory buffer, without changing the original
measures.
Delete Deletes a range of measures, and places them into a memory buffer. Measures to
the right of the deleted measures are shifted left to fill in the empty space.
Goto-bar • To go to any measure in a track: Press G, type the measure number, press
[Enter].
Entering the current measure will make the current bar the center of the view
screen display.
Insert Inserts the selected memory buffer at the cursor position. Shifts all measures after
the insertion point to the right to make room for the inserted measures.
Replace Replaces a range of measures with the contents of a memory buffer. Any section of
a song that is replaced is permanently erased.
The contents of the memory buffers are saved with the song file. See the File
screen for details.
Name, Loop,
Mute and Solo Identical to Main screen command<;.
0 An L appears at the end of a Looped track.
0 An M appears at the beginning of a Muted track, and the grid
displays dots, but no measures. When a track is un-muted the
measures return, unchanged.

VIEW SCREEN- 61
View Screen Menu Commands
Width Removes the infonnation on the left side of the view screen so that the entire width
of the screen shows measures in tracks .
Zap Copies a range of measures into a memory buffer, leaving behind empty measures.
BLOCK Activates Block Moves Menu. (See "Block Moves Menu" in this section.)
EDIT Accesses the Edit Screen for detailed editing. (See section on Edit Screen.)
FILES Accesses the Files Screen for file management. (See section on Files Screen.)
H_MULTI Accesses Multi-track record mode for recording more than one track at a ti.me. (See
H_Multi in the Main Screen section.)
CJ The one important difference in Multi Track recording from the
View Screen that recording can begin from any point in a song. (See
"Recording from the View Screen" in this section.)
OPTIONS Accesses Options window for setting Metronome, Time Signature, MIDI Options,
etc. (See section on Options Window.)
PUNCH-IN Accesses Punch-In record window. (See section on Punch-In Window.)
TEMPO Accesses Tempo Track Window. (See Tempo Track section.)
XFORMS Accesses Transfonns Window. (See Transfonns section.)

To Copy measures into a memory buffer

<D Press C for Copy
<2> Move the cursor to highlight the range of measures to be copied.
@ Press [Enter]. Type the memory buffer to use: 0 - 9 or Temp.

© Press [Enter] again to execute.

•!• if you have a mouse...
To select a track range. cursor to the beginning of the range, hold the left
button and drag to the end of the range.

The procedures/or Delete and Zap are identical to Copy.

To Insert from a memory buffer

<D Move the cursor to the location to paste into.
<2> Press I for Insert
® Enter the memory buffer to insert from: 0 - 9 or Temp.
© Enter the number of times to insert the buffer, then press [Enter]

62 - VIEW SCREEN
 Record and Playback from the View Screen

To fill a track with empty bars

<D Move the cursor to the last unused bar in the track that you want to be
filled with empty bars.
® Press [Ins l, the track will be filled with empty bars from the beginning
of the track or the last existing bar to the cursor location.

Record and Playback from the View Screen

Unlike the Main screen (where recording and play back always begin at the start of
a track), View allows record and playback from any point in a track. During play
back, the cursor moves from measure to measure until it reaches the end.

To Play Back from any point in the song

<D Move the cursor to the desired measure in the track.
® Press the [Spacebar] to start and stop playing.

If time signatures don't match. playback may not start from where
you expect it to. Use Check Bar Sync [Sltift][F7] to confirm that bars
are in sync.

To Record from any point in the song

<D Move the cursor to the measure in the track where you want to begin
recording.
® Press [Ori] R to enable Record mode.
@ Press the [Spacebar] to begin recording.

@ Press [Spacebar] again when finished recording.

Using a Lead-in when Recording

When recording from any point in a song, lead-in can be helpful. For every
measure of lead-in (set in the Options Window) the cursor will play a one measure
prior to the cursor location, i.e. where recording will actually begin. This feature
gives you time to become oriented before actually starting to record.

VIEW SCREEN - 63
View Screen Block Moves Menu

View Screen Block Moves Menu

• B to enter from the View screen. [Esc] to return to the View screen menu.
Block Moves are used to add, erase, move, or delete a range of measures across
any number of tracks. Using Block Moves, the Source Range can be copied,
deleted, or zapped from any place in a song, and inserted or replaced into any other
part of the song.
For example, if a song section must be moved or repeated, it can be defined as the
Source Range and moved to a new location called the Target Range. Or it may be
copied to the Target Range several times to create a repeating pattern.
While the source range is being defined, the Status Area displays the measure and
track number of the upper left and bottom right limits of the rectangular area.

Block Moves Menu Commands

Copy Delete Goto- b~r

Although the Block Moves commands have the same names as buffer
commands. they do not work the same way. Measures are not placed
in memory buffers, so before using a block move command and
permanently modifying your data, you may want to save the song to
disk.

Copy The source range can be inserted one or more times anywhere within the song. The
old data is moved to the right so it won't be
overwritten. COPY :

Delete Removes a block of measures from a range of

tracks. Measures to the right of the deleted l8 '16 lZ1
mea<mres shift to the left. ~ :::::;~;::::::::
Goto-bar To move the cursor to any measure, press G,
~ ·····!;~:~ .......
4 --························
type the measure number, then press Enter. 5 --------------------------
67 -·························
-----. •• -- ... · · - - - - - - - - - - - - - -
Insert Creates a block of empty measures in a range of
tracks. The time signature of the inserted measures is detennined by the setting of
the Time Signature Source in the Options window. This is similar to the Ins key,
except it lets you insert more than one blank measure at the preset time signature.
Replace Source range overwrites the target range.
Zap Erases a range of tracks and measures, leaving empty measures behind.

64 - VIEW SCREEN
 View Screen Block Moves Menu

To move a block using the Block Copy command

<D Press B to access the Block Moves menu.
@ Move the cursor to the upper left comer of the source range.

@ Press C for Copy, then move the cursor to the bottom right comer of
the source range . Press [Enter] to complete the Source Range
definition.
'- To reset the range to the current cursor position. press R .
'- To keep the same range used in the previous block move (or transform) , press
K.

® Move the cursor the upper left comer of the target range . The
destination can be across any number of bars or tracks. Press [Enter],
then type the number of times the block is to be inserted.
A prompt in the Menu Area ask<> for verification before making this
permanent change. The change about to be made is detailed in the
Status Area.
@ If the data is correct press [Enter], or Y to execute the move.
Otherwise, press N to abort the Copy process.

VIEW SCREEN - 65
66 - VIEW SCREEN
 ~--- TEMPO TRACK (track 1'---~

~ii · .. ·1~~~~ . ii2 .. · 9~; . i .. ;4~4; ..... ·1

- - - - - - - - - - - - Te.,po Track Menu - - - - - - - - - - - - .

Add Delete Goto- bar Insert Loop On- Off Re.,ove

Tempo Track Window

• From tire View screen, press T to access. [Esc] to close.
Tempo controls the rate at which a song plays. Tempos range from 16 to 255 BPM
(Beats Per Minute) and can be made to vary throughout the song to speed up or
slow down as needed.
Tempo The Tempo Track window is used to insert tempo and meter changes into any bar
Reference of the Tempo Reference Track, designated with a "T" in place of the Track number.
Track The Tempo Reference Track is set in the Options Window (see below.) To insert
finer changes in tempo, use the .MIDI Edit screen.
The Tempo Track window can only be moved up or down with the cursor keys.
The same graphic symbols used in the View screen apply to the tempo track:
Q (.)A DOT indicates a measure that has not been recorded.
Q (-)A DASH indicates a recorded measure with no tempo change
in it.
0 (•) A BOX indicates a measure with a tempo change.
The Tempo Track only functions when the Oock Source in the Sync Window is
set to INTERNAL, MTC or SMPTE. It has no effect when used with SPP or .MIDI
sync.

To designate a Tempo Reference Track

<D Press [F3] to activate the Options Window.
@ Press T to highlight the TEMPO TRACK field. Enter the track number
to be designated as the tempo track.
On the Main and View screens, a "T" will replace the track number
for the track designated as the Tempo Reference Track.

Tempo Track Window - 67

Tempo Track Window Menu Commands
Although tempo changes may be inserted into any track, only the track designated
as the Tempo Track determines the changes in song tempo. Tempo changes
embedded in other tracks will have no effect. The notes in the Tempo Track will
not play.

Tempos and Tracks

Any track can contain tempo data, however only one track at a time may be
designated as the tempo track. In most other sequencers, a single "conductor track"
specifies the time signature and tempo changes.
The freedom to assign any track as the tempo track allows different sets of tempo
changes to be stored on separate tracks for "auditioning" the effect of various
tempo maps with the same song.
Tempo and Meter maps can be moved with the normal cut and paste commands. It
is therefore possible to make a back up copy of the current tempo track, and
experiment freely; knowing you can always revert to the back up copy if your
experiments go awry.

Tempo Track Window Menu Commands

- - - - - - - - - - - - Te,.,po Track Menu - - - - - - - - - - - -
Add Delete Goto- bar Insert Loop On- Off Re,.,ove

Add Inserts blank measures of any time signature into the tempo track.
-. Highlight the measure(s), press A and follow the prompts in the menu area.
Delete Erases a tempo change without shortening the tempo track. If the cursor is not on a
tempo change, this command will do nothing.

The Delete command is not the same as the [Delete] key:

0 The Del key removes measures, shortening the track and shifting
any later tempo changes to the left.
0 The BACKSPACE key deletes anything to the immediate left of the
cursor, shortening the track by one measure.
Goto-bar Moves the cursor to the selected bar in the tempo window.
Insert Inserts or replaces a tempo change without lengthening the track.

The Insert command is not the same as the [Ins] key:

0 The [Ins] key im;erts an empty measure into a track at the cursor
location, lengthening the track and moving any later tempo changes
to the right.

68 - Tempo Track Window

 Entering Tempo Settings
Loop Loops the tempo track so it will repeat itself until stopped. Same ac; the Main
screen Loop command.
On/Off Toggles the tempo trnck ON and OFF. When OFF, the tempo change commands
have no effect on playback.
Remove Deletes all tempo changes from the tempo track.

To Save a Tempo Track

Since the track designated a'! the Tempo Track may be tre:ited as any other track, it
can be saved as a single track in the Files screen. This allows the tempo changes
embedded in the track to be used in another song.
See the Track Save command in the Files screen for details.

I/you're working with a MIDI file, you can save only the tempo
track (a prompt during the saving process will ask you if you want to
save only the tempo track).

Entering Tempo Settings

From the Main screen
<D From the Main screen. press T for Tempo and enter the desired tempo
value from 16 to 255 bpm. This tempo setting is visible in the Status
areas of the sequencer screens.
~ The tempo change will be global, i.e. the effect of the tempo change
will uniformly affect the song.

From View Screen (Tempo Track Window)

The Tempo Track Window allows tempo changes to be inserted on bar boundaries
into the tempo track. In certain cases, this may be easier to work with than
inserting tempo changes in the MIDI Edit screen.

<D Press V to enter the View screen from the Main screen. Press T to
activate the Tempo Track Window.
~ Press I to insert a particular tempo value at the measure highlighted by
the cursor. This tempo will continue until a new tempo change is
encounterd.

From the MIDI Edit screen

<D From the Edit screen, press M to access the MIDI Edit screen.
@ Press C for Class, and use the + - keys to select Tempo.

® Press M. for MIDI Line. and use the cursor keys to select Tempo
events, if any, to edit.

Tempo Track Window - 69

Entering Tempo Settings

Tempo events inserted on the MIDI Line have the value of the current
tempo value set in the Main screen.

@ For details on editing techniques in the MIDI Edit screen, see the
MIDI Edit section in this manual.

In earlier versions of Sequencer Plus, tempo changes could only be

made on bar lines from the Tempo Window.

With Tempo Transforms

Tempo transfonns work on all tempo data emhedded in traclcs. See
Tempo Transforms, in the Transfonns section in this manual for
detailed infonnation.

With the Tap-Tempo transform

Tite Tap Tempo Transform allows a tempo map to be generated in free
time rather than by inserting tempo change events. See Tap-Tempo in
the Transfonns section for details.

With Beat-Learn
Beat-Learn creates a tempo map by listening to an audible click from
audio tape (requires a V-24s interface.) See Beat-Learn in the Main
screen section.

Loading Song Files from Sp Ver 3.03 and Earlier

When a song file made with Sp version 3.3 (or earlier), or a standard MIDI file, is
loaded into Sp Gold, a combination time signature/ tempo track is loaded on the
highest-numbered empty track (usually 64).
For instance, if Sp Gold is set to 64 tracks, the tempo track from a song recorded
with an earlier version of Sp will be placed in the 64th track if it is empty, even if
only tracks 1 through 4 are being used.
The open and jump commands (see group arrange) may be used to move this to
track l. If this i'> done, the tempo and Tsig track variables in the Options window
should be reset (see Options Window{fime Signatures).

70 - Tempo Track Window

 - = = = = = = = - = - = = - - Edit =~------------..,,
Song BEBOP l!II!Ill Me" 62547
Tk 3 Piano BPM 112 CK:INTERNAL 8:0

BAR
. - ........
..
8
-·-. OCTAVE--- . -
·•· ... - . . . . . . . . .
.. --
S
.. -
. .
-·-. . . . . . .
- .-.-
. -.
EDIT CURRENT
·•·
. ...... - . - - - .
•·
. . ... .. - . - . - . .
·•
PITCH

.. --
--·-.··.
. . - - - . - . . .... . -
. .. .
·•·
·•·
- . - .. .. . - . . .
- . - - .. .. - .. -
.
.. .....
.. . . . . . .
.

. - ·•. - - - ... . - . -.
·•· ·•.
...
-

·-
.
·•·. ·• . - . .. . . . . - . . . - . - . ...... . ... • . . ... . . ... .. . . -
.....
. . ... .. . .... . ..
- . - . - . - . . . . . . - .. --... -. -. . . -.-
.....
- ... - ... . . . .• . . ..... . . . . - . . .

.
. .....
.
.. ·---------·
-
. .
·
•·
. . . .
·• ·
..

--. -
. . . - .. . - . . . .
•·
.

-·-. .
. - ....

. .. . ..-. .
- -.. .--

. . ........ . . .
- . - . .. - . ..... • . - - . - . .. .. ... - ·•· . . . . .. . - . .. - -
-.

·•· ... . .. .. . . ... .

. -... •· .. : - ..... - - ·• . - ·• ·
It-------------- Edit Menu --------------ti
Add Cop!J Delete Goto- Bar Insert Length Pitch Start Track Units
Replace Zap KBD_ENTRY HID! NOTE OPTIONS

Edit Screen
• E to enter from the Main or View Screen. [Esc] to return to previous screen.

•!• lf you have a mouse...

To access the Edit Screen from the Vlew Screen, double click the left mouse
button. To return to the View Screen double cUck the right mouse button.
The Edit Screen shows the notes in the highlighted measure of the View screen.
Q To edit notes in more detail, use the Note Edit screen.
Q To edit MIDI data, use the MIDI Edit Screen.
Q The status area can be removed to display more notes by using the
Configuration window 's Edit Size command.

The Stah1s area ;s ;dentical to the Ma;n Screen, wfrh the exception of
Mem (Mem01y ), wh;ch shows the amount of memory still ava;/able in
the current track. Mem ;n other screens d;splays memory remaining
for the entire song.

Edit Screen Work Area

Vertical Axis, (Up/Down) Represents pitch. Note values are displayed on the
left edge of the display in a format determined by the Accidentals command in
the Note Edit screen. The notes displayed for the middle C octave are displayed
in capital letters. The note C is always capiatalized because it indicates the start
of an octave.
Horizontal Axis, (Left/Right) Represents time. The far left is closer to the
begining of a mea<>ure; the far right is closer to the end of the measure.

EDIT SCREEN - 71
Time Units in the Edit Screen

Time Units in the Edit Screen

The Edit screen shows notes in a single highlighted measure of the View Screen.

4/4 BAR 8 OCTAVE 5 EDIT CURRENT PITCff

t t t .·• •·-... .-.-.....

Time Measure Octave - ·····-----·······
One Quarter • .... . . ········
. ....... ·
.
Signature (Bar) Number Range · · - -• Note
. . . ·• •·. - .... - . .... . -
. •. .... - . - . . .. - - ·• . ... - ......... .
- .. ............ - •· ..... - . . . - ... ·•· ... ... .. . . ... ·•· ....... . ..... .
. . . . . . . . . . . . . . . . •· . . . . .... .. .... • .........

. . . . - . - .... . . . ..
... . - - . .. .. . . . . .
·-
·-
·•· . . .. - . - . - .... ·•· - . ..... - .. - . - .
- - .. . - . ... . .. ·• ......... - ... - ·•· .. . .. . .... - .. .
... . -- ....... ·•· ....... .
. . . . . . . - . - .... ·•· ..... - ... . .. . .
. . - - ..... . - .. ·•·... . - - . . . - ... ·•· - . - . .. - .
. . . . . . ·•· ......... - .. .. •.. - .. - .. . - - ... ·• .......... - .. - .

Notes
t ·············-·r·· ·· ·········r ···· ······-·- T········r····
Beat 1 Beat 2 Beat 3 Beat 4 64th note
(Pitch) divisions
The Time Signature (also called "meter") assigned to the meao;ure (also called
"bar") determines how it is divided by the columns of boxes (a).

CJ For example, in the above screen, 4/4 time is represented by the

three columns corresponding to the 2nd, 3rd and 4th beats in a
measure. (If the Time Signature were 8/8, there would be 8 columns
instead of 4, etc .. )
The dots . in between the beat columns correspond to the finest resolution of on
screen graphics possible.
Incremental cursor movement in the hori:r.ontal, or "time" direction, is detennined
by the Units command, which sets the cursor resolution from quarter notes to
single clicks.

CJ For example, if the time unit is set to eighth notes, the left/ right
arrow keys will move the cursor by eighth notes.
1be dot resoluton is further divided into clicks, which can be either l/96th of a
quarter note or 1/192 of a quarter note, depending upon the Pulses Per Quarter
Note (PPQ) setting in the Options Window. Because this fine resolution cannot be
represented by the screen characters, editing note position on the click level will
not be visible until the number of clicks corresponds to one character width. To
make editing clicks easier use the Note Edit screen.

CJ For l"xample. with a.PPQ resnlutinn of 1<>2 . nne 64th nntt" er111als 12
Clicks. Thus, increasing the note length by clicks (using the< or>
keys) will not show a screen note movement until the< or> key is
pressed 12 times .

72 - EDIT SCREEN
 Edit Screen Menu Commands

Moving the Cursor in the Edit Screens

The following keys are used to move the cursor in the Edit, Note Edit, Step Record
and MIDI Edit screens:

Key Function/Purpose
Move by single semitones.
[f-] [~] Move by single current time
units setting.
[Ctrl] [f-] [~] Move left/ right by four time
units.
[Home ]/[End] Go to the next/ previous measure.
[Ctrl][Home ]/[End] Go to the start/end of track.
[PgUp]/[PgDn] Scroll one octave up/down.,
[Ctrl][PgUp]/[PgDn] Search above/below the
displayed pitches for next note.
[Tab ]/[Shift][Tab] Move to next/previous note.

Edit Screen Menu Commands

....-~~~~~~~~~~~~Edit Mem1 ~~~~~~~~~~~~-.
Add Cop!J Delete Goto- Bar Insert Length Pitch Start Track Units
Replace Zap KBD ENTRY MIDI NOTE OPTIONS

•!• if you have a mouse...

Access the menu area commands by pressing both buttons simultaneously to
activate the Mouse Window.
Add Inserts any number of blank measures before or after the current measure. (Also
see "Using the Edit Screen Buffer Commands" in this section.)
Copy Copies a range of measures into a memory buffer, without changing the original
measures. (Also see "Using the Edit Screen Buffer Commands" in this section.)
Delete Deletes a range of measures, and places them into a memory buffer. Measures to
the right of the deleted measures are shifted left to fill in the empty space. (Also
see "Using the Edit Screen Buffer Commands" in this section.)
Goto-bar Moves the cursor to any measure in the current track. Cannot move beyond last
measure of the track, even if the song is longer than the current track.
"- Press G, enter the measure number, press [Enter].
Insert Inserts the contents of the selected memory buffer at the cursor position. Shifts
original measures to the right. (Also see "Using the Edit Screen Buffer Commands"
in this section.)

EDIT SCREEN - 73
Edit Screen Menu Commands
Length • H;ghlight note, press L, use +I- to increase/decrease note length by the time
un;t set with the Un;ts command.
Use ] { to change by four time units. Use < > to change by single clicks.
Pitch • H;ghlight note, press P, +I- to move note up/ down by one sem;tone.
Use] {to move by octaves.
Start • Highlight note, press S, use +I- to move note pos;tion (start time) right/left by
the time unit set wUh the Units command.
Use] {to change by four time units. Use< > to change by single clicks.

Summary of Note Editing.Keys

Key Effect on Pitch Effect on Length I Start Time
+- Change by semitones Change by single time-units.
[] Change by octaves Change by four time-units.
<> Change by semitones Change by 1/192 or 1/96 of a
quarter note, depending upon the
ppq setting in the Sync Window.

Changes are made permanent the next time the [Ins] key or a cursor
key is used, or when the measure is played. To cancel the changes,
press [Esc) while the note is still flashing .

Track Used to jump to the same measure in another track. Moving into an unrecorded
track creates an empty first measure in that track.

To use the Track command

<D Press T .

<2> Enter the track number of the destination.

@ Press [Enter].
• Press + - to move to the next or prevfous track.
The Track command always tries to move to the same measure number from track
to track. If the tracks are in different time signatures, the cursor will be shifted
forward or backwards to compensate for the differences in time signature, instead
of staying at the same point within a song.
Units Selects the time-unit for cursor movement and note editing. The following table
displays Units available

74 - EDIT SCREEN
 Edit Screen Menu Commands

Time Units
Unit Normal Triplets
Quarter Notes 4 4T
Eighth Notes 8 8T
Sixteenth Notes 16 16T
Thirty Second Notes 32 32T
Sixty Fourth Notes 64 64T
Single Clicks IDGH Not applicable

Replace Replaces a range of measures with the contents of the selected buffer. Erases
original contents of replaced measures. (Also see "Using the Edit Screen Buffer
Commands" in this section.)
Zap Copies the selected range of measures into a memory buffer, leaving behind empty
measures. (Also see "Using the Edit Screen Buffer Commands" in this section.)
KBD_ENTRY Accesses Step Record Screen. (See Step Record section.)
MIDI Accesses MIDI Edit Screen. (See MIDI Edit Screen section.)
NOTE Accesses Note Edit Screen. (See Note Edit Screen section.)
OPTIONS Accesses Options Window. (See Options Window section.)

EDIT SCREEN - 75
Using the Edit Screen Buffer Commands

Using the Edit Screen Buffer Commands

The "Add, Copy, Delete, Zap, Insert, Replace" buffer commands function as they
do in the View screen, with two exceptions:
0 Whenever a buffer command is used in the Edit screen, the Buffer
Contents Line appears at the bottom of the work area, showing what
buffers are in use and how many measures they contain.
0 The Insert command can insert the buffer contents either before or
after the current measure.

The Insert command and the [Ins] key are easily confused. They do
not do the same thing .
While the Insert command inserts the contents of the selected buffer
at the cursor position. the [Ins] key is used to place a note at the
cursor postion . Tire insert note parameters are determined by the
Insert Note Buffer (see below).

Manipulating Notes in the Edit Screen

•!• If you have a mouse...
To MOVE a note: Highlight the note, drag the left button.
To LENGTHEN a note: Highlight the note, drag the right button left or right.
To INSERT a note: Double click the left button at any pofnt. There can not '---
be a note ln the current position.
To DELETE a note: Highlight the note, and double click the left button.

Insert Note Buffer

The duration and velocity of notes inserted into the Edit Screen are set from the
Note Edit screen. It is possible to set these parameters from the Edit screen by
copying the parameters from an existing note.

To copy "Insert Note" parameters from an existing note

<D Highlight the note to copy.
OJ Press the Asterisk Key * on the numeric key pad to copy the note
parameters into the Insert note buffer.
A note with the same Duration, Velocity and Off-Velocity will be
inserted at the cursor position each time the [Ins] key is pressed.

To insert Notes in the Edit Screen

<D Press the [Ins] key to insert a note at the current cursor position.
The note 's pitch and start time are determined by the cursor's position.
The other note parameters are determined by the contents of the Insert
Note buffer.

76 - EDIT SCREEN
 Manipulating Notes in the Edit Screen

Inserting notes using [Ctr/] key combinations

Notes may also be irn;erted at the cursor position by using the [Ctrl] key
combinations listed in the table, below:

Preset notes inserted at the cursor position

Key Combination Note Duration
[Ctrl] w Whole
[Ctrl] D Dotted Half
[Ctrl] H Half
[Ctrl] Q Quarter
[Ctrl] E Eighth
[Ctrl] S Sixteenth
[Ctrl] T Tirirty Second

The durations of these notes may be changed with the Durations Command in the
Note Edit screen.

To Delete Notes
._. Highlight the note and press the {Del] key .

EDIT SCREEN- 77
78 - EDIT SCREEN
 Song BEBOP Me.., 62547
Ik 4 Piano BPM 112 CK : INTERNAL
Env lron.,ent CURRENT NOTE Units: 32nd Fine
IiMe Sig: 4/4 Ke!Jboard 1acm1 mp Start: 6 + B
T!Me Units: 32nd Ueloclt!J: 56 Length: 19 + 6
Freeze: OFF Note-trig : ON Off Vel: 64

·
- -------
BAR 11 OCTAVE 5
·•· .. - ........ . - - •· - . ... . . .... . . ·• .. . .. ..... . . . . .
---------
....
- -·-. -·-
.. ...
--------···
--...... . .
.. . ... . . . . . . . . . ·•· .. . .. . . . . ... . ·•-... ....
- .... . ....... ·• · . ........... . .
...... . . - - . . . ·•· . .. . ....... . - .
. . . . . . . . . . . . . . . ·•· .. . . . . . .. .. . . ·•· . . .. . . . . . . . . . . •· .. .. .. . . . . . . . .
. . . •· - • . .. ......
- - . . -·-. - -

---------·- - --------------1
1-------------- --···· ····•············
. .

Note Menu
.

Accidentals Durations Freeze Goto-Bar Hit- point

. .- . ·•· - . - ....... • . - . -

Length Note-trig
Off-vel Pitch Start Track Units Ueloclt!J

Note Edit Screen

._. N to enter from the Edit Screen. [Esc] to return to the Edit Screen.
The Note Edit Screen is used to access individual note parameters not visible in the
Edit Screen.

The Status area is identical to the Edit Screen.

Environment Area
The upper left corner of the Work area shows pertinent information for working in
the Note Edit environment.
Time Sig Displays Time Signature of the current bar. Note how the measure is divided into
the numerator of the time signature setting by blocks highlighting the dots in each
pitch line. For example, in the above screen, 4/4 time indicated in the environment
area corresponds to three columns of blocks representing the 2nd, 3rd and 4th beats
in a measure.
Time Units Time unit setting for cursor movement in the Edit Screens. Set with the Units
command.
Freeze Keeps current pitch range visible at all times. Toggle with the Freeze menu
command.
Note Trig When ON, each note plays as it's highlighted. Toggle with Note Trig menu
command.

NOTE EDIT SCREEN - 79

Current Note! Insert Note Area
The top right section of the W orlc Area lists the parameters for the highlighted note
or for the note in the Insert Note Buffer:
CURRENT NOTE Appears whenever a note is highlighted, indicating that the
note parameters pertain to the highlighted note. To edit the parameter values,
activate the appropriate command in the menu area.
INSERT NOTE Appears whenever a note is not highlighted, indicating that the
parameters pertain to the note cuurrently in the Insert Note Buffer. The Insert
Note parameters determine the values for the note inserted at the cursor position
with the [Ins] key. By editing the note parameters when the INSERT NOTE
indicator appears, parameters of the Insert Note may be altered.

See the Edit Screen section for foformation concerning the Insert
Note Buffer.

Pitch Displays Current or Insert note's Pitch as Note/Octave number, or by MIDI note
number when Accidentals display is set to Numbers.
Velocity Displays Current or Insert note's Velocity. Range is from 1 to 127.
Off Velocity Displays Current or Insert note's Off velocity. Range is from 0 to 127.
Units Displays Current or Insert note's incremental Time Units as determined by the
Units menu command.
Start Displays Current or Insert note's Start Time in units:clicks.
Length Displays Current or Insert note's Length in current units:clicks.

Note Edit Menu Commands

..............................,................................. Note Memt ~...........................................................
Accdntals Durations Freeze Goto-Bar Hit-point Length Note-trig
Off-vel Pitch Start Track Units Velocity

Accldntals (Accidentals) Toggles the Soi1g BEBOP Song BEBOP Sony BEBOP Song DEDOP
note display on the left hand lk 3 PJ•no lk 3 P i ano Tk 3 Plano lk J rlano

side of the Edit, Note Edit, 4/ 4 4/ 4 4/ 4

MIDI Edit and Step Record

screens, as well as
.
fl
f

d•
d
v-
f

.-
d
79
TT
76
r:;
74
Current/Insert note pitch cl
c
d-
t
TJ
TZ
display. 8
A•
B
B-
71
78
A R 69
G• R- G8
• Press A to toggle G G 67
FR c- 6G
through the four f f 6';
E E G4
options: piano tlZJ tlZJ tlZJ ICZJ

keyboard, sharps.flats Add t:upu D Add t:opy D Add Copy D Add (Dyt!I D
Replu;e Z•v Replace z.v Reph.t...., Z•v Rerh.ce Z.r
or MIDI note number in
decimal.

80 - NOTE EDIT SCREEN

Durations Used for editing the durations of notes inserted with the [Ori] keys:

Preset Notes for Insertion

Key Combination Note Duration
[Ctrl] W Whole
[Ctrl] D Dotted Half
[Ctrl] H Half
[Ctrl] Q Quarter
~~~~~~~~~~~~~~~ ~~~~~~~~~~

[Ctrl] E Eighth
[Ctrl] S Sixteenth
[Ctrl] T Thirty Second

To edit the duration of the [Ctr/] key notes

<D Press D for duration.
~ Enter the [Ori] key combination to edit.

® Type the note duration as [quarter notes: clicks], then press enter.

The values entered for duration are saved as part of the

CONFIG.SEQ.ftle. [F4], S, Y.

Freeze • Toggle on/off with F key.

ON Displays the current pitch range when moving from measure to measure.
OFF Pitch range changes depending on the range of notes in the current
measure.
Goto-Bar Moves the cursor to any measure in the current track. Cannot move beyond last
measure of the track, even if the song is longer than the current track.
• Press G. enter the measure number. press [Enter].
Hit-Point Similar to Goto-Bar except it sends the cursor to an exact SMPTE time specified as
[Hours : Minutes : Seconds : Frames : Sub-Frames].

• Press H. enter the SMPTE Time in [Hours : Minutes : Seconds : Frames :

Sub-Frames]. and press [Enter] .

Before using Hit-Point. the SMPTE counter in the Sync Window must
be turned on. Press [F6] from the Main or View screen to access the
Sync Window.

Length Allows editing of the highlighted note's length. See Edit screen.

NOTE EDIT SCREEN - 81

 Note-trig '- Toggle on/off with the N key.
ON Each note plays as the cursor highlights it.
OFF Note does not play as the cursor highlights it.
' - Use the [Tab] key to scan notes in the forward direction.
'- Use the [Shift][Tab] key to scan in the reverse direction.
Off-Velocity Controls Off-Velocity (Range 0 - 127) ie., the effect caused when a note is
decaying, usually based on how fast a key on the MIDI keyboard is released.

Many MIDI keyboards (and the Sound Blaster) do not support

Off-Velocity. Check the particular instrument's documentation to find
out if it does.

Pitch Allows editing a highlighted note's pitch. See Edit Screen.

Stalt Sets the Start-time of the highlighted note in the format [units:clicks].
For instance, if the Units is set to sixteenth notes. a start time of 6:+8 means the
note starts at the sixth sixteenth note, plus eight clicks.
A start time of 10:-11 means the note begins at the tenth sixteenth note, minus
eleven elides.
To edit by elides, press the > < keys.
If you change the current time unit, the Insert Note's start time is updated to reflect
the change.
Track Used to jump to the same measure in another track.

To jump between tracks

<D Press T for Track.
(2) Enter the new track number, then press [Enter].
Moving into an unrecorded track creates an empty first measure in that track.
1be Track command always tries to move to the same measure number from track
to track. If the tracks are in different time signatures, the cursor will be shifted
forward or backwards to compensate for the time lost or gained because of the
difference in time signatures.
Units Selects the time-unit for cursor movement and note editing. See the Edit Screen
section for a listing of the units available.
Velocity Used to edit the Velocity note parameter which is typically used to control a note's
loudness. Range is 1 - 127.

'- Highlight the note and press V to select the Velocity

parameter. Select new value.

82 - NOTE EDIT SCREEN

 - - - - - - - - - - - - - S t e p Record - - - - - - - - - - - - -
Song BEBOP Men 62472
Tl< 3 Pl•no BPH 112 CK : INTERNAL

Step Settings •INSERT NOTE• Units: 32nd Fine

Mode: Step entry iddi Ii@ St•rt: 7 e
If,,., Un Its : 32nd , 75.% •Ueloclty : 78 •Length : 11 - 6
Velocity : 6'1 •Off Vel: 64
Off-vel : 64

BflR 18
.. ... ..... . . . . .
OCTAVE 5
·•· ...... ·-
. . . - . . . ·• .... . .. - ....... . .... .... . . . . .
- -··········· -
- .. .. . - .. . .... . -
.... . .. . ....... .
·-.·- ·········· • · ············ ··• ·· · · · · · ·· · · · ·· ·
- - - - ... . .... ·• ..... -
....... .
. . . - - .. ·•· . . .... . ..... -

.
... . . . . . . . . . .. . •· ..... - . - - .... .• . .. ... . ........ • ...... . . . . - . -.-
.... - .. .. .. . . . . ·•· .... . .. . . . . . . ·•· ........ . . - . . ·• · . .. . .. . .. . . .. .
.
. . . . . . . . . . . .·•·. . ... . ...... .
-
-·-
-- · · · · · · · ·· ·· -······· · ·• · ·· ··· · ········ • · ···· · ········ ·
.. - . . . ... . .

it------------
Artlcul•t.lon
Track Units
Dur•t.lons
Ueloclt.y
St... p Record Menu
Coto-·Bar Length Mode
-------------11
Off- vet Pitch Start

Step Record Screen

' - K to enter from the Edit Screen . [Esc] to return to the Edit screen .
Step Record allows notes and chords to be entered and edited from a MIDI
keyboard, in steps, rather than in real time. This allows notes recorded at any
rhythm to play back at a fixed rhythm.

The Status area is identical to the Edit Screen.

Step Settings Area

The rhythm , articulation and velocity settings of the step-entered notes are shown
in the "Step Settings" area at the top left of the Work area. Before entering notes
and chords from the MIDI keyboard, the Units, Articulation, Velocity and
Off-Velocity, must be specified.
Mode Indicates which of the three step edit modes (Step Entry, Edit Existing or Preserve
Rhythm) is active. Set by the Mode command.
Time Units Indicates the duration of step entered notes. Set by the Units and Articulation
command.
Velocity Indicates the On-velocity of step entered notes. Set by the Velocity cnmmand.
Off-Ve/ Indicates the Off-velocity of stt>p entered n<.'tes . Set by the Off-Velncity command.

STEP RECORD SCREEN - 83

Current Note! Insert Note Area

Current Note/ Insert Note Area

Note parameters may be edited in the Step Record screen ai; in the Edit and Note
Edit screens. The upper right area in the Work Area io; identical to the Note Edit
screen, showing note parameters for the Insert note or Current note. (See the Note
Edit screen for details.)
INSERT NOTE Whenever a note is not highlighted, a note with the liiited
parameters will be inserted at the cursor position when the [Ins) key is pressed.
CURRENT NOTE Whenever a note is highlighted, the listed pa.rameters
pertain to the highlighted note. The parameters may be edited using the same
procedures as in the Edit and Note Edit screens.
The Step Record menu retain'! many of the menu commands from the Edit window
so that notes may be edited during Step Record.

Step Record Menu Area

- - - - - - - - - - - Step Record Mornu - - - - - - - - - - -
Articu latlon Durations Goto-Bar L"ngth Mode Off-vel Pitch Start
Ir~ck Units U.,loclty

Al1/cu/stlon Sets the duration of the step-inserted notes as a percentage ( 1% to 100%) of the
step unit. The step unit duration is set with units command.

' - Press A, enter the percentage from 1 to JOO, press Enter.

For example, 50% Articulation, with Units set to 8th would result in i;ixteenth
notes (ie. half of an eighth note) being inserted at every eighth note position during
Step Entry. _

If articulation is set too high. overlapping of notes will occur.

Durations Used for editing the durations of notes inserted with the [Ori] keys:

Preset Notes for Insertion

Key Combination Note Duration
[Ctrl] w Whole
[Ctrl] D Dotted Half
[Ctrl] H Half
[Ctrl] E Eighth
[Ctrl] S Sixteenth
[Ctrl] T Thirty Second

84 - STEP RECORD SCREEN

 Step Record Menu Area

To edit the duration of the [Ctr/] key notes

<D Press D for duration.

® Enter the [Ori] key combination to edit.

@ Type the note duration as [quarter notes: clicks], then press enter.

The values entered for duration can be saved as part of the

CONFIG.SEQ/Ue. [F4], S. Y.

Goto-bar Moves the cursor to any measure in the current track. Cannot move beyond last
measure of the track, even if the song is longer than the current track.
Length -. Press L to edit the Mghfighted note's Length, as in the Edit and Note Edit
screens.
Mode Toggles between Step Entry, Edit Existing and Preserve Rhythm modes. (See
detailed explanation below.)
Off-vel Sets the off-velocity value of the step-entered notes. The value can be either the
MIDI keyboard off-velocity, or a user specified constant.

To set the note-off velocity

<D Press 0 to activate Off-Velocity.

® To use keyboard off velocity, answer Y, then [Enter].

@ To use a constant off-velocity value, press N, then enter the value for
the off-velocity (0 - 127). Press [Enter] to confirm.
Pitch -. Press P to edit the highlighted note's Pitch, as in the Edit and Note Edit
screens.
Start -. Press S to edit the highlighted note's Start time, as in the Edit and Note Edit
screens.
Track Jumps to the same measure in another track, as in the Edit and Note Edit screens.

-. Press T for Track. Enter the new track number, then press [Enter] . Or, press
+ - to move to the next or previous track.
Moving into an unrecorded track creates an empty first measure in that track.
The Track command always tries to move to the same measure number from track
to track. If the tracks are in different time signatures, the cursor will be shifted
forward or backwards to compensate for the time lost or gained because of the
difference in time signatures.
Units Determines how far the cursor will advance as notes are entered. This determines
the rhythm of Step Recording.

-. Press U. select a new unit value. press Enter.

For example, to enter a note on every sixteenth note, set Units to sixteenth.

STEP RECORD SCREEN - 85

Step Entry Modes
Velocity Determines the note-on velocity of notes entered in Step Record mode. The
velocity value can be either the MIDI keyboard velocity, or a user-specified
constant.

To set the note-on velocity

<D Press V to activate Velocity.

(2) To use keyboard velocity, answer Y, then [Enter].

<ID To use a constant velocity value, press N, then enter the value for the
note-on velocity (1 - 127). Press [Enter] to confirm.
Step Recording with velocities based on the keyboard velocities allows for fine
control of velocities based on the player's finesse . Step Recording with a Constant
velocity produces absolutely equal velocities.

Step Entry Modes

Step Record has three modes of operation:
Step Entry Used to record notes in step mode.
Edit Existing Once step record has been completed, this function is used to
change.the pitch or velocity of individual notes. This can also be used on music
recorded in real time.
Preserve Rhythm Once step record has been completed, this mode is used to
add a string of notes aligned with the recorded thythm. This can also be used on
music recorded in real time.

Step Entry
In contrast to normal recording where notes are entered exactly as they are played,
Step Entry recording allows notes of fixed value to be entered with a fixed thythm,
regardless of playing technique. This facilitates recording sections of a song that
must adhere to a specific "rhythmic feel." The pitch of the notes entered is always
determined by the keys pressed on the :MIDI-keyboard, while the thythm is
determined by the Units command.
In Step Entry mode, the first note pressed on the :MIDI keyboard is entered at the
cursor position with the duration and velocity settings defined by the Articulation,
Velocity and Off-Velocity commands. If additional notes are pressed before the
first note is released, the additional notes are entered at the same time position in
the measure as the first note.
Once all of the notes are released, the cursor is advanced by one thythmic unit (as
defined by the Units menu command) ready to insert the next note.

86 - STEP RECORD SCREEN

 Step Entry Modes

To insert a rest
<D Use the damper pedal, or the right cursor key on the PC keyboard.

To insert chords
<D Hold the first key of the chord down while pressing the remaining
notes of the chord. As long as a key rem aim down, pressing new keys
imerts those notes at the current cursor position, creating the chord.

~ As soon as all keys are released, the cursor advances by the amount
specified as the Rhythmic unit.

To delete notes in a chord

<D While still holding down a note in the chord, re-strike the note to be
deleted.

Edit Existing
Once the notes are all recorded, Edit Existing mode is makes it easy to change the
pitch or velocity of individual notes using the MIDI keyboard.

To edit existing notes

<D Use the [Tab] key or mouse to highlight the note to be changed.

® Press a note on the MIDI keyboard to change the highlighted note's

pitch and velocity.

@ The cursor will remain on the note, so you can try again.
© Use the damper pedal or the [Tab] key to move to the next note.

Preserve Rhythm
This mode is similar to Edit Existing, except the cursor automatically advances to
the next note after the key is released. This makes it easy to add a new string of
step-entered notes that follow the step-enter rhythm .
The track to be edited should contain melody only, without overlapping pitches.
Overlapping pitches in Step Record can result in unpredictable cursor behavior.

Do not set articulation too high or orerlapping will occur.

STEP RECORD SCREEN - 87

88 - STEP RECORD SCREEN
 .....~~~~--------- MIDI Edit - - - - - - - - - - - - -
Song BEBOP IEll!ml Me., 62467
Tl< 4 Piano BPH llZ CK:INTERNAL 3:0

MIDI Line: ALL CLASSES Units: 3Znd Fine

n.,e Units : 32nd Start : 6 0
Value: II

-....
BAR 3 OCTAVE 6
. . .... .
.
.. .... •·. ·•·
· - . .. - - . . . .. . • .
•· ... . ... . . .. . . . . . . .. . .. . .. ..• . . .. . . ....... ..
-·-.
---------····· ··· ·······•···············
.
.
- . . . . . .. . . ·• · ..
--------·················•···············
. . . . . . . . . . . . . . . ·•· ... . .. . ...... .• ..... . . . . . . .. . ·•· . .... . ... ... . .
. . . . -•· . . - - . . ... . ... ·•· . . - . ... .
-··
a-~------------
--------··· · · ··· · · •··
. . . .

~mmmmmmmmmm
Class Goto-Bar MIDI-Line Pitch MIDI
Sta r Hem• ~-----------_.....
t I1,1pe Units Value
. ·•· -

~
- .... ·•· ............. .

IEE

MIDI Edit Screen

• M to enter from Edit Screen. [Esc] to return to the Edit Screen.
The MIDI Edit Screen is used to edit non-note MIDI events embedded in a track.
Usually, this data affects notes, but does not include the note-specific parameters
such as pitch and duration. See the table on the next page for a description of MIDI
events.
The MIDI edit screen has two screen areas that make it unique:

0 MIDI Line
0 MIDI Event Box.

MIDI Line
The MTDI Line mns along the bottom of the worlc area. Infonnation about the data
on the MIDI line is displayed in the upper left of the work area. Since MIDI data
does not have pitch. vertical position would be meaningless. Thus, it can be
displayed on one horizontal line.

~mmmmmmmmmm
1--~--------~-- MIDI Menu
Class Goto - Bar
--------··· --------------11
HlDl ··Line
•·

Pitc h St...-t
•

T•pe
~
Units
--
- ·•· - - - - . - - - -
·•.
Value
IDE

• To see all classes of MIDI data press M.A .

The notes displayed in the MIDI Edit screen are used onlv as a
visual reference for lining up MIDI ei·ents with the music. They
cannot be accessed or edited in the MIDI Edit screen .

MIDI EDIT SCREEN - 89

MIDI Line
If no MIDI data is displayed on the MIDI Line, it signifies that no MIDI data of
the presently selected class was recorded into that particular measure of the active
track. If MIDI events are too close together for the screen to display them
separately, an overlap symbol appears instead.

Before recording MIDI data, set the BENDERS command in the the
Options window to RECORDED or NO PRESS.

MIDI Events That Appear On The M.101 Line

Symbol/ MIDI Event Function/Purpose
P: PROGRAM CHANGES Use these to change sounds from
within a track. See Options
window for how these are sent to
external MIDI synths.
A: AFTERTOUCH Also referred to as channel
pressure data. 1bis is the MIDI
data for monophonic keyboard
pressure.
B: BENDER MIDI data for pitch bending of
notes.
T: TEMPO Data for tempo information. This
is not standard MIDI data. It is
used by Sequencer Plus for
changing the song tempo.
K: KEY A.FTERTOUCH This is similar to the
AFI'ERTOUCH data, but it's
polyphonic, meaning that there
can be a pressure sensitive
controller for each note rather
than for the entire channel
(monophonic).
C: CONTROLLER Controllers come in various
types, designated by a Controller
Number. For instance, Mod
Wheel is the controller data sent
when you move the modulation
wheel on a synthesizer.

90 - MIDI EDIT SCREEN

 MIDI Event Area

MIDI Event Area

The MIDI Event box is on the upper right side of the work area. The infonnation
displayed depends upon the type of MIDI data being edited, as determined by the
Oass command.

.___:
The MIDI Event area displays the following information:
Class Selects the MIDI event class as listed in the above table.
Type When Class is set to Controllers, Type is used to select the type of controller for
editing as follows:

MIDI Controller Types

# NAME POSSIBLE VALUES
1 MOD WHEEL 0 - 127
2 BREA1H 0 - 127
4 FOOT PEDAL 0 - 127
5 PORTAMENTO TIME 0 - 127
6 DATA SLIDER 0 - 127
7 MAIN VOLUME 0 - 127
8 CONTINUOUS RELEASE 0 - 127
9 PARAMETER NUMBER 0 - 127
10 PANPOSITTON 0 - 127
64 DAMPER SWITCH 0 = off /127zon
65 PORTAMENTO SWITCH O=off /127=on
66 SOSTENUTO SWITCH O=off /127=on
67 SOFT SWITCH O=off /127=on
68 2ND RELEASE SWITCH O=off /127=on
96 DATA PLUS O=off /127=on
97 DATA MINUS O=off /127=on
122 LOCAL CONTROL O=off /127=on
123 ALL NOTES OFF normally 0
124 OMNI MODE .OFF nomially 0
125 OMNI MODE ON normally 0
126 MONO MODE ON 0/all voices to mono
127 POLY MODE ON normally 0

MIDI EDIT SCREEN - 91

MIDI Edit Screen Menu Commands

0 There are 128 different types of controller codes in MIDI. Most

instrumentc; only use a few of them, and some ignore controller data
entirely.
0 Some MIDI controllers are designated as switches by the MIDI spec
, __
(controllers 64-95 and 122). These controllers should be set to either
0 (OFF) or 127 (ON), and nothing in between.
Pitch Displays pitch value of Key Aftertouch MIDI events.
Units Displays the time-unit for cursor movement as determined by the Units command.
Statt Displays start time of the current MIDI event in Current Units:Clicks
Value Displays the value of the current MIDI event. Different MIDI events have different
ranges of values.

MIDI Edit Screen Menu Commands

.-~~~~~~~~~~~-MIDI Menu~~~~~~~~~~~--.
Class Goto-Bar MIDI-Line Pitch Start Type Units Value

•:• if you have a mouse...

You can access the menu area commands by pressing both buttons
simultaneously to activate the Mouse Wlndow.
Class Changes the type of MIDI event to be edited, as shown in the MIDI Event box.
Controllers is a special class that is further affected by the Type commarid (below.)
Goto-Bar See Edit Screen.
MIDI Line Displays either one or all classes of MIDI events at the bottom of the work area
where ML: is displayed. Changing the Class or Controller Type automatically
changes what's displayed in the MIDI Line.

-. To see all classes press M, A .

Pitch If any key-aftertouch data is displayed (polyphonic pressure), its pitch name is
displayed in the MIDI Event box.

0 The pitch of a key-aftertouch event is not the same thing as the Pitch
command in the Edit and Note Edit Menus. Very few synths
currently support key aftertouch (poly-pressure). For those that do,
the pitch of the key-aftertouch event must match the pitch of a
concurrently sounding note, or there is no audible effect.
Statt Changes the start time of a selected event.

0 The cursor position within the measure (on the MIDI Line) is
displayed in the MIDI Event box.
0 When editing the start time of a MIDI event, you cannot place it on
top of an already existing event of the same type and class.
Type When Class is set to Controllers, Type is used to select the type of controller to
edit. Controllers are each assigned a number and are scrolled by using the + - [ ]
keys.

92 - MIDI EDIT SCREEN

 MIDI Edit Screen Menu Commands
MIDI Controllers designated as switches by the MIDI spec (controllers 64-95 and
122) should be set to either 0 (OFF) or 127 (ON).
Units Selects the time-units for cursor movement. See Edit Screen.
Value Changes the Value of the currently selected MIDI event.
If the cursor is not on a MIDI event, this setting is blank. The acceptable values
depend on the class of MIDI event and, in the case of Controllers, on the type.
Most MIDI events have a range from 0 to 127, but Bender data could be within the
range from -8,192 to 8,191 (with 0 being no PITCH BEND). This 16,000-plus
range and resolution is 128 times 128. Use the - key to enter negative values, [ ] to
lower and raise it by 128. On most synths a change of 128 is the minimum
required to hear a change.

•!• if you have a mouse ...

You can select an item in the environment window by dragging the cursor. To
change a value, highlight it and drag while holding the left button. Pressing
the right button wiU change in larger increments.
To insert and delete MIDI events, drag the cursor to the desired point and double
click. The event will be inserted if one isn't already there. If one exists, it will be
deleted.

MIDI EDIT SCREEN - 93

94 - MIDI EDIT SCREEN
 NORMAL TRANSFORHS
TIME PITCH VELOCITY SPLlT RAHDOHl'MISC

'"""""
Transpose Set Pitch Pitch
Super-Quant Har"°nlc-Xsp Adjust Quantize Starl Tl-
Quant-Dur Inversion Cre,.cendo Velocity Velocity
Set-Dur Har"°nlc-Inv Set-HoteOff Dm·atlon Dural.Ion
Adjust-Dur Hap AdJust-HoteOff Modulus Merge
Retrograde Co.,pEx Track ReBar
Offset Range ReBar
Co"pEx

- - - - - - - - - - HIDl/TEHPO TRANSFORMS - - - - - - - - - -
TIME VALUE INS/DEL TEHPO
1:lliHlilEllGI Scale Fill Accelerando
Shift Crescendo Scale
Invert Thin Shift
Hap EI 1..-Dupes Thin
Map-Progr""" Ell.,-Dupes
Tap-Je.,po

Transforms
'- Press X from the View Screen to access the Normal Transfonns Window. Press
[Esc] to close.
' - Press [PgDn] from the Normal Transforms w;ndow to access the MIDI/Tempo
Transforms window.
' - Press [PgUp] to return to the Normal Transforms w;ndow, [Esc] to close
either transform window, and return to the View screen.
Transfonns are special editing commands that affect MIDI data in a selected range
of measures and tracks in the View Screen. Transfonns may be used to:
0 Combine tracks or split them apart.
0 Reverse music to make it plays backwards.
0 Compress or expand note durations and the amount of time between
notes.
0 Change the harmonic structure of your music.
0 Adjust the bar lines.
0 And much, much more!
While some transforms have the same names as certain Main screen features, they
affect the data permanently, rather than temporarily. Therefore, before using a
transform, it 's a good idea to save the current song file to disk. That way, if you
make a mistake or don 't like the result. you can retrieve the original file from disk.

TRANSFORMS - 95
 Certain Main screen features are useful to audition a transform' s
effect before permanently modifying data.

If you're certain that you want to change your piece in a specific way, using a
transform is preferable to using the Main screen equivaJent, since changing data
"on the fly" forces the PC to perform lots of extra calculations every time the track
plays back.
Transfonns are grouped into the following categories:

Categories of Transforms
Normal Transforms Window
Time
Pitch
Velocity
Split
Random/Miscellaneous

MIDitrempo Transforms Window

Time
Value
Insert/Delete
Tempo

As the cursor is moved from one transform to another, a description of each

transform appears in the menu area.

96 - TRANSFORMS
 Using Transforms

Using Transforms
With a few exceptions, the procedure for using transforms is as follows:

How to use transforms

<D Press X from the View Screen to access Transforms Window.
® Highlight the desired transform, press [Enter]. The transforms window
will disappear and the cursor will be placed in the View Screen.
© Use the cursor keys to highlight a range of tracks and measures. The
measure and track numbers appear in the menu area while you 're
defining the block. When the desired measures and tracks have been
highlighted, press [Enter) to go to the final steps.
• To reset the range to the current cursor position, press R .
• To keep the same range used in the previous block move (or
transform), press K.
-Or-
Enter non-bar bounded Start and End times (see detailed instructions
below.)and press [Enter].
© At this point a series of prompts will request particular information
required by the transform. The information requested will depend on
the transform in use. Details on each transform follow in this section.
Follow the prompts in the menu area and enter the required
information.
@ Press [Enter] to execute the transform.

The last setting used in any transform automatically becomes the

default setting. So . if you quantize a measure to 32nd notes, the next
time you select Quantize, the prompt will offer you a default of 32nd
notes. This greatly speeds repetitive operations.

Selecting the Range

Most transforms let you change the data in a range of several tracks at once. The
only exceptions are the Split, Merge, and Rebar, which work on one track at a time.
The range of tracks and measures is defined by highlighting a rectangular area on
the View screen- the same method used to define a range for a block move
command.
Non The transform range can be defined to BAR, BEAT and CLICK. For instance, a
Bar-Bounded transform could be defined to affect a range between [BAR3:BEAT2:CLICK98]
Option and [BAR11 :BEAT4:CLICK186].

TRANSFORMS - 97
Using Transforms

To use a Non Bar-Bounded range

<D Choose a transform and select the range of bars.
<2l Press S for Start time, and enter the Starting [Beat:Click] for the range.

Enter start tiMe : 1:1

ForMat ls quarters :cllcks

cr> Press E for End time, and enter the Ending [Beat:Click] for the range.

Enter end tl"e : 4 :192

Fornat ls quarters :cllcks

© Enter the information required by the particular transform you are

using.
<ID Press [Enter] to execute the transform.
Non Bar-Bounded values can be specified before or after selecting the bars of the
range with the cursor keys. They are relative to the bars they are finally selected
for. For example, if a transform was selected to Start on [BEAT3:CLICK60] and
End on [BEATl:CLICK35], it will always start and end on these values no matter
what the range of bars is.

98 - TRANSFORMS
 NORMAL TRANSFORMS
TrME PITCH VELOCITY SPLrT RANl>OM/MlSC

•mnrm
Super-Quant
Transpose
Harnonlc-Xsp
Set
Adjust
Pitch
Quantize
Pitch
Start Tl"e
Quant-Dur Inversion Crescendo Velocity Ueloclt1,1
Set-Dur Harfltonlc-Jnv Set-NoteOff D\•r•t Ion D\irat Ion
Adjust-D\•r Map Adjust-NoteOff Modulua Merge
Retrograde Co,.pEx Track ReBar
Offset Range ReBar
Co,,pE><

- - - - - - - - - - - - - Transfor,.s Menu - - - - - - - - - - - -
KEYSIG SUPER_QUANJlZE
Quantize note starts .

Normal Transforms
The remainder of this section is dedicated to individual transfonns and the specific
data required to use each one effectively.

For basic instructfons on performing transforms, refer to the

beginning of this section.

Time Transforms
Quantize Moves the start-time of notes in the range towards the closest selected time unit
division of the beat. The range is 0% - I 00%.
' - At the prompt, enter a time unit followed by a percentage correction.
Time Units Sets the interval of beats to which notes are quantized. (eg, quarter
notes, eighth notes, etc.)
Percent Correction Detennine how far the note will be moved onto the
interval.
The exact amount each note is moved is refative to each note's distance from the
nearest Quantize Grid point. If Quantization Strength is set to 50%, a note 24
clicks away from the bar:beat will be moved 12 clicks towards the quantize
position. A note in the same range only 8 clicks from the nearest Quantize Grid
point will only be moved 4 clicks.
0 A l 00% correction means that the notes in the range will be moved
all the way to the to the time unit setting. Thus. all notes may be
moved to the 8th note beat position.
0 At 75%, notes will be moved three quarters of the way to the
quantization unit. Thus, all notes may be moved to 25 % of the 8th
note beat, which is l/32nd less than the previous example.

TRANSFORMS - 99
Time Transforms
Cl At 50%, notes will be moved half way to the quantize beat.
Although similar to the QUANT column in the Main screen, the Quantize
transform can quantize a section of a track instead of the entire track. You can
move the notes closer to a division of the beat, instead of exactly onto it.
The transform does not affect non-note MIDI data such as pitch bend, aftertouch,
etc. Thus, quantizing a track containing MIDI data will make the notes arxl the
controller data no longer match up. This can be corrected in the MIDI Edit screen
or by using a MIDI transform to realign the MIDI data.
When quantizing from the Main screen, the MIDI controller data is quantized
during playback, along with the note data. This can be a source of timing problems,
as dozens of MIDI events are scheduled to play at the same time. If you're sure
that you want to quantize a track, use the Quantize transform instead of the
Quantize column on the Main screen to avoid this problem. If two or more notes
on the same track are the same pitch, and are quantized to the same Start-Time, all
but one will be automatically deleted.
Super-Quantize Super-Quantize is a powerful transform that provides detailed control over
quantization. It is documented in detail at the end of this section.
Quantize-Dur (Quantize Durations) Changes the length of all notes in the range by moving their
durations to the closest selected time-unit division of the beat.
• Enter the time unit, then the percentage correction.
Time Units Sets the interval of the beats.
Percent Correction Sets the percent of the beat that notes will be quantized

Side-effects of Quantizations
While the Quantize functions in the transforms and on the Main screen can be very
helpful in achieving certain goals, there can also be side effects.
Suppose, for example, you've recorded a bass line and want to make it play back
with even 16th notes, quantized from the Main screen's Quantize column. You
then decide to play the bass one measure at the end of every chorus, with the last
two beats played as 8th-note triplets. Because the track is quantized to 16ths, this
poses a problem that can be solved two ways:
0 Leave a blank space for the 8th-note triplets in the original track,
then record a second track with those triplets and nothing else.
Quantize the new track to 8th-note triplets, and assign it to the same
channel as the first track. Then play both tracks together.
-Or-
Cl Use the Non-Bar Bo~nded option to quantize each part of the
measures separately.
Set-Dur (Set Duration) Makes all notes in the range the same length as specified by the
user. The same note-length restrictions described for Adjust Duration also apply to
Set Duration.
• Enter the new note duration in quarter notes and clicks.

100 - TRANSFORMS
 Time Transforms
Adjust-Dur (Adjust Duration) Adds or subtracts a given number of clicks from each note
duration while maintaining the differences in length.

' - Enter the change in duration in quarter notes and clicks.

For example, it could be used to increase the length of all notes by an extra 16th
note, making a staccato passage more legato.

Things to remember about Adjust Duration

0 A note cannot extend beyond the end of a track. Instead, make the
track longer by adding empty measures to the end.

If a note is extended so it runs into another note of the same pitch,

the extended note will automatically be shortened.

0 The length of a note cannot be less than one click. The transform
cannot delete notes, so no matter how many clicks are removed, at
least one click of length always remains.

·©·

_____}{)? _ __

____ ___
· ... when first note is · extended: ..

-'--

· ....it runs into

the second note, : and . is cut off;

TRANSFORMS - 101
Time Transforms

Range to be transformed
In this
example all
notes start
ON the beat.
.:;::-
1:1 2 4 2:1 2 3 4 5:1

Ran e after Retr rade Transform Retrograd6

creates a
mi"or image
of the rang•.
Notes start
OFF the beai
·::::::

4 2:1 2 4 4:1 2 3 4 5:1

Range after Enhanced Retrograde Transform In the

Enhanced
Retrograde
only Start
Times are
moved.
Notes start
ON the beat
1:1 2 4 2:1 2 3 3 4 5:1

Retrograde Reverses the order of notes a range of meas1.1res to create a mirror image of the
original melody, that plays backwards. The start and end times, or start times only,
may be reversed.

The length of note determines its start-time retrograding . Thus, the

rhythmk feel may be severly altered if the Start fimes Only option is
not used.

Offset Moves the entire notes backward and forward in time. Similar to using the Offset
column in the Main screen, except:
CJ Notes in a selected range of the track may be offset instead of the
entire track.
CJ Notes only may be offset while leaving the MIDI data in their
original positions.
-. Amount to delay events in quarter notes and cUcks . (Negative value moves
data earUer, positive value moves data later.) Answer Y to the prompt: "Offset
MIDI data too?" to optionally offset MIDI data with the notes.

102 - TRANSFORMS
 Pitch Transforms
Comp-Ex (Compress/Expand) Adjusts the position between notes in the range as a ratio of
their normal postion to the new position. Non-note MIDI events may be optionally
affected.
Fractional Scaling Ratio A fraction (1/2 or 1/3 or 4/3) that expresses the
amount of new time compared to original time. 1be numbers in the ratio can be
any number between 1and4000.

• At the prompt, enter fractional scaling value nlo, where "n" is the new value
and "O" is the original value.
At the prompts: "Do you want to compex the note durations?" (yin) and "Do
you want to compex the MIDI too?" answer Y or N.
0 For example, to expand a measure of four evenly spaced quarter
notes into two measures of four equally spaces half notes, the new
time would be 2 while the original time would be 1. Thus, the ratio
would be 2/1.
0 To compress the same notes into the space of one-half measure, you
would enter 1/2.
CompEx can be extremely useful in adjust.ing your music to hit film/video cues.
The transform, particularly used in conjunction with the Range Rebar functions,
allows you to keep your original tempo and note order, yet place note sequences
exactly where you want.

Pitch Transforms
Transpose Changes the pitch of notes in the range up or down by octaves and semitones. It
works like the TRANS column in the Main screen, except you can transpose a
section of a track instead of the entire track and the change is permanent.
• At the prompt, enter tire number of octaves and semitones by which to
transpose. Enter "Up" or "Down" to set whether the pitch is raised or lowered.
Harmonic Same as Transpose except the new pitches remain in a selected key signature that
Transpose is entered with the Key Signature window. (See the section on the Key Signature
window later in this section for details.)
• Press K to open the Key Signature window and select the appropriate key
signature. Then follow the same procedure as Transpose, above.
0 A common use for this transfonn is tran">posing a melody to match a
different chord while keeping it in the same key. However, you can
also use it for certain tricks, like changing music from one mode to
another. However. Hatmonic Transpose does not instantly change
music from one key to another.
0 You can get some interesting results from this transform if you
deliberately enter the wrong key signature before tran">posing. This
method is a great way to experiment with your music, and twist it
into new patterns that you might not otherwise discover.

TRANSFORMS - 103
Pitch Transforms
BAR 1 OCTAUE 4 ED IT CURRENT LENGTH
. . ·•· ........... . . ·•· .... ... . . ... ·•· ..... - . . ..... .

Before Inversion ......... . -·· ... . .. . .. . .. . ·•· . . . . . . . .. . ... ·•· ....... - ... . . .
··.......
·· ·· ····•·
• · ·····
.. . .. . ... . ·•· .... . ....... .
·· · ·· ·· · · · ······ • · ·· · ······ · ··· ·• ·· ·· · · ·-
... . ·•· . .. . . - ... . .. ·• ·
-..... .. ... ..... . ·•·
- ·- ·
·· · ··· · · ·• ····· · · · ····· · ·• ···· · ·--

··. ·•
.. .... ...... .-- -..... .. .....------....&...----.
·· ·
.... .. ....... ·• · ............. ·• · . . ........ - .. .
·•·..... . . . - . .. . ·•· .......... .
·• ··· .....
·····- ·· ···
·•· . ..... . .. .. .. ·•·
....... .. .
. . Axis of Inversion

····--
---
-.
··· •
-··
- . ......
· ·· · ·. ···
········· · ···
··· • ··· ·· · · ·
. . ... ·•· ............. ·•· .. .......... .
· ·•• ·.....
·· ·· ·. ·........
··· ·•··. ·. ·· · ·· · · · ·· ··
. . . . . .. ·•· .............. ·•· . .. . .... . . . .
- ····· ·· ··· ·• · · ·· · ····· ·· · ·· • · ·· ·· · ·· ·· .... ·· · ··• ·· ·· ··· ·· ·· ··. .··
·•· . ... .. .....
Add CC!P\f Delete Goto- Bar Insert Length Pitch Start Track Units
Rel'l«ce Z..p KBD_EllTRY MIDI NOTE OPTIONS

BAR 1 OCTAVE 5 ED IT CURRENT LENGTH

- ···
· ······· -
. . ·•· ...
. . . . . . . . ·•·
. . . ·•· ...

· ·• ············ · ·· • ····
.......... ·•· .... . . .. . ... ·· -...
.... ·•·
.....
.... ·•· .....
···· • ······
. .. ·•· .... -
··· • ··············· • ··············· • ······
............. ·• · . .. . .... . . . .. ·•· .. . . ... . . . .. . ·•·
. . ... . ...... . .
·· ·•·
- ··· •·--·
-. · -.·_____
.
...... .... . . . . ..... ·•· . . .. . . .... .

......
......
-··
. . . . .. ·• · .. ....
·•·
. .... . ...... .
....... .. ....
·•·
.... .
·•· ·
.. . ....
...... . ......
··· • ·· · ············ • ····· · ·-
__ ._,
Axis of Inversion
...,..
.......... . .. .
· ·· • ·· ·· ······ · ····
__,
. . . . . . . ... . -
·· ··· ·• · - ·········· ·· • · · ····· · · · ·· · · ·- ···-·······
. ........ . ·•· .. . .......... ·•· .. - .. . .. . .... ·•· ... . .. .. . . . .. -
After Inversion ·· •· ........... -• ······-- ···
·•· .......... .. . ·• · .. . ... ... . .. . ·•· .. . ... . . ... .. .
·• ·..... - . .. . . ·•· - .. - ......... ·•·
. . . . .... . . . .. .
-•· ·•-
. . .. . .. .. . .. . . .. ... ........ ·•· ... . .. .
•
Add CC!P\I Delete Goto- h r Insert Length Pitch Start Track Units
Rel'l•<.-e z..., KBD_EllTRY MIDI NOTE OPTIONS .

Inversion Aips the notes ahout an "axis of inversion'', i.e. the pitch used as the center of the
flip. (See illustration.)
-. Enter the Pitch ax;s for ;nversion as NOTE:OCTAVE.

Using Transpose and Harmonic Inversion to Change Majors

Into Minors
<D Select the major key passage and use Hannonic Transpose to take
everything up to a relative minor (i.e., up a major 6th).

<i> Use Transpose to lower every1hing a major 6th, bringing the root note
back and leaving the music in a minor key.
Harmonic Same as inversion above , but keeps the new notes in the key set by the Key
Inversion Signature window. (See Key Sig Window later in this section).
-. Press K to open the Key Signature window and select the appropr;ate key
signature. Then foffow the same procedure as !111·ersion. above .

104 - TRANSFORMS
 Velocity Transforms
As with Harmonic Transpose, deliberately telling Sp Gold the wrong key signature
can produce some very interesting and useful results.
When you select an area to be transformed or inverted and identify it by key
signature, Sp Gold does the following:

<D Identifies all notes within the selected scale, and transposes or inverts
them so that the resulting notes stay within that scale.

~ Identifies all notes not within the selected scale, and transposes or
inverts them chromatically by the specified number of semitones.
Map Converts notes of a selected pitch into a new pitch .

._. Enter a value to pitch to map "from" as NOTE:OCTAVE. Then enter a value
to pitch to map "to" as NOTE:OCTAVE.
For example, you might want to convert all the G notes in octave 5 into G-Sharps.
You enter the Pitch to Map From and the Pitch to Map To.

This transform is an effective way to alter the root notes of related

chords or move a particular drum track from one sound to another
(converting a low tom-tom to a mid tom-tom.for example).

Velocity Transforms
Set Gives all the notes in the selected range the same Note-On Velocity.
This can be used to set the upper velocity limit on all notes.
For example, to limit the note velocities at 100, add 27 so that notes above 100
would be clipped off at the top of the range. Then, lower everything by 27 so all
the notes would be transformed to a velocity no greater than 100.

._. At tire prompt. enter the Note-on velocity in the range is 1 to 127.
Adjust Increases or decreases the Note-ON Velocity by a specific amount.

._. At the pompt. enter tire change in "Note ON" velocity in the range -126 to 127.
Note-ON Velocity can range from 1-127. If the selected offset pushed the velocity
to either end of this range, the velocity will be truncated accordingly.
Use Adjust to change the velocities in a track without disturbing the relative
velocities within the track. This way the dynamics are not lost, but the volume is
adjusted.
Crescendo Adjusts all of the Note-On Velocities in the range such that a gradual
increase/decrease in volume occurs from note to note. Although this is not a true
crescendo, the volume of the track increases (or decreases) over a period of time
encompac;sed by the range. The allowable range for starting and ending velocities
is -127 to + 127. The negative end of the range is used to decrease a note's velocity .

._. At tire prompt. enter tire velocity for tire Start of tire range (-127 to 127). Enter
the velocity for the End of tire range (-127to127.) Answer tire prompt: "Do
you want to keep velocities relative?" YIN

TRANSFORMS - 105
Velocity Transforms

100

IO
CRESCENDO TRANSFORM IO
S1.-t Velocity 10, End Veloelly 55
'Keep 1he relative voloclltee7' N •o
20

100 -
- -----·--

'° Veloclltes
Before
IO Cr89Cendo
Trllll9form
to

100
Veloclllee
IO
CRESCEM>O TRANSFORM Wllh
IO
Siert Veloefty 10, End Vetoely 55 Relallve
IO
'Keep the rel8llve veloclllea7' y Veloctlln
20 Option
0

100-+-- - -
VeloclllH
f------------~~.--1 Wllboul
Relatlve
CRESCENDO mANSFORM «>+-------~-~ff: VeloclllM
S1811 Velocity -45, End Volocfty +70 - - - - -. .~ 20 -1---------~< Option
'Keep 1t... relatlve velocftlee7' N

e o - + - - - - - - - - - - - - - - 1 Velocldes Do not Sound

IO - - - - - -- - - - Before
Crescendo
Transform

0
Velocftles
With
CRESCENDO mANSFORM Rel at Iva
Start Velocity -45, End Volocfty +70 lo-----+ Vetocttles
'Keep the relaltve velocltlea7' Y
Option

~ - -- ---------------------·----
~o-+---------------'

106 - TRANSFORMS
 Velocity Transforms
Relative Crescendo lbe range -127 to 0 are used when keepjng velocitjes
relative. With the relative velocity option the relative velocities of the notes in
the range are preserved and the velocities required for the crescendo/decrescendo
are added or subtracted to/from them. (See Illustration.) In the same crescendo as
below (velocities 1 to 127) the crescendo's velocities will stilt progress from 1 to
127, but these velocities will be added as necessary to the original note's
velocities.

Cl By preserving the original velocities of the range and adding the

crescendo values to them, the sound of the range from note to note,
as far as velocity is concerned, is maintained while the crescendo's
velocities steadily increase or decrease.
Normal Crescendo Use only 0 to 127 when not keeping velocities relative.
In a nonnal crescendo transform, the velocities are replaced by the new velocities
required for the crescendo. If a crescendo starts at velocity 1 and ends at velocity
127, the velocities will be changed to increase progressively from 1 to 127 with
no regard for the original velocities.
Set-NoteOff This works like Set Velocity, except that it only changes the notes' off-velocity.
Off-velocity is the speed with which you release a key on the instrument. Most
instruments don't transmit this data, but if yours does, the note off-velocity may
affect certain note characteristics, such as decay time.

• At the prompt. enter the change in note off velocity. Range is from -127 to 127.
For elaboration on how your synthesizer uses note off-velocity consult your
imtrument manual.
Adjust-Note This works like Adjust Velocity, except that it changes the notes' off-velocity.
Off
• At the prompt, enter the change in note off velocity. Range is from -127 to 127.
CompEx Compresses or exrands the dynamic range of the selection by moving the note's
velocities closer or further away from the average velocity in the range.
Use this to limit the dynamic range of a track without removing it entirely.
Like the CompEx time transfonn, you're asked to enter two numbers, expressing
the ratio of the new velocity range to original range as a fraction, such as 2/1, 1/2,
etc ..
• At the prompt, enter the fractional scaling value n!o, where "n" is tlte new
velocity and "o" is the original velocity.

Working with the Velocity Transforms

Different synths resp<>nd to velocity drtta in various ways . This :llso :ipplies to
different programs in the same synth. Velocity transfonns can help compensate for
these differences.
For example, the Roland MKS-20 digital piano module sounds great when you
send it a MIDI velocity above 110. but if you use a Yamaha DX7 as a master
keyboard, you may have to hit the keys quite hrud to generate MIDI velocities that
high. When !his happens. the MKS-20 doesn't sound its best, and your hands hurt
from pounding the keybollrd.

TRANSFORMS - 107
Split Transforms
An easy way to solve this problem is to play the DX7 at a reasonable level, then
use the Adjust Velocity transform to nudge all the notes up in volume until the
MKS-20 sounds its best.
As another example, some keyboards have signal-to-noise ratio problems at low
volumes and distortion problems at high volumes. In this situation, it can be
difficult to control the volume in the recording studio. It's much easier to use
velocity transforms to raise the low levels and lower the high ones.
The Split transform (See Split Transforms in this section) can be especially helpful
when combined with Velocity transfonns. If your problem is a sampler with
uneven volumes across the keyboard, use Split to isolate those sections that are the
worst offenders, and then individually apply velocity transforms until you've
brought them all into line.

Split Transforms
Split transforms move any notes that lie within a given range of values onto a new
track.
There are five ways to split a track:
Pitch Moves notes within a given pitch range out of one track and into another track.
'- At tire prompt, enter the Destination track for tire split. Enter the LOW pUch
cutoff as NOTE:OCTAVE. Enter the HIGH pitch cutoff as NOTE:OCTAVE.
After selecting the transform, you will be prompted to enter the upper and lower
boundary notes in the range. The boundary notes are inclusive, so if you set the
upper boundary to A4, all notes in the range, including A4, are split out from the
track. Some common uses for this transform include:
0 To split the left-hand and right-hand parts into separate tracks;
0 To extract a single sound from a drum machine part;
0 To extract a range of sounds(all the tom-toms, or all the cymbals).
Once a track has been split, the individual tracks can be independently offset,
transposed, inverted, quantired, assigned to other instruments, etc.
Quantize Moves any notes that are close enough to the beat onto another track.
'- At tire prompt. enter the destination track for split. Enter the New Time Units
value to set the interval to quantize to. Enter the percentage tolerance to
determine which notes will be split based on clicks from nearest beat.
Quantize Interval Which time unit ('lnarter notes. etc.) to use.
Percentage Tolerance. Determines if a note is within an acceptable number
of clicks to the time unit to be considered on the beat.
The following example shows how to use the Quantize Split transform to program
a swing rhythm into a track.

<D Use the regular Quantize transform on the track to move all the notes
to the nearest I/16th notes.

108 - TRANSFORMS
 Random Transforms

~ Transform the track with Quantize Split, using 1/8 note intervals and a
small percentage of tolerance (l or 2%). This moves all the
odd-numbered 1/16 notes onto a new track.

@ Offset the original track by 12 clicks (6 clicks at 96 PPQ). and play

them together: The even numbered 1/16 notes will be delayed, giving
the tracks a swing feel.

The Super-Quanti:e transform includes a Swing feature that is much

easier to implement than tire above instructions.

Velocity Moves notes that are within a range of velocities onto a new track.
'- Enter the Destination track for split. Enter tire LOW cutoff velocity (1to127)
and the HIGH cutoff velocity (1 to 127.)
You can use this transform to find notes that are too loud or too soft. move them to
a new track and adjust them. You could also use this transform to find notes with
high velocities and assign them to alternate drum samples.
Duration Moves any notes that are over a certain length to a new track.
'- Enter the Destination track for split. Enter cutoff duration in quarter notes and
clicks.
You enter the length of notes that you want to move, and all notes of that length or
longer are moved to the destination track.
Modulus Moves every 'Nth' note to a new track.

' - Enter the destination track for split. Enter the first note to begin counting
from. Enter the Modulus number.
The first note is also moved.
For example, if the modulus is set to the number 5, and first note is set to the
number 2, every fifth note, starting with the second note, will be moved to the
destination track.
Try using this transform to generate accent patterns. Do a modulus split. adjust the
note velocities up, then merge the tracks together again. You can also get
interesting effects by assigning the split track to a new channel, and program.

Random Transforms
These transforms use random nnmhers to adjust note pitch. velocity , dnrntion. or
start time, respectively. The random numbers are generated first, then modified by
the degree of randomization selected.
Pitch Randomizes pitch harmonically based upon the key selected in the Keysig window.
Small percentages generate slight melodic variations, and large amounts generate
random melodies.

TRANSFORMS - 109
Miscellaneous Transforms
• At the prompt, enter the degree of randomness (1 - JOO)followed by the Start
Time.
Statt Time Randomizing start-time by a slight amount can add human feel , but can get sloppy
if over-used. Using extreme randomization will make random start time variation~.
after which you can quantize the track to get the random variations onto the beat.
Velocity Randomizes Velocity of all notes in the range . Tiris transform also gives a good
human feel when you randomize the velocity data a small amount. A large amount
generates random accents.
Duration Randomizes the duration of all notes in the range. A small amount of
randomization on note durations can also add to a more human feel on some tracks.

Miscellaneous Transforms
Merge Combines MIDI data from a Source track into a Destination track. The Source
track remains intact 1be Destination track is the current track. 1be Destination
track is selected by moving the cursor to the track you want to merge to.
Use this to merge data that was previously split out and modified.

If notes in the chosen tracks overlap, tire conflicting notes are

truncated or deleted as needed. If the Source trade is longer tlrat the
desnnotion track, tire notes past the end of the Destination track ore
not merged.

Track ReBar The Track ReBar and Range ReBar transforms allow you to change the locations
of bar lines without changing the timing of the music. The ability to move the bar
lines affects the use of almost every feature in Sp Gold. Record, Play, Punch-In,
and Edit features always work in relation to measure boundaries in your tracks, so
all these features are affected by the ReBar Transforms.
The Track ReBar transform changes all the time signatures in the current track to
match those in another track. You specify which other track to use as a time
signature source. Tiris is particularly useful if you've accidentally recorded a track
in the wrong time signature.
RangeReBar The Range ReBar transform changes the time signature in a range of measures to
any new time signature you specify. Tiris is useful if you want to remove a single
beat from a measure, or convert measures of tightly packed data into a series of
one-beat measures so the details of each beat appear on the Edit screen.
For example, a measure of 4/4 time can he turned into one measure of 3/4 :m<f one
measure of 1/4. Once the original measure is transformed, the measure of 1/4 can
be deleted, punched-into, inserted somewhere else. etc. None of these things would
have been possible otherwise, because these features only work with complete
measures.

110 - TRANSFORMS
 IF"~~~~~~--- HIDll'IEHPO TRANSFORMS~~~~---~-....,

TIME VALUE IHSl'DEL IEHPO

1:nsaau211a.m Scale Fl ll Accelerando
Offset Shi-ft Crescendo Scale
Co.,pEx Invert Thin Shift
Hap Eti .. -Dupes Thin
Map-Progra"s El! ..-Dupes
Tap-Tertpo

<PgUp for Horrtal Transforrts)

- - - - - - - - - - - - - Transforrts Menu - - - - - - - - - - - _ _ , .
KEYSIG SUPER_QUAHTIZE
Reverse order of MIDI events .

MIDI/Tempo Transforms
'- From the View screen. press X to activate tlte Transforms screen. Press
[PgDn] to see tlte list of MIDI and Tempo transforms.
MIDI tramfonns affect MIDI data rather than note data.
The following types of MIDI data can be transformed using MIDI Transforms:
0 Pitch Bends
0 Key Aftertouch
0 Program Changes
0 Aftertouch
0 Controllers.

Time Transforms
Retrograde Reverses the order of MIDI events. The transformed MIDI events will be
backwards after the tram>fonn.
'- Enter MIDI event to retrograde and the controller number to use, if using
controller event.
Retrograding MIDI data, but not note data, produces largely experimental effects.
Experimentation with this transform is suggested because explicit examples will
not always have the same effect.

The new Start Times Only Option of tlte Normal Retrograde

Transform does not apply to tlte MIDI Retrograde Transform
because duration does not apply to MIDI data.

TRANSFORMS - 111
Value Transforms
Offset Moves MIDI events ahead or behind in time, such as modulation wheel or volume.
• Enter the MIDI event to offset and the controller number to use. if using a
controller event. Enter the amount to shift MIDI events in quarter and clicks.
A negative value moves events earlier. A positive value moves events later.
By Offsetting a series of pitch bends to begin later than the note, the note will
sustain for the duration of the offset before the pitch bend affects the note.
CompEx (Compress I Expand) Speeds up or slows down the effect of a series of MIDI
events by increao;ing or decreasing their frequency.

• Select the MIDI event to CompEx and the controller number to use, if using
controller event. Enter the Fractfonal scaling values as new value I original
value.
To speed up a series of pitch bends, enter a scaling fraction of 1/2 to move pitch
bends closer together, and the series would speed up.
A scaling fraction such as of 2/1 would move the pitch bends farther apart, and the
series would slow down.

Value Transforms
Seate Multiplies the value of MIDI events by a specific value.
• Enter the MIDI event to Scale and controller number to use, if using controller
event. Enter the Fractional scaling values as new value I original value.
To decrease a pitch bead's value by 50%, enter a scaling value of 1/2.
To increase a pitch bead's value by 100%, enter a scaling value of 2/1.
Shift Adds a specified value to MIDI data. Possible values range from -127 to 127, with
the exception of benders which has a range of -8192 to 8191.
• Enter the MIDI event to Shift and controller number to use, if using controller
event. Enter amount to shift events. Range is -127 to 127.
Invert Subtracts a MIDI event's value from its maximum value, the result becomes the
MIDI event's new value .
• Enter the MIDI event to Invert and controller number to use, if using
controller event.
To transform a crescendo into a decrescendo use the MIDI Invert transform. By
Inverting the decrescendo's values, the highest value is subtracted from 127 leaving
a relatively low value. The· start of the crescendo is transformed into the start of the
decrescendo.
Map Transforms one type of MIDI event into another.
A series of pitch bends could be transformed into a series of controller events.
• Enter the MIDI event to remap from and controller number to use, if using
controller event. Enter the MIDI event to remap to and controller number to
use, if using controller event.

112 - TRANSFORMS
 Insert/Delete Transforms
Map-Programs Transfonns MIDI Program Change values.
• Enter the Program number to remap from followed by the Program number to
remap to.
To change the program from Acoustic Piano to Electric Piano you could do so by
remapping the program change number of the Acoustic Piano sound to the program
number of the Electric Piano.

Insert/Delete Transforms
Fl/I Inserts MIDI events in the specified range. The values of the events inserted can
increase or decrease across the range, depending on user specified values.
The starting and ending values of the Fill transform will determine the basic slope
of the curve used to insert MIDI events.
By entering a high number of events per beat, transitions will be smoother.
However, more controller events will use more song memory, and if they are too
dense they will clog MIDI playback.
Fill can be used to insert any type of MIDI data into a range. A series of pitch
bends of progressively increasing values could be inserted. A crescendo could be
inserted using controller number 7.

Required Parameters
CD MIDI event to fill
® Controller number to use, if using controller event.
@ Starting value. Range is from 0 to 127, exept for benders which is
-8192 to 8191.
@ Ending value. Range is from 0 to 127, exept for benders which is
-8192 to 8191.
<ID Number of events per beat to insert. Range is from 0 to192 (or a
maximum of 96, depending on the song's ppq setting.)
@ Curvature. Range is from -100 to 100. (See MIDI fill curve diagrams.)
Crescendo Creates crescendos using controller number 7 (volume).
• Enter the Start volume in the range 0 to 127. Enter the End volume in the
range 0 to 127.
By using MIDI controller 7, the notes ' original velocities remain unchanged, but
they are superseded by the MIDI controller.
Since crescendo is a MIDI fill transfonn, a thorough reading of the Fill transform 's
method of insertfon will make it easier to understand this transform.
Crescendo requires you to enter starting and ending values for the controllers.
However, the curvature value is fixed at 0, and events per beat is fixed to 8.

TRANSFORMS - 113
Insert/Delete Transforms
Midi Fill Curves Midi Fill Curves
Poslllv. Slope/P09Hlve Curv.ture Poelllve Slope/Negative Curvature

Tim•
St..tng v.iu. < Endlna VMl•
Curvature 0 lo ·1lk>
I

Midi Fill Curves Midi Fill Curves

Negdve Slope/P09111ve curvature

J I
I; j
;

1lme

1s~i::;.>o~~v...,.1
Tim•

Crescendos are created by typing a lower starting value than ending va1ue.
Decrescendos are created by specifying a larger starting value than ending value.

The MIDI Crescendo does not allow a user specified curvature

value. For a MIDI crescendo with a curvature value other than 0 use
the Fill transform with controller number 7.

Thin Reduces density of MIDI events in a specified range.

' - Enter the MIDI event to thin and controller number to use, if us;ng controller
event. Enter the max;mum number of e'•entJ per beat. Range fr 0 to 192 , (or a
max;mum of96, depending on the song's ppq setting.)
111e MIDI Thin transfonn uses a maximum number of events per beat to detennine
the minimum number of clicks allowed between events. When the Thin transfonn
detects fewer clicks between two MIDI events than allowed it deletes the second of
the two events.

114 - TRANSFORMS
 Tempo Transforms
If any MIDI events that are being thinned have a value of 0, they will not be
deleted. This will en~nre that pitch bends and other controllers are not left at
unreasonable values in sparse sections of MIDI data.
Entering a density value of 0 will delete all the selected MIDI events in the range.
Ellm-Dupes Eliminates duplicate MIDI events .

._. Enter tlte MTDI event to eliminate duplicates of and controller number to use,
if using controller event.
In a series of MIDI events of the same type, with the same value, only the first
event will actually have any effect. Elim-Dupes will eliminate the duplicate events
that have no Effect.

Alt/tough EUm-Dupes and Thin may sound similar, Thin deletes

events based on a minimwn number of clicks allowed between tlte
same type of MIDI events, Elim-Dupes deletes MIDI events of tlte
same type and value regardless of their interval or the density of
data at a particular point in a song.

Tempo Transforms
Tempo transfonns affect tempo event~ instead of note or MIDI data. Since tempo
events can be embedded in any track, tempo transforms can be used on any track
containing tempo events just as if they were true MIDI data.

Tempo Transforms will have no audible effect unless the track

containing the transfonned Tempo Events is currently selected as the
Tempo Track in the Options wfodow.

Accelerando Creates a controlled increase or decrease in tempo. The Accelerando Transform is

the equivalent of a Fill Transfonn for Tempo events .

._. Enter the Starting tempo ( 16 to 255) and ending tempo. Enter the number of
tempo events per beat to insert (1 to 192 for 192 PPQ, 1 - 96for 96 PPQ.)
Enter a curvature value (-100to100.)
Value range is specified in Beats Per Minute.
Entering a higher starting value than ending value will cause a decrease in tempo.
Entering a lower starting value than ending value will cause an increase in tempo.

Refer to MIDI Fill trans/mm on page 113 for an in depth discussion

of slopes and cun•ature l'alues .

Scale Multiplies the value of Tempo event<; by a specified ratio.

• Enter tire Fractional scali111:? ml11e as new rnl11elorigi11al 1·alue.

TRANSFORMS - 115
Tempo Transforms
To scale a song's tempo events to play half as slow, enter a scaling value of 1{2. If
you wanted to double a song's tempo event and values you would enter a scaling
value of 2/1.

Tempo events must already exist in a track for tempo Scale and Shift
to have any effect.

Shift The Shift Transform adds a specified value to all tempo events in range .
-. Enter the amount to shift events. Range is from -239 to 239.
If a section of a song has a good flow of tempo changes, but the entire section is
too fast, shifting the tempo down will slow the tempo without affecting the flow of
tempo changes.
Thin Reduces the density of tempo events
-. Enter the maximum number of tempo events per beat. Range is from 0to192,
(or a maximum o/96, depending on the song's ppq setting.)
Thin will reduce the number of events to a specified number of tempo events per
beat.

Entering a density value of 0 will eliminate ALL tempo events in a

range.

Ellm-Dupes Eliminates duplicate tempo events.

In a series of Tempo events with the same value, only the first event will actually
have any effect. Elim-Dupes will eliminate the duplicate events that have no affect.
Tap-Tempo Tap-Tempo is documented at the end of this section.

116 - TRANSFORMS
 ~-~~rvs re--~
ROOTS HODES
• Zlml
Cit Dorian
D Pl1rygian
Dll Lydian
E Mixolydian
F Minor
Fii Lochrian
G
Gii
A
All
B

r----------
I Accidentals
Keyslg Selection Menu _ _ _ _ _ _ _ _ _ _ _
-
1

Key Signature Window

-. Press K from the Transfonns window. [Esc] to close.
The Key Signature window is used to keep the music in the correct key when using
harmonic or random pitch transforms, or experiment with new keys.
There are two columns in the Key Signature window, one for Roots and the other
for Modes. On the basis of this setting, Sp Gold is able to correctly transform the
music harmonically.

Deliberately telling Sp Gold the wrong key signature can produce

some interesting results.

The settings in the Root and Mode columns can be used to select any one of 77
different musical scales. To select a root and a mode, highlight it in the list and
press Enter.The seven modes have different scale patterns of steps and half-steps,
arranged as follows.

Key Signatures
MODE Number of Half-steps
MAJOR Root 2 2 1 2 2 2 1
DORIAN Root 2 1 2 2 2 1 2
PHRYGIAN Root 1 2 2 2 1 2 2
LYDIAN Root 2 2 2 1 2 2 1
MIXOLYDIAN Root 2 2 1 2 2 1 2
MINOR Root 2 1 2 2 1 2 2
LOCHRIAN Root 1 2 2 1 2 2 2

TRANSFORMS - 117
Tempo Transforms

To select the scale and root

<D Highlight the desired root, press [Enter].
<2' Highlight the correct mode, press [Enter].

The key signature is saved as part of the song file. When you load a
song file from disk, the key signature is set to what it was when the
song was saved.

118 - TRANSFORMS
 - - - - - - - SUPER QUANTIZE - - - - - - -
Interval mm Preserve duration YES
Swing Sens I ti v lt11 188;;.

Grid offset 8 Sens "°de NORMAL

Quant Strength 188Y.

Tuples 1 In the space of 1

- - - - - - - - - - - - Super Quant lze Hem•

Interval Mode Offset PresDur Q- Strength Reset Sensitivity Tuples
XSwlng

Super-Quantize Transform
• To access the Super Quantize window, press S from either of the two
Transforms windows.
Super Quantize provides quantization with eight controls for fine tuning effects that
can be used to:
Q Quantize with Swing to experiment with rhythm.
0 Quantize off the beat.
Q Adjust the Sensitivity of quantization to affect only the notes you
want affected.
Q Create tuples.
0 and more.
Because the settings in the Super Quantize window are maintained each time
they're changed, it's a good idea to check them before using each transform.
These Super Quantize settings are also saved in the CONFIG.SEQ file.

TRANSFORMS - 119
Quantize Grid

Quantize Grid
Super Quantize functions are realtive to the position of a virtual array of grid
points called the Quantize Grid which can be thought of as a set of points on a
time line superimposed over the normal beats.

Quantize Grid aligned Quantize Grid offset

=~:~::.:.:::::J
::
::: .•:
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::
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.\~ :: ! ·~~
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~
il ::
l1l m -l! l, ~~- ::

,,.,~. ~ ~ ~ .~~· :.1

~!\ m ~~
-~:~ ~r
.::: :;: .,
'2i'· -~·=·=-:-):=·=·=-:-:-;:=·=·:-:-: ~: ·=·:·=-=·;·=·:-:-:-:-:-
m =·=·:-f:-:-:-:·~: .:·:·=·= ··;.;.; ·.·
·.•

Grid Offset lets you move the

Quantize grid points usually Quantize Grid an arbitrary
fall on the beat, as shown above. number of clicks, as shown above.

By varying the spacing between the grid points and the position of the grid, various
quantizations effects are possible.
lntetval Sets the interval between Quantize Grid points in Super-Quantize.
• Highlight Interval in tire Super Quantize window and use the +, - keys to
toggle th.rough the following interval settings:

Super-Quantize Grid Interval Settings

Normal Triplets
4th 4T
8th ST
16th 16T
32th 32T
64th 64T

0 For instance, an Interval setting of 8th sets a Quantize Grid point at

every eighth note. a setting of 16th setc; a Quantize Grid point at
every sixteenth note, etc ..

Swing Swing creates a swing feel by moving every other Quantize Grid point earlier or
later, and quantizing to those grid points.
Swing is controlled by a percentage value from .1 % to 99%.

120 - TRANSFORMS
 Quantize Grid

Normal Beats ~ 1
I

Quantize Gr/( 2 4 6 8 2 4 6 8
Beats~

25% Swing 50% Swing

1 7

2 4 & --+ 2 4 6 8
55% Swing 75% Swing

• Highlight Swing in the Super Quantize window, and use the+, - []keys to
toggle to tire new value. or type tire value and press [Enter].
r:l For a conventional Swing effect, a setting from 55% to 66% is best.
0 A Swing percentage between 1% and 49% moves every other grid
point earlier, closer to its predecessor.
0 With a Swing percentage setting of 50%, there is no alteration. The
Quantize Grid points are evenly spaced, based on the interval setting.
0 A Swing percentage between 51 % and 99% moves every other grid
point later, closer to its successor.
0 With the Super Quantize Interval set to 16th, and Swing set to 55%,
the Quantize grid points will not be evenly spaced.
0 After the Super Quantize transform is applied, the notes near the odd
(1, 3, 5, etc) Quantize Grid points will fall exactly on the beat.
However, notes near the even (2, 4, 6, etc) Quantize Grid points will
fall a few clicks behind the beat because of the Swing setting of
55%.

TRANSFORMS - 121
Quantize Grid

0 55% will produce a relatively subtle swing effect. Experimentation

will prove how swing can be used to jazz up an otherwise standard
pattern of music.
Grid Offset Moves the Quantize Grid earlier or later by clicks so that it is offset from the beats
and bar lines. Tilis is used to quantize on points that are on or between the beats.
The value range of Grid Offset is -9999 to 9999 clicks . A positive value will move
the Quantize grid later, to land after the beats. A negative value will move the
Quantize grid earlier, to land before the beats.

-. Highlight Grid Offset in the Super Quantize window and use the + - [) keys to
toggle to the new value, or type the value and press [Enter).
0 For example, if you have played an entire track a few clicks late and
you want to quantize the track but don't want to bring it onto the
beats, Grid Offset can help. If your track is 7 clicks late, enter a
Grid Offset value of 7 and the entire Quantize Grid will be shifted
forward. The track can now be quantized relative to the Quantize
Grid, i.e. 7 clicks ahead of the beat.
Quantization Controls how far the quantized notes will be moved by Super Quantize. Titls sel'Ves
Strength the same purpose as the Percentage Correction used with the normal Quantize
transform.
The required value ranges from 0% to 100%
-. Highlight Quant Strength in the Super Quantize window and use the + - [ )
keys to set the new value, or type the value and press [Enter).
0 At 100%, notes will be moved all the way to the nearest Quantize
Grid point.
0 At 75%, notes will be moved three quarters of the way to the nearest
Quantize Grid point.
0 At 50%, notes will be moved half way to the nearest Quantize Grid
point.
0 For example, if Quantization Strength is set to 50%, a note 24 clicks
from the nearest Quantize Grid point will be moved 12 clicks
towards that grid point, but a note in the same range only 8 clicks
from the nearest Quantize Grid point will only be moved 4 clicks.
The exact amount each note is moved is relative to each note's
distance from the nearest Quantize Grid point.
Preserve Controls whether a note's duration is preserved or altered during Super Quantize.
Duration
-. Highlight Preserve Duratfon in the Super Quantize window, and press P to
toggle Preserve Duration ON and OFF.
ON Notes will be moved without altering their duration.
OFF Only the note start times will move, the end times remain intact.
Depending upon the start time positions relative to the end times, the note
durations will be increased or decreased. The degree of change depends on how
far the start time is moved and whether it is moved away from or towards the
end time of the note.

122 - TRANSFORMS
 Quantize Grid

Preserve Duration On Preserve Duration Off

Before Quantization Before Quantization

1:1 2 • 2:1 2 3:1 1:1 2 • : 2:1 2 jS:1

After Quantization After Quantization

1:1 2 • 2:1 2 • 3:1 1:1 2 • 2:1 2 3:1

Start and end times Start times are moved

are moved, duration end times are not,
remains the same. duration is changed.

0 For example, if Preserve Duration is set to OFF, and a quarter note

is quantized to start later by one eighth note, the note's new duration
would be decreased by an eighth note (ie. it loses a value equal to
the distance it was moved.) This is because its start time is moved,
but its end time is not.
0 If the same note was quantized to land earlier by one eighth note,
the note's new duration would be increased to a dotted quarter note.
It gains a value equal to the distance it was moved because, again,
it~ start is moved, but not its end time.

Sensitivity Controls which notes will be quantized by setting a Sensitivity Range from 0% to
100%. 11lis is useful to quantize only notes that land close to the beats while
leaving notes further from the beats unaffected.
-.. Wghliglrt Sensitivity in the Super Quantize window, and use the + - [] keys to
set the new value. or type the value and press [Enter].
A track that is predominantly sixteenth notes, but also includes triplets, can be
difficult to quantize. With normal quantization the triplets would be quantized to
eighth or sixteenth notes, and no longer be triplets. By setting Sensitivity so that
only notes very close to the beat will be quantized, the triplets could remain intact
depending on their location relative to the Quantize Grid point~ .
The Sensitivity range begins before, and ends after each Quantize Grid point. How
soon the range begins or ends after the quantize grid points is determined by the
Sensitivity setting.
Normally notes that fall inside of this range are quantized and notes that fall
out~ideof it are not.

TRANSFORMS - 123
Quantize Grid

Sensitivity Range Outside of Range

0 If the Interval setting is 8th and Sensitivity is set to 50%, the

Sensitivity range would be a sixteenth note in duration, or 50% of
the 8th note Interval.
The Sensitivity range is centered across each Quantize Grid point.
0 With Sensitivity set to 100%, the end of the previous Sensitivity
range would meet the beginning of the next Sensitivity range. Every
point on the grid would then be inside a Sensitivity range.

The primary difference between Quantization Strength and Sensitivity

is that Quantization Strength determines the distance all notes will be
moved, while Sens;tiv;ty determines which notes will be moved.

Sensitivity Reverses the function of Sensitivity, i.e. what was to be quantized will not be and
Mode what was not to be quantized will be.

Sensitivity mode is a function of the Sensitivity setting, above. It is

necessary to understand Sensitivity before using Sensitivity Mode. If
you are not familiar witl1 Sensitivity, take the time to learn it now
and return to this sectfon later.

NORMAL All notes that fall inside any Sensitivity range are quantized, and any
notes that fall outside any Sensitivity range are not quantized.
OUTSIDE All notes that fall inside of any Sensitivity range are NOT
quantized, and any notes that fall outside of any Sensitivity range ARE quantized.

124 - TRANSFORMS
 Quantize Grid

Quintuplets (5 in the space of 1)

Interval • 4th r'-••n
r<1 - - - - -- - - - c..'t·. - -- ------._
T..
M.. lJ ':.HNI.
I H.,., l ·~r:I';
- ~·11411%'1
1 •:.I
5 Noteo -- ----------·------------~---. -
.:! ' 4 &qA 1 OCTH It :;; t:ilT CUJ;RENT

."'
"

'"' Range

In the .".. - - ··
'
- ·- · before
Super Quantize

apace of
·--~--~-t:o l i t. ttl'tnu~-------

1 Quarter Note '""!Jl.h Sl,.rt. (; n'.••·

rllch T r~r k fll.,,.
lh l l.:s l'>i1I ro:>r" f)i;li;:to; l ap l ns:Erl
"O H : ~ lll•_F'4 T liV
'<Prl "' rP ll l il l OPTIONS.

OJ . . - - - - - - - - - - f<llt. - - - - - - - - ,
~.. ,.,~ 'ff.U ';ONf,
Tl-.

.."
r.•
G
1 ,...,, Tl"..,r.k

,,.
BPt1 1 7. R

MR 1
0 :1 I NT P:Fml"H ,

O':TH'.'[
! JU

S
~1'1 4 a9nR BJll

El!JT CURR! HT l Ef'IG Tt-1

f• ·· Same range
,•..
f
· · · after
· . Super Quantize
•
"
(

'
"'
1,.. .,91.- P! I.- .. '>l"rl. !::ntn f,,,. Tr"lc k lln l l."' ~.~ti fo r ':! 011li. l. o:t Zc"!J> ]r::ert.
P..T l,. r:r• 111111 " 0 1<: l' P. l•_FHT RV Ol' THl ""S

Tuples A Tuple is the category of time divisions such as duples, triplets, quintuplets.
Tuples is used to quantire to time units that are not in the Interval settings of
Sequencer Plus.
In Super Quantize, Tuples are created by placing Quantize Grid points at the
required intervals, and quantizing to those grid points.

To set Super Quantize Tuples

<D Highlight the Tuples field in the Super Quantize window, and type the
number of Quantize Grid points to be inserted, press [Enter].
® A prompt appears in the menu area. Type the space the Quantize Grid
points are to be inserted into, i.e. 3 would represent three of the
current Super Quantize Interval.
Although you could create triplets with Super Quantize Tuples, for historical
reasons they are already in the interval setting. Quintuplets, however, are not.
Tuples inserts Quantize Grid points at otherwise strange divisions of the current
interval. To create quintuplet~ 5 Quantize Grid points are placed in the space of l
quarter note and notes are quantized to them. A Quantize grid point is inserted
every 38.4 clicks. To do this manually would be difficult at best.
Reset Resets the values in the Super Quantize window to their defaults.
-. Press R from the Super Quantize Window.

TRANSFORMS - 125
Tap Tempo Transform
1be Tap Tempo transfonn is used to align music recorded in free-time (i.e. without
a metronome) to the beat.
If a song is recorded in free-time and not aligned with the metronome beats, the
entire logic of the sequencer would be lost- along with most of its features! For
instance, the Bar:Beat counter would be useless, cutting and pasting would be
impossible, and transforms would be extremely difficult, at best.
To allow this form of recording without losing the virtues of using the sequencer,
Tap Tempo quantizes the free-time recording (called the Source Track) to a set of
quarter notes (called the Reference track), and adjusts tempos to compensate for
the time lost or gained while quantizing.
1be Reference track is recorded while listening to the Source track. and amounts to
little more than a recorded rhythm that equates to tapping your foot while listening.
Instead of tapping your foot along with the music, you record one quarter note at
the MIDI keyboard for each tap. Hence the term "Tap Tempo"- or even better, Tap
equals Tempo.

Using Tap Tempo

Since Tap Tempo is more involved than most other transforms, the following
example is intended as a brief tutorial:

To record the Source Track

<D Record a source track without the metronome. Begin with four quarter
notes at the start of the track- these will be used to indicate when to
start the Reference track later.
It doesn't matter where the track begins: you can be totally off the bar
or beat. Just play in a relaxed manner. Play a smooth rhythm.
1be tempo can vary, but don't be too extreme, at least not for this
example. Tap Tempo can deal with any rhythm or tempo changes, but
the more complex your Source Track is, the more difficult it will be to
create a Reference track for it.

To record the Reference Track

<2> Before recording the reference track, access the Edit Window and take
a look at the notes in the source track . They're probalily scattered aU
over the place, on and off the beats. Try to get a mental image of the
Edit Screen to compare it to the results of the transform.

® Play back the track and get the feel for the rhythm you played. Then,
in a different track, record the Reference track of quarter notes , also
without the metronome. Pick up the Source track by listening for the
four quarter notes you played at the start of the track. Record while

126 - TRANSFORMS
 Using Tap Tempo
listening to the first track, playing one note at every point where you
want to place a beat in the Source track.

ft' s important that every "beat" of the Source Track be reflected by a

quarter note in the Reference track. If you skip a beat or hit two keys
by mistake, re-record the reference track. You may be able to
compensate for a missed beat, but your PC will think you skipped the
beat intentionally and tlte results will be unpredictable.

Run the Tap Tempo transform

<D Highlight Tap Tempo in the MIDl!fempo Transforms window, press
[Enter].

(2) Highlight the Source Track as the range to be transformed. Press

[Enter].
@ Type the Reference Track's track number, press [Enter].

What happened?
0 In the Edit screen the notes of the source track now roughly line up
with the bar lines.
0 In the MIDI Edit screen of the reference track a tempo change is
aligned on every beat. The tempo values will be randomly spaced,
unless you happen to be a very steady player.

To hear the transformed track

<D CaJI up the Options window, [F3], and set the tempo track to the
number of your reference track.
~ When you play back, watch the tempo indicator in the status window
at the top of your display. It is probably moving all over the place, but
the music will have the tempo you originally played.
® If you tum off the tempo track (mute it), and set the tempo from the
Main Screen to a rough average of the tempo of the reference track
(i.e. if the tempos ranged from 95 - 120, the average is about 105 to
110), you will get a steady tempo, but you will still have some of the
human nuances. In many ways, this will sound more natural and
tighter than quantizing.

TRANSFORMS - 127
128 - TRANSFORMS
 GlobAl
FuNcrioNs
 NEW-SONG C:,SPG'
Hen 78672 Ext .SHG BPH 112 CK:JNTERNAL 1:0

SONG Size Date Ti Me SONG Size Date Tine

LA:J BLUEHOOH 9389 10/ll/ 89 6:58
CB:l DEHOSOHG 22406 8/15/ 90 19 :01
CC:]
[D:J
CE :J
[f:]
<DIR> 8/ 28/98 14:28
<DIR> 8/28/90 14:28
BANKS <DIR> 8/28/98 14:30
MIDI <DIR> 10/26/98 12:02
SONGS <DIR> 8/28/98 14:38
AMAZCRAC 7325 5/28/89 7:16
AHERICAB 6797 7/02/89 6:48
BEBOP 24331 10/10/90 14:17
BEE BOP 24267 8/14/90 13:07

11-------------
BLKBIRD 9277 6/20/89 7:35
Fl Jes Menu --------------a
All-print Buffers-clear Create-dir Delete Extension Free Jukebox
Load Mode New Path Quick-find RenaMe Save Zsave

Files Screen
-. F to enter from Main, View, Librarian Setup, MIDI Data Analyzer, or Bank
Arranger screens. [Esc] to return to previous screen.
-. {Ctrl] F to enter from the Notepad. [Esc] to return.
The Files screen is used to manage the various files associated with Sequencer
Plus. The first 125 files with matching extension in the current directory are
displayed . The number of files listed may be increased with the /dr: Command
Line Option.
File Display The following levels of file information can be displayed at any one time:
0 Name, Size, Date, Time
0 Name, Date, Time
D Name, Size
0 Name

To set the Files Displayed

CD Activate the Configuration Window [F4].
<2> Select D for Dispfay.
@ Use + - to toggle through the four options.
Choosing a display configuration with less information will leave
room to display more files .
When a column of filenames reaches full height, a new column is
started to the immediate right. Use the cursor keys to move from one
column to another.

FILES SCREEN - 129

Files Screen Status Area
Fite Type The file types listed on the Files screen depends on the screen from which it was
entered.
Enter From File Type
Main Songs
View Songs
Librarian Setup Setups
Bank arranger Program Banks
Notepad Text
MIDI Data Analyzer Bulle MIDI File dumps

Sort Criteria Files may be sorted based on the following criteria, in either ascending or
descending order:
Name Alphabetically by name.
Extension Alphabetically by extensiom.
Size By file size, in bytes.
By flle creation date and time Oldest to newest.
None Order of files on disk.

To set the Sort Order

<D Activate the Configuration Window [F4].
~ Select C for Sort Criteria.

<ID Use + - to toggle through the optiom.

Files Screen Status Area

File Name 'The name of the file currently loaded. Ftle type may be either SONG, BANK,
SETUP or TEXT as determined by the file extension.
Path The drive and directory the Files screen is currently logged on to. See Path
command.
Mem Remaining song memory.
Ext.(xxx) Extension of the files listed in the work area. See Extension command for a listing
of the file extemion types.
BPM Current tempo setting in Beats Per Minute (BPM) as set in the Main screen.
CK Oock source as set in the Sync Window [F6]. Can be set to INTERNAL, SMPTE,
NO SPP, SONG PTR or MTC.
Bsr:Best Current song position displayed as bar:beat.

130- FILES SCREEN

 Files Screen Work Area

Files Screen Work Area

• The [Enter] key is tire primary navigaHon tool in the Files Screen . Use it to
select Disk Drives, and Change Directories.
Song 'This column displays disk drives, sub-directories, and file names. The title depends
on which screen the Files screen was accessed from:
Title Screen accessed from
Song Any sequencer screen
Setup Setup screen
Bank Bank Arranger Screen
Text Notepad Screen
MIDI Data MIDI Data Analyzer

Disk drives and sub-directories are

displayed first in highlighted text. SONG Size Date I Imo
LII : J
CB :J
Files are displayed next, in plain cc:)
letters. [D :]
CE :J
• To view tire contents of any CF:J
<DIR> 8/28/98 14:28
subdirectory or drive, <DIR> 9/29/98 14:29
highlight the name and press BANKS <DIR> 9/28/98 14:38
SONGS <DIR> 9/28/98 14:38
enter. BEBOP 24331 9/84/98 18:38
BEEBOP 24267 8/14/98 13:87
•:• lf you have a DEMOS ONG
TUTORIAL
22486
6667
9/15/98
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mouse.••
The contents of any drive
or directory can be listed
by double clicking the left
button on the name.
To load any file, double click the left button on the file name.
Size Displays file size in bytes.
Date Displays the Date the file was last saved to disk.

Your computer's date and time must be set correctly for this function
to work.

Time Displays the Time the· file was l:lst saved to disk.

Drives and subdirectories do not show Date and Time. and Size .

FILES SCREEN - 131

Files Screen Menu Commands

Files Screen Menu Commands

- - - - - - - - - - - - - F i l e s Menu - - - - - - - - - - - - -
Al I - print Buffe•· s - clear Create- dlr Delete Extension Free Jukebox
Loild Mode New Patl1 Quick-find RenA- Save ZsAve

•:• if you have a mouse...

You can access the Files commands by pressing both buttons to activate the
Mouse Menu Window.
All Print (Available only when entering the Files screen from the Bank Arranger). Prints all
the program names in all the bank files for the current instrument. The Report
command in the Setup screen prints the programs in just one bank.

Be sure to set up the correct pr;nter port using the Configuration

Window [F4] before us;ng this command.

Buffers-clear Measures that have been moved into memory buffers (0 - 9 and Temp) are
automatically saved to disk as part of the song file. Because they may take up a lot
of memory, this command allows them to be cleared before saving the song.
• Press C, then type the number of the buffer to clear, or press A to clear all
buffers.
Create-dlr Creates a subdirectory below the current directory.
For example, if the directory NEWDIR was created when logged onto the root
directory of C:, the result would be C:\NEWDIR. If NEWDIR was created while
logged onto the C:\VOYETRA directory the result would be
C:\VOYETRA\NEWDIR.
Delete Deletes the highlighted file or sub-directory from disk.
• H;ghUght the file or d;rectory to be deleted, press D, then Y to verify. Press;ng
any other key w;/f prevent the deletfon from be;ng made.

A directory cannot be deleted if it contains files .

Extension Determines the extension of the files listed. Normally, only one type of file is
listed, depending on which screen was used to enter the Files screen.
• To change the current d;rectory ex tensfon, press E, then type the des;red
extension (without a period) , and press Enter.
• To see all files, enter an aster;sk (*)as the extensfon .
Sequencer Plus can load the file types listed below.

Although the flies screen can d;splay any file on a disk, this does not
mean any file can be loaded ;nto Sp .

132- FILES SCREEN

 Files Screen Menu Commands
The following default filename extensions are added to files when saved:

Sp Gold File Extensions

File type Extension used
Song files *.SNG
MIDI Song files *.MID
Personal Composer files *.S
Single Track files *.TRK
Notepad Text files *.TXT
Librarian Setup files *.STP
MIDI Data Analyzer files *.MDI
Librarian Bank files *.B## or*. C## (where## is a
two-digit number corresponding
to an instrument type.)

Free Lists how much free memory is on the disk and whether the song in RAM will fit
on the disk.
If the song won 't fit, try the Clear Buffers command to reduce its size, delete some
files from the disk to make room, or replace the current disk with a formatted disk
that has sufficient room.

The Free command can only determine the size of songs saved in
standard Sequencer Plus format. When using MIDI file format the
Free command will not function .

Jukebox Plays the list of song files in succession.

To use Jukebox mode

In order to use Jukebox, SpG must be run with the ldr: command line
option -(see the section on Command Une Options.)

• Highlight the first song to play and press J . Songs from that point on will
begin to play in order, with a short pause between them .
• To halt playback. press [Esc].
Using the " _"character as the final character in a song's filename (e.g.
MYSONG_) will make song pause at the end. The next song will not begin to play
until the [Spacebar] is pressed.
Pressing the [Spacebar] while the song is playing causes it to immediately stop
playing. The next song in the list will then load and begin playing.

FILES SCREEN - 133

Files Screen Menu Commands
Load Loads the highlighted file from disk.

'- H;ghlight the name. press L, then [Enter] to load the file or [Esc] to abort
load;ng the file.
When loading MIDI files, the type does not have to be specified. Sp will
automatically choose the correct MIDI type as the file loads.
When saving MIDI files, choose the format type that is used by the program with
which you intend to read the file.
For instance, if the file will be used with a program that reads only Type 0 MIDI
files, save the file as Type 0. If you're not sure about the type, save the file as
Type 1, since it retaim the most information.

Sp can load type 0, 1, 2 MIDI flies but can only save Type 0 and 1
MID/files.

To play a song from the Files Screen

<D Start SpG with the /dr: command line option.
~ Press F to access the Files Screen.

(3) llighlight the file names, press Land [Enter], (the file screen remaim).

@ llighlight the file name and press the [Spacebar] to play it.

The command line option ldr: does two things. One, after a file is
loaded you remain in the FUes screen, instead of being returned to
the Main screen. Two, files can be played from the Files screen.

To Merge Song Files

Sequencer Plus .SNG files cannot be merged by loading one file into the file in
RAM. When a new song file is loaded, the one in memory is erased. In contrast to
this, when a MIDI file is loaded, its tracks are merged with the song in RAM. This
feature may be used to combine two or more songs.

To avoid merging songs when load;ng a MIDI file, use the Main
Screen Delete command to delete all tracks before loading the MIDI
file.

To merge single tracks into song files

UnUke song files, track files can be merged into song files.

<D Load the song that you wish to merge from the Files screen.
~ Move the highlight to an empty track.

134 - FILES SCREEN

 Files Screen Menu Commands

@ Return to the Files screen and use the Mode command (press M) to
select the .lRK extension. (.lRK will be displayed in the status area
once it is selected.)

@ Highlight the track file you wish to merge into the currently loaded
song, press Land [Enter].

@ The track will be loaded into the song, at the cursor location.
Mode Toggles through Sp compatible song file formats as listed below:

Compatible File Formats

File Extension Description
*.SNG Sequencer Plus format
*.TRK Track File Format
*.MID Standard MIDI file format
*.S Personal Composertm format
*.ROL Ad-Lib1m format

The mode selected is indicated by the file extension shown in the

status area. Once selected, only files with that extension will be listed.

Unless the song file is to be transferred to another program, it is best to use

standard Sp file format.

Sp file format is much more efficient than standard MIDI file format
and you can always reload a song and later save it in another format .

New Rereads the current directory.

This is useful when attempting to read a directory from a floppy disk with the
drive door open, or to insert a new floppy disk and re-read the directory.
Path Sets the drive and directory the Files screen will be logged onto. This path setting
is saved in the current config file.

The [Enter] key and mouse are the easiest way to navigate through
disks, directories and files .

Quick-find Used to search for a specific filename . As the filename is entered, Quick-find reads
each letter and jumps to the first file with a matching name. The search continues
for each new letter entered, or until [Enter] is pressed.
Rename Used to rename the highlighted file .

FILES SCREEN - 135

Files Screen Menu Commands
Save Used to save the currently loaded the currently displayed disk and directory.

-. Press S, type a file name, press Enter.

Files names must follow DOS's rules. File names can be a maximum of 8
characters long. Sequencer Plus adds the extension automatically.
Filenames should be chosen carefully, otherwise it will be difficult to keep track of
them.

Pladng an exclamation point I at the beginning of a file name will

cause that file to be displayed at the top of the files display.

To overwrite a file
-. Press S, then [Enter]. A prompt will ask you to confirm that you want to
overwrite the file, and the file wm be overwritten with the same name.
Never give a file the same name as one already stored on the disk unless you want
to replace the old file with the new one. If the computer sees an existing file with
exactly the same name, it thinks they are the same file, and will ask you if you
want to replace the old with the new. If you make a mistake at this prompt, the file
on the disk will be wiped out.

Q Always keep backup copies of your storage disks. It's even wise to
keep a backup copy of a song that you know is only a
work-in-progress. If you somehow lose the latest version and its
backup, you 'II be glad you have the early version. Using Sort date
comes in handy when checking for oldest or newest versions of your
work.

To save the Files Screen options settings

<D Activate the Configuration Window [F4].

® Select S for Save, then Y to confirm. Saving changes will overwrite

the previous configuration file.
Zssve 11ris format should only be used for file compatibility with Sequencer Plus version
2.0 (pre-1986) or programs that require this format, such as Dr. T's 1be Copyist.

Zsave doesn't save Setups, Notepad text, or the high resolution (192
PPQ) setting. Songs recorded at 192 PPQ are automatically
converted to 96 PPQ.

136 - FILES SCREEN

About Song File Formats
Songs may be saved in three different file formats selected by the MODE
command in the Files screen.

Sequencer Plus Format

This is the standard file format for the Sequencer Plus series and should be used in
all situations except when transferring songs to other programs. Songs saved in Sp
format can always be resaved later in a different format if necessary.

Files saved in Sp format cannot be read by earlier versions of

Sequencer Plus. However.files saved in earlier versions of
Sequencer Plus can be loaded into Sp version 4.0 or higher.

MIDI File Format

A MIDI file is a standardized song file format used for sharing songs between
different sequencer programs. The MIDI file format is the universal standard
agreed upon throughout the industry. Third party music files are available in this
format.These files are stored in one of three types. 0, 1 or 2.

If you experience problems transferring MIDI files to or from a

non-Voyetra program. it may be that the developer used an earlier
specification of the MIDI files standard, making it slightly
incompatible with ours. If this occurs, please check with the
developer to see if an update is available.

Each Sequencer Plus track contains data for only one MIDI channel. Because of
this, the Sequencer Plus file format only needs to deal with one channel per track
when it s:,\Ves and loads a .SNG song file.
In contrast to this, the MIDI file format allows up to 16 channels per track to be
saved in a MIDI file. Thus, when a MIDI file is loaded, one track chunk must be
split into as many as 16 tracks; one for each channel in the MIDI file track chunk.
Format 0 Contains only one track chunk.
Format 1 and 2 Have no limit on the number of track chunks they may
contain.

AdLib File Format

The Ad.lib file format is used only by the Adlib sequencer products. Sp can load
these files, but not save them. Once an Ad Lib file is loaded, it may be saved as
either a Sequencer Plus file or a MIDI file.

FILES SCREEN - 137

File Format Summary

Personal Composer Format

Sp can save any of your song files in Personal Composer format for use in that
program. However, the reverse is not true. Sp does not read or load Personal
Composer format files.

File Format Summary

1be following table summarizes the pros and cons of the various file formats
supported by Sp Gold:

Fiie Type Ext Pros Cons Note

Sequencer *.SNG Very fast file load and Compatible only with Sp can load files saved
Plu• save Sequencer Plus in earlier versions of Sp.

Saves all song data and

optiom

Easy to deal with if only Earlier versions of Sp

using Sp can not load files from
later versiom of Sp.
Can use file Sp
command line options

MIDI *.MID Allows songs to be Must deal with three Sp doesn't save MIDI
transferred between different file types File type 2.
different programs

Can merge songs Generates large files Sp can load type 0, 1 or

together 2.
Possible compatibility
problems with programs
that support different rev
of MIDI File spec

Can't use Sp command

line optiom.

Slow file load and save

Ad Lib *.ROL Access to AdLib song Compatible only with Sp can load but not save
library AdLib programs in AdLib format

138 - FILES SCREEN

 Using MIDI Files

Using MIDI Files

To load a MIDI file
<D Press F to access the Files Screen.
® Press M for Mode until MIDI file fonnat is selected. Locate the MIDI
file by finding the appropriate directory, etc.
® Highlight the MIDI file name, press L, and [Enter].
Before loading the file, you'll be prompted for infonnation regarding
time signatures. Since a MIDI file can be merged with a song in
RAM, you may not want the time signatures of the new MIDI file
merged along with the existing music. You will be prompted:
accept both tempo and time slgs?
To respond press the first letter of your choice, or highlight your
choice and press [Enter] to load the MIDI file .

To Save a MIDI File

<D From the Files screen, use Mode to select MIDI.
® Choose SAVE from the menu and enter the filename to use.
® Several options are available while saving MIDI files; these are
outlined below.
To make a selection, press the first letter or highlight the desired
choice for File Type, then press [Enter].

MIDI File Save Options

Choice 1
Type 0 or Type 1 ? Choose a fonnat type that is compatible with the
program(s) to which you intend to export the file .
Choice 2
Include data from? All, Group, Single, Tempo This choice detennines
which tracks' data is included in the output file. You may include all tracks, or a
single track.
Choice 3
Use or Ignore? This choice detennines whether the playback variables on the
Main screen will affect the output MIDI file data. If you select Use, then
quantization, transposition, initial program changes, mute, and solo become
relevant.
For instance, when Use is selected, only tracks that are not muted are included.
Also, all the playback variables are perfonned on the tracks as they are
converted.

FILES SCREEN - 139

Using MIDI Files
If you select Ignore, all tracks within the parameters selected in choice #2 are
used, whether they are muted or not. Also, Main screen playback variables will
have no effect on the MIDI file data.
Choice 4
Verbose, Terse, or MIDI Only This choice controls the range of non-note or
"meta events" that appear in your output file .
Verbose Generates all supported events.
Terse Suppresses all but very common MIDI data.
MIDI Only Suppresses all "meta event5." This may be useful for exporting
files to sequencers that support an earlier version of the MIDI files specification.
Theoretically, any program that supports MIDI files should be able to deal with
any meta event, even if it wasn't defined when the program was released For that
unforeseeable case, however, "MIDI Only" should eliminate problems caused by
meta events by taking them out of the picture altogether.

Transferring Sp Songs to a Mac with MIDI File Format

MIDI Files provide a uniform format to exchange song data between programs-
even if the programs are for different types of computers. For instance, if you want
to get Sp songs into a Mac, MIDI files can do it (with a little effort on your part.)
Unfortunately, Mac disks are incompatible with PC disks, so you can'tjust stick a
Mac disk into a PC or vice versa (even if your PC has 3.5" disks.)
This incompatibility means that MIDI files won't help unless you have something
that will let you transfer disk files between a Mac and PC. Possible solutions to this
dilemma include:
D Use a Mac drive that reads PC disks (included with some Mac
models.)
D Buy a drive for the PC that reads and writes Mac disks
D Use MacLink to tran5fer files between the PC and the Mac. (This
product consists of a cable that connects the serial ports between the
computers, and two disks: one for the Mac, one for the PC.)
D If you have a modem, you can upload the MIDI song file to PAN
with one computer, then download it to the other computer.

140 - FILES SCREEN

 Using Personal Composer Files

Using Personal Composer Files

The best known notation software program is called Personal Composer. Sp has the
capability of saving any of your songfiles in Personal Composer format, so you can
load them directly into that program. (Sp cannot read Personal Composer files.)
When you convert Sp files to Personal Composer files and read them into the
Personal Composer program, the data is exactly the same as it was in Sp form. You
may, however, need to make some adjustments to reflect the accurate notation of
these files. See the upcoming section on adjustments for Personal Composer files
for specific instructioni;.

Transferring Files to Personal Composer

To save in Personal Composer Format:
CD From the Files screen, use the Mode command until the file type is
Personal Composer. This is indicated in the heading over the filenames.
@ Choose Save from the menu.

@ Enter the filename to use.

@ You will then be presented with some choices. Press the first letter or
highlight the desired choice, then press Enter. You may press Esc at
any time to cancel saving the MIDI file.
Choice 1
1.35 or System/2 Make this choice according to the version of Personal
Composer you own.
Choice 2
All Tracks, One Group, One Track, or Tempo Only This choice
determines which tracks' data is included in the output file. You may include all
tracks, one group letter of tracks, a single track, or the tempo track only.
Choice 3
Use or Ignore This choice determines whether the playback variables on the
Sequencer Plus Main screen will affect the Personal Composer file data.
If you select "Use" then quantization, transposition, offset, initial program changes,
mute, and solo become relevant.
In this mode, only tracks that are not muted are used. Also, all the playback
variables are performed on the tracks as they are converted. If you select "Ignore"
all tracks within the parameters selected in choice #2 are used, whether they are
muted or not. Also, Main screen playback variables will have no effect on the file
data.

FILES SCREEN - 141

Using Personal Composer Files

Tips for using Personal Composer with Sp Gold

Since Sp cannot load Personal Composer files, you should save your songs in both
Sp format (Save command) and Personal Composer format.
The track channel settings in Sp's Main screen determine the Personal Composer
track number. Consequently:
0 Sp tracks can be merged into the same Personal Composer track
(staff) by setting them to the same channel. This limits the
maximum number of Personal Composer tracks which may be
exported to 16, even though Personal Composer allows up to 32
tracks.
Because Sp puts channel 1 data into Personal Composer track 1, channel 2 data
into track 2, etc., lower numbered channels will be higher on the system when
converted to a score. Thus, before saving a song in Personal Composer format, you
should set the channel assignments to arrange the tracks in the order you want
them in Personal Composer
0 Avoid tracks with several continuous bars of rests - Personal
Composer sometimes will not convert them.
0 Due to the way Personal Composer deals with time signature
changes, they will always start on a new line. If the time signatures
in different Sp tracks do not match, the music will be scored
according to the time signature source track and all the other tracks
will be track-rebarred.
0 Because notes faster than 16th notes will not be transcribed by
Personal Composer , you should avoid playing trills. Instead, you
should notate them later with the tr-- symbol.

Personal Composer Version 1.35 will not recognize tempo or time

signature changes.

142 - FILES SCREEN

 Insert Line 3 Col 1 1 :8

The Notepad Screen is a text editor used to save text files along with ucx•r
P1Usic dataT

A Dar:Deat counter is dbpla!Jed In the upper right hand corner .

Notepad Screen
'- [Fl] to enter from alt)' screen (even when a sequence;s play;ng). [Esc] or [Fl]
to Exit.
'The Notepad is a text editor used to save a single-page textfile along with the song.
Notepad text can also be saved and retrieved as a separate file.
Text is nonnally entered in overwrite mode, whereby correction'! are made by
typing over existing text. The Ins key activates insert mode, where text inserted at
the cursor position pushes existing text to the right.
Words do not wrap around from line to line. [Enter) must be pressed at the end of
every line to avoid odd word breaks.

To insert the current bar number at the cursor position

[Ctrl) B inserts the current bar number at the cursor position on the Nfltepad.
Holding down this key combination during playback inserts the bar nwnber
repeatedly.

To save text as a separate file

<D Enter the Files screen [Ctrl] F from the Notepad.
<i> Press S for Save. When the file is saved, blank lines in the text are
removed and tabs are converted into 5 spaces.

Notepad Screen - 143

 To load a text file
<D Enter the Files screen [Ctrl] F from the Notepad.

<D Highlight the text file name, press L to Load.

Notepad Key Summary

Key Function/Purpose
Move up & down one line
c~1 c~1 Move left and right one character
[Ctrl] [~] [~] Move to previous/next word
[Home]/[End] Go to start/end of line
[Ctrl] [Home]/[End] Go to start/end of file
[Ins] Toggles INSERT I
OVERWRITE modes
[Del] Deletes the character under the
cursor
[Backspace] Deletes the previous character
[PgUp]/[PgDn] Beginning of next/previous line
[Ctrl] [PgUp]/[PgDn] Top line/bottom line
[Ctrl] y Deletes the current line
[Ctrl] z Deletes to the end of the line
[Ctrl] T Deletes word
[CtrlJ F Go to files page
·- - - - - - -
LCtrlJ B Inserts the current bar number
into the text
[Tab] Inserts five spaces
[Esc) or [F7) Return to previous screen

144 - Notepad Screen

Pop-Up Windows
lb.is section documents the Pop-Up windows in Sp Gold.
The chapters describing each window are sorted in the following order:
0 Bar Number Window
0 Configuration Window
CJ DDL Calculator Window
0 Display Setup Window
0 Hardware Configuration Window
CJ Markers Window
CJ Metronome Window
CJ Options Window
0 Play Range Window
0 QWERTY Synth Window
0 Sync Window

Pop-Up Windows - 145

 ~------------<-URRENT BAR-------------,

D: D : LI I 0

15: 57
Ir---------
Beata Measures Srtpte
Bar Nu,.ber Mlndow Menu ----------, -

Bar Number Window

• [F8] to open from any screen except Files and Notepad. [Esc] to close.
1be Bar Number Window shows any combination of the current measure number,
beat number, and SMPTE counter in a format large enough to see from a distance.
It is initially set to display measure and beat numbers only.

Menu Area Commands

Beats Toggles Beat display ON and OFF.
Measure Toggles Measure display ON and OFF.
SMPTE Toggles SMPTE display ON and OFF.

The SMPTE Counter must be activated from the Sync Window to

display SMPTE time.

To display SMPTE numbers

® Tum ON the SMPTE counter from the Sync window [F6].
® Return to the Bar Number Window and use the SMPTE command in
the menu.

146 - Bar Number Window

 - - - - - - - - - CONFIGURATION - - - - - - - -
EDIT Size XPIJSE Dl s plau NllHERI C
PRINTER LPTl
C :, VOYETRA, SONGS'

~
FILES
LP ---- -
Pa th BRARIAN C:,VOYETRA, BANl<S'
TE P~ge - - ---
d I ANALYZER --- --
IOI Flies - ----
File DISPLAY NAME A SIZE
Sort CRITERIA EXT Sort ORDER ASCENDING

- - - - - - - - - - - - - Config Menu - - - - - - - - - - - - -
AnaI\lzer Criteri a Dispia\I Edit Files Help Librarian HIDI Note Or der
Pr l nte1· Reset-Interface Save Tune Up load Xpose-"ode

Configuration Window
-. [F4] to enter from any screen . [Esc] to close.
The Configuration Window is used to control certain aspects of the screen displays.
file paths, and printer ports. The settings are saved from the Configuration window
by pressing S for save and Y for yes.

Configuration Window Menu Commands

Analyzer Sets Path to :MIDI-Analyzer files .
Criteria Sets sort criteria for file display in the Files Screen.

Sort Criteria
None Sorted by DOS.
Name Alphabetically by file name.
Date Date Order.
Size File Size.
EXT Alphabetically by file extension.

Sort Order determines if name. date. and si=e are sorted in ascending
or descending order.

Configuration Window - 147

Configuration Window Menu Commands
Display Sets file display information in the Files Screen, including:
• NAME. SIZE. DATE & TIME
• NAME, DATE &TIME
•NAME & SIZE
•NAME
Edit Size Toggles the Work area in all of the Edit screens between normal and expanded
size. When set to expanded, the status, menu and borders are removed.
Flies Sets the Path used by the files screen for Song files.
Help Sets path for Help file, HELP.INS
Librarian Sets path for Librarian Setup and Bank files.
MIDI Sets path for MIDI song files, Personal Composer files and AdLib .ROL files.
Note Sets path for Notepad files.
Order Sets Sort Order of files listed. Can be set to Ascending or Descending.
Printer Sets the printer port used by the Librarian print functions.
'- Press P, then. use the+ - keys to toggle between the printer port options
• LPT1I LPT2/ LPT3
• COMJ/ COM2
Reset-Interface Sets the MIDI interface to the default configuration if it has been altered by a
software application.
Save Saves the current configuration as the CONFIG.SEQ file. Prompts as to whether
the current configuration file should be overwritten.
Upload Loads a configuration file from disk.
Xpose-Mode Toggles the Transpose display mode on the Main screen between Numeric and
Chromatic format.

'- Press X, use the + - keys to toggle.

148 - Configuration Window

 DDL CRLCULRTOR
Unit Msec
4th 375.0
41 250.0
Bth 187.5
BJ 125.0
16th 93.7
161 62.5
3Znd 46 . B
3Zl 31 .Z
64th 23 .4
641 15.6
ler1po - 160 bpM

·n~~~~~~~~~~~~- DDL Menu ~~~~~~~~~~~~~,

G Ienpo -

DDL Calculator Window

' - [Shift][FJO] from any screen. [Esc] to exit.
The Digital Delay Length Calculator shows the number of milliseconds per beat for
any given tempo. This is useful to accurately set a digital delay effect to the timing
of the song.
When activated, the DDL column in the calculator window will be instantly
updated based on the song's tempo setting.
Tempo Same as Main and View screen tempo command. Allows the song tempo to be
conveniently set from the DDL window.
When the song is not playing, the tempo command can be used to set various
tempo settings for the purpose of checking the related DDL times.

DDL Calculator Window - 149

 - - - - - - - D I S P L A Y SETIJP - - - - - - -
Field FomJN Background Bright Blink
Text Black OFF OFF
j.10MMI Black Nhlte OFF OFF
Acnt Text Mhlte Black ON orF
Headings Blue Black OFF OFF
Labels Mhlte Black ON OFF
MJ.ite Black OFF ON
Border Mhlte Black OFF OFF
Indicators Mhlte Black ON OFF
Notes Mhlte Black OFF OFF
Set Notes Mhlte Black ON orF
Bars Mhite Black OFF OFF
@MlftD Black Nhlte orF orF
Ind Bars Mhlte Black ON orF

- - - - - - - - - - - Dlsplau Setup Menu - - - - - - - - - - -

Blue-color Color Draw-screen H!:fbrld LCD-Cl Monochr°"e Raverae-color
IU ndow-s I ze

Display Setup Window

• {Shift]{F6] to open from any screen except Notepad. [Esc] to exit.
'The use of color in the text and graphic fields is designed to improve recognition
of functions and markers. Text fields are displayed at the top of the window,
graphic character fields at the bottom.
As the settings in the Display Setup window are changed, a preview of the color
combination is displayed. To use the preview settings throughout the program, use
the Draw-Screen command.
To save the color and window size settings, use the Save command in the
Configuration window [F4].

Text Fields
Text This category covers most text characters, including screen background in the View
and Edit screens.
Set Text (Selected Text) Selects the color of the highlighted text.
Acnt Text (Accented Text) Text used for warning messages, group, and block menus.
Headings 'The "Name" displayed at the top of a pop-up window.
Label 'The "Name" displayed at the top of screens.
Flash Warning or error messages in the menu or status areas.

Graphic Characters
Borders Screen and window borders.
Indicators Octave-markers in the Edit screens.
Notes All notes in the Edit screens except for the selected note .

150 - Display Setup Window

 Display Setup Window Menu Commands
Set Notes (Selected Notes) Highlighted note in the Edit screens.
Bars The bars in the View screen.
Se/ Bars (Selected Bars) The bar under the cursor, or the bars in a range in the View screen.
lndBars (Indicator Bars) Every 8th bar in the View screen.

Field attributes
Foreground The color of the letters, numbers, graphic symbols, etc. There are eight possible
Color colors black, blue, green, cyan, red, magenta, brown, and white.
Background The same colors are possible as with Foreground.
Color

If the foreground and background colors are the same, you won't be
able to read the text.

Bright On/Off Assuming the monitor's contrast and brightness are properly set, it should be
obvious whether or not Bright is ON.
Bright only affects the foreground colors, and sometimes has unusual effects on
certain colors. For example, white only looks white if you tum Bright ON;
otherwise it appears grey. On a color screen, yellow appears brown unless Bright is
ON.
Blink On/Off Toggles the flashing messages and indicators setting on/ off.

Display Setup Window Menu Commands

Color A preset setting for a color monitor, using a dark background.
Blue-Color A preset setting for a color monitor, using a bright blue background.
Draw-screen Makes the display match the preview inside the Display Setup window.
Hybrid A preset setting for a hybrid color/monochrome display, such as the Compaq
portable, and many laptop computers.
LCD!C1 A preset for LCD displays and the Yamaha Cl.
Monochrome A preset setting for a PC monochrome monitor.
Reverse-color A preset setting for a color monitor, using a light grey background.
Window-size Toggles the work area in all screens between nonnal and expanded size.

Display Setup Window - 151

 -----~- Hardware (.;on!" lgurat Ion - - - - - - -
Driver: Uoyetra 11idi driver 1.87
Hardware : Uoyetra U- 24S card
ttu .. ber of Inputs: 2
111DI output ports : 1, 2, 3, 4
Interrupts : 0, 7 l/O addresses: B30 to B37
Click detector: YES

Sl1PTE 1.. ple.,entatlon

Included : YES Rates : 24 25 DF 30 z<J.97
Freewheel select: YES Vari-Track: YES
Stall algorlti...: Selectable
Auto detect: SelectAble
11TC output: YES

- - - - - - - - - - Hardw.. re Conf lgurat lon Henll - - - - - - - - - -

(no -mt for tllis window)

Hardware Configuration Window

'- [F3] to activate oprions window, then H. [Esc] to return to Options.
The Hardware Configuration window lists all of the features supported by the
MIDI interface installed.
Driver Shows the V API driver version loaded into memory.
Aux Driver Shows the SAPI driver version loaded into memory, if any. (Not shown in
illustration.)
Hardware Shows the model of the MIDI interface installed.
#Inputs Number of MIDI input<; detected on the interface.
Active Output A list of all active port numbers detected, including 'virtual' ports provided by
Ports SAPI.
Interrupt IRQ setting detected on the interface.
Address I/0 address setting for the interface.

SMPTE Implementation
If the installed interface supports S:MPTE the supported features are listed in the
options below this heading.
Included (Yes/No) Indicates if in<;talled interface supports SMJ>TE.
Rates Lists S:MPTE frame rates supported.
Freewheel Select (Yes/No) Indicates if Freewheel select is supported.
Varl-Trak (Yes/No) Indicates if Vari-Trak is supported.
Stall Algorithm Indicates if and how Stall Algorithm is supported.

152 - Hardware Configuration Window

 SMPTE Implementation
Auto Detect Indicates if and how SMYfE rate is detected by Auto Detect on
installed interface.
MTC Output Indicates if MIDI Time-Code Output is supported by the installed
interface.

For detailed information on the above SMPTE features refer to the

inte1face' s owners manual.

Additional information pertinent to MIDI intetfaces may be found in

the introduction section of this reference .

Hardware Configuration Window - 153

 -----------Markers - - - - - - - - - - -
Na"e Position SMPTE Fol low
1 I 11 k 1 :81 :881 88:88:88 :88:88 SMPTE
:Z ln Brass 3•81•881 88:88:84 :86:95 BARS
3 Sax Solo 19 :81 :881 88:88 :38 :13:65 BARS
4 Dru"s Out 27:81:881 88:88:55:17:85 SMPTE
5 Plano Two 44 :81 :881 88 :81 :3:Z:83:Z8 BARS
6 In Brass 2 54:81 :881 88 :81 :53 :13 :54 BARS
7
8
9
18
View display: BOTH

- - - - - - - - - - - - - Markers Henu - - - - - - - - - - - - -
Current-tl"e Delete Follow Hark-sort Na..., Position Recalculate SMPTE

Markers· Window
• [Shift]{F4] to enter from any screen . [Esc] to exit.
Time Marlcers are the equivalent to bookrnarlcs for music in that they provide an
easy way of jumping to preset locations in the song with one simple keystroke. Up
to 10 separate marlcer points may be defined.

Markers are only supported in the View and Edit Screens, they have
no effect from the Main Screen.

To assign Markers
<D Press[Shift][F4] to access the Marlcer window.
® Press. N for Name.
<ID Name the Marlcer by entering up to 20 characters, and Press [Enter].
@ Press P for Position to enter a location in [Bars:Beats:Clicks]
Or
<ID Press S for S.MPTE to enter a location in SMPTE time in
[Hours :Minutes:Seconds].

To jump to a defined marker

<D From the View or any Edit screen, press [Shift] and the number of the
marlcer.

154 - Markers Window

 Markers Window Menu Commands

Markers Window Menu Commands

- - - - - - - - - - - - Harkers Henu - - - - - - - - - - - -
Current-ti"" Delete Follow Hark-sort Na..., Position Recalculate SMPTE

Follow Determines which of the two types of marker locations, Bars or SMPTE, are
updated, and therefore always correct. Follow is set individually for each single
marker.

-. From the Markers window. move the cur.~or to the Marker you wish to set the
"Follow" type. Press F, and select Bars or SMPTE with the+ - {]keys.
Two notes:

0 If Follow is set to BARS for a particular marker, that marker's

location, as defined by bars:beats, is maintained even if you change
the tempo, switch to another tempo track, or edit the current tempo
track. SMPTE will not be updated, and could possibly go out of time.
0 Likewise, if Follow is set to SMPTE for a marker, that marker's
location, as defined by SMPTE time, is maintained, even if you
change the tempo, switch to another tempo track, or edit the tempo
track. Position will not be updated and could possibly be wrong. Use
Recalculate to remedy this.
Recalculate Updates changes in Marker's locations.
-. To update the current PosWons and SMPTE times, press R from the Markers
window to recalculate Marker locations.
For example, if Follow has been set to SMPTE, and the song's tempo has since
changed, Markers located by Bars will be incorrect.
Delete Permanently removes the selected Marker from the song and the Marker's window.
-. Highlight the Marker's line in the Markers window, and press D. To delete all
markers press D, then A for All.
Mark-Sort Sorts Markers based on their location in the song. from first to last. If Markers are
set to different Follow options you must Recalculate before you sort.
-. Press M to sort all Markers.
In other screens, the bar number will be inserted, and the beat and click will each
be set to 1 if not playing. When playing, the current bars, beats and clicks will be
inserted.
Current-Time Creates or changes a Marker based on the location of the cursor.
-. From the Edit Screen. place the cursor on the focanon you want to mark.
access the Markers pop-up window [Shift]{F4]. and press C.for Current-rime .
The cursor's position will be recorded into the Marker window.

Markers Window - 155

Markers Window Menu Commands

Current-T;me works from any screen, even wMle tire sequencer is

playing.

View-display Sets display mode in the View screen. Markers are displayed above the grid of the
work area, and can be displayed in any of the following modes.
Bars Displays Bars without markers.
Markers Displays Markers without Bars.
Both. Displays Markers and Bars

Markers that are too close to display will overlap.

'- From the Markers window press V to toggle tire View-Display modes.
Markers are always displayed in the Edit Screen.

Song BEBOP lllDlll

Tk 1 Cl lck BPM 112 CK 'INTERNAL 1•0
View Bars - Bars~ lB ll6 IZ4 132 l40 148
~ C•••••••••••••••••••••••••-----------------•••••••••-••••• ..
2 ...............................................................!
156
•••1·... .... .
164 17Z
....... • •

3 ··························- --- - ------- - ----··············· .. •••! ........ .

,....--~------------~~--~--------- Ulew
Song BEBOP Melt 68964
Tk 1 Click BPM 112 CK ' INTERNAL
View Markers _ I U2J In Brass l(SJ Plano Two
lllQ2 C•••••••••••••••••••••••••-----------------•••••••••-••••• .. •••~ · ... .... .
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••, ....... . .
3 ··························-----------------··················••!
A--••••••••••••••••••••••••-•••••••••••••••••--- ..... ...• ..
- - ----•••••--••• · .......

,....---------------------------------
Song BEBOP view
Me" 60864
Tk 1 Click BPM llZ CK : INTERNAL
View Both
(Bars & Markersr ~ I HZJ In Brass 16 l24 HZ '40 HSJ Plano Iwo 164 '72
Ill C•••••••••••••••••••••••••-----------------•••••••••-••••••••••1· · · · · · · ··
z ·····························································••! .... ... . .
3 ··························-----------------··················••! ..... . .. .
4 --························-·················- - -------··········· ..

156 - Markers Window

 . - - - - - - - - - - - - - "IDI "etronoioe - - - - - - - - - - - - -
ltetro"°""' DD Channel t
Output ·Speaker Port 1

Frequency (speaker) Velocity Duration

Accented click 15&9 Hz 98 &8 .. c
Unaccntd click 523 Hz &4 48 ....

- - - - - - - - - - - - "IDI t!etrono,.e t!enu - - - - - - - - - - - -

Accented Channel Duration Frequency t!etrono,.e Hote Output Port
Velocity Unaccented

Metronome Window
• [Shift][F2] to enter. [Esc] to exit.
The metronome window provides direct control over the sequencer metronome
function.
The metronome may be sounded by the PC speaker or by an external MIDI device
(usually a drum machine) or both. Full control over pitch and duration of the
accented and unaccented metronome beats allows the sound to be tailored to any
recording situation.
In professional setups, the metronome is usually assigned to a drum machine and
the accented/ unaccented notes are assigned to particular drum sounds. For
instance, the downbeat sounds best when assigned to a bass drum sound, while the
upbeat sounds best when assigned to a rim shot or high tom tom sound.
The port and channel assignment in the metronome window should be matched to
the port and charmel of the MIDI device used to sound the metronome.
The menu items in the metronome window are selected by pressing the first letter
of each menu choice, except for two choices: Accented and Unaccented.
0 When Accented is selected, the cursor moves into the row
controlling the accented clicks and may be moved horizontally with
the arrow keys .
0 When Unaccented is selected, the cursor moves into the row
controlling the unaccented clicks and may be moved horizontally
with the arrow keys .

After setting the metronome parameters. the metronome may be

toggled on/off from any screen using the [F2] key.

Metronome Window - 157

Metronome Window Menu Commands

Metronome Window Menu Commands

- - - - - - - - - - - HJDJ 11etronoMe 11enu - - - - - - - - - -..
Accented Channel Duration Frequency 11etronoMe Hote Output Port
Ueloclty Unaccented

Metronome Toggles the metronome on or off.

-. Use [F2] to toggle the metronome on/offfrom any screen.

Output Determines whether the speaker or a MIDI instrument (or both) will be used to
sound the metronome.
Port Selects the outgoing MIDI port when the MIDI instrument is sounding the
metronome cliclcs.
Channel Selects the outgoing MIDI channel when the MIDI instrument is sounding the
metronome cliclcs.
The bottom portion of the window has two rows, each with the same four fields:
frequency, note, velocity, and duration.
Top row: Controls the accented (downbeat) click (ie., the first beat of a
measure in 4/4 time.)
Bo.t tom row: Controls the unaccented click. (ie., the second, third, and fourth
beat of a measure in 4/4 time.)
Frequency Sets the frequency of the accented and unaccented metronome pitch sounding on
the speaker.
Minimum frequency is 100 Hz, maximum is 5,000 Hz.
Note Sets the pitch of the accented and unaccented metronome pitch when using the
MIDI output.
Minimum note number is 1, maximum is 127.
Velocity Sets the velocity of the MIDI notes used for the accented and unaccented
metronome pitch.
Minimum velocity is 1 (soft), maximum is 127 (loud).
Duration Applies to duration of the accented and unaccented pitch used for both MIDI and
speaker output.
Minimum duration is Sms, maximum is 999 ms (approximately 1 second).

158 - Metronome Window

 MIDI rnRU STArus
Mode CURRENT Recmm-1 ON

Out 1 z 3 4 5 6 T 8
Channel 111 18
0 0 0 0
I
.. . • 0

In 1 o I I
Jn Z • I I

IClear Mode Rechannel

Midi Thru Menu

I
MIDI Thru Window
• [Shift]{F9] to enter from any screen. [Esc] to exit.
The MIDI Thro Window is a matrix showing the inputs and output ports on
muli-port MIDI interfaces. It is used to route the incoming MIDI data to multiple
MIDI output ports.

Most MIDI inteifaces do not have multiple ports. Check your

interface's documentation to find out.

MIDI Thru Window Menu Commands

Clear Clears all settings in the matrix.
Model Toggles the MIDI Thro function to one of three options: Off, Current or Map.
Rechannel
The specific effect of these modes depends upon the Rechannel setting.
Off Defeats the THRU function on all ports so that no input ports are routed to
any output ports. The rechannelizing is also defeated.
Current (Rechannel ON) Both input ports are merged, rechannelized to the
current track 's channel setting, and echoed to the track 's port setting. The map
settings are ignored.
• This option allows the master keyboard to automatically
re-route its output to the port and channel of the active track.
Current (Rechannel Off) Tums off the rechannelizing of track data and ignores
the port map settings. Both input ports are still merged, routed to the current
track's port setting.

MIDI Thru Window - 159

MIDI Thru Window Menu Commands
Map (Rechannel ON) Maps the two inputs into the desired outputs (according
to the matrix) and allows each port to be re-channelized. Ports assigned to both
inputs will send merged input data.
Map (Rechannel Oft) Tums off the rechannelizing of track data and maintains
the port map matrix settings.

When using THRU function , thru notes will be cut off abruptly
whenever a change is made to the THRU assignment.

For example, if tracks are changed in Current Thru Mode while notes are held
down on the master keyboard, notes will be turned off before the port and/or
channel are changed. This feature avoids stuck notes on the slave instruments.

To route Input ports to output ports In the matrix

Place the cursor at the desired point and use the + - keys to connect or
disconnect the points.
• The open circle character "o" indicates that no tracks are set
to play from that output.
• The solid diamond character + indicates that one or more
tracks have been assigned to play from that output.
• MTDT inputs not connected in the matrix are not echoed to arry
of the output ports when Map is selected.

To set channel numbers on the output ports

<D Move the cursor to the desired location and enter the channel number
using the+ - []keys or type the numbers directly.
• Two dashes -- in the channel column indicate no
rechanneli:ation.
• Entering a 0 sets channel to --.

160 - MIDI Thru Window

 Using the MIDI Thru Feature

Using the MIDI Thru Feature

In order to hear recorded tracks and control slave synths from a master keyboard,
the MIDI data from the master must be merged with the sequencer tracks data.
Turning on the .MIDI thru feature activates this merge function on a "per-port"
basis.

When using a master keyboard that doesn't make any sound

Connect its MIDI out to the PC's MIDI in and the PC's MIDI out to the MIDI
inputs on the slaves. If MIDI thru is ON for the ports driving the slaves, they '11
respond to the master keyboard as well as the track data. It doesn't matter which
channel the master is transmitting on, since the MIDI thru window lets you
rechannelize the data as it echoes it.

When using a single synthesizer

Connect the synth's MIDI out to the PC's MIDI in and the PC's MIDI out to the
synth's MIDI in. In this case, the MIDI thru function would be left OFF since you
can already hear what you're recording (ie. the synth plays it itself, without MIDI.)
MIDI Echo If you hook up a synth this way, and turn the thru function ON, each note will be
Problems played twice. Once from pressing the key, and another time as the MIDI note
passes through the PC and comes back out to the synth.
You won't hear this as two separate notes (it happens too fast), but you'll notice
that the synth only seems to have half the polyphony it should! (ie. your 8 voice
synth will only have 4 voices!)

Using Local Mode

Some keyboard synths allow the keyboard to be separated from the sound
generator (ie. MIDI wise, not physically!) by separating the synth's receive and
transmit channels. This feature is called "Local mode."
With Local Mode OFF, MIDI data is transmitted while playing the keyboard, but
the internal synth voices don't play. Instead, the internal voices are controlled by
external MIDI coming from the PC. Thus, if MIDI thru on the PC is turned ON,
half of the voices won't be lost.
The ability to specify separate MIDI channels for transmit and receive lets you
leave the synth's receive channel fixed, so you can hear all the tracks that are
supposed to be played on it. You can then set the transmit channel to whatever you
need for recording without disturbing the slave settings.
If you happen to have a keyboard with local mode control, but without separate
transmit and receive channels, use the MIDI Thro window to rechannelize the PC
MIDI output ports.

MIDI Thru Window - 161

 OPTIONS
r
Metro no"" :m:m M BENDERS etc .
I
RECORDED
Lead-ln OFF D X-PEDALS Up ON

"f'na
I
SMART l PROGRAMS ON

I I DEFAULT 4/4 CLOCK Source INTERNAL

.. 9
e FIXED Irk 1 AUTO elm a•alg ON

TEMPO track NONE INPUT channel ALL

VELOC ITV offset OFF

- - - - - - - - - - - - - O p t i o n s Me11t1 - - - - - - - - - - - - -
Auto Bender Clock Default Fixed ln-chan Kill-conlrollera Lead-In
Metro.,.,,... O..nl-off PrgrMI Source J.,..po-trk "9loclt1:1 Xped HARDNARE

Options Window
-. [F3] to enter from any screen. [Esc] to exit.
-Or-
-. Press 0 to enter from Main, View, or Edit screens.
The Options Window contains settings for certain aspects of the recording/
playback environment. These settings are saved along with the song as part of the
CONFIG.SEQ file.

The following settings are saved in the CONFIG.SEQ file

Cl Config window settings
Cl Edit Screen:
• Accidentals
•Freeze
• Note trigger
• Preset Note Durations
•Time Units
Cl Key Signature window settings
Cl Librarian Options window settings
Cl Main window size
Cl Metronome window settings
Cl Midi Data Analyzer Clock Enable setting
Cl Midi Data Analyzer strings
Cl Options window settings

162 - Options Window

 Options Window Menu Commands
0 Screen Color settings
0 Solo
0 Step Entry settings
0 Super Quantize settings
0 Sync window settings
0 Tempo

Options Window Menu Commands

Auto (Automatic channel assign)
ON When a track is being recorded, its channel is automatically assigned to the
channel setting of the input MIDI device.
OFF Track channels must be set manually.
Bender Determines whether certain classes of MIDI events (eg. pitch bends, controller
data, aftertouch, key aftertouch, etc. ) will be recorded. Because MIDI events such
as pitch bends and aftertouch can consume significant song memory, they should
not be recorded unless necessary. The options include:
Ignored Only notes, program changes, and switch data will be recorded.
No Press Notes and all MIDI controllers (except aftertouch) will be recorded.
Recorded All types of MIDI data will be recorded.
Clock Sets the clock source.
Clock source options (except No-SPP) may also be set from any screen using the
[Alt] key combination in the table below.

Refer to the Sync window for further information on Clock Source.

Clock Source Options

Source Key Combination
INTERNAL [Alt] I
SMPTE [Alt] T
NOSPP n/a
SONGPTR [Alt] s
MfC [Alt] M

ln-chan Sets which MIDI Channel will be recorded. Options include ALL or any MIDI
channel between I - 16.

Options Window - 163

Options Window Menu Commands
Kl/I-controllers If playback is stopped while a MIDI controller value is changing, the controller
may stick at the wrong value. If this happens, controllers can be reset with the
Kill-controllers command.
• Press K to send tire following Controller codes on all channels:

# Name Action
1 MOD WHEEL reset to 0 (oft)
2 BREAlH CONfROLLER reset to 0 (oft)
7 MASTER VOLUME reset to 127 (maximum)
64 DAMPER PEDAL reset to 0 (oft)
65 PORTAMENTO PEDAL reset to 0 (oft)
n/a PITCH BEND reset to 0 (oft)
n/a AFTERTOUCH reset to 0 (oft)

Lead-In Sets the number of lead-in measures (from 0 to 4) that precede recording and
playback.
A Lead-In measure is the same as counting out loud "l, 2, 3, 4" before starting to
play or record, except the metronome does the counting.
Metronome Toggles the Metronome on and off.
-. [F2] may be used to toggle the metronome on/ offfrom any screen.
The metronome settings may be changed with the Metronome Window.
Omni-off Sends an Omni-off command to MIDI instruments so they only respond to the
MIDI channel they're set to, rather than all MIDI channels.
Although an Omni-off command is sent when Sp boots, if an instrument is turned
on after booting, it may be necessary to send one manually.
Prgms Controls the transmission of Program Change commands as follows :
On All program change commands are transmitted. (ie. the initial program
change shown on the Main screen, and any program changes embedded in the
tracks.)
Off All program change commands are disabled.

By setting Program changes to OFF, the song will start instantly,

when the [Spacebar] is pressed.

Dynamic Only program changes embedded in a track are transmitted. Initial

program changes are ignored.

164 - Options Window

 Options Window Menu Commands
When the Dynamic Program Change option is ON, Sp Gold delays the song so that
all of the instrument<> in the MIDI setup will have ample time to receive the
program change commands. lbis short delay will only be a concern when Sp Gold
is used in situation<; where the song must start immediately after pressing the
space bar.

Time Signature Options

The Time Signature setting consists of three fields: Source, Default and Fixed.
The Source setting determines what will be used as a source of meter changes for
the song. While Source may also be toggled to one of four settings (see below), the
Default and Fixed are used to display the specific values assigned to two of those
settings.
Although each track can have a meter change in every measure, only one source of
meter changes can govern the metronome beats and overall song rhythm. The
meter changes in other tracks will play against the source, resulting in
"polyrhythms" as the song plays.

The track selected as a source of meter changes should always be the

track with the most measures.

Source Detennines which of four sources is used as the time signature reference during
record or playback. (Also see the topic later in this section called "Working with
Smart Time Signature source".)
CUR TRK (Current Track) When the current track is selected as the time
signature source, the meter changes embedded in the highlighted track will be
used as the template for meter changes throughout the song.
• Press S for source, toggle to Current with + -. Press [Enter] to confirm.
FIX TRK (Fixed Track) The "Fixed Track" option can be used to specify one
particular track as the meter map. The track designated as the Fixed Track will
appear next to the "FIXED" field indicator.
• Press S for source. toggle to Fixed with + -, then enter the desired track
number to use as the Fixed meter map source. Press [Enter] to confirm.
DEFAULT When recording the first track, the meter should remain constant. In
this case, the time signature specified in the Default field may be used. The value
selected for the Default Meter will appear next to the "DEFAULT" field
indicator. It can be set to one of the following time signatures:
• 112through1012 (1012 is not a valid meter setting at 192 ppq.)
• 114 through 2114
• 118 through 3218
• 1116 through32116
• Press S for source, toggle to Default with + -. then enter the desired meter
value. Press [Enter] to conft1m.

Options Window - 165

Options Window Menu Commands

Once a bar ;s recorded, ;, wm keep ;,· s time signature until it is re-

barred. Changing the time signature in the Options Window won't
change the time signatures in recorded bars.

SMART lbe "Smart" option will automatically select the best meter map to use
during record and playback. This helps to avoid puztling situatiom where Sp
Gold is acting technically correct but contrary to what your intuition tells you
should be happening.
• During Playback, Smart will select either the current track or
the longest track.
During Record, Smart will select either the longest track or, if no tracks have been
recorded, the Default Field Setting.
Tempo-trk Selects which track is used as a tempo reference track. Any track can be designated
as the Tempo track by entering the track's number in this field.
• Press T, followed by the track number.
Q See the MIDI Edit screen for details on entering and editing tempo
information embedded in a track.
Q See the Tempo Track Window for details on using tempo in Sp Gold.
Velocity Sets the value of the Velocity Offset that is subtracted or added to the incoming
velocity.

Velocity Offset Range

Setting Effect
-127 to 127 All incoming velocities are offset
by this value. Velocity will peak
at 127.
OFF Velocities are unaltered during
record.

Xped When activated, automatically sends damper pedal up and pitch bend 0 messages
every time playback stops. Used when recording with a sustenato pedal and stuck
notes appear during playback.
HARDWARE Activates the Hardware Window showing the MIDI Interface Hardware status. See
the Hardware window section.

166 - Options Window

 Working with Time Signatures

Working with Time Signatures

Clicks and The smallest unit of time in Sp Gold is the "click," which is measured in Pulses per
PPQ Quarter Note (PPQ). For instance, if the PPQ setting in the Sync Window [F6] is
set to 192, then each quarter note will be divided into 192 units. If it is set to 96,
then each quarter note will be divided into 96 units.
At 192 PPQ, with a tempo of 120 BPM, one quarter note will equal 1/120 min=
0.5 sec. Thus one PPQ equals (0.5)(1/192)=2.6 ms (ms= millisecond= 1/1000 sec.)

At 192 ppq the smallest fraction of time in a song is I click= 2.6 ms.
At 96 ppq the smallest fraction of time in a song is I click= 5.2 ms.

Time Signatures and Clicks

The Time Signature of a measure determines how many clicks will be contained in
that measure at a particular tempo and PPQ setting.
For instance, at 120BPM@192PPQ resolution, a track set to 3/4 meter will contain
3 x 192 =576 clicks per measure, while a track set to 4/4 will contain 768 clicks
per measure. Thus, the measure boundaries on these two tracks will not be aligned.

Although both tracks indicate that bar 5 is the fifth bar in each track,
the number of clicks from the start of the song to that bar will be
different in each track. Therefore, the music in bar 5 will not start at
the same time in both tracks.

Mismatched Unintentionally mismatched time signatures can be caused by cutting and pasting
Time song sections with varying time signatures into a region with time signatures that
Signatures don't match on either end.
-Or-
Unintentionally mismatched time signatures can also be caused by recording with a
time signature that's different from the one originally set for the bar.
Re-bar Xform Mismatched time signatures may be corrected with the Re-bar transform.
By using a reference track with time signatures that are known good, a track re-bar
on the bad track using the good track as a reference will correct the bad track. See
the Transforms section for details on the Re-bar transform.
Check Bar [Shift][F7] activates the Check Bar Sync feature, which indicates at which measure
Sync the tracks go "out of sync" because of mis-matched meters.
Some of the side effects of mismatched time signatures include:
CJ Mismatched bar lines:
For instance, if one track is in 4/4 and another track is in 3/4, the bar
lines won't match up in time .
CJ Bars that are visually aligned on the screen play for different
lengths of time:
For instance, at a tempo of 120BPM, a bar in 4/4 meter plays for 2

Options Window - 167

Working with Time Signatures
secs. However, a 3/4 bar that is visually aligned with it plays for 1.5
secs because it has one less quarter note per measure.
To avoid these types of inconsistencies and retain flexibility in choosing time
signatures, the Options window provides several settings to control time signature
information.

When to use the Rebar transform

Example #1 Assume that you hav.e been intentionally working on a song in 4/4 time and later
decide to shorten bar 30 to 2/4, making it flow better into bar 31.
To do this, you would go to bar 30 and use the range re-bar to make it into 2 bars
of 2/4 each. (Bars following 31 will not be changed.) By deleting Bar 31, bar 30
will have been turned into 2/4 time.

Example #2 Suppose that in the middle of the song, bar 54 sounds like it is in 2/4, but
everything was recorded in 4/4. As a result, the bars after bar 54 look shifted when
you try to edit them.
This situation can occur if a sequence containing meter changes is dumped from a
drum machine into Sp Gold. In this case, you don't want to remove any music, you
just want to move the bar lines to match what you are hearing. Make a new time
sig track with the desired time signatures in it and use track re-bar to make the old
track match the new reference track.

Working with the SMART Time Signature Source

As an example of how the "Smart" function operates, consider a particularly
puzzling situation that can occur when playing from the cursor position in View
while using tracks with multiple meter changes. In this case, if the meter reference
track has different time signatures than the current track, playback from View
won't start on the measure highlighted by the cursor.
For example, assume that the tempo is 120 bpm, the time sig source is Default 4/4,
and all of the bars in track 12 are set to 1/4. To start playing from bar 33 in the
View screen, one would intuitively place the cursor on track 12, bar 33 and press
the [Spacebar]. If this is done, here is what actually happens:
Q Since the reference meter is 4/4, bar 33 actually occurs about one
minute into the piece ( 2sec/bar x (33 - 1) bars= 64 sec). Thus,
positioning the cursor at bar 33 tells Sp Gold to play the song
approximately one minute into the piece.
Q However, since track 12 is in 1/4 time, bar 33 will not occur at the
same point in time as was calculated for bar 33 at 4/4. Instead the
track with 1/4 time lines up at bar 129 ((33 - l)bars x 4 beats+ 1
bar). Thus, if the cursor is placed on bar 33 of track 12, it won't
play from the point that would normally be expected, but actually
plays further into the piece!

168 - Options Window

 Working with Time Signatures
'This situation is corrected by using SMART time sig source, which corrects for
situations where time is affected by varying meters by interpreting what is actually
meant by your actiorn; rather than what is technically correct. With Smart Tsig,
placing the cursor at a particular bar tells Sp Gold: "play from that bar, regardless
of the Time Signature calculations."
Thus, Smart would automatically select the Current track (12) as the meter map
source and the song would play from measure 33 as expected.

To record or play using changing time signatures

<D Create a reference track with changing time signatures, by using the
Add command in the View screen. (Unlike the [Ins] key, the Add
command allows specifying the meter of each bar inserted.)

~ Press [F3] to access the Options Window.

@ Press S, for Source, and toggle to FIX lRK using the + - keys.
@ Press F, for Fixed. Enter the track number of the track you created
with different time signatures using the Add command, and press
[Enter].When finished press [Esc] to exit the Options window.

® Tum on the metronome [F2]. The Fixed track's time signature's will
drive the metronome, allowing you to listen to the time signature
changes during play and record.
Play or record as usual, taking care not to record over the meter changes in the
Fixed track.

To Change the Time Signature of a recorded track

<D Use Range Re-bar to make all the bars in a range match a specified
time signature. (See Transforms section.)
-Or-

~ Use Track re-bar to make all of the time signatures in one track match
those in another track. (See Transforms section.)
The re-bar transforms won't change the way the music sounds, but it
will change the bar alignments.

Options Window - 169

 PLAY RANCE
Status JID
Start Bar 1
End Bar 1
Loop OFF

1rCurrent-bar
- - - - - - - - - - - Plau Range
End Loop On/Off Start
Menu - - - - - - - - - - -
I

Play Range Window

'- [F5] to open from any screen except Notepad. [Esc] to close.
Play range is used to repeatedly play a specified section of the song. 'The play
range always starts and ends at the beginning of a measure.

When used with Punch-In Recording, the Start Bar in the Play Range
Window overrides the setting for Lead-In measures in the Options
Window. As a result, playback always starts with the first measure
of the range, continues through the Punch-In! -Out points, and stops
at the end of the range.

Play Range Window Menu Commands

Current Bar Copies the current bar number into the window's Start and End settings.
Start/ End Bar Sets the first/ last bar in the range .
Loop UAlike a Track Loop, play range looping has a short pause between repeats of a
looped range. When ON, a LOOP ACTIVE indicator appears in the status area.
ON Repeats the measures in the Play Range.
Off Range plays once and stops.
Status Flashing RANGE ON appears in the status area when the Play Range is on.
On Play range is activated. Once a Play Range has been set and turned on, you
can close the window by pressing [F5] again or the Esc key.
Off Play range is deactivated.

To play a selected range

<D Set the Start and End measures.
® Tum Play Range ON and press the [Spacebar] to play.

170 - Play Range Window

 PUNCH-IN
Punch-In Bar -
Punch-out Bar 1
Current Take OLD

- - - - - - - - - - - - Punch-In Menu - - - - - - - - - - - -
Current-bar In Keep Out Rec Swap-take

Punch-In Window
' - P to open from Main or View screens. [Esc] to close.
Used to re-record a section in the middle of a track. Punch-In recording always
starts at the beginning of a measure and concludes at the end of a measure. The
punch-in/-out points are always on measure boundaries.

Wiren using Punch-In, set a lead-in in the Options window. The

lead-in will play before the Punch-In record begins.

Punch-In Window Menu Commands

Current-Bar Copies the current bar number into the In and Out settings.
In Sets the measure at which recording begins.
Keep Saves the take you decide to keep.
Out Setc; the measure at which recording ends.
Record Sets up for recording a take.
Swap-Take Toggles between new and old takes.

You cannot punch-in to unrecorded bars. To start recording from an

existing measure and stop past the end of the track, record directly
into the track from the View screen.

Punch-In Window - 171

 Octave : I Duration In "llllseconds 388 Ueloclty: 64

QWERTY Synth Window

'- [Shift) [Fl) to activate from any screen. [Esc) to close.
The QWERTY Synth window allows you to monophonically play and reconi the
Sound Blaster FM synth or an external MIDI synth from the PC keyboani.
To move from field to field in the QWERTY window you must use the cursor
keys. Since so many letters are used to play the keyboard, it is not possible to
choose fields using the first letter.

QWERTY Synth Commands

Octave Range The QWERTY synth has a two octave range at any one time. Which octaves are in
that range depends on the setting in the Octave field.
Octaves range from 1 through 8, 1 being the lowest pitch,and eight being the
highest.
'- HighUght the OCTAVE field and use + - to change the octave number.
Duration The QWERTY Synth can only play notes of a fixed duration. Duration is set in
milliseconds. A millisecond is a thousandth of a second. One thousand
milliseconds equal one second.
'- Highlight the DURATION field and use + - to change by 100 MSEC or [) to
change by 1 sec.
Velocity The velocity of QWERTY Synth notes can be set anywhere in the range 1 to 127.
'- Highlight the VELOCITY field and use + - to change the velocity value by 1 or
[)to change by 10.

172 - QWERTY Synth Window

 QWERTY Synth Commands

To record with the QWERTY Synth

<D Press [Esc] to return to the Main Screen.

<il Move the cursor to the track you wish to record.

@ Press R to activate record mode.

© Call up the QWERTY synth window by pressing [Shift][Fl].

@ Set Octave, Duration and Velocity as desired.

® Press the [Spacebar] to start recording into the current track.

QWERTY syntli will always record to the current track regardless of

the tracks channel setting.

To play along with MIDI

<D Cursor to a track. Set the Port to port l, set the appropriate channel
and program.
~ Activate the QWERTY Synth by pressing [Shift][Fl].

@ Press the [Spacebar] and start playing along.

To play along with the Sound Blaster's FM sounds

Before playing along with the Sound Blaster's sounds certain settings
need to be set.

<D Cursor to a track.

• Set the track to Port 2 to play the Sound Blaster FM sounds.
<il Set thru mode to CURRENT, and Rechannel to ON (See MIDI Thro
Status Window [Shift][F9])
@ Activate the QWERTY Synth by pressing [Shift][Fl].

@ Press the [Spacebar] and start playing along.

QWERTY Synth Window - 173

 Clock Source INTERNAL OH set '"':88 :1!18 :118 :88
PPO Rate 192 Iape Offset 89:00 :1!18:08:88
Rea I Tif•e out ON Fr.,.oe rate 24 FRAMES
S!fTic Out port 2 Bits 188th
S!fTIC In port 1 SMPTE count 1311111w1
MTC output OFF
SMPTE Reader Settings
Uarl-Trak OFF
Max dropout 1
Stall detection OFF
Auto rate detect ON
Click lockout t i - 10

Generate
SMPTE counter '"a!J be OFF, ABSOLUTE or RELATIUE

Sync Window
'- [F6] to activate from any screen. [Esc] to close.
lbe Sync Window provides control over the SMPTE and external sync functions.

Sync Window Commands

Generate (In the menu area) Activates the SMPTE generator on the MIDI Interface to
generate SMPTE at the frame rate set by the Frame Rate indicator.

Not all MIDI interfaces have a SMPTE generator.

Clock Source Determines clock source used for synchronization.

'- Highlight and toggle through the following options with the + - keys:
SMPTE The MIDI interface SMPTE reader is used as a sync source. When
sync'd, the song jumps to the correct point in the track and starts to record or
play in sync with the external device.
MTC Incoming MIDI Time Code is used as a sync source. When sync'd, the
song jumps to the correct point in the track and starts to record or play in sync
with the external device.
No SPP (MIDI Clock) Ignores song pointer information and treats all
Continue messages as Start so the song will always start playing at the beginning
of the track (in the Main screen) or where the cursor is (in the View screen).
Song Position Pointer (MIDI Clock) When a Song Position Pointer is
received, the song jumps to the correct point in the track and starts to record or
play in sync with the external device . To record in this mode, the MIDI Interface
must be able to merge the MIDI data from the keyboard with the SPP data.

174 - Sync Window

 Sync Window Commands
0 Syncing with SPP is a method often used to lock Sp Gold to
external devices that use a proprietary synchronization "time code"
(sometimes called "smart FSK".)
0 When using either of the two available MIDI clock source settings,
press the [Spacebar) to initiate the record or playback process. When
Sp Gold receives a START command from the external MIDI
device it will begin recording or playing back as programmed. It
stops either when it receives a MIDI STOP command from the
external device or when the [Spacebar) is pressed.
INTERNAL When Sp Gold is not syncing to an external timing source, the
PC's internal clock is used as a timing reference. Whenever the [Spacebar) is
pressed to start recording or playback, the following MIDI timing messages are
transmitted (if Real Time Out is ON):
• When starting from the first measure, a MIDI Start message is
sent. When not starting from the first measure, a Song Position
Pofoter and MIDI Continue message are sent.
• MIDI Clock pulses are constantly transmitted at a rate of 24
pulses per quarter note.
• When the [Spacebar] is used to stop recording or playback, a
MIDI Stop message is sent.
The clock source options may also be activated by using the following [Alt) key
combinations:

Clock Source Options

Source Key Combination
INTERNAL [Alt) I
SMYfE [Alt) T
NOSPP n/a
SONGPTR [Alt) s
MTC [Alt) M

PPORate Determines the timing resolution in Pulses Per Quarter Note (ppq).

-. Highlight the PPQ Rate filed, use + - to toggle between I92 ppq and 96 ppq.
In earlier versions of Sequencer Plus, a setting of 96 PPQ allowed Tempo settings
up to 240 BPM, and 1_92 PPQ allowed tempo settings of up to 155 BPM, both of
which were a limitation of the MPU-401 intelligent mode. The tempo can now be
set to 255BPM in either resolution.
Changing the PPQ Rate transforms the entire song into the new PPQ rate. If old
songs are loaded, a message asks if you want to transform the file to the new PPQ
rate.
If a file is saved in the 'IBA VE format, it's automatically converted to the 96 PPQ
Rate.

Sync Window - 175

Sync Window Commands

See the Options Window section for details on how ppq affects meter
settings in a bar.

Real Time out Sets MIDI real time message transmission from the sync out port to one of the
following options:
On MIDI real time commands (MIDI Start, Stop, Oock signals, and SPP
messages) are transmitted from the sync out port during playback or record.
Off MIDI Start, Stop, CLK, the SPP are not transmitted.
No SPP SPP is not transmitted when the song plays back. Start, Stop and
Oock are still transmitted.
Sync Out Port Chooses which port (on a multi-port interface) is used for transmitting SPP Sync.
'- Highlight Sync OUT port. toggle with the + - keys to choose a port number.
0 In Sp3/Cl, SPP sync was transmitted on the Yamaha Cl port 8
when real time out was set to ON. The port is now selectable.
0 On the Voyetra V-24S, MTC is always sent from port 4 when
enabled.
Sync In Port Sets MIDI input port (1 or 2) for receiving SPP, MIDI and MTC sync.
Offset Adjusts the SMPTE counter so that the beginning of the song can correspond to the
SMPTE time of an external SMPTE reader.

Th;s is a "display only" feature. It has no effect on the actual timing

of the song.

Tape Offset When generating SMPTE, Tape Offset corresponds to the first frame number at
which recording begin<>.
When reading SMPTE or MTC, Tape Offset corresponds to the frame number at
which playback will begin.

To stripe a tape using Tape Offset

<D Set the desired SMPTE frame rate.
~ Enter the tape offset value.

® Start recording with the tape deck

® Press G to generate SMPTE starting at the time specified as the tape
offset.

176 - Sync Window

 Sync Window Commands

For best results. start striping a little before tire hour (eg .
00 :01 :00:00 ). and plan to have the music start on tire hour ( eg .
1 :00:00:00.) It's not a good idea to start from zero (00:00:00:00.00)
or from any SMPTE time that makes tire display "cross over" from
23:59:59:29:99 to zero.

To sync using a tape offset

Assuming that the tape is striped with good SMPTE code:

<D Set the clock source to SMPTE or press [Alt]-T.

® Set the desired tape offset.
@ Press the [Spacebar] to begin, or press [F9) to activate Chase mode.

© If playback is started before the desired start point, the menu displays
"Waiting for Offset" until the tape reaches the correct time and
playback starts.
If playback is started after the Tape Offset, Sp Gold searches for the
correct start point, then starts playback.
0 With SMPTE sync, the Tempo Track is active.
0 (Display) Offset only affects the screen display of SMPTE time,
while Tape Offset actually affects the sync point.
Frame Rate Set~ the SMPTE Frame Rate.
' - Higlrliglrt the Frame Rate field. use the + - keys to choose one of the Frame
Rates in the following table:

SMPTE Frame Rates

Frames Per Second (fps) Common Use
24 Film Only
25 European TV and Video
30 Drop Network Television
30 Non-Drop Black and White TV, General
Music
29.97 Jingles and Video

Frame rate selection works in two ways:

Auto-Rate detect OFF The specified frame rate will be used; this must be
manually set.
Auto-Rate detect ON Sets the current Frame Rate to be the same as the rate
detected by Auto Rate Detect so that it will match the Frame Rate of SMPTE
read from a tape .

Sync Window - 177

Sync Window Commands

Q Drop frame is used for color work when the SMYTE time must
match the wall clock.
a 29.97 is easier to work with than 30 drop, but it will drift from the
wall clock by a small amount. It is generally used for color video
work in the U.S., other than network features.

Not all MlDl interfaces generate all five frame rates. Refer to the
Hardware Configuratfon Window to find out which rates your
hardware supports.

Bits Determines if SMYTE will display fractional time in 80ths or lOOths.

SMPTECount SMYTE Counter setting, toggled to one of the following settings
Off SMYTE counter is deactivated.
Absolute Works as follows:
Q When the song is playing, the SMYTE counter displays the SMPTE
time read from the tape stripe
Q When the song is playing, and sync is set to IN1ERNAL, the
SMPTE counter displays the time that would be there if the song
were sync' d to SMPTE.
Q When the song is stopped, the SMYTE time in the Note Edit screen
corresponds to the position of the cursor. As the cursor is moved,
the SMPTE display is recalculated based on the tape offset, frame
rate and other variables. That way, it always shows where the cursor
would be if the song were playing.
Relative Used to specify the SMYTE time to be displayed on the counter for
the first beat of the song. This makes it easy to see the song's elapsed time,
especially when the song begins at an absolute SMYTE time that's not 0:0:0:0.

' - Set the (display) Offset to zero and the Counter to Relative mode. The SMPTE
counter on the screen will then display time relative to the start of the song.
Q Relative mode makes it easy to see the song's elapsed time,
especially when it begins at an absolute SMYTE value that's
difficult to use, such as 0:23:43:12:11. The display offset is added to
the internal numbers when editing. When syncing, the display offset
is added to the SMYTE time coming in, then the tape offset is
subtracted.
Q Relative Mode is also useful for feature film work, since the music
is usually composed in short sections. In this case, absolute time is
meaningless because everything must be calculated relative to the
start of the cue you' re working on.
Q Absolute mode is useful when working on a short video spot, since
you'll probably need to lay hits to match frame numbers matching
the SMPTE counter.

178 - Sync Window

 Sync Window Commands

MIDI Interface with

Integrated SMPTE reader
converts SMPTE audio to
PC compatible signal.
(V-24s, MOX-32, C1)

SMPTE audio signal

SMPTE·strlped
Sync Window set to SMPTE SYNC.
multi-track tape
Song·s Tempo track Is used.

SMPTEto MTC
converter
(PPS-1, ZETA-3) MTC MfDf
SMPTE
audio signal slgnaf
SMPTE-strlped Sync Window set to MTC SYNC.
mufti-track tape
Song's Tempo t,.,,ck Is used.

SMPTE·strlped SMPTE
SMPTE to MfDf SPP
converter with Internal
tempo map
(SBX-80, MSS-1,
PPS-100, ZETA-3)
SPP& MIDI
Clocks
•
~=======
audio signs Sync Window set to SPP SYNC.
mufti-track tape
Song·s Tempo track Is Ignored.

Hardware
sequencer
or Drum Unit
SPP& MIDI
Clocks
Sync Window set to SPP SYNC.
Song's Tempo track Is ignored.

Sync Window - 179

Sync Window Commands
MTC Output Enables transmission of MIC on port 4 of the Voyetra V-24s Interface.
• Higlrfight and toggle ON or OFF with tire + - keys.
0 The transmitted MIDI Time Code is in sync with SMPTE being
generated, or with the SMPTE being sensed from an external device.
0 MIC Output is useful when Sp Gold is used as a SMPTE to MIC
converter to drive another device, such as a Macintosh. The MIC
output to the Macintosh will be in sync with the SMPTE coming
into Sp Gold.
Vsrl-Trak Adapts SMPTE sync to a tape machine that is playing at a speed different than the
original recording. This is useful if you've adjusted the pitch/speed control on the
tape deck.

'- Higlrliglrt the Vari-Trakfield, use the+ - keys to toggle between on and off

If the tape deck's speed is roughly correct, but not necessarily

perfect, leave Vari-Trak off

Max Dropout Specifies the maximum number of bad time code frames tolerated before losing
sync. The number entered is relative to the current Frame Rate. Range is 1 - 127.
'- Highlight the Max Dropout field, toggle with the + - or type a number and
press [Enter] . Useful range for Max Dropout is 4 to 40. depending on the
Frame Rate selected.
0 The Voyetra VS-24S can specify the Max Dropout setting. Most
other MIDI interfaces will default to a reasonable value, but not
allow a user specified value.
Max Dropout is useful in the following cases:

To Sync to Clean code on a SMPTE stripe

In this case, use a low dropout setting, such as 4 frames, so the song stops quickly
when the tape stops.

To compensate tor excessive crosstalk on the SMPTE stripe

In this case, use a high dropout setting, such as 20 to 40 frames to compensate for
large sections of bad time code.
Stall Detection Detects stalled timecode and stops the song. Stall occurs when SMPTE continues
to send what appears to be valid code, but actually sends the same numbers over
and over again.
'- Highlight the Staff Detection field. use the + - keys to toggle on and off
Stall detection is useful in the following situations:
0 When using a VITC or a SMPTE regenerator stalled code can occur
when the deck is paused. In this case, Stall Detection should be ON.

180 - Sync Window

 Sync Window Commands
0 When syncing to a bad stripe, Stall Detection should be OFF, since
it may inadvertently detect errors in the code and stop, even if the
error is not a stall and there is no reason to stop.

Check the Hardware Configuration Window , [F3 ], H, to see if the

installed MIDI inteiface supports Stall Detection.

Auto Rate When syncing to SMYfE, Sp Gold needs to know the frame rate setting. Frame
Detect rate can be manually entered in the Sync window, or Auto Rate Detect can read the
incoming SMPTE and set the Frame Rate automatically.
' - Highlight the Auto Rate Detect field, use the + - keys to toggle between on and
off.
ON SMYfE reader in the MIDI interface will read and set the frame rate to
match that of the incoming time code.
OFF The frame rate must be manually set before attempting to sync. If Auto
Rate Detect is OFF, double check the Frame Rate setting to insure that it is
correct.
In most cases Auto Rate Detect can be left ON.
0 The advantage of turning Auto Rate Detect OFF and manually
entering the Frame Rate is that Sp locks onto the time code faster.
The frame rate does not have to be read, which takes at most one
second.
0 With bad or particularly noisy time code, Auto Rate Detect should
be OFF. Manually entering the Frame Rate can result in more
reliable synchronization.
Cilek Lockout Sets the interval allowed between clicks in milliseconds when "listening" to an
Time external click, see Beat-Learn. Range is from 1 to 127.
' - Highlight the Click Lockout Time field. use the + - keys to toggle to desired
amount of milliseconds.
If the audio click were a long, slow sound, the detector may mistake one click for
two; setting Click Lockout Time to the length of the long, slow sound will prevent
this from happening.

Click lockout time is only applicable if you have a click detector on

you MIDI inteiface (e.g.Voyetra 24S). Check the Hardware
Configuration Window by pressing [F3 ]. H, to see if your interface
supports this feature.

Sync Window - 181

Using External Sync

Using External Sync

When Sp Gold is synchronized to an external timing reference, it's tempo, starting
and stopping are controlled by the timing reference source (eg. tape recorder, drum
machine, another computer, video recorder, etc.. ) 1be Sync Window [F6] Clock
Source setting determines the type of external timing reference used: Song Position
Pointer (SPP), SMPTE or MIDI Time Code (MTC).

Cl SPP and MTC are both sent via MIDI, so they're often readily
available and no extra hardware is required.
Cl SMPTE is an analog signal that requires a MIDI interface with a
SMPTE reader (eg. MQX-32, MQX-16s, V- 24s or Cl.)
MIDI Time MTC is a MIDI message that encodes SMPTE time code into MIDI format that
Code (MTC) continuously sends hours, minutes, seconds and frames over MIDI. MTC sync
Sync worlcs exactly like SMPTE sync, in that the tempo is detennined by the tempo
track in Sp (unlike SPP sync). 1be start offset is detennined by the tape offset field
in the sync window.
MTC is useful in the following cases:
Cl 1be MIDI interface doesn't have a SMPTE reader attached to it. In
this case, an inexpensive SMPTE to MTC converter may be used to
sync directly to SMPTE.
Q 1be MIDI interface bas a SMPTE reader, but it doesn't support the
desired frame rate.
Cl Some professional recording studios are wired up with MTC,
making it easier to use MTC than run an audio cable to the PC to
access the MIDI interface's SMPTE.
Tempo Track 1be most significant difference between SMPTE/ MTC and SPP is that the tempo
track settings in Sp Gold are ignored when syncing to SPP. Instead, a tempo map
stored inside the sync box is used to generate tempo changes. This internal tempo
map is called a "beat map."
Beat Maps A tempo map is important when synchronizing music to video, or to another audio
track that does not have a fixed tempo. While SMPTE and MTC allow you to use
the song's tempo track, some SPP synchronizers use an internal beat map which
lists the tempo changes required for the song. With the "beat map" method, it isn't
possible to save the tempo changes along with the song.
Both SMPTE and MTC use Sp Gold's tempo track to alter the song tempo. Since
the tempo map is part of the song, it can be easily changed after the sync tone is
recorded onto tape.
I/you are currently using a SMPTE to SPP converter, you should consider a MIDI
interface that locks directly to SMPTE.for the following reasons:
0 A SMPTE to SPP converter makes it very tedious to construct and
save tempo maps.
0 Sp Gold will lock in a small fraction of a second with SMPTE,
while some SMPTE converter boxes typically require several
seconds to achieve lock.

182 - Sync Window

 Sync Techniques

Sync Techniques
To sync playback to SPP
<D Record the time code output from the synchronizer onto tape. Then
check that the synchronizer can read the time code when the tape
plays back. Because the method for striping a tape varies considerably
for different devices, consult the owners manual for details.

When using SMPTE, never stripe a tape with an offset such that the
SMPTE time will wrap thru zero. For example, don't use a tape
offset of 23:59:30:0:0. Most SMPTE hardware does not like to see
time go backwards!

® If using a SMPTE synchronizer, create a "beat map" for it to follow.

(Refer to the manual for details.)
@ Set the Sync Window CLOCK SOURCE to SPP.

© Press the [Spacebar]. 1be "Waiting for external sync" message appears
in the menu area.
@ Roll the tape from anywhere in the song. Sp Gold should immediately
lock to the MIDI SPP signal coming from the synchronizer and play
.back from the correct measure. When the tape is stopped, the
synchronizer sends a MIDI STOP command, and Sp Gold stops
playback.
® To start up again, press the [Spacebar], and start the tape deck.

To sync playback to SMPTE or MTC

<D Connect the sync signal: Audio in the case of SMPTE, MIDI in the
case ofMfC.
® Set the Clock Source in the Sync Window to SMPTE (or MTC.)
@ Set the tape offset to correspond to the point on the tape where you
want to start. Use a SMPTE time that's higher than the one used to
stripe the tape so that there will be a leader before the song starts.
For example, to allow a 15 sec leader, stripe at 0:59:45:0:0, then set
the tape offset to 1:0:0:0:0.
© Press the [Spacebar] and the message; "Waiting for external sync" will
appear. Or, if the tape was started before the start of the song, a
message "Waiting for tape offset" will appear.
@ Start the tape from any point in the song, or from before the start.
When the tape has started, and the sync box (or MIDI interface) has
settled, the "Waiting" message will go away.

Sync Window - 183

Sync Techniques

@ If the song wasn't started at the beginning, the message "searching for
first bar to play" will appear. The bar:beat counter and SMPTE
counter (if enabled), will go to the location corresponding to the tape
position, and the song will start playing.

To sync while recording

This is very similar to playback, with the following additions:
0 You must tell Sp Gold where you to start recording new data.
0 You must start the tape before the point you specified.
Follow the first three steps in the playback process above and then:

® To record from the start of the song, from the Main screen press R,
then the [Spacebar].
-Or-
To record in the middle of a track, from the View screen, position the
cursor in the first bar to record, press [Qrl]-R and [Spacebar].
<ID Start the tape from a point several bars before the selected bar. Once
tape lock is achieved, the REC indicator will still be flashing,
indicating that Sp Gold is ready to record, but still waiting to reach the
first bar to be recorded.
@ When the bar counter reaches the bar selected in step 4, the REC
indicator turns solid, indicating that data is now recording.

To sync midi drum machines

If a MIDI drum machine receives a timing message, it will usually will start
playing its internal rhythm patterns.
To try different drum patterns, put the drum machine in Pattern Mode, in which
case Real Time Out should be set to NO SPP. This setting won't send a Song
Position Pointer, so the drum machine will start at the beginning of its pattern
regardless of the measure from which playing begim.

s;nce most drum machines ignore Song PosWon Po;nter messages

while ;n Pattern Mode, if you do want a drum machine to start
anywhere other than the beg;nn;n.g of its sequence, set it to Track
Mode (also called Song Mode).

If you want to use MIDI timing messages for any other putpose (like feeding into a
MIDI to SMPTE conversion box or using smart FSK), Real Time messages should
be ON (so there will be something to convert).

184 - Sync Window

 Sync Techniques

To Sync a Drum Machine with SPP

<D Connect a MIDI cable from one of the PC MIDI outputs to the MIDI
input on the drum machine.
® Set the drum machine to sync to SPP (May be called MIDI clock, or
EXTERNAL or Song Pointer, etc ... ).
@ In the Sync Window, set Real Time Out to ON (this enables
transmission of sync messages from Sp Gold).
© If you 're using a multi-port MIDI interface, set the Sync Out port in
the Sync Window to the port number cormected to the drum machine.
This would be port 1 for single port MIDI interfaces.
® As soon as the [Spacebar] is pressed, the MIDI start or Continue
command will be sent by Sp Gold, starting up the drum machine.

To transmit MTC while syncing to SMPTE

This requires a V-24s or another MIDI intetface that can generate

MTC from SMPTE.

(j) Set the Sync Window to SMPTE and MTC Out ON.

® Start the song playback. When the MIDI interface locks to SMPTE, it
will start sending MTC.

I The V-24s sends MTC out port 4.

To Sync with Chase Mode

Chase mode [F9] avoids having to press the [Spacebar] to start each time.
Chase Mode stays on until any key is pressed on the PC keyboard. When it's ON,
Sp Gold is always "Waiting for external sync," so that Sp Gold may be operated
with "hands off."

Sync Window - 185

186
LiNiVERSAl LibRARiAN/
MIDI DATA ANAlyzER
 - - - - - - - - - - - - - - Bank Arranger - - - - - - - - - - - - -
Bank BASSI

-
lnslru""nl SIDEHAH DX7 VOICE DATA 8
BANK: BASS1.B6 VOICE DATA BANK: RNIMAL . B VOICE DATA
11:,:,1 ! l 1 Pig - Al
2 BASSl 2 2 Cats
3 BASSl 3 3 Spac.,birdl
4 BASSl 4 4 Spaceblrd2
5 BASSl 5 5 Spaceblrd3
6 BASSl 6 6 Rnd Kurz82
7 BASSl 7 7 Raygun SDI
B BASSI B B Narpd Cult
9 BASSl 9 9 HI lib! lly
18 BASSI !18 18 Harps ltar
11 BASSl Tll 11 Nahiosyn I
12 BASSl '12 12 Vu lean Str
13 BASSl '13 13 Kplookgup
14 BASSl '14 14 Catgut
15 BASSl !15 15 Strlng99+1

a------------
16 BASSl '16 16 Strlng99+2
Bank Arranger Menu -------------a
Audition Block-s"l"ct Copy Delete Erase Ha..., Receive Swap Transftlt
Xchange FILES OPTIONS VOICE-EDITOR

Bank Arranger Screen

-. A to enter from Setup Screen. [Esc] to return to the Setup screen .
-. [Fl] activates instrument help for the active instrument.
1be Banlc Arranger offers a variety of functions that are used to:
r:l Transmit and receive a banlc of programs from the selected
instrument.
r:l Rename programs in a banlc.
r:l Rearrange programs by deleting, swapping and copying them
between locations in the same banlc or a new banlc.
r:l Audition programs from the PC keyboard.
r:l Create a new bank of programs from programs in other banks.

Because the Sound Blaster MIDI port cannot simultaneously receive

and transmit MIDI Data, Bank Uploading cannot be initiated when
using the Sound Blaster's MIDI lnteiface . .

To take full advantage of the Universal Librarian, use a bi-directional MIDI

interface in place of the Sound Blaster MIDI interface. See the Introduction section
concerning MIDI interfaces for details.

UNIVERSAL LIBRARIAN - 187

Instruments vs. Librarian Features

Instruments vs. Librarian Features

Some instruments cannot handle all of the Universal Librarian features. For
specific details concerning the features supported by a particular instrument,
highlight the instrument name in the setup screen and press [Fl] for instrument
help.
Some of the features not supported by all instruments include:
Bank Arranging If an instrument does not support the Bank Arranging
feature, program banks cannot be rearranged. They may only be uploaded and
download to the PC.
Audition Some instruments do not support the audition feature.
Button Push Some instruments require a button to be pushed on instrument's
front panel before programs may be uploaded from it.
The help screen for each instrument also lists any idiosyncratic traits or switch
settings you should be aware of.
Fife The Universal Librarian distinguishes instrument data types by adding a specific
extensions extension to the filenames used for the instrument's bank files. See the instrument
help for the extension used with each instrument.

Bank Arranger Status Area

Instrument The name of the instrument assigned to the active setup line.
Bank The filename of the bank listed on the screen.
Block Data Some instruments use multiple "blocks of data" (eg. program, multi-patch, etc.) that
Type may be uploaded in several different sections. The type of data currently displayed
is shown as the Block Data Type.
Program The :MIDI program number assigned to the highlighted program in the bank listing.
MODIFIED This indicator appears in the status area whenever changes have been made to the
bank.
IN-INST This indicator appears in the status area after a bank is transmitted to or received
from the instrument.

188 - UNIVERSAL LIBRARIAN

 Bank Arranger Menu Commands

Bank Arranger Work Area

The work area lists the contents of data banks called "blocks." In most cases these
correspond to instrument programs. Because some instruments use several types of
data blocks, the type of data listed in the work area will vary with different
in<>truments. (See later section on this subject.)
The left and right sections of the work area can hold separate banks so programs
may be swapped between and within them.

-. To switch between the left and right sides, use the left and right cursor keys

Because the structure of program data in various MIDI devices is not

standardized. banks for certain instruments can't be worked with as
extensively as others. For details on these limitations, see the Help
screens for the specific instruments. {Fl] activates instrument help
for the instrument in the active setup line of the setup screen.

Bank Arranger Menu Commands

- - - - - - - - - - - Bank Arranger Menu - - - - - - - - - - -
Audition Block-select Cop!J Delete Erase Na"e Receive Swap Jrans"lt
Xchange FILES OPTIONS VOICE-EDITOR

Audition Transmits the highlighted program to the instrument's Scratch Buffer so it can be
auditioned.
-. To audition the highlighted program, press the {Spacebar] to send a Note On
message to the instrument.

If the instrument does not have a scratch buffer, this command will
have no effect. Refer to the instrument's Help screen, [Fl], to see if
instrument supports audition feature.

Block-select Switches both sides of the work area to display the different data blocks for certain
"multi-block" instrument banks (eg. Voice and Performance Data in a TX bank.)

If the instrument bank has only one type of block data, this command
wiff have no effect.

Copy Used to copy one (or more) programs into another part of the same bank or a
different bank. Same as swap, except the source programs overwrite the target.
Delete Removes the entire bank from the selected half of the work area.
Erase Removes a highlighted range of programs from either bank. Select programs with
the cursor and [Enter] keys.

UNIVERSAL LIBRARIAN - 189

Bank Arranger Menu Commands
Name Used for assigning program names of up to 32 characters.
-. Highlight the desired program, press N and type in a new name. Continue to
enter program names us;ng the cursor up/down keys. Press [Esc] or [Enter] to
exit.
Receive Uploads a bank from the instrument into the highlighted side of the work area.

If you have problems us;ng this command, press [F1] for specific
information about the particular instrument you' re using.

Swap Used to exchange a group of programs between two locations, either in the same or
a different bank.

-. Select a target location in the same or different bank and press [Enter] to
swap the two program regions.
Transmit Transmits the current bank to the instrument.
Xchsnge This command appears only when using "multi-block" instruments containing
adjacent data blocks that are identical in type and format. (eg. block 3 contains
Voices 1-64, block 4 contains Voices 65-128). Xchange will swap the display
between blocks 1 - 2 and 3 - 4 only.
-. Press X to switch data between adjacent data blocks of the same bank.
If a bank doesn't have the correct structure for swapping data blocks, the following
error message will appear in the menu area when X is pressed:
"This function cannot be used with this Instrument" error message
OPTIONS Accesses the Librarian Options Window. See later section for details.
VOICE EDITOR Accesses the Sound Bla~ter FM Voice Editor window. See later section for details.

This feature functions only when the "FMJ Synth Cards" instrument
is selected.

190 - UNIVERSAL LIBRARIAN

 Bank Arranger Menu Commands

To receive a Bank from an Instrument

<D In the Setup screen, highlight the instrument name on the setup line
and be sure that the MIDI channel numbers and port settings are
correct.

@ Check that all MIDI cables are properly connected. You must have a
MIDI cable from the OUT of your computer to the IN of your
instrument, as well as a second cable from the OUT of your
instrument to the IN of your computer.
@ Press A to enter the Bank Arranger, use cursor keys to move to the
side of screen where the bank is to be loaded. Press R to receive.
® Because some instruments require a panel switch to be actuated in
order to dump the data, press [Fl] to access Instrument Help for the
instrument. Check the proper switch settings and other idiosyncrasies
for uploading from the instrument. Press [Esc] to exit the Help screen.
@ If everything is connected properly, the data in the instrument will be
transmitted to the PC.
If nothing happens, it may be due to the instrument settings on the
Setup screen or in the instrument itself. To check this, press [Fl] to
refer back to INSTRUMENT HELP.
If the bank in the work area is the one that is currently in the
instrument (because it was just loaded from that instrument), the IN
INST indicator will appear in the status area.

This method is used to upload a bank from any of the listed devices
in the Instrument list, except Generic and Names Only. To create a
Names Only bank, or to upload Generic instrument Bank, see the
later section on Instrument Types.

To transmit a Bank to an instrument

<D In the Setup screen, highlight the instrument name on the setup line
and be sure that the MIDI channel numbers and port settings are
correct.
~ Check that all MIDI cables are properly connected. You must have a
MIDI cable from the OUT of your computer to the IN of your
instrument, as well as a second cable from the OUT of your
instrument to the IN of your computer.
@ Check Instrument Help, [Fl], for proper switch settings.

© Press A to enter the Bank Arranger, use cursor keys to move to the
side of screen where the bank is to be loaded. Press T for Transmit.

UNIVERSAL LIBRARIAN - 191

Bank Arranger Menu Commands

To Load a bank file from disk

CD Press A to enter the Bank Arranger, highlight the left or right side of
the work area to select the side to load.
@ Press F to access the Files screen.
® Highlight the desired bank file.
@ Press L for load, and [Enter].

To Save a Bank File to disk

CD Press F to enter the Files screen from the Bank Arranger.
® Press S to save the bank file.
® Type the desired bank name and press Enter. After the file is saved to
disk, the bank name will appear in the files screen work area.
@ Press [Esc] to return to the Bank Arranger. Press [Esc] again to return
to the Setup screen.

To swap single programs

CD Highlight the source program field.
® Press S, then [Enter].
® A prompt asks for a destination, meaning the program to swap with.
Use the cursor keys to pick any program in either bank for a
destination.
@ Press [Enter] to swap.

On a monochrome monitor. the source program will be highlighted

in reverse video, while the destination will flash in normal video. On
a color monitors, the source and destination will be shown in
different colors.

192 - UNIVERSAL LIBRARIAN

 Bank Arranger Menu Commands

To swap a group of programs

<D Place the cursor on the first program in the source group.
® Press S, for Swap, then cursor down to the end of the source group.
® Press [Enter] and highlight the first program in the destination range.
© Press [Enter] to swap the source and destination groups.

None of the changes made with the bank editing commands are
permanent until tire bank is saved to disk.

To copy programs
Press to C activate the Copy command. Procedure is exactly like Swap
except source overwrites farget.

To erase programs
Press E to activate the Erase command (for Erase) which deletes a
range of programs, leaving empty slots. Erase operates like Swap and
Copy, but only works on one bank at a time.

Transmitting an empty bank to an instrument will erase the programs

in that instrument.

To clear an entire bank

<D Place the cursor on the side of the screen containing the bank to be
cleared.
® Press D for delete, then Y for "yes".

UNIVERSAL LIBRARIAN - 193

 - - - - - - - - - - - - - - - Setup - - - - - - - - - - - - - -
Setup peter Met. 43608
lnslrunent FMl S!fnlh cards
lnstrunent Pt Ch Mode Bani< Progl Progra.,
1Gt+11n111411.w z 1 POLY STOCK 27 S~lhBraH4
fMl synlh cards 2 1 POLY STOCK 61 ElecGultarl
SIDEMAN DX7 1 1 POLY BASS3 18 BASS3 111
S !DEMAN DX7 1 1 POl.Y ANIMAL 1 Mahlos!fn 1
---------------- 1 1 POLY --------
---------------- 1 1 POLY --- -----
--- ---- --------- 1 1 POLY --------
---------------- 1 1 POLY --------
---------------- 1 1 POLY --------
--- ------------- 1 1 POLY --------
---------------- 1 1 POLY - -------
---------------- 1 1 POLY --------
---------------- 1 1 POLY --------
---------------- 1 1 POLY - - ----- -
--- ------------ - 1 1 POLY --- -----
-------------- -- 1 1 POLY --------
Setup Menu
Bank Delete lnslru-nt Llnk-prog Open-ne,.
Trat111Mll ARRANGER FILES MIDl-ANALVZER
8
--------------11
Progra., Reparl Single

Librarian Setup Screen

-. X to enter from the Main screen. [Esc] to return to the Main screen.
Provides control over the instrument.c; in a MIDI network by creating a custom
setup. A Setup will download the correct Banlc and set Program Numbers and
MIDI Mode for up to 32 MIDI devices (one per line). When a song is saved, the
Setup is saved along with it. Setups can also be saved and ~trieved from disk
without the song.
Active Setup The setup line containing the cursor is referred to as the Active Setup Line.
Line
The number of lines displayed depends upon the type of monitor (EGANGA show
more lines) and the Window-size setting in the Attributes Window [Shift][F6].

Before using the Librarian Setup screen to Transmit a setup to your

instruments, you must first upload and save Bank files for each
instrument from the Bank Arranger. If you do not have any banks
.~aved in the Universal Librarian (i.e. you are only using the
instrument's internally stored sound patches), it is not necessary to
use the Librarian Setup screen . The Program settings can be
controlled, (and saved),from the Main screen.

-. Scroll one Une at a rime using tire cursor up and down k~·s. Scroll hy screens
using PgUp I PgDn . Scroll to first and fast fine using Home I End.

194 - UNIVERSAL LIBRARIAN

 Setup Status Area

To create a Setup
<D Assign an instrument to one of the setup lines by activating the
Instrument Window from the desired setup line. (See Instrument
Command)

® Set the proper port and channel assignments for the instrument. (See
Port and Channel commands.)
@ Assign a bank for the instrument by activating the Banks Window.
(See Banks command.)
@ Assign a program from the bank by activating the Programs Window.
(See Programs command)
<ID Repeat this procedure for all of the instruments in your MIDI setup.
® 1be setup is automatically saved along with the song file. It can also
be saved independently by entering the Files screen from the setup
screen.

Using Quick Find

1be Quick Fmd feature is used to quickly access a specific name in the Instrument
or Banks windows. Quick-find is automatically activated whenever one of these
windows is activated. When active, a prompt remains in the menu area until a
letter key is pressed.

To use Quick Find in the Instrument Window

Cl Press the first letter of the instrument manufacturer's name. 1be list
scrolls until that name appears at the top.
Cl If a non-letter key is pressed (cursor key, etc.), Quick-find
disappears, and the keystroke does whatever it normally would have
if Quick-find was not activated.
Quick Fmd works in a similar fashion in the Banks and Programs windows.

Setup Status Area

The status area shows information about the setup.
Instrument The name of the instrument on the active setup line.
Setup The filename assigned to the setup.
Note On Whenever a trigger note is sent, a message appears here. A trigger note can be sent
to the active instrument by pressing the [Spacebar].
Prog Link Indicates if the "Link Programs" feature is active. See the Link-prog command.

UNIVERSAL LIBRARIAN - 195

Setup Work Area

Setup Work Area

Active The highlighted row in a setup is referred to as the active setup line.
setup fine

Instrument The name of the instrument assigned to the active setup line. (See Instrument
command.)
Pt (Port) The MIDI Port number (1 - 8) on which the instrument is assigned to receive
SysEx data. This does not have to be the same as the Main screen port assignment
for the instrument.

0 Port assignments are only valid for multiple port MIDI interfaces
and the Yamaha C 1. Check the Hatdware Configuration Window for
the number of ports in the MIDI interface installed in the system.

If the setup line port number is set higher than the number of ports
available on the installed interface, it will not transmit or receive.

Ch (Channel) The MIDI channel (1 - 16) on which the instrument connected to the
port receives and transmits MIDI data in the Setup and Bank Arranger Screens.
This does not have to be the same as the Main screen channel assignment for the
instrument.
Mode Toggles between POLY and MONO MIDI modes in the receiving instrument.

If the receiving instrument does not have a MONO mode (many

don't) , this setting will have no effect.

Bank The name of the bank file transmitted to the instrument as part of the setup. See the
Bank command.
Prog # (Program Number) The MIDI program number to which the instrument will be set
after the setup is transmitted. See Link Prog command.
Program The name assigned to the program number. See Program command.

Program names are assigned and edited in the Bank Arranger screen.

196 - UNIVERSAL LIBRARIAN

 Setup Menu Commands

Setup Menu Commands

- - - - - - - - - - - - S e t u p Menu - - - - - - - - - - - -
Bank Delete lnstrunent Link- prog Open-nen Progran Report Single
Tr~nsnlt ARRANGER FILES MIDI-ANALYZER

Bank Activates the Banks window, which lists the names of all bank files on disk for the
current instrument, allowing any one of them to be assigned to the active setup line.

To assign a bank to the Active Setup Line

<D Place the cursor on the same line as the instrument. (An instrument
must be assigned before a bank can be selected.)
® Press B to activate the Banks window, showing a list of all the banks
on disk for that instrument.
-Or-
Activate the Banks window by putting the cursor in the BANK field,
and pressing+ -.
If there are more bank names than can fit in the window, Quick-find is
automatically activated. Press the first letter of the bank name to
relocate the window over a different section of the available bank
filenames. See the previous section for a detailed description of how
this command operates.
@ Highlight the desired bank using the cursor up/down and PgUp/PgDn
keys, press Enter to load it into the highlighted position in the active
setup line.
Delete Deletes the current instrument assignment from the active setup line, or all 32 lines
of the setup at once, depending on the response to the screen prompt.

To remove a bank from the Setup

BANKS
<D Highlight the desired setup line. tmmJ
BASS2
® Press B to activate the Banks Window. BELLS
CELESTA
@ Press C to clear the bank from the active setup line. CLAVINET
FX
GUITARAC
GUITAREL
HARPSICD
LOOPS
ORGANl
ORGAN2
ORGAN3
PERCl
(More .i)

UNIVERSAL LIBRARIAN - 197

Setup Menu Commands
Instrument Opens the Instrument window, used for assigning instruments to the setup.

To assign an Instrument from the Instrument Window

<D Move the cursor anywhere on the desired setup INSTRUMENT LIST
line. 1111113g
NAMES ONLY
PAUSE
<2> Press I to open the Instrument Window. 368 AUDIO MATRIX
368 MIDI PATCHER
-Or- AKAi MB76
AKAi ME3ST
Activate the Instrument window by putting the AKAi MPX928
cursor in the INS1RUMENT column, and AKAi PEQ-6
AKC ADR-681<
pressing+ -. ALESIS QUADVERB
ART DRl REVERB
~ Highlight the desired instrument name and ARI DRX
press Enter to assign it to the active setup line. ARI IEO
CftOre !)

Yamaha DX/TX series synths have more than one choke of

instrument type. Refer to the section "Using Specific Instrument
Types" .

To remove an Instrument from the setup

<D Highlight the setup line.

<2> Press D for delete.

Llnk-prog Links program changes in the Main and Setup Screens so that changing the
program number on the Setup will also change it on the Main screen.
Open-Mem If the PC is low on memory when using the Librarian functions, Open-Mem
temporarily transfers the song data from RAM to disk so that RAM can be used for
Librarian operations. The temporary file is automatically erased from the disk and
reloaded into the computer's memory when exiting the Librarian.
Program Opens the Programs window, which is
used to select a program from the active ri•ii•i:mi•ii-VAiimm'LApjLE PROGRAMS----.
bank. It's quick accessibility ([Shift][F5]) z LEKIRIC GR
from any screen makes it particularly 3 FM PIANO A
4 Soft Plano
helpful for seeing the available programs 5 Rhodes
for the instrument assigned to a track. s Tine Plano
T Marl"ba
8 Steel Dru"
9 REVINETTE
18 LOG DRUM
11 Elec . Cult
12 Fal 's Bass
13 Good r-•
14 Chicago
(ftore l)

198 - UNIVERSAL LIBRARIAN

 Setup Menu Commands

To assign a program to the setup

<D Press P to open the Programs window.
-Or-
[Shift][F5] opens the Program Window from any screen except the
Notepad.
-Or-
Highlight the PROO NAME column and press + -.
~ Highlight the desired program using the up/ down arrow keys and
PgUp/PgDn keys, then press [Enter]. The corresponding program
number is automatically assigned to the Prog# column.

To change an assigned program in the setup

Follow the same procedure as assigning a program.
-Or-
Highlight the Prog# field and use+ - to change the number, or type
the number directly.

To remove a program assignment from the setup

<D Press P to activate the Programs Window.
® Press C for clear.
Report Prints a list of the programs in the highlighted bank. Also see the All-print
command in the Files screen.

The printer port settfog in the Configuration window [F4] must be

correctly set before using this command.

Single Sends a single bank to the instrument on the Active Setup Line (rather than
sending the entire setup to all instruments).
Transmit Sends the current setup to the instruments in the MIDI network.
ARRANGER Accesses the Bank Arranger Screen. (See the Bank Arranger section.)
FILES Accesses the Files Screen to load and save Setups. (See Files screen section.)

Although setups are automatically saved along with a song file , tltey
can also be saved and loaded as a separate Setup file.

MIDI-ANAL rzER Accesses the MIDI Data Analyzer. (See MIDI Data Analyzer section.)

UNIVERSAL LIBRARIAN - 199

Setup Menu Commands

To save a Setup as a separate file

<D From the Setup screen, press F to enter the Files screen.
® Press S to Save.
® Type in a name for the setup and press Enter.

To load a Setup file from disk

<D Press F to enter the Files screen from the Setup screen.
® Highlight the name of the desired setup.
@ Press L to Load.

@ After the setup file is loaded into memory, the setup is ready for
editing or transmitting to the network.

Because loading a setup will erase the setup currently in memory, a

message appears in the menu area, asking if you're sure you want to
load the new setup. Loading begins when you press any key except
the Esc key.

To send a setup to the instruments in the MIDI network.

<D Load the desired Setup file into the Setup screen, or load a Song file
that was saved with a setup.
® Make sure that the instruments are set to receive SysEx messages on
the correct MIDI channels.
@ From the Setup screen, Press T for Transmit.

@ The Setup screen settings will download the Banks and call up the
desired program number for each instrument.

If the setup contains Pause. Generic or Names Only instruments, see

the next section Using Specific Instrument Types.

To transmit a Bank to a Single Instrument

from the Setup screen
<D Place the cursor on the line that has the bank to be transmitted.
® Press S for Single Transmit.

200 - UNIVERSAL LIBRARIAN

 Generic Instrument

Using Specific Instrument Types

Titls section contains information pertinent to certain instrument-; supported by the
Universal Librarian.

PAUSE Instrument
The PAUSE instrument is assigned to a setup line whenever it is necessary to stop
between instrument loading. When the transmit routine reaches the PAUSE
instrument, it waits until any key on the computer keyboard is pressed before
continuing with the setup transmission.
PAUSE is useful when using two (or more) identical MIDI devices that receive
program data only in OMNI ON mode (ie. they listen for program data over all 16
MIDI channels). In this case, the PAUSE instrument can be used to make sure
these separate instruments don't wind up with identical banks and programs.
The pause in the transmission of a Setup allows you to temporarily disconnect the
first instrument's MIDI IN, so the bank that was just loaded into it won't be
replaced by data intended for the other instrument. Later, after the entire setup is
transmitted, you can reconnect the cables.

Generic Instrument
The Generic instrument is used for uploading and downloading from instruments
that are not pre-defined in the instrument list.
The Generic instrument can be used to:
0 Upload the contents of the non-supported device into the Bank
Arranger.
0 Save/load the uploaded data to disk.
0 Name programs and Banks.
0 Assign the bank files to the librarian setup screen to transmit along
with other setup information.
In order to upload from a "generic" instrument, a "data dump" must be initiated
either by pressing a front-panel button or by transmitting a MIDI System Exclusive
message called a "dump request." When Generic Instrument is selected, a dump
request string may be transmitted from the Bank Arranger screen using the MIDI
Data Analyzer's "Transmit MIDI Strings function." (See the MIDI Data Analyzer
section for details.)

With predefined instruments. the "dump request" message is

automatically sent.

UNIVERSAL LIBRARIAN - 201

Generic Instrument

To assign a "dump request" message to a MIDI Data String

<D Consult the instrument's owner's manual to determine the dump
l'l'quest string.

<2> Assign the dump request string to one of the strings in the MIDI Data
Analyzer. (See the MIDI Data Analyzer section for instructions on
how to do this).

To receive a Generic Instrument Bank from an Instrument

<D From the Setup screen, press I to activate the instrument list.
<2> Highlight GENERIC. Press Enter to assign it to the active setup line.
® Press A to enter the Bank Arranger screen, then R for Receive.

@ Initiate the upload either from the instrument's front panel or by

sending the appropriate MIDI Data String.
$ 1be Librarian will continue to receive data from the instrument until
one of the following things occurs:
0 [Enter] is pressed (normal completion)
a [&c) is pressed (user abort)
Q 1be buffer overflows (Status =Full)
® Once the data is loaded into the Bank Arranger, program name.c; may
be edited and the bank may be saved as a file. No other changes may
be made to the uploaded data.
•Once a Generic Instrument bank file has been uploaded and
saved to disk, it con be selected from the windows in the Setup
screen, just like supported instruments.

202 - UNIVERSAL LIBRARIAN

 Names Only Instrument

Names Only Instrument

If an instrument does not support transmitting and receiving its sounds over MIDI,
the Names Only instrument section may be used to make bank files containing
names for the sound<> in each citrtridge, and the instruments internal presets.

To create a Names Only bank file

CD From the Setup screen, assign "Names Only" as an instrument to the
setup line.

~ Enter the Bank Arranger.

@ Press R (for Receive) to create an empty bank file of 128 Program

locations.

@ Fill the empty names with the names of the programs in the
non-supported instrument.
@ Name and Save the Bank File as a disk file. Once a Names Only bank
file has been saved to disk, it can be selected from the windows in the
Setup screen, just like supported instruments.

A bank file for the Names Only instrument contains the program
names intended to be used for reference purposes only. It does not
contain data that can be transmitted to an instrument.

Some instruments number their programs from 1 to 128 instead of using standard
MIDI program numbers from 0 to 127. Although defined instruments have
information about these program numbers, you'll have to keep track of the Names
Only in'>trument program numbers. The first program number will always be 0.

UNIVERSAL LIBRARIAN - 203

Programs and Patterns

Instrument Data Formats

To the microprocessor inside your MIDI instrument, programs and patterns are
made up of computer data in the form of O's and 1 's. The device is programmed to
understand, use, and store those O's and 1'sin specific ways, called data formats.
Because these formats come in so many varieties Sp Gold must make some
compromises in order to deal with as many devices as possible.
In order for Sp Gold to be able to use all of its Librarian features for a given
irntrument, the following things must be true about that instrument's bulk data
dump format:

<D Each instrument program must be a fixed number of bytes.

Instruments with dynamic patch sizes can only be handled by Sp Gold
if they have only one record (e.g. drum machines).
~ The number of Sysex messages (non-MIDI spec messages) in which
"n" records are transmitted must be either 1 or n. Otherwise, Sp Gold
must compromise and prohibit full bank arranging. Usually, this
compromise manifests itself as a block with a single record, even
though the instrument may have many programs.
@ Blocks of data must be separate, i.e. voice data cannot be intermixed
with sequence data (or something else) within the same dump.

Programs and Patterns

Most synth programs are stored in a way that allows Sp Gold to manipulate them.
Drum machine programs are different, however.
Because drum patterns can be of any length and their data formats are dependent
on each machine's approach to looping, quantizing, recording, editing, etc., Sp
Gold must make the same compromise for drum machine patterns that it does for
some synthesizer programs:
Sp Gold will upload, download, and display whole banks of drum
patterns, but it can't rearrange or rename their contents.

Cartridge Data
Many synth manufacturers use RAM cartridges to expand available program
memory (Yamaha and Ca<;io, for example). However, some manufacturers provide
no easy way to reach that memory through MIDI, which means Sp Gold can't get
to it. In many cases, to load or save RAM cartridge data with Sp Gold you 'II have
to move the data into the instrument's internal memory first.

204 - UNIVERSAL LIBRARIAN

 Button Pushing

Unusual Arrangements of Program Banks

Instruments with a single bank of programs are easy for Sp Gold to deal with.
However, the bank configurations of some of the more complex instruments restrict
Sp Gold to some degree.
For example:
0 The CZ-101 has three banks of 16 programs: Internal ROM, internal
RAM, and cartridge (if plugged in). However, because of the way
the instrument is designed, Sp Gold can read and store to disk from
any of the three, but can only send to the CZ-101 's internal RAM.
0 Our own Voyetra 8 synth has two blocks of memory (100 programs,
and 100 arrangements of programs that we call "steps.") Sp Gold
will save and load both these blocks (programs and steps), but
because program change commands usually select programs in the
VS, it is difficult to change steps over MIDI.

Unusual Arrangements of Program Numbers

Although the MIDI specification and Sp Gold designate program numbers in the
range of 0 to 127, many synths don't. Because ofthis, you'll have to be aware of
the differences to avoid confusion.
A simple example is the DX7, which starts counting from 1 instead of 0. More
complicated is the CZ-101, which uses 0-31 for the 16 programs in internal ROM
(looping through all 16 twice), then uses 32-63 to loop twice through the internal
RAM and 64-95 (likewise) for the cartridge.

Scratch Buffers
A scratch buffer is a special section of the instrument's memory that's used for
working with a pattern or a program without ever changing the original data.
In those instrument-; without scratch buffers, or with scratch buffers that do not
conform to Sp Gold's protocol, the Audition command won't do anything.

Button Pushing
Some MIDI devices won't receive MIDI data at all unless a MIDI ON button on
their front panel is pushed. Others can receive and send data all the time, except for
program data, which is only transmitted by pressing a button.
These differences mean that some MIDI gear will require you to press buttons
before Sp Gold can communicate with it.

UNIVERSAL LIBRARIAN - 205

Omni Mode

Omni Mode
MIDI has 16 channels built into its specification, and most MIDI gear on the
market today can listen to those channels in two different modes:
0 The first (and most useful) is OMNI OFF, in which the device
listens to the data on a single channel (usually the one of your
choice) and ignores everything else.
Cl The second is OMNI ON, in which the instrument listens to
everything coming into its MIDI line regardless of channel.
Since one of the advantages of MIDI is channel separation you may want to
override OMNI ON mode.
Sp Gold has two ways to make sure that everything in your MIDI network is in
OMNI OFF mode: The OMNI OFF signal is sent when Sp Gold boots up, or when
you send the OMNI OFF command. However, some early MIDI instruments only
work in OMNI ON mode, and will require special attention to work properly
within a network. See the Pause command, in the Setup Screen section for more
details.

MIDI Channels and Sysex Data

Some instruments and devices treat regular MIDI data (Note On and Off messages,
Program Change commands, etc.) in OMNI OFF mode but treat system exclusive
data only in OMNI ON mode. (ie., they'll pay attention to program data coming
into them on any MIDI channel, not just the one you set them to listen to.)
This is only a problem when there are two identical devices in the MIDI network
that work this way. If you try to load separate banks into them over separate MIDI
channels, both will end up with the last bank that was sent unless you use the
PAUSE instrument, which was created specifically to handle this kind of situation.

Instrument Data Blocks

Some instruments supported by the Universal Librarian have banks made up of
several kinds of data grouped in blocks.
For instance, the Yamaha TX81Z uses four blocks to represent all of its internal
data:
0 One block contains 32 records of voice data
Cl Another block has 32 records of performance data
0 Another includes one record of effects data
Cl The last block includes two records of program change tables.
Although not all instruments have banks with more than one block, those that do
will require shifting from block to block in order to edit, rearrange, or rename the
full program data structure.

206 - UNIVERSAL LIBRARIAN

 Yamaha DX/TX Instruments

Why Instruments use Blocks of program data

As more and more new features are added to today's programmable instruments,
there is a parallel increase in the amount and various types of system exclusive
(sysex) messages they must transmit and receive.
For instance, with simpler first-generation instruments, it used to be standard for an
instrument to handle only voice data via sysex. Now that many instruments extend
programmability to things such as program change tables, alternate scale tunings,
and built-in effect settings, the program data that makes up the instruments sounds
has become larger and more difficult to manage.
Consider, for example, that when the original DX7 was designed, it included a
certain number of programmable parameters in each voice. To increase the nwnber
in subsequent instruments within the same family and yet retain sysex
compatibility with the original DX7, new parameters were added, called Function
data. This required a separate sysex message to upload and download this new data
type from the instrument.
Linking With these complex instruments, it is desirable for the two blocks (voice and
Blocks of Data supplemental function) to be linked together when performing bank arranging. The
Universal Librarian can deal with these instruments, and performs simultaneous
swaps, copies, and deletions of these two data blocks when using them in the Bank
Arranger.

Yamaha DX/TX Instruments

Most Yamaha six-operator synths have compatible voice data, so patches may be
moved between them. However, some have additional voice data, called Function
data, which is not directly compatible between models.
Sideman The Universal Librarian can translate Function data from one instrument's format
Instruments to another so that common files may be used with the DX7, DX7-II, TX7, TX8/16
and TX802. These files are also compatible with the Voyetra DX/TX editor
Sideman DTX.
To do this, a Sideman instrwnent definition is used for the Yamaha instrument (eg.
Sideman DX-7 for a DX-7). The Sideman instruments in the Instrument List all
share a common file format and use the same file extension. This allows files
uploaded from any Sideman DTX instrument to be sent to any of the other
Sideman DTX instruments.

To mafotain compatibility with Patch Master Ver 1.0 files, the

Librarian lists the old file formats too. However, it is best to avoid
these obsolete instrument types.

The DX/TX Instrument Assignment Table shows which instrument definitions

should be used to upload and download from specific Yamaha DX/TX instruments.
Note that the DX-711 and TX-802 each have two instrument types:
0 Sideman DX-711for32 Voice/Function data on either the DX7-II or
TX802

UNIVERSAL LIBRARIAN - 207

Yamaha DX/TX Instruments

0 Sideman DX7-II PF for 32 performance data on the DX7-II

0 Yamaha TX802 PF for 64 performance data on the TX802
To upload/download both the performance data and voice data for either of these
imtruments, first assign the voice/function instrument type to a line in the Setup
screen and follow it with the corresponding performance instrument type on the
next line. Only the first 32 voice programs of the 64 in the instrument will be
affected.
If the original version of Patch Master (ver 1.0, 1.05) was used to create bank files
for the YAMAHA DX7, TX7 or TX816, these files should be updated into the
new universal format definitions called "Sideman DX7" and "Sideman TX7."
These are compatible with the Universal Librarian and Sideman DTX and thus
allow bank sharing between all Sideman DTX instrument types.

To update instrument bank files

<D Download the old version into your imtrument using the old
imtrument definitions.
<2l Upload them back into the PC using the new definitiom.
Refer to the individual help screens for these instruments for more
details.

DX/TX Instrument Assignment Table

Compatible With Patch Master Ver 1.0 and 1.05
Instrument Type DX7 TX7/816 DX711 TX802
YAMAHA DX/TX y y y y
32 voices only.

YAMAHA TX7{fX816 N y N N

DX/TX Instrument Assignment Table

Use for Uploading/Downloading New Files
Instrument Type DX7 TX7/816 DX711 TX802
SlDEMANDX7
32 voices, 32 Function data
... (In Universal
y N
format)
N N

SIDEMANTX-7 N y N N
32 Voices, 32 Function data (In Universal format)

SIDEMAN DX7-II
32 voices, 32 Function data
... (In Universal
N N
format)
y y

SIDEMAN DX7-II PF N N y N
32 DX7-ll Performances (File compatible with Sideman DTX)

YAMAHA TX802 PF N N N y
64 TX802 Performances

208 - UNIVERSAL LIBRARIAN

 IBM Music Feature Card (MFC)
* These Sideman bank files all use the same file extension and are, in a sense, the
same instrument type. A Bank File saved as one of these instrument types may be
freely exchanged between the three of them. Also, the bank files may be directly
read and written by the Sideman DTX voice editor program.
** Sideman DX-711 performance bank files can be directly read and written by the
Sideman DTX voice editor program.
***Since the original DX7 does not support these function data, this block must
be simulated on this instrument in the following ways:
UPLOADING: Function Data block is initialized with the records of all default
values. These will be transmitted if the bank file is later sent to a TX7 or DX711
orTX802.
DOWNLOADING: Function Data block is not transmitted to the Sideman
DX7 instrument.

Roland Instruments
Roland D50 Patch Master Plus ver 1.5 supported the Audition feature on the D-50, but PM+ ver
1.0 did not. D-50 bank files created with PM+ ver 1.1/1.5 are NOT compatible
with Sp Gold or with versions of Sequencer Plus earlier than ver 2.0.
Although D-50 bank files created with PM+ ver 1.0 can be loaded and transmitted
by PM+ ver 1.1/1.5 and Sp Gold, they must be re-saved to disk in the newer
format in order to see program names in the Programs window.
Roland The DlO is stored as two separate instruments with the extensions .COO for the
D·10/·110 D-10 instrument (tones, timbres, patches and system) and .B98 for the D-10 RHY
instrument (rhythm patterns, setups and track).
The D-110 instrument definition uses the extension .C03 for patches, timbres,
tones, rhythm setup.
Uploading the entire contents of a DlO requires the use of both the DlO and
DlORHY instrument definitions, thus using two files. However, since the rhythm
section is rarely changed. it saves time and disk space to only use the D-110
instrument.
Versions prior to Sp ver 3.02 only work with older Dl0/110 ROM versions and use
.B45 for DlO files and .B58 for DllO files. These B45 and B58 files can be
converted to the new .COO, .B98 and .C03 formats by sending them to the synth
and reloading them as new version files.
When using a Dl0/110 with an older ROM, or to access the old ROM inc;trument
files, use the instruments ROLAND DlO OLD or ROLAND DllO OLD in the
instrument list.

IBM Music Feature Card (MFC)

To use the Universal Librarian with MFC FM sounds, use the "FB-0 l" instrument.
Also, see the Introduction section for further details relevant to the MFC.

UNIVERSAL LIBRARIAN - 209

Sound Blaster and AdLib FM Synth Cards

Sound Blaster and AdLib FM Synth Cards

'- To use the Universal Librarian with FM sounds:

<D SAPIFMI must be loaded. This loads 128 initial FM programs

(sounds) into the FM sound card.

® Assign the "FMl synth cards" instrument to the setup line. 1be file
extemion is .C35.

@ 1be setup screen should be set as follows:

•Omni mode (so channel setting doesn't matter.)
• Set the port to the active SAPIFMJ port. The default is port 2.
• Set the "Upload Port" in the Librarian Options window to 1.
© To upload the FM programs, press A to enter the Banlc Arranger from
the Setup screen. lben press R to receive.
Once the FM banlc is in the Arranger, it may be treated as any other banlc file and
saved, rearranged, etc.

Although "initial" sounds are re-loaded into card every time

SAPIFMJ is run, they should still be uploaded and saved as a bank
file. This is necessary in order to use the FM Voice Editor. Also, it
provMes a convenient way to re-initialize the sounds in the card
without having to quit the program and run SAPI again.

'- To Download on FM bank file from the Arranger or Setup screen:

Follow the same procedure as with other instruments using the proper settings as
outlined above.

210- UNIVERSAL LIBRARIAN

 FM Voice Editor
Para"eter Carrier Modulator
Attack Rate

"
8
Decay Rate H
Sustain Level 8 18
Release Rate 3 15
Sustaining Sound off off
Envelope Scaling off off
Frequency Hu It l p ll er 1 1
Modulation Feedback 3
Pitch Vibrato off off
Output Level 59 48
Leve 1 Sca ll ng 8 1
A.,plltude Vibrato off off
Nave For., - -

I
• - - - - - - - - - - - FM Voice Editor Menu - - - - - - - - - - - - .
(no nenu for this wlndou) I
FM Voice Editor Window
The FM Voice Editor window is used for editing Sound Blaster or Ad.Lib FM
voice programs

To access the FM Voice Editor

<D Position the cursor on a track assigned to the active SPAIFMl port in
the Main Screen. Set the MIDI Thro Status as follows: Mode
CURRENT, Rechannel ON.

If the cursor is not on a track assigned to the FM synth, you will not
be able to trigger sounds with an external MIDI device or the
QWERTY Synth .

® Press X to enter the Set-up Screen and I to activate the Instrument List.

@ Press F to jump to the FMl synth card instrument. Press [Enter) to

assign the instrument to the setup line.

<ID Press B for banks. Highlight the desired bank and press [Enter) to
assign to the active setup line.
@ Press A to access the Bank Arranger which lists all of the programs in
the selected bank.

(/) Highlight the program you wish to edit, and press V to access the FM
Voice Editor.

To edit the FM parameters

Highlight the parameter value and edit using the standard methods (ie. number
keys, + -, ) [,etc.)

UNIVERSAL LIBRARIAN - 211

About FM Synthesis

To hear the sound while editing

Pressing the spacebar will trigger the FM sound as it is being edited. If MIDI IN is
on, an external MIDI keyboard will also trigger the sounds. The QWERTY synth
may also be used to play the FM sounds.

About FM Synthesis
The Sound Blaster/ AdLib FM voice uses two-operator FM synthesis. In FM
Synthesis the output of one operator changes the frequency of a second operator to
create overtones or "harmonics" that the ear perceives as changes in timbre. The
MODULATOR, is the operator that detennines how the CARRIER operator
frequency is modified.
Sound Editing Sound Editing Parameters are used for setting the Carrier and Modulator
Parameters frequencies, levels, wavefonns, etc. The combinations of these settings determine
the final sound.

Sound Editing Parameters

Envelope Parameters Range
Attack Rate 0 - 15
Decay Rate 0 - 15
Sustain Level 0 - 15
Release Rate 0 - 15
Special Envelope Parameters Options
Sustaining Sound on - off
Envelope Scaling on - off
Oscillator Parameters Options
Frequency Multiplier 0.5, I through 10, 12 and 15
Modulation Feedback 0 - 7 (Modulator Only)
Pitch Vibrato on - off
Wavefonn Sine, double peak sine,
single peak sine, and triangle
Level ControUer Parameters Options
Output Level 0- 63
Level Scaling 0-3
Amplitude Vibrato on - off

212 - UNIVERSAL LIBRARIAN

 Librarian Options Menu Commands

- - - - - - - - - - - - LIB OPJIONS -----------n

TRIGGER note Progran CHANGES OFF
Trigger note PITCH 60 Autrn•atlc AUDITION OFF
Trigger note DURATION lMlt'JnS INPUT Port for Upload 1

Trigger note VELOCITY 127 RECEIVE Buffer Size SK

ir-----------
Audition Changes Duration
Librarian Options M e n u - - - - - - - - - - •
Input-port Pitch Receive-buffer Trigger-note
Velocttu

Librarian Options Window

'- [Shift]{F3] to enter from any screen. [Esc] to return to the previous screen.
The Librarian Options Window is used to set the Universal Librarian's operating
parameters. The settings are saved along with a song or setup file.

Librarian Options Menu Commands

Audition (Automatic Audition)
ON: Any time a program is highlighted in the Banlc Arranger screen, it's
automatically transmitted to the instrument's scratch buffer and "played" with the
"trigger note".
OFF: Programs are not sent to the scratch buffer until the Audition command
is issued.

This feature wm not work on instruments that do not have a scratch

buffer.

Changes (Program Changes)

ON: Sends MIDI program change commands to the current instrument
whenever the cursor is moved within a bank in the Bank Arranger.
OFF: Program changes are not sent automatically, but continue to be sent
when making changes to program assignments in the Setup screen.
Duration Setc; the length of the trigger note from 10 milliseconds (mS) to 10,000 mS (i.e., 10
seconds) in 10 mS steps.
Input-port Sets the input port number used by the Librarian and MIDI Data Analyzer to
receive data from instruments.
Pitch Setc; the Trigger note pitch.

UNIVERSAL LIBRARIAN - 213

Librarian Options Menu Commands
Receive-buffer (Receive-Buffer Size)

In earUer versfons of Sp. this command was implemented with th.e

IRBUF command line oprion.

When using the Librarian with a slow (4.7 meg) 8088-based PC, certain
insttuments may be unable to upload in the Librarian. This can be corrected by
adjusting the size of the receive buffer, which reserves memory for the incoming
data received from the instruments. Increasing the buffer size prevents overflow
during bank uploading and when receiving data in the MIDI Data Analyzer.
1be default buffer size is 6K bytes, the minimum is lK bytes, but it can be set to
as high as 32k. This buffer memory doesn't conflict with song memory, so there is
not a very heavy penalty for using a high setting. Large buffer values may
sometimes cause the librarian to run out of memory. This may be cleared by using
the Open-mem command.

-. For instance, to set the buffer to 20K bytes, press R , type 20, then [Enter].
Note also that 80286 and 80386-based PC's do not need large buffers because they
can process the incoming data faster than the 8088 type PCs.
If, during a patch upload, the following error message appears:
Upload error, receive buffer too small. Press [Shltt][F3]
· Set the receive buffer to 3 2K. If the Librarian runs out of memory, try decreasing
the number until the error does not occur.
Trigger-note 1be trigger note is used to sound an insttument's program from the PC keyboard.
ON: A trigger note is sent automatically whenever a change is made to, or the
cursor is moved in, the Bank Arranger screen.
OFF: A trigger note is transmitted only when the spacebar is pressed.
Velocity Sets the MIDI velocity value of the trigger note (Range 1 - 127). Synthesizers that
are not velocity-sensitive will not respond to changes in this setting.

To transmit a Trigger Note

<D Set the Trigger Note to ON in the Librarian Options window
[Shift][F3].
This makes the Trigger Note automatic: i.e., a note will be sent every time
programs are changed in the Bank Arranger screen. Whenever a trigger note is
sent, a NOTE ON message appears in the status area at the top of the screen.
® Reganlless of whether the trigger note option is ON or OFF, a Trigger
Note can always be sent by hitting the spacebar from the Setup or
Bank Arranger screen. The Trigger Note settings for Pitch,
Duration, and Velocity, can be set as necessary for various
insttuments and sound~.

214 - UNIVERSAL LIBRARIAN

MIDI Data Analyzer
• M to enter from the Setup Screen. [Esc] to return to Setup.
The MIDI Data Analyzer is used to view, store and transmit bulk MIDI data. This
is useful for the following:
0 Checking which channel a MIDI device is trammitting on.
0 Observing the range of velocities transmitted by a MIDI keyboard.
0 Determining if a sync box is correctly sending song pointer
information.
0 Examining what MIDT messages are sent when activating sliders and
knobs on a MIDI synth.
0 Debugging and designing MIDI software.
Strings of MIDI commands may also be transmitted from the PC keyboard by
assigning them to the number keys. (See the MIDI Output Strings section.)
'The input port for the MIDI Data Analyzer is set in the Librarian Options Window
[Shift][F3]. The output port is determined by the port setting in the XSetup screen
on the line where the cursor is located.
The MIDI input data stream may be saved in a history buffer for viewing later on,
or it may be saved to disk and later retrieved. The contents of this history buffer
may be transmitted in bulk form .
The .MJDI Data Analyzer can be toggled between three different diclplay formats:
Grid: For viewing channelized data in a structured, matrix-style format.
Fonnatted: For viewing streams of data with relevant command descriptions.
Bulk: For examining large bulk dumps of data in raw form.
Although the Work Area differs for each of these modes, each :oihare the same
menu commands. The status area is the same in all three display modes, except for
the MIDI real time monitor in the Grid Mode.

MIDI Data Analyzer - 215

MIDI Data Analyzer Status Area

MIDI Data Analyzer Status Area

-----~~~-~- "ltll Data Anal!J%er - - - - - - - - - - -
Clock enable:
History: OFF
°" RECEIVE
Display "'°de: GRID
il?i1lli STOP
sz:3
ACTIVE

Clock Enable Toggled on/off by the Oock Enable command in the menu area.
ON MIDI clock and active sense messages are displayed in the Worlc Area.
OFF MIDI clock and active sense messages are not displayed in the Worlc Area
to avoid cluttering the screen in situations where they are unimportant.
History Toggled by the History command in the menu area.
ON: The content~ of the History buffer is displayed. Incoming MIDI
information is ignored.
OFF: Incoming MIDI information is saved in the History Buffer.
History Pointer With History ON, this pointer indicates what part of the History Buffer is being
displayed (i.e. how many bytes ago the message at the top of the screen was
received).

'- Use PgUpl PgDn to scroll through the buffer.

Display Mode Indicates which of the three display modes is active: Grid, Fonnatted, or Bulk.
Receive, Full Indicates the status of the MIDI Data Analyzer receive buffer:
Overflow
RECEIVE: MIDI Data Analyzer is successfully receiving data
FULL: Buffer is full and cannot receive further data.

Use IMT:x command line oprion if the "FUU" message appears.

OVERFLOW: Data was input data faster than the computer could process it,
indicating that data may have been lost. Check the History Buffer to see how
much data wa~ actually received. If you have overflow problems, try using Grid
Mode, since it's the least likely to overflow on slower PC's.

Increase the Rece;ve buffer sfre in the L;brarian Optfons Window or

use the IRBUF:x command line option if overflow messages occur.

Start, Stop, (MIDI real time message monitor.) Appears in the GRID and MTC screens only.
Active Shows the current status of the incoming Song Position Pointer data.

216 - MIDI Data Analyzer

 About the MIDI Protocol

MIDI Data Analyzer Menu Commands

- - - - - - - - - - HIDI Data Analy:z:er Henu - - - - - - - - - -
ALL- Reset Clock- en Display History Panic Reset Trans~lt FILES
HIDl-Tlt1ECODE

The MIDI Data Analyzer menu commands are common to the Grid, Formatted,
and Bulk Hex mode screens.
-. Press the first letter of a command to activate it.

•!• If you have a mouse...

To access the menu commands with a mouse, pressing both mouse buttons
simultaneously to acttuate the mouse menu window.
All-Reset Similar to the Reset command, except that it also clears the History Buffer.
Clock-en Filters Clock and Active Sense messages so they don't clutter up the screen.
Display Toggles between Grid, Formatted and Bulk display modes.
History Enables the History Mode function.
Panic Sends "Note Off' and "All Notes Off' commands to reset all synths. This is
particularly useful to tum off notes that are stuck "on."
Reset Clears the work area of all displayed data. Does not affect the History Buffer.
Transmit Transmits the contents of the History Buffer to an instrument.
FILES Activates the Files Screen to save or load the history buffer as a file.
MIDI TIME Activates MIDI Time Code screen.
Code

About the MIDI Protocol

To understand how the MIDI Data Analyzer operates, consider this short synopsis
of the MIDI protocol.
MIDI Message MIDI messages can contain two types of bytes:
Format
Status bytes Define the type of message and its MIDI channel.
Data Bytes Follow certain types of status bytes which require specific
information in the message. For example, in the following Note On message:
92 55 32
The status byte, 92, indicates that the message is a Note On message for MIDI
channel 3. The second and third bytes are data bytes defining the pitch of the note
as 55 and the velocity as 32.
MIDI messages have a maximum of two data bytes, except for System Exclusive
messages, which can contain any number of data bytes.

MIDI Data Analyzer - 217

About the MIDI Protocol

System Exclusive Format: FO <ID> xx xx F7

Status Byte Definition
FO SysEx Status Byte
<ID> Type of SyEx Message
xx xx xx ... Any number of Data Bytes
F7 End of Exclusive Status Byte

MIDI Message MIDI messages also occur in two basic types:

Types
Channel specific messages lbese are used to route data to specific
instruments via channel assignments. For instance, note information and program
change information would be channel specific.
Non-channel specific messages Certain commands are not meant for a
specific instrument, but instead are available to any instrument in the MIDI
network. For example, the MIDI Qock message would be accessible to every
instrument that could sync to MIDI clock.

218 - MIDI Data Analyzer

 .....----~~--~- "ltll Dt1tt1 Ant1l',lzer - - - - - - - -- - -
Clock eni•b le: OH JIECE JUE :!i:mm STOP ACT IVE
Hlstor'l : OFF Displt1'l 100tle : GRID 52 :3

CHMHEL 1 z 3 4 5 & 7 9 9 18 11 1Z 13 14 15 1&

•11•111111 59 62 3& 42
PYCH 59 59 3& 39
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PY ttOTE
CTJIL lftm . .. ... ... ... ... ...
PG" CHG 19 27 &5 11 e e e 126 e 8
CH PRES
BEltD HI
" " " 8 8

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Sysex:
EOX: Song Ptr: Song Sel: Tune:
re: Reset: Unknown :

.,__ _ _ _ _ _ _ _ _ _ "ID! Dt1tt1 Ant1l!12!er "9nu -----------11

ALL-Reset Clock-en Dlspllly History Panic Reset Trt1ns"lt FILES
"IDl-Tl"ECODE

Grid Mode
' - M to enter from the Setup Screen . [Esc] returns to Setup.
Grid Mode Shows channel related MIDI data as 16 columns (one per MIDI
channel) and 8 rows (for the 8 types of channel specific MIDI commands.)
Grid mode is useful for viewing channel-specific information, such as locating
stray notes from an external hardware sequencer or another computer, checking
what a master keyboard or other controller is sending, etc..
The contents of the grid may be cleared with the Reset command in the menu area.

Channel-speci(ic MIDI messages

Channel specific MIDI messages are displayed in decimal (rather than hex) form in
their respective MIDI channel column in the Grid area.
Columns Each column corresponds to one of the 16 MIDI channels.
Rows Each row corresponds to a specific class of MIDI status byte.
By observing the data activity in each of the grid cells, it is easy to decipher the
density of data passing through each MIDI channel.

Examining two byte MIDI Data

Some MIDI commands have two data bytes. While Grid MODE can show one byte
at a time, you can select which of the two bytes will be displayed.
When the MIDI in5trument sends a Note On message , for example, it sends two
data bytes: one for the pitch of the note, and the other for the velocity. The default
setup of Grid Mode will display the pitch, but this can be changed to display the
velocity by highlighting the ON PTCH command and toggling the + - key to
display ON VEL.

MIDI Data Analyzer - 219

Channel-specific MIDI messages

To view two-byte channel-specific MIDI messages

<D Move the cursor up or down to highlight the command name in the
command column
~ Press + to view alternate bytes in the cell. (See the listing of
multi-byte commands below.)

Row definitions and alternate data byte values

1be status byte and corresponding data in the GRID rows are listed in the
following table.
For two-byte messages, the second byte may be viewed by pressing the"+" key
while highlighting the message name in the left hand column of the GRID display.
Where applicable, the second data byte is shown here below the primary data byte.

Bytes and Data in Grid Mode

STATUS BYTE First DATA BYTE •••
Second DATA BYTE
8x OFF PTCH (Note-Off Pitch)
OFF VEL (Note-OFF Velocity)
9x ON PTCH (Note-On Pitch)
ON VEL (note-On Velocity)
PY NOTE
(Poly Pressure Note Number)
PY PRES (Poly Pressure Value)
Cx PGM CHG (Program Change)
Dx CH PRES (Channel Pressure)
Ex BEND HI
(Pitch Bend, High Byte)
BEND LO
(Pitch Bend, Low Byte)
Bx (121 or less) MODENUM
(Mode Change Number)
MODE DAT
(Mode Change Data)
Bx (122 or above) CTRL # (Controller Number)
CTRL VAL (Controller Value)

• x = channel number in all instances above.

0 Normal designation
**Alternate designation

220 - MIDI Data Analyzer

 Non-channel specific MIDI messages

The status IJyte Bx can be either a control change command or a

mode change, depending on whether the first data byte is greater
than 122. Refer to the MIDI spec for details.

Non-channel specific MIDI messages

MIDI data that does not pertain to a specific channel is displayed below the grid as
follows.

MIDI messages with no data bytes (e.g. the tune message) will
display an X when received.

Sysex Refers to System Exclusive Messages. Can be followed by any number of data
bytes. If they won't all fit on the screen, only the first 16 data bytes are displayed.
EOX An Xis displayed here when the End Of System Exclusive Message is received.
Song Ptr The Song Position Pointer message has two data bytes that together make up the
song position . The value displayed indicates the number of elapsed sixteenth notes
from the beginning of a song. When received, the two data bytes are combined to
make one 14-bit number displayed in decimal.
MTC Displays the single data byte of a MIDI Timecode message (1/4 frame type).
Because this message has a short duration, the displayed value is very difficult to
see and should be observed with the MIDI Timecode screen.
Song Se/ The single data byte Song Select message (song number) is displayed in decimal.
Reset The System Reset message has no data bytes. (An Xis displayed here when it's
received.)
Tune The Tune Command has no data bytes. (An X is displayed here when it's received.)
Unknown If a MIDI message that is not currently defined is received, its status byte is shown
here. This can happen in two cases: A malfunctioning MIDI device, or a currently
undefined MIDI command has been received from a MIDI device.

MIDI Data Analyzer - 221

MIDI Real Time Monitor

MIDI Real Time Monitor ijm:u STOP ACT IVE

The right hand portion of the Grid Mode status sz:3
area lets you monitor MIDI real time
commands transmitted by an external device SPP Indicator
without having to study clock commands in the wotk area.

The Real Time Monitor is also displayed in the MIDI Time Code
screen.

SPP Indicator Shows the current value of the Song Pointer Position io the following format:
MIDI Beats:MIDI Clocks
The Song Position Pointer value indicates the number of MIDI Beats that have
elapsed since the beginning of a song.
One Quarter Note =24 MIDI Clocks
One MIDI Beat =6 MIDI Clocks (1/16th Note)
The SPP Indicator responds to MIDI Sync in the same way that other devices do:
Q MIDI clocks are ignores if the device is stopped.
Q It will reset to 0:0 when start messages are received.
Q It will not reset when a continue message is received.
Stan The START indicator is highlighted whenever the external device issues a Start or
Continue command, ie. the device is running.
If the device sends a Start message, the current position is set to zero.
If it sent a Continue message, the current position is not reset.
Stop The STOP indicator is highlighted whenever the external device issues a stop
command, i.e the device is stopped.
Active (Active Sensing) Flashes whenever an Active Sensing message is received. (An
Active Sensing message is sent periodically by some synths to show that they are
still active.)
MIDI- TIME Activates the MIDI Timecode screen.
code

222 - MIDI Data Analyzer

 Hldl Data Anal!J%er
Clock enable: OFF RECEIVE
History Pointer: 211 Di sp hty 1110de : FOlll1ATTED TRACE

l'lote On : 91 37 4d
Hote Off : 81 37 48
03 20 48
82 3e 48
£821 39 48
l'lote On : 99 2a 57
(991 23 7f
93 28 7f
92 3b 7f
(921 411 7£
91 Ja &1
Hote Off : 01 3,. 48
09 2a 411
£091 23 48
02 Jb 48
(821 411 48
HIDI Data Analyzer Henu
ALL-Reset Clock-en Display History Panic Reset Transroit FILES
HIDl-Tl"ECODE

Formatted Trace Mode

'- D to enter from the Grid Mode Screen. [Esc] returns to Setup.
Fonnatted Trace Mode displays MIDI messages in the order they're received as
hexadecimal bytes, along with an English translation. As the screen fills, the oldest
commands scroll off the top of the screen.
This mode is useful for analyzing MIDI data streams, such as those transmitted by
a synthesizer when a panel button is pressed.
MIDI commands are displayed in their entirety, one command per line, in the
following fonnat:
command name : status byte data bytes

Formatted Trace Work Area

Successive For clarity, the command name is only printed ifit differs from the previous one.
Commands For example, a group of pitch bend commands would be displayed as follows:
Pitch bend eo 23 11
Pitch Bend eO 23 12
Pitch Bend eO 23 13
Running If a message is received with running status, the implied status byte is displayed in
Status brackets:
Note On 93 54 70
Note On (93)56 73
A special case of this is when a Note On with velocity zero is received. In this
case, the MIDI Data Analyzer correctly interprets this as an implied Note Off as
follows:

MIDI Data Analyzer - 223

Formatted Trace Worl< Area
Note Off [91) 65 0
Real Time To conserve screen space, Clock and Active Sense messages are displayed with
Messages multiple messages on a line.
For instance, a note message in the middle of a group of clocks is displayed as
follows:
Clock F8 F8 F8 F8 F8 F8 F8 F8
Note On 94 15 65
Note Off 84 15 40
Clock F8 F8 F8 F8 F8 F8 F8 F8 F8
F8 F8 F8 F8 F8 F8 F8 F8 F8

If the work area fills up with Clock or Active Sensing messages, try
blocking them with the Clock En command in the menu area.

The MIDI protocol specifies that Real Time commands can occur in the middle of
other messages.
For example, the MIDI string:
90 F8 35 77
defines a note on message with a clock in the middle of it.
Formatted display mode would show this stream as follows:
Note On 90 35 77
Within last Message F8

Please refer to the MIDI specification for additional infonnation

concerning MIDI protocol conventions.

224 - MIDI Data Analyzer

 ......
~-~==~=~~--
Cloe~ enable: OFF
111<11 Data Analyzer ~------------
RECEIVE
Histor~ Point.er: &21 Displa~ 100de: BULK HEX TRACE

Bulk Hex Display Mode

• D to enter from the Formatted Trace mode screen. [Escj to return to
Formatted trace.
Bulle Hex Display Mode shows as much MIDI data as possible for a raw and exact
picture of all the hexadecimal MIDI bytes. This is useful for looking at long system
exclusive messages (like patch dumps) or examining large numbers of successive
MIDI commands. Bulle Hex Display Mode is also the only way to look at the order
in which real time commands are received.
Status bytes are displayed in reverse video to help identify where the messages
start.

MIDI Encoded ASCII

Bulle Hex Display Mode also displays MIDI encoded ASCII, allowing the MIDI
Data Analyzer to display text sent over MIDI. The following message is used to
encode an ASCII character:
fO 03 21 xx f7
where xx is the ASCII byte (0 .. 7f). A carriage return (10) forces a carriage
return/line feed.

Developers of dedicated microprocessor controlled boxes will find it

very convenient to be able to write messages to an external screen.

MIDI Data Analyzer - 225

History Mode
The MIDI Data Analyzer History Buffer stores the most recent data received in the
assigned MIDI port.
For example, if something strange happen.'! periodically in the MIDI network,
History Mode could monitor system activity and capture the data that could be
causing the problem.

Although the History buffer default size is 10.000 bytes, it may be

expanded up to 32,000 bytes with the IMI:xx command line option
(su the section on Command Line Options).

The Transmit command is used to transmit the contents of the History Buffer to an
instrument. This is useful for simulating bulk dumps of MIDI data.

Capturing MIDI data into the History Buffer

MIDI data is continuously loaded into the History Buffer (white any MIDI Data
Analyzer mode is active) unless History Mode is turned on. The most recent bytes
that entered the selected input port will be stored.
. Formatted Trace Mode must decipher incoming MIDI commands as they occur,
which makes it slower than the other two modes. Because of this, it can sometimes
overflow when it's receiving vast amounts of MIDI data.
Since Grid Mode doesn't have to scroll or process the saeen data, it rarely
overflows.
Thus, to view a large burst of data in Fonnatted Trace Mode, use Grid Mode to
capture the data, then view the History buffer in Formatted trace mode.

The History Buffer is not cleared each time History Mode is exited. It
must be cleared manually with the All-reset option.

To use the MIDI Data Analyzer for Bulk Data Dumps

<D Refer to the instrument's owner's manual to find the MIDI command
string definition for initiating a bulk dump to make the imtrumem
send the contents of it's program memory over MIDI.
<2> lnitfate the buJk dump by sending the message as one of the ten MIDI
strings in the MIDI Data Analyzer.
~ After dumping the instrument memory into the MIDI Data Analyzer,
save the contents of the History Buffer to disk by entering the Files
Saeen.

@ To transmit data, press load the desired MIDI file from the files screen
and press T to transmit.

226 - MIDI Data Analyzer

 Capturing MIDI data into the History Buffer

To view the History buffer contents

<D Press H for History Mode in the menu area of any MIDI Data
Analyzer screen.
® Turn History Mode ON so that bytes from the History Buffer will be
displayed on the screen, and all incoming bytes will be ignored.
@ Use PgUp I PgDn to scroll through the buffer data.

@ The History Pointer shows the position of the History Buffer.

For instance, a reading of l 00 indicates that the first line of the screen
is the message that occurred 100 bytes ago. Thus, the History Pointer
is 0 for the most recent byte, and increases the farther back the buffer
is scrolled.
<ID Toggle the display modes to view the History buffer data in the three
modes.

MIDI Data Analyzer - 227

 Define Output Strings
Clock enable: ON RECEIVE START ilDJI ACTIVE
Histor!,1: OFF Displa!,! node: GRID 8:8

Wl :
•z: fc
13: £8
l<I: £8 £8 £8 fB £8 f8 f8 f8 f8 £8 fB f8 f8 £8 £8 f9 £8 £8 f8 f8 f8 £8
15: f8 f 8
16:
•T:
18:
19:
118 :

MIDI Data Analyzer Menu

** ENTER MIDI SIRING ** Use+ .. HOME END to position cursor .
INS - Insert , DEL - delete, CTRL_END - clear to end, ESC - abort entry

Define Output Strings Screen ---

-. From any MIDI Data Analyzer screen, press a number key from 0 through 9
while pressing [Shift] . [Esc] to exit.
The Define Output Strin~ Screen may be used to define up to 10 strin~ of MIDI
commands, one for each number key.

0 MIDI Data strings may then be transmitted from any of the three
MIDI Data Analyzer screen modes by pressing the number key
assigned to the string.
0 MIDI Data Strings may also be transmitted from the Bank Arranger
screen when using Generic Instrument mode.
A typical use of data string transmission would be to send a SysEx dump request
message to initiate a patch memory dump from a synth. It is also used with Generic
Instrument.

WARNING: The ability to transmit any MIDI command means that

you also have the ability to inadvertently alter or erase your patch
memory by sending the wrong commands to your synth. SO BE
CAREFUL!

228 - MIDI Data Analyzer

 Capturing MIDI data into the History Buffer

To Define a MIDI String

<D Hold the [Shift] key while pressing the number key to be assigned to
the string.
® The Define Output Strings screen appears, showing all 10 strings, with
the desired string highlighted and ready to be edited.

@ Type the string of hexadecimal bytes. Edit using the keys listed below.
Be sure to separate each Hex byte with a space.

© When the string is completed, press [Enter] to return to Midi Data

Analyzer screen.

A string may consist of up to 22 valid Hexadecimal Bytes, the value

of which are Hex FE or less. An error message will flash in the menu
area if a string is invalid.

Define Output Strings Editing Keys

Key Function/Purpose
[~][~)[Home] [End] Move cursor
[Backspace] Delete character
[Del] [Ins] Delete/insert mode
[Enter] Done editing
[Ctrl] [End] Delete to end of line
[Esc] Discard new string
definition/retain previous
definition.

To Transmit a MIDI string

<D Transmit the string from any of the MIDI Data Analyzer screens by
pressing the number key corresponding to that string.

Data String key assignments can be saved in the configuration file.

Tirey are not saved with the song file.

To save the Data String Assignments

<D Activate the Configuration Window, [F4].

~ Press S for Save, and Y for "Yes".

MIDI Data Analyzer - 229

 Midi JlrMH:ode
Clock e,,.ble: ON RECEIVE START illlII ACTIVE
History : Off Total fra"es received: 8 8 :8
Z1 fra"es/Second
fr•-• =

• •
• •
Tl _code Reader Menu
fra-. Teat

MIDI Timecode Screen

• M from any MIDI Data Analyzer screen. [Esc] to exit.
MIDI Timecode provides a way to trammit SMPTE time code via MIDI. When a
frame number is received in the MIDI Timecode screen, it's displayed as:
Hours:Mlnutes:Seconds
Total Frames 1be status area shows the total count of frames received.
SMPTE Type 1be SMPTE frame rate (24 f/s, 25 f/s, 30 f/s drop frame , or 30 f/s non-drop), is
displayed in the upper right-hand comer of the work area.
Frame Monitor Since the frames come in too fast to see individually, the individual frame numbers
are displayed in a bar graph above the H:M:S display
Frames Tums the frame monitor on/off.
Test Activates the MIDI time code test, which generates MTC messages. 1be test
generator only sends 30 f/s non-drop MTC. Note that the test messages are not
meant to transmit an accurate timing reference, but they can be used to test any
software you are working on that reads MTC.
READ Shows the SMPTE time being generated or read by the MIDI interface's internal
SMPTE reader/generator. When in READ mode, the V-24s interface will generate
MTC on output port 4, and the Yamaha Cl will generate MTC on output port 8.

Although this MTC wm correspond to the displayed SMPTE time, it

is not accurate enough to be used as a sync source.

230 - MIDI Data Analyzer

AppENdix
Features Summary
1bis section provides a features summary for Sequencer Plus Junior, Sequencer
Plus and Sequencer Plus Gold version 4.0.
(:]]}]}: Note: Shading indicates new feature in 4.0 0 D• Bank Arranger Screen for uploading,
downloading, archiving and arranging
Jr1 SfJI a Screens/Windows
instrument patches.
• • • Main Screen for controlling track information. DD• Librarian Options Window for setting up
librarian-specific defaults.
• • • View Screen for manipulating tracks and
measures. DD• Bar Monitor for viewing song position from a
distance
• • • Note Edit Screen to edit note parameters.
DD• MIDI Data Analyzer Screens for viewing,
• • • MIDI Edit Screen to edit non-note MIDI data. storing, sending and receiving MIDI data.
• • • Configuration Window to set environment. DD• MTC Monitor Screen for viewing MIDI Time
• • • Options Window to set the operating default Code.
settings.
DD• MIDI Strings Editor Screen
ii.~iU :\ MIDI Interface Configuration Window shows
: ::::::::..:''}':' ::: features supported by the interface installed. Jr1.., a Misc. Features
iiili> QWERTY Keyboard Window for playing and
:<Yi: :JJ recording notes with the PC keyboard.
• • • Mo.u se support for acccessing most program
functions with a Microsoft compatible mouse.
:m ••Hi: Metronome Window for controlling metronome • • • Key Buffer Option and enhanoad single-key
:!(.; ·;;:;:: parameters. cursor controls facilitate the use of third-party
\t:lWI '@: Sync Assignment Window for direct control macro programs.
:)) ;>:;: '\ over MIDI interface sync hardware. DD• ln.s trument Help for Instruments supported by

lllilll!1 1 i~=-!= :~;::~,=~ ~u~~ ~Zrt

the Universal Librarian details the setup
1 procedure for each device.
Generic Sysex support for uploading bulk
=tUll?U Super Quantize Window (See super quantize sysex data from instruments. Allows storing
: :J?!::?ri transforms.) patches for instruments not defined In the
Universal Librarian. Data block size is llmltad
QSt•FU Dlgltal Delay Length (DDL) Calculator
only by system RAM size.

~ii1~§f~1i~~
OD• Bulk M.IDI Data Upload and Download for
uploading, storing, transmitting and analyzing
large blocks of MIDI data.
Jr1 .., a Ml/)/ Interface Features

liili~~~~;~§~:.M_
D• • Block Moves screen for easily cutting and
pasting sections of track and measure data.
D• • Display Setup Window for setting video
options.
O• • Punch-In Window to record within a section at

O• •
any point.
Transforms Window (See transforms.)
Ill!· ~=:~l~~~s~~:~~=~:~:::~~er.
• • • Roland MPU-401/ Voyetra V-400x compatible
O• • Notepad Window to save text along with the (UART mode only, FSK and Metronome are
song. not supported).
DD• Network Organizer (Setup Screen) for
loading banks of programs to 32 instruments. •••
• • •
Yamaha C1 compatible .
MIDI Interface reset command initializes
OO• Instrument Assignment Window for easily interface modified by misbehaving programs.
assigning Instruments to the Network Organizer
OD• Instrument Banks Window to assign program
ii Iii ) MIDI Port Select (Requires multi-port interface)
banks to instruments in the setup. I ill• •MIDI Rechannellzer sends MIDI inputs on

1~1 •:~~~:~:.e~:r::yf: :~:::::s::=~~=

1
DD• Programs Window for assigning programs to
Instruments In the setup.
) <from more than one MIDI input port. (Requires
<) <multi-port interface) .

Features Summary - 231

 .1r1 ..- a Flies suppott Features • • • Loop Tracks of different lengths without
unwanted gaps.
aaatJ Enhanced Flies Screen allows Instant access ii8 ( Mute and Solo while playing.
,.j.!'_..!:.1:... ji.lii!i··::.1·'! ~~!~~~ :~!rectory, create o i l lt= MIDI Volume and Pan settings on each track.

c••t\ Fiie sorting functions for displaying flies

'.: .,::,:.,::·::;·· -.·:,-.:: ~=:~='.~~~~~:°~~!'.based on
~11::1:1 ~=~~yt!:·~~!t:~: ~~o:=:
=>=::=:.:::==:::-\ value. Useful for controlHng the volume of

O• • Song List (Jukebox) Mode plays a list of

songs directly from the files screen.
.?>>: : ••• velocity sensitive MIDI synths that do not accept
MIDI volume changes.
dii ! Jump between active tracks In Main or View
• • • Load and save songs in Sp ver 4.0 Fiie format ) ( . •••screen with Tab key or by entering track
• • • Load/ save songs In MIDI Fiie format O and 1. :}~:r~:f~\{:; mnumber.
Load In MIDI FHe Format 2. O• • Automatic Track-Channel Aaalgnment
O• • Save songs in Sp v1.0 format. matches the track's MIDI channel to that of the
O• • Save songs in Personal Composer v1 .351 2.0 device being recorded.
format. D• • Track Playback Offset shifts each track
forward or backward from a single click to
O• • Load and Save Aacll fllea as Notepad text.
several bars.
fl ii ift Load songs In Adllb .ROL Ale format.
O• • Multi-track Record Mode for simultaneous
ciiilli Load end Save Tracks as lndlvldual fllea to recording of up to HI MIDI channels, each
keep llbrarles of drum patterns, bass llnes, riffs, automatically assigned to its own track.
chord changes and MIDI special effects (such
as sequences of program changes) on disk. OD• Sub-master Track Grouping for creating up to
26 groups of tracks each controlled In one
.1r1 ..- a Video Display Features operation .
OO• Group! Arrange Commands for manipulating
• • • HIRea video modes to display 50 (43) Hnes of groups of tracks.
text on a VGA (EGA) monitor and up to 60
Anes of text (51 tracks) with Video 7 VGA cards. .1r1 ..- a Playl Record Features
• • • Magic Combo HI Rea Monochrome mode
displays 44 Hnes of text on a Mono Monitor wl • • • Insert Notes from the computer keyboard or
with a mouse.
Magic Combo Card
• • • Slow CGA option for eliminating "snow" on • • • Note Trigger plays notes in the Edit sc;reen as
some CGA screens. they're highlighted for effortless song editing
and scanning for specific sounds.
• • • Automatic Display Scrolllng In VIEW and
EDIT always shows what's playing. • • • Non-destructive playback quantizing from
quarter notes to 64th note triplets.
• • • Scroll Freeze keeps edit display in the pitch
range of your choice. • • • Global Program Chase sets the proper
instrument program numbers when song Is not
O• • Display options for changing the color of started at the beginning.
screen attrbutes and eliminating unimportant
information you don't need. • • • MIDI record filter selectively blocks continuous
controller data from being recorded onto a track.
O • • Chromatic/ Numeric Transposition Dlsplay
shows transpose Intervals in musical terms or • • • Auto Sustain Pedal Up effminates "hanging"
In# of semitones (eg. M3 or 4 for Major third) . notes If song stops before "Pedal Up"
commands are sent.
'll'lhi l Note Display By Flats/ Sharps/ MIDI Note #I
jj • • { Velocity Input record filter to block out
'.,.:. i:::.:.:1..:1.1::: : ::;~~~:re·,::; ;~~k~~~~ ~r~1 ). :=:::.::.:=:=.;:=:::: :;: velocity data from a track.

.1r1 ..- a Track Related Features tJJli }Velocity Input scaling during record allows
•.=•. •. .• .• •. ·.=·.=.•·.•.=· =·•.=.• =.• ·. ) velocity data to be shifted as it's being recorded
:::=:=;:;: into a track.
Independent Polyphonic Tracks, each with
1500 independent control over MIDI Port, MIDI bi i : Advanced Step Entry mode for inserting notes
channel, program number, track looping,. ··•:=/=.••·-=·::::=: in non-real time using a MIDI keyboard.
transposition, non-{jestructive track quantize, • • • Dynamic Program Change disables every
mute and solo (while playing). track's initial program setting without affecting
o•• Trackscantm option selects the number of
working tracks to optimize song memory. b·•• · program changes embedded In the tracks.
Track assignable Dynamic Program Change
3/ et 11 Memory buffers to copy , insert, replace add, :;==:::. =·/ allows dynamic program change feature (see
extend and delete parts of a track anywhere in ; · . ·= : : : above) to be assigned to particular tracks rather
the song. < := ) than affect all tracks.

••• Up to 50,000 Notes Per Song (with 640K RAM)

232 - Features Summary

0 • • Punch-In recording in any track to Multlple Programmable Tempo Tracks: Insert
automatically start and stop the record process tempo variations as dense as one per click
within a specified range. (nearly 800 per measure~ In any number of
0 • • Auto-Insert for inserting notes of fixed duration multiple tracks and select which track will be
or user defined durations and note parameters. active. Experiment with various tempo map
effects. Make the music match up with film
D• • Play Range to play and repeat a spedfic
portion of the song. <I
::;
.,[j} cues. Push the beat as you swing Into choruses
and lay back during verses.
0 0 • View program names that correspond to
D• • Sync to Song Position Pointer (SPP)
program numbers embedded into a track by
accessing the Programs Window in any screen. D• • Real Time Spp Defeat to sync pattern mode
drum machines.
Jrt Bpi o Timing/Sync Features
D• • Sync Chase Mode lets your tape deck run
your song. ·
• • • Complete freedom of time signatures and
polyrhythms. Any measure In any track can D• • Selectable 96or192PPQ resolution .
have a different meter. "'' Bpi a SMPTE Features
• • • Beat Counter displays song position In
BAR :BEATS format to allow monitoring song 0 • • SMPTE Calculator displays the SMPTE time of
position regardless of the complexity of time cursor position or current SMPTE time as song
signatures. plays. Supports all frame rates. SMPTE
Calculations are accurate to 11100th of a frame/

=
• • • Smart Time Sig updates the time signature
reference track when using multiple tracks with SMPTE t11pe offset to start recording at any
differing time signatures. =·=·.===··==·=· ·=====·=· ··' SMPTE time offset from tape stripe time.

!•1!1111 •! :::;::::: v~~f=~:rk::~elected time

(·······
< •. } < (Requires V-24s or MIDI interface that supports
this feature.)
Absolute and Relative SMPTE counters for
::i':':=.::·:::'.i·:j·=::· ~~;ha~:: i;,::p;>,::~·v~=: :~u~~:'m"::!at ''''''''''·'·''''''''''''' monitoring the frame numbers recorded on tape
or viewing the song's elapsed time from any
\)' : ::?:// the metronome sound.
O•••@
(?
Metronome transmitted as MIDI notes.
\ ::: Duration, Upbeat and downbeat pitch, channel
SMPTE offset.
Automatic SMPTE rate detector deterrmlnes
the incoming SMPTE rate and sets the Internal

·~~~£:~~=~··
frame rate for proper sync lock. (Requires
V-24s or MIDI interface that supports this
feature.)
Auto-rate defeat allows fast SMPTE locking
))({)) and Is less sensitive to the effects of bad
'.•.•.•.=.•.•.i •.•.:.=.•.·.•.•.•.•.=.·,.·\@ rates (241 251 29.97/ 30/ Drop Frame) (Requires SMPTE stripes. (Requires V-24s or MIDI
......... \) V-24s or MIDI interface that supports this
interface that supports this feature.)

·1 1111:•; .:;;:;~MIDI Time Code (MTC) SMPTE dropout detector allows you to specify
the number of frames of bad or missing time
•Q. j .i. ••\ rap Tempo mode to record "free-form" code before sync is lost. (Requires V-24s or

llllgf:F~;f~;§;;~:
:,:,::=::::::;.::,:::,,,,.,,.,,,, MIDI interface that supports this feature.)
SMPTE stall detector senses redundant
SMPTE code and optionally stop the song.
(Reqµires V-24s or MIDI interface that supports
::::: //}('=••=• click track. (Requires V-24s or MIDI interface this feature.)
? ::;:: ] that supports this feature.) Hit Point Locator finds any posttion in the

•; :r; /)/! ~~~i:~ifs"i:p;~!so/i:,~;;r;;

song spedfied as (Hrs: Min: Sec: Frm: Subfrm)
for Time Markers allow 1O song positions to be
=·=<·:::::::=·=·=-=-==·= named and defined as SMPTE time or (Bar:
/) :/ <
.::::
Beat: Click) so they can be accessed with a
single keystroke.

Features Summary - 233

 Transforms Summary
Transfonns alter the selected MIDI data in a range of tracks and measures.
Transfonn functiom are non-bar bounded: Start and End points of a range can be
defined down to the [BAR:BEAT:CLICK.) level.

:1 11:11:11::1 :::~~:;::: ::::;;t=::~M!t°~:::~

.1r1 'P' o Time Transfonns ·
M... tlm9 related MIDI note data. • ' ' )) : MIDI data.
D• • Quantize Start Time: Move note start times dii.Jj! Offset: Time-shifts non-note MIDI data by a
towa!ds the closest selected time-unit division : :?\ ::: ;, specified amount.
of the beat. Degree can be adjusted from 1 to

o•• 100% for varying "tightness" of rhythm.

Set Duration: Set all note lengths to the
epedfled value.
111111 1 :1 :1 /l ~~~~=~?=~e-=~~the
.1r1.,.. o Misc. Transfonns
0 • • Adfuat Duration: Addi delete specified
number of "dk::ks" from all note lengths. O• • Merge: Combine data from two separate
O• • Quantize Duration: Alter note lengths by tracks Into one.
moving them towards the closest time-unit O• • Track Reber: Change all of the time

D•• division of the beat.

Retrograde: Reverse the order of notes and
MIDI data so that the range plays bac:kwa!ds. O• •
signatures In an entire track to be the NIM aa
the time signatures In another track.
Range Rebar: Change time signatures In
illil!' ]j·'!"·1 ~~t::;•::~:=~~~ retrograde range to specified value. Useful for removing a
single beat from a measure .
0 • • Offset: Time-shift notes and MIDI data .1r1.,.. o Spilt Transfonns
forward or back.
O• • Compreu{ Expand: Squeeze or stretch Moves note• that fall within a s,,.afic tangfl of values to
timing of events by a given ratio without a new tracl<.
chenglng overall tempo or affecting bar llnes. O• • Pitch: Spilt all notes within a specific pitch
(eg. 1:2 compression makes the range play In range.
double time. 201:200 expansion makes It
gradualy "fal behind".) O• • Quantize: Spilt notes within a specific
distance from the beat.
.1r1 . - o MIDI Transfonns O• • Velocity: Split notes within a specific range of
velocltles.
Alters ~ MIDI contro"9f' data, such as pitch bends,
O• • Duration: Spllt notes exceeding a specific

D•• length.
Modulus: Spilt every "nth" note. (eg. spfft
every seventh note starting with the second
one.)
.1r1.,.. o Random Transfonns
Randomizes MIDI data from 1% to 100%.
OO• Pitch: Randomize pitch, keeping all new notes
In the specified key. (SmaR % generates sllght
melodic variations, large% generates random
melodies.
O0 • Start Time: Randomize note start times by a
spedfled o/o.
O0 • Duration: Randomize note lengths by the
specified o/o.
O0 • Veloclty: Randomize velocity by the specified
{f{?f!f}] cresc values. o/o. (Large o/o generates random accents.)
J4:• •XtJ Thln: Intelligently deletes MIDI data from
})f:'JJ?H dense sections.

234 - Features Summary

 Jr1 ep1 o Pitch Transforms Jr1 ep1 a Super Quantize Transform
Alters note pitch values. r Alters note timing values based upon the
O• • Transpose: Shifts all notes up or down by the settings for a "quantize grid." Features Include:
specified number of octaves and semitones.
Swing: Creates a "swing feer' by moving
D • • Harmonic Transpose: Ke$pS the transposed every other beat forward or backward by a
notes In one of 84 different keys (7 modes.) "swing 0/o".
0 • • Invert: "Rips" notes over a specified axis.
0 • • Harmonic Invert: Keeps the "flipped" notes In Preserve Duration: Ke$ps the Initial duration
a specific key. quantizing the note's start time position.
0 • • Map: Turns sp.eclflc notes In one octave Into Sensitivity: Determines which notes will be
new notes In a different octave. (eg. tur.n all
moved during quantization relative to how
"C" notes into "G" notes.) Useful for ch;mglng
close or far they are from the quantization grid
drum assignments (eg. make all toms into
points.
snare$)
O• • Key Sig Window: Specifies key for notes Sensitivity Mode: S.elects whether notes that
generated by harmonic transforms. are furthest or closest to the beat will be
Jrl ep1 o Tempo Transforms moved.

Alters tempo events embedded in a track. Tuples: Fits a specified number of notes Into
spiice of another number of notes. (eg. a
jjjji@::: Accelerando: Generates various smooth setting of 2 in the space of 3 fits 3 notes into

.:•=,'•,•11·:,··•.•,•••·•:·•········::.· ~~:~c~~ng:,;~':!~:!1~!rcific the space of two eighth notes.)

!'d.j 'i : <:=: Scale: Multiplies tempo values by a specified

::'.:,:·'.)'j).·',').·jj!!j',ij!·)_!!i ~~~~t to slow or speed the tempo within the

:o j.i f}: Thin: Delete tempo data from dense ranges.

)O ji:];:;: Shift: add/subtract a specific value from all

l~~~§E::.~-
"'" \;:;• :: metronome or generating a tempo track from
:::''): : : ' f an audio click or drum beat.
Velocity Transforms
Alters note velocity values.
0 • • Set: Sets all "note-on" velocities to the
specified value.
D • • Set Note Off: Same as SET but for "note-off''
velocity.
0 • • Adjust: Addi subtract from all "note-on"
velocities.
O• • Adjust Note Off: Same, but for "note-off''
velocity.
0 • • Compress/expand: adjusts note velocites
closer or further from the average velocity in
the range by a specified amount.
0 • • Crescendo! Decrescendo: Adjust velocities to
incrementally rise or fall between specified
starting and ending values
)Q'.l il '.:]] Relative Crescendo: Preserves original
tf}(J?J':,:. dcrynesacmendollcsbydecaddr99incegorndosubvatlrua99
cti.ng the
::;:::::::::::~~~~~~~~~~~~~~~

Features Summary - 235

Features Summary

236 - Features Summary

Sound Blaster and AdLib Cards
Sound Blaster
The Sound Blaster card, manufactured by Creative Labs, Ltd., is a multipurpose PC
expansion card that provides a MIDI port, an FM Synthesizer, 8 bit Digital audio
record/ playback and a dual joystick port. Sequencer Plus Gold may be used to
record and playback using the Sound Blaster MIDI port as well as playback via the
FM sound generator. Sp Gold's FM Voice Editor may also be used to edit the
Sound Blaster FM sounds.

AdLib Card
The AdLib Game card is equivalent to the FM Synth section ofthe Sound Blaster
Card. It may be used alone or in conjunction with a MIDI interface to provide the
same features as the Sound Blaster Card with Sp Gold.

For instructions on how to install the Sound Blaster and AdLib

Cards with Sp Gold. refer to the section called "Installation."

Controlling FM Synth Cards

The Main screen track port setting is used to assign tracks to the FM synth card or
an external MIDI synthesizer. When a recorded track is assigned to the FM synth
(port 2), the track's channel setting determines the FM sound played by the track.

To set the FM sounds onto a different port, use the /PORT command
line options described in the Command Line Options section.

Main screen port, channel and program Tracks set to PORT 1 will
settings determine which instruments and play external MIDI
sounds will be assigned to each track. instruments

Song IJEEBOP MIDI Synth set to receive on

Tk 4 Dru"s BPH 112 Chan 10 plays program 49
MIDI Synth set to receive on
Irk N""e Pt Ch Gp Prg Chan 8 plays program 3
1 C I ick 1 10 '19
2 Hlhat 1 0 3 MIDI Synth set to receive on
3 Plano 1 11 7 -------- Chan 11 plays program 7
- Druns Z ID . 14 :::::::------_
5 Bass Z Z 32 ~~~~-------~
6 Plano 2 3 14 :::::---___..____ SB FM Synth plays program 14

~ ~~~~~-=------------- i i ~ ~::::::--.._____
1
~ SB FM Synth plays program 32
~~ SB FM Synth plays program 14
SB FM Synth plays program 51

Tracks set to PORT 2 will

play internal SB FM
instruments

Sound Blaster and AdLib Cards - 237

FM Synth Card Operating Modes

To play a track with the FM Synth sounds

<D Set the track to Port 2 in the Main Screen.
<2l If several tracks are set to port 2, use different channel numbers to
access different FM sounds (programs) for the track.

Tracks set to the same Port and channel will access the same sounds.

To play a track with external MIDI Synthesizers

The Sound Blaster includes a MIDI port that may be used with Sp Gold. The
AdLib card requires a separate MIDI interface in order to control external MIDI
synths.

<D Set the track to Port 1 in the Main Screen.

~ Set the track's channel so that it corresponds to the receive channel on
the MIDI synth.

FM Synth Card Operating Modes

The FM Synthesizer cards can operate in one of two modes:
Instrument Mode (Default Setting) Provides 9 FM voices.
• If at any point in tire song, more than 9 notes occur
simultaneously, FM voice 1 will be used to play note JO, losing
note 1, etc.
Drum Mode Provides 5 FM drum sounds on channel 10, and 6 monophonic
instruments on the remaining 15 channels. Thus, drum mode is capable of
simultaneously playing up to 11 sounds, which is two more than instrument
mode.
• As in Instrument mode, the 6 voices and 5 drums will be
allocated as needed. Thus, the song may have a maximum of 6
FM sounds at any point before voice 1 is robbed to play note
7, etc.

In drum mode. drums are assigned to channel 10 to conform with

the instrument mapping in the Roland MT-32 and l.APC. In addition,
the program assignments for the FM Synth Card have been chosen to
conform as closely as possible to the MT-321 LAPC assignments .
Thus, MIDI song ft/es mapped for the MT-321 l.APC should play in
close conformance with their intended orchestration.

238 - Sound Blaster and AdLib Cards

 FM Synth Card Operating Modes
Since voices are automatically allocated as needed, the FM sounds may be played
by a~signing 16 tracks to port 2 and setting each track to a different channel. In
instrument mode, as long as no more than 9 notes play simultaneously in all tracks,
it will seem as if there are actually more than 9 voices playing, even though SAPI
is "juggling" the voices and programs as it needs them .
If the FM Synth Card is in Drum Mode, up to 6 notes may play simultaneously and
the track assigned to channel IO will play the 5 drum sounds.

To set the FM Synth Card to Drum Mode...

<D Enter Program 126 on channel IO of any track set to port 2.

~ When the song plays, program change 126 will be transmitted to the
FM Synth Card, switching it into Drum Mode.

To set the FM Synth Card to Instrument Mode...

© Enter program 127 on channel 10 of any track set to port 2.
~ When the song plays, program change 127 will be transmitted to the
FM Synth Card, switching it into Instrument Mode.
-. Instrument and Drum modes may also be toggled from any screen in the
program with the [Alt) D key.

Using the [Alt]-D key to toggle drum and instrument modes will not
be saved as part of the song. Because of this, it is best to use the
program change method to change modes so that the FM Synth Card
will always switch in to the correct mode for the song.

The table below summarizes how the two operating modes respond to channel
settings on Port 2:

Port 2 Channels Instrument Mode Drum Mode

6 FM Instruments
1 • 9, 11-15
9 FM Instruments (Default)
5 Drum Sounds
10

To switch between modes, send program 126 (for drum mode) or 127 (for
instrument mode) on channel 10 port 2. Or use the Alt [DJ key.

Drum When the FM Synth Card is set to Drum Mode, all 5 drum sounds are controlled
Assignments via channel IO. Each drum sound responds to a specific note in the Note Edit
screen. Thus, to play a drum sound, simply insert a note at the proper note number
as follows:

Sound Blaster and AdLib Cards - 239

Sound Blaster MIDI In/Out* Modes

Drum Note Assignments

MIDI Note # I Drum Sound MIDI Note# /Drum Sound
35 Kick Drum 50Tom
36 Kick Drum 51 Cymbal
37 Closed High Hat 56 Closed High Hat
38 Snare 60Tom
39 Closed High Hat 61 Tom
40 Snare 62 Closed High Hat
41 Kick Drum 63Tom
42 Closed High Hat 64Tom
43 Kick Drum 65Tom
44 Closed High Hat 66Tom
45Tom 67Tom
46 Closed High Hat 68Tom
47Tom 69 Closed Hi Hat
48Tom 70 Closed Hi Hat
49 Cymbal 71 Closed Hi Hat
72 Closed Hi Hat
73Tom
75Tom

The drum note mapping has been selected to correspond as closely

as possible with the drum map of a Roland MT-321 LAPC.

Sound Blaster MIDI In/Out* Modes

* This features applies to Sound Blaster's equipped with pre 2 .0
ROM. If your Sound Blaster has ROM 2.0 or higher this feature will
not be needed and will not be a1'ailable.

The Sound Blaster can send and receive MIDI. but not at the same time .
As a consequence of this:

0 The Sound Blaster can 't play external MIDI synths while recording.
During record, tracks may be monitored by the Sound Blaster Fl\1
sounds.

240 - Sound Blaster and AdLib Cards

 Sound Blaster MIDI THRU Modes

Removing the IRQ jumper on the Sound Blaster disables the MIDI
port. This allows a separate MIDI intnface. such as the Voyetra
V-22!-24s or MPU-401 compatibles, to be used in place of the Sound
Blaster MIDI port. For details. see the introduction section
concerning specific MIDI inteifaces.

To toggle between MIDI in and MIDI out modes

<D Use the [ALT]-X key combination to toggle the Sound Blaster MIDI
port between IN and OUT modes.

~ The current MIDI status is displayed in the status area at the top of the
screen.

To play back any track over MIDI

<D Use [Alt]-X to toggle to MIDl:OUT. This activates the Sound Blaster
MIDI output path.

@ Press the spacebar to play the song.

To record from a MIDI keyboard...

<D Use [Alt)-X to toggle to MIDI:IN. This activates the Sound Blaster
MIDI input path.

~ Port and channel assignment does not matter during record as long a s
Auto-channel assign is turned on (see Options Window). To monitor
the MIDI keyboard with the Sound Blaster FM sounds, set the track to
port 2 and set MIDI Thro ON in the Configuration screen [F4).

® Press R, then the spacebar.

Sound Blaster MIDI THRU Modes

The MIDI Thru function determines if the MIDI input signal is passed through to
the FM port. In most cases, this will be left ON.

To monitor tracks with the FM sounds while recording

CD Access the MIDI Thru Window [Shift)[F9]. Set 11-IRU to CURRENT
and RECHANNEL to ON. This routes the incoming MIDI data to the
current track.

~ Use [Alt)-X to toggle to MIDI:IN. This activates the Sound Blaster

MIDI input p:ith.

@ Set each track to be monitored by the FM sound-; to Port 2. Tracks set

to port 1 during record will not play since MIDI cannot be transmitted
during record.

Sound Blaster and AdLib Cards - 241

Sound Blaster MIDI THRU Modes

MIDI IN/OUT = IN MIDI THRU = CURRENT

With MIDI IN and Thru ON, the MIDI data from xternal Highlighted lnterna S
an external synth plays the FM synth anigned to MIDI Synth tracl< set to FM Synth
the highlighted track (if the track is set to Port 2 PORT 2
for FM)

MIDI IN/OUT =IN MIDI THRU = OFF

Turning MIDI Thru OFF blocks the MIDI data from External Highlighted Internal SB
ptJSsing through to the FM synth. MIDI Synth tracl< set to FM Synth
PORT 2

MIDI IN/OUT = IN MIDI THRU = ON

Setting the track to Port 1 also blocks the data, External Internal S
since the Sound Blaster can't send and receive MIDI Synth FM Synth
MIDI at the same time.

@ Set each FM track to a different MIDI channel (1-15), then select a

program number to change the sound.
<ID Follow the "record" directions above and if the current track is set to
Port 2, the FM sounds for that track will respond to the MIDI
keyboard being recorded.

242 - Sound Blaster and AdLib Cards

 Using Multiple Sound Blaster Cards

Using Multiple Sound Blaster Cards

Assuming that two Sound Blaster Cards, A and B, are inserted into the PC
expamion slots, here is the procedure for setting SB A up for MIDI/ FM and SB B
forFM only:

To use Two Sound Blaster Cards at Once:

<D Set Sound Blaster A to the default Address and IRQ settings as
described in the Sound Blaster Manual.

<2> Set Sound Blaster B to a different address and pull out the IRQ jumper
to disable the MIDI port.

@ Modify the DRIVER.BAT batch file so that SAPIFMl is loaded twice:

Once with the default settings and again with the Port set to 3 and the
address matching the address setting for Sound Blaster B.
For example, if Sound Blaster B is set to address 230, your batch file
could include these commands:
VAPISB (Loads MIDI Driver for Sound Blaster A)
SAPIFM1 /ADDR:230 /PORT:3 (Loads FM driver for Sound Bl..ter B)
SAPIFM1 /PORT:2 (Loads FM driver for Sound Blaster A at Port 2)
@ Using this example, the FM sounds on Sound Blaster A will respond
to tracks set to Port 2, FM sounds for Sound Blaster B will respond to
tracks set to Port 3 and MIDI will respond to Sound Blaster A's MIDI
port 1.

Sound Blaster and AdLib Cards - 243

FM Synth Card Program Listing

FM Synth Card Program Listing

'The program a-~signments listed below may be edited and rearranged using the
Bank Arranger and FM voice editor window in Sp GOLD:

0) AcouPiano1 32) Fantasy 64) AcouBass1 96) Brass2

1) AcouPiano2 33) HarmoPan 65) AcouBass2 97) Vibes1
2) AcouPiano3 34) Chorale 66) ElecBass1 98) Vibes2
3) ElecPiano1 35) Glasses 67) ElecBass2 99) SynMallet
4) ElecPiano2 36) SoundTrac:k 68) SlapBass1 100) WindBell
5) ElecPiano3 37) Atmosphere 69) SlapBass2 101) Glock
6) ElecPiano4 38) WarmBell 70) Fretless1 102) TubeBell
7) Honkeytonk 39) FunnyVox 71) Fretless2 103) Xylophone
8) Elec0rgan1 40) EchoBell 72) Flute1 104) Marimba
9) Elec0rgan2 41) lceRain 73) Flute2 105) Sweep
10) Elec0rgan3 42) Oboe2000 74) Piccolo1 106) Martian
11) Elec0rgan4 43) EchoPan 75) Piccolo2 107) TwillghtZone
12) Plpe0rgan1 44) DoctorSolo 76) Recorder 108) NoTone
13) Pipe0rgan2 45) Schooldaze 77) PanPipes 109) LostlnSpace
14) Pipe0rgan3 46) BellSlnger 78) Sax1 110) Trlangle
15) Accordion 47) SlneWave 79) Sax2 111) SteelDrum
16) Harpsichord1 48) Strings1 80) Sax3 112) SlmmonSnare
17) Harpsichord2 49) Strings2 81) Sax4 113) RapScratch
18) Harpsichord3 50) Strings3 82) Clarlnet1 114) BlrdTweet
19) Clavlnette1 51) Pizzicato 83) Clarlnet2 115) Ob'helm
20) Clavlnette2 52) Vlolin1 84) Oboe 116) Noise
21) Clavinette3 53) Violin2 85) EnglishHorn 117) LogDrum
22) Celesta1 54) Cello1 86) Bassoon 118) Koto
23) Celesta2 55) Cello2 87) Harmonica 119) Jump
24) SynthBrass1 56) Contrabass 88) Trumpet1 120) Jaw Harp
25) SynthBrass2 57) Harp1 89) Trumpet2 121 ) Helicopter
26) SynthBrass3 58) Harp2 90) Trombone1 122) Bell
27) Synth8rass4 59) Guitar1 91) Trombone2 123) BassDrum1
28) Synth8ass1 60) Guitar2 92) FrenchHorn1 124) BassDrum2
29) Synth8ass2 61) ElecGuitar1 93) FrenchHorn2 125) Banjo
30) Synth8ass3 62) ElecGuitar2 94) Tuba 126) AnalogSynth
31) Synth8ass4 63) Sitar 95) Brass1 127) Wow

244 - Sound Blaster and AdLib Cards

\!/ - ·
Command Line Options
Sp Gold accepts special codes after the program name on the DOS command line
to alter its operation. These "command line options" can be combined on the same
line as long as they're separated with a space and a forward slash({). (The
Filename option is the only exception that's not preceded by a forward slash.) For
example:
SPG /F /ega /NH my_song
would start the program (SPG) while activating the song fixer command (F), the
EGA board adjustment (ega), the no-help option (NH) and loading the song file
called my_song (my_song).
Command line options can be entered with either upper or lower cac;e letters.

Trackscan™ Options
Sp Gold's Trackscan command line options allow memory to be reserved for over
2,000 tracks. For most situations. however, the default setting of 64 tracks (for both
recording and playback) is adequate. If extra track capacity is required later on, the
song may be saved with the lower number of tracks and the program may be
restarted with a Trackscsan command line option to increase the number of tracks.
When the song is reloaded, it will contain the additional tracks along with the
original recorded tracks.

There must always be enough tracks allocated to extend to the

highest-numbered track, regardless of the total number of tracks used.

For instance, if a song is saved with 73 recorded tracks, but the highest numbered
track is 89, Sp Gold has to reserve at least 89 tracks when restarted in order to
reload the song. In such a situation, all blank tracks may be easily deleted with the
G-sort command.

Although song files can be transferred between Spfr, Sp and SpG,

tracks numbered higher than 64 will be lost if loaded into Spfr.

Sp Gold distinguishes between Working and Playable tracks as follows:

Working Tracks These are tracks that can be accessed with all of the screen
functions.
Playable Tracks These are tracks that can be played back.
Since playable tracks require Sp Gold to process data relevant to the playback
process, they require more memory than working tracks. Since it is likely that there
will always be fewer "playable" than "working" tracks, Trackscan allows the
number of playable and working tracks to be set separately.

Command Line Options - 245

Metronome Options
ltk:xx Stt tht numbtr of working tracks (whtrt xx is tht dtsirtd valut.)
' - Default .,. 64
lbe number of working tracks must be greater than the number of playable tracks.
Setting a small number of playable tracks and keeping a larger number of working
tracks allows experimenting without taking up the additional memory required by
working tracks.
/pl:xx Stt tht numbtr of playablt tracks (whtrt xx is tht dtslrtd valw.)
' - Default .,. 64
Although the maximum number of playable tracks ultimately depends on how
much RAM is available, a realistic maximum is a "few hundred."
For instance, to set the number of working tracks to 256 and the number of
playable tracks to 100, type:
SPG /tk:256 /pl:100
The maximum number of playable tracks is determined in large part by the /tk
setting. A! the number of working trades increases, the maximum number of
playable tracks decreases.

Metronome Options
Metronome command line options perform the same function as the
metronome window. [Slr.ift][F2].

/MDN:xxxx Mttronomt Downbtat Pitch (whtrt xxxx is tht d11irtd value.)

' - Default= 1569 Hz, or G not.e. Range: J()()Hz - 5KHz
Used to change the pitch of the metronome's downbeat "beep" on the PC speaker.
The setting for xx changes the pitch in increments. For example, the following
command line option will change the pitch to 340 Hz:
SPG /MD:340.
/MUP:xxxx Mttronomt Upbtat Pitch (wher~ xxxx is the desirtd value.)
' - Default= 523 Hz. or Middle C note. Range: JOOHz - 5KHz
Used to change the pitch of the metronome's upbeat "beep" on the PC speaker.
/MDUR:xxx Metronomt Durati.on (where xxx is the desired value.)
' - Default= 50ms. Range: JOms - 200 ms
Used to set the duration of the metronome's "beep" on the PC speaker. The setting
for xx sets the duration in 1 millisecond (ms) increments.
For example, the following command line option will change the duration to 1Oms,
which is an unpitched "click" sound:
SPG /MD:10

246 - Command Line Options

 Mouse Options

Mouse Options
!nm "No-Mouse" opti.on
Normally, when Sp boots, it automatically senses whether or not a mouse is
installed. However, in rare cases, Sp may be fooled into thinking that a mouse is
installed when in fact it is not. In these cases, errors may occur. To avoid this, the
/nm option may be used.
/Sb Swap the function of the Left/Right mouse buttons.
/hs:xxx Set mouse horizontal sensiti.vity (where xxx is the desired value.)

' - Range: 3 - 200 Default: 20

Sets the horizontal sensitivity of the mouse movement to control its relationship to
the horizontal screen cursor movement. A lower setting makes the cursor move
faster for small mouse movements.
/vs:xxx Set mouse vertical sensitivity (where xxx is the desired value.)
' - Range: 2 - 100 Default: 30
Same as /hs :xxx except for vertical cursor movements.
/hm:xxx Set horizontal multiplier (where xxx is the desired value.)

' - Range: 1 -100 Default: 6

In some screens (i.e . View), the cursor moves in small increments, while in other
screens (i.e. Main) the cursor moves in large increments. The horizontal multiplier
is used to adjust the mouse movement sensitivity so approximately the same
amount of motion is required to move the cursor from one side of the screen to the
other in these screens.
Since the vertical movement in every screen is always one line at a time, there is
no need for a vertical multiplier setting.
For example, using the default settings, the View screen will have a horizontal
sensitivity of 20, while the Main screen horizontal sensitivity will be 20 x 6 = 120.
Thus, the. cursor will move 120/20 =6 times as many cursor positions in the View
screen as it does in the Main screen for the same mouse distance.

Command Line Options - 247

Song File Options

Song File Options

If Fixing Damaged Song FUes
A damaged song file may cause Sp to "lock up" as soon as it is played. If a sona
file on disk has been damaged in some way, it may be partially salvaged by
starting Sp with the "fixer" option. To do this, exit Sp and run it again with the /f
option as follows:
SPG If
When Sp is operating in this mode, any song loaded from disk is checked for
errors, and the damaged sections are deleted. After a song file has been fixed in
this manner, it should be saved (on another disk) and Sp may then be restarted in
the nonnal mode.
This option should only be used if a song file is known to be damaged.

Damaged files may somet;mes cause on "MSC2" message to In

displayed on the Mo;n screen.

(FILENAME) Automatically Loading A Song

To load a specific song file when booting Sp, the song's file name may be added
after any other options, as follows:
SP (/OPTIONS) (FILENAME)
For example, to load a song called MY_SONG, start SPG as follows:
SP /EGA MY_SONG
·Note that the filename extension is not necessary. The file will be loaded from the
disk drive and path specifiCd in the CONFIG file.

Only .SNG files may be used with this opti.on.

Video Display Options

/SLOW Slow CGA mode
Allows slow screen drawing on CGA-type displays to prevent snow.
/EGA Displays normal text mode on VGA and EGA displays.
Used to force high resolution displays to function in nonnal 25 line text mode.
Without this option Sp will boot in high-res mode with a VGA or EGA display.
!CSR EGA Clone Cursor mode
Used with incompatible EGA cards that lose the cursor in the edit screens. This
option should not be used if the problem does not occur, since it may cause
compatible cards to malfunction.

248 - Command Line Options

 Video Display Options
!ROWS:xx Set Number of EGA/VGA Screen Rows (where xx is the desired value)
• Default = EGA : 43 lines. VGA: 50 Lines
This command is use with EGA or VGA cards that have an incompatible BIOS.
When used with an EGA or VGA monitor, Sp normally draws 43 lines for EGA
and 50 lines for VGA. With an incompatible BIOS, the card may not tell Sp the
correct number of rows to use. Thus, the /rows:xx. option is used to override the
abnormal default settings.
For example, if Sp is used with a VGA card that only displays 43 rows, it may be
set to 50 rows as follows:
SPG /rows:50

If this option is set for more rows than the video card supports, the
menu area will be pushed off the screen.

N7:XX Video 7 BIOS compatibility option (where xx is Video 7 mode)

This option can only be used with video cards that have a BIOS compatible with
Video Seven VGA Boards (eg. Fastwrite VGA and VRAM VGA). These cards
support text modes that have more resolution than the standard 50 lines.

This command should only be used with a multi-sync monitor.

It alters the vertical scan rate to a non-standard speed, which may
damage some fired frequency monitors (like EGA and VGA).

To use this command, type /v7:xx, where xx is the decimal number of the video
mode you want to use. For instance,
SP /v7:67
will set the screen to 80 columns by 60 lines mode. (For decimal numbers of
various video modes, and to find the one you'll want to use, consult the V7
manual.)

/multi Block V7 Multi Message

This option is only used in conjunction with the /v7: command to suppress the /v7
message that warns about the consequences of not using a variable frequency
monitor.
!mg Magic Combo Video Display Adapter Mode
This option is used to activate high density display mode on a Magic Combo Video
Display adapter. distributed by Voyetra Technologies. The Magic Combo card
replaces a standard Monochrome video card, allowing a monochrome monitor to
display the same number of tracks as an EGA monitor.

Command Line Options - 249

VAPl/SAPI Options

VAPl!SAPI Options
V API and SAPI are memory resident MIDI and FM Sound driver programs that
are loaded before Sp is run. If the default IRQ and Address parameters on the
MIDI interface have been changed, these command line options may be used to
reconfigure VAPI and/or SAPI.

Note: SAP/ cannot run without VAPl. lf Sp is to be used only with on

FM sound cord and no MIDI inte1foce is installed. a special version
of VAPI called VAPINUL must be run prior to loading SAP/.

/IRQ:x Set the VAPI inten-upt (where xis IRQ #)

• Default =IRQ 2
V API automatically searches the MIDI interface hardware and sets itself to the
proper IRQ setting. The /IRQ command line option is used only to override the
automatic setting.

Because SAP/ does not use interrupts, it does not use this command
line oprion.

CJ One reason to override the automatic IRQ setting would be in the

case where SAPI is required to run the FM card in a system where a
MIDI interface is either not installed or has its IRQ setting defeated.
Although in this case VAPINUL should be used, any V APISB can
be loaded and effectively used in place of V APINUL by overriding
the auto IRQ search feature.
If VAPISB is loaded without a :MIDI interface, it will refuse to load after
unsuccessfully searching for an IRQ setting. By using the /IRQ command line
option, the auto search feature can be overridden, allowing VAPI to load and be
available for use by the SAPI driver. For example, to set VAPI for IRQ 7, type:
VAPI /IRQ:7
/PORT:x Set the SAPIFMI and SAPIMFC port assignment (where x is port#)

• Default for SAPIFMJ =Port 2 . Range= 1 - 8

This command line option tells the SAPI Sound driver program which port the FM
sound card should be assigned to. For example, to set the Sound Blaster FM to port
3, load the sound driver by typing:
SAPIFM1 /PORT:3
To set the IBM Music Feature Card to port 2, type:
SAPIMFC /PORT:2

250 - Command Line Options

 VAPl/SAPI Options
!ADDR:xxx Set 110 address (where xxx is address value)
-. Default for Sound Blaster= 220
This command line option tells V API and SAPI which address the MIDI Interface
is set to. For example, if the Sound Blac;ter MIDI port is set to I/0 210H, type:
VAPISB /ADDR:210
SAPIFM1 /ADDR:210
/REM Remove SAPI or VAPI drivers from memory.
This command line option is used to remove the VAPI and SAPI drivers from
memory. If V API and SAPI are both loaded, SAPI must be removed before V API
as follows:
SAPIFM1 /REM /PORT:X
(x =port number: default is 2; port must be specified for SAPIFMl to be properly
removed).
After removing SAPIFMl type the following to remove V APISB:
VAPISB /REM
/BEND:xx Setting the SAPIFMI pitch bend range (where xx is the desired bend value)
-. Default =2. Range= I - 12
This tells SAPIFMl how to scale the pitch bends embedded in the song. For
example, to set the Sound Blaster FM pitch bend range to+/- 12 semitones (one
octave), load the sound driver by typing:
SAPIFM1 /BEND:12

Command Line Options - 251

Misc. Options

Misc. Options
/dr:xxx Specifying the Directory Size (where xxx is the desired value).
-. Default =125
The number "xxx" reserves only enough memory to display the specified number
of filenames. The default setting uses the least amount of memory.
The /dr command line option is useful in two particular cases:
0 It reserves memory space for a larger number of filenames in the
Files screen, which normally shows up to 125 files. For instance, if a
particular directory has 193 files, the /dr: 193 option must be used to
list see them all.
0 It allows songs to be played from the Files screen, either singly or
with the Jukebox command.
For example, to set the directory size to 43 files, use:
SPG /dr:43
/RES:xx Set internal clock resolution (where xx is the desired value).
(xx =clock resolution in millisecond~. 1 through 10)

'- Defaults for 8088 = 6. for 80286. 386 or 486 = 1

For turbo 8088 PC's, use a lower resolution number than the default. For slow
80286 PC's use a higher resolution than the default. A setting that is too low for
the PC may lock up the program by demanding too much timing resolution from
the system timer.

Since VAPI automatically sets tire IRES option whenever Sp is run.

the IRES option is used only to override the automatic setting.

/R Disable use of running status on MIDI outputs.

When using equipment that has an incorrect MIDI implementation, this option is
used to correct potential problems. For instance, some early MIDI devices do not
reliably change programs when this option is not set.
/nh No-Help Option
Sp displays command specific help messages in the menu area when the ? key is
pressed. In earlier versions the help messages were built into the program. In this
version, these messages are loaded into memory from a separate disk file called
BASHELP.SPO. When Sp starts, the help messages automatically load into
memory.
If help messages are not needed, this option can be used to gain extra song memory.
/k Modifying the Key Buffer
DOS provides a key buffer that stores keystrokes until they can be processed.
Normally, Sp takes control of the key buffer and discards duplicate Del keystrokes
to prevent the song from being destroyed when the Del key is held down.

252 - Command Line Options

 Misc. Options
Since most macro programs need to use a key buffer, starting Sp with he /k
command line option retains the key buffer.
/grp Change the default track grouping to A
• Default = no group
Earlier versions of Sp had Group A as their default setting. The current version
defaults to the period(.) or "no group" setting. To have Group A as the default
setting, use this option.
/KEEP Ignore Main screen options while deleting
• Default =Main screen options deleted
Normally, when a track is deleted, the Main screen options are also cleared. The
/KEEP option retains the Main screen option settings while the rest of the data is
deleted.
The Delete All Tracks command will clear Main screen option settings, even if this
command line option is used.
/Casio Casio Mode
Adjusts for the way Casio instruments handle the MIDI running status protocol.
You may have trouble recording into Sp with certain Casios if this is not set.

Since VAPI automatically asks if you want the /Casio option, the
/Casio command line option is used only to override the automatic
setting.

/h /? /help Listing all of the Command Line Options

To see a list of all the command line options, use either of these command line
options when booting Sp.
/mt:xxxx MIDI Data Analyzer Buffer Size

• Default= 10.000 bytes

Specifies the size of the MIDI Terminal History Buffer, up to a maximum of
32,000 bytes. For instance, to set the buffer to 20,000 bytes, type:
SPG /mt:20000
lrbuf:xxxx Override Librarian Options Buffer Setting. (where xxxx is number of K byte)
Normally, the Librarian Options Window determines the size of the History Buffer.
Using the /rbuf command line option, this setting may be overridden.

• Default =10.000 bytes

Specifies the size of the MIDI Terminal History Buffer, up to a maximum of
32,000 bytes. For instance, to set the buffer to 20,000 bytes, type:
SPG /mt:20000

Command Line Options - 253

254
Troubleshooting
No matter how careful you are, things can go wrong. If they do:
r:l Go through the instructions carefully, to make sure you didn't miss
anything.
r:l Save everything to disk that you can so you won't lose your song.
r:l Tum the computer off.
r:l Check the hardware connections to make sure they are all firm and
correct.
r:l Tum the computer back on, and try the program again.
r:l Refer to this manual and carefully work through what you're trying
to do.

Hardware Problems
MIDI interfaces and other PC expansion cards interact with the main circuitry of
the PC in similar ways. Each time an interface or expansion card is added to a PC,
there is the possibility of conflicts that will disable, but not damage, the MIDI
interface.
The two most common conflicts involve the IRQ number and the 1/0 address.

IRQ Number
MIDI Interfaces, and other expansion cards gain access to the PC's main hardware
through Interrupt ReQests numbers (IRQ). If two cards attempt to use the same
IRQ number simultaneously, there will be a conflict, and one or both of the cards
will not function properly.
Many cards can work with different IRQ settings to correct IRQ conflicts. VAPI
automatically senses the IRQ setting of the installed MIDI interface so you won't
have to worry about it once the IRQ conflict has been resolved. (See the command
line option /IRQ:x for further details.)

110 Address
Each expansion card in the PC uses an Input/Output (1/0) Address to access the
PC's main circuitry. If two cards attempt to use the same 1/0 Address
simultaneously, one or .both of the cards will not function properly.
Many cards can have their 1/0 Address set in the event of an 1/0 Address conflict,
Sequencer Plus can set the 1/0 Address of the installed interface by using
command line options when loading the required VAPI driver. (See the command
line option /ADDR:x in the Command Line Options section.)

Troubleshooting - 255
Common Questions

Common Questions
Video Display Problems
Q. Why does Sp boot with small screen characters?
A. When used with EGANGA systems, Sp puts as much infonnation on the screen as
possible. If you don't want this "high density" screen, use the /ega command line
option when booting Sp.

Q. Why does the cursor disappear in the Edit screen?

A. This is caused by video cards that are not 100% compatible with the IBM standard.
In many cases, it can be corrected by running the /csr command line option. If this
doesn't work, try the /ega option to put Sp in 24 line mode.

Q. Why does Sp boot with the track Ust off the end of the screen, losing the menu?
A. This happens when an EGA video card is used with a CGA monitor. The solution
is to get an EGA monitor, or use the /EGA option.

Q. Why are the characters very large, and the right suu of the screen ml11lng?
A. This happens when a CGA system is set up for 40 column mode. Either set your
system board switches for 80 Column mode, or run the DOS command "mode 80"
before using Sp. See the DOS manual for details on the MODE command.

Q. Why does is there "snow" on the screen during a redraw?

A. Try removing the /fast option from the SEQ.BAT file.

Q. With a VGA system, there are fewer than 50 lines and the bottom of the screen is
blank.
A. Make sure you're using Sp version 3.0 or higher. Spv2.1 didn't have VGA support.
Also, try the /rows:50 option.

256 - Troubleshooting
 Common Questions

Problems Running Sp Gold

Q. When I run Sp, the message "VAPI DRIVER NOT LOADED" appears.
A. <D Did you run the program as SPG instead of running SEQ?
• SPG is the name of the Sequencer Plus GOLD program, which
won't run unless spedal drivers are first loaded.
• SEQ is the name of a batch file that first Toads the necessary
VAP!ISAP! drivers and then runs the Sp Gold program. In
order to run SPG (eg . as part of a batch file) , you must first
load the VAPT/ SAP! drivers .
® Is there a hardware problem that prevented the drivers from loading?
• In this case the message "MIDI interface hardware is not
working " would have also appeared.
@ Did you bypass the VINSTALL batch file and copy the Sp Gold files
directly to the hard drive?
•Run V!NSTALL to load the drivers automatically and generate
the required batch files for running Sp Gold.
Q. When I start Sp Gold, why are certain things set a particular way?
A. The CONFIG.SEQ file is loaded every time Sp Gold runs. It contains all the
settings from the Options and Configuration windows, as well as some other global
parameters, like tempo. To have a particular setting in the config screen come up
differently, reset them save the configuration.

Sequencer Related Problems

Q. Why is MIDI is not being recorded?
A. <D Check the connections:
Be sure the MIDI cables are tightly connected on the synth side and
the MIDI interface side. If you ' re interface has a separate output box
(eg. Sound Blaster, V-24s) check that the cable between the box and
PC is tightly plugged in. Be sure the synth 's MIDI OITT is connected
to the interface MIDI IN and the Synth's MIDI IN is connected to the
interface MIDI OITT.
~ Check for an IRQ problem:
Since VAPI automatically senses the MIDI Interface IRQ setting and
sets itself accordingly, an IRQ problem may indicate that the IRQ
jumper setting on the MIDI interface conflicts with another IRQ
setting on a PC expansion card. If Sp stops while loading and prompts
that a problem was detected with the IRQ setting, Sp won 't record
until the problem is corrected.
@ Try playing another MIDI syntl1 with the master synth:
Remove the MIDI cables from the PC and connect them to the another
synth 's MJDI jacks (OITT to IN and IN to OITT.) If the second synth

Troubleshooting - 257
Common Questions

can't be played by the first one, check for a bad cable. Also, check the
synth 's owner's manual to see if it must be set to transmit :MIDI.

The MIDITEST program is a good wa_v to test for a bad cable since
it can be used to loop the MIDI inteiface input to it' s output with a
single cable. (See the "Setting up" section in the Introduction .)

Q. Why can't I record from my Casio Synthesizer?

A. Casio synthesizers use :MIDI "Running Status" which could cause Sp not to
record. To correct this, when Sp is installed, VINSTALL asks if you are using a
Casio. If so, it sets the /Casio command line option (see reference) to compensate
for the Casio running status.
If you 're using a Casio and you can't record, try changing a few programs on the
Casio panel button<>. lbis will send a :MIDI status byte to Sp and allow it to record.
If the /Casio command line option hac; been removed from the batch file created by
VINSTALL, you'll have to do this each time you reboot Sp.

Q. The bar/beat counter is erratic and sometimes doesn't work at all.

A. This is usually caused by an IRQ (interrupt) conflict.

Q. I've tried to run my drum machine's internal patterns from Sp, but I can't get
them started.
A. You probably aren't sending the Start message to the drum machine because the
Real Time Out option, in the Sync window, is turned OFF. To send the Start
message, it must be turned to ON or NO SPP.
Also, with a multi-port interface, the :MIDI clocks can be routed to a particular
output. Be sure the drum machine is connected to the assigned output.

Q. When I try to insert notes or MIDI events, nothing happens, or the wrong thing
happens.
A. To insert and delete single events in the Note Edit screen, use the Ins and Del keys,
not the letters 'I' and 'D '.

Q. How do I start working on a new song without leaving the program and
re-booting?
A. From the Main screen, type 'D ' (for delete), then 'A' for ALL TRACKS. This will
wipe out all the music, and let you start a new song. lbis procedure will NOT reset
all the options info.
To get a totally clean slate, you should save a song, with all the options and
channels set up to your preference. Call it "default", or whatever you like (eg. If
you name it !DEFAULT, it will come up first in the files screen.) Any time you
want to reset everything, just load this file .

258 - Troubleshooting
 Common Questions

Librarian Related Problems

Q. When I try to receive data from an instrument, the message "Upload Error... "
appears.
A. <D Are the MIDI cables connected correctly (Computer Our to
Instrument IN: Instrument our to Computer IN)?
~ Have you set up your instrument correctly? Consult the instrument
help screen?
@ Is the port setting in the setup assigned to the port connected to the
instrument?
Q. When I transmit a bank to my instrument, it doesn't get there.
A. Try the suggestions in the previous question.
Many instruments have no visual indication of successful receipt of MIDI bulk
data. Also, many instruments keep the same voice that was previously loaded in
memory (and on its display) until a new voice is selected (eg. the Korg Ml does
this.)
Q. I've just uploaded data from my instrument but there's only one program on the
Bank Arranger screen.
A. This may be the normal case for your instrument. Check the instrument help and
the Librarian section on Instrument Data Types. Not all instruments are compatible
with Sp's Bank Arranger features.

Q. When I try to receive a bank from my instrument, the message "Uploading data
from xx synth" appears and the upload process stops.
A. The instrument may need to have the upload initiated with a button on it's front
panel. Check the instrument help screen for details on specific instruments.

Q. When I press "I" to get the instrument list, I get an error message that says
"Unable to find INSTMENT.LIB file." Where is it?
A. Although Sp ha~ full sub-directory support, it always expects to find its instrument
library (the file called INSTMENT.LIB) in the default drive and directory (the ones
you were in when you booted Sp. The intended technique for using Sp is to make
the drive and directory that holds the program be the default ones. You then find
your setup and bank files by setting LIBRARIAN-PATH in the Configuration
window.

Troubleshooting - 259
Common Questions

Problems with the Sound Blaster and AdLib cards

Q. Why doesn't the Sound Blaster initialize when I try to boot Sp?
A. 1be Sound Blaster Card may not be connected properly. Oteck the Sound Blaster
manual for the proper installation procedure.

Q. When I try to use a MIDI keyboard with the Sound Blaster (record, thru, etc... ),
nothing happens.
A. Make sure that MIDI:IN/OUT is set to IN using the [Alt][X]• keys. Then, while
recording, see if the memory counter in the status area of the Main Screen
decreases as you play. If not, it means Sp is not responding to the incoming MIDI
data. This could be caused by an interrupt conflict. Check the Sound Blaster
Manual for details.

*This features applies to Sound Blaster' s equipped with pre 2.0

ROM. If your Sound Blaster has ROM 2 .0 or higher t11is feature will
not be needed and will not be available.

Q. Nothing plays when I try to use the FM voices.

A. CD Is the Sound Blaster audio hooked up?
~ Have you loaded the SAPIFMl driver? (See question about "VAPI
DRIVER NOT LOADED.")
@ Is MIDI Thro set to CURRENT (See MIDI Thro window section)?

@ Is the track set to Port 2 (FM)?

Q. I set a track to play back on port 3, but it doesn't play.
A. 1be physical ports on the SB MIDI box all correspond to Port t. In the default
setup, everything assigned to port 1 comes out all 6 MIDI outputs on the SB box.
Port 2 is sent to the Sound Blaster FM voices .
• Any port set to a number higher than 2 will not play. Since Sp
Gold can work with more than one Sound Blaster and with
Multi-port MIDI lnteifaces, the Port column can be set to a
number higher than 2. but won' t respond if there isn't any
hardware there.
• You can change the Sound Blaster Port assi1mment with a
command line option. See the Command Line Options section
for details .
Q. Can I use more than one FM Sound Card?
A. Yes, but be sure to change the port number on the second board and make some
other adjustments. See the Sound Blaster section for details .

260 - Troubleshooting
 Common Questions

File Related Problems

Q. Why can't I rename my bank files with a different extension, like DX7 ? Why
must they have extensions like .B68?
A. Sp uses the file extension to tell it what instrument each bank file is for. This
method is preferable to opening and reading each bank file to determine this.

Q. I saved some files the other day, but now when I enter the Files screen, they're
not there.
A. Is the path set correctly in the Configuration window? You may have inadvertently
stored the files in another directory.
Did you enter the Files page in the correct mode? Entering the Files page from the
Setup screen will only show you SETUP files; entering the Files page from the
Bank Arranger will only show you BANK FILES. Only bank files for the current
instrument are shown in the Files page when entered from the Bank Arranger. Use
the extension command to look at others.

Q. I received some songs from a friend, but I can't load them since they don't show
up in the Files screen.
A. The files screen only lists the files in one directory at a time. To change it to see a
list of files on your A drive, for example, put the cursor on [A:] and press enter.
• Alternatively, you can use the DOS copy command to move all
the songs into the directory where you normally keep them.
• Also. be sure that the file extensions are correct. Sequencer
Plus files use the .SNG extension, MIDI files use the MID
extension and Ad Lib files use the .ROL extension.
Q. I downloaded some songs from a BBS and they either won't show up in the files
screen, or when I load them I get the message "Not a Seq+ song file. "
A. There are many different song file formats. In fact, each manufacturer's sequencer
ha-i it's own native format, which usually isn't readable by other programs. The
only common formats that can transfer songs from one seq to another are MIDI
files.

© The native file format of Sp is the .SNG file. If a file does not have
the .SNG extension, chances are it isn't a Sequencer Plus song. Simply
renaming it to have a .SNG extension won't help matters.
~ If the song has a .MID extension, chances are that it is a MIDI file,
and can be read (see the appendix section on MIDI files). It is also
possible that the file was originally a .SNG or .MID file but
downloading it by modem destroyed the data.
For a complete discussion on file formats , see the Files screen section.

Troubleshooting - 261
Common Questions

If you st/II can't solve the problem...

Test each piece of equipment in your system and make sure everything is working
correctly. Using a process of elimination, try to trace the problem backwards from
the instruments, to your MIDI cables, to the interface, to the computer, all the way
back to Sp.
Document the problem as best you can, write down error messages, etc. With all of
this information in hand, call us. Our support staff will be glad to help registered
owners (that's why we need your warranty card).
Our number is:
(914) 738-4500

Tech Support is available 9 om. to 5 p.m., Eastern Standard Time,

Monday through Friday.

We'll do our best to help you get things straightened out.

Make sure you have your program's serial number handy when you call.
Telephone support is available only to registered users.

262 - Troubleshooting
 Active Output Ports 152
'
•

Active Setup Line

: •: : : : : : : : .««>.o:.o:w.w.«< ••«-.« ..-:«a.• c ~: ~:: .. :::: : ::c::.: :•. :: : : : : : : : ::o::;.: ~=c assign a bank 197
/ADDR:xxx 251 Active Setup Line 194
/BEND:xx 251 Add 73
/Casio 253 Add 61
/CSR 248 Add 68
/dr:xn. 252 Address 152
/EGA 248 Adjust 105
/f 248 Adjust-Dur 101
/grp 253 Adjust-Note Off 107
/h {! /help 253 AdLib Card 11, 237
/hm:xxx 247 Problems with 260
/hs:xxx 247 File Format 137
/IRQ:x 250 All Print 13 2
/k 252 All Tracks 141
/KEEP 253 All-Reset 217
/MDN:xxxx 246 Analyzer 147
/MDUR:xxx 246 Arranger 199
/mg 249 Articulation 84
/mt:xxxx 253 ASCil, MIDI Encoded 225
/multi 249 Assign 50
/MULTI option 12 Assignments,
/MUP:xxxx 246 Drum Note 240
/rm 252 Audio
/nm 247 Connecting the audio 29
/pl:xx 246 Audition 188, 189, 213
/PORT:x 250 Auto 163
JR 252 Auto Detect 153
/rbuf:xxxx 253 Auto Rate Detect 181
/REM 251 OFF 177
/RES :xx 252 ON 177
/ROWS :xx 249 Aux Driver 152
/sb 247
/SLOW 248
/tk:xx 246
N7:XX 249
/vs:xxx 247
B
.::: ... ; . :: :: . =- : . .

[Ctrl] Key Combinations 17 Background Color 151

3.03 Backing-Up Disks 1
Loading Song Files 70 Backup 50
Bank 188, 196, 197
To receive a Bank from an
Instrument 191
A
. . :: .::::o::::::::,i.«-:«-:-."'»»»»X.:::::::: .. ::cc.. ::::::::: :c c::: ::::c:c:c:: ::
To transmit a Bank to an
instrument 191
Absolute 178 To update instrument bank
Accelerando 115 files 208
Accidntals 80 Unusual Arrangements 205
Acnt Text 150 Bank Arranger Screen 187
Active 222 Menu Commandc; 189

Index - i
c
Status Area 188 CK 39, 130
with the MFC 13 aass 91, 92
Work Area 189 Clear 159
Banlc Arranging 188 Qear an entire banlc 193
Bar Number Window 146 Cliclc Lockout Time 181
Bar:Beat 40, 130 Qiclcs and PPQ 167
Bars 151, 156 aock 163
Basic Concepts 33 aock Enable 216
Beat Maps 182 Oock Source 174
Beat-Learn 46, 56, 70 To set the C1ock Source 40
To set up for Beat-learn 56 Options 163, 175
To use Beat-learn you must aock-en 217
have 56 Close 50
Beats 146 Color 151
Bender 163 Columns 219
Bits 178 Command Line Options, 245
Blink On/Off 151 /BEND:xx 251
BLOCK 62 /ADDR:Xxx 251
Block Data Type 188 /Casio 253
Block Moves Menu 64 /CSR 248
Menu Commands 64 /dr:xxx 252
Block-select 189 /EGA 248
Blocks /f 248
Why Instruments use Blocks /grp 253
of program data 207 n
/h /help 253
Blue-Color 151 /hm:xxx 247
Borders 150 /hs:xxx 247
BPM 39, 130 /IRQ:x 250
Bright /k 252
On/Off 151 /KEEP 253
Buffers-clear 132 /MDN:xxxx 246
Bulk Hex Display Mode 225 /MDUR:xxx 246
Bulk 215 /mg 249
Button Push 188 /mt:xxxx 253
Button Pushing 205 /multi 249
/MULTI option 12
/MUP:xxxx 246
c Cartridge Data 204
/oh 252
/nm 247
/pl:xx 246
/PORT:x 250
Ch 41, 196 /R 252
Changes 213
/rbuf:xxxx 253
Changing Perfomtances 12 /REM 251
Channel 158 /RES:xx 252
Channel specific messages 218 /ROWS:xx 249
Chase 46
/sb 247
Chase Mode /SLOW 248
To Sync with Otase Mode
/tk:u. 246
185 N7:XX 249
Oteck Bar Sync I 67

ii - Index
 D
/vs:xxx 247 Display Mode 216
Common Questions 256 Display Setup Window 150
Comp-Ex 103 Menu Commands 151
CompEx 107 Downloading 209
CompEx 112 Downloading New Files 208
Computer Choke 6 Draw-screen 151
CONFIG.SEQ file Driver 152
settings saved in 162 DRIVER.BAT 8, 23
Configuration Window 147 Drum Assignments 239
Menu Command'> 147 Drum Machine
Connecting Single Port MIDI To sync midi drum machines
Interfaces 27 184
Connecting the audio 29 To Sync a Drum Machine
Connecting the Sound Blaster with SPP 185
MIDI Box 29 Drum Mode 238
Copy 61,64, 73, 189 FM Synth Card 239
To Copy measures into a Drum Note 240
memory buffer 62 Dump Request
To copy programs 193 To assign a to a MIDI Data
Create-dir 132 String 202
Crescendo 105, 113 Duration 109, 110, 158, 172, 213
Criteria 147 edit [Ctrl] key notes 81
Crosstalk Durations 81, 84
To compensate for excessive edit [Ctrl] key notes 81
crosstalk on the SMPTE DX{fX Instruments 207
stripe 180 Dynamic 164
CUR TRK (Current Track) 165
Current 159
Current Bar 170
CURRENT NOTE 80, 84 E
m »»»»:«««-:.-...-.: ... :-.. . ::: ::: ::: ,; ~ •: : : :.: :::::;:: .: :~ : a . :~ ~ ==:::::=:::::

Current Note/ Insert Note Area

80,84 Edit 47, 62
FM parameters 211
Current-Bar 171
Edit Existing 86, 87
Current-Time 155
Cursor, Moving the Cursor 60 Step Record 87
Edit Screen 71
Buffer Commands 76
Menu Commands 73
D Work Area 71
Edit Size 148
Data Bytes 217 Elim-Dupes 115, 116
Date 131 EndSolo 50
DDL Calculator Window · 149 EnvrronmentArea 79
DEFAULT 165 EOX 221
Define Output Strings Screen 228 Erase 189
Delete 68, 61 , 155, 73, 64,46, programs 193
197,189, 132 Exit
To Delete Notes 77 To Exit with the Mouse 21
To delete notes in a chord 87 Extension 130, 132
Disk Cache 5
Display 148, 217

Index - iii
F
Operating Modes 238
F
llll:C2 12112 22 22 222l2 22 222!!! 2C2 22222 ;;;;;;: •••••«o•••• ,, .,).~Q.-=~• .')o,( ••• : . ;:«.X<
Controlling... 23 7
Program Listing 244
Features FM Synthesis 212
Supported .MIDI Interfaces 14 FM Voice Editor
Summary 231 Window 211
Field attributes 151 To access the... 211
File Display 129 Follow 155
File Extensions 133, 188 Foreground Color 151
File Format Format 0 137
Compatible File Formats 135 Format 1and2 137
Format 0 137 Formatted 215
Format 1 and 2 137 Formatted Trace Mode 223
Loading Song Files from Sp Formatted Trace Worlc Area 223
Ver 3.03 and Earlier 70 Fractional Scaling Ratio 103
.MIDI F'tle Format 137 Frame Monitor 230
.MIDI File Save Options 139 Frame Rate 177
Personal Composer Format SMPTE Frame Rates 177
138 Frames 230
Sequencer Plus Format 137 Free 133
Song File Formats 13 7 Freewheel Select 152
Song File Options 248 Freeze 79, 81
Summary 138 FULL 216
Tips for using Personal Function key help 15
Composer with Sp Gold 142 Function Keys 16
Transferring Files to Personal
Composer 141
Transferring Sp Songs to a
Mac with .MIDI File Format G
140
Type 0 or Type 1? 139 Generate 174
Generic Instrument 201
Files 62, 47, 148, 199, 217
Bank, receive from
Name 130
Instrument 202
Related Problems 261
Generic Instrument data,
Type 130
To set the Files Displayed transmit to instrument 202
Goto-bar 61 , 64, 68, 73, 81 , 85, 92
129
Files Screen 129 Gp, (Group) 42
Menu Commands 132 Graphic Characters 150
Status Area 130 View Screen 60
Worlc Area 131 Grid 215
Grid Mode 219
Fill 113
To fill a track with empty Bytes and Data 220
bars 63 Grid Offset 122
GROUP 47
Fix
Fix It In The MIDI Mix 38 Group Commands 37
FIX TRK (Fixed Track) 165 Group/Arrange Menu Commands
Fixed 52 50
Rash 150 GSort 50
Roat 53
FM Synthesizer Cards 11

iv - Index
 H
Insert Note parameters from
H an existing note 76
using [Ctrl] key combinations
H_MULTI 47, 62 77
Menu Area Commands 52 INSERT NOTE 80, 84
Hardware 152, 166 Insert Note Buffer 76
Installation 27 Insert Note/ Curent Note Area 80,
Optimum Hardware Setup 7 84
Problems 255 Insert/Delete Transforms 113
Hardware Configuration Window Install/Installation
152 Sp Gold 23
Harmonic Inversion 104 Hardware 27
to Olange Majors Into Minors Sound Blaster 29
104 PC MIDI System 23
Headings 150 Instrument 188, 195, 196, 198
Help 148 assign from the Instrument
Function key help 15 Window 198
Hide 50 DX!IX Instrument
History 216, 217 Assignment Table
History Buffer Data Blocks 206
transmit and receive data 226 Data Formats 204
capturing MIDI data 226 Help 15
view contents 227 Types 201
History Mode 226 Instrument Mode 238
History Pointer 216 the FM Synth Card 239
Hit-Point 81 Instruments vs. Librarian Features
Horizontal Axis, (Left/Right) 71 188
Hybrid 151 Interface
MPU-401 Compatible
Interfaces 10
MQX-16/ PCMIDI 12
MQX-16s 12
MQX-32 11
1/0 Address 255 Music Quest Interfaces 11
Options 9 The Sp Gold User Interface
IBM Music Feature Card (MFC) 15
12,209 The Sp Gold User Interface
Ignored 163 15
In-chan 163 Voyetra V-22/-24s 10
IN-INST 188 Considerations 8
IndBars 151 Supported by VAPI 10
Indicators 150 INTERNAL 175
Input-port 213 Internal 39
Insert 61, 64, 68, 73 Interrupt 152
a rest in Step Record 87 Interval, In Super-Quantize 120
chords Step Record 87 Interval 120
from a memory buffer 62 Inversion 104
Notes in the Edit Screen 76 Invert 112
current bar number at the IRQ and Address Option<> 9
cursor position 143 IRQ Number 25
Preset Notes for Insertion 84

Index - v
J
Linking Blocks of Data 207
J Load 134
To Load a bank file from disk
Jukebox 133 192
Jump 51 To a MIDI file 139
between tracks 82 To load a Setup file from disk
to a defined marker 144 200
To load a text file 144
Local Mode 161

K Loop 43 , 43 , 47,69, 170

KBD_ENTRY 75
Keep 171
Key Signature Window 117
M
»»»:..""»»»»»>»»:<:: ::: ::. n: ::::: :. o: :. : : : : : I l : :am: :: 11: :: :
Key Signatures 117 Main Screen 39
Keyboard Screen Group/Arrange Menu
Summary of Note Editing 50
Keys 74 Menu Commands 46
When using a master Status Area 39
keyboard that doesn't make Work Area 41
any sound 161 Managing Sound Libraries 35
PC Keyboard Chart 3 Map 105
Special Keys 60 112
Function key help 15 160
Function Keys 16 Map-Programs 113
Commands 18 Mark-Sort 155
[Ctrl] Key Combinations 17 Markers 156
[Shift] Function Keys 16 To assign 154
Keys Window 154
Change Majors Into Minors Menu Commands 155
104 Master keyboard
Kill-controllers 164 that doesn't make any sound
161
Max Dropout 180

L Maximizing Song RAM 6

Measure 146
Mem 40, 130
Label 150
Memory
LCD/Cl 151
Microsoft Windows 3.0 26
Lead-in 164
Conserving Song Memory 5
when Recording 63
Computer Memory 5
Length 74, 80, 81 , 85
Computer Memory 5
Librarian 148
Utilizing Extra Memory 5
Instruments vs . Librarian
Merge 110
Features 188
single tracks into song files
Option Menu Commands 213
134
Options Window 213
Song Files 134
Related Problems 259
Metronome 158, 164
Setup Screen 194
Options 246
Link-prog 198
Window 157

vi - Index
 M
Menu Command~ 158 Channel-specific MIDI
MFC (IBM Music Feature Card) messages 219
VAPI 13 Channel-specific 219
V API and SAPI 13 Non-channel specific 221
MIDI port mapping 12 MIDI network, Controlling the
Perfonnances 12 MIDI network 35
Microsoft Windows 3.0 26 MIDI Protocol 217
MIDI 148 75 MIDI Real Time Monitor 222
Getting to the Heart of MIDI MIDI string, To Trammit a MIDI
35 string 229
Channels and Sysex Data MIDI Synthesizer
206 Connecting 29
Controller Types 91 MIDI Thru 159
Data, Capturing MIDI data MIDI Thru Feature 161
into the History Buffer 226 MIDI Thru Window 159
Echo Problems 161 Menu Commands 159
Encoded ASCII 225 MIDI TIME Code 217
MIDI Data Analyzer 34, 215 Sync 182
Menu Commands 217 Screen 230
Status Area 216 MIDI-ANALYZER 199
MIDI Edit Screen 89 MIDI-TThIB code 222
MIDI Edit Screen Menu MIDI{fempo Transforms 111
Commands 92 MIDI:IN/OUT 39
MIDI Event Area 91 MIDITEST, To run MIDITEST
MIDI Line 89, 90, 92 24
MIDI File Fonnat 137, 139 Miscellaneous Optiom 252
Options 139 Miscellaneous Tramforms 110
Songs to a Mac 140 Mismatched Time Signatures 167
Fonnat 0 137 Mix, Fix It In The MIDI Mix 38
Format l and 2 137 Mode/ Rechannel 159
Type 0 or Type l 139 MODIFIED 188
MIDI IN:OUT MIDI in and Modulus 109
MIDI out modes 241 Monochrome 151
MIDI Interface Mouse
:MPU-401 Compatible Basic Tectmiques 19
Interfaces 10 Using a Mouse 19
MQX-16/ PCMIDI 12 Actions 20
MQX-16s 12 Accessing the Menus 19
MQX-32 11 Mouse Options 247
Music Quest Interfaces 11 Move, To move a block using the
Voyetra V-22/-24s 10 Block Copy command 65
Con~iderations 8 Moving the Cursor in the Edit
Supported MIDI Interfaces 14 Screens 73
Supported by V API 10 Multi Channel Recording 52
MIDI Message Format 217 Multi-Port Interface, Using a
MIDI Message Types 218 Multi-Port Interface with a single
MIDI messages, master keyboard 28
two-byte channel-specific MTC 40, 174, 221
MIDI messages 220 sync playback to SMPTE or
MTC 183

Index - vii
N
transmit MTC while syncing Optiom Window 162
to SMPTE 185 Menu Commands 163
MTC Output 153, 180 Order 148
Mute 43, 47, 51 Output 158
Mute and Solo 61 Output Strings,
Define/ &liting Keys 229
Outside 124
N
:1om:::::::::m:.::::.: ::i:: .: ....«»e«w.:««;:::o,::.~«««<-:«
Overdubbing 37
Overflow 216
Overwrite, To overwrite a file 136
Name 41, 47, 130, 190
Names Only Instrument 203
Network Organizer 34
New 135 p
No Press 163 .:::;:;;;;.;;;;;;::M::;;;,;;:;.;;,;;;.;;,;;;:;: rn:: :: :::::»»:«

No SPP 39, 176 Pan 46

(MIDI Oock) 174 Velocity Scaling 45
Non Bar-Bounded Option 97 Panic 217
Non-channel specific messages Patch Master,
218,221 Ver 1.0 and 1.05 208
Normal Crescendo 107 Path 130, 135
Normal Tramforms 99 PAUSE Instrument 201
Note 75, 148, 158 Percent Correction 100
Note &lit Screen 79 Percentage Tolerance. 108
Menu Commands 80 Performance
Note &liting Keys Optimum Hardware Setup 7
Summary of Keys 74 Tips 6
Note On 195 Optimizing Performance 5
Note Trig 79, 81 Personal Composer Fonnat 138
Note-off velocity 85 Pitch 74, 80, 82, 85, 92, 92, 108,
Note-on velocity 86 213
Notepad Screen 143 Pitch Transforms 103
Key Summary 144 Play
Notes 150 along with MIDI 173
Preset Notes for Insertion 81 external MIDI Synthesizers
238
FM Synth sounds 238

0 from any point in the song 63

from Files Screen 134
from the Main Screen 49
Octave Range 172 over MIDI 241
Off Velocity 80, 82, 83, 85 selected range 170
Offset 44, 102, 112, 176
song file 31
Offset Screen Display 44
Sound Blaster FM sounds
Omni Mode 206
49, 173
Omni-off 164 Sound Blaster FM sounds
Open 51
with a MIDI keyboard 49
Open-Mem 198
Play Range Window 170
Optimization Tips 6
Menu Commands 170
Optimizing Perfonnance 5 Playable Tracks 245
Optiom 47, 62, 75, 190 Playback

viii - Index
 Q
from the Main Screen 48 Punch-In Window 171
from the View Screen 63 Window Menu Commands
Pop-Up Windows 145 171
Port 41, 158 Punch-in vs View Recording 37
channel numbers on the
output ports 160
Connecting Multi-Port
Interfaces 28 Q
Input-port 213
MFC MIDI port mapping 12 Quantize 99
Multi-Port Interface with a Main Screen Quantize 43
single master keyboard 28 Quantize Time-Units 43
Reconling with Multiple Ports Side-effects of Quantizations
54 100
Quantize Grid 120
Replace the Sound Blaster
MIDI Port 11 Quantize Interval 108
route input ports to output Quantize
ports in the matrix 160 Super-Quantize Grid Interval
Sync In Port 176 Settings 120
Sync Out Port 176 Quantize-Dur 100
Questions
PPQ Rate 175
Common Questions 256
Clicks and ... 167
Quick Fmd 135, 195
Preserve Duration 122
Quick Fmd 195
Preserve Rhythm 86
Quit 47
Preset Notes for Insertion 84
return to DOS 31
Prg 42
QWERTY Synth 172
Prgms 164
Printer 148
Problems
File Related Problems 261
Hardware Problems 255
R
« ..(::::e:.n:::.::.ee.ee:e:::::::::,,::::.:::::cc:e1c.eccc:e:::::::::1:eec:He1:::
Sequencer Related Problems Random Transforms 109
257 Range ReBar 110
Sound Blaster and AdLib Rates 152
cards 260 Ratio
Sp Gold 257 Fractional Scaling Ratio 103
Prog # 196 Read Me File 1
Prog Link 195 Real Time Messages 224
Program 188, 196, 198 Real Time Monitor 222
Program Real Time out 176
assign to the setup 199 Real Time vs Step Time
Program Banks Reconling 36
Unusual Arrangements of... REC 40
205 Recalculate 155
Program Numbers Receive 190
Unusual Arrangements of Full Overflow 216
Program Numbers 205 Receive-buffer 214
Programs and Patterns 204 Record 47, 171
Pt 196 from a MIDI keyboard ... 241
PUNCH-IN 47, 62 from any point in the song 63

Index - ix
s
from the Main Screen 48
from the Main screen 48
from the MIDI keyboard 31
s
~:::::::::::: a :: : ; ~ m;;m::: :: :i:~:: : :: :::

from the View Screen 63 SAPI 8

in Fixed Mode 52 the MFC 13
in Floating Mode 53 removing SAPI 9
Multiple Tracks from the Options 250
View Screen 53 Save 136, 148
the Reference Track 126 a Bank File to disk 192
the Reference Track 56 a MIDI File 139
the Source Track 126 a Setup as a separate file 200
Techniques 36 a Tempo Track 69
with Multiple Ports 54 as Personal Composer Format
with a Sound Blaster 48 141
with changing time signatures text as a separate file 143
169 the Data String Assignments
with the QWERTY Synth 173 229
Recorded 163 the Files Screen options
Recording Registration 1 settings 136
Relative 178 Scale 112, 115
Relative Crescendo 107 select the scale and root 118
Remove 69 Scratch Buffers 205
a bank from the Setup 197 Screen Layout 15
a program assignment from Scrt'l'ns, The Sp Gold User
the setup 199 Interface 15
an instrument from the setup Screens 33
198 Sel Bars 151
Removing VAPI and SAPI 9 Sel Notes 151
Rename 51 , 135, Set Text 150
Replace 61, 64, 75 Selecting the Range 97
Report 199, 125, 217, 221 Sensitivity 123
Reset-Interface 148 Sensitivity Mode 124
Retrograde 102, 111 SEQ.BAT 23
Reverse-color 151 Sequencer 34
Roland D-10/-110 209 Sequencer Plus Format 137
Roland D50 209 Sequencer Related Problems 257
Roland Instruments 209 Set 105
Root Set-Dur 100
To select the scale and root Set-NoteOff 107
118 Setting Up The PC MIDI System
Row definition<; and alternate data 23
byte values 220 Setup
Rows 219 create a Setup 195
Run line 1%
Sp Gold 25 Menu Commands 197
under Windows 3.0 26 Optimum Hardware Setup 7
RUN 40 send a setup to the
Running MIDITEST 24 instrument<; in the MIDI
Running Sp Gold 24 networlc. 200
Running Status 223 Status Area 195
Work Area 196

x - Index
 s
Setups 35 Sound Editing Parameters 212
Shift 112, 116 Sound Libraries, Managing 35
Side-effects of Quantizations 100 Source 165
Sideman Instruments 207 Sp Ver 3.03, Loading Song Files
Single 199 from Sp Ver 3.03 and Earlier 70
Size 130, 131 Speeding up "Overlay" Access 5
SMART 166 Split Transforms 108
SMART Time Signature Source SPP
168 Sync a Drum Machine with
s~ 39, 146, 174 SPP 185
Count 178 sync playback to SPP 183
Frame Rate 177 Indicator 222
Frame Rates 177 Stall Algorithm 152
Implementation 152 Stall Detection 180
numbers, To display SMPTE Start, Stop, Active 216
numbers 146 Start 74,80, 82,85,92,92,222
sync playback to SMPTE or Start/ End Bar 170
MTC 183 Status 170
Sync to Clean code on a Status Area 15
s~ stripe 180 Status bytes 217
Type 230 Step Entry 86
Solo 43, 47, 51 Step Entry Modes 86
Song, Building a song with the Step Record 87
Sequencer 34 Menu Area 84
Song 39, 131 Screen 83
Song File Formats 137 Step Settings Area 83
Song File Options 248 Step Time, Real Time vs Step
Song Memory, Conserving Song Time Recording 36
Memory 5 Stop 40, 222
Song Position Pointer (MIDI String MIDI
Clock) 174 Define a MIDI String 229
SONGPTR 39 Successive Commands 223
Song Ptr 221 Super-Quantize 100
Song Sel 221 Preserve Duration 122
Sort Criteria 130, 147 Quantization Strength 122
Sort Order, To set the Sort Order Quantize Grid 120
130 Sensitivity 123
Sound Blaster 11, 237 Sensitivity Mode 124
Bank Arranger 11 Tuples 125
Key Combination<; 17 Swap 190
MIDI In/Out Modes 240 a group of programs 193
MIDI TIIRU Modes 241 single programs 192
Problems with the Sound Swap-Take 171
Blaster and AdLib cards 260 Swing 120
Two Sound Blaster Cards at Sync
Once: 243 a Drum Machine with SPP
Sound Blaster and AdLib Cards 185
237 Clean code on a SMPTE
Sound Blaster and AdLib FM stripe 180
Synth Cards 210 External Sync 182

Index - xi
T
midi drum machines 184 SMART Time Signature
playback to SMPTE or MfC Source 168
183 Optiom 165
playback to SPP 183 and Clicks 167
Techniques 183 Time Transfonns 99, 111
using a tape offset 177 Time Units 75, 79, 83, 99, 100
while recording 184 in the Edit Screen 72
with Chase Mode 185 Quantize Time-Units 43
Sync In Port 176 Tips for using Personal Composer
Sync Out Port 176 with Sp Gold 142
Sync Source 17 Tk 39
Sync Window 174 Top row: 158
Menu Commands 174 Total Frames 230
Sysex 221 Track, To use the Track command
System Exclusive Fonnat 218 74
MIDI Channels and Sysex Data Track 82, 74, 85
206 Track Memory 5
System Requirements 2 Track ReBar 110
Trackscan Options 245
Tram 42

T Transferring
Files to Personal Composer
141
Tap-Tempo 116 Sp Songs to a Mac with MIDI
Using 126 File Format 140
Tranc;form 127 Tramform 95
Tape Offset 176 Beat-Learn 56
stripe a tape using Tape Categories of Transfonns 96
Offset 176 Comp-Ex, Time 103
Tempo 47, 149, 62 CompEx Velocity 107
Entering Tempo Settings 69 CompEx Tempo 112
Reference Track, To Harmonic Inversion 104
designate a ... 67 Harmonic Transpose 103
Reference Track 67 How to use 97
TempoTrack 166, 182 Map-Programs 113
Window 67 Merge 110
Menu Commands 68 Modulus 109
Tempo Transfonns 115 Normal Crescendo 107
Tempos and Tracks 68 Offset, Normal 102
Terse 140 Offset, MIDI/Tempo 112
Test 230 Quantize 99
Testing The System 31 Quantize Time-Units 43
Text 150 Quantize-Dur 100
Text Fields 150 Range ReBar 110
Thin 114, 116 Retrograde 102
Thro 159 Scale. Value 112
Time 131 Scale, Tempo 115
Time Sig 79 Set 105
Time Signatures 167 Set-Our 100
Change a recorded track 169 Shift, Value 112

xii - Index
 u
Shift, Tempo 116 Units 74, 80, 82, 85, 92, 93
Summary 234 . Universal Librarian 34
Super-Quantire 100, 119 Unknown 221
Tuples 125 Upload 148
Quantire Grid 120 Uploading, Use for
Preserve Duration 122 Uploading/Downloading New
Sensitivity Mode 124 Files 208
Grid Interval Settings 120 Use or Ignore 141
Sensitivity 123
Quantization Strength 122
Tap Tempo 126
Tap-Tempo 116
Track ReBar 110
v
Transpose 103 Value 92, 93
to Otange Majors Into Minors Value Transfonns 112
104 VAPI
Using ... 97 Af"lout VAPI 8
Velocity, Split 109 Options 250
Velocity, Random 110 Removing V APJ 9
Trammit 199, 190, 217 Supported MIDI Interfaces JO
a Bank to a Single In.,troment with IBM Music Feature Card
13
a Banlc to an instrument 191
Vari-Trak 152, 180
a MIDI string 229
a Trigger Note 214 Velocity 80, 82, 83, 86, 109, 110,
158, 166, 172, 214
data from the History Buffer
226 Velocity omet Range J66
Generic Instrument data to the Velocity Scaling, To use Velocity
imtrument 202 Scaling 45
MTC while syncing to Velocity Transforms 105
SMPTE 185 Verbose 140
Verbose, Terse, or MIDI Only 140
Trano;pose 103
Transposition Display 42 Vertical Axis, (Up/Down) 71
Trigger-note 214 Video Display Options 248
transmit a Trigger Note 214 Video Display Problems 256
View Screen 59
Trk 41
Troubleshooting 255 Block Moves Menu 64
Tune 221 Graphic Characters 60
Tuples Menu Commands 61
Super Quantize Tuples 125 Work Area 59
Two-byte MIDI messages View-display 156
two-byte channel-specific Virtual Tracks 38
MIDI messages 220. Voice Editor 190
Type 0 or Type I 139 Vol 44
Typographic Symbols and Volume, To set the Volume for a
Conventions 3 track 45
Voyetra V-22/-24s IO

u
Un-Mute 51

Index - xiii
w
w
~.««<-> .• :::a: ::::<<«rn::::::m : ::::::nm:
Width 62
Window-size 151
Windows 15
Windows 3.0 26
Work Area 15
Working Tracks 245

x
:1111:11::u:: ::::w:ai=:::::::::m::::::::::: m:::: :::::::: :::a::Q:;i

Xchange 190
XFORMS 62
Xped 166
Xpose-Mode 148
XSETUP 47

y
:: 1::::::::::::::e::::::e1:::::::::1::e::~:1::1::::::~::11:::,:1!::::1:::::::ee:

Yamaha Cl 10
Yamaha DX/fX Imtruments 207

z
Zap 64, 75,62
Zsave 136

xiv - Index