       SEWER SOFTWARE proudly presents a bloody HUGE doc...it's

                 Dr. T's Keyboard Controlled Sequencer
                  ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

                           CHAPTER 1
                           ~~~~~~~~~
                        GETTING STARTED
                        ~~~~~~~~~~~~~~~
Thank  you  for  purchasing  Dr.  T's Keyboard Controlled Sequencer for the
Atari  ST  or  Commodore  Amiga.   You  now  owm  the  most  powerful music
processing  program  available  at  this time.  Before reading this manual,
check  your disk directory for a file entitled README.  If one exists print
or  view  the  file  before  diving into the manual.  The file contains any
corrections  or  additions  to this manual which were made after it went to
press.  This manual is current for version 1.6 of the KCS.

If  you haven't already done so, turn to Appendix 1 of this manual and read
it  carefully.   This  appendix contains important information on obtaining
backups, warranty service, and customer support.  We have made every effort
to  test  the program and eliminate serious software bugs.  Still, there is
always  some  possibility  that  bugs  exist.   We  suggest that you become
thoroughly  familiar  wdth the program before using the sequencer on stage.
Dr.   T's  music  Software  assumes  NO RESPONSIBILlTY for losses caused by
software errors or other problems in using the program!

How to Use This Manual
~~~~~~~~~~~~~~~~~~~~~~
The  Keyboard  Controlled  Sequencer  is  a program which operates in three
modes  and performs several independent, yet inter-retated, functions.  Our
philosophy  in  designing this program has been to give the musician a wide
variety  of  methods  for  creating and manipulating music while imposing a
bare  minimum, of restrictions on the form of that music.  This allows each
user to develop a unique method of creating music without regard to our own
ideas of what form the music should or should not take.

In  addition  to  this  chapter,  the  manual  contains  two short tutorial
chapters  describing  the  six  disk  operations and sequencer options, and
several   chapters  of  application  notes  and  general  information.   We
recommend  that  you  start  by  reading  this  chapter  and the tutorials,
followed by Chapter 4 (OPEN AND TRACK MODE EDITING) for more information on
editing  and  Chapter  11  (SET OPTIONS) for information on the sequencer's
operating  parameters.   Refer  to  the  other chapters as the need arises.
Once  you  become familiar with all the features of the Keyboard Controlled
Sequencer,  you  will develop your owm method of using it, depending on the
equipment you are using and your own personal approach to music.

Program Overview
~~~~~~~~~~~~~~~~
The   Keyboard  Controlled  Sequencer  provides  three  distinct  modes  of
operation:   Track  mode,  Open  mode,  and  Song mode.  In Track mode, the
program  acts  as a 48 track tape recorder with many special functions that
make  it  far  more powerful than an actual tape deck.  Open mode is a more
generalized  sequencing  system  which  allows  for  completely independent
looping  of  up  to  128  separate  sequences.   Song mode is used to chain
sequences created Track and Open modes into complete songs much like a drum
machine.

The  three modes allow different approaches to be used for different pieces
of  music  depending  on  the  requirements of the piece or the mood of the
composer.   An  entire  song can be done in Track or Open mode without ever
going to the other two modes or a composition could be started in one mode,
edited  in  another,  and  completed  in  a  third mode.  Individual notes,
phrases  sequences  or  entire  songs can be easily transferred between the
various   modes  using  special  copy  commands,  or  with  cut  and  paste
techniques.   Sequences  and tracks can also be merged, unmerged, split, or
appended to other sequences or tracks.

Sequences and tracks can contain any type of MIDI data including note data,
continuous  controllers  pitch bend, aftertouch, system exclusive messages,
and real time commands.  Tempo changes can be added at any point in a track
or  sequence.   In  addition,  Open mode sequences can contain events which
start,  stop,  and  otherwise  influence  other  Open mode Sequences.  This
provides  a  means  for creating music of enormous complexity, or it can be
used   simply   as  an  alternate  method  for  creating  traditional  song
structures.

Each mode has its own edit and play/record screens.  While each edit screen
has  some  unique  features,  many  of the editing commands, as well as the
overall operation of the edit screens, are similar in all three modes.  The
three play screens each have their own special methods for interacting with
a sequence as it is Playlng.

Which  mode you choose for a given piece of music will depend on your level
of  familiarity with the program, as well as the requirements of the piece.
Users who are familiar with the Commodore or Apple versions of the KCS will
probably  want  to  dive  right  into  Open  mode, to take advantage of its
expanded  structuring  capabilities.   If you are new to sequencing but are
familiar  with  multi-track tape recording you may want to work exclusively
in  Track  mode until you have finished a couple of small pieces.  Once you
feel comfortable with Track mode, you can transfer your tracks to Open mode
for  assembly  into songs, either in Song mode or, after you've gained more
experience,  with  Open  mode  control sequences.  We do some or our pieces
exclusively  in Track mode, other pieces in Track and Song modes, and other
pieces using the generalized control structure of Open mode.

The  KCS  supports  a  number  of  load  and  save  operations, for maximum
flexibility  in  transferring  music  from  one file to another.  Indivdual
songs,  tracks, and sequences may be saved, all 48 tracks may be saved as a
block,  or  the  entire contents of memory .  may be saved.  MIDI files are
supported  via an external conversion program, and the settings of a number
of  important  playback and record options can be saved in an "environment"
file.   As  with  any  piece of Software, it is a good idea to periodically
save  a  copy  of your work to disk in case of an accident.  Any work which
takes  more  than  15  minutes is probable worth backing up, and you should
also  keep alternate takes of pieces in progress, as well as archive copies
of completed works.

Open Mode Sequences
~~~~~~~~~~~~~~~~~~~
A  sequence  in  Open mode may contain any type of MIDI data or commands to
start  or  stop  other  sequences.   Sequences  are divided into two types,
primary  and  secondary.  There are 35 primary sequencesc designated by the
single  numerals  1  -  9, and the letters A - Z.  Primary sequences can be
started  and  stopped  from  the  Open  mode  play  screen  by pressing the
appropriate  alphabetic  or  numeric  key.   The remaining 93 sequences are
called  secondary sequences and are designated by two digit numbers from 00
through  92.  These sequences may be started from the Open mode play screen
by  pressing  two  digits  on  the  numeric  keypad.  They playback of both
primary  and  secondary  sequences  may be independently controlled in real
tine  using  the computer keyboard, and as many sequences as desired can be
played simultaneously.

The  KCS  contains  two  reserved  sequences,  sequence  Y  and sequence Z.
Sequence  Y  is  used  from,  the  edit screen by the BACKUP function.  The
program  will  not  let  you create or edit sequence Y, but you may play or
append  an  existing sequence Y.  Sequence Z is used as an automatic backup
for certain editing functions, and is not accessible to the user.

Using the Keyboard and Mouse
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The  Atari ST and Amiga keyboards consist of a basic typewriter layout with
a  row  of  ten  function keys above, a group of cursor control and editing
keys  to the right, and further right, a numeric keypad.  Dr.  T's Keyboard
Controlled  Sequencer uses the mouse to move the edit cursor, to access the
various  options  on  all  three edit screens, to oontrol playback from the
edit  screens,  and  to  control  playback  and  rocording  in  Track mode.
Clicking  the  left mouse button selects the option under the mouse pointer
or  places  the  edit  cursor at that point, while clicking the right mouse
button,  or  both  buttons  at once, select a play option.  When we use the
expression  *Click  the  mouse on xxx", we are asking you to move the mouse
pointer  to xxx and then to click the left button.  "Double click" means to
click the appropriate button twice in quick succession.

The  computer  keyboard  is  used  heavily  on  the various play and record
screens.   the  functions  or  the keys vary from screen to screen, and are
described  in  detail  in  Chapters  6 - 9, and summarized in the Appendix.
When selecting tracks or sequences on the play and recoed screens, numerals
on  the numeric keypad will NOT have the same effect as the numerals on the
typewriter  keyboard.   Function  keys  Fll  - F20 are accessed by pressing
SHIFT  and  Fl  -  FlO.   The  function  of  the FlO key is also duplicated
throughout  the  program  by  the SPACE bar.  In many cases, the RETURN and
ENTER  keys  will perform the same function, though there are some parts of
the  sequencer in which these keys act differently.  Such instances will be
pointed out in the manual, as well as the Appendix.

Special Note for Amiga Users
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Fortunately  for  us  at  Dr.   T's, the Atari ST and the Amiga are similar
enough  that  no  significant changes had to be made to the program when we
ported  it from the ST to the Amiga.  Due to some slight differences in the
two  computer's  keyboards,  however,  some  of  the  keys used for control
functions in the program are not available on both computers.  In the Amiga
version  of the program, we have substituted the following keys for keys on
the Atari keyboard.

Atari ST                           Amiga
~~~~~~~~                           ~~~~~
UNDO                                                    Right AMIGA key
INSERT                                          Right ALT key
CLR HOME                           Shift-DEL
Numeric (                          Numeric - (1000 only)
Numeric )                          Shift-Numeric - (1000 only)
Numeric *                          Numeric . (1000 only)
Numeric /                          Shift-Numeric . (1000 only)

Edit Windows and Dialog Boxes
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
When  selecting  an edit operation or some other function in the KCS, it is
often  nccessary  to  provide  additional  information to the program.  Two
methods  are  utilized  to set the parameters for these operations.  Dialog
boxes  are  an  element  of  the ST's GEM operating system, and are used to
enter  data  for  some functions in the ST version of the program, and edit
windows,  which  were  specifically  designed  for  the  KCS,  are  used by
operations requiring more than a few data entries in the ST version, or for
all operations in the Amiga version.

Dialog  boxes,  which  are  described in the manual that came with your ST,
appear  in  the  center of the screen when certain operations are selected.
The  box  will  contain  two or more edit buttons, and possibly one or more
areas for entering numeric data or text, called data fields.  Clicking on a
data field will place the cursor at the end of that field and the BACKSPACE
and  ESC keys can be used to clear the data field.  When done entering data
click  on  the  appropriate  exit  button.   If  one of the exit buttons is
heavily outlined, it can also be selected by pressing RETURN.

Some  dialog  boxes may have radio buttons as well, which are used to choose
one  of several options.  These buttons are similar to the buttons on a car
radio, because selecting one will turn the previous selection off.

Edit windows are used by moost operations which have more than two or three
options  to  setect.  Some edit windows are quite small, while one, the SET
OPTIONS  window,  occupies  the  entire  screen.   Edit  windows contain an
assortment  of radio buttons, data fields, and exit buttons but, look quite
different  from, dialog boxes.  The radio buttons are the cyan (blue-green)
text  areas which describe the various options used to turn an option on or
off  (called toggling), while others are used to select one or another of a
set  of  mutually  exclusive choices (such as one of the three clock source
options).   Whether  a  button  is  a toggle switch or a selector switch is
usually   obvious   from   context,   and   is  easily  determined  through
experimentation.

Data  may  be  typed  into the data felds, or data can be entered using the
arithmetic  strip,  which  is  a  row of red arrow and diamond icons at the
bottom  of  the  edit  window.   After clicking on a data feld, clicking on
different  parts  of  the  arithmetic  strip  will  change the value there.
Clicking  on the leftmost diamond sets the entry to its lowest legal value,
the right diamond selects the highest value, and the middle diamond selects
the  center  of that parameter's range.  Clicking on the >>> or <<< symbols
increases  or  decreases  the  entry by ten units, while > and < change the
value  by  one  unit.  The functions of each of the icons in the arithmetic
strip are duplicated by the M, <, COMMA, L, PERIOD, >' and / keys.  The CLR
HOME  key will clear a data field, which is not always the same as entering
zero.  The cursor control keys can also be used to move from one data field
to another.

The  exit  buttons for the edit windows are the white text at the bottom of
the edit wAndow.  The RETURN key duplicates OK, and the UNDO key duplicates
the CANCEL button.

Hard Disks and Multiple Programs
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hard  disks  can  be extremely useful in a studio or live MIDI system.  The
KCS  can  be installed on a hard disk, but the oriUnal program disk must be
inserted  in  drive  A:   on the ST, or any floppy drive on the Amiga, as a
"key  disk"  when  the program boots.  In addition to the KCS program file,
you  will  need  to  copy the files DEFAULT.ENV and DEFAULT.VRY to the hard
disk.

For Atari ST owners who would like to have more than one program, available
for  use  at  any  time,  a new feature which allows this has been added to
version  1.6 of the KCS.  The Multi Program Environment (MPE) allows you to
load  up  to  four additional Dr.  T programs into the computer at once, by
releasing  memory  normally  used for sequence storage for use by the other
programs.   Note  that  the KCS is NOT compatible wdth other programs which
perform  this  function  externally  such  as  K-Switch.  Because of memory
limitatations  when  the KCS is running the only desk accessory you may use
with the KCS is CONTROL.ACC, which was suppUed with your Atari.

In the Amiga version of the KCS, the Amiga's multi-taskung features
are fully suppoded.  Chapter 4 contains complete details. 

Equipment Hookup
~~~~~~~~~~~~~~~~
Depending  on  the equipment you have, there can be several ways to connect
the  various  synthesizers,  drum machines, sync boxes, etc.  Basically you
want  to  connect your recording synth or master keyboard's MIDI out to the
computer's  MIDI  in  then  connect  the  computers  MIDI out to the master
synth's  MIDI  in.   If  you're using an Atari ST, you can connet your MIDI
cables diretly to the computer's built-in MIDI port.  If you have an Amiga,
you  can  use  any commercial or home-built MIDI interface that connects to
the  Amiga's  serial  port.   (This  includes  just  about every Amiga MIDI
interface  on  the market, wnth the notable exception of Roland's MPU 401.)
It  is considered good practce to plug the MIDI interface into the computer
before turning your system on.

If you have more than one synth, you will need to connect any additional
synths to the computer using a MIDI through jack on your master
synthesizer, if present.  Assign each instrument to its own MIDI channel,
and make sure that data reception is enabled on each instrument.  If you want
to use  drum, machine or other MIDI clock source as a master clock while
recording you will need a MIDI merger to connect the computer's MIDI input
to both devices simultaneously. 

When  connecting  your system, there are two common conditions to watch out
for  that  can  cause major headaches.  The first is a MIDI loop, caused by
routing  the  computer's  MIDI out back to its input, either through a MIDI
merger  or  a  synth  with  a  built  in merge or echo function.  The other
condition,  which  occurs  only  on  the  Atari  ST,  is caused by the ST's
slightly  nonstandard MIDI output jack.  While the MIDI spec calls for pins
1  and  3  of  a  MIDI connector to be left open, the ST uses these pins to
provide  a thru connection from the ST's MIDI in.  Normally, this would not
be  a  problem, but some manufacturers of MIDI cables also violate the MIDI
spec and short these two pins to pins 4 and 5, which carry MIDI data.  When
used  with  the ST, these cables can cause data to become garbled, so check
your cables carefully before using them.  Worse yet, some instruments short
these  pins  together at their MIDI inputs, so that even simple 5 conductor
MIDI  or  DIN  cables  can  cause  the  problem!   If seeminly correct MIDI
connections  result in playback problems, check for these conditions.  MIDI
connectors are optically coupled so a wrong connection will at worst result
in no data transmissi@on.

Running the ST KCS
~~~~~~~~~~~~~~~~~~
To  run  the  Keyboard  Controlled  Sequencer  on  the Atari ST, insert the
program  disk  in  the  disk  drive  and turn the computer on, or press the
computer's  reset button.  The desktop will appear, with the disk directory
enclosed in a window.  Double click on the icon labeled KCS16.PRG,, and the
program  will  load and run.  <Note that future versions of the program may
have  slightly different file names.) The program will come up on the Track
mode record screen.

Running the Amiga KCS
~~~~~~~~~~~~~~~~~~~~~
The  KCS  program  disk is a bootable WorkBench disk.  After the WorkBench
appears,  run  the  program  by double clicking on the large monitor-shaped
icon, or by typing KCS when in CLI.

Before  the program finishes booting a requestor box will appear, where you
may  allocate  a  portion  of  the  Amiga's free memory for use as sequence
storage.  The amount of memory reserved for the KCS is expressed in events,
where  an  event  is the equivalent of a note on/off pair, and is six bytes
long.   The  default  is 50% of the Amiga's free memory, but you may select
any  proportion  you  want.   The trade off here, of course, is that if you
allocate  all  your  memory  to  the KCS, you'll be able to store a maximum
number  of  notes  in  the  sequencer,  but  yu  won't  have as much memory
available  for  any  other programs such as patch editors.  You may want to
adjust  this  slider  differently at the start of each session depending on
how  much multi-tasking you plan to do.  This setting can't be changed once
it's  set without re-starting the KCS.  After you click on OK the program's
Track mode play/record screen will appear.

                               CHAPTER 2
                               ~~~~~~~~~
Track Mode Recording Tutorial
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The  purpose  of this tutorial is to familiarize the first time user of the
KCS  with  the  program's Track mode play/record screen.  The tutorial also
provides  an  introduction  to  the  Song mode edit screen, the set options
screen, and to transferring data between the three modes.

If you have a multi-timbral synthesizer system, set it up with a four voice
fuzz  guitar or similar patch on channel 1, and a two voice dynamic bass on
channel 2.  Your recording keyboard should be set to play some sort of horn
or  other  contrasting  sound  on  channel  3.   If  your instrument is not
multi-timbral, set its MIDI receive mode to Omni On/Poly.

If  your  drum machine recognizes MIDI note messages as drum hits, then set
its  mode  to Omni Off/Poly, and its channel to 16.  If it has programmable
drum key assignments, set them according to the table at the end of Chapter
12; if not, it should work as is.  If your drum machine can't be played via
MIDI, set it to sync to MIDI clock and select a plain vanilla 4/4 pattern.

Boot  the  program as described at the end of Chapter 1, and the Track mode
Play/record  screen  will appear.  If your system is connected as suggested
in  Chapter  1,  the sequencer is ready to record immediately.  (If you are
using  a  master  keyboard and a set of expander modules, you will probably
need  to  turn  on MIDI mergng by clicking the mouse on the MERGE button in
the lower right corner of the screen.)

Play  a  few notes on your recording keyboard, and the sequencer will gtart
to  record.   The metronome will start to tick, and the MIDI channel of the
first MIDI message recorded will be displayed for track 1 in the upper left
corner  of  the  screen.  Record a few bars of keyboard noodling then press
the  FlO  key.   The  sequencer  will  continue to record to the end of the
measure, and then loop back to the beginning of track 1.  The material that
you just recorded should now play back.

If  you were to continue playing on your keyboard, recording would start on
track  2,  and  both tracks would loop at the end of track 1.  This process
can  be repeated for all 48 tracks, in much the same way that drum machines
allow continuous overdub recording.

Now  click  on  the EXIT button at the bottom of the screen.  The sequencer
will stop, and the Track mode edit screen will appear.  This screen is used
for  editing tracks, and for accessing other parts of the program.  In this
case,  we  want  to  load a set of previously recorded tracks from disk, so
insert  the  KCS  program  disk  in  drive A and click on LOAD/SAVE, in the
second column of text on the right half of the screen.

The  LOAD/SAVE  dialog  box will now appear on the screen.  The .ALL button
(and  the  A:   button on the Attari) should be highlighted; if not, change
these  settings  by  clicking on the appropriate button.  Click on the LOAD
button  and a file selector box will appear.  Click on the name of the file
to be loaded (RECORTUT.ALL) followed by OK.

Once the file is loaded, the program, will return to the play/record scree,
which should now look like this:

The  play/reoord  screen  is  divided into two major sections:  the control
panel  at  the bottom of the screen, and the track status area, at the top.
Thc  control  Panel  contains  buttons  for  the  most important Track mode
recording  functions, and there is a set of hidden controls for lesser used
runctions.   The status area shows the status and name of each of the first
36  tracks.   A  message  line at the bottom of the screen diplays messages
regarding the status of various hidden controls, and other information.

Click  the  mouse  on  the  PLAY button to start the sequencer.  Six of the
eight  tracks  in  use  will  start  to  play.   The RECORD button is still
highlighted,  which  indicates  that  the sequencer is ready to record.  We
won't  bem  recording  anything  for  a  while,  so click on this button to
disable recording.

The  control panel contains other buttons which correspond to controls on a
tape  deck.   The  PLAY,  STOP,  and  PAUSE  buttons  perform  the  obvious
functaons,  and  the << and > > icons next to the CLOCK display are used to
change  the  sequencer's  tempo,  or  speed.   All  of  these  controls are
activated  by  left  clicking on them, just as if they were actual physical
buttons.   Experiment with these controls then return the sequencer to PLAY
status at a comfortable tempo.

Click the mouse on the display for track 1 in the status area, and the word
MUTE will appear on that line, and the track will be silenced.  Clicking on
the  track  again,  or  pressing  the  1  key  on  the computer's typewiter
keyboard, will unmute the track.

Note  that  the  MUTE button is highlighted.  If MUTE is on, then selecting
any  track,  either  with the mouse or by pressing a track key will mute or
unmute that track.  The track keys are single keys on the computer keyboard
which  correspond to one of the 48 tracks, and are listed in the right hand
column  under  TRACK in the status area.  Experiment with the MUTE function
on  the  other tracks, using the mouse and the track keys.  (You might want
to avoid unmuting track 6 at this point, as his track is in a different key
than the others.)

After  you  get a feel for muting tracks, return each track to its original
MUTE  status (see the screen shot earlier in this chapter) and unmute track
4.   This  track  is  a slight variation on track 5, and doesn't contribute
anything of interest, yet.

Hold  down  the SHIFT key and press F1.  The MUTE light will go off and the
words "SHIFT 1" will appear on the message line.  Click on track 4, and the
hi-hat part will be augmented by a slightly delayed version of itself.

Click  on  track  4  again to increase the delay time.  At this setting, it
sounds  less  like  an intentional delay and more like slop, so let's shift
the  track  back  one  step.  Press SHIFT and F4, and the message line will
change  to  SHIFT  1.   Click on track 4 once, to return it to its slightly
delayed position.

MUTE,  SHIFT  1,  and  SHIFT  - 1 are all part of a set of functions called
track  options.  A track option determines what will happen to a track when
it  is  selected  with  the mouse or its track key.  There are over a dozen
different  track  options, but only one can be turned on at any time.  Some
track  options  can be selected on the control panel, while others can only
be  selected  from the computer's keyboard.  Another important track option
which  can be accessed from the control panel is the SOLO option.  Click on
the  SOLO  button,  and  experiment  with  the  track option on each track.
Select  MUTE  when  you have soloed every track and they will all return to
their originl statuses.

Now  let's  copy  these  tracks  into  Open  mode  sequences, which will be
assembled  into  a  song  in Song mode.  The ALL TRACKS TO; SEQ Option will
copy  all  unmuted  tracks  into  a  specified sequence.  By muting various
combinations of tracks and copying all tracks to a number of sequences it's
possible  to  build  sections  of  a  song in Track mode.  We will use this
technique to make a short song from these tracks.

Stop  the  sequencer,  and  mute  tracks  1,  2  4,  6, and 8.  Press the !
(SHIFT-1)  key,  and  an  edit window labeled COPY TO SEQUENCE will appear.
This window allows you to specify a sequence number, name, and comments for
the  sequence.   (For  the moment, ignore the INCLUDE MUTED TRACKS button.)
The  sequence  number  defaults to the lowest empty sequence (in this case,
sequence 2), and the comments field will show a list of the unmuted tracks.
Cllck on OK or press RETURN to copy the unmuted tracks (tracks 3, 5, and 7)
into sequence 2.

Now, using the method described in the last paragraph copy the following
track combinations into sequences 3 to 8: .

Mute tracks 1, 2, 4, and 6, and copy the other tracks into sequence 3. 

Mute tracks 1, 4, and 6, and copy the other tracks into sequence 4,

Mute tracks 4 and 6, and copy the other tracks into sequence 5. 

Mute track 6 only and copy the other tracks into sequence 6. 

Mute tracks 1 and 6, and copy the other tracks into sequence 7. 

Mute tracks 1, 5, and 8, and copy the other tracks into sequence 8. 

Now  that  we've  created  the parts to our song we can go to Song mode and
chain  them into a song.  Click on SONG MODE on the Track mode edit screen,
and  the Song mode edit screen will appear.  Songs are created by typing in
entries  in  the  event  list, the large empty area on the left side of the
screen,  The  small  square  in  the upper left corner of the event list is
called the edit cursor, and determines where data entry and editing occurs.

The  number  or  letter in the column labeled SEQ determines which sequence
will  play.   Type  2 on the computer keyboard, and note the changes on the
screen.   The  white box shows the valid area for cursor placement, and the
columns  to  the  right  of  the  SEQ  column  are  used  to  enter  tempo,
transposition,  and other information.  Use the cursor control keys to move
the  cursor  to the right end of the box, and type 2 under REP, followed by
RETURN.

In the same way type in the number shown in the following screen shot.  Use
the  UNDO key to erase mistakes before pressing RETURN, or use the mouse to
place the edit cursor over your mistake and type in the corrected data on a
previously  entered  line.   The NAME column will remain blank as you enter
each  sequence, though if we had named the sequences when creating them the
names would appear at this point.

The  numbers  in  the  SEQ column indicate which sequence will be played at
that  point  in  the  song.   TRN  specifies  a pitch transposition for the
sequence,  in  half  steps,  and REP shows how many times the sequence will
repeat.   Once  the  song  is complete, it can be played from the Song mode
play  screen;  but  since  this  is a Track mode tutorial, we will use Song
mode's  SONG TO ALL TRACKS option, which will erase all tracks and create a
new  set  of tracks that are the equivalent of the song.  This will be much
longer  than  the original tracks, and will allow us to overdub tracks that
are the length of the entire song.

Before  coping  the song to all tracks, there is one minor adustment to the
sequencer's  operating parameters that must be made.  Click on SET OPTIONS,
and  a large edit window will appear.  A number of different parameters can
be set from this screen, but for the moment, we are only interested in one,
DRUM  CHANNEL,  on the right side of the screen.  The space to the right of
this  button displays the drum channel.  Click on this space, then click on
the  rightmost  diamond in the arithmetic strip at the bottom of the window
to  set  the  drum  channel to 16.  Press RETURN or click on OK to exit the
edit  window.  Setting a channel to drum channel status tells the sequencer
not to transpose that channel, which would change each drum to another drum
if  applied  to a MIDI drum part.  Since sequence 8 is transposed each time
it's  played  in this song the drum channel must be set to 16 BEFORE coping
the song to all tracks to protect the drum parts on channel 16.

Click  on  SONG TO ALL TRACKE, and a dialog box will appear to confirm your
choice.   After  clicking  on  OK,  the  program will take a few seconds to
create  the  new  tracks.   When  the  working  message disappears from the
message line, click on TRACK MODE.

When the Track mode play/record screen appears note that the eight original
tracks  have  been compressed into four tracks - one for each channel used,
and  a  "conductor"  track  (track  1) which sets the length of all tracks.
Click on the PLAY button, and the song will start to play.

With  the  song "stretched out" into four song tracks it is now possible to
overdub  tracks that are the length of the entire song.  This allows you to
add  parts that are not locked into the repetitious patterns created by the
original tracks such as lead lines and drum fills.

The  exact  set  up  for  recording  tracks  will  vary  depending  on  the
keyboard/sound  generator  arrangement you are using.  For the rest of this
tutorial,  we  will assume that your recording keyboard is a single channel
synthesizer  such  as  a  DX7  or  a  Mirage.   If you are using some other
arrangement  see the sections on MIDI MERGE, ECHO, and Local Control OFF in
Chapters  6  and  12,  as  well as your owner's manuals, for information on
configuring your system.

Before  starting  to record, click on the CNTRLRS button.  This enables the
recording  of  MIDI  controller  infonmation  such as pitch beet modulataon
wheel, and sustain pedal movement.  Play along with the sequencer until you
get  an  idea  of  what you'd like to record then click on RECORD, and play
your part.

Chances are, the first track that you record will not be to yur liking.  In
this  case, click on RE-RECORD; the track you are recording will be erased,
the  sequencer  will  stop,  and you can sart over.  Once you've recorded a
good take, you will be ready to record another track in the same way.

By  now,  you  should have a good idea of the basic technique of Track mode
recording  on  the  KCS.   The Track mode play/record screen has many other
features which have not been discussed here.  At this point, you might want
to  record  a  short  picce  of  your  own, referring to Chapter 6 for more
detailed  information  on the recording process:  or continue with the Open
mode  editing  tutorial  for  a  look  at  how  the  sequencer  stores  and
manipulates musical data.

                               CHAPTER 3
                               ~~~~~~~~~
Open Mode Editing Tutorial
~~~~~~~~~~~~~~~~~~~~~~~~~~
The  purpose  of this tutorial is to familiarize the first time user of the
KCS with the program's Open and Track mode edit screens.  The tutorial also
provides introductions to the program's representations of various types of
musical  events,  and  to creating and editing control sequences.  The "raw
material"  for  the  editing tutorial consists of three previously recorded
sequences, which are to be loaded from disk.

If you have a multi-timbral synthesizer system, set it up with a buzzy clav
voice  on  channel  1,  a bass on channel 2, and some type of reed or fluid
lead  synth sound on channel 3.  If your synth isn't multi-timbral, set its
MIDI  receive  mode to Omni On/Poly.  If you have a drum machine, set it to
synchronize  to MIDI clock, disable the reception of MIDI channel messages,
and select a simpIe 4/4 pattern.

Now boot the program as described at the end of Chapter 1, and you will see
the  Track  mode  record  screen.   Since  we  will  be  editing  Open mode
sequences,  the  first step is to move to the Open mode edit screen.  Click
on the EXIT button in the lower left part of the screen, and the Track mode
edit screen will appear.

The  Track  mode  edit screen is very similar to the Open mode edit screen,
but  only  tracks can be edited in Track mode, not sequences.  On the right
side  of  the  screen is a list of editing options.  Click on the OPEN MODE
option,  in  the  lower  right  corner,  and the Open mode edit screen will
appear.

Now the sequences to be edited must be loaded in from the disk.  Place your
program  disk  in  the disk drive, and click on the LOAD/SAVE option on the
right  half  of the screen.  A dialog box will appear, and will ask you for
the  file  type  you  wish  to access, the drive to use, and what action to
perform!.   Confirm that the sequence type selected is .ALL and that the A:
drive  is  selected  if  you're  using  an  Atari.   If  not,  change these
selections  by  clicking on the appropriate box.  Click on LOAD, and a file
selection box will appear.

Click on teh name of the file to be loaded (EDITTUTR.ALL) and click OK.

Once the file is loaded, the program will return to the
edit screen which should now look like This:

The  edit screen is divided into two major sections:  the edit options area
on the right side of the screen, and the event list on the left half of the
screen.   The  event  list  displays  the  actual  data  which makes up the
sequence, and the edit options are used to select editing operations, or to
move  other  parts  of  the  program.   There is also a message line at the
bottom  of  the screen, which displays information and prompts when an edit
option  is  selected, and a set of select boxes below the edit options, for
moving to another sequence.

The  edit  cursor,  the  small solid square in the upper left corner of the
event  list, is used to select an event for editing or to set the beginning
or  end  of  a  range of events.  It can be moved to any point in the event
list  by  clicking  on the ncw position, or it can be moved with the cursor
control  keys.   Practice moving the cursor around the screen with both the
mouse and the cursor control keys.

The  edit  screen can only display 21 events at a time:  other parts of the
event  list  can  be  accessed  by  scrolling through the list with the red
scroll arrows, located on the left edge of the event list.  Clicking on any
of  the  top  three sets of arrows will move the diplay window up the event
list,  and  clicking  on  the  lower  sets  moves the window down the list.
Clicking  on the scroll diamonds above or below the scroll arrows will move
the  window  to  the  top  or bottom of the event list, and clicking on the
middle diamond will cause continuous scrolling.  Practice scrolling through
the event list with these controls then return to the top of the list.

Before  editing  sequencc 1, we want to play it through a few times to hear
what  it  sounds  like.   Double click the right mouse button, and the Open
mode  play  screen will appear.  Press the 1 key on the typewriter keyboard
and sequence 1 should start playing on MIDI channel 1.  After listening for
a bit, return to the edit screen by pressing F1.

Sequence  1  sounds  interesting, but is too repetitive, and is out of sync
with  the  drum  machine  and metronome.  To correct these problems we will
adjust  the  timing  of the sequence, shorten it, and make a few changes to
the second repetition of the sequence.

Before doing any editing on the sequence, it's a good idea to make a backup
copy Click on BACKUP, and a confirmation message will appear in the message
line.  Clicking on GET BACKUP will swap the backup and the edited sequence,
for  qufck comparisons.  After you're sure you're done an editing operation
correctly,  make  a  new  backup  so  that you won't have to redo the whole
tutorial if you accidentally mangle the sequence.

The  timing  of  the  sequence is controlled by the data in the TIME field,
which  is the third column in the event list.  Each entry in the TIME field
represents  the  number  of clock steps which go by before the remainder of
that  event occurs.  One quarter note equals 24 clock steps so a TTME value
of  12  means  that an eighth note's worth of time goes by before the first
note  in  this  sequence  piays;  in other words this sequence starts on an
offbeat,  namely the second haaf of the first beat of the measure.  This is
why the sequence doesn't sync properly with the metronome.

Place  the  edit cursor over the first digit of the first value in the TIME
field,  type  a  space,  and  look  at the screen.  The white box which now
outlines the first event indicates the data that can be edited.  The CURSOR
LEFT  and  CURSOR RIGHT keys, as well as the TAB and SHIFT-TAB keys@ can be
used  to  move the edit cursor within the box; experiment with these keys a
bit,  then place the cursor over the 2 in the TIME field, type 0, and press
RETURN (not ENTER).

When  RETURN  is  pressed  all the entries in the MSR-ST field will change.
This  field  marks  the location of each event in measures and clock steps.
Note  that  the MSR-ST field now reads 1-1 for the first event, which means
that the first note now occurs on the first step of measure one.

Since  the  essential  theme of this sequence repeats every measure, we can
delete  all  but the first measure of the sequence.  The first event of the
second  measure  is event 13; the event number is listed in the EVNT field.
Click  on  event 13, then while holding the left mouse button down move the
mouse  pointer  all  the  way down to the area between the end of the event
list  and  the  message  line.   The list will scroll down when the pointer
moves  below  the  event  list;  when  the highlight reaches the last event
(event  43)  in  the  sequence,  release the mouse button.  The highlighted
region  has  now  been selected for editing.  (You may need to "jiggle" the
mouse a bit at the end of the event line, to highlight event 43.)

The highlighted portion of the sequence can be played by clicking the right
ouse  button.   Do  this  now  and note that the measure/step display and a
message appear at the bottom of the Screen.

Now  click  on  DELETE in the edit options area.  A dialog box will ask for
the  range of notes to be deleted, which defaults to the range that we just
selected.   To delete the selected range, click on OK.  Clicking on UNDO at
this point will swap the sequence with a backup copy that was automatically
created  as  part of the DELETE operation.  Click on UNDO again to retrieve
the edited version.

Return  to  the  Open  mode  play  screen by double clicing the right mouse
button,  and press 1 on the typewriter keyboard.  The sequence starts okay,
but loses sync at the start of the first repetition; something is obviously
not  right.   Press Fl to return to the edit screen and look at the data in
the  MSR-ST field.  The sequence ends on measure 1, step 85, which makes it
84  steps long; but a full measure of 4/4 time at 24 steps per quarter note
is  94  steps.   The  sequence  must  be  extended by 12 steps if it[ is to
synchronize properly with the drum machine.

To  add  an  event to the end of the sequence, place the cursor in the TIME
field  immediately  below  the  last event in the list, and enter 12.  Move
over to the TYP field and type DE.  The screen should now look like this:

The  data  on the TYP field indicates the event type.  All the events up to
this  point  have been ON events, which represent note on and off messages.
ON  events  make  up  the  majority  of  most sequences.  The DE event is a
"deleted  event",  a dummy event in which nothing occurs except the passage
of  time.  When used at the end of a sequence, it sets a time delay between
the  occurrence  of the previous event, and the start of the next sequence.
Press RETURN, go to the play screen and play sequence 1.  Everything should
sync properly now.

Upon  listning  to  the  sequence,  it  seems that it might make a bit more
musical  sense  to double its length and make a slight change to the second
half.   We'll  do this by first copying part of the sequence into the paste
buffer, and then pasting it at the end of the original sequence.

Since  there  is  no  need  to duplicate the DE event, we only need to copy
events  1  to 12 into the paste buffer.  Place the edit cursor on event l2,
and highlight the events from 1 to 12 by holding the left mouse button down
and  moving the mouse pointer to event 1.  (This is known as "dragging" the
mouse).   Click  on COPY and an edit window will appear on the screen.  The
default  parameters  will  work  for this operation, so click on OK.  These
events are now stored in the paste buffer.

Move  the  edit  cursor  to event 13, and click on PASTE.  A rather complex
edit  window  will  appear  for  the  moment,  just  confirm that INSERT is
selected in the upper left corner, and enter 12 for FIRST EVENT TIME.  This
is  to  made up for the DE event and its associated TIME value that weren't
copied.   Click  on OK and move to the end of the event list by clicking on
the bottom scroll diamond.  The screen should now look like this:

If  your  sequence doesn't end with a DE event on MSR-ST 3-1, retrieve your
backup copy and go through the cut and paste proeedure again.

The  last  step  in  editing  sequence  1 is to make a slight change in the
second  measure  by  erasing the last note in the sequence.  Place the edit
cursor on event 24, and click on ERASE.  When the dialog box appears, click
on  OK to erase event 24.  ERASE is similar to erasing a small section of a
tape  recording and doesn't affect the timing of the sequence, while DELETE
is  more  like  cutting  out  a  piece  of  the tape, since the sequence in
shortened when events are deleted.

Now double click the right mouse button to go to the Open mode play screen,
and  start  sequence 1.  While the sequence is running press the DELETE key
the  word  ALIGN will appear on the screen.  Watch the measure-step display
and,  while  the  measure  is  an  even  number,  press 2 on the typewriter
keyboard.   This  will  start  sequence 2 at the start of the next measure.
This  simple three note bass line fits with sequence 1, but the timing is a
bit rough.

Return  to  the  edit  screen and move to sequence 2 by clicking on the box
labeled  2  at the bottom of the right part of the screen.  Note that while
the  TIME  values in sequence 1 were all multiples of six, this is not true
for sequence 2.  This can be fixed with the AUTO-CORRECT option.

Click  on  TRANSPOSE/AUTO  in the edit options area and an edit window will
appear.   This  is  where most of the data maniplation operations are done.
Click  on  AUTO-CORRECT  and confirm that 6 is entered in the space next to
AUTO-CORRECT.   When  this  is  done, click on OK at the bottom of the edit
wndow.   The  sequence  is  now  auto-corrected; the four values under TIME
should be 0, 192, 6, and 186.

Now  let's  return  to  the  play screen and cue sequences 1 and 2 to start
together.   First press the DELETE key to align the sequences, and then ESC
to  pause  the  sequencer.  The word PAUSE will appear above ALIGN; press 1
and  2  to  select these sequences, and press ESC a second tune to turn off
PAUSE and start the sequencer.  After listening to this for a bit, wait for
an  even  numbered  measure and press 3 on the typewriter keyboard to start
sequence 3.  This lead line was recorded using quite a bit of mod wheel and
foot  pedal  motion,  perhaps too much:  but the notes themselves are okay.
The best thing to do is probably to strip the controller data from the note
data and to re-record the controllers at a later time.

Return  to  the  edit  screen  by  pressing  Fl.  Sequence 3 looks a little
different  from  the  earlier  sequences  because of the mod wheel and foot
pedal data it contained.  The CC events represent data from these and other
continuous controllers.  The value under NOTE is the MIDI controller number
for  that  event (1 for mod wheel, 4 for foot pedal), and that under VEL is
the  value  of  that controller.  Scroll through the sequence, and note two
facts:   first,  that  continuous  controllers use up much more memory than
notes do, and second, that the many CC events make it difficult to view and
edit the ON events.

CC events can be deleted from a uequence using the ERASE CNTROLLERS option,
which   is   reached   from  the  TRANSPOSE/AUTO  edit  window.   Click  on
TRANSPOSE/AUTO,  followed  by  ERASE CONTROLLERS and OK.  Sequence 3 should
now look like this:

The  note  data  from  the  lead  synth part is much easier 3 read with the
controlier data eliminaned, and can be edited more easily as well.

Now  that we've got all three parts edited, let's combine them into a short
song.   This as done using primary sequence start events in a separate Open
mode  sequence  known as a control sequence.  Primary sequence start events
are  represented in the event list by the number or letter of the sequence,
and  the  NOTE,  VEL,  and  DUR  fields  are  used  to  indicate  the pitch
transposition,  velocity  transposition,  and  number  of  repeats for that
sequence.

We will create the control sequence in sequence A, which doesn't exist yet,
and  therefore  is  not shown in the select boxes at the bottom of the edit
options  area.  To get to a sequence that isn't shown here, click on the **
symbol in the last select box and enter A in response to the prompt.  Place
the  cursor  on  the  single  DE event, and press the INSERT key.  When the
white  box  appears, type in the following data, pressing RETURN after each
line  and  moving  the  edit cursor up or down with the cursor control keys
after the last line.

MSR     ST      EVNT    TIME            CH TYP  NOTE    VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1       0                       1       0       -20     2W
1-      1       2       0                       1       0         0     4
1-      1       3       0                       2       0         0     2W
1-      1       4       0                       3       0         0     1
1-      1       5       0                       1       0         0     2W
1-      1       6       0                       2       0         0  12W

The  W's  in the the duration fields are WAIT flags which cause playback of
the  control  sequence  to  wait  until  the  sequence in that line is done
playing.   In this example, starting sequence A will pause until sequence 1
finishes  its  two  repetations.   After waiting for the TIME value of zero
steps,  sequences  1 and 2 will start and run for 2 repetitions of sequence
2;  after  which  sequences 1, 2 and 3 will start together.  the -20 in the
VEL  field  for  event  1  causes sequence 1 to play its note velocities 20
units lower than normal.

This  sequence  can  be played from the Open mode play screen just like the
others were, but there is another method for playing sequences that is more
convenient  when  editing.   Place  the edit cursor on the first event, and
click  the right mouse button; the sequenoc will play from the first event.
Clicking  the  left  button  will  stop  the sequence.  The sequence can be
played  from  any  event  by placing the edit cursor on that line and right
clicking which makes it easier to listen to just part of the sequenoe.

This  tutoril  has  by  no  means  covered  the  full range of edit options
available  on  the  KCS,  but  you  should  now be familiar enough with the
sequencer  operaton  to  get  started  making  some music.  More details on
editing can be found in Chapter 4.

                           CHAPTER 4
                           ~~~~~~~~~
Open and Track Mode Editing
~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Open mode and Track mode edit screens let you make individual or global
changes  to  pitch,  duration,  velocity,  MIDI channel, and timing for all
notes  in  a  sequence or track.  Notes and other MIDI events can be edited
individually, copied to another sequence or track.  New events can be typed
in  from the computer keyboard, or can be entered in step time using a MIDI
keyboard  in  conjunction  with the computer's keyboard.  In many ways, the
KCS;s  edit  screens  act  as  a  word  processor  designed  for music.  In
addition, the edit screens are used to access the computer's disk drive(s),
to  set the sequencer's operation options, and to move from one mode to the
next.

The edit screens for Open and Track modes are quite similar, though each
mode has a few commands not shared by the other mode.

The edit screen is divided into four sections: the event list on the left
half of the screen, the edit options on the right side, the message line at
the bottom of the screen, and the select boxes, below the edit options. The
event list displays up to 21 events (notes, program changes, control
changes, etc.) of the currently selected sequence or track, and is where
the actual editing takes place. The edit options section is used to select
which editing operation is to be performed, and also contains options for
selecting a new track or sequence, changing modes, setting the sequencer's
operating parameters, and exiting the program. The message line is used to
display messages about certain editing options, and to ask for more
information about other options. The select boxes are used to select a
different sequence or track.

There are two cursors on the edit screen: the mouse pointer, and the edit
cursor. The mouse pointer indicates the current position of the mouse, as
in all ST and Amiga programs, while the edit cursor indicates the point at
which editing will take place, or from which playback will begin if the
right mouse button is clicked.

The Event List
~~~~~~~~~~~~~~
The  event  list  consists  of  five editable data fields; two fields whose
contents  are  determined  by the program, and a set of icons for scrolling
though the list.  Here is a description of each of the fields:

MSR-ST:  The measure and step at which the event occurs.  For example, 2-13
means  the thirteenth step of measure two.  This is computed by the program
and cannot be changed.

EVNT:   The number of the event.  EVNT is used to specify a range of events
in the sequence or track when you are using the various edit options.  This
is also computed by the program and cannot be changed.

TIME:   The time at which this event occurs in relation to the start of the
previous  event.  Time is measured in steps of the internal or MIDI clock.
Changing  the  current  value will move this event and all subsequent events
forward  or  backward in time (with the exception of entries followed
by  the  ENTER  key  as  described  later  in this chapter).  The range of
permissible values is 0 to 65535.

CH:   The MIDI channel or the event.  The CH field is not used for non-MIDI
events,  or for MIDI events which don't carry channel information.  Channel
numbers must be between 1 and 16.

TYP:   The  event  type.   The  KCS uses over twenty different event types,
which  are  explained  later in this chapter.  The most commonly used event
type is the note on event, which has a TYP value of ON.  The meaning of the
data  in the next three fields is dependent on the data in the TYP field so
the  names  of  these  fields are only meaningful for a note on or note off
event.

NOTE:   The  note  value and octave, where the lowest note on a five octave
keyboard is C2.  Since computer keyboards don't contain flat symbols, flats
are  spectGed  as  the  coresponding  sharps  (B  flat  3  becomes A#3, for
instance.)  The  range  of valid MIDI notes in the KCS is C-1 to G9, though
some  other  companies,  most notably Yamaha, number MIDI notes from C-2 to
G8.

VEL: Key velocity The permissible range is 0 - 127. 

DUR:  The duration of the note, or how long the key was actually held down.
The  range  for  duration  is 1 is 999.  A duration of 0 produces a note on
with  no  corresponding  note  off, which is useful for creating notes with
durations greater than 999 clock steps.

Scrolling  through  the event list is done by clicking the mouse pointer on
one  of  the diamonds or arrows to the left of the event list.  Clicking on
the  top  diamond  moves  the  cursor to the first event in the event list,
clicking  on the bottom, diamond moves to the end of the list, and clicking
on  the  middle  diamond causes continuous scrolling from the edit cursor's
current  position.   When  the middle diamond is used, pressing the CONTROL
key  will  cause scrolling to pause until the CONTROL key is pressed again,
while pressing the ESC causes scrollmg to terminate.

The  scroll  arrows  provide another method for scrolling through the event
list.  Clicking on one of the triple arrows moves the event list forward or
backward  by  eighteen  events,  the  double  arrows  move the list by nine
events, and the single arrows move the list down by one event.  Holding the
left  mnouse  button  down  while  the mnouse pointer is positioned over an
arrow causes continuous scrolling.

The  edit  cursor  may  be  moved  to any point in the event list using the
cursor  keys or by clicking the mouse on the appropriate point in the list.
Note  that  the edit cursor can not be moved into either of the noneditable
fields  (MSR-ST  and  EVNT),  so  clicking the mouse on these fields has no
effect.

Select Boxes and Edit Options
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The  select  boxes which are the small numbered boxes stacked at the bottom
of  the right half of the screen are used to select a new sequence or track
for editing.  In track mode, each of the 48 tracks has its own box.  Tracks
which  contain  data  are  shown as boxes with a number in them while empty
tracks are represented by an empty box.  Clicking on a box will select that
track  for  editing  or  clicking  on  **  will allow you to type the track
number.

Two  sequences  or  tracks  can  also  be  swapped  using the select boxes.
Holding the left or right SHIFT key down when clicking on a select box will
exchange  that  track  or  sequence  with  the  currently selected track or
sequence.   

In  Open mode, only the first 33 primary sequences (A - X) and the first 26
of the secondary sequences (00 - 25) can be acccssed with the select boxes.
Sequences  Y  and  X  are  represented  for use by the program and can't be
dirctly edited.  Seconddary sequences above 25 must be selected by clicking
on ** and typing the sequence numbber.

The  edit options are displayed on the right half of the screen.  An option
is  selected  by  cllicking on its name.  Depending on the option chosen, a
message,  edit  window,  or dialog box may appear.  The specific details on
each option are explained later in this chapter.

While most of the edit options are identified in both Track and Open modes,
there are slight differences in some cases, and some options appear only in
one  mode  or  the  other.   If  this  is the case, it will be noted in the
section on that option.

Selecting a Range for Editing
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 
Most  of  the  edit  options  will  work on a range of events, as well as a
single  event.   The  range can be entered in the dialog box or edit window
for  that  option,  or a range may be selected with the mouse.  To select a
range of events for editing.  Place the edit cursor at the top or bottom of
the  range,  and  while  holding  the left mouse button down, move the edit
cursor  to the other end of the range.  (This is called "dragging" the edit
cursor.) The selected range will be highlighted, as shown below.

You  can  drag  the  cursor beyond the bottom, of the screen, and the event
list will automatically scroll to the new position.  The selected range can
be played by clicking the right mouse button.

After a range is selected, a new range may be selected in the same way, and
the  active  select  range  can  be toggled between the two by pressing the
ALTERNATE  key.   If a range extends over more than a single screen you can
move from one end of the range to the other by pressing the CONTROL key.

When  a  range  is selected, the first and last event numbers of that range
will be diplayed on the message line.

Playing the Sequence or Track from the Edit Screen
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 
In additaon to the PLAY edit option found on all three edit screens the KCS
allows  you to play part or all of the sequence or track being edited using
the  mouse  buttons.   On  both the Track mode and Open mode edit screens a
single  right  click on the mouse will play the selected sequence or track,
starting  at  the  location  of  the  edit  cursor.   If  a  range has been
highlighted  a  single  right  click will play only the highlighted events.
Note  that  this occurs even if the selected range has been scrolled on the
screen.   If  a  single  right  click does not produce the expected results
check the message line to confirm that the proper range is selected.

A  double right mouse click will transfer you directly to the Track or Open
play  screen.  If the program seems to have a problem distinguishing single
and  double clicks you can also move to the play screen by holding down the
SHIFT button while right clicking.  The Amiga may have problems with double
clicks if you click too fast; try clicking a little slower in this case.

In Open mode, pressing the left and right mouse buttons simultaneously will
play the currently selected cue.  In Track mode, all limited tracks will be
played  starting  at  the  cue point, or if a range is selected, that range
will be played for the selected track, as well as all other umnuted tracks.

To  stop  the  sequencer  when playing from the edit screen, click the left
mouse  button.   Holding  the SHIFT key when doing this will place the last
event  played  about 2/3 of the way down the edit list, which is handy when
you need to locate a specific event by ear.

When  piaing  from the edit screen, the internal clock is always used, even
if  MIDI  or MIDI W SONG POINTER is selecled as the clock source on the SET
OPTIONS screen.

Editing or Entering a Single Event
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 
To  change  a value in the event list, move the edit cursor to the location
of  the  value, and type in the new value.  When you start to type, a white
box  called the edit box will outline the fields you may edit.  You can use
the  cursor control and BACKSPACE keys to move over characters in the field
and  the  SPACE bar to clear them out.  The TAB key will move the cursor to
the  next  field,  and  SHIFT-TAB will move the cursor back one field.  The
cursor  can  also be moved to any point within the edit box by clicking the
mouse  on that point.  When you're done entering data press RETURN to enter
the data or UNDO to cancel the change.  Clicking the mouse outsfde the edit
box has the same effct as pressing RETURN.

Since  the program expects to see only certain types of data in each field,
(numbers from, 1 to 16 in the CH field, for example), entering invalid data
in a field will cause your entry to be misinterpreted or ignored.  You must
enter data that is appropriate for the type of event that you are editing.

To  add  notes  to the end of a sequence or track, place the edit cursor in
the  TIME  field  on the first line after the end of the sequence or track,
and enter the data as described above.

In  most  cases, the RETURN and ENTER keys perform the same function in the
KCS,  but  there  is  one  important difference between these two keys when
editing  events.   If  the TIME value for an event has been changed and the
ENTER  key is pressed instead of RETURN, the time of the next event will be
adusted  so  that  the measure and step of that event will remain the same.
See the sect@on on INSERT and ADJUST for more details.

Defaults and Shortcuts for Event Editing
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
If  a  field  is  left  empty when entering a note or other event, then the
value  in  that field will default to some value which depends on the event
type and other factors.  If all fields are left blank and the previous line
in the event list is an ON event, then each field will default to the value
in the previous line, except the TIME field, which always defaults to zero.
If  the  previous  event  is  not  an ON event, the defaults are not always
predictable.   Usually, the TYP field defaults to the value in the previous
line,  and all other empty fields default to zero.  If the octave number in
the previous line; the same holds for octave values entered without notes.

There is also a group of single letter abbreviations for commonly used TIME
values.   Typing any of these abbreviations while the cursor is in the TIME
column  will  cause the program to immediately display the selected time in
the  TIME  column .  The TIME abbreviations and the corresponding number of
steps  using  the  system default of 24 steps/quarter note are given in the
following table:

Key     Value                   Steps   Dotted  Triplet
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A       Last used                       
C       Last calculated
Z       Zero                            0               0               0
W       Whole note              96              144             64
H       Half note                       48              72              32
Q       Quarter note            24              36              16
E       Eighth note             12              18              8
S       16th note                       6               9               4
T       32nd note                       3               5               2

The  "last  calculated" value assooated with the abbreviation "C" refers to
the  value  returned  by  the  most  recent  use  of  the CALC edit option,
described later in this chapter.

A dotted note of any of the types listed can be entered by pressing
CONTROL and the letter at the same time.  A triplet is entered by
pressing SHIFT and the letter.  Changing the STEPS/BEAT setting, on the
SET OPTIONS screen, will change the number of steps for each letter in the
table correspondingly.

Event Types
~~~~~~~~~~~
The KCS recognizes 22 different types of events. Seven of these are MIDI
events and the rest are non-MIDI. A sequence or track may contain different
types of events. The seven MIDI events that the Keyboard Controlled
Sequencer recognizes are:

ON - Note on
OF - Note off (also entered as OFF)
PG - Program change
CC - Control change
AT - Aftertouch, or channel pressure
PB - Pitch bend
* - Single byte event

The non-MIDI events are:

PRIMARY sequence start (1 - 9, A - Z)
ST - Secondary sequence start
XX - Sequenct stop
XL - Loop stop
MS - Mute sequence
US - Unmute sequence
PT - Transpose sequence pitch
VT - Transpose sequence velocity
TM - Tempo value
AC - Accelerando (increase tempo)
DC - Decelerando (decrease tempo)
SM - Steps/measure
RA - Random event
CU - Wait and see
DE - Deleted event (rest)

PRIMARY, ST, XX, XL, MS, US, PT, and VT events are ignored when the program
is not in Open mode. ST events can also be used to start PRIMARY sequences
by entering a single digit or letter. Each event type is described in
detail below.

Note On and Off
~~~~~~~~~~~~~~~
ON  events  are the most common events used in the KCS.  The meaning of the
date  in  ecah  field  is  exastly  as  described in the explanation of the
fields.

When recording note on and note off messages, if any note has a duration of
more  than  999 clock steps, the DUR value for that ON event becomes 0, and
the  program records a separate The program maintains 64 duration counters,
Whch  are used to keep track of the durations for up to 64 ON events.  When
this limit is exceeded during playback, the program will cut short the note
that  would  normaly end next, and play the new note.  This should not be a
problem  in  most  applications.   One other important point to be aware of
when  programming  durations is that when note on and note off messages are
programmed  to  occur on the same time step, the note off messages are sent
after the note on messages.  (This is done to keep the note on timing which
is  more critical than note off timing, nice and crisp.) This means that if
you  want  to  create  legato parts without overlapping (slurred) notes the
durations used should be one less than the corresponding TIME values.

Program Change
~~~~~~~~~~~~~~ 
PG  events  will  make  the instrument on the specified MIDI channel change
programs.   For  most  synthesizers, you should make sure the instrument is
not  currenly playing a note when it is to change sounds.  Some instruments
may  quietly  shut on the note and make the change, while other instruments
will  make a very undesirable popping sound when changing.  When entering a
program  change,  the  value under NOTE represents the program number.  Not
all  instruments  begin  program  numbering  with 0.  See the synthesizer's
owner's manual, for specifics on your instruments.

MSR-    ST      EVNT    TIME            CH TYP  NOTE    VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1       0               1       PG      0
1-      1       2       0               16      PG      5


Control Change 
~~~~~~~~~~~~~~
CC  cvents  are  control change events.  They are generated by a mod wheel,
pedal,  joystick,  sustain pedal, etc.  The value undcr NOTE will represent
the   controller  being  changed.   The  numbers  used  to  represent  each
controller  have  been  pretty  much standardizd by the MIDI manufacturer's
Association,  and are listed in the MIDI chapter.  The value under VEL will
be  the  new value for a control paramater.  The range is 0 - 127, but only
certain  values  may  be  valid  for a particular instrument and type of CC
event.   CC  events  do  not use the DUR column.  The following table shown
part  of  a  sequence  in  which the mod wheel was moved slowly seven steps
after a note was played.

MSR-    ST      EVNT    TIME            CH TYP  NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1       0               1       ON        C     4       64      12
1-      8       2       7               1       CC          0    2      
1-      8       3       0               1       CC          1    4      
1-      9       4       1               1       CC          1    6      
1-      10      5       1               1       CC          1    8      
1-      10      6       0               1       CC          1    10  

CC  events  can be recorded in real time, or entered one at a time from the
edit screen.  You will probably find it too time consuming to enter or edit
from  the  edit  control  changes from, a continuous controller (mod wheel,
pedal,  breath  controller,  etc.)  one  event  at a time.  You may find it
useful to enter sudden changes from the edit screen or to create a sequence
of  controller  events and call it up at diffrent points in the piece using
sequence start events in Open mode.

Aftertouch
~~~~~~~~~~ 
AT  events  have values From 0 - 127 in the NOTE feld, 1 and do not use the
VEL  or DUR fields.  Since AT events use up lots of memory when recorded in
real  time, you should set the sequencer to not record aftertouch unless it
is specifically required.

Pitch Bend
~~~~~~~~~~
The  value entered under NOTE for PB events can be in the range of -8192 to
8191.  The MIDI spec allows 14 bits for pitch bend, hence the huge numbers.
Not  all  synths  interpret  these values similarly so experiment and check
your manual.  PB events do not use the VEL or DUR columns.

Single Byte Events
~~~~~~~~~~~~~~~~~~
A  single  byte event may be sent over MIDI by entering a * under event TYP
and  the  byte  value to - 255) under NOTE.  This allows sending any system
common or system exclusive information from your sequences.  When sending a
single  byte  command  from  the KCS, specify the command in decimal.  Some
instrument  manuals  may show commands in hex In the following example, the
single byte events would send a MIDI song select command for song 11.

MSR-    ST      EVNT    TIME            CH TYP  NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1       0                       *         243                   
1-      1       2       0                       *          11           

System  exclusive  messages can be sent by entering a single byte event for
each  byte  in  the  message.  This is obviously impractical for long sysex
messages such as program dumps, but works well for shorter messages.  NOTE:
IT  IS  THE USER'S RESPONSIBILlTY TO UNDERSTAND HOW A PARTICULAR INSTRUMENT
WILL  RESPOND.   PLEASE  DO  NOT  CALL DR.T'S MUSIC SOFTWARE WITH QUESTIONS
REGARDING THE RESPONSE OF YOUR INSTRUMENTS TO SYSTEM EXCLUSIVE DATA.

Version 1.6 of the KCS has the ability to record short system exclusive
messages as single byte events. See the SET OPTIONS and TIPS AND TROUBLE
SHOOTING chapters for details.

Sequence Control Events
~~~~~~~~~~~~~~~~~~~~~~~
There  are  eight  types  of  sequence  control events that can control the
playing  of other sequences.  These are PRIMARY events (which start primary
sequences),  ST  events  (which  start  secondary or primary sequences), XX
events  (which  stop  a  sequence),  XL  events (which stop a sequence from
looping),  MS  events  (which  mute  a sequence), US events (which unmute a
previously   muted  sequence),  PT  events  (pitch  transposition)  and  VT
(velosity  transposition).   These event types can be created only from the
edit screen and are ignored if the program is in Track mode or Song mode.

The  next  few  sections  of  the chapter describe how each of the sequence
control  events  work.  For more information on control sequence techniques
see Chapter 13.

Primary Events
~~~~~~~~~~~~~~ 
PRIMARY  events are used to start any primary sequence (1 - 9, A - Z), When
a  PRIMARY event is encountered the sequence whose key is specified will be
started  automatically.  The value under NOTE will be a pitch transposition
in   half   steps   while  the  number  under  VEL  represents  a  velocity
transposition.   The permissible range for each is -64 to 63.  If a note is
transposed out of the MIDI keyboard range, it will be transposed to the end
of  its  range.   If  a  channel has been designated as a drum channel (see
Chapter 11), the channel will not be affected by any pitch transpositions.

The  following  sequence  will start sequences A, 2, and F as soon as it is
started.   A will be transposed up two half steps, and 2 will be transposed
down four half steps.

MSR-    ST      EVNT    TIME            CH TYP  NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1       0                       A           2    0       1
1-      1       2       0                       2          -4    0       1      
1-      1       3       0                       F           0    0       1

The  value  under  DUR is the number of times the sequence will repeat.  It
overrides  the  originally programed repeat value for the sequeocc.  If the
value  under  DUR is 99, the sequence will repeat until stopped by the user
or by an XX or XL evnt.  A W in the DUR column repeesens a WAIT flag.  This
causes  the  control  sequence  to  wait  until the scquence started by the
sequence  start  event has finished before any new evens can begin.  In the
next  example the program will start sequence A and play it four times.  No
other  event  in the sequence will be played until sequence A completes its
four  repetitions.   When  sequence B is started, the control sequence will
wait again.

MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0                A             0               0      4W
2-      1       2        96                E         -2       8 1
5-      1       3       288                A          7      12 2
5-   1    4      0          B       0         0   2W

ST Events 
~~~~~~~~~
ST  events  are  another form of sequence start event.  Secondary sequences
can  only  be started using ST events, or from the numeric keypad.  To type
in  an  ST  event  put the desired event time under the TIME column, put ST
under  TYPE and put the desired sequence (primary or secondary) under NOTE.
If  you  would  like  to specify a piteh transposition, enter it in the VEL
field.   Specify  the  number  of  repeats under DUR.  You cannot specify a
velocity transpisition with an ST event.

Note  that secondary sequences can start other sequences <including primary
sequences)  with  sequence  start event.  In this example, sequences 01, 23
and A are started a measure apart.  Sequence 23 will play twice, transposed
up  eight  half  steps.   Sequence  01 will play four times and the control
sequence will wait for sequence A to finish before proceeding.

MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0               ST             01              0      1
2-      1       2        96               ST          23              0 2
3-      1       3        96               ST           A              0 4W

XX and XL Events
~~~~~~~~~~~~~~~~ 
XX events are sequence stop events.  They allow you to
automatically stop one or more sequences, even in the
middle of playing. To stop a single sequence with an XX event, enter
XX under TYPE, and the desired sequence, left justified under NOTE as
shown below. 

MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3-      1       1       192                XX     23                    
7-      1       2       384                XX      A
9-      1       3       192                XX     01

More  than one sequence may be stopped with a single XX event by placing an
asterisk  (*)  under  NOTE.   An asterisk by itself will stop all sequences
that  are  currently playing (active), or an asterisk followed by a channel
number  will  stop  all  active  sequences that start with an event on that
channel.   The  following  example  would immediately stop all sequences on
channel 1, then stop the remaining sequences one measure later:

MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0                XX     *1
2-      1       2        96                XX     *

Note  that  sequence  control  events  that use the * option take longer to
execute  than similar events affecting only one sequence, and may result in
audible delays if overused.

XL  events  are  much like XX events except that the sequences specified in
the NOTE field will continue to play to their ends before stopping.

MS and US Events
~~~~~~~~~~~~~~~~ 
MS  and US events are much like XX and XL events, except that the specified
sequences  will  be  muted rather than dopped.  The main difference is that
when  a  sequence is muted, it will continue to play, but the events in the
muted  sequence will not be executed.  This is useful if, for instance, you
are  creating  a  piece by stringing together complex control sequences and
would  like  to  remove  a  portion of a sequence from, one occurrence of a
particular  section,  without  actually  editing  the  affected  sequences.
Inserting  an  MS  event  in  the master control sequence, followed by a US
event  at  the  appropriate time, will blank out the designated sequence in
that portion of the composition.

MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0                ST     01             0       1
2-      1       2        96                MS     01          
3-      1       3        96                MS     01

As with the XX and XL events, multiple sequences may be specified in MS and
US events usng a * in the NOTE column.

PT and VT Events
~~~~~~~~~~~~~~~~
PT  ana  VT  events cause a pitch or velocity transposition to oocur in the
specified  sequences.   The  sequence number, or an asterisk and an optionl
channel  number,  are  entered  in  the  NOTE column, and the transposition
amount from -64 to + 63, is entered under VEL.  If the DUR column is blank,
the  value  under  VEL is added to the current transposition value for that
sequence,  or if an S is placed in the DUR column, the program will set the
transposition  to  that  value.   Notes  played on the drum channel are not
affected  by  PT  events.   The  pitch and velocity transpositions for each
sequence  are  set  to  0 when the sequencer is started, and transpositions
will be "chased" when starting from a cue point.

In  the following example, secondary sequence 01 is transposed up an octave
from  it's  current  transposition  and  four  measures  later,  all active
sequences  that  start  with  events on channel 3 will be set to a velocity
transposition of 0.

MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0                PT      01    12
5-      1       2       384                VT      *3     0    S

When  a  PT or VT event is encountered in a sequence while playing from the
Open  mode  play screen, the first four letters of the sequence's name will
be  replaced  on  the screen by the sequence's pitch transposition, and the
last four letters by the sequence's velocity transposition.

TM Events
~~~~~~~~~ 
TM  events  in  a  sequence  will  imnmediately force the internal clock to
change  the tempo to the specified value.  Sequences may have more than one
TM  event.   In  fact,  several sequences may contain TM events.  When a TM
event  as  encountered the tempo will change to that value until another TM
event is encountered.

TM  events have no effct on the tempo if the program is using MIDI clock as
its  clock source, though they are used for calculations when synchronizing
to  an  external clock.  See the section on timing resolution in Chapter 13
for details.

Enter TM under TYP, the desired tempo (in beats per
minute) in the NOTE field, and the tenths portion or the tempo under VEL. 

MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0                A             0               0      4
2-      1       2        96                E          0       0 1
5-      1       3       288               TM        140       2 
5-   1    4      0          B       0         0   2W

In this example sequence A is played four times, one measure later sequence
E plays one time, and three measures later the tempo is set to 140.2 BPM as
sequence B starts playing.  You should put a TM event as fhc first event in
your control sequence to assure that it always plays at the correct tempo.

To   maintain   optimum   accuracy  when  using  the  real  time  clock  or
synchronizing to an external MIDI clock, you should place all The events on
multiples  of  six clock steps.  This is because MIDI song pointer messages
(which  are  used  in  conjunction  with  tempo  settings  and  a  SMPTE or
equivalent  synchronizer to communicate the time of day between the KCS and
external devices) are quantized in units of six MIDI clocks.

AC and DC Events
~~~~~~~~~~~~~~~~ 
AC  and  DC  events  are  used  to create proportional changes in tempo, as
opposed  to  the  absolute changes created by TM events.  Entering a number
between 1 and 3000 under NOTE will cause the tempo to change by that number
of  parts  in  1024.   For example, if an AC event has a value of 1024, the
tempo  will  double,  or if the number under NOTE were 512, the tempo would
increase  by  50%.   AC  events cause an increase in tempo, while DC events
cause  a  decrease in tempo.  AC and DC events can only be entered from the
edit screen.

Gradual  tempo changes can be made by creating a string of evenly spaced AC
or  DC  cvents,  and  playing them along with a sequence or track either by
merging  them into the sequence or track, or by playing them simultaneously
from  a  separate sequence or track.  This example would cause the tempo to
increase ty 1O% over the space of one measure.

MSR     ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0                AC     13
1-  13  2        12                AC     13
1-  25  3        12                AC     13
1-  37    4     12          AC       13
1-  49  5        12                AC     13
1-  61  6        12                AC     13
1-  73  7        12                AC     13
1-  85    8     12          AC       13
2-   1    9     12          DE

Generally  speaking the best way to add AC or DC events to a sequence is to
first add one or two by hand to determine the corrcct values and spacing to
use,  then  using  the  PASTE edit option to merge multiple copies of these
events  with  the  sequence  or  track.  As with TM events AC and DC events
should  be  placed  on  multiples  of six clock steps for best results when
using  the  real  time clock.  You should also remember to start any pieces
that  contain AC or DC events with a TM event.  Otherwise, you will need to
reset the tempo each time you play the piece.

DE Events
~~~~~~~~~ 
DE events are most often used at the end of a sequence to instruct
the computer to wait a specified number of steps before looping or going on
to play the next sequence.  In the following example sequence A starts (and
repeats four times), and four measures later (384 clock counts) the sequence
shown ends.  If another control sequence is waiting for this one, that
sequence will now continue playing.  

MSR     ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0                A             0               0      4
2-      1       2       384               DE         

DE  events  may  also  be  used  to  erase  or silence a wrong note without
affecting  the  numbering of subsequent events, by typing DE over the event
type  of  the  undesired  note.   Clicking  anywhere  on the event line and
pressing the DELETE key followed by RETURN will have the same effect.

SM Events
~~~~~~~~~ 
SM events are used to change the sequencer's
steps/measure setting during playback.  This will have no effect at all on
the music being played but it will change the operation of the
measure/step counter. 
Use SM events anywhere that the music changes time signatures, and the new
time signature will be used by the
measure/step counter during playback.  The number of steps/measure is
entered under NOTE, and the remaining fields are unused.

If you use a lot of SM events in a portion of a piece to represent a varing
time signature, it may prove less confusing to use a single SM setting that
is  one  beat  long,  and  then  treat  the  measure/step display as a beat
counter.   See  the  SET  OPTIONS  chapter  for  more  information  on  the
steps/measure  setting,  as  well  as a table of common time signatures and
their corresponding steps/measure values.

RA Events
~~~~~~~~~
RA events are used to select one of a number of events at random. The "hat"
out of which an event is drawn is a list of events immediately following
the RA event, and the length of this list is set by the numbmr in the NOTE colun
n.  The
limits for the length of the list are 2 - 255.  After the selected event is
executed, the sequence or track will continue from the next event
after the end of the list. 

Here are two examples that illustrate the use of the RA event. The first
will play one of the five notes in the list, then continue from the G4.
Note that since the D4 occurs twice in the list, it is twice as likely to
be selected as any of the others.

MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0               RA             5               77  5
1-      1       2         0               ON         D 4              77  5
1-      1       3         0               ON         A 4              77  5
1-   1    4      0         ON      F#4        77  5
1-      1       5         0               ON            D 3              77  5
1-      1       6         0               ON         D 4              77  5
1-      7       7         6               ON         G 4              84  5
1-  13    8      6         ON      A 4        76  4

The next example shows how an RA event is used to change the structure of a
piece of music by selecting from, a list of sequence control events.  The
sequences in the list could each be a set of tom rolls; for instance, which
would inject an illusion of spontaneity into a drum part. 

MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0               RA             4               
1-      1       2         0               ST         01       0   1
1-      1       3         0               ST         11       0   1
1-   1    4      0         ST      03         0   1
1-      1       5         0               ST            05               0   1
2-      1       6        96               ST         23       0   1
3-      1       7        96               ST          A       0   4W


The  TIME  values  for the list of possible events are ignored when playing
though  they  should all be set to 0 to avoid confusion when editing tracks
or  sequences  and  especially  to  avoid  conflicts when merging tracks or
sequences.   Also  note  that while the RA event is recognized in all three
modes,  the  list  of  candidate events should only contain events that are
appropriate for that mode.

CU Events
~~~~~~~~~ 
CU  events  cause  the  sequence, track, or song that contains them to wait
until  a  specified  time  on  the real time clock.  The NOTE, DUR, and VEL
columns  hold the minutes, seconds and tenths of seconds values for the cue
point.  Minutes can be any value from 0 - 255, and seconds, of course, must
be  less  than 60.  CU events are ignored if the MIN:SEC switch, on the SET
OPTIONS screen, is turned off.

Care  should  be exercised when using CU events.  If the time specified has
already  passed  when  the event occurs, the program will think it is late,
and  will spew out notes and MIDI clocks at maximum speed, in an attempt to
catch  up with itself.  This can happen if a sequence containing a CU event
is looped, or if tracks containing CU events are appended or doubled.

See  the  section on TIMING RESOLUTION, in Chapter 13, for more information
on the real time clock.

Edit Options
~~~~~~~~~~~~
The  right half of the screen displays the available edit options.  When an
edit  option  is selected, a message will appear on the message line, and a
dialog box or an edit window may appear.  Dialog boxes and edit windows are
described  in  Chapter 1 of this manual, and details on the individual edit
options appear below.

Name and Comments
~~~~~~~~~~~~~~~~~
The name of a track or sequence consists of eight characters. When you
start to record on an unnamed track or sequence, the program will name the
track or sequence with the MIDI channel number. The event type will be part
of the name if the first event is not a note. If you click on NAME, the
edit cursor will move to the top of the screen where the name is displayed.
Type in the new name, and press RETURN.

In  Open  mode, a thirty character comment field, directly below the EVENTS
LEFT  line,  can  also  be  accessed by clicking on NAME.  Typing more than
eight  characters  in  the  name,  or  using  the cursor control keys after
Clicking on NAME, will move the edit cursor to the comment field.

Transpose/Auto
~~~~~~~~~~~~~~
The  TRANSPOSE/AUTO  option manipulates data in a variety of ways.  An edit
window  appears  in  which  you  can  specify  the  range  of  events to be
processed,  the  operation  to  perform,  and  the  parameters  used by the
available  options.   Only one of the available options can be chosen for a
single edit operation.

The  range  of  events  to  be edited is selected by clicking on ALL, EVENT
RANGE,  or MEASURE RANGE.  If either of the last two options is chosen, the
numbers to the right of these buttons set the upper and lower limits of the
range.

Clicking  on UNDO or pressing the UNDO key after a TRANSPOSE/AUTO operation
will return the track or sequence to its previous state.

Pitch, Velocity, and Duration
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The  PITCH, VELOCITY, and DURATION and Duration transpose options allow you
to transpose (change by a constant amount) or invert the pitch, velocity or
duration  of  all  ON  and  OFF  events  in  the  range  processed.   Pitch
transposition  has  many obvious uses and is found in all serious sequencer
programs.   Inversion  and velocity and duration transpositions are logical
extensions  of  this  concept.  You will probably transpose pitch much more
often  than any of the others, but they are there any time you have use for
them.

After selecting PITCH, VELOCITY, or DURATION, click on TRANSPOSE or INVERT.
The  number next to TRANSPOSE is the transposition amount (-63 to +63), and
the   value  beside  INVERT  sets  the  center  point  for  the  inversion.
Transposing  pitch  by  -12  drops  all  notes down one octave, and a pitch
transposition  of 7 would raise the pitch up seven half steps (a fifth).  A
velocity  transposition  of 24 increases all MIIDI velocities by 24 (making
the  notes  louder  or brighter, depending on your synth's response to MIDI
velocity),  and transposing duration by -3 shortens all notes by three time
steps (making notes more staccato).  The program will assign the largest or
smallest allowable value to a pitch, velocity or duration if you attempt to
transpose  out  of  range.  It is possible to transpose pitch, velocity and
duration to values that are not useful for your instrument and patch.

Selecting  INVERT causes high values to become low and low values to become
high.   The  acceptable  range  for  the  inversion  point is 1 - 127.  The
program  will  perform  the  inversion  around  the  value  you enter.  For
example, if you invert velocity around 50, a velocity of 70 will become 30,
while a velocity of 20 will become 80.

If  you are inverting pitch, the number that you enter must be the MIDI key
number of the pitch that you wish to invert around.  MIDI key numbers range
from  0  for  the  lowest  MIDI key (C - 1 in our notation), to 127 for the
highest,  G9.   The  MIDI  chapter has a table of note values and MIDI note
numbers.   To invert pitch around middle C, enter a value of 60.  Inverting
the  C  scale  from,  sequence  1 around middle C will produce a descending
scale  that  goes from C4 down to C3.  Be careful, though, since inversions
will  usually  cause  the part to change keys, except for certain inversion
points.   In  the example of the C minor scale, inverting around 60 changes
the scale to a G Phrygian scale, while inverting around 62 gives an E minor
scale, etc.

End of Part 1 .... Now load Part 2