Dr T docs Part II

Auto-Correct
~~~~~~~~~~~~
AUTO-CORRECT is used to round all of the TIME and/or DUR
values in a track or sequence to multiples of some number.  This is usually
done to smooth out the timing of a less than perfect recording but can also
be used for special effects.  The number next to AUTO-CORRECT sets the
step count for
auto-correction.  After auto-correction all times in the selected range
will be a whole number multiple of the step count.
The following table shows the step counts corresponding to several
common note values at the
stdandard 24 steps/beat: 

3 for 32nd notes                4 for l6th note triplets
6 for l6th notes                8 for 8th note triplets
12 for 8th notes                16 for quarter note triplets 
24 for quarter notes    48 for half notes 
96 for whole notes

The  number  next  to  DUR  on  the  same  line has a similar effect on the
durations  in  the  selected  range:   The entry is optional.  You can also
quantrize  only  the duration by leawng out the value for step count.  When
duration  is auto-corrected, the resulting duration values are actually one
less  than  the  nearest  multiple of the duration auto-correct value.  For
instance,  entering  a  value  of  6 for duration auto-corretion results in
duration  values  of 5, 11, 17, etc.  instead of 6, l2 and 18.  This allows
notes  played  on  monophonic instruents to retrigger when legato parts are
played,  by  ensuring  that  a  note off message is sent before the next ON
event in the sequence or track.

When  a  portion of a track or sequence containing events other than ON and
OFF  events  is  auto-correted,  the program treats all the non-note events
between  each  pair  of On events as part of the first note, and moves them
along  with  that note.  This is handy when a sequence contains pitch bends
or  other controller messages that you want to time to particular notes.  If
you want to auto-correct a part without affecting the non-note data use the
SPLIT  edit  option to separate the note data to another track or sequence,
as described later in this chapter.

Compress/Expand
~~~~~~~~~~~~~~~
The  COMPRESS/EXPAND  option  changes the timing of the overall sequence or
track.   This  option  can  also  be  used to speed up or slow down a part,
relative   to   the   other   part  of  your  song.   The  number  next  to
COMPRESS/EXPAND  sets  the amount of compression or expansion (in percent),
and the DUR button on the same line causes durations to be affected as well
as  time.   Each  note's  TIME  and/or  DUR value will be multiplied by the
amount  you  enter, divided by 100.  Entering an amount of 200 results in a
sequence or track which is twice as long as the original, 50 makes the part
half as long, etc.

Time Reverse
~~~~~~~~~~~~
The TIME REVERSE option will re-arrange events
so that they play in reverse order.  The TIME values of
the first and last notes are not changed and if the last event in the range
selected is a DE event it won't be
affected either.  Note that since the value in the TIME
field represents the amount of time that elapses before
an event occurs time reversal will not preserve the relationship between an
event's TIME and DUR values.  For example, consider the following sequence:


MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0        1   ON       C 3           50  10
1-  13  2        12        1   ON            D 3              50  10
1-  25  3        12        1   ON            E 3              50  10
1-  37    4     12     1   ON      F 4        50  10
1-  49  5        12        1   ON               G 3              50  10
1-  61  6        12        1   ON            A 3              50  10
1-  73  7        12        1   ON            B 3              50  10
2-   1    8     24     1   ON      C 4        50  94
3-   1    9     96         DE      

Reversing the order of tbe sequence yields:

MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0         1  ON               C 4           50  94
1-  25    2      24         1  ON            B 3              50  10
1-  37  3        12         1  ON            A 3              50  10
1-  49          4     12      1  ON      G 3        50  10
1-  61  5        12         1  ON               F 3              50  10
1-  73  6        12         1  ON            E 3              50  10
1-  85  7        12         1  ON            D 3              50  10
2-   1    8     12      1  ON      C 3        50  10
3-   1    9     96         DE

Now  the  C4  with  the  duration  of 94 sustains while the other notes are
playing.   In  a  case such as this you might want to swap the durations of
events 2 and 9, to preserve the original timing relationships.

Channel Assign
~~~~~~~~~~~~~~ 
CHANNEL  ASSIGN  changes the MIDI channel numbers of events in the selected
range.   If  only  the  first  of  the two data fields to the right of this
switch  contains  a  value,  all events will be assigned to this channel if
these  values  are present, then consccutive events will be assigned to the
next  higher  MIDI  channel within the specified range.  This is useful for
playing polyphonic parts on a synth in mono mode, or for adding space to an
arrangement.

Velocity Scale
~~~~~~~~~~~~~~
Selecting  VELOCITY  SCALE  will  create  a "velocity fade-in" or "velocity
fade-out",  depending  on  the  values you gve it.  The values next to this
button  represent  the  beginning and ending velocities; leaving the second
field empty will set all velocities to the first value.

The range for velocily is 0 - 127, with 127 being the loudest or brightest.
Synths  that  respond  to  velocity  can  then  be programmed to respond in
sevcral different ways, so the result of your velocity scale will depend on
the  particular  patch  you  are  using  on  your  instrument.   Here  is a
monophonic  sequence  consisting  of  sixteenth aod eighth notes all at the
same velocity.

MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0        1   ON               C 3        50  10
1-      7       2         6        1   ON            C 3              50  10
1-  13  3         6        1   ON            C 3              50  10
1-  19    4      6     1   ON      C 3        50  10
1-  25  5         6        1   ON               C 3              50  10
1-  31  6         6        1   ON            C 3              50  10
1-  37  7         6        1   ON            C 3              50  10
1-  43    8      6     1   ON      C 3        50  10
1-  55    9     12     1   ON      C 3        50  10

If  we  apply  velocity scaling and enter a starting velocity of 100 and an
ending velocity of 1, the sequence will now look like this:

MSR-    ST      EVNT    TIME       CH  TYP      NOTE            VOL     DUR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1-      1       1         0        1   ON               C 3       100  10
1-      7       2         6        1   ON            C 3              89  10
1-  13  3         6        1   ON            C 3              80  10
1-  19    4      6     1   ON      C 3        66  10
1-  25  5         6        1   ON               C 3              58  10
1-  31  6         6        1   ON            C 3              45  10
1-  37  7         6        1   ON            C 3              34  10
1-  43    8      6     1   ON      C 3        23  10
1-  55   10     12     1   ON      C 3         1  10

Note  that  the difference in velocity between the last two events is twice
that between any other two events.  This is because the KCH scales velocity
linearly  over  time, NOT the number of events.  Since the time of the last
note  is twice that of the others, the velocity drops twice as much in that
time period as in the others.

Erase Controllers and Clear Deletes
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The  ERASE CONTROLLERS option is used to strip all MIDI data except note on
and  off  events  from  the selected range.  CLEAR DELETES is a convenience
feature which erases all DE events from a sequence or track, except for the
final  "trailing  DE,  if  any.  This option affects the entire sequence or
track.

Insert and Adjust
~~~~~~~~~~~~~~~~~
These  options  are  used  to insert new data in a sequence or track at the
current  position of the edit cursor.  Clicking on either will create a new
blank  line  ahead  of  the current event, at which point new events can be
typed in as describwd earlier in this chapter.

When  INSERT  is  selected,  events  are simply inserted in the sequence or
track,  with  no  adustments to timing.  When ADJUST is chosen, the program
will  attempt  to  keep the length of the sequence constant, by subtracting
from the TIME value of the first event after the insert point.  If the TIME
value  for  this  event  becomes  0,  the program will no longer be able to
adjust,  and  the  length  of  the  sequence or track will increase as more
events are entered.

You can also insert nrw material by pressing the INSERT key.  In this case,
the  program,  will  use  the  most recently chosen of the INSERT or ADJUST
options.

When you have finished inserting use the cursor keys to move to a new event
line or click the left mouse button.

Cut, Copy, and Paste
~~~~~~~~~~~~~~~~~~~~
The  CUT,  COPY,  and PASTE options are among the most powerful in the KCS.
These  commands  utilize  what  we  call the paste buffer.  You can use the
paste buffer to move and copy part or all of a sequence or track to another
sequence or track.  The same paste buffer is used for Open and Track modes,
so  you  can  use this to move information between the two modes.  Any time
you CUT or COPY, the previous contents or the paste buffer are discarded.

Cut
~~~
The  CUT  command  will  delete  or erase the events in a desired range and
place  the events into the paste buffer.  The CUT edit window allows you to
set  a  range by event or by measure.  Cutting all the events in a sequence
or  track is not allowed.  Click on EVENT RANGE or MEASURE RANGE to set the
range;  the values to the right of these buttons contain the start and stop
points for the cut.

DELETE  ORIGINAL  and  ERASE  ORIGINAL  affect the data that is left in the
original  sequence  or  track.   DELETE  ORIGINAL will remove the specified
section  and  shorten  the  sequence  or track.  ERASE ORIGINAL removes the
events  specified  but  adds  their time values to the next event after the
selected range, thus preserwng the original timing.

ZERO FIRST TIME forces the TIME value of the first event to zero: this is
usually the most convenient value when pasting.  Click on OK and the data
will be moved to the paste buffer.  This data will remain in the paste
buffer until you next use the CUT or COPY command. 

Copy
~~~~
The  COPY  command is identical to the CUT command except that the selected
range  is  not  deleted  or  erased from the sequence or track.  It is also
possible to copy all of a sequence or track.

Paste
~~~~~
Once  you  have  moved  data  into  the  paste buffer using the CUT or COPY
command,  you  can  use the PASTE command.  There are a number of different
ways  to  paste  material to a track of sequence, which are outlined below.
Because  the  PASTE edit window has so many options, a HELP button has been
provided, next to the standard edit buttons.

When  you  use PASTE in Track mode, remember that all tracks will loop when
track  1 finishes playing.  Notes that are pasted onto a track at a measure
and step that is past the end of track 1 will not sound when all tracks are
played  at once, and extending track 1 will cause a gap in the other tracks
when the sequencer loops.

PASTE OPTIONS 
~~~~~~~~~~~~~
INSERT  will  placw  the  contents  of  the  paste  buffer at the specified
location, without changing the existing data at the paste location.  INSERT
is  like cutting a piece of tape, and splicing in one or more copies of the
paste  buffer.   The  rest of the sequence will be pushed back in time, and
the sequence will become longer.

REPLACE  will  take  the  contents  of  the  paste buffer and put it at the
specified  location.  The previous contents of the sequence will be written
over  for  the  length of the phrase.  REPLACE is like erasing a section of
tape and replacing it with the contents of the paste buffer.  The timing of
events after the end of the paste will not be altered.

MERGE  will  mix  the contents of the paste buffer with the sequence.  Both
parts will play with their original timing.  The result will be the same as
if both the sequence and paste buffer were played together.

MERGE  TO  END  is similar to MERGE, except that copies of the paste buffer
are  mixed  into  the  sequence,  one after the other, until the end of the
sequence  is  reached.   A  simple  application  would be to have the paste
buffer consist of one note, say a bass drum hit on a drum machine.  Setting
the  phrase  length to 98 steps (one measure) and performing a MERGE TO END
would cause one bass drum hit to be added every measure of the sequence.

FILL  TO  END  is  like  REPLACE,  except  that all data is erased from the
sequence  after  the  paste  location.   This  data is replaced with enough
copies  of  the paste buffer to make the resulting sequence the same length
as the original.

After  an  INSERT  or REPLACE paste operation is executed, the pasted range
will  be  highlighted  in  the event list.  This allows you to see that the
paste was done properly.

PHRASE LENGTH
~~~~~~~~~~~~~
The  length  of  the phrase which is pasted to the new location can also be
changed  by  entering  a phrase length, in measures and steps, under PHRASE
LENGTH.   These  features  can  be  particularly useful when doing multiple
pastes.   Note  that the program will not allow you to increase the time or
decrease  the  phrase  length in a way which affects the relative timing of
the event being pasted.

LOCATION
~~~~~~~~
There  are  two different ways to select a paste location:  either by event
number,  or by specifying a measure and step.  If you specify EVENT NUMBER,
the paste occurs immediately before the event specified to the right of the
button.  If you want to paste at the beginning of the sequence, enter 1.

MEAS/STEP  is  used  primarily  when  you  want  to paste at a point in the
sequence  which is not a location of an event in the sequence.  The program
will  do  the  paste  before  any  event  at the selected measure and step.
Remember,  the  sequence or track begins at measure 1, step 1, and the next
step of any new measure in step 1 of that measure NOT step 0.

The  values  for  EVENT  NUMBER  and  MEAS/STEP will default to the current
location of the edit cursor.

Times to Paste and First Event Time
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
You  can  also  select  the number of times you wish to paste.  The program
will  paste copies of the paste buffer, one after the other, for the number
of  times  selected.   TIMES  TO  PASTE  is  used for the first three paste
options only; it is ignored if you select FILL TO END or MERGE TO END.

FIRST  EVENT TIME sets the time of the first event in the paste, same as in
the CUT and COPY edit windows.

Backup, Get Backup, and Undo
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Clicking on BACKUP will make a copy of your current sequence or track.  The
message  "Backup accomplished" will appear on the message line, or an error
message will appear if there is no room for the copy.  It is a good idea to
make a backup before making any change that can not easily be reversed.

The  GET  BACKUP command exchanges your current sequence or track data with
the  most  recently  made  backup.  This allows you to swap and compare the
sequences.

A  separate  backup  sequence  is created whenever a TRANSPOSE, CUT, PASTE,
DELETE, ERASE, or SPLIT operation occurs.  Clicking on UNDO or pressing the
UNDO  key  will  swap  this  sequence  with  the  altered original track or
sequence.

The  manual  and automatic backups are stored by the program in sequences Y
and  Z,  respectively.   You  can thus hear either backup sequence from the
Open  mode play screen by pressing the appropriate key.  If you decide that
you  want to keep both your edited material and the backup, copy the edited
sequence  or  track  to  a  new  location and retrieve the original data by
clicking on GET BACKUP or UNDO.

If  you are planning extensive changes to a sequence or track, you may wish
to  make  a  copy of your original using one of the copy commands described
below before you start editing and then make frequent backups as you edit.

Delete and Erase 
~~~~~~~~~~~~~~~~
DELETE  and  ERASE  are used to remove a range of events from a sequence or
track.   DELETE  will  shorten  the  length of the sequence or track, while
ERASE  preserves  the length of the sequence or track .  by adding the time
values  of  the events that are erased to the time or the first event after
the selected range.

After  choosing  one of these options, a dialog box will prompt you for the
range  of  events to be removed.  The beginning and end of the range can be
specified  by  typing  in the event numbers for each, or they can be set to
the beginning by clicking on START or END.  It is not possible to delete or
erase an entire sequence or track - at least one event must remain.

Text and Map
~~~~~~~~~~~~
Clicking  on  TEXT  provides  access to a 16 line by 68 character text area
which  can  be used to hold comments about a piece.  The text area is saved
and loaded with .ALL files.

The mouse and the BACKSPACE and cursor control keys can be used to move the
cursor  around  the  text  area, and the CLR HOME key will erase the entire
line which holds the cursor.  Note that .ALL files saved by versions of the
program  before  1.5  will  display gibberish in the text area when loaded.
This  is  normal,  and  can be written over with no danger of damaging your
data.

The MAP option displays a map of all track, sequences, and songs in memory,
including their names, comments and lengths in measures and events, as well
as  the  channel number and event type of the first event in each track and
sequence.   The  map and text area may be listed to a printer by pressing P
after  the  map is displayed on the screen.  The CONTROL key will terminate
printing when sending the map to a printer.  If SHIFT is held down when MAP
is  selected.   The map will be sent directly to the printer, without going
to the screen.

Print
~~~~~
PRINT  sends  a  copy of the current sequence or track to the printer.  The
range  is  set  as  described  above  for DELETE and ERASE.  If there is no
printer  conected  or if the printer doesn't respond, a dialog box will ask
if you want to abort or try again.
 
Change Repeats
~~~~~~~~~~~~~~
This  option,  which  only appears in Open mode, sets the number of times a
sequence  will play when started from, the Open mode play/record screen.  A
dialog  box  will ask you to specify a number from 1 - 99.  Enter 99 if you
want the sequence to repeat immediately.  When a sequence is started from a
control  sequence,  it  will  play the number of times that are specifed by
that control sequence.

Step Time Track 
~~~~~~~~~~~~~~~
STEP  TIME APPEND is used to enter notes at the end of the current sequence
or  track  with the step time recording feature of the KCS.  See Chapter 9,
STEP  TIME  RECORD  for  more  information.   If you are in Track mode, you
should remember that the entire length of all tracks is the length of track
1.  Appending to track 1 thus increases the effective length.  Appends that
make  another  track  longer than track 1 will not be heard when all tracks
are played together.

STEP  TIME  TRACK  allows you to create a new track in step tine.  A dialog
box  will  ask  the  measure  at  which you wish to start recording and the
program  will set the time of the first event recorded so that it is at the
selected measure.  This feature allows you to add new material at any point
in a set of tracks.

Pressing F1 or left clicking on EXIT when in step time record will return
you to the edit screen. 

Find and Calc 
~~~~~~~~~~~~~
FIND  is  used  to  locate  a  particular  measure  in a track or sequence.
Entering  a number after clicking on FIND will place the edit cursor on the
event nearest to the start of that measure.

The  CALC  option  is  a  convenience  for  calculating the number of steps
between  two points.  Click on CALC, and an edit window will prompt you for
two  measure/step  values,  the  second  of  which  defaults to the current
position of the edit cursor.  After entering the values and clicking on OK,
the  difference  between  those  two points, in steps, will be shown on the
message  line.   If the exit button labeled CORRECT is chosen intead of OK,
the  program will attempt to "correct" the time of the current step to that
in  the  second  measure/step  entry  by  adding the calculated time to the
current  time.   This  allows you to enter a new event location in terms of
it's  measure and step directly in the CALC window without dealing with the
TIME setting.

After CALC is used to compute a time value, typing a "C" in the TIME column
will enter the calculated time value at that point.

Split 
~~~~~
SPLlT  allows  you to split the current sequence or track into two parts by
note  value.  A dialog box will ask you to specify the entire sequence or a
range.  It will also ask for a split point.  This must be entered as a MIDI
note number (60 = middle C).  All note events with note values greater than
or  equal  to  the  entered  note number will be copied to the first unused
sequence  or track and erased from, the original sequence.  Selecting SPLIT
with  a  split  point  of 60 will therefore remove all in notes at or above
middle  C  (C4)  from the current sequence or track and place them on a new
one.

SPLIT  followed  by  CHANNEL  ASSIGN  allows you to create a split keyboard
effect  for  a part that was recorded on a single MIDI channel.  It is also
possible  to  nondestructively  separate  all  the  note data in a track or
sequence  from  any  control  changes,  pitch  bends  or non-MIDI events by
setting  the  split point to 0; in this case, all note data will be sent to
the  new sequence or track, and the original sequence or track will contain
only the other data types.

Vary 
~~~~
The  VARY option is used to generate a variation on the current sequence or
track  by randomly changing the pitches, velocities, and/or location of the
ON  events  in  the sequence.  The original sequence or track is unaffcted,
the  variation  is piaced in the first available sequence or track, and the
variation  is  selected  for editing.  In Track mode, the original track is
also muted.

The VARY dialog box displays six variation presets, and asks for the number
of  individual  variations  to  perform.   The  actual number of variations
performed  might  be lower, as sometimes a note will be randonly chosen for
variation  more than once.  The presets consist of different algorithms for
altering  the  sequence or track.  HALFSTEP changes the pitch of a randomly
selected  note  by  a semitone.  This will add new notes to the sequence or
track  and  thereby  change  the  tonality of the phrase.  PITCHES randomly
transposes  selected notes by larger amounts, but won't allow any new notes
to  be  created.   (For  instance,  if  the  original sequence consisted or
nothing  but C4s and C5s, the variation might contain C4, C3, C5, etc., but
no Bs or other notes.)

SWAPS  will@ randomly swap the pitches and velocities of two notes; if they
are  adjacent  notes,  the  time,  channel  and duration values may also be
swapped.  The first note of the sequence or track is not affcted by SWAPS.

DYNAMICS  randomly  varies  the  velocities of the notes in the sequence or
track.   The  amount  or  variation  is  determined  by  the  amount in the
original.

MIX  1  and  MIX  2  make  random  changes  to  the pitches, velocities and
durations  of  selected  notes.  The amount of variation will depend on the
amount  of  variation  in the original sequence or track.  MIX 1 will allow
new  notes  to  occur,  and  MIX 2 only permits notes that are found in the
original to be used.

The  VARY  feature in the KCS is a very early spinoff from the Programmable
Variation  Generator/Master  Editor  portion  or the Level II KCS, which is
available  as  an  upgrade to owners or the current KCS.  Contact us or see
our advertising for details.

Copy Sequence, Copy Track to Track and Copy Track to Seq
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Each  of  these  options  makes a permanent copy of the current sequence or
track.   In  Open mode, the COPY SEQUENCE option will bring up a dialog box
asking  you  to  select the sequence that you wish to copy to.  The default
will  be  the  first unused sequence.  If you copy to an existing sequence,
that sequence will be lost.

In Track mode, there are two ways to make a copy.  COPY TRACK TO TRACK will
copy  the current track to the first unused track.  Remember that both this
track  and  the  current  track will play unless you mute one of them.  The
MUTE and SWITCH features described in Chapter 6 allow you to easily compare
the original and edited track within the context that they are to be used.

COPY TRACK TO SEQ is used in the same way as COPY SEQUENCE.  This option is
useful for making a backup that will not be heard with your other tracks in
Track  mode.   It is also useful if you have a part that you want to use in
Track  mode  in more than one context, as you can use the COPY SEQ TO TRACK
option to get it back into Track mode at a later time.

Copy Seq to Track 
~~~~~~~~~~~~~~~~~
This  option  copies  an  Open mode sequence into the first unused track in
Track  mode.  Note that neither this option or the APPEND and MERGE options
descrebed  below  will have any effect on the sequence being copied, merged
or appended.

Seq to All Tracks and All Tracks to Seq
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These  options  allow  you to move data back and forth between the 48 track
tape recorder environment of Track mode and individual Open mode scquences.
These  sequences can be chained or otherwise combined into longer pieces in
Song mode or by using control sequences in Open mode.

SEQ  TO  ALL  TRACKS  copies  an  Open  mode sequence into Track mode.  All
existing  tracks  are erased by this Option.  Events in the sequence copied
will  be  sorted  by MIDl channel, with each channel assigned to a diffrent
track, which makes this option handy for unmerging open mode sequences, for
editing  channels  independently  and  for  splitting up sequences recorded
from,  another sequencer.  Each track will be named with the channel of the
data that it contains.

ALL  TRACKS  TO SEQ will merge the data from all active tracks (tracks that
are  not muted) into a single Open mode sequence.  The length of the merged
sequence   will  be  determined  by  the  length  of  Track  1.   For  some
applications  you  may want to create different sequences using this option
with different combinations of muted and unmuted tracks.

When  ALL  TRACKS  TO  SEQ  is  chosen  an edit wmdow will appear after the
sequence  selection  dialog  box in which you can enter a name and comments
for  the sequence.  The comments for the sequence will default to a list of
the  unmuted tracks or the list can be cleared by clicking on the field and
pressing CLR HOME.  The edit window also has a button labeled INCLUDE MUTED
TRACKS.  If INCLUDE MUTED TRACKS is turned on, all tracks will be copied to
the  new  sequence, regardless of their status.  ALL TRACKS TO SEQ can also
be selected directly from, the Track mode play screen with the !  (SHIFT-1)
key.

Append and Append Seq to Track
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These  options  allow  you  to  append an Open mode sequence to the current
sequence  or  track.  A copy of the appended sequence is simply tacked onto
the end of the sequence or track being edited.

Merge
~~~~~
Available  in Open mode only, this option merges a second sequence with the
sequence  being  edited.   The  sequence  will  now  sound  as  though both
sequences  were  playing at once.  In track mode, this task is accomplished
using the BACKSLASH key from the play/record screen.

Delete Sequence and Delete Track
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These  options  allow you to delete an unwanted track or sequence.  A dilog
box  will  request  the sequence or track number; the selection in this box
defaults  to the current track or sequence.  Sequences Y and Z and track 1,
can not be deleted.

Clear and Double 
~~~~~~~~~~~~~~~~
CLEAR erases all tracks in memory.  It does not erase anything from Open or
Song modes.  An edit window will allow you to set the length of all tracks,
in  measures.   If you do so, the program will create track 1 with a single
DE  event  whose  TIME  is  the  desired  length.   This will determine the
effective  length  of any additional tracks that you record.  If you change
your  mind,  you can also cancel the operation from this wondow.  After the
clear  operation,  the  program  will put you on the Track mode play/record
screen.

DOUBLE  simply  doubles  the  length of all tracks.  Any events which would
havc played after the end of track 1 are lost.  Since the length of track 1
sets  the loop point for all 48 tracks, you could extend a set of tracks by
half  their  length  by using the DOUBLE option, then shortening track 1 by
the required amount.

Ext (Atari ST Only)
~~~~~~~~~~~~~~~~~~~
If  your ST has 1 meg or more of memory, the EXT option can be used to load
up  to  four other Dr.  T programs into memory at once, thanks to our mulli
Program Environment (MPE).  Clicking on EXT will cause a GEM file selection
window  to  appear, where you must select a .INF file for the program to be
loaded.  This file contains information about the program to be loaded.  If
there is enough memory available to load the new program, it will be loaded
and  a  three letter abbreviation for the new program (FTN for Fingers, for
example) will appear on the EXT line.

Once an external program is loaded, clicking on it's abbreviation will take
you to that program, or clicking here while holding down the SHIFT key will
erase the last prcgram loaded and free up the memory used.

Note that the external programs use memory that would otherwise be used for
event  storage,  so  there  are some tradeoffs involved in loading mulyiplr
programs,  especially  on  the  1040 ST (as opposed to a Mega ST, that is).
Some programs, especially our algorithmic composers, may also overwrite one
or  more sequences when they are loaded.  Check the manual for each program
for  this  type  of  thing  before loading the program, in order to prevent
accidental and unsightly loss of data.

Programs to be loaded via the MPE MUST be loaded from drive A. It is not
possible to load MPE programs from a hard disk, even if the original disk
is inserted in drive A. Attempting to do so will result in a system crash.
.INF files may be stored on any drive, however.

WorkBench, NewCLI, and Drag Bar -> (Amiga Only)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These  buttons are used to access the Amiga's multi-tasking functions.  The
WORKBENCH  switch is used to toggle the state of the WorkBench window (that
is  open  the  WorkBench if it's closed, or close it if it's open).  If you
attempt  to  close  the  WorkBench while a window is open on the WorkBench,
either a CLI wndow or a window from some other program, the KCS will not be
able to close the WorkBench.

The  NEWCLI  switch  is  used  to  open  a CLl window.  When this button is
selected,  the WorkBench screen will move to the fore and a CLI window will
appear.   The  operation  of  the  KCS will be suspended until you type the
command "EndCLI".

The  DRAG  BAR -> button is intended as a reminder on how to toggle the KCS
drag  bar  at the top of the screen.  Moving the mouse to the right edge of
the  screen  and  clicking  the  left mouse button will cause a drag bar to
appear  at  the  top  of  the  screen.   You can now move the KCS screen in
relation  to  any  other screens using the gadgets on the drag bar, as with
most other Amiga programs.

The  Amiga  version of the KCS will continue running when other windows are
in  use  (except  as  noted  above), so you may use any of your other Amiga
software  (including  Dr.   T's  Caged Artist patch editors for the Amiga!)
while  your  music  plays.   See  your  Amiga  documentation  for  more  on
multi-tasking.

Play and Play/Record
~~~~~~~~~~~~~~~~~~~~
These  options  take  you  to  the  play  screen  of  the mode that you are
currently in.  The Track and Open mode play screens are described in detail
in  Chapters 6 and 7.  The Track Mode Play screen automatically puts you in
record.   To  record  in  Open  mode,  you have to select the record option
described below.

The PLAY option displays a dialog box with five options.  GO TO PLAY SCREEN
takes  you  directly  to  the play screen.  Double clicking the right mouse
button  from  the edit screen (or single clicking the right mouse while the
SHIFT  key  is  held  down)  will  accomplish the same thing.  PLAY CURRENT
SEQUENCE plays the sequence or track currently displayed.  PLAY FROM CURSOR
POSITION  plays the current sequence or track from the position of the edit
cursor;  clicking  the  right  mouse button once does the same thing.  PLAY
CURRENT  CUE  plays the sequence or track from the current cue point, which
can  be  set from the play screen, or with the SET AND PLAY NEW CUE option.
In  Open  mode, a dialog box will ask for a sequence and a starting measure
when  the  SET  AND  PLAY CUE optIon is selected; play will then start from
this  point.   In  Track  mode,  the  dialog  box will ask you to enter the
measure  of  the  new  cue  point, and all tracks will be started from that
measure.

If  you choose any option other than Go To PLAY SCREEN, the edit sreen will
be  displayed  during play.  The word PLAY will appear on the mcssage line.
You  can  stop  play  at any point by pressing the left mouse button or Fl.
You  can  also  restart play from, the beginning by pressing FlO, the SPACE
bar,  or  the right mouse button.  Tf you do neither, the word PLAY will be
erased  and  all  edit  functions  will  return  to  normal as soon as play
completes.

If  a  range  of events is highlighted, then clicking the right ouse button
will play only that range.  If no events are highlighted clicking the right
mouse will play the track or sequence from the edit cursor position.

Record 
~~~~~~
This  is  used  to  enter the record screen from Open mode only.  Open mode
recording is described in detail in Chapter 7.

Load/Save 
~~~~~~~~~
Thc LOAD and SAVE options are described in detail in Chapter 10.

Set Options 
~~~~~~~~~~~
This  feature  lets  you  change  a  number  of parameters that are used by
different  parts  of  the  program.   It  brings  up an edit window that is
described in more detail in Chapter 11.

TRACK Mode, OPEN Mode, and SONG Mode
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These options, only two of which are available from any screen, are used to
move  between  the program's three operating modes.  When you enter Open or
Song  modes, the program, will place you on the edit screen; when you enter
Track  mode, the program will place you on the play/record screen.  You can
then get to the Track mode edit screen by pressmg F1 or clicking on EXIT.

Colors (Amiga Only)
~~~~~~~~~~~~~~~~~~~
When  the  COLORS  option  is  selected, a small requestor box will appear,
where  you  may  adjust  the screen colors used by the program.  The screen
colors are automatically saved and loaded with enviroment (.ENV) files.

Quit 
~~~~
QUIT  will  exit from the KCS and return you to the desktop (or WorkBench).
Be  sure  to  save your data before quitting.  A dialog box will ask you to
confirm the choice.

                               Chapter 5
                               ~~~~~~~~~
                           SONG MODE EDITING
                           ~~~~~~~~~~~~~~~~~
Song  mode provides a simple environment for creating longer pieces (songs)
by  chaining  Open mode sequences.  This task can be accomplished much more
generally   with   control  sequences  in  Open  mode,  but  Song  mode  is
conceptually  much  simpler.   You  may want to create a few pieces in Song
mode  before  you attempt to use control sequences.  You may also choose to
do  all  of  your  sequence  chaining  in Song mode.  Song mode is intended
primarily for use with multi-instrument sequences created in Track mode, as
only one sequence can play at any time.  There is certainly no limit to the
complexity of the music that you can create using Track mode and Song mode.

The  Song mode edit screen allows you to create songs that consist of up to
100  linked  segments.  For each segment you can specify the sequence to be
played,  a  tempo change, a delay, a pitch transposition, and the number of
times the segment is to repeat.  You can also specify program and/or volume
changes  on  any  or  all of the 16 MIDI channels for each segment.  Tempo,
program  and  volume  change  entries are optional; if you do not specify a
tempo  change for a segment, it will play at the current tempo.  No program
or  volume  changes  will be made by the program on channels for which they
have not been specified.  Sequences entered in Song mode should not contain
PRIMARY, ST, XX, XL, MS, or US events, as these are ignored in Song mode.

Entering Segments
~~~~~~~~~~~~~~~~~
Song  segments  are  entered  into an event list that is similar to the one
used  in  Track  and  Open modes.  Although the headings are different, the
procedure  for  is entry and edit of individual segments is similar to that
described  in Chapter 4.  As in the other modes, any of the edit options on
the  right  side  of the screen can be selected by clicking on that option,
and  songs can be selected with the select boxes in the lower right corner.
The fields used in the Song mode event list are:

SEG:   A  number  supplied  by  the  program indicating the position of the
segment  in  the  list.   SEG is used to specify a range of segments in the
song when you are using the various edit options.

SEQ:   The  number  <1 - 9, A - X, or 00 - 92) of the sequence to be paayed
for  the segment.  Frequently, this will be the only entry that you need to
make for a segment.

NAME: The name of the sequence to be played.  This is supplied by the
program, and cannot be changed in Song mode.

TEMPO:   The  tempo  at  which  the  segment  is  to be played.  If this is
omitted,  the segment will play at the previously established tempo.  Tempo
changes  will have no effect unless you are using the internl clock, though
it is used in calculations when synchronizing to an external clock.

DELAY:   The number of time steps that you wish the program to pause before
playing the segment.  Most of the time, you will probably not need to enter
a DELAY.

TRN:   The  number of half steps that you wish the segment to be transposed
in  pitch.   If  a drum channel has been defined on the SET OPTIONS screen,
notes on that channel will not be transposed.

REP:  The number of times that you wish the segment to repeat.  If you want
the segment to play only once, you do not need to enter this field.

When  you  first  enter  Song  mode,  the edit screen will come up, and the
cursor  will  be under SEQ on the first line.  To enter a segment, type the
desired  sequence  number, and any other fields that you wish to enter, and
press  RETURN.   You can use the TAB and SHlFT-TAB keys to move forward and
back  along  a  line.   The  DELAY and TRN fields default to 0, and the REP
field  to  1,  so  if  you  want  your sequence to play once vwih no delay,
transposition, or tempo change, you need only enter the sequence number.

Here is a shot of the Song mode edit screen, with a representative song
in ihc event list:

These  seven  segments  illustrate all of the options available on the left
side  of  the screen.  The first segment entered was sequence 1, at a tempo
of  90  BPN.   If  no tempo had been entered, the segment would play at the
previously set tempo, shown at the bottom of the play screen.  Tempo change
events  within  the  sequences  themselves  will change the tempo from that
programmed on the Song mode edit screen.

The  second  segment  plays  sequence  F  with  the tempo increased to 120.
Sequences  3  and  4 are each played once at the same tempo.  Sequence 5 is
then  played twice at a tempo of 140, and then twice again transposed up 12
half steps (an octave).  Finally, sequence 6 plays at a tempo of 120.  This
segment  does  not start until 48 time steps (half a measure at the default
setting) after the previous segment ends.

To  play  the  song,  click  the right mouse button, and the Song mode play
screen  will come up.  Click the right mouse button or press Fl to play the
song.  The Song mode play scrcen is described in detail in Chapter 8.

Editing Single Segments
~~~~~~~~~~~~~~~~~~~~~~~
Segments  are  edited  using  the same procedure used in the Track and Open
mode edit screens.  Move the edit cursor to the line that you wish to edit,
and  click  the  mouse.   Type in any desired changes, and press RETURN, or
press UNDO to cancel any changes.  If you want to remove a tempo, repeat or
delay  specification,  just  type  over  it with blanks.  You can delete an
entire  segment  by pressing the DELETE key while the cursor is on the line
you wish to delete.

If  you  want  to add segments to a song, click under SEQ on the line below
the  last segment shown.  If your song is more than a full screen long, you
can  use  the  scroll arrows to move up and down.  A song can contain up to
100 segments.

Song Mode Editing Options
~~~~~~~~~~~~~~~~~~~~~~~~~~
The  Song  mode edit options, on the right side of the screen, are selected
by  clicking  the  mouse  as  in  the other modes.  Most of the options are
similar  to  corresponding options on the Open and Track mode edit screens,
described in Chapter 4.

Name
~~~~
The  song  name  is 60 characters long, and stretches across the top of the
screen.  Clicking on NAME, or anywhere on the line, will move the cursor to
this line.  Type in the desired name and press RETURN.

Text and Map
~~~~~~~~~~~~
The  TEXT  option  provides  access to the KCS's comment text area, and MAP
displays  information  about  every  active track, sequence, and song.  See
Chapter 4 for more on these options.

Prog/Vol Changes
~~~~~~~~~~~~~~~~
You can specify program and/or volume changes for any or all of the 16 MIDI
channels  to  be sent before a segment is started.  Move the edit cursor to
the  line  containing  the segment that you want to insert changes for, and
then  click  the mouse on PROG/VOL CHANGES on the right side of the screen.
An edit window with data fields for MIDI program and volume change commands
on  all  16  channels will appear.  The segment number will be displayed at
the top of the window.

Data  is  entered  in  the usual manner for edit windows.  MIDI program and
volume  numbers  range  from 0 - 127, though not all instruments respond to
MIDI  volume changes and most instruments do not use all 128 patch numbers.
Different  instrumens  also  use  different  patch numbering systems.  MIDI
patch  number 0 will for example, call up patch off on an Oberheim Matrix 6,
patch  1  on Yamaha instruments, preset 1 on a CZ-10l, and patch 11 on Korg
instruments.   In  general  when  you  have  difficulties  interfacing MIDI
devices,  the  Doctor's  precription is REXMAN (Relax, EXperiment, and read
your owner's MANuals).

The  program and volume changes will be sent before the selected segment in
played.   No  program  or  volume information will be sent for channels for
which no data was entered.

Insert and Delete
~~~~~~~~~~~~~~~~~
Clicking on INSERT or pressing the INSERT key will open up a blank line, as
in  the  other  modes.  Type in the new segments pressing RETURN after each
one,  or UNDO after any mistakes.  Click the m*ouse on a new line to cancel
INSERT.

Pressing the DELETE key will delete the segment under the cursor.

Copy Song to Song and Copy Song to Sequence
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
COPY  SONG TO SONG lets you copy the current song to the first unused song.
COPY  SONG  TO  SEQ  lets you copy the segment list to an Open mode control
sequence.   Open  mode control sequences, described in Chapter 4, provide a
more  general way to arrange your sequences into songs.  If you decide that
your  song  needs  some more parts, you may want to use Copy Song to Seq to
get  the  song  into  Open  mode,  and then add more parts using overdub or
record  with  cue.   Copying  a  song to a sequence is also a good starting
point  for  understanding  the  structure of control sequences.  you should
remember  that  you  cannot  go  the  other  way; there is no way to copy a
control sequence to a song.

Append and Delete Song
~~~~~~~~~~~~~~~~~~~~~~
You  can append another song to the current song or delete an unwanted song
from memory by clicking on APPEND or DELETE SONG.  Dialog boxes will prompt
for the song to append or delete.

Song to All Tracks
~~~~~~~~~~~~~~~~~~
Clicking  on  this  option  will  delete all tracks currently in Track mode
memory  and  place  the current song in all tracks by copying each sequence
used  in the song to all tracks.  This is useful for overdubbing solo parts
or  controllers  over  an  entire  song:   but  makes editing the song more
difficult.

Since  coping  a  song  to all tracks requires quite a bit of the computers
memory  for  work space, it is possible that you may get an "out of memory"
message when doing this with a long song.

Other Options 
~~~~~~~~~~~~~
The  remaining  options  on  the Song mode edit screen are identical to the
coresponding  options  in  Open and Track modes.  See Chapters 4, 10 and 11
for  more  details  on PLAY, LOAD/SAVE, SET OPTIONS, OPEN MODE, TRACK MODE,
and QUIT.

                              Chapter 6
                              ~~~~~~~~~
                        TRACK MODE PLAY/RECORD
                        ~~~~~~~~~~~~~~~~~~~~~~
The  Track  mode play/record screen of the KCS functions as a 48 track tape
recorder, with all the controls usually found on a mehanical tape recorder,
as  well as many more that have no counterparts on the physical instrument.
All  aspects of recording and playback are controlled in real time from the
play/record screen.

Track  mode  can  be used in many different ways in composition.  An entire
piece can be recorded in Track mode, using tracks that run the whole length
of the piece, or completed tracks can be moved to Open mode and linked with
other tracks in Song mode, or in Open mode using control sequences.

Play/Record 
~~~~~~~~~~~
The Track mode play/record screen will appear whenever
Track mode is entered from one of the other
two modes, and when the program is first booted.  The play/record
screen looks like this:
 
The  screen  is  divided  into  three sections:  the track status area, the
control  panet,  and the message line.  The track status apea, in the upper
portion  of  the  screen,  displays the play status of each of the first 36
tracks.   Activity on any track is also shown in the track status area by a
musical  note  icon, which changes color as notes occur on that track.  The
control  panel,  in  the  lower  part  of  the screen, contains a number of
buttons  and  indicators  which mimic the operation of a trap recorder, the
message  line, at the very bottom of the screen, displays messages relating
to  various  controls  that aren't shown on the control panbel.  All of the
buttons  on  the control panel can be activated with the mouse, or from the
computer's  key6board.   In  addition, there are a number of other controls
which  can  be  accessed  only from the keyboard or the SET OPTIONS screen.
Each control is described in detail later in this chapter.

Each track has two designations: its track number, which is a number from 1
- 48, and an associated track key, which is a single key on the computer
keyboard. Tracks are selected either by pressing the appropriate track key,
or by clicking on that track in the status area. Selecting a track is not
used to determine which track to record on, since recording is always done
on the lowest numbered free track, but to apply the currently selected
track option to a track. The track options are used to mute or solo a
track, as well as for other functions.

Recording in Track Mode
~~~~~~~~~~~~~~~~~~~~~~
Recording  starts  when a note is played on the controller connected to the
computer's  MIDI  in,  when the PLAY button is clicked, or when the FlO key
(or  the  SPACE  bar)  is  pressed.  As soon as recording starts the visual
metronome  will  start  to flash, the audible metronome will start to beep,
and  the measure/step counter will start counting.  Recording ends when the
FlO  key  is pressed, or when the end of track 1 is reached, if track 1 has
already been recorded.  (The time at which recording stops is also affected
by  the ALIGN option, described later.) At this point, recording will start
on  the  next  available  track,  and  continue until the end of track 1 is
reached again.  This process repeats until all 48 tracks are full, or until
the  sequencer  is  stopped.   Recording can be turned on and off while the
sequencer  is  running by clicking on the RECORD button or pressing F2, and
all of the other controls can be changed during recoed or playback as well.

Track Options 
~~~~~~~~~~~~~
The  track  options allow you to determine what will happen to a track when
it is selected, either with the mouse or by pressing a track key.  Only one
track  option  can  be  active at a time.  Some of the track options can be
selected  from  the  control  panel or the keyboard, while others which are
used less frequently can only be selected from the keyboard.

The  default  track option is MUTE.  When MUTE is active, selecting a track
will  "silence"  that  track;  the  track  can be unmuted by selecting it a
second  time,  as  long as the MUTE track option is active.  Muting a track
will cause that track's status display to change from PLAY to MUTE.

The other track options are SOLO, SET SWITCH, SET PUNCH, CLEAR/RESET PUNCH,
ERASE  PUNCH,  COPY PUNCH, ERASE TRACK, SHIFT, SWAP, EDIT SELECT, and NAME.
Each track option is described in detail later in this chapter.

Punch-In
~~~~~~~~
Punching is used to replace a portion of an otherwise good track.  The term
"punching"  is  borrowed  from  multi track terminology, where it refers to
re-recording  a  section of a track by punching the record button in at the
start of the unwanted section and punching out at the end.

Punching  on  the  KCS  is a little different than punching on a tape deck.
Instead  of  erasing  the  punched  portion of a track, the track is simply
muted  for  the  duration  of  the  punch and new data is recorded on a new
track.   Once  a  good  replacement  track  has been recorded, the original
punched  data  can  be  erased  and  the two tracks merged.  The details on
punching  can  be  found latcr in this chapter, in the section on the PUNCH
buttons.

RECORD 
~~~~~~
The  RECORD  button  on  the control panel is used to turn recording on and
off.   This  button  will light up when recording is activated.  Record can
also be turned on or off with the F2 key.

STOP, PAUSE, and PLAY
~~~~~~~~~~~~~~~~~~~~~
Clicking  on  STOP  will  stop playback of all tracks, complete the current
recording  (if  record  is on), and reset the sequencer to the beginning of
all tracks, or to the current cue point, if one is selected.  The ENTER key
duplicates this function.

Clicking  on  PAUSE  or  pressing  the  ESC  key  will temporarily stop the
sequencer.   Notes  played on the keyboard will not be recorded when paused
though  controllers  may  be  recorded  depending  on  the  setting  of the
CONTROLLER  PAUSE switch on the SET OPTIONS screen.  Clicking on PAUSE will
restart the sequencer.

PLAY  starts  the  sequencer.  If recording is enabled recording will start
when  PLAY is selected.  If a cue point has been set, playback or recording
will start from that point.  Playback can also be started with the FlO key,
the SPACE bar, or the right mouse button.

CLOCK and MEASURE
~~~~~~~~~~~~~~~~~
The  CLOCK  display  shows  the  current clock source, and the tempo of the
internal clock.  If MIDI is displayed next to CLOCK, then the external MIDI
clock is in use.  Otherwise, the internal clock tempo is shown in beats per
minute (BPM).

Clicking  on  the  >>  or << symbols will incrcase or decrease the internal
tempo  by  an  amount  set  by the TEMPO CHANGE BY RATIO control, described
under  HIDDEN  CONTROLS,  below.   Holding  the mouse button down while the
mouse  pointer  is  on  one  of  these symbols will cause a rapid change in
tempo.   Pressing  the, and .  keys (COMMA and PERIOD) will also change the
tempo.

The  MEASURE  display  shows  the  current location of the sequencer during
record and playback, in measures and steps.

RE-RECORD, RE-RECORD STOP and ERASE TRK
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Clicking  on  RE-RECORD  or  pressing  UNDO  will  erase the current track.
Normally,  this  option  will  stop  the sequencer and set the measure/step
counter  to  the  beginning  of  the  sequence (or current cue point).  The
automatic  stop  feature  can  be turned off from the SET OPTIONS screen by
turning off the RE-RECORD STOP button.  In this case, clicking on RE-RECORD
will erase the current track, without affecting the sequencer's playback.

ERASE  TRK  causes  the most recently recorded complete track to be erased,
along  with the current record track.  This function is duplicated by the ?
key.   Be careful when using this button, as the sequencer will not ask you
to confirm this selection before erasing these tracks!

Tracks  can  also  be erased with the erase track option.  When this option
(which  can only be selected with the CLR HOWlE key) is active, selecting a
track will erase that track.  A question will appear on the message line to
confirm  this  choice.   Answer  "y" to erase the track, or "n" to keep the
track.  Select another track option, such as MUTE, to turn this option off.

CNTRLRS and AFTOUCH
~~~~~~~~~~~~~~~~~~~
These  options  are  used  to  enable  or  disable  the  recording  of MIDI
controllers  such  as  pitch  bend  patch  changes and aftertouch.  CNTRLRS
affects  all  MIDI  data  except  note data and aftertouch, and can also be
toggled  with  the  COLON (:) key.  The AFTOUCH function is duplicated with
the QUOTE (') key.

When  recording controllers, if a pitch bend or sustain pedal (CC 64) event
is recorded, a zero pitch bend and/or sustain pedal off event are placed at
the  end  of the recording.  This prevents hanging or mistuned notes if the
affected  sequence  is looped or joined to another sequence, either in Open
mode  or  by  using  the  DOUBLE  or APPEND options in Trace mode.  This is
helpful in most circumstances, but you may need to edit these events out if
you are recording a part that is to be spliced into an existing sequence.

QUANT
~~~~~
When  this switch is on, any events recorded will be rounded to the nearest
time interval represented by the musical icon below the QUANT switch.  This
is similar to the AUTO-CORRECT edit option, but also effects controller and
other  non-note  data  types  as well, and cannot be undone.  Only quantize
values  represented  by  the  available note icons may be selected from the
play/record  screen,  but  any  value  desired  may be entered from the SET
OPTIONS window.

MERGE and ECHO
~~~~~~~~~~~~~~
The MERGE and ECHO buttons toggle the MIDI merge and echo features. MIDI
merge is used to mix data from the computer's MIDI in with data from the
sequencer, for transmission through the MIDI out jack. This is necessary
when using the KCS in conjunction with a master keyboard to control a set
of expander modules.

ECHO  is  similar  to  MERGE,  except  that  data is rechannelized prior to
mergina and/or recording.  Clicking on ECHO causes a display of the current
echo  channel to appear beneath the ECHO button; clicking on the associated
>> and << symbols will change the echo channel.

The  functions  of  the  MERGE  and  ECHO  buttons  are duplicated with the
SEMICOLON  (;)  and BACKSPACE keys, respectively.  When ECHO is active, the
status of the MERGE switch is ignored.

MUTE, SOLO and SET SWITCH
~~~~~~~~~~~~~~~~~~~~~~~~~
These  three  track options are used to selectively mute one or more tracks
during playback.  MUTE, which was described earlier in the section on track
options can also be activated with the F3 key.

A  block of adjacent tracks can be muted or umuted by holding down the left
mouse  button and dragging the mouse over those tracks.  The status of each
track will toggle as the mouse passes over it.

The  MUTE  function can also be modified using the SHIFT and ALTERNATE keys
in  conjunction  with  the  mouse.  If ALTERNATE is held down while MUTE is
active  and a track is selected with the mouse, that track will be muted if
it ts playing, but will not be unmuted is it is already muted.  Conversely,
holding  down  SHIFT while selecting a track with the mouse will unmute any
muted  tracks, but will not mute tracks.  (Think of the ALTERNATE and SHIFT
keys as meaning "mute only" and "unmute only" respectively.)

The  SOLO  track  option  is used to solo a track, that is, mute all tracks
except  the  selected track.  Selecting the track a second time will unmute
the other tracks.  SOLO can also be selected by pressing F8.

SET  SWITCH  is  used  to set up a "switch" which will alternately mute and
unmute  two selected tracks.  Selecting a track after this option is chosen
will  change  that  track's status to SWITCH; selecting a second track will
change  the  first  track's  status to PLAY and the second track's to MUTE.
The  RETURN  key  can  then  be  used to alternately switch between the two
tracks.   After  the  second  track  is  selected,  the  track  option will
automatically  change  to MUTE.  The SET SWITCH option can only be selected
with the F9 key, and not from the control panel.

Note that muting a track which contains OFF events (which are only recorded
for  notes  with release velocity or for notes greater than 999 steps long)
could cause some notes to stick.  Stopping the sequencer, or pressing the "
(SHIFT-ACCENT) key, will clear any stuck notes.

EXIT and Help
~~~~~~~~~~~~~
Clicking on EXIT or pressing F1 will stop the sequencer and transfer you to
the  Track mode edit screen.  Pressing the HELP key will stop the sequencer
and display a list of the track mode keyboard commands.  These commands are
also  listded  in the TRACK MODE COMMAND REFERENCE LISTS at the end of this
manual.

PUNCH 
~~~~~
The buttons under PUNCH are used to access the sequencer's punch in and out
capabilities.   The  punch buttons are all track options so only one can be
selected  at a time, and selecting any other track option will deselect the
punch buttons.

SET  PTS  is used to set the start and stop points for a punch.  The F4 key
duplicates  this  function.   When this track option is active, selecting a
track will set the start point for the punch:  the track will also be muted
and  will  appear  in  the status display under PUN.  Selecting the track a
second  time  will  set  the end point for the punch, and the track will be
umnuted  and  the  word  ON  will  appear  under  PUN.  If the track is not
selected  again before the track stops, the end punch point will default to
the  end  of  the  track.   As  the track loops, the display under PUN will
change  from  ON  to  OFF when the punched out section is playing, and back
again when the end punch point is reached.

If  punch  points  have  already  been set for a track, then selecting that
track  will change either the start or end point of the punch.  Selecting a
track  while that track is punched OUT will change the end punch point, and
selecting  the track while it is on will set a new start point.  Each track
can only have one set of punch points, but separate punch points can be set
for as many tracks as needed.

The  clear punch points track option is selected by clicking on CLR PTS, or
by  pressing  F5.   Selecting  a  track  while  this  option is active will
temporarily  remove  the punch points in that track, and unmute the punched
section.  Click the mouse a second time to restore the punch points.

Clicking  on  ERS  PUN  or  pressing  F6  selects  the  erase punch option.
Selecting a track while this option is active erases the punched section of
that  track and optionally merges the most recently recorded track with the
original.   When a track is selected, a prompt asking for one of three keys
to  be  pressed  will  appear  on  the  message line.  Press Y to erase the
punched data, L to erase the punched data and merge the track with the last
track  recorded  (thereby  replacing  the punched data), or N to cancel the
command.

CPY PUN or the F7 key will select the copy punch track option.  Selecting a
track with active punch points will copy the punched data to the next empty
track,  and  delete  that data from the original track.  The new track will
also be muted.

CUE 
~~~
The  CUE button is used to activate Track mode's cue loop.  When CUE is on,
the sequencer will repeatedly loop the material contained between the start
(FROM)  and  end  (TO)  points  of  the  cue  loop.   Clicking  on CUE will
immediately  start all tracks at the beginning of the cue loop; clicking on
PLAY  when the CUE button is lit has the same effect.  The TAB key can also
be  used  to  activate the cue loop, and the SLASH (/) key will turn cueing
off.

The  start  and  stop points for the cue loop can be changed in a number of
ways.   With the mouse, clicking on the > > and << symbols will move either
cue  point  forward  or  backward.   These  controls  are duplicated on the
computer keyboard by the cursor control keys, with the CURSOR UP and CURSOR
DOWN keys controlling the start point, and the CURSOR LEFT and CURSOR RIGHT
keys affecting the end point.

The  amount  the  cue points move each time one of these buttons is pressed
can bm changed with the INSERT key.  Normally, the cue point move amount is
one  measure;  pressing  the  INSERT key changes this to eight measures and
pressing it again will change it back to one measure.

The  last  one,  two,  four,  or  i@ght  measures played can be replayed by
pressing  the LEFT BRACKET ([), RIGHT BRACKET (]), ACCENT('), and EQUAL (=)
keys  respectively, Pressing one of these keys will move the cue point back
by the appropriate amount and start the sequencer at that point, though the
cue  loop  will  not  be  activated.  These buttons are handy if you hear a
mistake  or  other point of interest while listening to the tracks and want
to hear it again.

Cueing  can be used for recording as well as playback.  When a new track is
recorded  with  the cue loop active, the program adds time to the beginning
of that track to align it to the other tracks.

If  the  start  point for the cue loop has been changed since the last time
the  cue  was  played,  there  may  be  a slight delay between loops as the
sequencer advances to the start of the loop.

Track Merge 
~~~~~~~~~~~
Pressing  the  BACKSLASH  (\) key, just to the right of RETURN, selects the
Track  merge  option.   This  is  used to combine two or more tracks tnto a
single track, which can simplify the editing of tracks that are on the same
MIDl channel, and frees up tracks for further recording.

When  this  option is selected, the message line will prompt you for a list
of tracks to be merged; select the tracks with the mouse or the track keys,
and  press  RETURN.   Each track in the list will be merged with the lowest
track, and then erased.

ALlGN 
~~~~~
The  sequencer's ALIGN feature is used during recording to force the length
of  track 1 to a whole number of measures.  If ALIGN is off while recording
track  1,  recording stops as soon as the sequencer is stopped, so the last
measure  of  the  track  may be less than 96 steps (or whatever the current
measure  length  is),  and the sequencer will loop unevenly.  When ALIGN is
on,  the  sequencer  will  continue  to record to the beginning of the next
measure  after  recording  is stopped.  ALIGN is turned on and off with the
DELETE key.

Since  track  1  sets  the  length  of all tracks, ALlGN has no effect when
recording tracks other than track 1.

Hidden Controls 
~~~~~~~~~~~~~~~
There  are  a  number of other controls which can only be accessed from the
keyboard.   Most  can also be set from the SET OPTIONS screen, which can be
reached  directly  from  the play/record screen by pressing 0 (ZERO) on the
computer's  typewriter  keyboard.   See the SET OPTIONS chapter for more on
these  controls.   The  HELP  key  and this manual's appendix also list the
hidden control keys.

When  a  hidden  control  is changed from the play/record screen, a message
confirming the change will appear on the message line.  Hidden controls can
be changed while the sequencer is playing or recording.

AUTO-RECORD is selecled with the | (SHIFT-BACKSLASH) key.  When this switch
is  turned  off the RECORD switch will turn on when it finishes recording a
track.  AUTO-RECORD is normally on.

The visible metronome can be turned on or off with the $ (SHIFT-4) key, and
the audible metronome is toggled with the % (SHIFT-5) key.  The & (SHIFT-7)
key disables the step display in the measure/step counter.

Track  looping  is  turned on or off with the ( (LEFT PARENTHESIS) key, and
FILTER  is  toggled with the ) (RIGHT PARENTHESIS) key.  The filter channel
is a changed with the PLUS (SHIFT-EQUAL) and UNDERSCORE (SHIFT-MINUS) keys.
SILENT  PUNCH  is turned on or off with the MINUS (-) key.  TEMPO CHANGE BY
RATIO is toggled between one BPM and 2.5% by pressing the ^ (SHIFT-6) key.

A  few  hidden  controls are not duplicated on the SET OPTIONS screen.  The
PANIC BUTTON (the ~ key, or SHIFT-ACCENT) sends an All Notes Off message on
all  16  MIDI  channels  as  well  as sustain pedal off and zero pitch bend
messages for the appropriaate channels.  Pressing # (SHIFT-3) will mute all
tracks and pressing @ (SHIFT-2) wills unmute all tracks regardless of their
current  statuses.   Finally, the !  (SHIFT-1) key brings up the ALL TRACKS
TO SEQ edit window, which is described in detail in Chapter 4.

Track Shift, Swap, and Name
~~~~~~~~~~~~~~~~~~~~~~~~~~~
Function  keys  Fll through F16 are used to select the SHIFT track options.
The  SHIFT  options  are used to shift a track forward or backward in time,
relative  to  the  other tracks.  The shift amounts are + 1, + 3, + 12, -1,
-3,  and  -12  for  keys F11- F16.  (Remember, function keys Fll to F20 are
selected by pressing SHIFT and a function key from Fl to F10.)

The  DELETE key can be used to toggle between a positive and negative shift
amount  when  a  SHIFT option is active.  Note that since the DELETE key is
normally  used to toggle ALIGN, the ALIGN feature can not be changed when a
SHIFT option is active.

The  program cannot shift a track if its first event would be placed before
the  start  of  the track, which means that negative shift values cannot be
used  on  tracks  which  start  on the first beat.  Nor will events shifted
beyond  the  end  of  track 1 be phayed.  Shifting a track changes the time
value  of  the  first event in the track by adding or subtracting the shift
amoumt,  and  this  change  will be reflected in the event list on the edit
screen.   The TIME value for the first event of the track will be displayed
in  the  right  part  of  the  message  line  whenever a SHIFT operation is
performed.

You should be careful to turn SHIFT off by clicking on the MUTE button when
you  are  done  shifting  tracks,  as  we  have  found  that  it is easy to
accidentlly mess up a track by shifting it when you really want to mute it.

SWAP  is  activated by pressing F18.  The SWAP track option is used to swap
the  position of two tracks in the track display.  Since notes on the lower
numbered  tracks  are  played  before  notes  on the higher tracks swapping
tracks  can  be  used  to correct for minor timing problems caused Eyb MIDI
bandwidth  limitations  or  differences  in instrument response times.  See
Chapter 13 for more on sequencer timing.

When  the NAME track option is selected with the F20 key, selecting a track
will allow you to enter a name for that track.  The input from the keyboard
is not parsed (interpreted) as it is entered, so the BACKSPACE, DELETE, and
similar  keys  will  insert funky graphics symbols in the name, rather than
performing  the  expected operations.  Typing mktakes can be corrected from
the edit screen.

MIDI Song Pointer
~~~~~~~~~~~~~~~~~
If a MIDI song pointer message is received while in Track mode, the program
will  start all tracks from the specifed point.  Song pointer messages will
be  ignored  if  the clock source, on the SET OPTIONS screen, is not set to
MIDI  WITH  SONG  POINTER.   The correct time value will be inserted at the
beginning  of  any  track  that is recorded after a song pointer message is
received.

Song  pointer is sent by the sequencer at the beginning of the cue loop, if
cueing is activated and if SONG POINTER SEND has been enabled, as described
in Chapter 11.

Countin
~~~~~~~
If  a countin has been set on the SET OPTIONS screen the program, will wait
for  the programmed number of steps before starting to play or record.  For
example,  a  value  of 96 will create a one measure countin.  The metronone
will sound and MIDI clock will be sent during the countin.

Velocity Pedal
~~~~~~~~~~~~~~
The  velocity  pedal  feature  of  the KCS allows you to modify the note on
velocities of a part being recorded with a continuous controller.  This can
be  used,  for  example, to play accents on synths which recognize velocity
but  don't  send  it,  or  to do a MIDI mixdown on a synth which recognizes
velocity but not volume control.  In conjunction with the live edit feature
described  later  in  this  chapter  or  the  loopback  recording technique
discussed  in  Chapter  13,  the  velocity  pedal  can  be  used  to affect
velocities of previously recorded tracks or sequences as well.

When  velocity  pedal is active, all continuous controllers on the velocity
pedal  channel  (which  is  set  from  the SET OPTIONS screen only) will be
combined with the note velocities of the incoming MIDI data in one of three
ways.   The three velocity pedal modes are selected with the F19 (SHIFT-F9)
key,  which  is  also  used to turn the velocity pedal on or off.  When the
velocity pedal is on, control changes on the velocity pedal channel are not
recorded  or merged by the program.  Pitch bend and aftertouch are not used
for the velocity pedal.

Pressing  F19  once selects the FULL velocity pedal mode, where the note on
velocities  are  simply  replaced  with the last controller value received.
FULL  is  most  useful  when recording a part from a non-velocity sensitive
keyboard,  which  is  played on a velocity sensitive slave.  A mod wheel or
foot  pedal  can  be  used  to  set  the  not  velocity  between 1 and 127,
regardless of how hard you strike the keys.

MIX  averages  the  last controller value received with the velocity of the
note.   This  is  most  useful  for  making  minor  changes in a previously
recorded track using live edit or loopback recording.

SCALE  combines the last controller value and the note velocities in such a
way that the controller has more effect at the top and bottom of its range,
but  very  little near the middle.  For example, if the controaler is at or
near  1,  the  recorded velocities will be at or near 1, no matter how hard
the  keys  are  struck.   If the controller is at or near 127, the recorded
velocities  will be at or near 127.  BUT, if the controller is near 64 (the
center  of its range), the recorded velocities will be determined mostly by
the  note  velocities  sent by the keybeard.  SCALE is best suited to major
editing  on  prerecorded  tracks  or  sequences using live edit or loopback
recordmg.

Note  that  the velocity pedal channel, on the SET OPTIONS screen, need not
be  set to the channel that the keyboard or receiving synth is on, but must
be  set  to  the channel of the device with the continuous controller beung
used.

Live Edit 
~~~~~~~~~
Live edit is an advanced feature of the Keyboard Controlled Sequencer which
allows  you  to delete notes from a track or alter their velocities in real
time,  as  the  sequencer  is  playing.   Since  live  edit  is  much  more
complicated  than  the  other features of Track mode, we recommend that you
become thoroughly familiar with the rest of the KCS before diving into live
editing.

Live  edit  is activated by selecting the EDIT SELECT track option with the
F17  (SHIFT-F7)  key.   When  this option is selected the words EDIT SELECT
will  appear  in  the  message line, and the PUNCH buttons will be replaced
with  a  set  of  EDIT buttons.  The edit buttons are used to handle backup
tracks and to turn live editing off and the ALTERNATE CONTROL, and LEFT and
RIGHT SHIFT keys are used to edit the selected track.

When  a  track is selected, the word EDIT will appear in its status display
and a backup track will be created in the first available track.  The track
can now be edited with the keys mentioned earlier.

RIGHT SHIFT will delete notes that play while it is held down, by replacing
them with DE events.

ALTERNATE  will replace note velocities with velocity value Y from the step
time  record  screen,  which  defaults to 127.  If one of the true velocity
pedal  options is selected, pressing ALTERNATE will set the note velocities
from the velocity pedal.

LEFT  SHIFT  will  replace  note velocities with step time velocity value W
(default 64).

ALTERNATE  plus  LEFT  SHIFT  will  replace  note velocities with step time
velocity value U (default 16).

CONTROL  will  replace  notes in the edit track with notes from, the backup
track.   Normally, this acts as an "undo" command but can also be used as a
compositional  device  if the backup track is changed from the edit screen.
For  instance,  if  the  backup  is  transposed up an octave, then pressing
CONTROL  will  have the effect of transposing notes up an octave when it is
pressed.

The  edit  buttons are used to manage the current edit track's backup tract
and  to  disable  or  exit from live edit.  Clicking on an edit button will
affect only the currently selected edit track.

The BACKUP button will replace the backup track with the edited track.  Use
this  only  when  you  are satisfied with any editing you have done, and be
careful, as the original track will be lost when this button is pressed.

RESTORE  is  the  opposite  of BACKUP.  It replaces the edid track with its
backup  track.   Use  this  when  you  make  catastrophic  mistakes in your
editing.

DONE  changes the status of the track from EDIT to PLAY, and turns off live
editing  for  that  track.   The  backup  track  can be deleted as well, if
desired.   Clicking  on  DONE  again will replace the edit buttons with the
punch buttons; pressing the * (SHIFT-8) key has the same effect.

OFF  temporarily  disables the editing keys, without turning live edit off.
This  allows  you to select functions which require the SHIFT keys, such as
velocity  pedal  or certain track options.  Note that OFF doesn't turn live
editing off - that is done with the DONE button.

                            Chapter 7
                            ~~~~~~~~~
                      OPEN MODE PLAY/RECORD
                      ~~~~~~~~~~~~~~~~~~~~~
Open  mode  is  the  Keyboard Controlled Sequencer's generalized sequencing
mode.   In  Open  mode, you can define up to 128 independent sequences, any
number of whdch may be played back simultaneously.  These may be completely
independent  of each other, or some sequences may include commands to start
and  stop  other  sequences.   A  sequence  which  starts  or stops another
sequence  is  called  a  control  sequence.   By chaining control sequences
together,  you  can  realize  very  complex  pieces  of  music.   Chapter 4
describes how you can create control sequences using the edit screen.

There  are  two  types  of  sequences:   primary  and  secondary.   Primary
sequences  are  designated  by the numbers 1 - 9 and the letters A - Z, and
are  activated from the Open mode play screen by pressing the corresponding
key  on the typewriter keyboard.  Secondary sequences are designated by the
two  digit  numbers  00  -  92.  They are activated from the Open mode play
screen  by  typing two digts on the numeric keypad on the right side of the
computer keyboard.

Play/Record Screen
~~~~~~~~~~~~~~~~~~
Entering  Open  mode  from  either the Track or Song mode edit screens will
place  you on the Open mode edit screen.  The play/record screen is entered
by  double  clicking  the  right  mouse  button,  by  clicking  on PLAY and
selecting  GO  TO PLAY SCREEN, or by single clicking the ri@ht mouse button
while  holding  down  the  SHIFT key.  The program uses the same screen for
both play and record operations.

An  important  difference between Open mode and Track mode is that going to
the  Open  mode play screen does not automatically allow you to record.  To
record in Open mode, you must eiiher select the RECORD option from the edit
screen,  or  activate  Open  mode real time recording from the play screen.
This procedure is described in detail later in this chapter.

The Open mode play/record screen looks like this:

The  play  screen consists of two areas:  the sequence area at the top, and
the  status lines at the bottom of the screen.  The sequence area shows the
status  of  the  35 primary sequences and the first 45 secondary sequences.
(The  remaining secondary sequences can be played from this screen as well,
but  no  status information is shown for these sequences.) Four consecutive
sequences  are  displayed  on  each  lime.   The P, F and W columns contain
information  concerning  the  status  of  each  sequence.  The S (Sequence)
column contains the designator for each of the 80 sequences displayed.  The
RE  (REpeats)  column  shows  the  number  of  repeats  programmed for each
sequence.   A  99  in  the  RE  column  means  that  the sequence will loop
indefinitely.   NAME  shows the name of each sequence.  The P (Play) column
shows the number of times each sequence has left to play and counts down as
each  repitition  of  the  sequence occurs.  A 9 will be displayed in the P
column  if  that  sequence  has  nine  or more repeats left to play.  The F
(From)  colunn  contains  the letter or number of the control sequence that
started the sequence.  This field is blank if the sequence was started from
the  computer  keyboard.   A  W  in  the W (Wait) column indicates that the
sequence  is  currently  waiting  for  another sequence to finish, and an M
means the sequence is currently muted.

The  status  lines  at  the  bottom of the screen display information about
various  record and play options and also show the measue/step counter, the
real time clock and the clock source or tempo.  The words RECORD, CUE, MIDI
MERGE, PAUSE, etc.  will appear on the status lines when these features are
activated  and dissappear from the status lines when they are de-actavated.
The current cue point and cue sequence are also shown.

CLOCK, Metronome and Measure/Step Display
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The cunrent clock source is displayed next to the word CLOCK on the next to
last  line.   This  will  be  the current clock rate in beats/minute if the
internal  clock  display  is  being  used, MIDI if MIDI clock is being used
without  song pointer, or MIDI WITH SP if MIDI clock is bemg used with song
pointer.

If  the internal clock is in use, the clock rate can be changed during play
by  using the COMMA (,) key to increase the tempo, or the PERIOD (.) key to
decrease  the  tempo.   The  clock  rate  can also be changed from within a
sequence  using  TM,  AC,  or  DC  events,  or from the SET OPTIONS screen,
described  in Chapter 11.  The SET OPTIONS screen is the only way to change
the clock source.

The  measure/step  counter  displays  the  current  measure  and step being
played.   It  will  be  reset  to  measure  1 if you press UNDO to stop all
sequences  or  CLR  HOME to erase the current recording.  It will be set to
the  cue  or  song  pointer  location  if you start a cue or a song pointer
message is received.

The  program provides both a visible and an audible metronome.  The visible
metronome  appears  in  the  bottom,  right hand corner of the screen.  The
audible  metronome  can  be heard through the speaker of your monitor.  The
separation  between metronome clicks can be programmed from the SET OPTIONS
screen.

Playing Sequences
~~~~~~~~~~~~~~~~~
Primary sequences 1 - 9 and A - X are started by pressing a key on the
typewriter keyboard, and secondary sequences 00 - 92 can be started by
typing a two digit number on the numeric keypad. (Primary sequence 1 - 9
cannot be started from the numeric keyboard, nor can secondary sequences be
started from the typewriter keyboard.) If ALIGN is turned off, the sequence
will start immediately; otherwise it will wait for the beginning of the
next measure and then start.

The  numeric  keypad also has a "bank lock" feature, which allows selecting
any  secondary  sequence from within a bank of ten sequences using a single
key.   Pressing  the  ASTERISK (*) key on the numeric keypad after entering
one  or  both  digits of a secondary sequence will lock the 10's place (the
first  digit)  of  that  number,  and subsequent numeric keypad digits will
immediately  start  the  appropriate  sequence  in  the bank.  For example,
pressing  on  the numeric keypad after pressing 1 will lock the 1 in as the
first  digit of the secondary sequence, and pressing numeric keys 2, 3, and
4  will start sequences 12, 13, and 14.  Bank lock is turned off with the (
(LEFT  PARENTHESIS)  key  on the numeric keypad.  The most recently started
secondary  sequence  is  displayed in the lower right corner of the screen,
which  is  helpful  when  you are using the bank lock feature, and the word
BANK will appear beside the sequence number if bank lock is turned on.

Normally,  the  sequence will play for the programmed number of repeats and
stop.   To stop a sequence from, looping press the appropriate sequence key
or  numeric keypad number once.  The sequence will play to the end and then
stop.   To  stop  a  sequence immediately, press the sequence key or number
twice if it is looping, or once if it is in its last play.  To play several
sequences  at  once, press the ESC key to put the program into pause, start
the sequences, then press ESC again.

Muting Primary Sequences
~~~~~~~~~~~~~~~~~~~~~~~~
To  mute  any primary sequence that is playing press SHIFT and the sequence
key simultaneously.  An M will appear under the W heading for the sequence.
The  sequence  will  continue  to keep time, but no events will be sounded.
Notes  currently  playing  will  be  shut off unless they were defined with
separate  ON  and OFF events.  Such notes will stick until Fl, UNDO, or the
PANIC BUTTON is pressed.

To  unmute  a sequence, press the sequence key again (no SHIFIt this time).
The  M  will  disappear  and  the sequence will resume sounding at the same
point  it  would  have been at, had the mute feature not been invoked.  Use
mute  to  cue  in and out multiple overdubs in real time, or to isolate and
listen to individual sequences.

Secondary  sequences cannot be muted from the Open mode play screen, though
they can be muted and unmuted with MS and US events.

Cancel  
~~~~~~
Pressing  the  UNDO key will canccl, or stop, all active sequences, and set
the measure counter to 0.  If you are currently recording it will erase the
recorded  sequence and allow you to start recording again.  Cancel will not
erase  a  sequence  which  you  recorded earlier in the current play/record
session.

Pause 
~~~~~
The  ESC  key  can  be  used  as  a pause button during playback or record.
Pressing ESC shuts off any notes being played and stops the internal clock,
or  if MIDI clock is being used, all clocks will be ignored until the pause
button  is pressed again.  The word PAUSE is displayed on the middle status
line until it is deactivated or you leave the play/record screen.

Notes  played  on  the  keyboard are not recorded when paused, but the last
controller  of each type played is recorded, if the CONTROLLER PAUSE switch
is active on the SET OPTIONS screen.  See Chapter 11 for more details.

Cueing  
~~~~~~
The TAB key activates the cue feature.  Each time you press the TAB key the
cue  sequence  will begin playing from the cue point.  Program changes that
occur  earlier  in  the  cue  sequence will be sent over MIDI, and sequence
start events and tempo changes will be executed.

The  cue  sequence  is  set  from  the play options dialog box described in
Chapter  4.   It  can also be changed from the play/record screen using the
left  and right cursor control keys.  The CURSOR LEFT key decreases the cue
sequence  by  one,  and  the CURSOR RIGHT key increases the cue sequence by
one.

The  cue  point  determines  where phayback will begin in the cue sequence.
This  also can bm set from the play options dialog box and changed from the
play/record  screen using the CURSOR UP and CURSOR DOWN keys and the INSERT
key.  The up arrow moves the cue point higher, the down arrow moves the cue
point lower, and INSERT tnggles the amount that the cue point moves between
one measure and eight measures.

The  cue  feature is particularly useful when the cue sequence is a control
sequence  that  plays  an  entire piece.  You can use cue to hear the piece
starting from any point.  By keeping alternate arrangemems of your songs on
consecutive  sequence  keys,  you can quickly go back and forth between the
same pmint of different arrangements of a piece with the cursor keys.

Align  
~~~~~
When  activated, ALlGN forces the program to wait till the end of a measure
before  exiting  the record mode.  This assures that all sequences recorded
will  loop properly.  ALIGN also forces all sequences that are started from
the  computer  keyboard  to  wait  until  the beginning of the next measure
before playing.

ALlGN  is  normally  on  when  recording,  and  off  when  in  play and not
recording.  It can be toggled on or off with the DELETE key.

MIDI Merge 
~~~~~~~~~~
MIDI  MERGE  is  activated by pressing the SEMICOLON (:) key.  All incoming
MIDI  data, including system exclusive messages received by the computer is
merged  with  the  sequence  data  being played.  Press the :  key again to
de-activate MIDI merging.  MIDI mergng is disabled when ECHO is on.

Echo  
~~~~
The  ECHO feature is used to rechannelize MIDI data recorded by the program
and  send it out the computer's MIDI out.  This allows you to record on any
channel  while  using  a  keyboard  controller  that  transmits on a single
channel.  If ECHO is active, the word ECHO will appear on the bottom of the
screen,  followed  by  the  echo channel.  You can use the BACKSPACE key to
toggle  echoing on and off from the play/record screen, and use the > and <
(SHIFT-PERIOD  and  SHIFT-COMMA)  keys  to  increase  or  dccrease the echo
channel.

Filter  
~~~~~~
FILTER  is  used  to  force  the  sequencer to accept MIDI data on only one
channel,  the  filter channel.  Incoming data on other channels as ignored.
FILTER  is  turned  on  with  the ) (RIGHT PARENTHESIS) key, and the filter
channel  can be lowered or raised with the UNDERSCORE (SHIFT-MINUS) or PLUS
( + ) keys respectively.

Set Options and Help
~~~~~~~~~~~~~~~~~~~~
The  SET  OPTIONS  screen  can be reached directly from, the Open mode play
screen  by  pressing the 0 (ZERO) key.  The SET OPTIONS screen is described
in Chapter 11.

Pressing  the HELP key will bring up the Open mode help screen, which shows
the  functions  of  each  key on the computer keyboard in Open mode.  These
functions are also summarized in the Appendix to this manual.

Exit 
~~~~
Pressing  F1  will  immediately  end  the  play/record process and take you
dirctly to the edit screen.  The left mouse button duplicates this function
in Open mode.

Panic Button 
~~~~~~~~~~~~
Pressing  the  ~ (SHIFT-ACCENT) key will send All Notes Off messages on all
16  MIDI  channels.   This  is  useful  for  canceling  stuck  notes on any
synthesizers  that,  for  one reason or another, did not receive a note off
message.   The  All Notes Off message is not recognized by all instruments,
so this button may not always clear all stuck notes.  The panic button also
clears  any  sustain  pedal  or pitch bend settings that may have been left
"hanging".

Recording in Open Mode
~~~~~~~~~~~~~~~~~~~~~~
Open mode recording can be selected in one of two ways.  Clicking on RECORD
from  the  Open  mode edit screen will bring up an edit window which allows
you  to  select  one  of  four recording methods, or pressing the RETURN or
ENTER  keys on the Open mode 1 play screen will enable real time recording.
Generally  speaking  selecting  RECORD  from  the edit screen provides more
flexibility  in  recording while the RETURN/ENTER method is more convenient
if you are playing an Open mode sequence and want to record a part whenever
inspiration  strikes.   Real  time  recording  is  described  later  in the
chapter.

When you select RECORD from, the edit screen, an edit window will ask which
sequence you want to record, and will also present a set of record options.
The  sequence  will  default to the next empty sequence, or you can enter a
sequence.   Enter  one  key  for  a  primary  sequence  or two digits for a
secondary  sequence.   Remember  that  sequences  Y  and Z are reserved for
internal use by the program and cannot be recorded.

Four  record options are displayed in the left part of the edit window, one
of which must ge selected.  STEP TIME allows you to create a sequence using
a  method similar to step mode entry on a drum machine.  Step time entry is
useful  for  entering fast arpeggios, regular chord patterns or other parts
with  few changes in note to note timiing.  The step time recording process
is described in detail in Chapter 9.

REAL  TIME  records  events from the synthesizer keyboard in real time.  In
this mode the program is similar to a tape recorder, recording all notes as
you play.  OVERDUB will automatically play the overdub sequence and set the
length  of  the  current  sequence  to  match  that of the sequence you are
overdubbing  to.  You must select an existing sequence to overdub to if you
choose OVERDUB.  RECORD WITH CUE is another way to record a new sequence in
sync  with  an  existing sequence.  RECORD WITH CUE differs from OVERDUB in
that  the  existing  sequence  may  be  started  at  any  measure.   It  is
particularly  useful  when the existing sequence is a partly completed song
that  you  want  to  add  parts  to in specific places.  You must select an
existing sequence to be the cue sequence.  The real time record options are
described in detail later in this chapter.

Controllers, Aftertouch, Note Off Vel, and Echo
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These   record   options  set  the  sequencer  to  record  or  ignore  MIDI
controllers,  aftertouch,  and  note  off  (release) velocity.  CONTROLLERS
enables  the recording of pitch bend, control changes, and program changes.
If  a pitch bend or sustain pedal (MIDI controller 64) event is recorded, a
zero  pitch  bend or sustain pedal off message will be placed at the end of
the  recording.  AFTERTOUCH controls the recording of aftertouch (pressure)
information.  Since aftertouch and controller data use such large chunks of
memory, it is best to disable CONTROLLERS and AFTERTOUCH uless specifically
required.

NOTE OFF VEL allows separate storage of note off events, including note off
velocity.   There  are  only  a few synths capable of sending and receiving
note  off  velocity.   Notes  recorded  with note on velocity are stored as
separate  note on and note off events, and are more difficult to edit.  The
KCS  can  only  remember  to hold down 64 notes (on all synths) at one time
using  ON  events,  so  if you need more than that, you need to record some
parts with note off velocity.

The  letters  C A O will appear beside RECORD on the play/record screen if
any  of these options are turned on.  The options can also be turned on and
off  directly  from  the  play/record  screen.   The  COLON (:) key toggles
controllers,  the  QUOTE  (')  key aftertouch, and the DOUBLE QUOTE (") key
note  off velocity.

ECHO  can  also  be toggled from this window.  ECHO is described earlier in
this chapter.

Real Time Record
~~~~~~~~~~~~~~~~
If  you  select  the  REAL  TIME,  OVERDUB, or RECORD WITH CUE options, the
play/record  screen will be diplayed.  The only visible differences between
play and record are that the words RECORD and ALIGN appear at the bottom of
the screen along with any other active record options.

The  following  example  shows  the  screen that would appear if your first
action  in  Open mode is to record sequence 2, echoing onto channel 4.  The
number of the sequence being recorded is shown in red on a color monitor.

When  you besn playing on the synth keyboard, the metronoe (bottom right of
screen)  will  begin  flashing  and  the  measure/step  counter  will start
counting  up.  A metronome will also sound on your monitor speaker.  If you
did  not  specify a name, the MIDI channel of the first event recorded will
be  d@splayed  under  NAME.  If you want to begin the sequence with a rest,
press the FlO key.

If,  during  recording you make a mistake and wish to start again press the
UNDO  key.  The current recordLng will be erased and the program will start
recording  again  when  you  play the keyboard or press FlO.  When you have
finished  recording  press  FlO  and  the  sequence will begin playing back
immediately if ALIGN is off or when the measure completes if ALIGN is on.

If  your new sequence is playing back and you decide you don't like it, you
can  erase  it and record again by pressing CLR HOME.  Recording will start
again  when you play the keybeard or press FlO.  Press FlO a second time to
end recording and hear what you just played.
 
All  of  the  play features described earlier in this chapter also function
when recording.  To stop recording and go to the edit screen, press Fl.

As  mentioned  earlier,  real  time recording can also be selected directly
from  the  Open  mode  play screen by pressing the RETURN or ENTER key.  If
RETURN  is  pressed,  recording  will  start  as soon as a note on or other
relevant  MIDI  event  is  received  at  the  MIDI in jack, and if ENTER is
pressed,  recordjng  begins immediately.  The first unused sequence will be
used  for  recording.   Pressing  FlO  will turn recording off and play the
newly recorded sequence, pressing UNDO will erase the current recording and
stop  all  sequences,  and  the  CLR  HOME key will erase the last sequence
recorded in the current session.

Additional  Open  mode  sequences  can  be  recorded in a single real time
recording  session by  pressing either RETURN or ENTER, even if recording
was initiated from the edit screen. This process can be repeated as many
times as needed, to record additonal sequences.

Overdub 
~~~~~~~
The  OVERDUB  option  allows  you  to record a new sequence in sync with an
existing sequence called the overdub sequence which is automatically played
back  by  the prograrn as you record.  You can start the overdub process by
playing  a  note  on  your  synth  or by pressing F10.  In either case, the
overdub sequence will automatically be started and recording will begin.

When the overdub sequence completes, the program will automatically end the
recording  process  and  play  back both sequences together.  If you make a
mistake  during  recording or are dissatisfied after the recording, you can
use  the UNDO or CLR HOME keys to start over, as described above under REAL
TIME RECORD.

Since  the  overdub  sequence  can  be  any Open mode sequence, including a
control  sequence,  It  is possible to overdub a sequence to a section of a
song, or an entire piece.  Overdubbing to a control sequence is done in the
same mamer as overdubbing to any other sequence.

If  you start the overdub sequence with FlO and don't play any notes at all
before  it ends, the overdub sequence will still loop, and the program will
remain in record.  This allows you to listen to your overdub sequence a few
times before recording.

Record with Cue 
~~~~~~~~~~~~~~~
RECORD  WITH  CUE  is  very similar to OVERDUB, but allows you to start the
overdub sequence at any measure.  This is useful for things like adding tom
fills  to  a  section, adding some grace notes to a long piano sequence, or
adding  controllers  to  a piece after the basic arrangement was done.  The
program  will  automatically  insert  the correct amount of time before the
first event.

When  the  RECORD  OPTIONS edit window is displayed, select RECORD WITH CUE
and  then  click  the mouse to OVERDUB/CUE SEQ, and enter a sequence key or
number.  If you select an unused sequence, the program will alert you.  You
can  also  set  a  new cue point at this time.  This will be the measure at
which the program will start the cue sequence.

When  you  get  to  the  play/record  screen the cue sequence and cue point
displays  will reflect the values you entered.  Play a note or press FlO to
start  recording.   The cue sequence will begin playing at the specifed cue
point.  Press FlO when you have completed recording.  Both the cue sequence
and  sequence  you  recorded  will start playing back from the selected cue
point.  You can restart both sequences at any later time by pressing FlO or
TAB.   If  you  make mistakes and want to start over, you can press UNDO if
you  are  still recording or CLR HOME if you have completed recording.  The
program  will  erase  your  recording  and  return  to the beginning of the
recording procedure.

Recording with Velocity Pedal
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
When  the  VELOCITY PEDAL option has been activated from the SET OPTIONS or
Track  mode  record screens, the sequencer will not directly record note on
velocities,  but  will  instead  record values based on the position of any
continuous  controllers  on the velocity pedal channel.  The velocity pedal
function cannot be accessed from the Open mode play/record screen.  See the
chapter  on  the  Track mode play/record screen for more information on the
velocity pedal.

Recording with a Countin
~~~~~~~~~~~~~~~~~~~~~~~~
You  can use the SET OPTIONS screen to set a recoring countin.  This allows
you  to  use the metronome or an external MIDI drum machine to get the feel
for  a  few  beats before recording.  If you are using a countin, press F10
when  you  are  ready  to  record  or  overdub.  The program will sound the
metronome and send MIDI clock, but it will not start recording or start the
overdub  sequence  until the number of steps specified for the countin have
passed.

MIDI Song Pointer
~~~~~~~~~~~~~~~~~
If  the  MIDI  W SONG POINTER clock sourse option was selected from the SET
OPTIONS screen, and the program receives a MIDI song pointer message during
Open  mode  play,  the program will turn on all active sequences, and start
the  current  cue  sequence  at  the  point  specified  by the song pointer
message.   The  only  MIDI  events  that  will be sent while the program is
chasing  the  song  pointer are program changes.  It may take a few seconds
for the program to chase many measures into a complex piece, and songs with
a  lot  of  continuous controller data will take a little longer than other
songs.

Recording with song pointer is similar to recording with cue.  If the clock
source  has  been set to MIDI WITH SONG POINTER, and the program receives a
song  pointer  message,  the  cue  sequence will be started at the location
specifed  by  the  song  pointer  message,  and recording will begin.  If a
second  song  pointer message is received, and no notes have been recorded,
the program will start the record process again.

If  a  second  song  pointer message is receeved after some notes have been
recorded,  the  program  will  end  recording  and  play  back both the cue
sequence  and  the  newly  recorded  sequence, starting at the song pointer
location.  You can still use CLR HOME to erase the new sequence and restart
the recording process.

                              Chapter 8
                              ~~~~~~~~~
                           Song Mode Play
                           ~~~~~~~~~~~~~~
The Song mode play screen allows you to play songs created on the song mode
edit  screen described in Chapter 5.  You cannot record while in Song mode.
The  Song mode pIay screen is reached from the Song edit screen by clicking
on PLAY or pressing the right mouse button.

The following example shows the Song mode play screen as it might look
before a song is started:

The  Song  mode play screen has severl sections.  The top line has the song
number and title.  The bottom of the screen is used for status lines, as in
Open and Track modes.  Most of the rest of the screen is used for a list of
up  to  48 song segments.  A song can have up to 100 segments, but only the
first  48  can  be  seen on the play screen.  Each song segment shown has a
number  ,  and a segment key.  The segment keys are used to select segments
much  like  track  keys  can  be  used  to  select  tracks  in  Track mode.
Typewriter  keys 1 - 9 are used for segments 1 - 9, keys A - Z for segments
10  -  35,  and  keys on the numeric keypad for segments 36 - 48.  There is
also a set of segment/channel options, seleted with the function keys which
determine how the song is affected by selecting a segment.

Each  segment  plays  a  single  Open mode sequence.  The sequence key (for
primary sequences) or a two digit sequence number (for secondary sequences)
is  shown  in  the  SQ  column.  The sequence name is displayed in the NAME
column,  and the number of times the segment is to play is shown under REP.
Other information will appear in the REP column as the song is played.

The  right  edge of the screen displays the status of the 16 MIDI channels.
Each  channel  has  a channel number and a corresponding key (1 - 9 and A -
G).   Channels  can be soloed and muted, in the same way that tracks are in
Track mode.

Playing the Song
~~~~~~~~~~~~~~~~
The  song  is  started  by pressing FlO or clicking the right mouse button.
When  play  starts,  the  measure/step  counter  starts to count, and a red
musical  note  will  appear  in  the REP column for segment 1.  This symbol
indicates  the  segment currently playing.  If the segment is programmed to
play  more  than  once,  the number in the REP column will count down as it
plays.

PAUSE and MIDI MERGE
~~~~~~~~~~~~~~~~~~~~
The Song can be paused at any point by pressing the ESC key; pressing ESC a
second  time lets the song continue.  MIDI merging can be toggled using the
SEMICOLON  (;)  key.   PAUSE or MIDI MERGE will appear in red on the status
line if either of these functions are active.

See  the  chapters  on  the Track and Open mode play screens for details on
PAUSE and MIDI MERGE.

Cueing and Single Segment Looping
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A  song may also be started at an arbitrary cue point, just as in Track and
Open modes.  Pressing the TAB key stacts the song at the current cue point.
The  cue  point is moved forward or backward using the CURSOR UP and CURSOR
DOWN  keys,  and the cue point move amount is toggled between one and eight
measures  with the INSERT key.  See the chapters on the Track and Open mode
play screens for more details on cueing.

The F2 key will cause the current segment to loop indeinitely.  99L appears
under  REF to show looping, Pressing F2 again will cause the segment to end
after its current play.

Segment/Channel Options
~~~~~~~~~~~~~~~~~~~~~~~
Song mode provides seven segment/channel options channel which allow you to
alter the playback of a song just as the track options discussed in Chapter
6  allow you to alter the playbach of individual tracks.  These options can
assist  you  in  composition by allowing you to hear sections of a piece in
different  contexts  and  instrunents  in different combinations.  They can
also be used to provide real time control in performance.

The  current segment or channel option is selected with one of the function
keys  F3  -  F9.   Pressing a segment or channel key will cause the current
option  to  be  applied  to  the  corresponding  segment  or  channel.  The
segment/channel   options  are  MUTE/UNMUTE,  PLAY  IMMEDIATE,  PLAY  AFTER
CURRENT, SET LOOP START, SET LOOP END, SOLO, and SET SWITCH.

The   MUTE/UNMUTE,  SOLO,  and  SET  SWITCH  options  are  similar  to  the
corresponding  options  in  Track  mode,  but  they  apply to MIDI channels
instead of tracks.  The PLAY IMMEDIATE, PLAY AFTER CURRENT, SET LOOP START,
and SET LOOP END options are unique to Song mode and apply to segments.

The current segment/channel option is displayed on the right end of the top
status line.  The default is PLAY IMMEDIATE, as shown in the screen example
on  the  last  page.   Only one segment option or one channel option may be
active at any time.

MUTE, SOLO and SET SWITCH
~~~~~~~~~~~~~~~~~~~~~~~~~
The MUTE, SOLO, and SET SWITCH options are very similar
to the corresponding options in Track mode. MUTE is
selected with the F3 key, SOLO with F8, and SET SWITCH with F9. When one of
these options is active, keys 1 - 9 control channels 1 - 9, while keys A -
G control channels 10 - 16.

When  a  channel  is muted, MIDI data for that channel is not sent.  When a
channel  is  soloed,  only  data  for  that channel is sent.  When a switch
between  two  channels is set, the RETURN key alternately mutes one channel
and unmutes the other.  The words MUTE, SOLO, or SWIT will appear next to a
channel which is currently muted or soloed, or for which a switch is in the
process of being set.

See  the  chapter  on the Track mode play screen for more details on muting
soloing or switching.

PLAY IMMEDIATE and PLAY AFTER CURRENT
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
These  features allow you to alter the order in which segments as a song is
playing.   When PLAY is active, pressing the segment key for any segment tn
the  song  will  cause  the program to immediately stop playing the current
segment  and  start  the new segment.  The song will then continue normally
from that segment.

PLAY  AFTER CURRENT differs from PLAY IMMEDIATE in that the current segment
is  allowed  to  finish  its  current  repetition before the new segment is
started.   This  is especially useful when altering the structure of a song
in real time with Song mode's interactive control features.

Song Mode Loops  
~~~~~~~~~~~~~~~
Song  mode  allows you to set a starting and ending loop point, and to loop
the  song  between  these  points.  The loop points are defined in terms of
segment numbers, not measures.  The SET LOOP START and SET LOOP END Segment
options  allow  you  to  set the starting and ending segments for the loop.
The letters B and E will appear in the REP column next to the beginning and
end segments of the loop as they are set.  Pressing the SLASH (/) key turns
looping  on  and  off.   The  word  LOOP appears on the left end of the top
status line when looping is active.

The  followng  example  shows  the Song mode play screen after a song has been
started, and loop points set:

In  this  example,  a loop has been set up between segments 3 and 5.  Since
looping is actiwe, segments 3, 4, and 5 will play repeatedly until the loop
as  turned off with the / key.  The red musical note indicates that segment
5 is currently playing.

Channels 3 and 5 have been muted.  MIDI events on these channels other than
program  changes  will  be  ignored.   The  segment/channel  option is PLAY
IMMEDIATE.   Pressing  any key in the range 1 - 6 will cause the program to
immediately jump to the beginning of the corresponding segment.

Song Pointer in Song Mode
~~~~~~~~~~~~~~~~~~~~~~~~~
If the MIDI W SONG POINTER clock option has been selected on the SET
OPTIONS screen, and a song pointer message is received, the program will
start playing the current song from the point specified by the song pointer
message.

Exit 
~~~~
Press Fl or the left mouse button to exit to the Song mode edit screen.

                            Chapter 9
                            ~~~~~~~~~
                       STEP TIME RECORDING
                       ~~~~~~~~~~~~~~~~~~~
The  step  time  recording  features  of  the  KCS allow you to record note
information  from  your  synthesizer  keyboard,  while  using  the computer
keyboard  or  mouse  to  specify  tuning information.  Note velocity can be
specified  from  either  keyboard.  This can be a faster and more intuitive
way  of  precisely  entering  rhythmically regular passages than the typing
method  described  in  Chapter  4.   It is particularly convenient in Track
mode,  as  the  new  passage  can  be  played  along  with tracks that were
previously recorded.

The  step  time  recording  screen contains fifteen choices fOf note times,
fifteen  choices for note durations and six choices for note velocity.  The
current  choices are indicated by a red asterisk.  As you play notes on the
synth  keyboard  they  are  recorded  with  the current time, duration, and
velocity  values.   Each  choice  is  assigned  to  one  of  the numeric or
alphabitic  keys  shown to the left of the possible values.  You can make a
new  choice  for time, velocity or duration by pressing the appropriate key
on the computer keyboard, or by clicking the mouse on your choice.  The red
asterisk  will  move to display your choice.  If you select a zero velocity
which  is  norally assigned to the Z key the program will record the actual
velocity with which each note is played on your synth.

End of Part 2 .... Now Load Part 3