
3     Jumping Right In


Working with M is a three-stage process.  First, you input basic musical material as notes or chords according to the formats of the different Pattern types.

Then you specify ways in which ways your material will be varied.

Then you perform.  You can use the main screen as a control panel and manipulate the screen controls with the mouse, using your MIDI keyboard to transpose any or all Patterns while they're playing back.  And you can use the Input Control System and control the program's functions by playing keys on your MIDI keyboard.  You'll find a chart of key assignments for the Input Control System is in the pocket of this binder.

We're going to jump right in.  We're going to guide you through making a composition by creating two Patterns, varying them, and performing with them in simple ways.  

Before you begin, however, be sure that your synthesizers are connected correctly, as described in Chapter 1, and be sure you're familiar with M's windows and screen controls, as described in Chapter 2.  

While reading and trying out the following tutorial, refer to the Screen Control Chart, found in the pocket of this binder.  It will help you locate the controls mentioned.  To help you find a control faster, control numbers are preceeded by a reference to the window they're in.  Patterns window controls are preceeded by the letter "P".  Global Control window controls are preceeded by "GC".  Cyclic Editor window controls are preceeded by "CE".  You can guess the prefixes for the other windows.

Select Open in the File Menu and open the file called TUTORIAL.MST.


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Creating a Pattern

We are about to play some notes into Pattern 1 and we want to echo those notes out to whatever MIDI channel your synthesizer is receiving on.  Click on Echo (GC4).  Set the first (leftmost of the three) Echo numerical (GC6) to the channel your synthesizer is receiving on.

Now, to record.  Look in the Patterns window.  Click in the R box for Pattern 1.  Leave it at A (for "All MIDI channels").  The numerical function of this control specifies the MIDI channels to which the Pattern is "listening".

Then play the following notes on your MIDI keyboard.


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Notice that the Note Counter (P6) reads 3 (for the number of notes that you've played).

Now click on the Start/Stop Button (GC2), turning it "on".  You should be hearing the three notes.  When you've played the notes, click again on the R button for Pattern 1, turning it "off".



Directing Your Output to a  MIDI Channel

Is your sound directed out to the MIDI channel you want?  If not, look under Orchest in the MIDI Variables window (MV3).  The four boxes, one above the other, refer to Patterns 1 - 4.  Since we're working with Pattern 1, we'll look at the top box.  Be sure that the leftmost numerical is set to the MIDI channel to which you want to direct your output.  If it's not, change it.


Selecting a Sound

Are you hearing the sound you want?  If not, look under Sounds in the MIDI Variables window (MV2).  Look at the leftmost numerical in the first row.  It's a program (patch) number.  Change it  to the sound you'd like.  Try for a sound something like a double-bass.



Setting the Tempo

Set the Tempo numerical (GC13) to 118.  If you'd like to conduct tempo, look under The Baton in Chapter 2.

Now look at the Time-Base column in the Patterns window (P7).  Change the denominator of the Pattern 1 Time-Base numerical to 8.  You'll hear the notes played much faster.



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Varying Your Pattern

We've created a Pattern with notes, speed, MIDI channel specification, and sound.  Now we'll give it variety.

Look at the Velocity range bar (MV1) for Pattern 1 (the topmost).  Experiment with different range settings, but end with a large range, say between 48 and 110.

Now select the Accents button (CE2) in the Cyclic Editor window.  When the Accents button is highlighted, it means that the grids (CE1) can be used to vary accents.  The grids represent the four Patterns, 1 - 4, top to bottom.

With the left mouse button, click in the fourth column of the grid for Pattern 1 (the topmost).  You've set a cycle length of four steps.  Now, with the right mouse button, click in the top box of the first column, and in the bottom boxes of the second, third and fourth columns.  You should be hearing an accent cycle of one strong beat followed by three weak beats.  Remember, however, that the effect of this change is dependent upon the sensitivity of your sound to MIDI velocity signals.  If you don't hear significant changes in accent, experiment with other sounds.

Experiment also with other accent cycles.  Try, for example, a cycle length of 1.  Click with the left mouse button in the first column.  All the notes will be of equal accent.  If you drag down the length of the column from top to bottom with the right mouse button, so that the entire column is selected, you'll hear random accents, because the program will randomly choose from among the different levels selected.


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Creating Another Pattern

M contains five Pattern types, and each one lets you do different kinds of things.  We've already created a Pitch Distribution Pattern (which was the default Pattern type in TUTORIAL.MST) as Pattern 1.  This time we'll create a Step-Time Record Pattern as Pattern 2, which lets us input chords.

Select the Pattern Type icon (P5) for Pattern 2 (second from the top).  Then go to the Pattern menu and select New Pattern(s)....  A dialog box will appear.  Click in the Step-Time Record box and then click OK.  Pattern 2's icon will change to resemble two feet (in fact, it's a feat in Atari iconography).

Click on the Record button (P3) for Pattern 2 and play the following music.  Don't worry about playing it in rhythm, as the rhythm will be determined elsewhere.

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Click on the Mute button (P4) for Pattern 1, so that you'll hear Pattern 2 more clearly.

Change the Pattern 2 Time-Base denominator numerical (P7) to 16.

Following the same routines we described above for Pattern 1 (but remembering that we're now working with Pattern 2, which will always be the second from the top in any column), set the MIDI channel (MV3) numerical to the channel of your second synthesizer.  Or, if you've got one synthesizer, set it to the same channel as Pattern 1.  If you're working with a second synthesizer, set the sound numerical (MV2) to a sound that resembles a vibraphone.


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Varying the Second Pattern

We're now going to add variety to the second Pattern, giving it an improvisational feel.

Change the Direct (for Direction) numerical (NM3) to about 50%.  This sets a probability for the amount of time that the Pattern will be played forwards and backwards.

Then move the leftmost (of the three) Note Order sliders (NM1) for Pattern 2 to the left.  Move the next slider also to the left.  Experiment with different settings.  What you're doing is scrambling and randomizing the order of the notes in the Pattern.

Change the Note Density numerical (NM4) for Pattern 2 to about 30%.  This sets a probability for the number of beats on which a note will play.

Change the rightmost (of the two) Transp numerical (NM2) from 3 to 4.  This will transpose the Pattern up an octave.  Change also that leftmost Transp numerical.  It will change the "key" of your Pattern.  Experiment.  Deselect the Mute Button (P4) for Pattern 1 so that you can hear both Patterns together while adjusting their keys and octaves.  C3 represents the key and octave in which a Pattern was originally recorded, and any change from that setting will change your Pattern's relative transposition.

Following the routines described above for Pattern 1, go to the Cyclic Editor window and set an accent cycle of 3 for Pattern 2, with one strong and two weak beats.  Experiment.

Then select the Durations icon (CE4).  Select a cycle length of one, and set random durations by dragging the height of the column from top to bottom with the right mouse button.  Experiment.

Then select the Articulate icon (CE3).  Select a cycle length of one, and set random legato-staccato note articulations by dragging the height of the column from top to bottom with the right mouse button.  Experiment.

Finally, click on the Sync button (GC10) to restart both Patterns together, putting them in sync.  Experiment with the controls you've used until you're pleased with the music.


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Performing

As the Patterns are playing, we can conduct tempo, mute Patterns, change Pattern groups, and otherwise work with the screen controls.  But, for the moment, if you'd like to transpose your music with your MIDI keyboard, click on the #b buttons (P2) for Patterns 1 and 2, leaving them set to A.  Then play different notes on your MIDI keyboard.  Remember that middle-C is the key in which you originally recorded.  When you've finished transposing, don't forget to deselect the #b buttons.

You can also use the Input Control System, which is a way to control the program's functioning from your MIDI keyboard.  Click on the Ctrl button (GC7).  Then, for example, play middle-C on your MIDI keyboard.  The music will stop.  Play middle-C again and the music will start again.  It's a simple example of using the Input Control System, but there's lots more you can do.  See the Input Control System template, in the pocket of this binder, for the entire list of control keys and functions.  See also Chapter 6.


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Experiment

We've taken you through recording and varying two Pattern types and some simple examples of performance.  There's lots more that we'll explain in the following pages.  Experiment as you go.  Try things out.  You'll find that M is the ideal environment for coming up with fascinating musical ideas.
