2009-05-17 22:34:44 +00:00
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original version by: Nikos Drakos, CBLU, University of Leeds
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* revised and updated by: Marcus Hennecke, Ross Moore, Herb Swan
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* with significant contributions from:
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Jens Lippmann, Marek Rouchal, Martin Wilck and others -->
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<HTML>
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<HEAD>
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2009-05-17 22:34:44 +00:00
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<TITLE>Other Commands and Directives</TITLE>
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2009-05-17 22:34:44 +00:00
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<B> Next:</B> <A NAME="tex2html708"
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HREF="node24.html">Begin/End Blocks</A>
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<B> Up:</B> <A NAME="tex2html706"
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HREF="mma.html">Reference Manual</A>
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<B> Previous:</B> <A NAME="tex2html700"
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HREF="node22.html">Fine Tuning (Translations)</A>
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<BR>
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2009-05-17 22:34:44 +00:00
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<BR></DIV>
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<!--End of Navigation Panel-->
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<!--Table of Child-Links-->
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<A NAME="CHILD_LINKS"><STRONG>Subsections</STRONG></A>
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<UL CLASS="ChildLinks">
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<LI><A NAME="tex2html709"
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HREF="node23.html#SECTION002310000000000000000">AllTracks</A>
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<LI><A NAME="tex2html710"
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HREF="node23.html#SECTION002320000000000000000">Articulate</A>
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<LI><A NAME="tex2html711"
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HREF="node23.html#SECTION002330000000000000000">Copy</A>
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<LI><A NAME="tex2html712"
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HREF="node23.html#SECTION002340000000000000000">Comment</A>
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<LI><A NAME="tex2html713"
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HREF="node23.html#SECTION002350000000000000000">Debug</A>
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<LI><A NAME="tex2html714"
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HREF="node23.html#SECTION002360000000000000000">Delete</A>
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<LI><A NAME="tex2html715"
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HREF="node23.html#SECTION002370000000000000000">Direction</A>
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<LI><A NAME="tex2html716"
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HREF="node23.html#SECTION002380000000000000000">Mallet</A>
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<UL>
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<LI><A NAME="tex2html717"
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HREF="node23.html#SECTION002381000000000000000">Rate</A>
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<LI><A NAME="tex2html718"
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HREF="node23.html#SECTION002382000000000000000">Decay</A>
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</UL>
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<BR>
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<LI><A NAME="tex2html719"
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HREF="node23.html#SECTION002390000000000000000">Octave</A>
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<LI><A NAME="tex2html720"
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HREF="node23.html#SECTION0023100000000000000000">Off</A>
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<LI><A NAME="tex2html721"
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HREF="node23.html#SECTION0023110000000000000000">On</A>
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<LI><A NAME="tex2html722"
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HREF="node23.html#SECTION0023120000000000000000">Print</A>
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<LI><A NAME="tex2html723"
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HREF="node23.html#SECTION0023130000000000000000">PrintActive</A>
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<LI><A NAME="tex2html724"
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HREF="node23.html#SECTION0023140000000000000000">ScaleType</A>
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<LI><A NAME="tex2html725"
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HREF="node23.html#SECTION0023150000000000000000">Seq</A>
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<LI><A NAME="tex2html726"
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HREF="node23.html#SECTION0023160000000000000000">Strum</A>
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<LI><A NAME="tex2html727"
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HREF="node23.html#SECTION0023170000000000000000">Synchronize</A>
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<LI><A NAME="tex2html728"
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HREF="node23.html#SECTION0023180000000000000000">Transpose</A>
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<LI><A NAME="tex2html729"
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HREF="node23.html#SECTION0023190000000000000000">Unify</A>
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</UL>
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<!--End of Table of Child-Links-->
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<HR>
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2009-05-17 22:34:44 +00:00
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<H1><A NAME="SECTION002300000000000000000"></A>
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<A NAME="sec-directives"></A>
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<BR>
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Other Commands and Directives
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</H1>
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<P>
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In addition to the ``Pattern'', ``Sequence'', ``Groove'' and
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``Repeat'' and other directives discussed earlier, and chord data,
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> supports a number of directives which affect the flavor of your
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music.
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<P>
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The subjects presented in this chapter are ordered alphabetically.
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<P>
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<H1><A NAME="SECTION002310000000000000000"></A> <A NAME="alltracks"></A>
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<BR>
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AllTracks
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</H1>
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<P>
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Sometimes you want to apply the same command to all the currently
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defined tracks; for example, you might want to ensure that <SPAN CLASS="textit">no</SPAN>
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tracks have S<SMALL>EQ</SMALL>R<SMALL>ND</SMALL> set. Yes, you could go though each track
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(and hope you don't miss any) and explicitly issue the command:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Bass SeqRnd Off
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...
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<BR>
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Chord SeqRnd Off </B>
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</td></tr>
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</Table>
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<P>
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But,
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>AllTracks SeqRnd Off </B>
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</td></tr>
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</Table>
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<P>
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is much simpler. Similarly, you can set the articulation for all
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tracks with:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>AllTracks Articulate 80 </B>
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</td></tr>
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</Table>
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<P>
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You can even combine this with a B<SMALL>EGIN</SMALL>/E<SMALL>ND</SMALL> like:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Begin AllTracks
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<BR> Articulate 80
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<BR> SeqRnd Off
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<BR> Rskip 0
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<BR>
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End </B>
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</td></tr>
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</Table>
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<P>
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This command is handy when you are changing an existing G<SMALL>ROOVE</SMALL>.
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<P>
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Note that <SPAN CLASS="textit">only</SPAN> currently defined tracks are effected by this command.
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<P>
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A further option is to limit A<SMALL>LL</SMALL>T<SMALL>RACKS</SMALL> to specific tracks
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type. For example, you might want to set all the D<SMALL>RUM</SMALL> track
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volumes to ``FF'':
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>AllTracks Drum Volume ff </B>
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</td></tr>
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</Table>
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<P>
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Or to set the articulation on B<SMALL>ASS</SMALL> and W<SMALL>ALK</SMALL> tracks:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>AllTracks Bass Walk Articulate 55 </B>
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</td></tr>
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</Table>
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<P>
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It is assumed that all the arguments following the initial command
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which are valid track types (Bass, Chord, Arpeggio, Scale, Drum, Walk,
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Melody, or Solo) are track type limiters.
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<P>
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<H1><A NAME="SECTION002320000000000000000"></A> <A NAME="articulate"></A>
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<BR>
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Articulate
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</H1>
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<P>
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When
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> processes a music file, all the note lengths specified in a
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pattern are converted to MIDI lengths.
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<P>
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For example in:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Bass Define BB 1 4 1 100; 2 4 5 90; 3 4 1 80; 4 4 5 90 </B>
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</td></tr>
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</Table>
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<P>
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bass notes on beats 1, 2, 3 and 4 are define. All are quarter notes.
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> , being quite literal about things, will make each note exactly
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192 MIDI ticks long--which means that the note on beat 2 will start
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at the same time as the note on beat 1 ends.
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<P>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> has an articulate setting for each voice. This value is applied
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to shorten or lengthen the note length. By default, the setting is 90.
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Each generated note duration is taken to be a percentage of this
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setting, So, a quarter note with a MIDI tick duration of 192 will
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become 172 ticks long.
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<P>
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If articulate is applied to a short note, you are guaranteed that the
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note will never be less than 1 MIDI tick in length.
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<P>
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To set the value, use a line like:
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<P>
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2007-04-29 06:47:40 +00:00
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Chord-1 Articulate 96 </B>
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2007-04-29 06:47:40 +00:00
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</td></tr>
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</Table>
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<P>
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Articulate values must be greater than 0 and less than or
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equal to 200. Values over 100 will lengthen the note. Settings
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greater than 120 will generate a warning.
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<P>
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You can specify a different A<SMALL>RTICULATE</SMALL> for each bar in a
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sequence. Repeated values can be represented with a ``/'':
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<P>
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2007-04-29 06:47:40 +00:00
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Chord Articulate 50 60 / 30 </B>
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2007-04-29 06:47:40 +00:00
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</td></tr>
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</Table>
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2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
Notes: The full values for the notes are saved with the
|
|
|
|
|
pattern definition. The articulation adjustment is applied at
|
|
|
|
|
run time. The A<SMALL>RTICULATE</SMALL> setting is saved with a
|
|
|
|
|
G<SMALL>ROOVE</SMALL>.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2009-05-17 22:34:44 +00:00
|
|
|
<H1><A NAME="SECTION002330000000000000000"></A> <A NAME="copy"></A>
|
|
|
|
|
<BR>
|
|
|
|
|
Copy
|
2006-11-10 08:07:56 +00:00
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
Sometimes it is useful to duplicate the settings from one voice to
|
|
|
|
|
another. The C<SMALL>OPY</SMALL> command does just that:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>Bass-1 Copy Bass </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
will copy the settings from the <SPAN CLASS="textit">Bass</SPAN> track to the <SPAN CLASS="textit">Bass-1</SPAN> track.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The C<SMALL>OPY</SMALL> command only works between tracks of the same type.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The following settings are copied:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<UL>
|
|
|
|
|
<LI><A HREF="#articulate">Articulate</A>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><A HREF="node13.html#compress">Compress</A>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><A HREF="#scale-direction">Direction</A>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><A HREF="node14.html#harmony">Harmony</A>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><A HREF="node13.html#chord-invert">Invert</A>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><A HREF="#octave">Octave</A>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><A HREF="node12.html#rskip">RSkip</A>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><A HREF="node12.html#rtime">RTime</A>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><A HREF="node17.html#rvolume">RVolume</A>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><A HREF="#scale-type">ScaleType</A>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><A HREF="#strum">Strum</A>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><A HREF="node21.html#set-voice">Voice</A> or
|
|
|
|
|
<A HREF="node4.html#drum-tone">Tone</A>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI><A HREF="node17.html#volume">Volume</A>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
</UL>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Warning: You are probably better off to use internal macros for
|
|
|
|
|
this.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2009-05-17 22:34:44 +00:00
|
|
|
<H1><A NAME="SECTION002340000000000000000"></A><A NAME="comment"></A>
|
|
|
|
|
<BR>
|
|
|
|
|
Comment
|
2006-11-10 08:07:56 +00:00
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
As previously discussed, a comment in
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> is anything following a
|
|
|
|
|
``//'' in a line. A second way of marking a comment is with the
|
|
|
|
|
C<SMALL>OMMENT</SMALL> directive. This is quite useful in combination the
|
|
|
|
|
B<SMALL>EGIN</SMALL> and E<SMALL>ND</SMALL> directives. For example:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Begin Comment
|
|
|
|
|
<BR> This is a description spanning
|
|
|
|
|
<BR> several lines which will be
|
|
|
|
|
<BR> ignored by MMA.
|
|
|
|
|
<BR>
|
|
|
|
|
End </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
You could achieve the same with:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>// This is a description spanning
|
|
|
|
|
<BR> // several lines which will be
|
|
|
|
|
<BR> // ignored by MMA. </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
or even:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>Comment This is a description spanning
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2009-05-17 22:34:44 +00:00
|
|
|
Comment several lines which will be
|
|
|
|
|
<BR>
|
|
|
|
|
Comment ignored by MMA. </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
One minor difference between <SPAN CLASS="textbf">//</SPAN> and
|
|
|
|
|
C<SMALL>OMMENT</SMALL> is that the first is discarded when the
|
|
|
|
|
input stream is read; the more verbose version is
|
|
|
|
|
discarded during line processing.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Quite often it is handy to delete large sections of a song with a
|
|
|
|
|
B<SMALL>EGIN </SMALL>C<SMALL>OMMENT/</SMALL>E<SMALL>ND</SMALL> on a temporary basis.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION002350000000000000000"></A> <A NAME="debug"></A>
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2009-05-17 22:34:44 +00:00
|
|
|
Debug
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
To enable you to find problems in your song files (and, perhaps, even
|
|
|
|
|
find problems with
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> itself) various debugging messages can be
|
|
|
|
|
displayed. These are normally set from the command line
|
|
|
|
|
<A HREF="node2.html#sec-running">command line</A>.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
However, it is possible to enable various debugging messages
|
|
|
|
|
dynamically in a song file using the D<SMALL>EBUG</SMALL> directive. In a
|
|
|
|
|
debug statement you can enable or disable any of a variety of
|
|
|
|
|
messages. A typical directive is:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Debug Debug=On Expand=Off Patterns=On </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Each section of the debug directive consists of a <SPAN CLASS="textit">mode</SPAN>
|
|
|
|
|
and the command word ON or O<SMALL>FF</SMALL>. The two parts
|
|
|
|
|
must be joined by a single ``<SPAN CLASS="textit"><SPAN CLASS="MATH"><IMG
|
|
|
|
|
WIDTH="19" HEIGHT="19" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img11.png"
|
|
|
|
|
ALT="$=$"></SPAN></SPAN>''. You may use the
|
|
|
|
|
values ``0'' for ``Off'' and ``1'' for ``On'' if desired.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The available modes with the equivalent command line switches are:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
<BLOCKQUOTE>
|
|
|
|
|
<TABLE CELLPADDING=3 BORDER="1">
|
|
|
|
|
<TR><TD ALIGN="LEFT"><SPAN CLASS="textit">Mode</SPAN></TD>
|
|
|
|
|
<TD ALIGN="LEFT" COLSPAN=2><SPAN><SPAN CLASS="textit">Command Line Equivalent</SPAN></SPAN></TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">Debug</TD>
|
|
|
|
|
<TD ALIGN="LEFT">-d</TD>
|
|
|
|
|
<TD ALIGN="LEFT">debugging messages</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">Filenames</TD>
|
|
|
|
|
<TD ALIGN="LEFT">-o</TD>
|
|
|
|
|
<TD ALIGN="LEFT">display file names</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">Patterns</TD>
|
|
|
|
|
<TD ALIGN="LEFT">-p</TD>
|
|
|
|
|
<TD ALIGN="LEFT">pattern creation</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">Sequence</TD>
|
|
|
|
|
<TD ALIGN="LEFT">-s</TD>
|
|
|
|
|
<TD ALIGN="LEFT">sequence creation</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">Runtime</TD>
|
|
|
|
|
<TD ALIGN="LEFT">-r</TD>
|
|
|
|
|
<TD ALIGN="LEFT">running progress</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">Warnings</TD>
|
|
|
|
|
<TD ALIGN="LEFT">-w</TD>
|
|
|
|
|
<TD ALIGN="LEFT">warning messages</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="LEFT">Expand</TD>
|
|
|
|
|
<TD ALIGN="LEFT">-e</TD>
|
|
|
|
|
<TD ALIGN="LEFT">display expanded lines</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
</TABLE>
|
|
|
|
|
</BLOCKQUOTE>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The modes and command are case-insensitive (although the command line switches are not).
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The current state of the debug flags is saved in the variable
|
|
|
|
|
$_Debug and the state prior to a change is saved in $_LastDebug.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION002360000000000000000"></A> <A NAME="sec-delete"></A>
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2009-05-17 22:34:44 +00:00
|
|
|
Delete
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
If you are using a track in only one part of your song, especially if
|
|
|
|
|
it is at the start, it may be wise to free that track's resources when
|
|
|
|
|
you are done with it. The D<SMALL>ELETE</SMALL> command does just that:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Solo Delete </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
If a MIDI channel has been assigned to that track, it is
|
|
|
|
|
marked as ``available'' and the track is deleted. Any data
|
|
|
|
|
already saved in the MIDI track will be written when
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> is
|
|
|
|
|
finished processing the song file.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION002370000000000000000"></A> <A NAME="scale-direction"></A>
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2009-05-17 22:34:44 +00:00
|
|
|
Direction
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
In tracks using chords or scales you can change the direction in which
|
|
|
|
|
they are applied:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Scale Direction UP </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The effects differ in different track types. For S<SMALL>CALE</SMALL> and A<SMALL>RPEGGIO</SMALL> tracks:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
<BLOCKQUOTE>
|
|
|
|
|
<TABLE CELLPADDING=3>
|
|
|
|
|
<TR><TD ALIGN="RIGHT">UP</TD>
|
|
|
|
|
<TD ALIGN="LEFT">Plays in upward direction only</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="RIGHT">DOWN</TD>
|
|
|
|
|
<TD ALIGN="LEFT">Plays in downward direction only</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="RIGHT">BOTH</TD>
|
|
|
|
|
<TD ALIGN="LEFT">Plays upward and downward (<SPAN CLASS="textit">default</SPAN>)</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="RIGHT">RANDOM</TD>
|
|
|
|
|
<TD ALIGN="LEFT">Plays notes from the chord or scale randomly</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
</TABLE>
|
|
|
|
|
</BLOCKQUOTE>
|
|
|
|
|
<P>
|
|
|
|
|
<BLOCKQUOTE>When this command is encountered in a S<SMALL>CALE</SMALL> track the start
|
|
|
|
|
point of the scale is reset.
|
|
|
|
|
</BLOCKQUOTE>
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
A W<SMALL>ALK</SMALL> track recognizes the following option settings:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
<BLOCKQUOTE>
|
|
|
|
|
<TABLE CELLPADDING=3>
|
|
|
|
|
<TR><TD ALIGN="RIGHT">BOTH</TD>
|
|
|
|
|
<TD ALIGN="LEFT">The default. The bass pattern
|
|
|
|
|
will go up and down a partial scale. Some notes may be repeated.</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="RIGHT">UP</TD>
|
|
|
|
|
<TD ALIGN="LEFT">Notes will be chosen sequentially from an ascending, partial scale.</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="RIGHT">DOWN</TD>
|
|
|
|
|
<TD ALIGN="LEFT">Notes will be chosen sequentially from a descending, partial scale.</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
<TR><TD ALIGN="RIGHT">RANDOM</TD>
|
|
|
|
|
<TD ALIGN="LEFT">Notes will be chosen in a random direction from a partial scale.</TD>
|
|
|
|
|
</TR>
|
|
|
|
|
</TABLE>
|
|
|
|
|
</BLOCKQUOTE>
|
|
|
|
|
<P>
|
|
|
|
|
<BLOCKQUOTE>All four patterns are useful and create quite different effects.
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|
|
</BLOCKQUOTE>
|
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|
|
<P>
|
|
|
|
|
The C<SMALL>HORD</SMALL> tracks D<SMALL>IRECTION</SMALL> only has an effect when the
|
|
|
|
|
S<SMALL>TRUM</SMALL> setting has a non-zero value. In this case the following
|
|
|
|
|
applies:
|
|
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|
|
|
<P>
|
|
|
|
|
<BLOCKQUOTE>
|
|
|
|
|
<TABLE CELLPADDING=3>
|
|
|
|
|
<TR><TD ALIGN="RIGHT">UP</TD>
|
|
|
|
|
<TD ALIGN="LEFT">The default. Notes are sounded from the lowest tone to the highest.</TD>
|
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|
|
|
</TR>
|
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|
|
<TR><TD ALIGN="RIGHT">DOWN</TD>
|
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|
|
|
<TD ALIGN="LEFT">Notes are sounded from the highest to the lowest.</TD>
|
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|
|
</TR>
|
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|
|
<TR><TD ALIGN="RIGHT">BOTH</TD>
|
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|
|
|
<TD ALIGN="LEFT">The UP and DOWN values are alternated.</TD>
|
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|
|
</TR>
|
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|
|
<TR><TD ALIGN="RIGHT">RANDOM</TD>
|
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|
|
|
<TD ALIGN="LEFT">Ignored (uses UP).</TD>
|
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|
|
</TR>
|
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|
|
|
</TABLE>
|
|
|
|
|
</BLOCKQUOTE>
|
|
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|
|
<P>
|
|
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|
|
You can specify a different D<SMALL>IRECTION</SMALL> for each bar in a
|
|
|
|
|
sequence. Repeated values can be represented with a ``/'':
|
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|
|
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|
|
|
<P>
|
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|
|
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|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
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|
|
|
<tr><td>
|
|
|
|
|
<B>Arpeggio Direction Up Down / Both </B>
|
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|
|
</td></tr>
|
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|
|
</Table>
|
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|
|
<P>
|
|
|
|
|
The setting is ignored by B<SMALL>ASS</SMALL>, D<SMALL>RUM</SMALL> and S<SMALL>OLO</SMALL> tracks.
|
|
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|
|
<P>
|
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|
|
<H1><A NAME="SECTION002380000000000000000">
|
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|
|
|
Mallet</A>
|
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|
|
</H1>
|
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|
|
<P>
|
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|
|
|
Some instruments (Steel-drums, banjos, marimbas, etc.) are normally
|
|
|
|
|
played with rapidly repeating notes. Instead of painfully inserting
|
|
|
|
|
long lists of these notes, you can use the M<SMALL>ALLET</SMALL> directive.
|
|
|
|
|
The M<SMALL>ALLET</SMALL> directive accepts a number of options, each an
|
|
|
|
|
OPTION=VALUE pair. For example:
|
|
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|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
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|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Solo-Marimba Mallet Rate=16 Decay=-5 </B>
|
|
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|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This command is also useful in creating drum rolls. For example:
|
|
|
|
|
|
|
|
|
|
<P>
|
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|
|
|
|
|
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|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Begin Drum-Snare2
|
|
|
|
|
<BR> Tone SnareDrum1
|
|
|
|
|
<BR> Volume F
|
|
|
|
|
<BR> Mallet Rate=32 Decay=-3
|
|
|
|
|
<BR> Rvolume 3
|
|
|
|
|
<BR> Sequence z z z 1 1 100
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2009-05-17 22:34:44 +00:00
|
|
|
End </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
The following options are supported:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
|
|
|
|
|
<H2><A NAME="SECTION002381000000000000000">
|
|
|
|
|
Rate</A>
|
|
|
|
|
</H2>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The R<SMALL>ATE</SMALL> must be a valid note length (i.e., 8, 16, or even
|
|
|
|
|
16.+8).
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
For example:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Solo-Marimba Mallet Rate=16 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
will set all the notes in the ``Solo-Marimba'' track to be sounded a
|
|
|
|
|
series of 16th notes.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<UL>
|
|
|
|
|
<LI>Note duration modifiers such as articulate are applied to each
|
|
|
|
|
resultant note,
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>It is guaranteed that the note will sound at least once,
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>The use of note lengths assures a consistent sound independent
|
|
|
|
|
of the song tempo.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
</UL>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
To disable this setting use a value of ``0''.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H2><A NAME="SECTION002382000000000000000">
|
|
|
|
|
Decay</A>
|
|
|
|
|
</H2>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
You can adjust the volume (velocity) of the notes being repeated when
|
|
|
|
|
M<SMALL>ALLET</SMALL> is enabled:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Drum-Snare Mallet Decay=-15 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The argument is a percentage of the current value to add to the note
|
|
|
|
|
each time it is struck. In this example, assuming that the note length
|
|
|
|
|
calls for 4 ``strikes'' and the initial velocity is 100, the note will
|
|
|
|
|
be struck with a velocity of 100, 85, 73 and 63.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Important: a positive value will cause the notes to get louder,
|
|
|
|
|
negative values cause the notes to get softer.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Note velocities will never go below 1 or above 255. Note, however,
|
|
|
|
|
that notes with a velocity of 1 will most likely be inaudible.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The decay option value must be in the range -50 to 50; however, be
|
|
|
|
|
cautious using any values outside the range -5 to 5 since the volume
|
|
|
|
|
(velocity) of the notes will change quite quickly. The default
|
|
|
|
|
value is 0 (no decay).
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION002390000000000000000"></A> <A NAME="octave"></A>
|
|
|
|
|
<BR>
|
|
|
|
|
Octave
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
When
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> initializes and after the S<SMALL>EQ</SMALL>C<SMALL>LEAR</SMALL> command all track
|
|
|
|
|
octaves are set to ``4''. This will place most chord and bass notes in
|
|
|
|
|
the region of middle C.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
You can change the octave for any voice with O<SMALL>CTAVE</SMALL> command. For example:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Bass-1 Octave 3 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Sets the notes used in the ``Bass-1'' track one octave lower than normal.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The octave specification can be any value from 0 to 10. Various
|
|
|
|
|
combinations of I<SMALL>NVERT</SMALL>, T<SMALL>RANSPOSE</SMALL> and O<SMALL>CTAVE</SMALL> can
|
|
|
|
|
force notes to be out of the valid MIDI range. In this case the lowest
|
|
|
|
|
or highest available note will be used.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
You can specify a different O<SMALL>CTAVE</SMALL> for each bar in a sequence.
|
|
|
|
|
Repeated values can be represented with a ``/'':
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Chord Octave 4 5 / 4 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0023100000000000000000"></A> <A NAME="set-off"></A>
|
|
|
|
|
<BR>
|
|
|
|
|
Off
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
To disable the generation of MIDI output on a specific track:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Bass Off </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This can be used anywhere in a file. Use it to override the effect of
|
|
|
|
|
a predefined groove, if you wish. This is simpler than resetting a
|
|
|
|
|
voice in a groove. The only way to reset this command is with a
|
|
|
|
|
O<SMALL>N</SMALL> directive.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0023110000000000000000"></A> <A NAME="set-on"></A>
|
|
|
|
|
<BR>
|
|
|
|
|
On
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
To enable the generation of MIDI output on a specific track which has
|
|
|
|
|
been disabled with an O<SMALL>FF</SMALL> directive:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Bass On </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Attempts to enable tracks disabled with the -T command line option
|
|
|
|
|
generate a warning (the command is ignored).
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0023120000000000000000">
|
|
|
|
|
Print</A>
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The P<SMALL>RINT</SMALL> directive will display its argument to the screen
|
|
|
|
|
when it is encountered. For example, if you want to print the file name
|
|
|
|
|
of the input file while processing, you could insert:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Print Making beautiful music for MY SONG </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
No control characters are supported.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This can be useful in debugging input files.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0023130000000000000000">
|
|
|
|
|
PrintActive</A>
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The P<SMALL>RINT</SMALL>A<SMALL>CTIVE</SMALL> directive will the currently active
|
|
|
|
|
G<SMALL>ROOVE</SMALL> and the active tracks. This can be quite useful when
|
|
|
|
|
writing groove files and you want to modify and existing groove.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Any parameters given are printed as single comment at the end of the header line.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This is strictly a debugging tool. No P<SMALL>RINT</SMALL>A<SMALL>CTIVE</SMALL> statements
|
|
|
|
|
should appear in finalized grooves or song files.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0023140000000000000000"></A> <A NAME="scale-type"></A>
|
|
|
|
|
<BR>
|
|
|
|
|
ScaleType
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This option is only used by S<SMALL>CALE</SMALL> tracks. It can be set for
|
|
|
|
|
other tracks, but the setting is not used.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
By default, the S<SMALL>CALE</SMALL>T<SMALL>YPE</SMALL> is set to A<SMALL>UTO</SMALL>. The settings
|
|
|
|
|
permissible are:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
<BLOCKQUOTE>
|
|
|
|
|
<TABLE CELLPADDING=3>
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|
<TR><TD ALIGN="RIGHT">CHROMATIC</TD>
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<TD ALIGN="LEFT">Forces use of a chromatic scale</TD>
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</TR>
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<TR><TD ALIGN="RIGHT">AUTO</TD>
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<TD ALIGN="LEFT">Uses scale based on the current chord (default)</TD>
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</TR>
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</TABLE>
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</BLOCKQUOTE>
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<P>
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When this command is encountered in a S<SMALL>CALE</SMALL> track the start
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point of the scale is reset.
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<P>
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<H1><A NAME="SECTION0023150000000000000000"></A>
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<A NAME="seqnumber"></A>
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<BR>
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Seq
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</H1>
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<P>
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If your sequence, or groove, has more than one pattern (i.e., you have
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|
set SeqSize to a value other than 1), you can use this directive to
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|
force a particular pattern point to be used. The directive:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Seq </B>
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</td></tr>
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</Table>
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<P>
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resets the <SPAN CLASS="textit">sequence counter</SPAN> to 1. This means that the next bar
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will use the first pattern in the current sequence. You can force a
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specific pattern point by using an optional value after the directive.
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For example:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Seq 8 </B>
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</td></tr>
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</Table>
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<P>
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|
forces the use of pattern point 8 for the next bar. This can be quite
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useful if you have a multi-bar sequence and, perhaps, the eight bar is
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variation which you want used every eight bars, but also for a
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transition bar, or the final bar. Just put a <SMALL>SEQ 8</SMALL> at those
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|
points. You might also want to put a <SMALL>SEQ</SMALL> at the start of
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sections to force the restart of the count.
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<P>
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If you have enable sequence randomization with the S<SMALL>EQ</SMALL>R<SMALL>ND </SMALL>O<SMALL>N</SMALL>
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|
command, the randomization will be disabled by a S<SMALL>EQ</SMALL>
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|
command.<A NAME="tex2html75"
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|
|
HREF="#foot10756"><SUP><SPAN CLASS="arabic">23</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A> However,
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|
settings of track S<SMALL>EQ</SMALL>R<SMALL>ND</SMALL> will not be effected. One difference
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|
between S<SMALL>EQ</SMALL>R<SMALL>ND </SMALL>O<SMALL>FF</SMALL> and S<SMALL>EQ</SMALL> is that the current sequence
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|
point is set with the latter; with S<SMALL>EQ</SMALL>R<SMALL>ND </SMALL>O<SMALL>FF</SMALL> it is left at a
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|
random point.
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<P>
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|
Note: Using a value greater than the current S<SMALL>EQ</SMALL>S<SMALL>IZE</SMALL> is not
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|
permitted.
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<P>
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|
This is a very useful command! For example, look at the four bar
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|
|
introduction of the song ``Exactly Like You'':
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<P>
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|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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|
|
<B>Groove BossanovaEnd
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|
<BR>
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|
seq 3
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|
<BR>
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|
1 C
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<BR>
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|
seq 2
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|
<BR>
|
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|
2 Am7
|
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|
<BR>
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|
seq 1
|
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|
<BR>
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|
3 Dm7
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|
<BR>
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|
seq 3
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|
<BR>
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|
|
4 G7 / G7#5 </B>
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|
</td></tr>
|
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|
|
</Table>
|
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|
|
<P>
|
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|
|
In this example the four bar ``ending groove'' has been used to create
|
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|
|
an interesting introduction.
|
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|
|
<P>
|
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|
|
<H1><A NAME="SECTION0023160000000000000000"></A> <A NAME="strum"></A>
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|
<BR>
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|
Strum
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|
</H1>
|
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|
<P>
|
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|
|
By default
|
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|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> plays all the notes in a chord at the same time. To
|
|
|
|
|
make the chord more like something a guitar or banjo might play, use
|
|
|
|
|
the S<SMALL>TRUM</SMALL> directive. For example:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
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|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
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|
|
<tr><td>
|
|
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|
|
<B>Chord-1 Strum 5 </B>
|
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|
|
</td></tr>
|
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|
|
</Table>
|
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|
|
<P>
|
|
|
|
|
sets the strumming factor to 5 for track Chord-1.
|
|
|
|
|
|
|
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|
|
<P>
|
|
|
|
|
Setting the S<SMALL>TRUM</SMALL> in any track other than a C<SMALL>HORD</SMALL> track
|
|
|
|
|
will generate a warning message and the command will be ignored.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The strum factor is specified in MIDI ticks. Usually values around 10
|
|
|
|
|
to 15 work just fine. The valid range for S<SMALL>TRUM</SMALL> is 0 to 100.
|
|
|
|
|
|
|
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|
|
<P>
|
|
|
|
|
You can specify a different S<SMALL>TRUM</SMALL> for each bar in a sequence.
|
|
|
|
|
Repeated values can be represented with a ``/'':
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
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|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
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|
|
|
<tr><td>
|
|
|
|
|
<B>Chord Strum 20 5 / 10 </B>
|
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|
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|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Note: When chords have both a <SMALL>STRUM</SMALL> and <SMALL>INVERT</SMALL> applied,
|
|
|
|
|
the order of the notes played will not necessarily be root, third,
|
|
|
|
|
etc. The notes are sorted into ascending order, so for a C major scale
|
|
|
|
|
with and <SMALL>INVERT</SMALL> of 1 the notes played would be ``E G C''. That
|
|
|
|
|
is, unless the <A HREF="#scale-direction">D<SMALL>IRECTION</SMALL></A> has been set to ``DOWN'' in which case
|
|
|
|
|
the order would be reversed (but the notes would be the same).
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0023170000000000000000"></A> <A NAME="synchronize"></A>
|
|
|
|
|
<BR>
|
|
|
|
|
Synchronize
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The MIDI tracks generated by
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> are perfectly ``legit'' and should be
|
|
|
|
|
playable in any MIDI file player. However, there are a few programs
|
|
|
|
|
and/or situations in which you might need to use the <SMALL>SYNCHRONIZE</SMALL>
|
|
|
|
|
options.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
First, when a program is expecting all tracks to start at the same
|
|
|
|
|
location, or is intolerant of ``emptiness'' at the start of a track,
|
|
|
|
|
you can add a ``tick note'' at the start of each
|
|
|
|
|
track.<A NAME="tex2html76"
|
|
|
|
|
HREF="#foot10784"><SUP><SPAN CLASS="arabic">23</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A>
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Synchronize START </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
will insert a one tick note on/off event at MIDI offset 1. You can
|
|
|
|
|
also generate this with the ``-0'' command line option.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Second, some programs think (wrongly) that all tracks should end at
|
|
|
|
|
the same point.<A NAME="tex2html77"
|
|
|
|
|
HREF="#foot10786"><SUP><SPAN CLASS="arabic">23</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A> Adding the command:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Synchronize END </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
will delete all MIDI data past the end of the last bar in your input
|
|
|
|
|
file and insert MIDI ``all notes off'' events at that point. You can
|
|
|
|
|
also generate this effect with the ``-1'' command line option.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The commands can be combined in any order:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Synchronize End Start </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
is perfectly valid.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0023180000000000000000">
|
|
|
|
|
Transpose</A>
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
You can change the key of a piece with the ``Transpose'' command. For
|
|
|
|
|
example, if you have a piece notated in the key of ``C'' and you want
|
|
|
|
|
it played back in the key of ``D'':
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Transpose 2 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
will raise the playback by 2 semi-tones. Since
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> 's author plays tenor saxophone
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Transpose -2 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
which puts the MIDI keyboard into the same key as the horn, is not an
|
|
|
|
|
uncommon directive
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
You can use any value between -12 and 12. All tracks (with the logical
|
|
|
|
|
exception of the drum tracks) are effected by this command.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0023190000000000000000">
|
|
|
|
|
Unify</A>
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The U<SMALL>NIFY</SMALL> command is used to force multiple notes of the same
|
|
|
|
|
voice and pitch to be combined into a single, long, tone. This is very
|
|
|
|
|
useful when creating a sustained voice track. For example, consider
|
|
|
|
|
the following which might be used in real groove file:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Begin Bass-Sus
|
|
|
|
|
<BR>
|
|
|
|
|
Sequence 1 1 1 90 4
|
|
|
|
|
<BR>
|
|
|
|
|
Articulate 100
|
|
|
|
|
<BR>
|
|
|
|
|
Unify On
|
|
|
|
|
<BR>
|
|
|
|
|
Voice TremoloStrings
|
|
|
|
|
<BR>
|
|
|
|
|
End </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Without the U<SMALL>NIFY </SMALL>O<SMALL>N</SMALL> command the strings would be sounded (or
|
|
|
|
|
hit) four times during each bar; with it enabled the four hits are
|
|
|
|
|
combined into one long tone. This tone can span several bars if the
|
|
|
|
|
note(s) remain the same.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The use of this command depends on a number of items:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<UL>
|
|
|
|
|
<LI>The V<SMALL>OICE</SMALL> being used. It makes sense to use enable the
|
|
|
|
|
setting if using a sustained tone like ``Strings"; it probably
|
|
|
|
|
doesn't make sense if using a tone like ``Piano1''.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>For tones to be combined you will need to have A<SMALL>RTICULATE</SMALL>
|
|
|
|
|
set to a value of 100. Otherwise the on/off events will have small
|
|
|
|
|
gaps in them which will cancel the effects of U<SMALL>NIFY</SMALL>.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>Ensure that R<SMALL>TIME</SMALL> is not set for U<SMALL>NIFY</SMALL> tracks
|
|
|
|
|
since the start times may cause gaps.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>If your pattern or sequence has different volumes in different
|
|
|
|
|
beats (or bars) the effect of a U<SMALL>NIFY</SMALL> will be to ignore
|
|
|
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volumes other than the first. Only the first N<SMALL>OTE </SMALL>O<SMALL>N</SMALL> and the
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last N<SMALL>OTE </SMALL>O<SMALL>FF</SMALL> events will appear in the MIDI file.
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<P>
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</LI>
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</UL>
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<P>
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You can specify a different U<SMALL>NIFY</SMALL> for each bar in a sequence.
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Repeated values can be represented with a ``/'':
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Chord Unify On / / Off </B>
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</td></tr>
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</Table>
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<P>
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But, you probably don't want to use this particular feature.
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<P>
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Valid arguments are ``On'' or ``1'' to enable; ``Off'' or ``0'' to
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disable.
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<BR><HR><H4>Footnotes</H4>
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<DL>
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<DT><A NAME="foot10756">...
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command.</A><A
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HREF="node23.html#tex2html75"><SUP><SPAN CLASS="arabic">23</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A></DT>
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<DD>A warning message will also be displayed.
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</DD>
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<DT><A NAME="foot10784">...
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track.</A><A
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HREF="node23.html#tex2html76"><SUP><SPAN CLASS="arabic">23</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A></DT>
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<DD>Timidity truncates the start of tracks up to the
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first MIDI event when splitting out single tracks.
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</DD>
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<DT><A NAME="foot10786">... point.</A><A
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HREF="node23.html#tex2html77"><SUP><SPAN CLASS="arabic">23</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A></DT>
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<DD>Seq24 does strange looping if all tracks
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don't end identically.
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2006-11-10 08:07:56 +00:00
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2007-04-29 06:47:40 +00:00
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</DD>
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2009-05-17 22:34:44 +00:00
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</DL>
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<DIV CLASS="navigation"><HR>
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2006-11-10 08:07:56 +00:00
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HREF="node24.html">
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<B> Next:</B> <A NAME="tex2html708"
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<B> Up:</B> <A NAME="tex2html706"
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<ADDRESS>
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2007-04-29 06:47:40 +00:00
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bob
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2009-05-17 22:34:44 +00:00
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2008-09-28
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