@C0@t The TK-707 Rhythm Composer@t @C1@tGetting started@t @C2@tTerminology@t Four song @htracks are available. You can think of a track as a song. Tracks are labeled by roman numbers: I, II, III and IV. Each track is made of @hpatterns, each with 16 @hsteps.s You could think of a pattern as a bar of music. At each step in a pattern, any of the available instruments can be set to play. Once you've made the patterns you want to use, you can combine them in any order into any of the four available tracks. Any particular pattern can be used in any of the tracks as many times as desired. There are 64 patterns available in 4 @hgroups of 16 each. Pattern groups are labeled by letters: A, B, C and D. The 4 groups are not at all related to the 4 tracks. Patterns from any group are available to any track. @C2@tDemonstrations@t Some sample patterns and tracks are in `demo.dat' which can be loaded from the @cFile@c-@c>@cDemo menu. Something exists in each track of this file so click the @cSTART button and you should hear something if your hardware is set up correctly. Part of this set up is the @hmidi @hchannel; the default midi channel is 10 (the default for D-110 drum sounds). You can change the output midi channel via the Midi menu or Shift-click on the @cMIDI @cCH button; a new window will appear for midi channel selection. A second demonstration file shows the alternate @h7@h2@h7 latin sound map. With this sound map, the software emulates a Roland @h7@h2@h7 latin percussion rhythm composer. Loaded from the @cFile@c-@c>@cDemo menu the file `son-montuno.dat', and then load the latin percussion sound map `727.map' from the @cMap@c-@c>@cLoad @cStandard @cSound @cMap menu. Set also the tempo to 200 bpm. Then, click the @cSTART button. An alternate sound map for latin percussion is `7c7.map'. The @cc in @c7@cc@c7 stands for cuba ( An excellent introduction to afro-cuban rhythms can be founded in 'Les tumbaos de la salsa', by Daniel Genton, Editions Musicales Francaise, 2000. email: Topdjembe@@ hotmail.com.'. can be loaded in the @cMap@c-@c>@cLoad @cStandard @cSound @cMap. This file has no Roland latin percussion rhythm composer equivalent, and has been designed for our pleasure. Click the @cSTART button and you will hear the file `son-montuno.dat' with another feeling. Finally, a brazilian sound map `7b7.map' is presented. The @cb in @c7@cb@c7 stands for brazil ( This sound map is indented for batucada music for carnaval.' and can be loaded together with the `carioca.dat' demonstration. A good tempo is 220 bpm for the samba carioca. There is no more demonstration file for these sound maps, since it is time for you to compose your music ! @C2@tCreating patterns@t @C2@tWriting pattern@t Shift-click the @cPATTERN button to enter Pattern Write mode. While @cSTART is not pressed, the 16 instrument/step keys at the bottom of the interface are dual purposed. Clicking on a key changes which pattern, 1-16, (within the current group) is selected for writing. A small lamp above one of the @hgroup @hpattern buttons indicates the current group. The current group may be changed by clicking group pattern button @cA, @cB, @cC or @cD. Shift-clicking on the @hinstrument@h/@hstep keys selects which instrument is selected to be written into the current pattern. Click the @cSTART button; now as you click of the instrument/step keys, the selected instrument, e.g. @cCowbell, will be added at that step. If the selected instrument has already been set at that step, then clicking there will remove it. To select another instrument, press the @cSTOP@c/@cCONT button then select another instrument using Shift-click on the appropriate instrument/step key. Continue adding instruments at the required steps to complete the pattern. Make all the patterns you will need for a new song. A pattern may be cleared of all notes while in Pattern Write mode; clicking on the @cCLEAR button will raise a dialog window to confirm clearing of the current pattern. @C2@tCopy/paste and copy/merge @t Another method of creating new patterns is to copy an existing pattern and pasting it to a new location, then modifying the new version. This is an efficient method of creating a number of patterns which are small variations of each other. Select the pattern to be copied and press @cCRTL-@cC (@cCONTROL key and @cC key together). Now select a new (empty?) pattern location and press @cCtrl-@cV or @cCtrl-@cB to @hpaste in the copied notes. Using @cCtrl-@cV will clear the destination location of any notes it already contains whereas @cCtrl-@cB will @hmerge its current contents with the new note information. @C2@tThe pattern display grid@t The third method uses the pattern display grid. Double-click near an instrument/step intersection to add the instrument at that step. If the instrument already exists at that step then it is deleted. This is probably the easiest way of creating patterns. @C2@tPlaying patterns@t Click the @cPATTERN button to enter Pattern Play mode. While the @cSTART button is depressed, the currently selected pattern will play. Clicking on different pattern keys at the bottom of the interface will select a new pattern (@c1,..,@c1@c6) in the current group. If not currently playing, the new pattern is displayed immediately. If a pattern is already playing, the new pattern will play when the current pattern is finished. Selecting a different group also changes the current pattern, i.e. if pattern 7 in group I is selected, then when group 2 is selected the new pattern will be pattern 7 in group II. Sixteen patterns are available in each of the four groups for a total of sixty-four patterns. @C2@tCreating tracks@t Shift-click the @cTRACK button to enter Track Write mode. To start from an empty track, delete anything already there (Shift-click on the @cCLEAR button) if necessary. Now select a pattern to add to the track and click on the enter key as many times as that pattern is required. Then select the next pattern to add and click on the enter key as many times as that pattern is required. E.g., selecting pattern 3 and clicking on the @cENTER button 4 times, then selecting pattern 9 and clicking on the @cENTER button 2 times will result in a track of six measures - 4 of pattern 3 followed by 2 measures of pattern 9. Changes to a track being created can be made. . The currently selected pattern can be heard playing if the @cSTART button is clicked. This enables an audible preview of selected patterns prior to adding them to the track. @C2@tEditing tracks@t Shift-click the @cTRACK button to enter Track Write mode. Track editing is only possible in Track Write mode. Deletions of tracks (or parts of them) require confirmation (via a dialog window). Shift-click on the @cCLEAR button deletes all of the current track. Ctrl-click on the @cCLEAR button deletes the current measure from the track. Shift-Ctrl-click on the @cCLEAR button deletes the rest of the current track, including the current measure. On some systems (including mine!) this actually requires the @cCtrl key as well i.e. @cShift + @cCtrl keys + mouse click. Consider this a minor bug to be fixed sometime. Adding patterns to a track involves selecting a pattern then a click or Shift-click on the @cENTER button. Think of Shift-click on @cENTER as an insert operation into the track before the current measure. An ordinary click on @cENTER is actually a replacement operation i.e. it will replace the current measure with the currently selected pattern. However if you're at the end of the current track this behaves like an append operation - it adds new measures to the end of the track. The currently selected pattern can be heard playing if the @cSTART button is clicked. This enables an audible preview of selected patterns prior to adding them to the track. Different parts of the track can be accessed by clicking on the @cBACK and @cFWD buttons. Shift-click on the @cLAST @cMEAS button to go to the end of the track. Note that this goes to the measure just past the end of the track (ready to write the next measure). An ordinary click on the @cLAST @cMEAS button will momentarily show the last (+1) measure while the button is held down. @C2@tPlaying tracks@t Click on the @cTRACK button to enter the @cTrack @cPlay mode. Then click on the @cSTART button and the current track will be played. Select another track, e.g. track IV, by Shift-clicking a the corresponding track button: @cShift-@cIV. Then enter @cSTART for playing the song. @C2@tTempo changes@t The tempo may be changed in either Track or Pattern mode. The tempo is lowered by Clicking in the tempo dial and then Click-Dragging around. It its increased by Click-Dragging to the left from the tempo dial; its increased by Click-Dragging to the right. Tempo changes can't be written into a track. If saving a track as an midi file, the whole track will have whatever tempo is selected at the time of saving. @C1@tMidi files and sounds@t @C2@tMidi files@t Currently only single track Midi files can be exported. When the @cMidi @cFile@c-@c>@cSave is selected a file browser appears into which the name of the file is entered. Its not crucial but it is a convention to have a `.mid' ending on the filename. When a name has been nominated, the current track will be exported, including midi channel and tempo information i.e. make sure these have the values you want first. Tempo changes can't be written into a track. If saving a track as an midi file, the whole track will have whatever tempo is selected at the time of saving. Volume controls are used when saving a midi file: master, accent and volume controls associated to instruments. @C2@tSound maps@t TK-707 @hsound @hmaps are mappings of the 16 instrument keys to descriptions of their long names, short names, abbreviate name and midi note values. The first (longer) names are used in the pattern grid display, while the second (shorter) names are used under the 16 instrument keys and abbreviations are used under the volume controls. The midi note values need to correspond to values recognized by the sound module being used with TK-707 (either external or built into a sound card). Appropriate values will need to be gleaned from your hardware documentation, however the built in values should work on any module conforming to the General Midi standard. The built-in sound map is supplied as an example in the `707.map' file. A second file, `727.map', is supplied and can be loaded to play with the sounds of Roland's TR-727, the latin percussion counterpart of the TR-707. Note that the 727 mapping won't work on a 707 because it doesn't recognize the necessary range of midi note values. It will work on modules (such as Roland D-110) which do recognize the necessary range. Files with similar layout to the supplied `.map' can be constructed using a text editor and loaded into TK-707 from the @cMap@c-@c>@cLoad @cLocal @cSound @cMap menu. Alternatively, the currently loaded sound map can be edited via an editing interface which is accessed from the @cMap@c-@c>@cEdit @cSound @cMap menu. Just change the name, short name and midi note values as required and press the @cAPPLY button to apply the new settings to TK-707. The Cancel button will revert sound setting to whatever they were before the editing window was started. The @cOK button will apply the currently edited settings and close the editing window. As new midi note values are entered for an instrument, the sound that they access in the midi sound module can be previewed using the @cTEST buttons. To speed the process of finding suitable sounds, three keyboard/mouse shortcuts are provided: * @cShift + @cMouse @cbutton @c1 in the "Note" widget increments the value by 1 and test plays the new sound; * @cCtrl + @cMouse @cbutton @c1 in the "Note" widget decrements the value by 1 and test plays the new sound; * @cMouse @cbutton @c2 in the "Note" widget and dragging up or down continuously decrement or increments the note value and test plays. the new sound. Any editing of sound maps are lost if TK-707 is closed down without saving the sound map. A sound map can be saved using the @cMap@c-@c>@cSave @cSound @cMap menu item. A file suffix of `.map' is recommended (but not absolutely required). @C1@tTernary feelings and poly-rhythms@t @C2@tScale changes@t This feature is related to fast figures and 6/8 figures. Four scales are available on each pattern. Click on the @cSCALE in Pattern Write mode for changing the scale of the current pattern. A small lamp on the left of the musical score score indicates the current scale. For each scale, a vertical bar indicates the duration of a whole note. @C2@tBinary 4/4 measures@t On the first scale, the whole note duration is decomposed into sixteenth. Each sixteenth is associated to the a step of the pattern. There is 16 sixteenth in the pattern if the last step is set to 16, and then the total duration of the pattern is those of a whole note. This is the default scale when creating pattern associated to a 4/4 measure. @C2@tBinary 2/4 measures@t For the second scale, the whole duration is decomposed into eighthes. Each eighthes is associated to a step of the pattern. When the last step is set to 16, there is 16 eighthes in the pattern, and the total duration of the pattern is those of a half whole. When playing such pattern, lamps associated to steps are turning twice faster ! The pattern is then a 2/4 measure. The whole duration should be recovered in a song by inserting two of such patterns. This scale is designated for fast schemes on binary songs. @C2@tTriplets and composed 12/4 measures@t On the third scale, the whole duration is decomposed into four third of a quarter. Each third of a quarter is associated to a step of the pattern. When the last step is set to 12, the total duration of the pattern is those of a whole note . The pattern is then a 12/4 measure. Alternatively, the last could be set to 9 or 15 and then the pattern is a 9/4 or a 15/4 measure, respectively. This pattern is designated for ternary-based measures or for inserting ternary feelings (triplets) into a binary song. @C2@tSextuplets and composed 12/8 measures@t Finally, the fourth scale decomposes the whole duration into two sextuplets (12 times 1/6 of a quarter sextuplets). Each 1/6 of a quarter is associated to a step of the pattern. When the last step is set to 12. , the total duration of the pattern is those of a half whole note. The whole duration should be recovered in a song by inserting two of such patterns. The pattern is then a 12/8 measure. Since each quarter is represented by 6 steps on the pattern, we are able to superpose binary and ternary schemes, i.e. poly-rhythmic effects. The `son-montuno.dat' demonstrates such effects. This pattern is designated for fast schemes on ternary based measures or for inserting ternary feelings (triplets) into a binary song. @C2@tLast step changes@t Remarks that the last step is not automatically changed from 16 to 12 when changing the scale of a pattern. It could be chosen to 15 for the scale 3, for instance. Click on the @cLAST @cSTEP in Pattern Write mode for changing the scale. A new window will appear for last scale selection of the last step associated to the current pattern. @C1@tAccents and flam@t @C2@tAccents@t @C2@tInserting accentuated notes@t There is two available accents: a weak and a strong one. Use the weak accent by clicking on the @cACCENT button in Pattern Step Write or Pattern Tap Write modes. The "accent" text at the bottom of the button becomes orange. Enter then notes as usual: notes are @hweakly @haccentuated and the circle marker is orange, instead of the usual grey. Use the strong accent by clicking a second times on the @cACCENT button. Now, the "accent" text becomes red. Then, enter notes: they are @hstrongly @haccentuated and the circle marker is red too. Then, click a third times on the @cACCENT button. The "accent" text at the bottom of the button comes back to the initial foreground color. When you insert notes, they will be no more accentuated. In Pattern Step Write mode, you could also insert notes by using the @c1,..,@c1@c6 step touchs. Conversely, in Pattern Tap Write, you could also use the instrument keys, e.g. @cCowbell. @C2@tControlling the accent intensity@t The weak and strong accent intensities could be modulated by using the volume control labeled "AC". Moves the label control up and down. When up, accent effects are maximum while when down, there is no more perceptible accent effects. The volume control of accents is global. @C2@tFlam@t @C2@tInserting flams@t Flam is a kick note written ahead of the main beat, and takes on the effect of a @hgrace @hnote. Control-double-click (@cControl-@cButton@c-@c1 two times) near an instrument/step intersection to insert a flam note for this instrument at that step. Instead of the circle marker, a star marker represents the flam note at the selected intersection . There is another way for inserting flams: In Pattern Step Write mode, click the @cSTART button; Select an instrument by shift-clicking on an instrument/step key, e.g. @cShift-@cSnare. Now, as usual, as you click on the instrument/step keys, the selected snare will be added at that step 4. Instead of this, if you control-click on the instrument/step keys, e.g. @cCtrl-@c4, then a snare note with a flam is inserted at step 4. Conversely, in Pattern Tap Write mode, enter a flam by using the @cCtrl-@cCowbell. Flam could be combined with accents, and the associated star marker becomes orange or red, depending on the weak or strong accent. @C2@tControlling the flam interval@t The time between the grace note and its following main note can be varied in the range 0:4. The default value is 2. A zero value means that flam is off. Each pattern has an associated flam interval value. Click on the @cFLAM@c/@cSHUFFLE button in Pattern Write mode for changing the flam interval of the current pattern. A new window will appear for the flam interval selection. @C1@tCommand line options@t @C2@tSynopsis@t @ctk@c7@c0@c7 @coptions@c.@c.@c. @C2@t Options@t -l List the available sound ports -p @var{port} Use this port -small -medium -normalsize Set the size of the window, since some screens are too small for the whole window. -display @var{screen id} Display to use. -use @var{window id}. Id of window in which to embed application. See @cxwininfo. -geometry Initial geometry for window -colormap Colormap for main window -name Name to use for application -sync Use synchronous mode for display server -visual Visual for main window. -h -help Print short help. @C1@tConverting MIDI to audio WAV and MP3::@t This small annex explain how to convert your output midi file to formatted audio file (ex. RIFF WAVE) and compressed MP3 audio files. We assume your have converted your file `salsa.dat' into MIDI format `salsa.mid' in the @ctk@c7@c0@c7 environment . Then enter the commands: @ctimidity @cbolero@c.@cmid @c-@cOw @cbolero@c.@cwav @clame @c-@cb@c1@c2@c8 @cbolero@c.@cwav @cbolero@c.@cmp@c3 and compare the file sizes: @cls @c-@cal @c-@crw@c-@cr@c-@c-@cr@c-@c- @c1 @cmaria @cmartinez @c1@c0@c5@c1 @cMar @c9 @c0@c9@c:@c2@c0 @cson@c-@cmontuno@c.@cmid @c-@crw@c-@cr@c-@c-@cr@c-@c- @c1 @cmaria @cmartinez @c3@c9@c3@c7@c3@c2@c4 @cMar @c9 @c0@c9@c:@c2@c2 @cson@c-@cmontuno@c.@cwav @c-@crw@c-@cr@c-@c-@cr@c-@c- @c1 @cmaria @cmartinez @c4@c9@c3@c0@c5@c6 @cMar @c9 @c0@c9@c:@c2@c2 @cson@c-@cmontuno@c.@cmp@c3 The MIDI file does not contains the sounds. It contains only the score of your music and a MIDI render is required to heat it. The audio WAV and MP3 contains the complete sound and are suitable exports, such as CD-ROM writers. Moreover, the MP3 file is compressed by rougthly a factor ten. The MP3 audio files can be played back by popular mp3 players such as mpg123. The @ctimidity tool is a midi-to-wav converter available at @chttp@c:@c/@c/@cwww@c.@cgoice@c.@cco@c.@cjp@c/@cmember@c/@cmo@c/@ctimidity. The @clame tool is a wav-to-mp3 convarter available at @chttp@c:@c/@c/@cwww@c.@csulaco@c.@corg@c/@cmp@c3.