1. Manuals
  2. Brands
  3. Steinberg Manuals
  4. Recording Equipment
  5. PRO 24 III
  6. User manual

Steinberg PRO 24 III User Manual

Hide thumbs
Table of Contents

Advertisement

Quick Links

Advertisement

Table of Contents
loading
Need help?

Need help?

Do you have a question about the PRO 24 III and is the answer not in the manual?

Questions and answers

Subscribe to Our Youtube Channel

Related Manuals for Steinberg PRO 24 III

Summary of Contents for Steinberg PRO 24 III

  • Page 2 pltfalls wc want ,0 make sur* t a t you avoid before starting to work There are some proaus wc with Pro-24 HI. the program) inserted into the cartridge port. The m aster disk is single sided b u t you may vety well copy the files to a double sided disk o r harddisk.
  • Page 3 COMPUTER KEYBOARD FUNCTIONS If the computer keyboard commands don’t seem to work, make sure voi, r W * k C a p Lock activated on your ST keyboard. There is no way of telling « Cap" activated or not, you just have to test it. THE STS M IDI THRU AND MIDI CABLES Atari decided to incorporate a MIDI-thru function in the MIDI Out connector of the ST.

  • Page 4: Table Of Contents

    C O N T E N T S ' " k b v a n d t h e c o m p u t e r ■ MIDI h a r d w a r e SOFTWARE ■ THE PRO-24 III CONCEPT INSTANT GRATIFICATION MIDI SETUP INPUTTING VALUES...
  • Page 5 ■ TH E BUFFER ■ MUTE (STATUS) ■ SOLO A U TO AND C Y C L E D RECORDING ■ PUNCH IN AND AUTO RECORDING ■ CYCLE AND CYCLED RECORDING CYCLE DURING PLAYBACK CYCLED RECORDING MULTI RECORDING SEPARATED RECORDING FROM SEVERAL MIDI-CHAN. S Y N C P A TTE R N EDITING DELETING A PATTERN (DELETE)
  • Page 6 a s s s H p r o g r a m m in g DELETING NOTES RESTORE CANCEL EVENT EDIT ■ SCORE-EDIT TWF SCREEN GETTING THE SCORE PROPERLY DISPLAYED PLAYING BACK A PATTERN MOVING WITHIN THE PATTERN WORKING WITH A RANGE EDITING A NOTE SETTING QUANTIZE VALUES INSERTING NOTES, STEP PROG.
  • Page 7 BEEP ZOOM ALL TRACKS REALTIME RECORDING AND ERASING STEPTIME INPUT CHANGING VELOCITIES COPYING AND USING THE BUFFER THE FUNCTIONS MENU THE BAR, LOOP AND PATTERN MENUS RESTORE I f CANCEL THE TRACK MENU LIST MASTER TRACK ACTIVATING THE MASTER TRACK EDITING THE MASTER TRACK TEMPO RECORDING MASTER TRACK COPY...
  • Page 8 TH E DESK MENU TH E MIDI MENU 1 6 3 MIDI DEFINITIONS FILTERS CONTROLLER MAPS MIDI-CLICK MIDI-THRU FILTER CHANNEL SYS. EX OUT MIDI-CLOCK MIDI-DELAY REMOTE CONTROL USING REMOTE SETTING UP THE REMOTE KEY MAP MODE-SETTING MIDI-MODES NOTE-OFF MESSAGES DUMP-UTILITY 1 1 1 OUT CHANNEL ■...
  • Page 9 Contents...
  • Page 10 04 ttt « an extremely powerful music program, and there­ » fore not entirely easy to understand at first glance. This Manu­ k s purpose is to guide you through all the different functions, and also to work as a reference guide when you run mto prob­ lems.

  • Page 11: Midi

    The program runs with color monitor monitors also, but only in Medium resolution. This manual refers to a black and white monitor at all times, but you will have no difficulty following the operations even if you use a color monitor. MIDI If you have used MIDI-sequencers or computer programs before and feel really comfortable with the concept and the Atari ST,...

  • Page 12: Software

    i • « . M ini Out to the split box's MIDI In, and all » t t ° u ,'s- ™ s is s° m e,im es m id i called a st“ you play, whether it is a synthe- 2 ? 5 "...
  • Page 13 MIDI-CHANNELS All MIDI information discussed so far is MIDI-channel specific. T his m eans that it is always sent on one of the 16 MIDI- channels. The concept of MIDI-channels may take some time to understand. The purpose o f the MIDI-channel system is to direct different parts o f your music to different instruments.

  • Page 14: The Pro-24 Iii Concept

    O p ® * J^ n h ^ M ID I specification are not sent on any partic- °! Jnx chlnnel T h e se ^ e ssa g e s therefore affect all units m reeardless o f w hat M ID I-channel they are set to. vISrm ation is M IDI-clock, that for exam ple m ake two Such ,nf°...
  • Page 15 the other hand, if you own, or have access to, several sound sources there is almost no limit to what you can do. TRACKS As the name implies, Pro-24 III is a 24-Track recorder. Normal­ ly you record on one Track at a time, but it is possible to record on to 4 Tracks at a time.
  • Page 16 / ejnnnO in the music that are used to specify jPoSlt'°d two points playback should start (and end), and to dir these points. They are sped- M ^ S l t s / f r a c t i o n s of beats counting from the begmrung of the Song.
  • Page 17 Introduction...
  • Page 18 T U IE N T V — H . P R G Switch on your MIDI-instrument(s) and set it (them ) to send and receive on MIDI-channel 1. How to do this is described in their respective Operation M anual. Pull down the menu M id i, and select the item D e fin itio n s.
  • Page 19 ately echoed back via its M ID I Out. If it didn't, you wouldn't be hearing anything you played while recording! 5. The second box of interest is the one with the words Filter Channel above it. If you press and hold the right mouse but­ ton pointing on this box the values increase.
  • Page 20 15 Rewind the ''tape” by pressing ZERO, and p ress PLAY to lis- ' ten to your music with the overdub. m ncratulations, you have ju st finished youx first recording us- T p r^ 2 4 in As you understand, you are ju st scratching the sur- S f e ^ e program.

  • Page 21: Instant Gratification

    Instant Gratification...
  • Page 22 m i i f i i falfi 'IfW RJ „ . a„ vour MIDI-equipment in either a so called daisy- [he MIDI-thrus of each instrum ent, or use a MIDI s X r for a "star" connection. The problem with the thru con­ nectors is that they often delay the M IDI-signals, and the last insm m ent in a long chain may therefore receive i t .

  • Page 23: Midi Setup

    channel set, regardless of what channel the notes were comine in on. You can also set the Track to MIDI-channel No, which makes it send out on the actual channel number stored with the notes (see page • » * * * .* ' * * * . ■ j * ^ * * * «~ 4 * * r * * * * * * •...

  • Page 24: Inputting Values

    ] f J p U T T I N G ~ V A O J E S „Hn0, pj.q -24 in means selecting different options, setting Operating Pro z* and f o r m i n g operations by parameter done by using the mouse and the (or a com bination of ^ r ^ m e of the operations you can even use your MIDI-...
  • Page 25 Another way to change values of this kind is to use the Data Fader at the right part of the screen. This has two major parts The two arrows at the top and bottom and the grey area in be­ tween.
  • Page 26 Examples of this are the Left and Right Lo- cedure is the same, cxan ~e are a bit of a hybrid since their values can cator boxes, but these are also be changed using th k e j^ a rd S e e p a g e 183 for a complete map of all keyboard com - mands DISPLAY BOXES Some boxes are just used for displaying values, you can’t go in...
  • Page 27 Inputting Values...
  • Page 28 im pro_24 III you are first confronted with the screen. These windows can be as si ^ r ffw o buttons (OK or Cancel to confirm an operation, or as Z p e - s ” Drum and Grid E d it S till when you exit these windows you always return to the Mam Screen.
  • Page 29 t a S g e r032).°f Symb° ,S 3re f° r * * * * 3 T r a C k ' S The next part of the screen is divided into five squares The too left contains functions for the four Tracks that can be used for si m ultaneous recording.

  • Page 30: Basic Operation

    lo different synthesizer sounds. How to do this is described on page 32. Another common operation is quantizing, or autocorrect. Basic quantizing procedures are described on page 45. A lot of what is said in the following section relies upon the concept of the Left and Right Locators.

  • Page 31: Manual Tempo

    MANUAL TEMPO TEMPO : 120 You can use the box TEMPO to change the tempo of your music while recording, while playing back or when 24 is stopped. Click once on TEMPO. Use the mouse buttons, the Data Fader or the [+] and [-1 keys on the computer keyboard to set the tempo.

  • Page 32: Types Of M Idi Inform Ation

    have to start at the beginning o f the m usic, Recording . ^ n l ha even at the downbeat of a bar. You theb^m nm gof*Pattern-hen_ ta ^ m usic Recording always can start recording m usic sel w ith the L eft Locator, H T c e p t for when you do a Manual Punch In, see page 29).
  • Page 33 NOTE COMMANDS * * . * . * *• * ♦ N otes are recorded with their original MIDI-channel saved if ChanneI, m ^ 9 n (see page 181). But normally the MIDI-channel is altered on playback (as described on page 32). CONTINUOUS COMMANDS T his includes pitchbend, controllers, pressure and (foot)- sw itches.

  • Page 34: Transport Controls

    P L A Y B A C K The Play function should be thought of as a conhnue-play . Thfs means that it plays back music from the position you are presently at, not necessarily the beginning. Activate PLAY by clicking on the button, or by pressing [Enter] or [Return] on the computer keyboard.

  • Page 35: Midi-Channels

    These controls can only be used with the mouse, and it doesn't matter which mouse button you HirV ZERO This small button on the left side of the screen is used for re­ winding the "tap e" to the absolute beginning. Since you don't have to start recording from the absolute beginning of the tape the Zero command doesn't necessarily take you to the beginning of your music.

  • Page 36: Locators

    imth Mix-Down and Remix to m ake This MIDI-chartnels and to take apart re- Z n l Z n z notes on several M V I-chan n eU (see page t a p e p o s i t i o n a n d r e a l t i m e COUNTER Below the PLAY button are two display boxes.

  • Page 37: To Set The Left And Right Locators

    M any things that you do, like recording and editing, will be specifically directed to a certain part o f your music. To specify two arbitrary positions in your music we have given you the :l6ols Left and Right Locator. These are only two points set out on the im aginary tape, they don't do anything by themselves.
  • Page 38 u ,rksiash [/] (or any other nonalphabetic symbol) a T . h e n n u " r n e dockpu.se £ < h ta the beat. In 4/4 tune, numbers between 0 and 95 are allowed. Press [Return]. The number is displayed. nped to specify the position down to the last figure, "...
  • Page 39 Hit [Return]. The Right Locator will take on the Position of the Left Locator plus the number o f bars specified. If the Left Locator is set to 3/3/1 and you type in +1 /0/0 in the right Locator Box, The right Locator will be positioned at 4/3/ The "shorthand"...
  • Page 40 PREPROGRAMMING LOCATORS The function keys [FI] to [F10] on the com puter keyboard can be used for storing ten sets o f Left and Right Locator points. Set the Left and Right Locator to the positions you w ant to store using any of the techniques explained earlier.

  • Page 41: Using Locators

    • USING LOCATORS Locators are prim arily used for specifying recording start and end, punch in and out positions (see AUTO-REC, page 55) and playing back the music from a certain point They are also used for the different Pattern and Track editing procedures to define a part of the music to be affected by the o p ­...
  • Page 42 Pattern 5 Track 1 1 Pattern 1 Pattern 2 I Pattern 3 I Pattern 4 Track 2 Pattern 1 Pattern 2 Pattern 3 Honanc 1 / I/ O...
  • Page 43 ♦ I f you record w ithin the borders of an already t o , , * length or Position within the song is n o fL « w ta ^ That means that if you have a Pattern on a Track, starting at aiJ? eU r8 aL bar 13/ you very well drop in some­...

  • Page 44: Pattern Naming

    m cfT ECTING PATTERNS ?H Pm Tcanbe selected from the Main Screen by using the value S x ^ ngw of the boxes M b and the pattern number. V , ran scroll through the existing Patterns on a Track either by °-n«r the left and right mouse buttons pointing at the p ®...

  • Page 45: Understanding Datacopy

    UNDERSTANDING DATACOPY During some Pattern operations you will sometimes have the option o f doing it with or without Datacopy . WITH DATACOPY If, for example, you copy a Pattern to another Track with Data- copy you are doing a perfectly normal copy. The result is a new Pattern, completely independent of the one it was copied from, just as you would expect.
  • Page 46 • S E I - E C r a ^ T R A C K S ^ a Track. T h e fir s t is Thf e " * * £ t f r Z r d something into it, and the secon d is that you «...
  • Page 47 You select one Track at a time by clicking directly on the num­ bered box or by clicking the value box beside the one named Track:. The Track number can in this last case be de/increased using the left and right mouse buttons as usual. You can also use the num eric keypad on the right side of the computer keyboard to select an Active Track.
  • Page 48 t r a c k s ea ^ 1 identification you can give each Track a nam e. This is F o r d o « ta the same manner as when nammg Patterns. iUP Track number you will find a box used for the nameTof^the^rack When a Track is first selected it w i«...
  • Page 49 with a tick. We are not concerned with automatic quantizing in this section. The procedure described here quantizes music after recording. - | ^ T 3 n V j F f f | K j ^ * W . * . * ' v * *•...
  • Page 50 You may very well “s e “ ‘ 0 p ^ T f i r s t O V E R C QUANTIZE to dead f “f n T T t h e quantize value to 2/32 ami select FIXED NGTH The first procedure adjusted the start o f each note to fftg Hght position and the next gives them all the sam e (short) length.
  • Page 51 O U T P U T F IL T E R By clicking on each one of the little symbols under the white text Filter, you can set up a filter that prevents different kind of data being sent out from this Pattern/Track. Clicking again turns them back on.
  • Page 52 v e l o c i t y modes m S ^ CT J ^ 7 i t T he twcAnodes are SHIFT and FIXED. Se- t h e i t y BOX. j j j j Can be set from -127 to +127. This value is added to all notes' velocity value, thereby changing the volume of the part.
  • Page 53 T R A N S P O S E A Pattern can be transposed up or down by 48 semitones. Q U A N T IZ E This is a playback version of the Note On Quantize. It can be set in steps from 1/4 to 1 /32 triplets (T is for triplets) or to OFF.
  • Page 54 X ^ J ^ L w number 7 is called Volume. Many synthesizers - 2 K S S S p m e n t understand MIDI Volume, but not 3 * 0 2 5 your equipment’s Operation Manual. If it works, it is a L S ^ w a y of S t in g up a good mix in the beginning of a Song.
  • Page 55 U S I N G R E C A L L B U F F E R I RECRLL BUFF. | W hen you click the RECALL BUFFER box the contents of the buffer are put back into their original place. This means that I the Pattern will return to its original condition, the way it was before it was quantized, deleted or replaced.
  • Page 56 . _ . .__ _n on/off function that can be set foTeacM ’i*tttrn in*the Playback param eter window (page 47). s t o r i n g g r o u p m u t i n g s I J ^ n f rnutines for all 24 Tracks can be preprogrammed using theBinction b S o n s ([FI] to [F10]), just as Left and Right Locator settings can (see page 37).
  • Page 57 Page 54 Basic Operation...
  • Page 58 a u t o a n d c y c l e d r e c o r d i n g Under the heading Recording in this manual we have described regular recording, and manual Punch In. There are also means of setting up automatic punch in and out positions.
  • Page 59 To playback a certain part of a song over and over again, you have the Cycle command. This can be used in combination with recording, or even Multi Recording as a powerful tool for making up complex musical Pattern and trying out ideas. CYCLE DURING PLAYBACK Cycle makes the music jump back to the position of the Left Lo­...
  • Page 60 I f' c y c l e d r e c o r d i n g o n o n e t r a c k Set up the Locators* Select CYCLE by clicking on the button or pressing [Cl on the computer keyboard.

Table of Contents