Rain Bird COMMODORE 64/128K User Manual
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Rain Bird COMMODORE 64/128K User Manual

Rain Bird COMMODORE 64/128K User Manual

The advanced music system
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COMMODORE
64/128K
ADVANCED
THE MUSIC SYSTEM
D64 ATTACHED
TO THIS PDF

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Summary of Contents for Rain Bird COMMODORE 64/128K

  • Page 1 COMMODORE 64/128K ADVANCED THE MUSIC SYSTEM D64 ATTACHED TO THIS PDF...
  • Page 2 Philip Black (SYSTEM) SOUND/VMW/ ADVANCED EDITOR TMS KEYBOARD/ EDITOR/SYSTEM DESIGN Adrian Boot (ISLAND LOGIC) CONCEPT/SYSTEM DESIGN/USER MANUAL David Ellis (SYSTEM) CONCEPT/SYSTEM DESIGN/USER MANUAL Nicky Johns (ISLAND LOGIC) FILING/ INTEGRATION/DESIGN/ UTILITIES Geoffrey Ellis (SYSTEM) DESIGN/ SYNTHESISER Ewan Hayward (SYSTEM) ADVANCED LINKER JOEY (ISLAND LOGIC) ADVANCED MIDI...

  • Page 3: Table Of Contents

    CONTENTS AMS DEVELOPMENT TEAM INTRODUCTION EDITOR KEYBOARD SYNTHESISER MIDI THE PRINTER MODULE LINKER INDEX APPENDIX...
  • Page 4 ADVANCED THE MUSIC SYSTEM COMMODORE 64/128K...

  • Page 5: Introduction

    INTRODUCTION The Music System TMS is a comprehensive microcomputer-based music program for creating, editing, playing and printing music. The system allows easy input and storage of music which can then be played back through the Commodore 64 internal sound system, or through an external MIDI keyboard/synthesiser.
  • Page 6 Moving around the MUSIC SYSTEM THE MUSIC SYSTEM TMS CONTROL SCREEN - EDITOR ICON SELECTED. TMS is loaded from disk via the Commodore 1541 disk drive after typing LOAD“TMS”,8,1 and pressing RETURN. The Commodore 64 also allows you to enter LOAD“*”,8,1 (RETURN). After the Island Logic/System Copy- right screen has appeared the main TMS program will load automatically.
  • Page 7 The command line In each of the modules the command line provides easy access to the available functions of TMS. Any command line pop-up menu can be activat- ed by pressing one of the four commodore function keys, and de-activated by pressing the same function key.
  • Page 8 Pop-up/pop-down Files Values Commands Info Key signature F # 6 sharps Time signature Save Save Tempo Presto Resolution Expert Highlight bar Volume Filter SPACE Voice ↓ Down The menu scrolls in a loop, a broken line showing the top of menu. Tempo Presto Resolution...
  • Page 9 Files Values Commands Info Track Events 9999 9999 9999 9999 9999 9999 Free 9999 The FILES pop-up and the COMMANDS pop-up both expect you to activate a selected function by pressing RETURN. Often the action of pressing RETURN will produce one or more secondary pop-ups either as a second interactive window, or as simple messages or warnings.
  • Page 10 Midi files - Prefix x. Created via the MIDI module, and require an external midi keyboard and interface. Midi files are easily converted to TMS music files for use by the EDITOR and back to MIDI files for playback through a MIDI.
  • Page 11 load and press RETURN. After a short delay the file will be loaded into the module. If the filing system can’t find a file or encounters some other problem, a pop-up message will occur. Load sound Rename Save music m.sonata m.sonata m.rockroll m.rockroll...
  • Page 12 WARNING TMS may not function correctly if additional, or worse still exotic hardware add-ons, are connected to your Commodore 64. The disk filing system may not operate correctly when used in areas with a poor or fluctuation mains power supply. Large magnetic fields generated by some TV’s and loud- speaker systems could also create problems.

  • Page 13: Editor

    EDITOR The EDITOR module provides all the facilities of a wordprocessor; writing, displaying and editing music rather than words. The EDITOR can of course play the tunes as well! Tunes may be entered directly on the staves, played and edited using the very comprehensive facilities available within the EDITOR.
  • Page 14 The EDITOR features many powerful facilities for editing musical composi- tions. There are block move, copy and delete facilities just like most wordprocessors and even a notepad for storing sections of music for later use. The EDITOR also includes many MACRO editing facilities for the more advanced user.
  • Page 15 one of those voices. The window can be flipped between voices by pressing 1, 2, or 3. The notes in that voice can be scrolled through the window using [ and ]. You can also hear them as they scroll by using SHIFT-RUN/STOP. The diagram below shows the VMW looking into part of Voice 2.
  • Page 16 number on the left indicates the current voice being displayed on the VMW. If you flip between voices then the barmeter cursor will not move unless the new voice is shorter. You can move the barmeter cursor quickly through a tune using SHIFT-[ and SHIFT-].
  • Page 17 Volume and envelope These devices display the volume and envelope associated with the current note on the VMW. The volume setting is an additional volume and can only be used in voice 1. The overall (or global) volume is set from Values. The envelope number for the current note is changed using Z and X.
  • Page 18 It always appears at the end of a voice ready to be entered. The pitch, duration and envelope of this note can all be changed before it is entered. Envelope Duration <> <> Pitch ↑ Sound note Enter note RETURN Enter the note by pressing RETURN.
  • Page 19 SPACE and change the duration of the note so that the bar will be the correct length. The autobar and autotie parameters may be switched off in Values if necessary. Having entered some notes move to the beginning of the voice and play the notes in that voice by pressing SHIFT-RUN/STOP.
  • Page 20 Try adding a third voice in the same way as above but this time experiment with the envelope settings. Each note can have a different sound envelope attached to it. There are 15 envelopes available in sound set 1. Use Z and X to change the envelope number.
  • Page 21 transposing tunes from one key to another (see the section on key signa- ture for more details on transposition). Rests SPACE Switch The current note can be switched to a rest by pressing SPACE. A rest can be switched back to a note by pressing SPACE again. Whilst switched to a rest the duration can still be set using Q and W.
  • Page 22 Press R to turn the three notes back to a minim again. Once entered, the pitch, envelope (and volume) of any of the notes may be changed. You cannot change the duration! You can not delete any single note in a triplet… the entire triplet will disappear! Barlines cannot be inserted within a triplet.
  • Page 23 Repeats cannot be nested. However, the tune will not stop playing whatev- er you enter in the way of repeats, first and second time bars. Here are some examples of what will happen: plays A-B, A-B, B-C, B-C, C-D Note that the symbol at B acts as a Õ Ó where necessary plays A-B, B-C, B-C plays A-B, B-C, B-C, C-D, C-D The first time bar symbol (key 7) marks the start of a first time bar.
  • Page 24 assumed that you are first time through. However, if you have entered from another voice perhaps without a repeat section then you could quite likely be second time through. This feature allows for flipping between voices and ending back at the same point irrespective of repeats in any or all of the voices.
  • Page 25 Deleting notes – Delete left Delete right Notes may be deleted forwards or backwards from the cursor position. DEL deletes the current note and the notes to the left are pulled in by one space. If DEL is kept depressed the effect is to ‘suck in’ the notes from the left eventually arriving at the start of the voice.
  • Page 26 can not take account of what’s happening to the volume in voice 1 because of repeats, etc. In this case the actual volume is equal to the global volume plus the volume increment for THE FIRST NOTE in voice 1. It does mean that you are able to add dynamics to voice 1 and the rest of the tune will follow suit.
  • Page 27 < > Find marker left Find marker right If markers are set they are displayed under the bass clef as either | or } depending on whether the marker is to the left or right of the cursor. You can therefore always see at a glance where the markers are. One marker Cursor between Both marker...
  • Page 28 to be used for repeated rhythm tracks, bass lines, etc. and are especially useful in the SYNTHESISER sequencer, KEYBOARD and MIDI for real time backing tracks. A loop section is a section of a voice or whole voice which when played as part of a tune keeps on repeating until the whole tune has finished.
  • Page 29 The beginning of loop section marker which is implied in section 1 (start of voice) cannot be accessed since it belongs to the last note of the previous loop section. If Section is changed in Values the note cursor will move to the start of the specified loop section.
  • Page 30 THE EDITOR Command line Apart from the normal filing problem and status information, the Command line is used to set user parameters and access the many Commands available within the EDITOR. These are described below. Files f1 Apart from the loading and saving of music files and sound sets, the EDITOR has access to notepad files.
  • Page 31 Values f3 Files Values Commands Info Key signature F # 6 sharps Time signature Save Save Tempo Presto Volume Filter number Voice Autosound Autobar Save Autotie Play to Play and stay The key signature may be changed at any time in the EDITOR even when notes have already been entered.
  • Page 32 Filter number gives the overall or global filter for the tune from the set of 4 filters defined in the sound set. The filter may be set off or on for each voice. Files Values Commands Info Octave F # 6 sharps Filter Save Section...
  • Page 33 Normally voices or tunes are played to the end or playback is stopped by pressing RUN/STOP when you have heard enough. However, if Play to is set to marker then the voice or tune stops whenever a marker is reached in the current voice.
  • Page 34 Macro mode set The EDITOR macro facilities are provided to make editing of tunes quicker and easier. They are called macros because they can operate over many notes instead of one, as with the normal editing facilities. Whilst in macro mode altering the pitch (↑...
  • Page 35 Markers to ends sets the markers to the beginning and end of the current voice (or loop section) whereas Delete markers removes both of them from the voice. Accent music only operates when voice 1 is displayed on the VMW. It increases the volume increment for the FIRST note in each bar (between markers) by 1.
  • Page 36 Swap sound sets swaps the position of sound sets 1 and 2. The sound set names will also be swapped. These are displayed in Info. All envelope numbers in the tune now refer to the other available envelope set. The filter will also change.
  • Page 37 Check barlines and adjust any mistakes by hand. If a barline cannot be fitted correctly (even using ties) the note cursor will stop at the offending note and an error pop up displayed. The markers are not moved so you can try the command again after sorting out that particular problem manually.
  • Page 38 When the EDITOR transposes a tune it will first try and transpose the notes in the correct direction (either increasing or decreasing the pitch). If this is not possible because there are notes which would go outside the pitch range on the VMW then it tries transposing in the other direction. This is equivalent to transposing and increasing or decreasing the pitch by one octave.
  • Page 39 If you have not run out of room by now you will have one music file which may be played and saved as normal. Using the sequencer One of the uses of the sequencer in the SYNTHESISER Module is to create the right sounds for a piece of music after the notes have been entered.

  • Page 40: Keyboard

    KEYBOARD The KEYBOARD module provides an alternative method of entering music into The Advanced Music System (A.M.S.). The upper two rows of Q-W-E- R-T-Y keys on your Commodore 64 are used to emulate the black and white keys of a piano keyboard. Keyboard overlays such as the Sight and Sound™...
  • Page 41 The Keyboard Screen In common with the other AMS modules the Command Line at the top of the screen can be accessed via the four Commodore function keys. Com- mand Line options specific to this module will be described at the end of this section.
  • Page 42 The Metronome at the bottom left of the screen displays the current tempo in beats per minute (this maybe changed in the VALUES pop-up), and ticks from side to side accordingly. You may add a ticking sound to the metro- nome by setting “Metronome”...
  • Page 43 If the V.M.W. is up the current voice is displayed in an icon next to the Metronome at the bottom left of the screen. You may enter PRACTISE MODE by pressing RUN/STOP. If there is no music in the current voice (or if you are at the end of the voice), you can “practise”...
  • Page 44 Notice that the DIGITAL RECORDER device gives a visual indication of the current Keyboard mode by highlighting the appropriate icon. When the VMW is up, the relevant icon is displayed next to the metronome, together with the number of the current voice. THE COMMAND LINE (KEYBOARD) The general operation of the COMMAND LINE is discussed fully earlier in this manual.
  • Page 45 Resolution - This sets the minimum note duration that can be detected by the keyboard. The Keyboard does not allow you to play notes shorter than a certain duration so that your music will consist of proper notes and look reasonably tidy.
  • Page 46 Info f7 For display only - provides current status information, including the number of notes and bars in each voice. You may see here how many notes you have entered, how much free space (i.e. how many notes) you have left, and the names of the current music files.

  • Page 47: Synthesiser

    SYNTHESISER The SYNTHESISER module provides the means of creating and editing the sounds used in the EDITOR and KEYBOARD Modules. It also features a real time sequencer which allows tunes to be played back while changing or editing the sounds. Each sound is controlled by a set of parameters collectively called an envelope.
  • Page 48 The SYNTHESISER screen The SYNTHESISER module is selected from the control screen by high- lighting the SYNTHESISER icon and pressing RETURN. The screen con- sists of a number of basic devices; envelope number, waveform, filter number and envelope name together with the amplitude, sequence and mini VMW device windows.
  • Page 49 Envelope number This device displays the number of the selected envelope from the current sound set (1). The envelope parameters and filter associated with this envelope are displayed and may be edited. You can change the current envelope number at any time using Z and X. It is also included on the ‘circuit’...
  • Page 50 When highlighted the pulse width may be changed using Q and W. Some example pulse waveforms are given below. minimum pulse width perfect square wave (DC wave) intermediate pulse width Filter number The filter number device displays the filter associated with the current envelope.
  • Page 51 ADSR The block graph in the bottom right of the basic screen represents the amplitude shape of the sound. The devices below the graph show the four parameters that control the shape of the ADSR graph. Highlight the appro- priate parameter using [ and ]. Change its value using Q and W. Select device Attack Decay...
  • Page 52 duration of the note governs the time before the release phase starts. With a large decay rate and zero sustain level the sound level will possibly reach zero before the note has finished. In the other extreme a short note with a low release rate can continue to sound for much longer than the actual duration while the sound fades away.
  • Page 53 Select box Active playback voices ↑ SHIFT 1 2 3 Loop selection Envelope Filter number number If an envelope value box is blank (ie. off) that voice will play back using the original envelope values in the music file. These are displayed in real time by the Dynamic Envelope Device.
  • Page 54 Creating sounds - a quick guide Sounds can be designed on their own or in conjunction with the sequencer. This section deals with the basic method of creating simple sounds… dynamic effects such as tremelo, wahwah and phasing are converted later Press * to sound the current envelope.
  • Page 55 are equal (called a square wave) to ‘thin’ like an oboe when the blocks are almost entirely on one side (called a DC wave). Leaving the pulse width move onto the ADSR window. The graph shows the amplitude shape of the sound. As you increase or decrease the values of the Attack, Decay, Sustain or Release parameters, the graph and the sound change shape.
  • Page 56 The tune will automatically restart when all voices have finished. This gives you plenty of time to change envelopes and filters. You can access the Command line while the tune is playing but if meanwhile the tune ends it will not restart until you pop down again. Try popping up Values and changing Tempo or Voice 1-octave for instance.
  • Page 57 numbers you have set in the sequencer panel, otherwise you will not hear any changes. You can experiment with different envelopes for each voice and try turning voices on and off to hear the changes better (SHIFT-1 etc). If there is a filter on (a number appears in the filter number device) try turning the filter on and off in each voice.
  • Page 58 Pitch/pulse width DRE This DRE can sweep the pitch and/or the pulse width of the note. Pulse width can only be modulated if the pulse waveform is selected. There are separate devices for selecting whether the pitch and/or pulse width are to be swept.
  • Page 59 If the pitch reaches the upper pitch limited then it automatically folds down to the lowest pitch limit and vice versa. The pitch then continues to increase or decrease at the same rate. This effect is called foldover or wrapround. Pitch change with DRE active upper limit...
  • Page 60 DRE section repeats until end of note duration Filters Filters can alter the tone of a note by allowing only a certain range of frequencies to pass through. TMS allows you to define 4 filters to be used with the set of 15 envelopes. However, the CBM64 sound hardware only lets you use one filter for all three voices.
  • Page 61 The low pass filter allows everything below a certain frequency to pass through, cutting out most of the higher frequency sound. This means that high pitched notes might sound very quiet if heard at all! The high pass filter works in the opposite way. The band pass filter restricts the frequency range to near the filter frequency.
  • Page 62 er the noise waveform (white noise) can be filtered to give what is known as pink noise. Sweeping the filter frequency can produce dramatic sounds. The Command Line Apart from the normal filing operations and status information, the Com- mand line is used to access the many commands available from within the SYNTHESISER.
  • Page 63 Commands f5 Files Values Commands Info DRE up (down) Filter up (down) Copy envelope Swap envelope Copy filter Swap filter Zero envelope Zero filter Zero all envs Zero all filters Reset all envs Reset all filters Swap sound sets Exit Synthesiser DRE up (down) displays or hides the Dynamic Response Envelope.
  • Page 64 Use Copy filter in exactly the same way to copy filter parameters. The copy operations are very useful for making up a new sound set from envelopes and filters in other sets. The easiest method is to Zero all envs and Swap sound sets to get a ‘blank’...
  • Page 65 Info f7 The normal music file information is displayed. Use info to see which sound set you are currently using.

  • Page 66: Midi

    MIDI The Midi module provides a software interface between the Music System and an external midi keyboard/synthesizer. This module requires that a MIDI keyboard is connected to your Commodore 64 microcomputer via a hardware MIDI interface. AMS is configured to function correctly with most MIDI keyboard/synthesizers in conjunction with either the S.I.E.L.
  • Page 67 IMPORTANT The MIDI module does not have explicit channel assignment. The playing back of a track is through the same channel as it was recorded. When recording a track you must set the MIDI output channel on the keyboard to the one you want it to be played back on.
  • Page 68 PLAYING MIDI The MIDI module can be selected from the CONTROL SCREEN by high- lighting the MIDI ICON (SPACE bar) and pressing RETURN. The initial MIDI screen shows the MIDI TRACK device in the center of the screen just below the COMMAND LINE. Other devices occupying the same screen are the METRONOME (bottom right), the ENVELOPE device, (bottom middle), and the RECORD/PLAYBACK/EVENT device (bottom left).
  • Page 69 MIDI keyboard. Music is not saved. RUN/STOP exits practice mode. The COMMAND LINE (MIDI) Most MIDI operations can be controlled via the COMMAND LINE. Unlike the other modules AMS music (m.) files cannot be loaded directly into the MIDI module. Instead AMS voices are converted and assigned to MIDI tracks as the AMS music (m.) file is loaded.
  • Page 70 TRACK/VOICE ASSIGNMENT At this point a special TRACK/VOICE assignment pop-up appears to the right of the MIDI TRACK METER. You can use this device to tell the filing system which MIDI tracks to assign to which AMS voices. Use the Q and W keys to change the AMS voice and the SPACE bar to assign the MIDI track.
  • Page 71 MAKING MUSIC The easy way to check that your MIDI set-up is working is to load a MIDI (x.) file directly into the module and experiment with the various ways of playing the tune back through a connected external MIDI keyboard. 1.
  • Page 72 The MIDI TRACK device The MIDI module’s flexibility relies on the ability to display individual voices during RECORD and PLAYBACK operations as animated music within the VMW (Voice Monitor Window). The VMW is always associated with the midi track selected for recording. i.e. The ACTIVE RECORD TRACK. TRACK METER DEVICE ‘TAPE HEAD’...
  • Page 73 ENVELOPES In order to fully understand the MIDI module it is recommended that you experiment with other AMS modules. The EDITOR, KEYBOARD and SYNTHESISER all use ENVELOPES to describe different instrument sounds. These instrument sounds can be changed within each of the modules to provide an unlimited range of sounds.
  • Page 74 VALUES (F3) The Q and W keys can be used to increment or decrement any selected value within the VALUES pop-up. The TIME SIGNATURE and TEMPO can also be toggled to display their alternative notations using the ← key. Note that TIME SIGNATURE can only be changed while there is no music in the system.
  • Page 75 COMMANDS (F5) The currently highlighted COMMAND can be activated by pressing the RETURN key. DELETE TRACK will delete the current active MIDI track as set within the VALUES pop-up. You may use the COM 2 to 6 key pairs to change the ACTIVE RECORD TRACK.

  • Page 76: The Printer Module

    The PRINTER Module The PRINTER module allows the printing of AMS music (m.) files in various prints qualities on standard form feed paper. Both the Commodore and Epson range of printers are supported. Many Epson compatible printers will also work. Music is printed out in horizontal format, 1 - 3 voices. Lyrics can be entered or loaded from disk to be included with the print-out.
  • Page 77 The VMW (Voice Monitor Window) displays voice 1 of the music file, in exactly the same format as it will appear when printed out (i.e. including any spaces necessary to align with the bars in voices 2 and 3). The white marker in the text window indicates the position of the text cursor.
  • Page 78 Editing Lyrics You can type lyrics in both upper and lower case, directly into the text window. The white text cursor can be moved back and forth via the [ and ] keys. Use SHIFT [ and ] to move one bar at a time and RETURN to move to the start of the next bar.
  • Page 79 Characters may be deleted using the INST DEL key. Extra spaces may be inserted using SHIFT INST DEL. INST Delete character to left INST SHIFT Insert space to left of current character Note that the total bar width is not increased when you insert spaces in this way: the text in the current bar is simply moved over to the right, and if there is not room in the bar it will be truncated! Use the up arrow key (described above) if you need to actually extend the bar width.
  • Page 80 THE COMMAND LINE (PRINTER) The operation of the command line is much the same as the other AMS modules. Refer to the section earlier in this manual for a full description of the command line. FILES f1 LOAD Both music (m.) and text (t.) files may be loaded into the PRINTER module.
  • Page 81 VALUES f3 <> Change value Pop-up/pop-down Files Values Commands Info Printer type Epson FX–80 Print mode Hi–res Format Aligned Voice 1 Print Voice 2 Print Voice 3 Empty Lyrics Print Sections Form length 66 lines Auto line feed Page skip Output User port Printer type.
  • Page 82 Print mode. This allows you to select either High or Low print resolution. N.B. Some printers do not support different resolutions. Format. The music may be printed either with the bars in each voice aligned, or non-aligned N.B. Text (lyrics) can only be printed if the bars are aligned.
  • Page 83 COMMANDS f5 Files Values Commands Info Print music Delete text Start of text Exit printer Print music. This command starts the printing of music. All values should already have been set up. Use the RUN/STOP key to abort printing. Delete text. This will clear all the lyrics from the text memory, and clear the text window.

  • Page 84: Linker

    LINKER The LINKER module enables large compositions consisting of up to 26 separate music files to be played back as one piece of music. In this way tempo, key and time signature changes can be easily incorported into a composition. The music files can be created in the EDITOR, KEYBOARD or MIDI modules.
  • Page 85 The LINKER module can be selected from the CONTROL screen by highlighting the LINKER icon and pressing RETURN. The screen consists of two windows; the file list on the left and the sequence on the right. The file list displays any music files that have been loaded either as individual music files or together as part of a LINKER file.
  • Page 86 As you load music files keep an eye on the Free space displayed above the file window. You will be warned if a music file is too big to load. Having loaded a couple of music files you can enter these in the sequence window. Use Q and W to move through the file letters (in this case only a and b will appear) and press RETURN to enter the file in the sequence.
  • Page 87 Linker files Having loaded a set of music files and entered the sequence you may like to save the entire composition as one file ready to be loaded again for the next performance! The Save option in Filing allows the music to be saved as a linker file.
  • Page 88 Remove all files deletes all music files in the file list and Delete sequence has the same action as SHIFT-DEL. Exit Linker will exit back to the control screen as will COMM-HOME. Info f7 Files Values Commands Info FREE 2865 Notes Move highlight Bars...

  • Page 89: Index

    INDEX ADSR 23, 48, 49, 52 Absolute Macros Accent Music Accidentals Active Track Active Voice 13, 38, 40, 50, 68 Adjust Barlines 19, 28, 33 Amplification Amplitude 44, 48 Assignment 64, 66, 67 Attack 48, 49, 52 Audio Output 9, 64 Auto Linefeed 78, 79 Auto-scroll...
  • Page 90 Creating Sounds 51, 54 Current Note 12, 14 Cursor 4, 12, 13, 24, 75, 80 Cut and Paste 7, 64 D.C. Wave 47, 52 48, 50, 53 44, 51, 54, 55, 56, 58, 60 Decay 48, 49, 52 Delete File 8, 83 Delete Note 15, 22...
  • Page 91 Flats Flip Note Stem Foldover Form Length Format Disc Free Space 12, 72, 80, 83 Frequency 44, 46 Frequency Sections 54, 55, 56 52, 53 Function Keys Glissando Global Volume 14, 22 Hardware 9, 63 Hi-Fi High Pass 57, 58 Highlight Cursor 4, 83 Highlight Bar...
  • Page 92 Major Key Markers 20, 23, 24, 26, 30, 31, 32 Menu 4, 5 Merge Music Metronome 6, 39, 42, 64, 65, 72 Midi Channels Midi Files 7, 64 Midi In Midi Interfaces 63, 71 Midi Keyboard Midi Screen Midi Synthesisers Midi 63…72 Mini VMW...
  • Page 93 Playback 13, 16, 30, 38, 40, 49, 50, 52, 65, 68, 69, 83 Playing Midi Playing Notes Pop-down 4…9 Pop-up 4…9 Practice Mode 40, 65 Prefix 6, 7, 27, 66 Print Format Print Music Print Resolution 78, 79 Printer Screen Printer 73…80 Printers...
  • Page 94 Sections 13, 24, 25, 26, 29, 36, 43, 44, 50, 54, 79 Sequence 81, 82, 83 Sequencer 36, 44, 49, 50, 52, 53 Serial Port Set Macro 21, 30 Sharps Sound Files 6, 17, 33, 59, 70 Sound Note 15, 51 Square Wave 47, 52 Staves...
  • Page 95 Voice Monitor Window 11, 13, 16, 37, 38, 39, 40, 48, 65, 69, 72, 73, 74, 75 Voice 5, 10, 11, 12, 13, 16, 22, 29, 52, 59, 67, 79 Volume 5, 14, 22, 28, 31, 39, 40, 59 Wahwah 51, 54, 58 Warning Waveforms...

  • Page 96: Appendix

    APPENDIX On the reverse side of your disc is a utility to convert TMS files saved on cassette to disc AMS files. To load this utility, type LOAD “FILES”,8,1 <RETURN> The program will then load and run automatically. Press the f1 key on the Commodore to load a file from tape - the familiar TMS “Files”...
  • Page 97 The Soundsets Electro pop (included with Breaker) Hihat Accent Snare Bassdrum Scratch Syndrum Electro bass Lead 2 Worp 10 Lead 1 11 Attack 12 Burble 13 Lead 3 14 Lead 4 15 Tremelo Orchestral (included with Minuette) Violin 1 Violin 2 Cello Doublebass Clarinet...
  • Page 98 RAINBIRD SOFTWARE . WELLINGTON HOUSE UPPER ST MARTIN’S LANE . LONDON WC2H 9DL...

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