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F0Ξ05: [ BDEHIW} VY8 B V  @  /DE `E:D1:DUP.SYSERROR-SAVING USER MEMORY ON DISKTYPE Y TO X}STILL RUN DOS B;DE J V (` 9 V⪍ ઍ  -Y}LLu DEHILV 9 .l 9 .l  `` s$B VBHZ}I|DE V BLV nB,DE J V* \*` B V BLVDEHI BLVL[}1u H232435; 1 ;  hh@2 e1i1LHҍ 00) 08 109hh@ Ҡ2e\}1i1232435ޥ<<8q} 3E:}DISK OPERATING SYSTEM II VERSION 2.0SCOPYRIGHT 1980 ATARIA. DISK DIRECTORY I. FORMAT DISKB. RUN CARTRIDGE J. D ^}UPLICATE DISKC. COPY FILE K. BINARY SAVED. DELETE FILE(S) L. BINARY LOADE. RENAME FILE M. RUN AT ADDRESSF. LOCK F _}ILE N. CREATE MEM.SAVG. UNLOCK FILE O. DUPLICATE FILEH. WRITE DOS FILES9!&x#!7&p))'&X*./)L''-؆莟 `}R'S  vW DEHHI 1A#! @ ~0ɛ8A0.) ȅ 1 1i a}il ! 1L NO SUCH ITEMSELECT ITEM OR FOR MENU! 0 .{z:*{}.|~ 1 0 0 b}JB 18L^%|DLl%DIRECTORY--SEARCH SPEC,LIST FILE? # 0 0 n&|D! 1L NOT A DISK FILE c}N !B 1L " 1 !BDED:}:1BJ|DE 1DEBH d}I 1 h0ߢ 0.  0?詛 1 ~0YЛ 1 "L<" "L e} BL1TYPE "Y" TO DELETE...DELETE FILE SPECCOPY--FROM, TO?OPTION NOT ALLOWED COPYING---DN: f}# 0|D .L$A#B#C#JB|DE 1BHIDD#E 1D#0: B g} 1L B#C#C#B# B 1N#$0SYS1}:e#D# d# D# .d#ȽD# d# 𩛙d#X# 1,A# h}PdD#ELO- A.BJdD#E 1 1HH 0hh|DL^%1}:e# Lt% e#dD#EL% i} 1 0 . .0% 1L WILD CARDS NOT ALLOWED IN DESTINATION 0 A.|K@C You can see that the pattern repeats itself after the eigth pulse. To write this pat}tern, you would only have to plot pulses one through eight, place the cursor on the ninth pulse and press SHIFT and INVERSE. } The computer does the rest. Pressing the TAB key selects the length of the pattern that you are editing. The lengths rang}e from "FULL" to "SHUF" to "HALF." A FULL pattern contains 32 pulses. This is the mode used for most music and is the defau}lt value for all the patterns when the program begins. The SHUFfle mode is used for waltz patterns where there are three, in}stead of four, beats per measure. This mode sets the length to 24 pulses. The HALF mode retains the same timing scheme as t}he FULL mode, but is only 16 pulses long. This allows a finer degree of song control by offsetting the rhythms one measure, }making room for intros, fill-ins, etc. The length of the pattern can be defined as the timing "signature." A signature of }3/4 used for waltzes and shuffles would be the same as a length of 24 pulses (the "SHUF" mode), while a typical rock 4/4 sign}ature would be 32 pulses long (the "FULL" mode). Each pattern has its own individual tempo and signature. This allows you }to put a waltz interlude in the middle of a swinging jazz sequence, or to speed up a rock song during a hysterical instrument}al. The tempo for each FULL or HALF mode pattern ranges from about 37 Beats Per Minute (BPM) to about 300 BPM and can be inc}reased or decreased by pressing SELECT or SHIFT-SELECT respectively. The tempo reading for the SHUF mode is greater because }there are only 3 pulses per beat instead of 4. You may notice that the tempo changes in greater increments as the value incr}eases. This is because THE RHYTHM COMPOSER uses the Atari's built-in clock to keep track of time. This clock only changes e}very 60th of a second, so - at 4 pulses per beat - the finest control over beats per minute is 4/60 of a second long. When p}laying rapid music, this can be quite a long period of time. The only way to overcome this obstacle would be to use delay lo}ops in the program. This, however, could cause unpredictable results so I opted for the internal clocks to keep the beat ste}ady and reliable. Pressing T will call up the pattern data transfer window. (Whenever you select one of these windows, the} pattern drawing area will dim, indicating that you are no longer editing the pattern.) This function will transfer the data} of the pattern you are editing into the memory of any other pattern. The computer will check to make sure you want to do th}is before proceeding because it will write over anything that is already there. If you want to listen to hear the pattern y}ou are editing, simply press OPTION.SECTION 2: EDITING THE SONG Press ESCape to enter the song editing mode. The patter}n area will dim and the bottom window will display four lines of song data space. The song data indicates the order in which} the patterns that you have created will be played. Whenever you press START, the computer will start at the beginning of t}he song and play the patterns in the order you program until it either reaches a space, an "E", or the 128th block (a block i}s one pattern place). A space will tell the computer to go back to the beginning of the sequence. An "E" will cause the com}puter to stop playing and return to the pattern editing mode. If the computer reaches the end of the 128th block without a s}pace or an E, it will start over at the beginning. You may stop a song at any time by pressing any key. If you are just st}arting out, the song data should be set to play pattern number one over and over. You should see a "0" in the first place of} the song data, and nothing to the right of it. If there were an "E" immediately to the right of the "0" then the computer w}ould stop after playing that pattern. Use the arrows to move the cursor around the data windows, and press any number from }zero through nine to put that pattern in the song. Press the space bar or E to plot either of these. There are a number of}SECTION 3: DISK FUNCTIONS To find out what is on a data disk, just press C (for Catalog) when it is in the drive. The pa}ttern section will dim and the computer will request the type of directory you want. You may either choose a list of RHYTHM }COMPOSER files or a list of SOUNDESIGNER files. The screen will go blank for a second and then catalog of all the selected f}iles on the disk will be displayed. When the list is complete, you may press P to print it out or any other key to go back t}o the pattern editing mode. If there is a song on a disk that you would like to load, press L and you will be in the Load S}equences screen. The computer will ask you for the filename (which can be found using the Catalog function). The filename c}an be anywhere from one to eight characters long. Press RETURN after you have the filename typed. (If you press RETURN with}out typing anything, you will go back to the pattern editing mode.) The computer will then load the sequences into memory an}d return to the pattern editing mode. To save data, first press S to enter the Save Sequences Mode. You will then be asked} for a filename 1-8 characters long. If you enter a name that is already on the disk, the computer will ask you if it is oka}y to replace it. The screen will go blank for a moment, and then you will be back in the pattern editing mode. If you have }not received any error messages at this point, your data will have been saved correctly. To get sounds from the disk, first} find a filename you want from the catalog. Then press G to enter the Get Sound mode. Type the filename you have selected a}nd press RETURN. The computer will make sure it is there and then ask you where to put it (sound memory slots 1 to 6). Pres}s the corresponding number and the computer will load that sound into memory in that spot. Try substituting sounds for other}s and playing the same sequence. Pressing SHIFT-CTRL-D will load and run the DUP.SYS file in drive 1. This is for standard} DOS functions such as formatting blank disks for file storage, renaming files, etc. CAUTION: going to DOS erases the data i}n memory. Be sure to save before usng SHIFT-CTRL-D. Once you are done with DOS, you may directly return to either THE RHYTH}M COMPOSER or SOUNDESIGNER. First press L [RETURN]. Then type either "RHYTHM" or "SOUNDES" and press RETURN. After you hav}e gone to DOS once, all you have to do is press SYSTEM RESET to return to it. Pressing SYSTEM RESET before doing this functi}on once will simply cause the computer to cold start and boot any disk which is in the drive at the time. Pressing SYSTEM RE}SET at any time will erase the contents of memory.Warning! You're getting into the technical stuff!!!SECTION 4: PRINTING}The RHYTHM COMPOSER will print data out to a printer that is hooked up to your computer and is capable of printing 40 or mo}re columns. First, the data that you wish to print must be saved on disk. There is a BASIC file on the disk entitled "PRINT}OUT.UTL" that loads and prints standard RHYTHM COMPOSER disk files. Simply go to DOS, by pressing SHIFT-CTRL-D, and use func}tion O to move this file to any of your own working disks with DOS on them. When you want to print data, boot the computer w}ith BASIC installed and type: RUN"D:PRINTOUT.UTL [RETURN]and then follow the prompts within the program. If you want} to stop the printing process, press the space bar and you will be returned to the data selection menu.SECTION 5: SOUNDESIG}NER While in THE RHYTHM COMPOSER, press D to enter the Design Sound Dynamics mode. Press D again to load the SOUNDESIGNER}, being aware of the fact that whatever you are working on with THE RHYTHM COMPOSER will be erased from memory. The message,} "Please Wait" will appear and the program will load and run automatically. Once the program has loaded and the title appea}rs at the top of the screen (in the Command Bar), press the space bar to enter the "active" mode. Now you are free to choose} from the options that have replaced the title in the command bar. To choose an option, just press the first letter of that }option. The first five are the sound parameters themselves. They are represented as follows: A, Coarse Pitch; B, Fine Pitc}h; C, Volume; D, Voice; and E, which controls Filter and Clock Speed. More on these later. The next option, "Get," simply} gets a file from disk, decodes it, and then draws it in the parameter windows. The "Keep" function stores a sound on disk f}or later use with THE RHYTHM COMPOSER. When Keeping a file, you will be asked for a "Tag." This is what shows up in the sou}nd key during use with THE RHYTHM COMPOSER. The "Catalog" function (called by pressing *) displays all of the SOUNDESIGNER f}iles that are on the disk in drive number one. Press any key to scroll through up to 64 files per disk. "Hear" is a pretty} obvious function. It allows you to listen to what you're working on. The "New" function is very dangerous. It zeroes out }whichever area you select. After pressing N, you are asked if you want to "new" each separate parameter A-E, Omni (everythin }g), or None - just in case you didn't mean it. "ESCape" is even more dangerous. This will reboot the system, erasing every }thing in memory upon verification. It's perfectly safe, however, if you have already saved your sound and wish to go back to } THE RHYTHM COMPOSER to try it out. The parameters are fairly self-explanatory. Coarse Pitch gives you a broad general con }trol over the pitch of your sound, while Fine Pitch allows you to fine-tailor your sound. Volume controls when your sound is } on and how loud it is at that time. The Voice parameter may take a slight familiarity on your part with Atari sound. The }levels on the graph pertain to the "distortion" value in a standard BASIC sound command ("SOUND n,n,distortion,n"). A voice } your computer (if you have an XL/XE series computer, you must hold the OPTION button while turning on the power switch). Th}e program will load in a few seconds. Do not remove the Master Disk until the message, "LOAD COMPLETE" is displayed (the com}puter should also beep). You must reinsert the Master Disk when loading SOUNDESIGNER.THE FIRST DISPLAY SCREEN When the p}rogram finishes loading, the computer will beep. In a few seconds, the display screen will appear. There will be a graphic }of 10 is a pure musical tone, while a voice of 8 is what is called "white noise," a hissing sound which, at high pitches, may} sound like a steam leak and, at low pitches, may sound like an explosion. Generally, the usable voices are the even numbere}d ones. You can, however, make a speaker "pop" by using voice number 1. This is useful for producing a bass drum sound, whe}re the main element is a thrust of air. The last parameter, which controls the "AUDCTL" register, allows you to filter pure} tones. It will also change the speed of the clock which generates the pitch of the sound. Normally, the Atari sound clock <}representation of pattern number one in the center of the screen and a window at the bottom with the sound key, the pattern lC} special editing keys in this mode. Pressing SHIFT-DELETE will delete the data from the position of the cursor all the way t8} The disk contains 24 sample sounds that you may "Get" and examine. They are as follows, alphabetically:BASS Bass dr}umBASS2 Bass with a long decayBASSHAT Bass and high hat in one! BOOM A quick explosionCLAP Hand clapsCOWBELL} Is that Bessie comin' in?CRUNCH Watch your toes!DRIP Fix that faucet!HIHATC Closed high hat cymbalHIHATE Elec}tric high hat cymbalHIHATO Opened high hat cymbalHISS Useful for fade-insHITOM High pitched tom-tomLASER Duck}!LOTOM Low pitched tom-tomMDTOM Medium pitch tom-tomBHCONT BASSHAT continuedREST Take a breatherSNARE Sna}re drumSNARE2 Snare - school band typeSNARE3 Snare - high pitchSNARE4 Snare - low pitchSTATIC Juicy, staticy soun }dTAMB TambourineWOOD Wood block There are also sample sequences for you to load. They all have the same filenam!}e format, "DEMOx" where x is the demonstration number. The last sequence file, "CLEARALL," does just that! -- HELP"}FUL HINTS --If you happen to be writing a song that you have no beat for yet, you may want to follow these basic guidelines#}.First of all, write your general pattern, the pattern that is played throughout most of the song. Be conservative, if you$} write a real fancy basic pattern, there will be no impact when you want extra expression later.Next, transfer that pattern%} into another pattern memory. Now, in this new pattern, you can add fancy fringes to your pattern for fill-ins or "impovisat&}ionals." For intros or lead-outs, you may want to delete certain parts of your pattern.Before you write a beat, figure out'} the melody you will be playing along with it. This will make sure you create a beat with the right "attitude" for the song.(} You wouldn't want a break-dancing beat in a ballad, or would you? -- TROUBLESHOOTING -- If you are having probl)}ems with disk or printer functions, not to worry! Here is a list of all conceivable errors:130 - Nonexistent Device - Make*} sure your printer or disk drive is hooked up properly.136 - End of File - Somehow, what was supposed to be in the file is +}not. There is no recovery.138 - Device Timeout - Check the connectors to your printer or disk drive because it's not respo,}nding to the computer.139 - Device NAK - Some information was garbled along the way, try it again.140 - Serial Frame Erro-}r - This is a very rare error but is quite serious. It means that the communication from the device to the computer is garbl.}ed. If it happens more than once, have your equipment checked.143 - Checksum Error - More garbled info. Try it again.143}SILS BS`L,T"GL,T!GIL,T"G PS} BSIL,T BS`LIS BS`L?T EL]T0}ҠӠ TK B J`LsTk@kTj@jTEIk@DIj@ SI LlT LmT"G MoToT OnTnT#G BoTIPLU1}8!GPG G BLTP:T Ad GLU B }the Atari ("Pokey?" -that's the name of your Atari's custom sound chip). You can create some astounding effects by just fool?}ing around with all of the little idiosyncrasies found on the POKEY chip. If you feel the least bit frustrated while trying@} to design that awesome sound which you need, find one that sounds somewhat like it on the master disk. Use that as a startiA}ng point and simply alter it!which you need, find one that sounds somewhat like it on the master disk. Use that as a starti Full - You already have 64 files on that disk. No more room!170 - File Not Found - The file that you tried to load is notG}ength, and the pattern tempo. Your place in the pattern is denoted by brightly-colored braces and the pattern number is undeD}r the letters "PTN". The numbers that appear above the pattern are to help you keep your place while editing and have no musE}ical signifigance at all.numbers that appear above the pattern are to help you keep your place while editing and have no muse Rhythm Composer main screen.rsor and moving the data to the right one space to the left. Press RETURN to go back to th on that disk.eady have 64 files on that disk. No more room!170 - File Not Found - The file that you tried to load is notB-AUTORUN SYSB -FONT SETB'6DOS SYSB*]DUP SYSB3DOC 000B4DOC 001B:DOC 002BDOC 003DOC 004'DOC 005