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BԂԂԂH@J@jH@`H@<2""]INuakifpNuH@NuH@NuJ@j@`@?H@B@Nu"H@4B@Hg @f0<`@?B0 B]HNuafpNu@|@k <`D@ @cpNu JPjDNuH$fBA`RjDh 2< <`@2<@H@J@fAH@ @bQA @bYA @?bUAJ@kSAH@JjA0 B]HNu$(02A Ag"(jNufJfNua JNu"(f JfDNu@DNu?>Jf@ "tHAJAf @HB2BBHA AHAb Q@BJkS@ԂӁjGj B@"<t>Nu0"$a6(*Nu2""Nu2""Nu@TXJ? ?ry@ԚxK@ڢ!h5?ڢ!h5?ڢ!h5?@@NaN-INF+INFXmath by d'ART/ / o\H// ? o \H\I//!?!// ? //*?A 9V~g"@NJ@f(0 @f 3!c`$ @g @f3"c` o4C0 O$ _"_NupBB?<JPjWHW//ajPO0 ]HNu#V~Nur x@W1J x @W!P!P!P x@W1hJ x @Wf"P#xP#xPNur x@W1HJ x @W!P!P!P x@W1J x @W!P!P!P x@W1hJ x @Wf P!xP!xPNur x@W1HJ x @W!P!P!P x@W1J x @W!P!P!P x@W1hJ x @Wf o P!xP!xPNuyVNuH:v(Se:*g6$H&I(o(,܄ "a.M J"NNJ@gj(Se `&Rcґ` NL\Nu/ B@E>`R@Re$_NuH>&H&K:E>pe0fP/ 42p0I"L K$UN$_J@o2"L KN`&pЃr2NI r2NM/ "L N$UN$_J@o"L NNd/ "K N$UN$_J@o "K NNL`/ "L K$UN$_J@o"L KN2pf "N KN$`20t4M(`cV20t4/ "K N$UN$_J@m`2/ "L K$UN$_J@n 20t4`"L NN20t4™`bʹb/ "K N$UN$_J@l"K NN N r2NV(p0g N Nv6`L|Nu3>g #:N|Nu//O4UB|"bBJ@j < fD@-CtH@B@H@&HC;0(RBH@B@H@fQBO _&Nu3!c`0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ//"4UB|"bZC"t&HCJCf&HC;0NRBH@B@H@f`$?&8BCHC06H@0HC;0&RBJf8QB" _&Nu3!c`0123456789abcdefghijklmnopqrstuvwxyz/ GV g/ &S?<INA\O`GV g/ &S?<INA\O`&_NuJ@kNuD@Nu$HBJBf$HBJBfNuHBЂNuHBЂNu$HBJBf($HBJBf H@B@H@NuB@H@HB0@0H@0H@Nu AH@r2B@tЀӁd҈рӁQF@Nu$jD BJjD$HBJBf"$HBJBf $jDNuHBЂ$jDNuHBЂ$jDNu$jD"BJjD$HBJBf4$HBJBfH@B@H@$ jDNuB@H@HB0@0H@0H@$ jDNu AH@r2B@tЀӁd҈рӁQF@$ jDNu"@$jDJjD$HBJBf.$HBJBfB@H@$ jDNuB@H@HB0B@H@$ jDNu A"B@H@HABAtҁрdЈӁрQ$ jDNu/ Hz^?<?<NMPO/Hz?<&NN\O?<?<NMPO$_Nu OJx@3V1B x@f1J x@fp!PNu.H3 VNu//??<?NAO Nu?<NA/?<NA\ONu?/?<NNAPONu?<NATONu?</NATO @Nu?<ONATONu??<NAXONu??<>NAXONu/?<9NA\ONu/?<HNA\O @Nu/?<;NA\ONu/?<ANA\ONu//??<@NAO Nu/?< NA\ONu/ /??<VNAO Nu?/?<6NAPONu?/?<GNAPONu?/?<M\kz#2AP_n}$3BQ`o~%4CRap??????m< UNTITLEDZ0\ZMnJdx\ZAXD\~   ((*+-.)((.(,(1(0/.&"#$%  !`[1][Sorry, there was no Help|File on the Disk when|AVALON was started!][CANCEL]X:\ A B H CC# DD# E FF# GG#m1n2o3j4k5l6g7h8i9[1][Sorry, AVALON only works|with 640x400 Pixels in|monochrome Mode!][ ABORT ][3][Please insert Disk 1.][ OK ]AVALON\AVALON.HLP[3][Please insert the|Help File Disk.][ OK |CANCEL]AVALON\AVALON.SET??@[2][Some Samples were modified,|but not saved.| |Quit the Program nevertheless?][ YES | NO! ][1][Your System is externally|synchronized!][ OK ][1][Your System is already|running!][ OK ][3][Please insert your|Data Disk again.][ OK ][1][Sorry, there is no entry|for that in the Help File!][CANCEL][1][Reset Device?][ YES | NO! ][3][Device not available!][CANCEL][3][There is no Sample Data|in this Place.][ OK ][1][Sorry, but you can not|WRITE on your DIGITAL IN.][ OK ][3GFDFD][The Destination Sample was|modified, but not saved.|Load the Sample nevertheless?][ YES | NO! ][1][Sorry, but you can not|copy Disks.][ OK ][1][Sorry, but you can not|transfer the Sample Data|directly.| ][ OK ][2][You can only format Disks|using Drive A: or B:.][ OK ][1][Sorry, but you can not|send multiple Samples|at a time.| ][ OK ][1][Sorry, but the CLIPBOARD|can only hold ONE Sample.][ OK ][3][The Destination Sample was|modified, but not saved.|Get Sample nevertheless?][ YES | NO! ][1][Sorry, but you can not|get multiple Samples|at a time.][ OK ][3][There is no Sample Data|on the Clipboard.][ OK ][1][Sorry, but you can only copy|the Clipboard to Samples.][ OK ][0][ TRASH Information | | You can not open the TRASH | because of the smell.| ][ OK ][1][Sorry, but you can only|input MONO or STEREO Sounds.][ OK ][1][Sorry, but you can not|transfer the Sample Data|directly.| ][ OK ][1][Sorry, but you can not|ERASE your DIGITAL IN.][ OK ][1][YES, this is the|DIGITAL IN Icon.][ OK ]Save Settings to DiskOKAVALON ___________\**.*\[1][Disk Information for | |Total Space: KBytes|Free Space : KBytes|Used Space : Kbytes][ OK ][3][Do you really want to|erase "" ?][ YES | NO! ][3][Do you really want to|create a new folder|named "[1][File: | |Time: |Date: |Size: <1 KByte(s)][ OK ]r,r1r5r:r?[1][ Bank Load:|Could not read Sample!| |Name: XXXXXXXX][CANCEL]Loading: XXXXXXXXSaving: XXXXXXXX [2][ Bank Save:|Could not write Sample!| |Name: XXXXXXXX][CANCEL][3][Insert Disk into Drive X:.][ OK |CANCEL][1][Successfull formatting|of XXXXle-sided Disk|in Drive X:.][ OK ]Sample InformationClipboard Information[2][Loop#X Start > Sample End!][ OK ][2][Loop#X Start < Sample Start!][ OK ][2][Loop#X End > Sample End!][ OK ][2][Loop#X End < Sample Start!][ OK ][2][Marker#X > Sample Length!][ OK ][3][Sorry, there is not enough|Memory left to copy the|entire Bank.|Samples copied by now: X.][ OK ]%Scale msecLinearRename File:Erase File? New Folder? Έ 0qWо pо/ ʶ/б`̏qyر 65;c< Dppְ' nҰZ dp.SMP.SD.SPC.SET.*[2][Some Samples in this Bank were|modified, but not saved. Load|the Bank nevertheless?][ YES | NO! ]Import Sample Bank from DiskIMPORTLoad Sample Bank from DiskLOAD*.SD*.SMP*.*Export Sample Bank to DiskEXPORTSave Sample Bank to DiskSAVE[2][ Unspecified Error.][CANCEL][2][ Drive not ready.][CANCEL][2][ Unknown command.][CANCEL][2][ CRC error.][CANCEL][2][ Bad Request.][CANCEL][2][ Track not found.][CANCEL][2][ Unknown Media.][CANCEL][2][ Sector not found.][CANCEL][2][ No Paper.][CANCEL][2][ Write error on|output disk.][CANCEL][2][ Read error on|input File.][CANCEL][2][ Interal Error.][CANCEL][2][ Write protect on|output disk.][CANCEL][2][ Disk has been changed!][CANCEL][2][ Unknown device.][CANCEL][2][ Bad sectors.][CANCEL][2][ Insert disk and try again.][CANCEL][2][ Unknown function#.][CANCEL][2][ File not found.][CANCEL][2][ Path not found.][CANCEL][2][ Too many Files open.][CANCEL][2][ Illegal Access.][CANCEL][2][ Illegal File Handle.][CANCEL][2][ Not enough Memory.][CANCEL][2][ Illegal drive.][CANCEL][2][ No more files.][CANCEL][2][ General Error.][CANCEL][0][FORMAT Disk| |Single or Double-Sided|Disk?][SINGLE|DOUBLE|CANCEL]Formatting the Disk...[1][The Disk is already|formatted !| |Reformat it ?][ YES | NO! ][3][Do you really want to|remove this Sampler from|your Desktop?][ YES | NO! ][2][Sample Rate > 65535Hz!][ OK ][2][Sample Rate < 5000Hz!][ OK ][2][Sample Start > Length!][ OK ][2][Sample End > Length!][ OK ][2][Sample End < Start!][ OK ][2][Format < 8 Bit!][ OK ][2][Format > 16 Bit!][ OK ][2][This Sample was modified, but|not saved.|Erase the Data nevertheless?][ YES | NO! ][2][The Destination Sample was|modified, but not saved.|Copy the Data nevertheless?][ YES | NO! ][3][Sorry, there is not enough|Memory left to copy this|Sample.][CANCEL][2][Some Samples in this Bank were|modified, but not saved. Erase|the Bank nevertheless?][ YES | NO! ][3][Some Samples of your Desti-|nation Bank were modified,|but not saved.|Copy the Bank nevertheless?][ YES | NO! ][3][There is no free Sample Memory|in your Destination Bank any|more.][CANCEL][3][Sorry, there is not enough|Memory left to copy the entire|Bank.][CANCEL][3][There is no Sample Data|on the Clipboard!][CANCEL][2][There is no Sample Data|in this Place.][CANCEL]Import Sample Data from Disk Import Sample Data from Disk Load Sample Data from Disk Load Sample Data from Disk Import Clipboard from Disk Import Clipboard from Disk Load Clipboard from Disk Load Clipboard from Disk Stereo Import: Left Sample? Stereo Import: Left Sample? Stereo Load: Name Left SampleStereo Load: Name Left SampleStereo Import: Right Sample? Stereo Import: Right Sample? Stereo Load: Name Right SampleImport Left Stereo Clipboard Import Left Stereo Clipboard Load Left Stereo Clipboard Load Left Stereo Clipboard Import Right Stereo ClipboardImport Right Stereo Clipboard Load Right Stereo Clipboard Load Right Stereo Clipboard Reading Sample Data...[2][Sorry...| |...can not identify|that file!][CANCEL| LOAD ][1][Length of File = 0!][CANCEL][1][Not enough Memory to|load Sample.][CANCEL]Export Sample Data to DiskSave Sample Data to Disk[3][There is no Sample Data|in this Place.][ OK ]Export Clipboard to DiskSave Clipboard to Disk[3][There is no Sample Data|on the Clipboard.][ OK ]Export Stereo: Left Sample?Stereo Save: Name Left Sample[3][There is no Sample Data|in the LEFT Place.][ CONTINUE |CANCEL]Export Stereo: Right Sample?Stereo Save: Name Right Sample[3][There is no Sample Data|in the RIGHT Place.][ OK ]Export Left Stereo ClipboardSave Left Stereo ClipboardExport Right Stereo ClipboardSave Right Stereo Clipboard[3][There is no Sample Data|on the right Clipboard.][ OK ][3][Warning...| |This File already exists!|Overwrite old Data on Disk?][ YES | NO! ]Writing Sample Data...[1][Could not save Clipboard.|Check free Disk Space.][CANCEL][1][Could not save Sample.|Check free Disk Space.][CANCEL]Select Sample to RenameRENAMESelect Sample to EraseERASEType in the Name of new FolderCREATEdd??@ Set Split[3][The Sample in your active|window was modified, but|not saved. Load Spectrum|nevertheless?][ YES | NO! ][3][Clear the UNDO Buffer?][ YES | NO! ][3][Clear the Clipboard?][ YES | NO! ][3][Internal Failure:|Can not open new Window.|Please report this to|STEINBERG. Thank you!][ OK ][1][You can not use the|Block Options in Loop|Split Mode.][ OK ][1][You first have to define|a Block to use the Block|Options.][ OK ][2][Loop End is too close|to Sample Start!][CANCEL][2][Loop Start is too close|to Sample End!][CANCEL][3][Reverse the Sample?][ YES | NO! ][3][Truncate the Sample?][ YES | NO! ][3][Truncate Sample before/after...][START| END | BOTH ][3][You can only draw in|1:1 (=Draw-)Resolution!][CANCEL][1][Resample the Sample?][ YES | NO! |EDIT!]StEn SS RR L3L3L4L4L5L5L6L6L7L7L8L8 1 2 3 4 5 6 7 8 #$0 <|ay< |xh   ?8<>600 ????????   ;{x800 ?????????   ;{x800 cc``aa``{{   ~???x8<>00 cc`c`cc``x`xh   x?x8066>>00 ccccc``{{   ?x8>>0<>00 accccc`{y   ??x8>0<>600 cc```aayy   ?>?x8>> 00 acc`aac`{y   >?x8>6600yqqyyy````p``~`|ys```````~`xx~````gdd````|||````g`p`~````p```g```f```p````~`|yyyyp``f`ppf```p@`px|~x}H ??V  ?? V???? 0x?0H @ Abtx ??????UeO?e=Xji#puzoji#paeo1UUUU9rU14Q_]*Ԙv}>UG iEEmO:  52WilIO GŪ=ei)YUY]4>O (Maximum Mode)(Limiter Mode)[1][Number of Samples which had|to be cut: _________.|This is XXX% of the selected|Range.][ OK ][3][Optimize Block up/down to |the Value of XXX% ?| | ][ YES | NO! |EDIT!][3][Optimize Sample up/down to|the Value of XXX% ?| | ][ YES | NO! |EDIT!][2][Loop Start is too close|to Sample Start or|X-Fade Range too wide!][CANCEL|EDIT!][2][Loop End is too close|to Sample End or X-Fade|Range too wide!][CANCEL|EDIT!][3][X-Fade this Loop Point?][ YES | NO! |EDIT!][3][Not enough Memory to|X-Fade Loop.][ OK ]X-Fading Loop...[3][Find Loop Point?][ YES | NO! |EDIT!][1][There is no Block|defined!][CANCEL]Searching Loop-Point...[2][Block End > Loop End!][CANCEL][2][Block Start < Loop Start!][CANCEL][3][Copy the Block to|the Clipboard?][ YES | NO! ]Copying Block to Clipboard...[3][Cut the Block to|the Clipboard?][ YES | NO! ]Cutting Block to Clipboard...[3][Erase the Block?][ YES | NO! ]Erasing Block...[3][Reverse the Block?][ YES | NO! ][3][The Clipboard does not|contain any Data!][CANCEL][3][Insert the Clipboard at|the Block Position?][ YES | NO! ]Inserting Clipboard...[3][Overwrite the Block|with the Clipboard?][ YES | NO! ][3][Negate the Block?][ YES | NO! ][3][Add (+) the Clipboard|to the Block?][ YES | NO! ][3][Subtract (-) the Clipboard|from the Block?][ YES | NO! ][1][The Frequency Domain Editor|only works with Mono Samples.][CANCEL][3][Analyze the Block?][ YES | NO! ][1][Block Start too close|to Sample End.][CANCEL][1][Block too small.|(1024 Samples min!)][ EXPAND |CANCEL][3][Not enough Memory!| |Clear UNDO Buffer?][ YES |CANCEL][3][Sorry,| |there is not enough Memory|left to analyze this Block!][CANCEL][1][Filter the Sample?][ YES | NO! |EDIT!][1][Filter the Block?][ YES | NO! |EDIT!][1][Filter Cutoff Frequency|> Sampling Rate/2!][CANCEL|EDIT!]Filtering the Sample...Filtering the Block...[3][The Clipboard busts the|Block on the Screen.][ OK |LIMIT|CANCEL][3][Not enough Memory left.| |Please erase a Sample you|do not need anymore or buy|another Megabyte of RAM.][CANCEL]Overwriting Block...Adding Clipboard...Subtracting Clipboard...[2][There is no Data on|the Clipboard!][CANCEL][3][Fade In the Sample?][ YES | NO! |EDIT!][3][Fade In the Block?][ YES | NO! |EDIT!]Fading In Data...????[3][Replicate the Block?][ YES | NO! |EDIT!]Replicating Block...[3][Fade Out the Sample?][ YES | NO! |EDIT!][3][Fade Out the Block?][ YES | NO! |EDIT!]Fading Out Data...????Reversing Data...Negating Block...[3][You have chosen the Factor|1,00. This will not change|the Sample Data!][ OK ]Resampling Sample...Optimizing Data...?Truncating Sample...[1][Sorry, can not UNDO.][CANCEL] X&X : Mono X&X : Stereo Clip: Mono Clip: Stereo [1][There is no second Sample!][CANCEL][1][The other Sample has|already been opened|for MONO Editing!][CANCEL][2][The Lengths of the two|Samples are different...][ OK |CANCEL][3][Erase the left Sample?][ YES | NO! ][3][Erase the right Sample?][ YES | NO! ][1][The two Samples are|different!][ OK ][1][The two Samples are|the same!][ OK ][1][Copy the left Channel|to the right one?][ YES | NO! ][1][Copy the right Channel|to the left one?][ YES | NO! ][1][Re-Enveloping only works|with MONO Samples!][CANCEL][3][Re-Envelope the Sample|unsing this Shape?][ YES | NO! ]Re-Enveloping Sample...[3][You have reached the|Sample Start Point!][ OK ][3][You have reached the|Loop End Point!][ OK ][3][You have reached the|Loop Start Point!][ OK ][3][You have reached the|Sample End Point!][ OK ][3][You selected a Position|after Loop End!][CANCEL][3][You selected a Position|before Loop Start!][CANCEL][3][You have reached the|Zoom Limit.][CANCEL][3][Hide Block Marks?][ YES | NO! ][1][Sample Start must be|before Sample End!][CANCEL][2][Sample End must be|behind Sample Start!][CANCEL][2][Loop Start must be|behind Sample Start!][CANCEL][2][Loop Start must be|before Loop End!][CANCEL][2][Loop End must be|behind Loop Start!][CANCEL][2][Loop End must be|before Sample End!][CANCEL] Auto Correction Handling: Normal Handling: Expert Y-Scale: Percent Y-Scale: Value X-Scale: Real Time X-Scale: Words Show 'Steinberg' Hide 'Steinberg'X:\DIGTL IN      [3][There are no Samples|on Drive X:!][CANCEL][1][Free Memory < 100ms!][CANCEL][1][D/A Board Digital In|Timeout Error!][ OK ][1][Copy the Block?][ YES | NO! ][1][Insert the Block?][ YES | NO! ]Copying the Block...Inserting the Block...Scanning the Disk...________[2][ Fatal Error:|Can not open Sample!][CANCEL]\_____________*.SMP*.SD*.*\[3][You have to keep open|at least one Window!][ OK ][3][Internal Error:|No Windows left!][? WHY ?].m-$U~PxrImjhYd`\NXWEURPMkKIHFDB@@?(=<:9$8x765U4,32200-+)(&f$#"I! <mCjSUl3     !"#$%&'()*+,-./012 !"#$%&'()*+,-./012Load Spectrum from DiskLOAD[1][Sorry...| |...not enough Memory|left to load this|Spectrum!][CANCEL]Loading Spectrum...[1][Sorry...| |...this is no Spectrum|File.][CANCEL]Save Spectrum to DiskSAVE[1][Warning...| |...this Spectrum exists.|Overwrite old Data on Disk?][ YES | NO! ]Saving Spectrum...[1][Warning:| |Could not save Spectrum!|Check free Disk Space.][ OK ]Processing 3D Filter...@Processing Threshold...?ѷXe,Processing Enhancer...@ @[1][Depth=0! This will not|change anything!][ OK ]Processing Spectral Dynamic...@?@ P@ P?@ @@ @@ @@ @Processing Spectral Animator..@ @@ @@ @ @@@@@@@ @@ @@@ @@ @[1][The Spectrum will not|be shifted.][ OK ]Processing Pitch Shifter...@ @Checking & Crunching...@?\(??@$@ @ @ @ @ @ @ @ @ @ @ ?tft=msf=Hz?Ϳ?Ϳ?Ϳ?Ϳ@ڢ!wN?ڢ!wN@ڢ!wN?ڢ!wN?ڢ!wN@??@ڢ!wN@@ڢ!wN@?@ڢ!wN@ڢ!wN@ڢ!wN???????3333333@? =p ? =p @?@START FREQEND FREQ0[%][dB]UUUFUjSTART TIMEEND TIMEUUT»V!Checking & Crunching...[1][Spectral-Data's are|all zero!][CANCEL][1][The old Spectrum was modi-|fied, but not saved. Load|new Spectrum nevertheless?][ YES | NO! ][3][Quit Editor?| |Changes will be lost.][ YES | NO! ][3][Use this Rubberband?][ YES | NO! ][3][Use the 3D-Filter?][ YES | NO! ][3][You have reached the|START Time.][CANCEL][3][You have reached the|START Frequency.][CANCEL][3][You have reached the|END Time.][CANCEL][1][You have reached the|END Frequency.][CANCEL][1][You can only define a|rubberband in 2D mode!][ OK ][1][You can not define a|rubberband in 2D zoom|mode!][ OK ][1][The 3D Zoom is not|implemented in V1.0!][ SORRY ][1][Resynthesize the|Spectrum?][ YES | NO! ]@@@Processing Rubberband...[1][Warning:| |An overflow has occured.][ CLIP |CANCEL]@FP#('= N V"lzDMMA_SAMPPROPHET2AKAI1000EMU Emax~~~~~}~~|** AVALON **WcccW~G H-- (Free) --0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ#+-.0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ#+-.0123456789 abcdefghijklmnopqrstuvwxyz=[2][MIDI Timeout Error!][CANCEL][2][MIDI Data Error!][CANCEL][2][Sample too big!|Out of Memory.][CANCEL][2][MIDI Communication|Error!][CANCEL][2][No enough Destination|Space in Roland Sampler!][CANCEL][1][Successful Sample|Data Transfer!][ OK ][1][EPS does not accept|the Request!][CANCEL][2][Can not change Parameters!][ OK ][2][Ensoniq EPS does not|accept the Dump!][CANCEL][3][Sorry, Prophet has not|enough Memory!][CANCEL][2][Can not read the|S1000 Sample Header.][ WELL ][1][Your Sampler does not|accept the Dump!][CANCEL][2][Can not read the AKAI|S1000's Sample Header!][ OK ]** AVALON **DpDppDptDprDpsDpq~ ~~~~}~G@G @SoundworksPc 2c@2AAAB[1][Successful Sample|Data Transfer!][ OK ][3][AKAI S900 does not|accept the Sample Dump !| |(Check free Memory.)| ][CANCEL][2][Can not read Sample|Parameters!][CANCEL][1][Sample Length=0!][ CANCEL ][1][Not enough Space|in your Roland Sampler!][ CANCEL ] ::<x,t=000000t=000000 AVALON Editor Zoom Mode Block Mode Block Action Stereo Options Overview Mode Split Loop Y Zoom In Show Sample Info Play Sample/Block Y Zoom Out Set Points Set Markers Fade Out Sample Reverse Sample Fade In Sample Truncate Sample Optimize Sample Resample Sample Filter Sample Re-Envelope Sample Draw Sample Copy Block Cut Block Erase Block Fade Out Block Reverse Block Fade In Block Insert Block Overwrite Block Negate Block Add Block Subtract Block Optimize Block Replicate Block Filter Block Analyze Block Mono/Stereo Switch Edit Left Sample Edit Right Sample Erase Left Sample Erase Right Sample Compare L&R Sample Copy LR Sample Copy RL Sample Set Sample Start Set Sample End Set Sustain Start Set Sustain End Set Release Start Set Release End Set Loop #3 Start Set Loop #3 End Set Loop #4 Start Set Loop #4 End Set Loop #5 Start Set Loop #5 End Set Loop #6 Start Set Loop #6 End Set Loop #7 Start Set Loop #7 End Set Loop #8 Start Set Loop #8 End Set Marker #1 Set Marker #2 Set Marker #3 Set Marker #4 Set Marker #5 Set Marker #6 Set Marker #7 Set Marker #8 Split Sustain Loop Split Release Loop Split Loop #3 Split Loop #4 Split Loop #5 Split Loop #6 Split Loop #7 Split Loop #8 Find Loop Point X-Fade Loop PointExit Loop Split Mode@@@????@???@@???@???@@ [3][A Distortion has occured|while filtering.][ OK ][3][A Distortion has|occured.][CANCEL] @@@@@@????@?@?@@@@@@????@?@?[1][Reset Rubberband?][ YES | NO! ][3][Use this Rubberband?][EDIT!| YES |STORE][1][No more Mover available!][CANCEL]@IAnalyzing...Resynthesizing...@@?@@ ?@@ڞF>?@@ ?@ ? :AHOVav*@Pfw#5G^p-@Qfy '>Sh}3IWl(;Obn3HYl(3?JVamx 0D[q5Kaw0>O_hqz*7DQX_fmr|   &(./025BDJKLNQTUVWXYZ[\hijklmnopqrstuvwxyz{|.ADUVWabcnopz{|  ()*678EFGNQ[\]ky  %&'4>?@FImnox%123=Q[ey#-AKUis} )5?IU_iu<[z4Sr$.8NXbx 24Fu-?n&8gy >HKbcdhijrst|}~   '(),-.178EFGJKLOUVcdehijmst!T"$*06BELSZ`lrx~ '+/258;>ACFILNUXghiy{$%&^ '5CR`n} )7ETbp   +6DKRS``>`*@6@*a@6 @*9@@6@*@2'@ c@6CF3`D()@6S@*@6@**T@6P@*P@6 @*@6D`+ ```>`*@6@*a@6 @*9@@6@*@2'@ c@6CF3`D()@6S@*@6@**T@6P@*P@6 @*@6D`+ `?????????????????????? @`@X@v>.t>.@>.@ @`@X@v#t#@#@ @`@X@v>.t>.@>.@ @`@X@v#t#@#@ @`@X@v>.t>.@>.@ @`@X@v#t#@#@ @`@X@v>.t>.@>.@ @`@X@v#t#@#@??,<4$,$4<,,44,,44,,44,,44+5UUT*5*l5N4*,5N4*,5N4*,5N4,??,<4$,$4<,,44,,44,,44,,44+5UUT*5*l5N4*,5N4*,5N4*,5N4,??<<<<<<<<<<<<<<<<<|?????    '}l ' & ' &ݷp ' A 'B D &H P ` ?  ??????????????????????????PPPx=@_PP_@x=PPP???@ " R@)@@6@"@6)A A#/# ~?1  D" D" D" D" D D Dr D" D" D" D" D" D" D" D" D" D" D" d& ``C4t@I_@Odd$ "`2`2   @/  / / ! ! # ! @@@@@8@p@@@@@@@@@@@@@@@ @b@"@@@@@@@@@@@@@@@@@@>@$@(@0@@@@@@@@@8@p@@@@@@@@@@@@@@@ @b@"@@@@@@@@@@@@@@@@@@>@$@(@0@@@@@@@@@8@p@@@@@@@@@@@@@@@ @b@"@@@@@@@@@@@@@@@@@@>@$@(@0@@@@@@@@@8@p@@@@@@@@@@@@@@@ @b@"@@@@@@@@@@@@@@@@@@>@$@(@0@@@@@@@@@8@p@@@@@@@@@@@@@@@ @b@"@@@@@@@@@@@@@@@@@@>@$@(@0@@@@@@@OO@0@0@0@0@0@0@0@0@?@?@@@@@@@?@?@0@0@0@0@0@0@0@0OO@@@@@@AAAAAAAAAAOO@@@@@@OOAAAAAAAAAA@@@ττττ000000003τ00000000ÄÄ00000000DŽ'00000000?00000000?300000000ττττ0000000033000000000$$0x$x$0$$$$$$$<|```yyaaa}=DDDDDDDDDD  44DDDDDDDDDD 4 4 t|D~DDDDD~|DDDD4444`D`DllD~D~ D D  DDDDdddddd~D~D``D|D~DD~|DDDD44>D~D``D|D~fDfD~?0) @A  BC08 DE  FG0* HI ! JK0(LM0(NO0(cd ef gh ij kl mn op qr st uv wx yz  {|  }~                            *+,-./ 012 345 678 9:; <=> ?@A BCD EFG HIJ KLMNOP QRS TUV WXY Z[\ ]^_ `ab efg lmnopqrstvwxyz{}~    $                                   //// !/"#$/%&'/()*/+,- *./0 *23456789:;<=>?@ ABC DEFGHI JKLPQR STUYZ[ \]^bcd efgklm noptuv wxy}~     33        p 88!"#$%&'()*+,-./0123456789:;<=>?@ABCDEFG PQRSTUVWXYZ[\]^_`abcdjklPP     2P        !        2"1#$%&'() *!+",# -$ .% /& 0' 1(!)3; 4*5+6,7-8.9/:0;12 2 P P 8 3 4 5  6  7 8!  9* :2 nP ;<=>?@A B CDEFGHIJ. -!K"L#M$N%O&P'Q(R)S*T +U ,V -W X ?/>0Y1Z2[3\4]5^6_7`8a9b :c ;d <e =f >g.hR@Q AiBjCkDlEmFnGoHpIqJrKs Lt  Mu Nv  Ow Px  Qy ?z `S_# T{U|V}W~XYZ[\] ^ _ R nam, bcdefghijk l m `  oz4 pqrstuvwxy z n &APA %       $ * 1       $+1      ( 0 8        ! " #$% &! "q   #$  %&   $    &  $        " &  $     & & & $    " &     $    & &  $    " &   $      &   & $    " &   $     & $     "                  '  q &'()* + ,  -   q ./012 3 4  5  6 7 8 9:;<=>?   ! q  ! 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A  QHQIQJQKQL QM QN QO " #' )$(A %Q&Q'Q (Q#Q.*-A' +Ae,Af-Ag)Ah/i+'4< -<NXmzҔH\p*ݞX@n(VxhXH8(xph`XPH@80( t|| L  x  p ` P@0 X0xP(pHh8@HPX`hp  x !(!!"0""#8##$@$$%H%%&P&''X'((`())h Desk File Mode Help About...-------------------- Desk Accessory 1 Desk Accessory 2 Desk Accessory 3 Desk Accessory 4 Desk Accessory 5 Desk Accessory 6 Disk Scan Load M-Only Bank Save Import / Export--------------------- Digital Input--------------------- Free Memory... Mouse Speeder... Screen Settings... MIDI Keyboard...--------------------- Save Settings...--------------------- Quit 1&2 : Mono XX 3&4 : Mono XX 5&6 : Mono XX 7&8 : Mono XX---------------------- Clip: Mono XX---------------------- Invisible Grid x0A Lock Positions x0B Hide 'Steinberg'---------------------- Handling: Normal XX---------------------- Start Playing Stop Playing Continue Playing Object Help...-------------------- The Mapping Page-------------------- "Desk" Menu "File" Menu "Mode" Menu-------------------- Don't Panic! Desk File Edit Display Goto Options Extras Help About...---------------------- Desk Accessory 1 Desk Accessory 2 Desk Accessory 3 Desk Accessory 4 Desk Accessory 5 Desk Accessory 6 Free Memory... Mouse Speeder... Screen Settings... MIDI Keyboard...--------------------- Spectrum-Editor...--------------------- Quit Editor Undo Last Edit --------------------- Clear Undo Buffer Clear Clipboard--------------------- Sample Info... Clipboard Info...--------------------- Fade Mode... Filter Mode... Loop Mode... Optimize Mode... Replicate Mode... Resample Mode... Full Wave Draw Res. (1:1) -------------------- Vertical Lines  Link Dots  Fill Spaces -------------------- 2 Side-by-Side  Stack 3 Windows  Swap Windows Redraw Windows -------------------- Block Sample Hide Block Marks-------------------- Default Overview Sample Start/ End Sustain Start/ End Release Start/ End------------------------ Block Start/ End------------------------ Marker #1 Marker #2 Marker #3 Marker #4 Marker #5 Marker #6 Marker #7 Marker #8 Handling: Normal XX Screen Messages---------------------- Auto Scrolling Auto Correction Backup Last Edit ---------------------- Play whole Sample Play zoomed Part Play marked Block---------------------- Internal Speaker  D/A-Board X-Scale: Real Time Zero-X-Snap Show X-Position ---------------------- Y-Scale: Percent Y-Zoom  Auto-Y-Zooming ---------------------- Show X/Y-Scaling  Show Points  Show Markers ---------------------- Draw All Samples Object Help...------------------ The Editor The Toolbox The Key-Codes------------------ "File" Menu "Edit" Menu "Display" Menu "Goto" Menu "Options" Menu "Extras" MenuUNTITLEDUNTITLEDUNTITLEDUNTITLEDUNTITLEDUNTITLEDUNTITLEDUNTITLEDDISKDISKDISKDISKDISKDISKDISKDISK------------------------------------------------------------------------------------------------------------------------BANK ABANK BBANK CBANK DINFOCLIPBOARDEDITDIGI INTRASHLoop-FindX-FadeExitUNTITLEDUNTITLEDUNTITLEDUNTITLEDUNTITLEDUNTITLEDUNTITLEDFilter ModeFilter Type:Cutoff Freq:_____HzBandwidth :_____HzOKSet Markers-----Loop PointsAVALONDigital Sample Processing& Resynthesis SoftwareVersionProgram : Michael SchindlerJrg HoupertThomas "TK" KhneManual : Martin PostCracked by The MCAOKSampler SelectorAKAI S700AKAI X7000AKAI S900AKAI S1000Casio FZ-1Dynachrd ADSE-mu EmaxEnsoniq EPSESQ MirageMMA StandardMks 100Prophet 2000Roland S10Roland S50Roland S220Roland S330Roland S550Yamaha TX16WCANCELOKEdit Disk Erase File  Rename File New Folder CANCELXXXXXXXXXXXXXXXXXDisk Information-100%Disk Drive :X:-50%Free Space :_________BytesUsed Space :_________Bytes-0%USED SPACETotal Space:_________BytesOK___________________________________________Name : ________FFFFFFFF_________Length : _________ Words999999999_____= _____ ms99999_________S.-Rate : _________ Hz999999999__Format : __ Bit99Modified:START POINT_________Sample : _________999999999_________Sustain : _________999999999_________Release : _________999999999_________Loop #3 : _________999999999_________Loop #4 : _________999999999_________Loop #5 : _________999999999_________Loop #6 : _________999999999_________Loop #7 : _________999999999_________Loop #8 : _________999999999---------------------END POINT_________ _________999999999_________ _________999999999_________ _________999999999_________ _________999999999_________ _________999999999_________ _________999999999_________ _________999999999_________ _________999999999_________ _________999999999____________________________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX____________________________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX____________________________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX____________________________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX____________________________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX_________Marker #1 : _________999999999_________Marker #2 : _________999999999_________Marker #3 : _________999999999_________Marker #4 : _________999999999_________Marker #5 : _________999999999_________Marker #6 : _________999999999_________Marker #7 : _________999999999_________Marker #8 : _________999999999CANCELOKBank Information_Bank Identifier: _X_________________Sample 1: ________ Size: _________ BytesFFFFFFFF999999999_________________Sample 2: ________ Size: _________ BytesFFFFFFFF999999999_________________Sample 3: ________ Size: _________ BytesFFFFFFFF999999999_________________Sample 4: ________ Size: _________ BytesFFFFFFFF999999999_________________Sample 5: ________ Size: _________ BytesFFFFFFFF999999999_________________Sample 6: ________ Size: _________ BytesFFFFFFFF999999999_________________Sample 7: ________ Size: _________ BytesFFFFFFFF999999999_________________Sample 8: ________ Size: _________ BytesFFFFFFFF999999999_________Total Size for this Bank: _________ Bytes999999999_________Total free RAM Memory : _________ Bytes999999999OKMIDI Setup InformationID#SAMPLERCHANNELCONNECTED TOOUT PORTIN PORT--------------STSMP24--------------STSMP24--------------STSMP24--------------STSMP24--------------STSMP24--------------STSMP24--------------STSMP24--------------STSMP24--------------STSMP24--------------STSMP24NEW SAMPLEREXITXXXXXXXXXXXX____________________________________________________________________________________________________ppppppppppppppppppppppppppppppppppppppppppppppppppCANCELOK_________Free Memory: _________ Bytes.999999999OKFade ModeFADE IN/OUT:LINEARSQUARESQRTOKResample ModeFactor :____.__999__________99999New Length:ms____________999999WordsNew S-Rate:__________99999HzAdjust Sampling RateOKLoop ModeFind Loop :StartEndPoint.Search Area:AllBlockLoop X-Fade Width:__________99999Words____=____9999msPlay Loop:SUSRELL3L4L5L6L7L8____99times.OKReplicate ModeReplicate Block___times.OKOptimize ModeOptimizing Value:___MODE:LINEARSQUARESQRTTAKE VALUE AS:LimitMaximumEDIT!OK------------------------------PATH:______________________________________________________________________________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXDRIVE:*.EXT _ ____________XFFFFFFFFXFFF _ ____________XFFFFFFFFXFFF _ ____________XFFFFFFFFXFFF _ ____________XFFFFFFFFXFFF _ ____________XFFFFFFFFXFFF _ ____________XFFFFFFFFXFFF _ ____________XFFFFFFFFXFFF _ ____________XFFFFFFFFXFFF _ ____________XFFFFFFFFXFFF _ ____________XFFFFFFFFXFFF___________Filename: ________.___FFFFFFFFFFFA:B:C:D:E:F:G:H:EXT:ACTION:*.EXT*.EXT*.EXT*.EXT*.EXTShow Disk InfoShow File InfoErase FileCreate FolderCANCELBUTTON"+4=FOXajxyz#).5>BGKOV^_aik  *+,=>?HIJRST]s|~ "/9<=>BOPQ^cfx{:Yx2Qp !#%(*,.1Bdu~$)*+6:>HKLMW[\]j >.>.>. ### >.>.>. ### >.>.>. ### >.>.>. ###>?>wkUp-IIIJI)I$?a     Ā ĀĀ0?? ?N.^(~ (,nĀ ĀĀ 4HĀ,||D9drdddd d@dd9>dr?d3d3d?d >d@>d7d3ddĐdddddĐddddddddddddd=Ddt?䞿Ė @@444444?C~``00 L"A~D+D~DD??PQ@D㤟* PQ@D㤟*  Ğ Ğğğ`ğ䟨Ĝ ĜĜ @P$ *newdd$$$$$$B@W_/fM@  d ddA$$$$6$D$7DD?𤔿uDt=qDTU$$DĎČĈDmׯ$m??@  jYB) <$`d0DĐ d8d9d}䟟 0 @`` 0 Ā ĀĀD9drdddd d@dd9>dr?d3d3d?d >d@>d7d3ddD9Dr$D$D $@D$9Dr*$D"$D ($@D"$D$UUD D)dRddHddE d@dd)>dR?d3dH3d?d >d@>d7d3ddDddddd d@dd>d?d3d3d?d >d@>d7d3dd8p8dpqđ;;qĀdDdd8dddG.dNFdd96d0d3d3d?dx>d?>d7d3ddD9d`rdpd9dd ddd9dpdddd >d@>d7d3ddD9d|rd|dyd|dn ddd9dpdcdd7d 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" # $  %  )       P1P2P3P4 P5 P6 P7 P8      P1P2P3P4P5P6P7  P8   *    +     !     ,      -  (.    /       0    1      2       3    1@ktx "(V>l&ÚTƂ<njTDɼ4ʬ$˜̌|l\L<Ѵ,ҤӔ ԄtdTؼ٬ڜی|l\L<, tUNTITLEDUNTITLEDUNTITLEDUNTITLEDUNTITLEDUNTITLEDUNTITLEDUNTITLEDMouse SpeederMode :ONOFFThreshold:Speed :OKScreen SettingsFade :SOFTHARDClock:OFFMINSECSave :ONOFFTime :min.SAVE!OKDigital Sound InputChannel:LEFTRIGHTMONOSTEREOLength :_____._999secCANCELSTART!_Bank: _X AVALON Time Domain Editor --------------ZoomMemo AVALON Onboard Help Page -MAX-MINGet Sample DataSend Sample DataATARI STSAMPLER________Sample Name: ________XXXXXXXX_Place : _X_/_9_________Length: _________ Words999999999__Format: __ Bit99_________Free : _________ Words999999999____________Device : ____________XXXXXXXXXXXXFormat :__BitTRANSMISSIONStereo Mode:Left__MIDI Channel : __99RightPort:STSMP24Out :In:DATA FLOW / TIMERESET DEVICECANCELSTART!______________________________XDrive _:X____________________________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX____________________________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX____________________________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX____________________________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX____________________________________________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX_____Length: _____ ms99999_____S-Rate: _____ Hz99999__Format: __ Bit99___________________ Samples Path: _____________999XXXXXXXXXXXXX________Name: ________FFFFFFFFCANCELLOADST:SMP24:MIDI Out Channel:__Port:ATARIEXITStereo MenuInstrument:Layer :Wavesample:___MIDI Key :____Level :PriSecSample# :__Sample# :_______________Name : ____________XXXXXXXXXXXXSample# :__Bank :_Voice:__Sample# :__Tone :___PPP$P.P7P>PIP^P`PbPdPfPhPjP}PPPPPPQQQ-Q>QOQdQxQQQQQQQQRRR"R0RARQRRRSRTRURVRWRXRYRZR[R\R]R^R_R`RkRlRmRnRqR|RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRS-S.S/S0S1S2S3S4S5S;SASJSPSVS\SaSbScSfSgShSlSpStSzS{S|SSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSTTT&T,T<T@TFTJTeTkTqTwTTTTTTTTTTTTTTUUUUUU$U;U<U=UXU^UdUjUUUUUUUUUUUUUUUUVVVV#V>VDVJVPV[VaVhVnVv``>`*@6@*a@6 @*9@@6@*@2'@ c@6CF3`D()@6S@*@6@**T@6P@*P@6 @*@6D`+ `Xd$$?dUU XUd$$?dp  4NwĀ8.w{Ād ĝ ğğğf`$ĝ$ Ĕ ĐĐ @P$ *newdd$$$$$$B@W_/fM@  d ddA$$$___C?~??___C*@@@0@@*@@@PPUQ@@@@@@@@@?p??@@@@?p??mׯ$m ɟ jYB) $>?>wkUp-IIIJI)I$00P@9p"TĜ9AR'D0bQRT$TUU U@w`c"  wFa%CDXBDCA  AC d   mmmmmm) * +  ,  -  .  / 0 1 2 3 4 50(60(7  ;  !"`0(#$a0(%&b0('(c0()*d0( +,e0(89: <=> ?@ABCD EFGHIJKLMNOPQRSTUVWXYZ[\]^_=ijklmnopqrstuvwxyz{|}~ ZZ#       *P          #" !"*$)%&'()# +2,!-".#/$0%1&2'* (q                 2AP LA                <A BB   f g ! A  h12 34 1"0 # $% &'()* +,- . / 0 ! 2 %              '    !  ' !  "#  ' !  $%     &               '  '!  ()     *        +   ' 3DwR~n^N>.  !!!"v"#f#$V$%F&6'&())~)*F*+,v-f.V/F061&2334 Desk File Options Macros Help About...--------------------123456 Load Spectrum... Save Spectrum...---------------------- Mouse Speeder... Screen Settings...---------------------- Quit Editor 2D Lin. Scaling 2D Log. Scaling-------------------- Reset F-Rubber Reset T-Rubber-------------------- 2D Use Rubberband 3D Filter... Threshold... Enhancer... Dynamic... Animator... Pitch Shifter... Object Help...----------------- The Editor The Toolbox----------------- "File" Menu "Options" Menu "Macros" MenuBlock MenuX8Sound: _/_XXNAMETESTNAME________XXXXXXXXBLOCK00000_____99999START99999_____99999BLOCKLENGTHmsms AVALON Frequency Domain Editor PrevNext2D-Zoom: _____99999FREQHz ___999SLICE _____99999TIMEms ___999SLICE -__._999MAGNdB ___._9999%RESYNTHESISEXITThreshold MacroThreshold: %________.__99999= dB___-__._999Min. Freq: Hz__________99999START!CANCELEnhancer MacroDepth: %______.__9999START!CANCELPitch Shift MacroShift: Octaves________/120X999START!CANCELSpectral Dynamic MacroMin. Freq: Hz__________99999Max. Freq: Hz__________99999Mode :EXPANDCOMPRESSDepth :______.__9999START!CANCELSpectral Animator MacroMin. Freq: Hz__________99999Max. 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Sample information F1 - F8 Goto marker (1-8) F1 - F8 on the Mapping Page: monitor Samples 1 to 8 F9+F10 on the Mapping Page: monitor Clipboard The key codes used for Block operations correspond to those used for analogue sound operations, but the [CONTROL] key has to be pressed at the same time. [CONTROL] A Analyze block [CONTROL] B Overwrite block [CONTROL] C Copy block [CONTROL] E Erase block [CONTROL] F Filter block [CONTROL] N Negate block [CONTROL] O Optimize block [CONTROL] R Reverse block [CONTROL] V Insert block [CONTROL] X Cut block [CONTROL] + Add block [CONTROL] - Subtract block [CONTROL] < Fade in block [CONTROL] > Fade out block M.ROS functions M.ROS Time Manager functions enable you to transfer status messages and commands between different programs and computers. AVALON can also be used to control time- oriented M.ROS programs (eg CUBASE). Below you will find the key definitions which are available for this purpose. The keys used (on the numeric keypad) are identical for all M.ROS programs. [Enter] Start/Continue [0] if system is running: Stop if system is stopped: go to left locator if system is stopped and song position is before or at left locator: go to bar 1.1.0 ( Rewind ) Fast Forward [1] Go to left locator [2] Go to right locator [Shift] + [1] Store song position as left locator [Shift] + [2] Store song position as right locator [9] Go to last stop position [3] to [8] Go to Cue points 3 to 8 [Shift] + [3] to [8] Store song position as cue point 3 to 8 / Cycle on/off @110 FILE MENU The FILE menu contains important basic settings as well as functions and information which relate to the system as a whole. @111 FREE MEMORY The FREE MEMORY function provides you with information on how much memory is still available for sound data. @112 MOUSE SPEEDER The MOUSE SPEEDER increases the speed with which the mouse cursor moves across the screen. This can be a great help if you want to work very fast and/or you have little room available on your desk for the mouse. In addition to the ON/OFF switch there are two further parameters which influence the speed of the mouse. THRESHOLD involves the threshold value at which the speed should be increased. If his value is set at 0, the mouse always has the same speed. At 1 its speed is only increased when you move it further than one point on the screen, at 2 the speed is correspondingly only increased when it moves more than two points on the screen. THRESHOLD thus enables you to continue to make precise adjustments with the cursor in spite of being able to move it very fast on the screen. SPEED is the relationship between the speed at which you move the "physical" mouse and the distance which the mouse cursor travels on the screen. 1 is the normal system speed. If this value is set at 2 the mouse cursor moves twice as far, and at 3 three times as far. @113 SCREEN SETTINGS Under SCREEN SETTINGS in the File Menu you are able to determine various default settings relating to screen display. SCREEN FADE: SOFT/HARD enables you to choose between the normal "hard" changeover between different windows and pages and a soft fade effect. You can also switch on a time display, which either shows hours/minutes/seconds or only hours/minutes. If you have a MEGA ST or an appropriately modified machine, your computer has a battery-run real time system clock available. If you have an older ST with no clock - and feel that this function is useful - you can enter the exact time every time you turn on your computer using the accessory provided on the ATARI system disk. Then there is also the SCREEN SAVER. If you stop using the mouse or keyboard, it will turn off the screen display after either 1, 2 or 5 minutes in order to reduce the wear on your monitor. The picture returns as soon as you click on one of the mouse buttons. If your monitor has been set with very high contrast, then an image which remains unchanged for a very long time can "burn itself" into your screen. This is the reason why you should either make use of SCREEN SAVER or turn the monitor off completely if you are not going to work with AVALON for a longer period. @114 MIDI KEYBOARD The MIDI keyboard is a great help when you want to play a sample without having to go to your "real" keyboard or having to change your MIDI connections. When you call this function a 9 octave keyboard appears on the monitor screen. You can even play it at different velocities using the mouse. The higher you play a key, the greater the velocity. You can select a MIDI channel and the MIDI Out port using the boxes beneath the keyboard. @115 SPECTRUM EDITOR When you activate this function, the program will take you out of the Time Domain Editor and switch to the Frequency Domain Editor. At the same time the File Select Box (the "directory") of the default disk drive will also be opened so that you can load an existing frequency spectrum from floppy disk or harddisk. For technical reasons it is impossible to create a frequency spectrum within the Frequency Domain Editor from scratch so you can only enter it directly by loading one from disk. If this is not possible or you change your mind, then simply click ABORT. The sound in the currently active window is erased as soon as you leave the Time Domain Editor using SPECTRUM EDITOR and load a spectrum from floppy disk or harddisk. The program clears this space ready for the new sound which you will create from the spectrum later using the RESYNTHESIS function. It is thus advisable to activate SPECTRUM EDITOR from an unoccupied (UNTITLED) window. @116 QUIT EDITOR This functions enables you to exit the Time Domain Editor and return to the Mapping Page. @120 EDIT-MENU The EDIT menu contains numerous parameters which relate to work with the Time Domain Editor. The functions involved are those relating to buffers (temporary stores in memory), windows with information about the contents of sounds and the clipboard, and finally the numerous settings which determine how the Filter, Optimize, Fade, Loop, Replicate and Resample functions should work. @121 UNDO LAST EDIT  Mit dieser Funktion knnen Sie die letzte datenverndernde Aktion rckgngig machen. Sie fungiert auerdem als "REDO", so da Sie zwischen der aktuellen und der vorherigen Version eines Sounds hin- und herschalten knnen. UNDO LAST EDIT! is only possible when the "BACKUP LAST EDIT"- Mode in the OPTIONS menu is active. Please note that UNDO LAST EDIT will only allow you to cancel the last modification made to a sound. Thus, if you have filtered a sound and then turned it around using REVERSE, UNDO LAST EDIT will only "bring back" the filtered and not the original version of the sound. The reason that AVALON has no "global undo" function, which would allow you to retrieve an original version of a sound, lies in the amount of memory which would be needed for this purpose. Each of the 32 sample memory locations would then require a buffer of the same size, something which would also apply to the clipboard and block buffers. The maximum memory capacity of a MEGA ST 4 would then be reduced from 37.5 seconds of sound to less than 19 seconds. Before carrying out critical operations, it is thus always best to either make a backup copy of a sound in memory (eg on the clipboard) or to save it to floppy disk or harddisk. @122 CLEAR UNDO BUFFER This function in the Edit Menu clears the UNDO buffer, ie the temporary storage location which contains the version of the sound as it was before it was last altered (see also "Undo Last Edit"). Its use should only be necessary - and only really makes sense - if there is no longer enough memory available (eg if you cannot carry out an INSERT BLOCK operation because the computer's memory is already full). If you use this function, you also give up the option of being able to undo the last modification to your sound. For this reason it is generally better to make more room available by removing a sound which is not currently being used from memory (Don't forget to save it to disk before doing so!). If BACKUP LAST EDIT mode in the Options Menu is not active, then clearly there is no undo buffer and this function serves no purpose. @123 CLEAR CLIPBOARD BUFFER This function in the Edit Menu allows you to delete the clipboard buffer, ie the temporary storage location used for block data by the CUT BLOCK and COPY BLOCK functions. You should also only use this function if serious problems arise due to a lack of memory - its use means that you lose this temporary storage capability. @124 SAMPLE INFO If you use this function, a window appears on the screen. It provides information on - the length of the sound in sample words (which cannot be modified here) and in milliseconds (this item varies depending on the sampling rate selected; ie the speed at which the sample is played back). - the start and end points of the sample, - the sampling rate, ie the play back speed (it can be set anywhere in the range from 5000 to 65535 Hz), and - the positions of the 8 loop start and end points as well as the 8 markers (for further information see the section on the Time Domain Editor). You are also able to enter a brief comment which can later be of great help to you when you no longer know exactly what the filename "BDLOKICK" is supposed to be. This comment also appears in the DISK SCAN LOAD window when you load a sound from disk. Finally, a small black field at the centre of this information window also indicates whether the sound has already been modified or not. All this information is saved with the sound when you save it to a floppy disk or harddisk. @125 CLIPBOARD INFO The layout of the Clipboard Info field is exactly the same as a "normal" sample info field. It contains information on the sound's name, its loop points and markers, its length and the start and end points of the sample itself as well as space for a comment. @126 FADE MODE The way in which the FADE IN/OUT BLOCK/SAMPLE functions increase or decrease volume can be determined by setting FADE MODE. If LINEAR mode is selected, the increase or decrease in volume is linear, ie halfway through the fade in/fade out period the signal level also amounts to half of its full volume. In SQUARE mode the rise or fall in volume is carried out in an exponential way. In FADE IN operations the volume curve initially rises very slowly, but then becomes steeper and steeper - with FADE OUT the opposite is the case. SQRT (square root) mode represents a reversal of SQUARE mode. In FADE IN operations the signal immediately increases very fast and the volume curve becomes shallower and shallower until its maximum level is reached. Using FADE OUT in this mode the signal initially only slowly declines but then fades out very abruptly. Which mode you decide to use depends very much on the type of sound material you are working with and the effect you are trying to achieve. It is probably best to experiment with the different modes on a simple linear signal in order to familiarize yourself with the way they work. @127 FILTER MODE You can adjust important settings relating to the FILTER SAMPLE and FILTER BLOCK functions here. There are four different types of filter available: LOWPASS All frequencies above the selected filter frequency are eliminated. This is the most useful type of filter. HIGHPASS All frequencies below the selected filter frequency are eliminated. This type of filter can be used to remove unwanted low frequencies from the signal. NOTCH Using this kind of filter (really a combination of the previous two types) you can cut out a specific frequency range of the signal. Its position is fixed by the value selected under FREQUENCY and its width is determined by BANDWIDTH. Thus if you define 1000 Hz as the CUTOFF FREQUENCY and fix a BANDWIDTH of 400 Hz, the filter will remove all frequencies between 800 and 1200 Hz from the signal. PEAK This type of filter functions in the opposite way to the NOTCH filter. All frequencies except those defined by FREQUENCY and BANDWIDTH are eliminated. Using the last example (CUTOFF FREQUENCY 1000 Hz, BANDWIDTH 400 Hz) only the frequencies between 800 and 1200 Hz would "survive" this filter. @128 LOOP MODE Under this menu item, you will find important loop settings. The first two parameters are related to the LOOP FIND-function which you can call up in LOOP SPLIT-Mode. You can determine whether - start and/or end point(s) should be found, and - whether the loop point(s) involved should be searched for anywhere in the sound ("All") or only within a block which has previously been defined in Block mode. If a suitable loop start point should not be sought throughout the whole sound ("All") but only within a previously defined block ("Block"), the loop end point may not be located within the block itself - otherwise it is possible that AVALON will set the start point behind the end point. The X-FADE WIDTH parameter also allows you to determine the size of the area to be modified on both sides of the loop transition point. The larger this area is, the smoother and less noticeable the transition becomes. However, there must always be an area available on both sides of the loop points. If you thus, for example, set the end of the loop half a second before the end of the sound, the X-Fade area may then also not be greater than half a second. You can use the last parameter in this dialogue box to determine which loop should be sustained when the sound is played. You can choose between all 8 loops (sustain, release and loops 3-8). @129 OPTIMIZE MODE In the OPTIMIZE MODE dialog box you can determine wether the OPTIMIZE-and OPTIMIZE BLOCK-functions should work as amplifiers oder "limiters" and how low level-signals should be treated. The OPTIMIZE VALUE determines how high the maximum signal level should be. You can set this value using either the small arrow keys or via the EDIT! field in the lower right- hand corner of the OPTIMIZE MODE window. When you click on the EDIT! field, two bars appear in the sound window which display the maximum signal level. They can be pushed up or down using the mouse. When you are happy with the value selected click on the mouse button and the new value will be transferred to the OPTIMIZE MODE window. Clearly, if you want to improve the sound/noise ratio of a sound which was recorded at too low a level, you should set OPTIMIZE VALUE to 100%. However, it might equally well occur, for example, that you would like to mix two brass sounds, the second of which should only be half as loud as the first. In such a situation define sound no. 2 as a block using BLOCK SAMPLE in the Display Menu and then "optimize" this block to 50% of its previous level before finally mixing it with sound no. 1 using the ADD BLOCK function. You can also determine the basis on which the OPTIMIZE function will work. There are three different OPTIMIZE modes. In LINEAR mode all signal levels are modified by the same ratio. If the highest amplitude of the sound is 80% of the maximum level, it is then increased to 100%, and a signal level of 40% is correspondlingly increased to 50%. This represents the "conventional" amplification process. In SQUARE mode the amplitude is modified in an exponential way. This means that low signal levels are amplified by only a little or not at all, while ligher levels are increased dramatically. In SQRT mode changes are made on the basis of a square root function. Low volume levels are considerably increased and high levels barely altered. The SQUARE and SQRT modes do not only modify the total volume of a block, but also the relationships of individual sound levels to one another - and thus the waveform itself. They distort linear curves and result in the edited sound sounding "dirtier". We would advise you to experiment with these different modes so that you can make your own decisions on the applications for which they are best suited. LIMIT FUNCTION In addition to these amplifier functions, OPTIMIZE BLOCK can also be used to cut out extreme signal levels. To do this you have to switch Maximum in the OPTIMIZE MODE window to LIMIT. The Optimize Value selected is then no longer used as the basis for calculating the maximum level, but represents the value above which all higher signals are cut off. If, for example, this value is set at 75, all higher amplitudes (76-100%) are reduced to 75% and the resultant signal is in turn increased to 100%. The LIMIT function is not to be compared with an analogue limiter which dampens a signal which is too loud. What actually happens here is that specific parts of a continuous signal are cut out, however, this does not lead to a dampening of the complete sound, but to a modification of the waveform itself. This function is particularly useful when a quiet sample cannot be optimized because a few high level sounds (eg transmission errors, clicks) prevent this. Using the LIMIT function these can be quickly and correctly eliminated. @130 REPLICATE MODE Here you can determine how often an area which has been defined as a block should be repeated when you use the REPLICATE function (between one and 999 times). @131 RESAMPLE MODE Here you can set the factor to be used when the RESAMPLE function is activated and lay down whether the sampling rate (the playback speed) should be adjusted in such a way that the same pitch is maintained as in the original sound. The new sampling rate can be calculated by multiplying the old rate with the RESAMPLING factor. A factor of 1 does not modify the sound in any way. RESAMPLING factors smaller than 1 accordingly reduce sampling rate and frequency range, factors greater than 1 increase the sampling rate. Using the ADJUST SAMPLING RATE field you are able to lay down whether the playback speed is to be adjusted so that the pitch remains the same as in the original sound. Example: You have sampled the note C5 on a grand piano at a sampling rate of 30 kHz and now want to combine it with other piano samples within a multisample. The sampled note is 2 seconds long, but your sampler's memory only has enough room for 1 second of sound. As there are no acceptable loop points to be found and you cannot do without these 2 seconds of sound you eventually decide to give up its higher frequency range and resample it at a factor of 0.5. The new sample then only takes up half as much memory. If ADJUST SAMPLING RATE was inactive before resampling took place you will now hear C6 - through resampling by a factor of 0.5 the note has been transposed one octave higher. If, on the other hand, ADJUST SAMPLING RATE was on, a new playback speed of 15 kHz has been set - in order to compensate for the previous "reduction". You will thus still be able to hear a C5, although with fewer high frequencies. When resampling by a factor of less than one the new sample is calculated in such a way that its frequency range is also reduced by the same extent. A piano sound originally sampled in CD quality (44.1 kHz) which is resampled by a factor of 0.5 then no longer contains high notes up to (44100 2 =) 22050 Hz, but only to 11025 Hz. However, in the other direction - with resampling factors of more than one - a greater frequency range does not result. It is a fallacy that a 25 kHz sample with relatively few high tones can be made to "sparkle" by doubling the sampling rate. Additional high frequencies cannot be artificially generated (at least not by these means). @140 DISPLAY MENU The DISPLAY menu primarily contains items which influence the graphic representation of sounds and the positioning of windows. In addition to the "general" display modes there are also two functions which can be used to define or delete block markers. @141 FULL WAVE DISPLAY Using this function you can switch the active sound window to display the full wave, regardless of the present zoom- setting. If you are working at a relatively high resolution (eg while setting loop points or editing sounds in DRAW mode) and still want to have an overall view of a sound, you do not have to continuously switch between FULL WAVE DISPLAY and the zoom setting. Instead of this, simply activate OVERVIEW mode (with the OVERVIEW symbol in the upper part of the Toolbox). @142 DRAW RESOLUTION (1:1)  This function automatically chooses a display resolution where one sample value corresponds to one pixel on the screen. As a full-length display is 512 pixels wide, this means that you are able to see 512 sample values on the screen at one time (at a sampling rate of 44.1 kHz this amounts to a period of 11.6 ms). You must activate DRAW RESOLUTION before you can use the DRAW symbol to edit a sound on the screen and modify sample values directly with the mouse. @143 VERTICAL LINES  If this mode is active (at a resolution of more than 1:1) each sample value is represented on the screen as a vertical line. The distance between these lines enables you to see how far you have "zoomed in". If, for example, you can only see 51 sample values on the screen (instead of 512 in 1:1 resolution) you have thus reached a zoom level of 10:1. @144 LINK DOTS  If this mode is active, at a resolution of more than 1:1 all sample values are joined together by a line. This enables you to get an exact impression of the course of the waveform, even at extremely high resolutions. @145 FILL SPACES  If this mode is active, at resolutions of more than 1:1 the space between the sample values is filled in in black. This takes longer than representing the sample values as vertical lines. @146 2 WINDOWS SIDE-BY-SIDE  If you have opened TWO sound windows normally they will be displayed one above the other. If, however, you have activated 2 WINDOWS SIDE-BY-SIDE in the Display Menu, they then appear next to one another, which can sometimes make it easier to compare them. @147 STACK 3 WINDOWS  If three windows are opened normally a blank space is left empty in the lower right-hand area of the screen. If, however, STACK 3 WINDOWS is active, the three windows are automatically displayed one above the other - which naturally results in their being somewhat flatter. @148 SWAP WINDOWS In this mode the number of sound windows on the screen can no longer be increased. If you access a new sound using the WINDOW OPEN box in the upper left-hand corner of the display, it will then appear in place of the sound which is currently active (ie it will be swapped). SWAP WINDOWS is of benefit, for example, if are you only working on one sound and simply want to compare it with another one every now and again. @149 REDRAW WINDOWS  The positions of the windows cannot otherwise be altered. However, in the event of display errors occurring for any reason, you can "tidy up" the windows using REDRAW WINDOWS in the Display Menu or the Redraw box in the lower right- hand corner of any window. Extreme display errors - eg samples which shoot out beyond window borders, etc - indicate a system error. Should this occur then to be on the safe side save your work and restart the system. @150 BLOCK SAMPLE Using this function you can define the whole sample as a block. This becomes necessary when you want to edit the complete sound with one of the operations which can normally only be used on a block, ie BLOCK COPY, CUT, INSERT, ADD, SUBTRACT and ANALYZE BLOCK. @151 HIDE BLOCK MARKS Use this function to remove the block marks (ie the marks at its beginning and end, not the block itself) from the screen. You can do the same by clicking on the block while at the same time pressing the [ALTERNATE] key on the ATARI keyboard. @152 DEFAULT OVERVIEW If DEFAULT OVERVIEW is activated, then Overview mode is automatically switched on when you enter the Time Domain Editor. @160 GOTO MENU The GOTO menu contains functions which you can use to "jump" directly to specific points within a sound (loop start and end points, block areas and markers) without having to spend a long time looking for them. They thus enable you to work very precisely even when large magnifications are being used. The marker or loop point involved is always displayed at the centre of the active window (if it is not so close to the beginning or end of the sound that this is impossible). The currently active zoom level is maintained when GOTO is used. This also means, however, that if you are using Full Wave Display nothing will change as you can already see the complete sound with all its markers and loop points. It is thus better to select a higher resolution (preferably Draw Resolution of 1:1, which can be set in the Display Menu) in order to see the desired point within the sound in greater detail. The Goto Menu allows you to move to the start and end points of loops, blocks and the sample itself as well as the 8 markers. If no loops, markers or blocks have been defined, then the appropriate functions cannot be used. @161 GOTO SAMPLE/LOOP/BLOCK START/END These functions allow you to move directly to sound, loop and (if a block has been defined before) block start and end points. @162 GOTO MARKERS (1-8) These functions allow you to move directly to the 8 markers which you can define using the SET MARKERS function in the toolbox. @170 OPTIONS MENU In the OPTIONS menu you will find parameters which in all probability you will only seldom need or modify. In addition to the Handling mode and the Auto Correct and Auto Scroll functions this menu contains all functions affecting the playback of sounds via the monitor loudspeaker or the D/A BOARD. @171 HANDLING: NORMAL/EXPERT This is probably the most important setting. It allows you to switch between the two AVALON handling modes NORMAL and EXPERT. In NORMAL mode you are always asked for additional confirmation before an operation is carried out which results in the modification or erasing of data. You thus have an opportunity to reconsider all decisions and are more able to avoid making serious errors. In EXPERT mode functions which modify or erase data are immediately carried out as soon as you have moved or clicked the appropriate symbol. Although you will certainly soon learn to appreciate the high speed at which you can work in EXPERT mode, you should also note that in stress situations or when you are in a "creative high" it is easy to make mistakes which then can no longer be corrected. Thus if you decide to work without receiving confirmation and warning messages, you should at least regularly backup the sounds you are working on (preferably on a "physical" disk drive, ie floppy disk or harddisk, which also counteracts the danger of a power cut) and activate the BACKUP LAST EDIT function in the editor. @172 SCREEN MESSAGES Some of the complex editing functions require considerable processing times - which depend on the length of the sound involved. Especially when you first start working with AVALON you will probably be glad of messages which inform you whether and how long the program will be kept "occupied" with a function. If SCREEN MESSAGES in the Options Menu is switched on AVALON will provide you with such information ("Analyzing Block", "Fading Sample", etc), so that you know what is happening during longer processing operations. If SCREEN MESSAGES is off, these messages are suppressed. @173 AUTO SCROLLING If you activate AUTO SCROLLING, the visible screen area is automatically moved forward as soon as the mouse cursor is moved into the right third of the active sound window. You are thus also able to "draw" or modify longer waveforms without having to stop at the edge of the screen. As this form of scrolling involves a great deal of processing, to avoid dramatic jumps within the new waveform you should not move the mouse up or down too fast. AUTO SCROLLING can only be used to move the visible screen area to the left; this function will not work in the other direction. @174 AUTO CORRECTION When adding two separate sound elements with ADD BLOCK it can occur that the two signal levels together exceed the maximum level allowed. This results in distortion. If AUTO CORRECTION has been switched on, however, this can be avoided as both elements are reduced to half their original volume before mixing takes place. @175 BACKUP LAST EDIT  When this mode is on you are able to "undo" the last modification you made to your data using UNDO LAST EDIT in the Edit Menu. AVALON allocates a buffer for the sound currently being edited and its previous version is stored there. However, when you change to another sound or leave the editor this buffer is lost. Please note that the buffer is always exactly as long as the part of the sound which was last modified - this means that if you filter a 4 second sound, the buffer required will also be 4 seconds long. The memory available can thus be dramatically reduced when editing longer sounds. AVALON will draw your attention to the fact that there is no more memory available if this occurs. In such an event you can either make do without the UNDO option or remove those accessories, sounds or block buffers from memory which are not absolutely necessary. @176 PLAY WHOLE SAMPLE If this mode is active, you are able to play back the current sound using the PLAY function. The sample's beginning and end are defined by the START and END markers which you can set using the SET LOOP symbol in the Toolbox. These points do not necessarily have to coincide with the real beginning and end of the complete sound stored in memory. If this is the case and you want to be able to hear the whole sound, you then have to set the sample start point to "0" (via SET LOOP or the INFO field) and position its end point at the last sample value. You can use the last parameter in the LOOP MODE dialogue box (in the Edit Menu) to determine which loop should be be sustained when the sound is played. You can choose between all 8 loops (sustain, release and loops 3-8). @177 PLAY ZOOMED PART If this mode is active, you are able to playback the section of a sound which is visible in the sound window using the PLAY function. If you are using FULL WAVE DISPLAY then naturally the complete sound will be played back. In DRAW RESOLUTION, on the other hand, you will only hear a section of the sound lasting around 12 milliseconds (at a sampling rate of 44.1 kHz). This mode is particularly useful if, for example, you have zoomed around one second of a sound and want to edit it. @178 PLAY MARKED BLOCK If this mode is active, you are able to playback a block within the current sound using the PLAY function - provided that a block has previously been defined in BLOCK MODE. This mode is particularly useful when you want to define a block for further editing or for insertion into another sound. In PLAY MARKED BLOCK mode you can immediately monitor the sounds contained within a marked block area. If you have activated PLAY MARKED BLOCK mode and not defined a block, then the complete sample is played back (including the areas in front of a sample start point and behind a sample end point). @179 INTERNAL SPEAKER  All sounds or sound sections which are played using the PLAY function are output via the loudspeaker in the ATARI monitor. The comparatively low sound quality results from the restricted capabilities of the ATARI sound chip and the monitor loudspeaker, which were not designed for such applications. @180 D/A-BOARD When using this mode, all sounds or sound sections played using the PLAY function will be reproduced in 12-bit quality via the optional STEINBERG D/A BOARD. The D/A BOARD is capable of reproducing sounds at playback speeds between 5 and 50 kHz - without the time delays otherwise involved in transferring data to your sampler. You can adjust the pitch by changing the sampling rate in the Info window. A doubling of sampling rate leads to sounds being played one octave higher. @185 EXTRAS MENU The EXTRAS menu contains functions and display parameters which you will rarely require or only need to change for special applications. In addition to the X and Y-axis scaling parameters you will find the zoom and display settings here. @186 X-SCALE: WORDS/REAL TIME Using this function, you can switch the scaling of the X- axis between sample words and milliseconds (calculated on the basis of the currently set sampling rate). Using milliseconds is generally easier to work with; extremely precise editing work, however, can require scaling in words. Scaling is only displayed if you have activated SHOW X/Y SCALING in the Extras Menu. @187 ZERO-X-SNAP If you activate this mode in the Extras Menu, all sample, loop, block and zoom area start and end points and markers are automatically moved onto the next zero point. This enables you to define very smooth loop transitions and zoom windows - without having to work very precisely - because you will always be working with complete waveforms. In certain circumstances (eg at extreme magnifications or when setting loop points which are not meant to meet where there is no signal) it might be necessary to switch this mode off. The only points automatically adjusted by ZERO-X-SNAP are those set after it has been activated. If you want to adjust any points set before this occurred, simply click them on once with the mouse. @188 SHOW MOUSE-X-POSITION  If this mode is activated, a display will appear at the upper right-hand edge of the screen indicating the exact X-position of the mouse cursor (in milliseconds or words) when it is located within an active sound window. This display is interactive; it also works in all other modes and while defining block and zoom areas it even also indicates the size of these areas in milliseconds as "t" (=Delta t). @189 Y-SCALE: PERCENT/VALUE By changing this item you can switch the scaling of the Y-axis between (relative) percentage values (-100% to 100%) and absolute sample values. The latter is based on the internal 16-bit sample format and ranges from -32768 to 32767. Generally using percentages is the more practical of the two. Scaling is only displayed if you have activated SHOW X/Y SCALING in the Extras Menu. @190 Y-ZOOM  If you want to enlarge the Y-axis (usually this is done to edit a very quiet piece of a sound), you first have to activate Y Zoom. If Y ZOOM is inactive the Y-axis scale is always automatically set to -100% to 100% (ie Full Scale) - or to the highest amplitude within the section displayed, if you are using AUTO Y ZOOM. @191 AUTO Y-ZOOM  If AUTO Y-ZOOM in the Extras Menu has been activated, then the Y zoom factor is automatically set in such a way that the highest amplitude currently visible is displayed at the top edge of the window. You can not zoom in further using the Y ZOOM IN symbol. Being able to adjust the scaling allows you to precisely determine the enlarged segment. If, for example, the highest peak visible on the screen stretches to the upper edge of the display but the Y-axis scale on its left-hand edge only indicates 50%, this then means that the amplitude at this position only amounts to 50% of the maximum level reached. @192 SHOW X/Y-SCALING  By clicking on this menu item you can turn the scaling of the active sound window on or off. You can choose between scaling in - sample words or milliseconds for the X-axis, and - percent or sample values for the Y-axis. The type of scaling used can be selected via X-SCALE: WORDS/REALTIME and Y-SCALE: PERCENT/VALUE in the Extras Menu. @193 SHOW POINTS  In this mode all loop points and the sample's start and end points are represented by horizontal bars and small markers (eg "R" for release loop start, "4" for loop 4 end). When you set several loops it is quite possible for the display to become rather confusing. If this occurs you can turn off loop display by switching off SHOW MARKERS in the Extras Menu; the loops are not erased, they are simply no longer displayed on the screen. @194 SHOW MARKERS  In this mode all markers are represented by horizontal bars and small symbols (eg "" for marker no. 2). If you switch off the markers by clicking on this item, they are not deleted from the sample, but are simply no longer displayed on the screen. @195 DRAW ALL SAMPLES In this mode sounds are represented in such a way that the display is made as authentic as possible. This is how it works: In all zoom factors greater than 1:1 several sample values are represented by one point on the screen (eg 12 in the case of a factor of 1:12). If in outputting this data to the screen only one of these values (eg the first) is taken into account, a false, "distorted" image of the original sound is the result. However, if you activate DRAW ALL SAMPLES, all the values represented by a point on the screen are examined and the highest value is the one displayed. A reduced image (which a FULL WAVE DISPLAY of a sound generally is) then also still has the same characteristics as an authentic representation (ie at a factor of 1:1 or higher). This mode can be switched off as it increases the time involved in calculating the graph to be displayed. @200 WINDOW CLOSE-BOX You can close a sound window you no longer need using this box (comparable with the close field in GEM windows). It is then removed from the Time Domain Editor. However, at least one sound window must always remain open. @201 WINDOW ZOOM-BOX If several sound windows are open you can temporarily expand one of them to its maximum size using the WINDOW ZOOM box. If you click on the WINDOW ZOOM box once more it is reduced to its original size. If you are only working on one window - at full size - within the editor, this box has no function. @202 RIGHT ZOOM-ARROW Clicking on this arrow enables you to scroll the section of the sound displayed in the active sound window to the right. If you keep the mouse button pressed, the window scrolls continuously. @203 LEFT ZOOM-ARROW Clicking on this arrow enables you to scroll the section of the sound displayed in the active sound window to the left. @204 ZOOM-POSITION SLIDER The Zoom Position Slider is a white and/or grey bar with two small arrows at each end. This slider enables you to change and move the zoom area. The slider itself is represented by the white area of the bar. It indicates the currently visible section of a sound. If the whole bar is white, you are also able to see the whole sound (FULL WAVE DISPLAY). If you have magnified a section of the sound the slider shows the relationship of this enlarged section to the sound as a whole. Thus if the white part only takes up half of the bar - and the rest is grey - only half of the sound is visible in the display. You are able to move the zoom "window" by moving the slider itself with the mouse button pressed or using the two arrow boxes at the left and right-hand ends of the bar. If you hold down the mouse button, the zoom window will move continuously in the appropriate direction. @205 WINDOW REDRAW-BOX The positions of the windows cannot otherwise be altered. However, in the event of display errors occurring for any reason, you can "tidy up" the windows using REDRAW WINDOWS. @210 OPTIONS MENU The Options Menu of the Frequency Domain Editor can be used to adjust several display settings and also contains three functions which influence the time and frequency modification scales (ie the rubberbands). @212 2D LINEAR/LOGARITHMIC SCALING As is also the case in the Time Domain Editor, linear scaling displays all "magnitude values" relative to one another (the amplitude values of the spectral components are known as magnitudes). The human ear functions on a logarithmic basis. This means that a sound which is ten times as loud as another is only perceived to be twice as loud. Logarithmic scaling in decibels takes this into account. 100% is represented as 0 dB, 50% as -6 dB, 1% as -40 dB and 0%, which in reality is - dB, is displayed as -96 dB (the maximum resolution in 16 bits). @213 RESET F-RUBBER/T-RUBBER These two functions allow you to reset the frequency and time rubberbands separately. This can become necessary if you have defined a relatively complex rubberband and do not wish to delete or reset a large number of individual points. @214 USE RUBBERBAND Activating this function causes the time or frequency area currently visible on the screen to be modified with the appropriate time or frequency rubberband (ie its envelope is correspondingly recalculated). You can define a rubberband by calling the desired 2D system (either TIME/AMPLITUDE or FREQUENCY/AMPLITUDE) with the appropriate symbol and then clicking on the rubberband symbol. The rubberband used is always the last one which was set. If you have not yet defined a rubberband, the default linear rubberband is used - it has not effect on the sound whatsoever. Rubberbands cannot be defined within the 3D display. "USE RUBBERBAND" is also not the appropriate command to use a rubberband on the whole 3D (time/frequency/amplitude) system. Instead of this you have to call the 3D FILTER macro in the Macro Menu. This macro uses both rubberbands to calculate the data for a complex filter. Modifying a frequency/amplitude system with a rubberband leads to all the frequencies at the selected time point being given new volume levels. You thus modify the sound's tonal quality at a specific time - this provides you with a precisely timed and very exact filter function. Modifying a time/amplitude system with a rubberband, on the other hand, results in the selected frequency receiving new volume levels along its complete time axis. This function thus gives a single frequency a new envelope. If distortion (clipping) occurs when a rubberband is used, the program will indicate this. @220 FREQUENCY DOMAIN EDITOR Programs allowing sound-modification within a two- dimensional time/amplitude system (which is what the Time Domain Editor is) have been available for some time now. They enable the user to carry out useful operations such as the inversion, copying and resampling of a sampled sound as well as the editing of its envelope. The opportunities they provide, however, are restricted to global modifications of the overall sound - a two- dimensional time/amplitude system does not provide information about the individual frequencies contained within a sound; let alone allow the user to manipulate them. In order to determine its frequency content a sound has to undergo what is known as a Fast Fourier analysis. Explaining the theoretical basis for this kind of analysis is something which would take far more room and time than we have available here; it is also not important for the practical work in which we are involved. The important thing is that after analysis we then have a spectrum of individual sine waves available which can be modified and then "reconstituted" as a sound (ie resynthesized). That is the main purpose of the Frequency Domain Editor. Modifications can be made within the Frequency Domain Editor at three different levels: a) Pixel level: Modification of the volume of an individual frequency within the smallest possible time segment. The 2D FREQUENCY and 2D TIME symbols and their appropriate ZOOM 1-4 symbols are used for this purpose. b) Micro level: Modification of an individual frequency along the complete time axis or modification of all frequencies within the smallest possible time segment. Modification scales are used here which we called "rubberbands" because of their special function within the Frequency Domain Editor. These rubberbands can be used in both the 2D FREQUENCY and 2D TIME display mode. c) Macro level: Modification of the complete frequency/amplitude/time system using 3D macros. These editing techniques can only take place at the 3D LEVEL. In order to reconvert a frequency spectrum back into an audible sound it has to be resynthesized. Afterwards it is relocated within the two-dimensional time/amplitude system of the Time Domain Editor and can be edited further there or alternatively archived or transferred to a sampler via the Mapping Page. Fast Fourier analysis and the resynthesis of a sound after editing in the Frequency Domain Editor are the most complex data processing operations carried out by the system. You should thus expect the analysis of one second of sound material to take around one minute of processing time; the same also applies to the resynthesis process needed if you make alterations to a sound and wish to transfer it back to the Time Domain Editor. @221 TOOLBOX The Frequency Domain Editor also makes use of a toolbox in the same way as the Time Domain Editor. It contains functions which enable you to display and edit 3D and 2D systems in different ways. @225 3D-ICON After calling the Frequency Domain Editor you will see a three dimensional representation of the spectrum which the program has created on the basis of an analysis of your sound. If you later switch over to the display mode needed for 2D editing of frequency envelopes and frequency bands you can return to this display mode by clicking the 3D symbol or activating the 3D FULL VIEW function in the Options Menu. In a three-dimensional display: - the Z-axis ("backwards" direction) represents time, - the Y-axis ("upwards" direction) represents amplitude (ie volume), and - the X-axis ("left to right") represents frequency. The range covered by each of the three axes depends on the type and length of the sound block analyzed. The frequency and time axes display their maximum value in Hz and milliseconds respectively. The frequency range measured during analysis always amounts to half the number of sample values. In contrast to the two high-resolution 2D display modes a 3D representation of a sound is relatively coarse in order to maintain its simplicity. If the program has selected an unfavourable angle for you to view the 3D system and you wish to change its position and size on the screen this can be done by activating the 3D POSITION symbol. When working with extremely long samples it can take some time for the program to recalculate any changes you make to the way the 3D grid system is displayed. You cannot make direct changes to the 3D display as unfortunately a three-dimensional mouse has yet to be developed which would make it possible to edit spatial structures. However, what you do have is a special "knife" which can easily be used to "cut" two slices out of the "wave mountain". The cross on the screen allows you to define both a frequency/amplitude AND a time/amplitude cross-section through the grid. The former contains the amplitude values of all frequencies at one specific point in time and the latter contains all the volume data along the complete time axis of one frequency - ie its envelope. This makes it possible, for example, to select a particular frequency within a sound so that you can modify it in specific ways later in 2D display mode. You can also cut out one time segment of the sound in order to examine the relationship between the different frequencies it contains. If you move the mouse cursor into the 3D display, press the mouse button and move the mouse back and forth a little, you will then see how two lines begin to flicker within the grid - one parallel to the time axis and the other parallel to the frequency axis. By carefully moving the mouse you can change the two lines which stand out in this way and thus select the frequency and time cross- sections which interest you. While the mouse button is pressed a small box in the lower left-hand part of the screen indicates which time and frequency slice is currently at the cursor position and also informs you of its amplitude in dB and per cent. When you find the cross-section you are looking for, simply let go of the mouse button and switch on the appropriate 2D display mode. You can then edit the selected "slice" of the sound. @226 2D FREQUENCY-ICON When you click on the 2D FREQUENCY symbol you activate a two-dimensional display mode in which the X-axis represents the frequencies of the analyzed sound and the Y-axis its amplitude (volume) - both at one particular point in time. The frequency range measured during analysis always amounts to half of the sampling rate. This means that if you sample and analyze a sound at 44.1 kHz, then the frequencies between 0 and 22050 Hz will be available. You do not have to use the 3D grid system - as described in the last section - to select the time point displayed in this mode, but can also use the PREV and NEXT symbols in the Toolbox. If you click on PREV the previous cross- section is displayed, NEXT allows you to see the next frequency band. There are two methods you can use to modify the frequency content at the time point you want to work on. The first of the two involves the rescaling of the amplitudes of all the frequencies within this individual time segment using the FREQUENCY rubberband, ie a modification of a whole frequency range at a specific time within the sound. To do this you have to use the RUBBERBAND symbol and/or the USE RUBBERBAND function in the Options Menu. The second method involves increasing the resolution with the 4 ZOOM symbols and then carefully raising or lowering the amplitudes of individual frequencies with the mouse. Switching between the two 2D and the 3D display modes presents no problem, the only things which change when you do so are the editing functions available to you. @227 2D TIME-ICON Clicking on the 2D TIME symbol changes the display mode to one in which the Y-axis indicates the amplitude (volume) of a specific frequency and the X-axis represents time (ie from the beginning to the end of the analyzed sound block). You are not only able to select the frequency involved within the 3D spectrum display (via the 3D symbol) but can also use the PREV and NEXT symbols in the Toolbox. PREV takes you one frequency lower and NEXT one frequency higher. Here, too, there are two different means of editing the display. Firstly, you are able to rescale the amplitude of the selected frequency along the complete time axis of the sound using the TIME rubberband - ie to redefine the envelope of the selected frequency. To do this, you again have to make use of the RUBBERBAND symbol or the USE RUBBERBAND function in the Options Menu. The second method involves increasing the resolution by means of the 4 ZOOM symbols and then carefully using the mouse to raise or lower the amplitude of the selected frequency at specific times within the sound. Switching between the two 2D and the 3D display modes presents no problem, the only things which change when you do so are the editing functions available to you. @228 3D POSITION-ICON When you have clicked on this symbol, reposition the mouse cursor within the spectrum display and again click on the mouse. The outline of the display will then begin to move. If you move the mouse to the left or right, the display is turned around its central point. This, for example, makes it possible to move the origin of the coordinates (ie the grid's zero point) towards the back. If you move the mouse up or down this changes the vertical position from which the grid is displayed so that you can easily switch between a "ground level" or "bird's eye" perspective. In addition to this you can also adjust the zoom factor, ie the grid's size on the screen. To do this, simply keep the right mouse button pressed and move the mouse in a vertical direction. As you will see, the size of the display then changes. Release the mouse button when you are happy with the size and position of the 3D grid. You will soon discover, however, that it is not possible to move in so close to the grid that its boundaries extend beyond the screen. There are technical reasons for this. When working with extremely long samples it can take some time for the program to recalculate any changes you make to the way the 3D grid system is displayed. @229 2D ZOOM-ICONS (1-4) The four ZOOM symbols in the Toolbox can be used to enlarge the display of - a quarter of the frequencies visible in 2D FREQUENCY mode, or - the envelope values of the frequency visible in 2D TIME mode. Individual values can then be modified using the mouse. When in 2D FREQUENCY MODE the 4 ZOOM symbols represent the four sections of the screen displayed from left to right by pixels 1-128, 129-256, 257-384 and 385-512. When one of these symbols is activated the relevant quarter of the overall display is zoomed to four times its size so that it can be edited more conveniently with the mouse. Thus, for example, if you are able to see the frequencies from 0 to 10000 Hz in 2D FREQUENCY MODE and click on ZOOM symbol 1, you will then see the frequencies ranging between 0 and 2500 Hz. The complete envelope is always displayed in 2D TIME MODE - even when one of the ZOOM symbols is used - as the time grid is much coarser than the frequency grid. In order to modify a specific value, move the mouse to the appropriate column and then "drag" it to the level desired with the mouse button pressed. In ZOOM mode it is also possible to use PREV and NEXT to display the previous or next frequency band (2D FREQUENCY MODE) or the next lower or higher frequency envelopes (2D TIME MODE). To leave ZOOM mode, simply click on the active ZOOM symbol again. @230 RUBBERBAND-ICON when you click on the RUBBERBAND symbol for the first time, RUBBERBAND mode is activated . It allows you to define and use a rubberband within the display which is currently active, ie either the 2D FREQUENCY display (frequency/amplitude) or the 2D TIME display (time/amplitude). In the Frequency Domain Editor a RUBBERBAND is a modification scale which you can define with the mouse inside the 2D display itself. A scale of this kind indicates the factor by which each amplitude value is to be increased or decreased. It thus represents a very handy tool which allows you to carry out more wide-ranging modifications very quickly. There is both a 2D FREQUENCY rubberband and a 2D TIME rubberband. They can be defined and used independently of one another. When used together as a 3D FILTER MACRO they represent a very powerful tool. DEFINING A RUBBERBAND When you click on the RUBBERBAND symbol for the first time, a horizontal line with a black box at each end will appear in the middle of the screen. This is the initial linear rubberband which has no effect on the sound data whatsoever - the amplitude values are left at their original level as in this position it increases/decreases them by a factor of 1. If you click on a position anywhere along this line, an additional box will appear. This box can also be clicked on and then dragged up or down while you keep the mouse button pressed. At this point you will probably be able to see how the rubberband got its name. You can create as many boxes on this line as you choose (and delete them by clicking them again) and thus stretch it in any direction. The outcome of this process is that when you finally use the rubberband each amplitude is raised or lowered by the factor set by the rubberband at its position. A maximum increase (when the rubber band is at the top edge of the display) represents a doubling of amplitude, a decrease to the lowest possible level (at the bottom edge of the screen) represents the deletion of the relevant value. When you have finished setting up your rubberband, you should click on the RUBBERBAND symbol again. You are then asked whether - you want to use the rubberband straight away ("USE THIS RUBBERBAND?" - "OK"), - you would like to edit it further ("EDIT") or - you do not want to use it immediately, but instead want to "STORE" it for possible later use. In this case the rubberband disappears from the screen, but is stored in memory and can be used again by either clicking on the RUBBERBAND symbol again or calling the USE RUBBERBAND function in the Options Menu. If you do not need the rubberband at all and want to delete it, you can achieve this by clicking on the right mouse button. The rubberband is then reset to its initial position (the same effect can also be achieved by using RESET T-RUBBER or RESET F-RUBBER in the Options Menu). @232 "PREV"-BUTTON Use the "PREV"-BUTTON to display the previous frequency band (2D FREQUENCY MODE) or the next lower frequency envelope (2D TIME MODE). @233 "NEXT"-BUTTON Use the "NEXT"-BUTTON to display the next frequency band (2D FREQUENCY MODE) or the next higher frequency envelope (2D TIME MODE). @240 FILE MENU The File Menu allows you to adjust several important system settings and also contains functions for loading and saving sound spectrums. @241 LOAD SPECTRUM By clicking on the LOAD SPECTRUM function you are able to load a sound spectrum from floppy disk or harddisk in order to edit or resynthesize it within memory. If there is already a spectrum in memory, loading a new one will overwrite it. @242 SAVE SPECTRUM You can save a sound spectrum to floppy disk or harddisk by activating SAVE SPECTRUM. When saved, sound spectrums (ie ".SPC" files) take up approximately four times as much room as normal sound files; you should thus take this into account when deciding which disk the spectrum is to be saved to (ie make sure there is enough room for it!) @243 MOUSE SPEEDER The MOUSE SPEEDER increases the speed with which the mouse cursor moves across the screen. This can be a great help if you want to work very fast and/or you have little room available on your desk for the mouse. In addition to the ON/OFF switch there are two further parameters which influence the speed of the mouse. THRESHOLD involves the threshold value at which the speed should be increased. If his value is set at 0, the mouse always has the same speed. At 1 its speed is only increased when you move it further than one point on the screen, at 2 the speed is correspondingly only increased when it moves more than two points on the screen. THRESHOLD thus enables you to continue to make precise adjustments with the cursor in spite of being able to move it very fast on the screen. SPEED is the relationship between the speed at which you move the "physical" mouse and the distance which the mouse cursor travels on the screen. 1 is the normal system speed. If this value is set at 2 the mouse cursor moves twice as far, and at 3 three times as far. @244 SCREEN SETTINGS Under SCREEN SETTINGS in the File Menu you are able to determine various default settings relating to screen display. SCREEN FADE: SOFT/HARD enables you to choose between the normal "hard" changeover between different windows and pages and a soft fade effect. You can also switch on a time display, which either shows hours/minutes/seconds or only hours/minutes. If you have a MEGA ST or an appropriately modified machine, your computer has a battery-run real time system clock available. If you have an older ST with no clock - and feel that this function is useful - you can enter the exact time every time you turn on your computer using the accessory provided on the ATARI system disk. Then there is also the SCREEN SAVER. If you stop using the mouse or keyboard, it will turn off the screen display after either 1, 2 or 5 minutes in order to reduce the wear on your monitor. The picture returns as soon as you click on one of the mouse buttons. If your monitor has been set with very high contrast, then an image which remains unchanged for a very long time can "burn itself" into your screen. This is the reason why you should either make use of SCREEN SAVER or turn the monitor off completely if you are not going to work with AVALON for a longer period. @245 QUIT EDITOR Using QUIT EDITOR or the EXIT field in the lower left-hand corner of the screen you can leave the Frequency Domain Editor and return to the Time Domain Editor without transferring the spectrum. If you have modified the spectrum, the changes will not be transferred to the Time Domain Editor and there you will find your original (ie unchanged) sound still located in the active sound window. @246 RESYNTHESIS-BUTTON By clicking RESYNTHESIS, you can initiate the resynthesis of the sound spectrum into an audible sound. Please note that this process will take the same time as was involved in originally analyzing the sound (approx. 1 minute for each second of sound). If you have not modified a spectrum or do not wish to save any modifications made, you can leave the Frequency Domain Editor via the EXIT field. You will then return to your original sound. @250 MACROS MENU The macro level (the third level in addition to the pixel and micro levels which allow you to work in the 2D areas of the Frequency Domain Editor) represents your most powerful sound editing tool. It enables you to modify the overall character of a sound throughout its complete frequency range without having to painstakingly work your way through one micro level after the other. As the frequency spectrum cannot be modified directly with the mouse - such a process would also not make much sense - AVALON provides you with a complete set of macros, ie algorithms which carry out this work for you. Macros enable you to do astounding things, but in the final analysis they only really vary a given frequency spectrum. We would thus advise you to experiment on various sounds with different macros and macro combinations to find out for which applications they are best suited. @251 3D FILTER MACRO This macro combines the two TIME and FREQUENCY rubberbands into a complex filter which can vary its characteristics along the time axis. The frequency rubberband used defines the basic features of the filter, eg a slight raising of all frequencies above 10,000 Hz and the deletion of all frequencies below 50 Hz. You can define this rubberband in 2D FREQUENCY mode. The time rubberband determines the extent to which the frequency rubberband should effect the sound at each point in time. If this rubberband is set as a straight line in the middle of the screen (ie its initial setting) the macro would modify the whole sound in accordance with the selected frequency rubberband - ie there would be no time- oriented change in its effect. However, if the time rubberband is raised to its maximum value (at the top of the screen) then the effect of the frequency rubberband at this point is doubled and if it is lowered to zero, the the selected frequencies will be muted. This can be compared to using a graphic equalizer. Raising the level of frequencies that already have a considerable level might result in a distorted sample after resynthesis. In such a case you should try and lower the level of the other frequencies instead. If you have only defined a time rubberband then all frequencies are increased or decreased in a linear way, ie the 3D filter gives the spectrum a new overall envelope. If you have only defined a frequency rubberband then all time slices are modified in the same way - the result is the same as using a rubberband on each time slice one after another in 2D FREQUENCY mode. @252 THRESHOLD MACRO This macro enables you to erase all frequencies below a selected signal level. It can thus be used as a "denoiser" to separate unwanted noise elements from a useful signal - even if they appear at the same time! You simply need to set the threshold value, ie the signal level below which all frequencies should be deleted, and the frequency from which the macro should take effect (as noise of this kind generally only has a noticeable effect at higher frequency levels). The threshold value is set in dB or percent and the value used should be just above the level of the noise signal to be removed. If higher threshold values are used (in the region of 10- 60%), this can alter the characteristics of a sound. @253 ENHANCER MACRO The enhancer adds a "subspectrum" to a given spectrum. This results in a richer, more resonant sound. When you use this macro, you only have to enter the desired intensity in per cent. As with all macros, the effect of the enhancer depends on the type of sound material being edited. The addition of frequencies in this way also effects all the atonal and disharmonic components of the sound. This means that a "dirty" sound will also tend to sound even dirtier by treating it in this way. @254 SPECTRAL DYNAMIC MAKRO The spectral dynamic macro enables you to compress or expand the dynamic range of a selected frequency area. The resultant effect depends on the sound's characteristics. Expanding the magnitude values emphasizes the main spectral components and dampens its minor elements. In the case of human speech vowels are generally emphasized and consonants dampened, something which leads to very interesting, almost singing timbres. Spectral compression usually results in a somewhat harder, raw sound. When you want to use the spectral dynamic macro you have to set the desired frequency range (ie the minimum and maximum frequency), the intensity and the mode (COMPRESS or EXPAND). @255 SPECTRAL ANIMATION MACRO This macro is able to vary a given frequency spectrum while at the same time taking account of the overall course of the edited frequencies. It can be used to make a static signal sound more lively. The spectrum animator modifies the envelope of an individual spectral component and increases or reduces variations along its course (animation/smoothing). If the macro is used with high settings then a reverb effect becomes audible. Animation can also be used to make drum sounds sound more powerful. When you use the spectral animation macro you have to set both the desired frequency range (ie the minimum and maximum frequency) and the intensity of the animation (values between -50 and +50) Negative values "smoothen", positive values "animate". Whereas small variations tend to result in very subtle sound changes, extremely high values will probably lead to distortion. @256 PITCH SHIFT-MAKRO The pitch shift macro transposes a signal up or down by a specific value. This change in pitch, however, does not affect the length of the signal as would be the case if you simply modified the playback speed. All frequencies are shifted up or down in a linear fashion when this macro is used. The transposition factor can be set within a range of 2 octaves in 10 cent steps (ie in tenth semitones). When the frequency spectrum is shifted, all the frequencies are also changed which would normally remain constant while an instrument is being played or singing or speaking takes place, etc. This means that as a rule a sound which has been considerable altered with this macro will sound unnatural even if the notes remain the same. If this occurs, the effect can be reduced somewhat by subsequent filtering. @273 DON'T PANIC! The AVALON DIGITAL SOUND EDITING SYSTEM scores over older, more pedestrian sound editing systems in two important respects. First, it is slightly cheaper (around a hundredth of what a would cost); And secondly it has the words DON'T PANIC inscribed in large friendly letters at the end of its help file. GUIDED TOUR AVALON has three different program levels. Their complexity increases, the "deeper" you go into the program. Level 1 is the Mapping Page. It comprises all the functions in which sound data is transferred - whether from or to floppy disk, harddisk and sampler or within the computer's memory. From this screen sound data can be moved, copied, erased and transferred, but not edited. Level 2 is the Time Domain Editor. Here you are able to edit sounds, which are represented on a two-dimensional basis (X-axis: time, Y-axis: amplitude, ie volume). Sections of a sound (BLOCKS), individual sounds and stereo sounds can be displayed, edited and copied in a great variety of ways. All modifications are carried out directly on the sound being edited and are thus transferred back to Level 1 (the Mapping Page). Level 3 is the Frequency Domain Editor. It can only be reached via level 2 (the Time Domain Editor). Based on what is known as a fast Fourier analysis it divides a complex sound up into its individual components (sine waves) and then presents these in three-dimensional form (X-axis: frequency, Y-axis: amplitude, Z-axis: time). In the Frequency Domain Editor modifications can be made on three levels: a) in the pixel range: modification of the volume of an individual frequency within the smallest possible time segment. b) in the micro range: modification of an individual frequency along the complete length of the time axis or modification of all frequencies within the smallest possible time segment with the aid of what we call "rubber bands". c) in the macro range: modification of the complete frequency/amplitude/time system using 3D macros. In order to reconvert a frequency range back into an audible sound it has to be resynthesized. Afterwards it is to be found in the two-dimensional time/amplitude system of the Time Domain Editor (Level 2) and can there be edited further or alternatively archived or transferred to a sampler via the Mapping Page (Level 1). 2. MODES AND FUNCTIONS When working with AVALON there are two main structures which are of interest to the user. MODES determine the way in which something is displayed or edited. Modes themselves do not modify data, but they determine whether and in what form modifications are possible. There are simple modes which can only be turned on or off (eg X/Y SCALING in the Time Domain Editor) and more complex ones which have different parameters (eg the LOOP and RESAMPLE modes). Generally, modes are activated by clicking on specific menu items (particularly, in the Edit and Options Menus) and they remain on until they are switched off again or another, alternative mode is activated. FUNCTIONS (sometimes also called "operations"), on the other hand, are directly involved in the editing, transfer or erasing of data. They appear, in different forms, at all three program levels and can in turn be influenced by different modes. Example 1: If on the Mapping Page you drag a bank symbol to a disk drive symbol, the sound bank is saved to disk - this is a FUNCTION. However, whether all sounds or only those which have been modified are saved is determined by the MODIFIED ONLY mode. Example 2: You can only define a block if the Block Define mode is active - and then only once you have defined such a block is it possible to use the numerous BLOCK functions. 3. COMPUTER OPERATING TECHNIQUES The AVALON program can be operated in various ways. The majority of the procedures involved, however, are the same as those used by the "normal" GEM user interface and are easy to learn. A. MOUSE The program makes full use of the mouse; almost all functions and all parts of the program can be called using the mouse. The various ways of using the mouse are explained at the end of the Mapping Page help file. B. MENUS Menus are groups of functions and settings which are found under a common menu heading. If you position the mouse on the menu bar, the menu automatically unfolds and you are then able to select the desired item with the mouse. There are four different types of menu items: a) FUNCTIONS which are immediately carried out when you click on the mouse at their position (eg HIDE BLOCK MARKS), b) MODES which can be directly changed by clicking on the mouse (eg Y-SCALE: PERCENT is changed to Y-SCALE: VALUE), c) MODES which are switched on or off by clicking on the mouse. A tick in front of the menu item means that this mode is active (eg AUTO Y-ZOOM), and d) menu items which branch to another part of the program or an additional SUBMENU. These can be recognized by three dots at the end of the line (eg SPECTRUM EDITOR... or LOOP MODE...). C. POP UP SLIDER AVALON also provides another useful method of entering data, which you will not otherwise find in a "normal" GEM program. It involves a "Pop Up Slider" which you are able to use on any occasion where you quickly need to modify numerical values within a larger range. Where a decimal number appears between two arrow boxes you can make it one value higher or lower by simply clicking on the appropriate arrow. By clicking on the value itself with the LEFT mouse button, however, you make a small window appear which contains a grey shaded column. This column can be pushed up or down with the mouse like a slide control and as you do so the value of the number displayed changes. When you have set the value you want, you simply let go of the mouse button and the slider disappears. When dealing with certain values (eg those which have more than four digits and are thus difficult to change accurately), by clicking on the number with the RIGHT mouse button you are able to activate a slider which allows you to make finer adjustments. As a result, however, the range it covers is also smaller. Generally you should be able to set any decimal value very quickly using a combination of these three techniques. D. ENTERING TEXT With AVALON entering text via the keyboard is carried out in the same way as in any other program. The operation is closed by pressing the [RETURN] key. When typing in a file name you do not need to include its file extension (".SMP", ".BNK", ".SPC"), it is automatically added on saving or loading; you only need to provide the (up to) eight letters of the file name itself (eg BASSDRUM). @274 (c) for this helpfile and the AVALON manual 1989 by Steinberg Hard- und Software GmbH Domain Editor modifications can be made on three levels: a) in the pixel range: modification of the volume of an individual frequency within the smallest possi%%YH]]]](]`]]]%0%NYNNNNN+x'wZZ'ZwZZHpdd@ɒ!?WsŚ@ . In order to reconvert a frequency range back into an audible sound it has to be resynthesized. Afterwards it is to be found in the two-dimensional time/amplitude system of the Time Domain Editor (Level 2) and can there be edited further or alternatively archived or transferred to a sampler via the Mapping Page (Level 1). 2. MODES AND FUNCTIONS When working with AVALON there are two main structures which are of interest to the user. MODES determine the way in which something is displayed or edited. 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A tick in front of the menu item means that this mode is active (eg AUTO Y-ZOOM), and d) menu items which branch to another part of the program or an additional SUBMENU. These can be recognized by three dots at the end of the line (eg SPECTRUM EDITOR... or LOOP MODE...). C. 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