AmigaOS Documentation Wiki - User contributions [en]

AmigaOne X1000

2014-09-04T02:33:43Z

Lyle Hazelwood: /* Troubleshooting Tips */

The AmigaOne X1000 is a powerful PowerPC-based high-end computer now available for AmigaOS.

= Key Specifications =

* ATX form factor

* Dual core PWRficient PA6T-1682M 1.8 Ghz PowerISA v2.04+ CPU

* Xena Co-processor running at 500 Mhz with a XCore XS1-L2 124 SDS

* ATI Radeon HD 1GB 4650 Graphics Card

* 7.1 channel HD Audio

* Memory 4xDDR2 SDRAM Slots

* 10 USB 2.0

* 1x Gigabit Ethernet

* A range of PCIe and PCI slots

* A Xorro and Compact Flash slot

* 2x RS-232 serial ports

* 4x SATA2 connectors

* 1x PATA connector

* 1x JTAG connector

= Manufacturer =

[http://www.a-eon.com A-Eon Technology] is the manufacturer of the AmigaOne X1000 motherboard.

[http://www.amigakit.com AmigaKit] is the worldwide distributor of the AmigaOne X1000 System.

= Troubleshooting Tips =

== X1000 CFE Documentation ==

Please remember to refer to CFE's documentation located in SYS:Documentation/X1000_CFE.pdf for information on boot configuration.

== X1000 Won't Reboot Reliably ==

# Turn off power to PSU.
# Remove plug from PSU.
# Remove power connector from the motherboard.
# Take out one RAM card leaving only one to the right of the PA6T CPU (i.e. 3rd slot from the left).
# While the RAM card is out check the slots 2 & 3 for dust build up (the CPU fan blows dust onto them) and use a small clean brush to remove it.
# Plug power connector back on to the motherboard.
# Connect PSU power & switch on PSU.
# Turn on X1000.

If the X1000 boots up to Workbench, press and hold the power button for 3-5 seconds & it should shut off.

==X1000 locks up randomly and doesn't boot reliably==

I had this problem for a few months and finally tracked it down to loose SATA power connectors.

I had a PSU Modding kit and made a new power lead, MOLEX to 4 SATA, all on the same lead, spaced to fit 4 drives perfectly with no bent wires.

The new connectors are a much tighter fit and since I changed the lead I've not had a single random lockup and reliable booting.

If you get the insufficient memory error in CFE this is a sign the DVD cable is loose.

==X1000 CPU temperatures are rising==

# Clean both fan filters on the front fan openings.
# Clean the fan filter UNDER the power supply unit.

==X1000 fails to boot, "Loading" indicator goes full red and then stops==

# This will happen when booting an older workbench with a newer graphics card.
# You'll need to update your PCIGraphics.card and RadeonHD.chip, or revert to an HD4000 series graphics card.

==X1000 fails to boot==

May also happen if non-bootable media is left in the CD/DVD drive.

==X1000 fails to boot, "Failed to load amigaboot.of: Insufficient memory"==

# Relax your memory isn't fried.
# Check the SATA cable to your DVDRW drive (top left on the motherboard)
# Don't forget to check the power cable too.

For some reason CFE reports insufficient memory errors when it can't find an optical drive.

If checking cables doesn't correct the problem, check that CFE is able to read the amigaboot.of bootloader. Generally it can read it from an installation CD, a hard disk partition, or even from an internal CompactFlash, but there are constraints which you should be aware of:
* CFE can only boot on sata drives connected to [http://dl.dropbox.com/u/30631303/Amiga/Setting_Board/Sata.jpg Sata0 or Sata2 connectors], so check that your DVD drive and your system hardisk are connected to these.
* CFE can only read a few file systems among which
** ISO for CDs
** FFS2, ext2 or FAT for hard disks or CompactFlash
* CFE can't detect filesystems, they must be specified in the boot command
** for a CD: ''-fs=isofs''
** for an AmigaOS FFS partition: ''-fs=amigafs''
* CFE must find an amigaboot.of file on the unit indicated by the boot command, it's up to you to check that it's available
=== Checking the boot command ===
The boot menu is configured through a set of MENU_x_LABEL/MENU_x_COMMAND pairs. If one of the entry doesn't work, you have to check that:
* the unit exists,
* the filesystem is correct,
* the amigaboot.of file is present.

==== checking the units ====
At CFE prompt, display your menu commands with the ''printenv'' command, you may get such menu entries:
MENU_0_COMMAND=setenv amigaboot_quiet Y ;boot -fs=amigafs ide0.0:amigaboot.of
MENU_1_COMMAND=setenv amigaboot_quiet Y ;boot -fs=iso atapi0.1:amigaboot.of
To check what CFE may access, type the ''show device'' command. (NB: hard disks are displayed as ide units and CD/DVD drives as atapi units)
For example:
CFE> show devices
Device Name Description
------------------- ---------------------------------------------------------
uart0 NS16550 UART at 0xFCFF03F8
pcconsole0 PC Console (USB/VESA)
eeprom0 Microchip 24LC128 EEPROM on SMBus channel 0 dev 0x57
eth0 PA Semi Ethernet (ge3) at 0xE00A3000 (02-00-E0-0A-30-00)
flash0.os SPI flash at FFE00000 offset 00000000 size 1024KB
flash0.boot SPI flash at FFE00000 offset 00100000 size 1024KB
therm0 TI TMP423 Thermal Sensor on SMBus channel 0 dev 0x4C
cf0 CompactFlash ATA disk unit 0 at 0xF0000000
atapi0.0 PCI IDE disk unit 0 at I/O 0000 (PCI:E0590000)
ide0.1 PCI IDE disk unit 1 at I/O 0000 (PCI:E0590000)
eth1 RTL8139 Ethernet at 0xA0310000 (00-50-fc-1f-1f-de)
usbdisk0 USB Disk unit 0
usbdisk1 USB Disk unit 1
*** command status = 0
CFE>
In this example you should notice that CFE does not see ide0.0 and atapi0.1 but ide0.1 and atapi0.0. In this case, it means the menu commands are based ont the hard disk being connected on Sata0 and the CD drive on Sata2, but in fact it's connected the other way around.
Either you modify the menu commands, or you swap the cables on the Sata connectors 0 and 2.

==== checking filesystem ====
Once your units are correctly identified, you should check the filesystem is correct with the ''dir'' command.
Note that the error message may be different depending on the type of unit and the filesystem. Just keep in mind that if the command status is 0, the filesystem is correct.
* trying to read an SFS/02 partition:
CFE> dir -fs=amigafs ide0.1,prod:
Could not init file system: Unsupported function
*** command status = -19
* trying to read a wrong unit:
CFE> dir -fs=amigafs ide0.0:
Could not init file system: Insufficient memory
*** command status = -5
* trying to read a FAT partition as FFS:
CFE> dir -fs=amigafs cf0:
Could not init file system: File not found
*** command status = -18
* trying to read an FFS partition as FAT:
CFE> dir -fs=fat ide0.1:
Could not init file system: File system not recognized
*** command status = -29

* and finally finding the Grail:
CFE> dir -fs=amigafs ide0.1:
Directory
amigaboot.of 51420 ------------r---

51420 bytes in 1 files
0 directories
*** command status = 0
==== finding amigaboot.of ====
Once you get the ''dir'' command working, make sure it lists the amigaboot.of file like in the example above, as CFE will load it and pass control to it to continue the boot process, either to present a second boot menu based on kicklayouts or to directly load the kickstart.

==X1000 won't boot (black screen, no boot at all) with only 3 LEDs lighting on motherboard==

Check the CMOS battery.

== X1000 Keyboard does not work while booting==

Plug the keyboard into the USB connector closest to the white audio jack.

This is "upper left" as you look at the back of the case. (ref Sys:documentation/X1000_QuickstartGuide.pdf page 9)

Do not plug a keyboard with a built in hub in that socket, CFE does not approve.

==Creating a new boot CD step by step==

This is taken from a post on Amigaworld.net by Lyle Hazelwood.

If you have upgraded to a newer graphics card, any old boot CDs that don't have the new RadeonHD drivers will not boot. Here is a simple way to create a more useful CD.

You'll need to go back to a compatible graphics card to get running long enough to do this. I hope your original video card is still available to you.

=== Requirements ===

You have a Bootable Recovery CD, like "AmigaOS 4.1 Update 5". Your current Workbench has been upgraded with the new RadeonHD drivers. You have a blank CDROM disk and a drive capable of burning it.

=== Step by step ===

1. Check SYS:Utilities for "AmiDVD". If not there, insert the recovery CD and run the "Extras Installer", then select AmiDVD and allow it to install.

2. With the recovery CD still in the drive, open a Shell and enter the following commands:
MakeDir RAM:BootVol
Copy CD0: RAM:BootVol ALL CLONE
Copy SYS:Kickstart/PCIGraphics.card RAM:BootVol/System/Kickstart
Copy SYS:Kickstart/RadeonHD.chip RAM:BootVol/System/Kickstart

Then make a note of the exact volume name of CD0:. Mine was "AmigaOS 4.1 Update 5" for this example.

3. Now remove the recovery CD and replace it with a blank CD-ROM.

4. Open SYS:Utilities/AmiDVD/AmiDVD

5. From the "CreateImage" Tab, Set source to RAM:BootVol, then set VolumeName to "AmigaOS 4.1 Update 5".

6. Select Bootable AmigaOS4 and finally select "Create Image".

7. Now on to tab2, "Burn Image", and click on "Burn CD-R"

That's it! The resulting disk should be identical to the original but will boot properly with newer graphics cards.

{{Note|title=Remember|text=This new boot image is under the same agreement that the RadeonHD drivers were distributed under. It is NOT OK to share this disk with others.}}

==Intermittent power on/off problems==

Check all PCI(e) cards are securely in their slots.

==Problems updating your Kickstart==

Kickstart will load from the highest priority bootable partition on THE FIRST DRIVE ONLY.
If your highest priority bootable drive is on a second SATA disk, then that will boot over the kickstart found on Disk1.

Application Library

2014-08-07T22:58:10Z

Lyle Hazelwood: /* Registering the Application */ Added warning about underscores in the program name.

= Introduction =

The Application Library is a multipurpose auxiliary library that provides various functions related to the development and use of applications. The very concept of ''application'' is a relatively recent addition to AmigaOS. Before, the system only distinguished between different types of program on a very low level, seeing them as either [[Exec_Tasks|tasks]] or [[AmigaDOS_Data_Structures#Process_Data_Structures|processes]]. This distinction might have been useful in the past when tasks (which require fewer resources in return for not being able to access DOS functions) could improve system performance. But it can hardly make a difference on today’s hardware so the trade-offs are no longer worth it. Nowadays it makes more sense to discriminate between programs that operate without the user even noticing (e.g. drivers, handlers, filesystems and other ''background services''), and genuine full-blown ''applications'' with [[UI_Style_Guide_Glossary#GUI|GUI]] and all.

AmigaOS alone cannot make such a distinction: it uses the Application Library as a mediator through which applications introduce themselves to the system. This process is called [[#Registering the Application|application registration]], during which the application receives a [[#Application Identifiers|unique identifier]] and is added to a public list among other applications. Once registered, the application can make use of the library’s many features:

* It can send/receive messages to/from other registered applications. The library supports a set of common [[#Control Messages|control messages]] (commands) such as those telling an application to quit, iconify or bring its window to front. But it also allows [[#Custom Messages|custom messages]] designed for an application’s particular needs; in this respect the Application Library provides an alternative to [[UI_Style_Guide_Glossary#ARexx|ARexx]] control.

* It can turn into a “watchdog” and get notified when other applications register.

* It can use [[#PrefsObjects|PrefsObjects]], an XML-based, object-oriented system for handling program preferences. Before AmigaOS 4.x no real standard existed for storing preferences: some developers used icon tooltypes, some used proprietary formats, text or binary. The Application Library provides a format that is human-readable and easily editable in a simple text editor; that is comprehensive enough to cover even very complex settings structures; and that is fully controllable via the library, without the need to laboriously implement data parsing and verification.

* It can notify the user about, for example, completed tasks via automatic [[#Pop-up Notifications (Ringhio Messages)|pop-up messages]]. These represent a practical, less obtrusive alternative to traditional requesters.

* It can easily create and manage lists of recently-used documents.

* It can register as a ''unique application'', preventing other instances of itself from running.

* It can show its icon or display the current program state in taskbar-like applications, such as AmiDock.

* It can control the behaviour of screen-blankers. Applications that don’t want to be disturbed may prevent the blanker from kicking in, or tell other applications to “keep quiet”.

== Frequently Asked Questions ==

{| class="wikitable"
|-
|''Q: Should my programs register with the Application Library?''
|A: Yes, that would make a lot of sense. Apart from access to the handy features mentioned above, the implementation of certain library features may improve the behaviour of your application within the AmigaOS ecosystem.
|-
|''Q: After registering with the library, will my application become controlled by the OS or by other applications?''
|A: No. The registration process alone does not turn on any features. There is a recommendation to allow a [[#Minimum Application Library Support|minimum degree of control]], but in the end it is the programmer who decides what functionality offered by the library will be provided and supported in his/her application. That also includes the scope of external control: if you don't want your application to be controlled beyond a certain limit, your code will simply not react to certain incoming [[#Control Messages|control messages]].
|-
|''Q: Doesn't the Application Library duplicate functionality already present in commodities?''
|A: No. The only similarity between the two is that programs register with some system library, which then acts as a control centre. [[Commodities_Exchange_Library|Commodities]] provide a way to install custom input handlers into the [[Input_Device|Input Device]]'s event stream. The Application Library's field and scope of operation is completely different (and much wider).
|-
|''Q: Why is this a library? Wouldn't it be wiser to implement it as a class, like MUI does it?''
|A: This would tie the functionality to the object-oriented (BOOPSI) API – applications designed using [[GUI_Programming#The_Two_Frameworks|other APIs or toolkits]] would not be able to use it.
|-
|''Q: Can a program be registered both as an application and as a commodity?''
|A: Yes, that's possible – although few programs would probably benefit from that. Exceptions include application managers and taskbars (e.g. AmiDock), which may need to control other applications and, at the same time, behave like a commodity.
|-
|''Q: Being XML-based, do the PrefsObjects introduce any overhead to the operating system?''
|A: Hardly any. The [[#PrefsObjects|PrefsObjects]] .xml preference files are, typically, only read when the application starts and written at user request, so there is minimum overhead involved. Accessing the prefs file during program runtime doesn't put any strain on the OS either, as the Application Library caches the file in a pre-parsed format in memory.
|}

== Minimum Application Library Support ==

In the foreseeable future, AmigaOS will feature an application manager to control running applications. The idea is to extend or possibly even replace Exchange to offer a single, universal control point for both commodities and applications. In order to allow easy, consistent and predictable program control, developers are encouraged to [[#Registering the Application|register their applications]] and implement the following suggested minimum Application Library support:

* Provide a short [[#Description|description]] for a better identification of the application.
* Tell the OS whether the application supports iconification, that is, hiding/showing its GUI (for more information, see [[#Feature Set / Control Scope|this section]]). If iconification is supported:
** make the application respond to the [[#Control Messages|APPLIBMT_Hide and APPLIBMT_Unhide]] control messages;
** update the APPATTR_Hidden attribute accordingly each time your application iconifies or uniconifies.
* Allow the application to be shut down externally in a safe and graceful manner in reaction to the [[#Control Messages|APPLIBMT_Quit]] message.

A failure to implement this suggested minimum will mean that the OS application manager will be unable to control your application properly and consistently. This may cause confusion on the part of the users and degrade their AmigaOS experience.

= Library Opening Chores =

{{Note|title=Notice|text=Starting with AmigaOS SDK 53.24, both Application Library interfaces (application and prefsobjects) must be at version 2. This is due to changes in the Application Library API which had broken standard tag support until version 2 interfaces were introduced.}}

Just like other AmigaOS libraries, the Application Library must be opened before it is used. Further, at least one of its interfaces must be obtained, depending on the functionality you require. The Application Library has two interfaces, called “application” and “prefsobjects”. You always need to obtain the “application” interface because it provides access to most library functions including application registration. You’ll only need to open the “prefsobjects” interface if you intend to make use of the PrefsObjects preferences system.

<syntaxhighlight>
struct Library *ApplicationBase = NULL;
struct ApplicationIFace *IApplication = NULL;
struct PrefsObjectsIFace *IPrefsObjects = NULL;

if ( (ApplicationBase = IExec->OpenLibrary("application.library", 52)) )
{
IApplication = (struct ApplicationIFace *) IExec->GetInterface(ApplicationBase, "application", 2, NULL);
IPrefsObjects = (struct PrefsObjectsIFace *) IExec->GetInterface(ApplicationBase, "prefsobjects", 2, NULL);
}

if ( !ApplicationBase || !IApplication || !IPrefsObjects )
{
/* handle library opening error */
}
</syntaxhighlight>

Note that there is no interface called “main” like older, single-interface libraries have. The number in the GetInterface() call above refers to the version of the interface. Library interfaces are not backwards or forwards compatible so they must be specified precisely. '''Starting with AmigaOS SDK 53.24, both Application Library interfaces (application and prefsobjects) must be at version 2.''' This is due to certain changes in the Application Library API.

When your application has run its course, don’t forget to clean up and close both the library and its interface(s):

<syntaxhighlight>
IExec->DropInterface((struct Interface *)IPrefsObjects);
IExec->DropInterface((struct Interface *)IApplication);
IExec->CloseLibrary(ApplicationBase);
</syntaxhighlight>

= Registering the Application =

Application registration is a simple process during which a program informs AmigaOS that it should be treated as an application, and provides some basic information about itself: the program name, an associated URL address, or a short description. Also, certain application-related properties can be set at registration time (although some of these may be provided or changed later). Registration typically takes place at program startup; unregistration is normally done at the end of program runtime.

*hint* Avoid using the _ underscore character in the registered name. These may cause "charsetconvert" errors when the system boots up later.

== Application Identifiers ==

A successfully registered application receives a numeric identifier, which in this documentation will be referred to as ''appID''. The identifier is public: any registered application can obtain another application’s appID (see [[#Finding Applications|Finding Applications]] below) and use it to communicate with the respective application. AppIDs are unique integer numbers: the library generates them incrementally on a per-registration basis. They are never assigned again during the same AmigaOS session, which prevents programs from incidentally addressing the wrong application after the original appID holder unregisters.

Apart from the numeric appID an application can be referred to by its name (that is, a string-type identifier). As programs can get registered in an arbitrary order (and the same application will have a different appID each time), it is the name identifier that other applications must use to retrieve the correct appID. To construct a unique name, the Application Library uses a special naming scheme that combines:

* the application name;
* an instance count (if more than one instance of the same application is started);
* a URL identifier (for example, the domain name of the application’s homepage – optional).

The same naming scheme is used by the library’s PrefsObjects system to create the name of the preferences file.

== Registration Functions ==

Now let’s say we have a program, a media player called Audio Monster created by the fictitious software company SuperCoders, Inc. The piece of C code to handle its registration (and unregistration) might look like this:

<syntaxhighlight>
uint32 appID;

appID = IApplication->RegisterApplication("AudioMonster",
REGAPP_URLIdentifier, "supercoders.com",
REGAPP_Description, "A media player",
TAG_END);

if (!appID)
{
/* report registration error and quit */
}

/*
do whatever your program does
*/

IApplication->UnregisterApplication(appID, NULL);
</syntaxhighlight>

Note that we’ve had to alter the application name to “AudioMonster”; it is because the Application Library doesn’t allow spaces in application names. According to the naming scheme (outlined in the previous section) the application will now become registered under the name “AudioMonster.supercoders.com”. (Should a previous instance of Audio Monster be already running, the library will automatically append an instance counter to the application name: the second instance will therefore be called “AudioMonster_1.supercoders.com”, the third will register as “AudioMonster_2.supercoders.com”, and so on.)

Also note that the URL identifier is just the domain name, i.e. without the “www.” part. The identifier is only used to distinguish between applications, not to access their homepages. The domain name is, therefore, sufficient; the resulting name identifier needn’t be long and quirky.

After calling UnregisterApplication() the program will be removed from the public list, and Application Library features will no longer be available.

= Application Attributes =

An application is described by a set of ''attributes''. There are attributes that describe the application's properties or feature set, indicate its current state, or determine its behaviour. Some attributes are only specified at registration time and cannot be altered once they are set, while others can be changed freely (as long as the application remains registered, of course). The general recommendation is to specify at registration time all properties that are not going to change during program lifetime: i.e. define all "static" application features in one place.

== Description ==
The REGAPP_Description tag, used in the registration example code above, tells the system what the application is all about. Although the description is an optional attribute, it is recommended to always provide it, as it will allow application manager or taskbar programs to provide meaningful information to the user. Keep the description short, matter-of-fact and serious.

The application description cannot be changed after registration.

== Uniqueness ==
A program can register as a ''unique application'', thus only allowing one instance of itself to run. While the multitasking nature and tradition of AmigaOS would suggest not imposing such limits, there sometimes can be good reasons to do so. For example, the developer of the Audio Monster player might decide to make his/her program a unique application because the user would most likely gain nothing from playing several media files at the same time. Multiple program instances would only compete for screen space and system resources, possibly jeopardizing OS performance on lower-specification computers.

The following function call will register Audio Monster as a unique application:

<syntaxhighlight>
appID = IApplication->RegisterApplication("AudioMonster",
REGAPP_URLIdentifier, "supercoders.com",
REGAPP_Description, "A media player",
REGAPP_UniqueApplication, TRUE,
TAG_END);
</syntaxhighlight>

If the user now tries to launch a second instance of the program, it will fail on RegisterApplication() and the library will send a [[#Special Messages|special message]] to the first instance informing it about the attempt. It is the developer’s responsibility to react to this message in a sensible way. Do not show error messages here: the user doesn’t need to know (or care) that the application is unique, so an error message would scold them for doing nothing wrong. The recommended behaviour is to bring the first instance to view and activate its window.

Quite logically, uniqueness is an attribute that cannot be changed after registration.

== Feature Set / Control Scope ==
Different applications can implement different control features, and can be designed for a different scope of external control. For example, a text editor may respond to a [[#Control Messages|control message]] (command) that tells it to create a new, blank, unnamed document, whereas in a media player such a command would be best ignored. Similarly, a simple tool with no configuration capability would want to stay clear of messages that control program settings. It is always good manners to inform the system about the scope of control your application supports, as other applications may query about (and rely on) this information when sending control messages. Always set the following boolean tags to TRUE in the RegisterApplication() call if your application implements support for the respective feature (the default value is FALSE):

{| class="wikitable"
!Tag
!Description
!Implementation notes
|-
|REGAPP_HasIconifyFeature
|The application supports iconification and uniconification.
|Set to TRUE if your application responds to the APPLIBMT_Hide and APPLIBMT_Unhide messages.
|-
|REGAPP_HasPrefsWindow
|The application has a dedicated Preferences (Settings) window.
|Set to TRUE if your application responds to the APPLIBMT_OpenPrefs message.
|-
|REGAPP_CanCreateNewDocs
|The application can create new documents (projects).
|Set to TRUE if your application responds to the APPLIBMT_NewBlankDoc message.
|-
|REGAPP_CanPrintDocs
|The application can print documents.
|Set to TRUE if your application responds to the APPLIBMT_PrintDoc message.
|}

These four attributes can be changed after registration.

== Receiving Notifications ==

The Application Library can send certain notification messages that may be of interest to special-purpose programs like application managers, taskbars or screen blankers. If you are developing such a program, you may want to register for the following notifications:

{| class="wikitable"
!Tag
!Description
!Implementation notes
|-
|REGAPP_AppNotifications
|Receive notifications about application registration/unregistration, icon type changes, GUI state changes (hidden/unhidden), and changes in the last used applications/documents list.
|Set to TRUE if you want to receive such notifications. These messages will only be useful to application managers and taskbar-like programs.
|-
|REGAPP_BlankerNotifications
|Receive notifications concerning blanker activity.
|Set to TRUE if you want to receive such notifications. These messages will only be useful to screen blankers.
|}

Other types of application should not normally ask to receive these notifications: they would only increase traffic along their input stream.

These two attributes can be changed after registration.

== Changing Application Attributes ==

Certain attributes describe "dynamic" application properties and, as such, can be set or changed after registration. Some of these are ''state attributes'' that need to be updated each time your program changes state (shows/hides its GUI, or enters the game mode; see below in the table). Some are not really attributes but, rather, commands that invoke an application-related action.

{| class="wikitable"
!Tag
!Description
!Implementation notes
|-
|APPATTR_AllowsBlanker
|Same as REGAPP_AllowsBlanker above.
|You may want to be able to enable/disable blanking dynamically during application runtime – this what the APPATTR_AllowsBlanker tag is for. For example, a presentation program may allow blankers while the presentation is being worked on, and disable them when the presentation is started.
|-
|APPATTR_AppOpenedDocument
|Adds a new entry to the application's Last Used Documents list.
|Set this tag each time your application has successfully opened a named document or project. The parameter to this tag is a pointer to the name string (i.e. a STRPTR).
|-
|APPATTR_AppNotifications APPATTR_BlankerNotifications
|Same as the two corresponding [[#Receiving Notifications|registration tags]] above.
|
|-
|APPATTR_CanCreateNewDocs APPATTR_CanPrintDocs APPATTR_HasIconifyFeature APPATTR_HasPrefsWindow
|Same as the four corresponding [[#Feature Set / Control Scope|registration tags]] above.
|Prefer setting these properties at registration time.
|-
|APPATTR_ClearLastUsedDocs
|Clears the application's list of last used documents.
|Set this tag to TRUE to clear the list. (Note that this is not really an attribute but, rather, a command.)
|-
|APPATTR_FlushPrefs
|
|
|-
|APPATTR_Hidden
|A boolean program-state attribute indicating whether the application is currently iconified (hidden) or not.
|Update this attribute each time your application GUI changes state, as application managers may query about (and rely on) this information.
|-
|APPATTR_IconType
|Changes the application icon type.
|
|-
|APPATTR_MainPrefsDict
|Allows changing the application's Prefs dictionary.
|
|-
|APPATTR_NeedsGameMode
|A boolean program-state attribute informing the system (and other applications) that the program is about to enter, or has left, the game mode.
|By the "game mode" we understand a mode in which an application doesn't want to be "disturbed" by other applications. It normally assumes full screen operation, and possibly taking over the audio system. Games or presentation programs are examples of applications that may want to implement the game mode, in which other programs are simply asked to “keep quiet”: not try to play sounds, open windows, requesters, etc. This feature assumes discipline and cooperation on the part of other applications; please use it moderately and only enter the game mode when it is really needed. Also note that setting APPATTR_NeedsGameMode to TRUE does not guarantee that other applications will comply.
|-
|APPATTR_SavePrefs
|Same as REGAPP_SavePrefs above.
|
|}

The function to set or change application attributes is SetApplicationAttrs(). It is very similar to SetAttrs() used in Intuition programming, only the first parameter is not a pointer to a BOOPSI object but an application identifier. The appID is followed by a tag list, so several attributes can be set at a time. The following example call will inform the system that the application has iconified (or otherwise hidden its GUI) and that the screen blanker can now come to front freely (assuming that the blanker was forbidden before for some reason). The result value indicates whether the call was successful or not:

<syntaxhighlight>
BOOL result;

result = IApplication->SetApplicationAttrs(appID,
APPATTR_Hidden, TRUE,
APPATTR_AllowsBlanker, TRUE,
TAG_END);
</syntaxhighlight>

= Finding Applications =

The Application Library maintains a public list of all registered applications. Certain special-purpose programs – ''application managers'' – will read this list (also keeping track of all subsequent registrations and unregistrations) and offer some degree of control: display information about applications and/or send commands telling them to do something. Quite naturally, most programs will not (nor are they supposed to!) act as managers but a need to talk to another application may arise. How do you find it, then?

Finding an application basically means obtaining its appID: it is an identifier as well as a “contact address” for the library's messaging system. To do this you need to know at least one of the following:

* the application name, ie. the one under which it was registered via RegisterApplication();
* the application name identifier, ie. the unique combination of the application’s name, instance number (should there be more instances running) and URL identifier – see [[#Application Identifiers|Application identifiers]] above;
* the pathname pointing to the program file on disk, e.g. “Work:Utils/AudioMonster”.

Based on this information, the respective piece of code that will find our application in the system might look like this:

<syntaxhighlight>
uint32 appID;

/* if you only know the application name */
appID = IApplication->FindApplication(FINDAPP_Name, "AudioMonster", TAG_END);

/* if you know the application name identifier */
appID = IApplication->FindApplication(FINDAPP_AppIdentifier, "AudioMonster.supercoders.com", TAG_END);

/* if you specifically want to talk to the second running instance */
appID = IApplication->FindApplication(FINDAPP_AppIdentifier, "AudioMonster_1.supercoders.com", TAG_END);

/* if you know the pathname to the program file */
appID = IApplication->FindApplication(FINDAPP_FileName, "Work:Utils/AudioMonster", TAG_END);
</syntaxhighlight>

Once you have obtained the appID you can start communicating with the respective application.

= Messaging =

Messages are used extensively in AmigaOS: the inner workings of Exec or Intuition actually involve a good deal of message passing. But it’s not just the operating system that needs to communicate. Modern software applications often want to talk to other running applications. Regardless of whether this communication will, in real use, entail a simple command-driven action or an intricate exchange of data, AmigaOS provides the necessary means: inter-program communication is supported on the low level (through Exec Library’s [[Exec Messages and Ports|messages and ports]]) as well as on the high level (using the ARexx-language scripting features). The Application Library has introduced yet another means of communication, which can be seen as lying somewhere in between the two levels.

Provided that you know its appID, you can send messages to any running application that is ready to accept them. You can even send a message to all applications at once! Basic application control can be achieved via a set of [[#Control Messages|predefined messages]] that correspond to common program commands and functions (such as New, Open, Print, Iconify or Quit). But the library also supports [[#Custom Messages|custom messages]], thus allowing for more sophisticated control or information exchange. The extent and complexity of messaging is fully up to the programmer: your application will only send/receive messages that you will implement (it has already been mentioned in the [[#Frequently Asked Questions|Frequently Asked Questions]] section above that registration alone does not magically turn on any features).

Furthermore, apart from this “invisible”, abstract communication taking place between application ports, you can use the library to provide real and visible information in the form of pop-up notification messages. However, as these are different and not really within the scope of the Application Library messaging framework, they are dealt with in a [[#Pop-up Notifications (Ringhio Messages)|separate section]] of this document.

{{Note|Before we get any further with Application Library messages, it must be made clear that they should not be confused with the similarly-named ''AppMessages''. The latter are a completely different breed, governed by the Workbench Library. They represent a specific way of communication between the Workbench desktop environment and running applications. It’s strictly one-way communication because Workbench can send AppMessages to applications but applications cannot send AppMessages to Workbench. (If you want to learn more about the use of AppMessages, consult the [[Workbench Library|Workbench Library]] section of the AmigaOS documentation wiki).
}}

== Data Structures ==

Rather than introduce yet another system for communication, the Application Library builds upon the existing [[Exec_Messages_and_Ports|Exec messaging framework]]. Programmers will, therefore, find working with Application Library messages rather familiar. For instance, the library uses data structures that are in fact extensions of the standard Exec message structure. Also, the usual procedure of [[Exec_Messages_and_Ports#Getting_a_Message|GetMsg()]] and [[Exec_Messages_and_Ports#Replying|ReplyMsg()]] takes place when processing incoming Application Library messages (see section [[#Message Handling|Message Handling]] below) – although the library implements its own method for [[#Sending Messages|sending messages]].

The following three structures are defined for carrying Application Library message data:

<syntaxhighlight>
struct ApplicationMsg
{
struct Message msg;
uint32 senderAppID; // the appID of the sender application
uint32 type; // identifies the type of message
};

struct ApplicationOpenPrintDocMsg
{
struct ApplicationMsg almsg;
STRPTR fileName;
};

struct ApplicationCustomMsg
{
struct ApplicationMsg almsg;
STRPTR customMsg;
};
</syntaxhighlight>

As you can see, structure ''ApplicationMsg'' contains a standard ''[[Exec_Messages_and_Ports#Messages|struct Message]]'', the other fields are used for Application Library-specific data. The other two structures are mere extensions of the basic one: ''ApplicationOpenPrintDocMsg'' is used by certain [[#Control Messages|control messages]] that require a pointer to a filename; the ''ApplicationCustomMsg'' structure is used for [[#Custom Messages|custom messages]].

Upon message arrival you identify the message by reading the “type” field of the respective data structure. Similarly, if you want to [[#Sending Messages|send a message]] to an application you specify it in the “type” field.

== Control Messages ==

The Application Library allows registered applications to send messages that control other applications. There is a set of predefined messages (or rather, commands) that can be sent to a running application, telling it – for example – that it should come to front, quit, open a document, create a new one, and so on. As these actions are common program functions, the library offers a practical and easy-to-implement way to control applications externally. The following control messages (commands) are currently provided:

{| class="wikitable"
!Message name
!Description
!Implementation notes
|-
|APPLIBMT_Quit
|The application is asked to shut down itself and quit.
|Basically, upon receiving this message you should react as if your main program window received the WMHI_CLOSEWINDOW event. When implementing support for APPLIBMT_Quit, the programmer is required to design the program exit sequence in such a way that no unexpected data loss can occur (for example, by displaying a confirmation requester that allows the user to save work or cancel the quit command).
|-
|APPLIBMT_ForceQuit
|Same as before but this time the application shall quit immediately, without asking for saving documents etc.
|Providing this command as part of the Application Library messaging framework was surely meant well but there is an inherent risk: a malevolent application could hamper the use of other applications by sending them this message and making them quit prematurely. So implement APPLIBMT_ForceQuit with care, or don't implement it at all. The official AmigaOS application manager will never try to send APPLIBMT_ForceQuit in order to shut down running applications.
|-
|APPLIBMT_Hide
|The application shall hide its interface and iconify on the Workbench screen.
|rowspan="2"|An application that supports APPLIBMT_Hide and APPLIBMT_Unhide is expected to register itself with REGAPP_HasIconifyFeature set to TRUE. Basically, upon receiving this message you should react as if your main program window received the WMHI_ICONIFY / WMHI_UNICONIFY event.
|-
|APPLIBMT_Unhide
|The application shall come back from the iconified (hidden) state.
|-
|APPLIBMT_ToFront
|The application window shall come to front.
|Programmatically that entails calling the ScreenToFront(), WindowToFront() and ActivateWindow() sequence. See the end of the [[#Message Handling|Message Handling]] section for a note on APPLIBMT_ToFront.
|-
|APPLIBMT_OpenPrefs
|The application shall open its preferences window.
|Only implement if your application has a dedicated Preferences (Settings) window. An application that supports APPLIBMT_OpenPrefs is expected to register itself with the REGAPP_HasPrefsWindow set to TRUE.
|-
|APPLIBMT_ReloadPrefs
|The application shall reload its preferences.
|Whatever this command is useful for.
|-
|APPLIBMT_NewBlankDoc
|The application shall open a new, blank document or project.
|Applications such as web browsers can, too, make use of this command to open new program windows. An application that supports APPLIBMT_NewBlankDoc is expected to register itself with the REGAPP_CanCreateNewDocs set to TRUE.
|-
|APPLIBMT_OpenDoc
|The application shall try to open a specific document or project.
|The name of the document is passed as part of the message data structure (''struct ApplicationOpenPrintDocMsg'': see [[#Data Structures|Data Structures]] above).
|-
|APPLIBMT_PrintDoc
|The application shall try to print a specific document.
|The name of the document is passed as part of the message data structure (''struct ApplicationOpenPrintDocMsg'': see [[#Data Structures|Data Structures]] above). An application that supports APPLIBMT_PrintDoc is expected to register itself with the REGAPP_CanPrintDocs set to TRUE.
|}

An application will only react to messages that are implemented and supported. If you [[#Sending Messages|send a message]] to an application that is registered but does not perform any Application Library event handling, there will be no reaction at all. Further, many applications will only implement a subset of the available control commands: if a program does not have a Print function, an APPLIBMT_PrintDoc message will quite logically be ignored. There is no rule saying which or how many control messages should be implemented but you are encouraged to provide the [[#Minimum Application Library Support|minimum suggested support]] as outlined above. Implement the rest according to your application’s features and needs, and to the highest standards of security.

== Custom Messages ==

In contrast to a [[#Control Messages|control message]] (see above), a custom message has no meaning or purpose predefined by the library. It is a simple text string the actual meaning of which is determined by the application. There is some undeniable beauty in this concept. For instance, the application can define a set of “publicly available” commands that call a corresponding function whenever a particular command (text string) arrives from another application. This kind of external control is very easy to implement and represents a practical alternative to [[UI_Style_Guide_Glossary#ARexx|ARexx]], while requiring less setup. Also, sender applications need not care about internals (such as knowing the ARexx port name) – all it takes is to [[#Finding Applications|find]] the receiver application and [[#Sending Messages|send a message]] to it.

The pointer to the message text string is contained in a special [[#Data Structures|data structure]], ''struct ApplicationCustomMsg''.

== Special Messages ==

There are also some special messages that an application can receive from the library or another running application:

{| class="wikitable"
! Message name !! Description !! Implementation notes
|-
| APPLIBMT_Unique || If an application is registered as [[#Uniqueness|unique]] and the user attempts to start a second instance of the program, the attempt will fail and the library will send an APPLIBMT_Unique message to the first instance. || All unique applications should listen for this message and react to it: not doing so might leave the user puzzled as to why the program hasn’t started. The recommended reaction is to bring the first instance to view and focus. This may entail a couple of steps, like uniconifying (if the program is iconified at the moment), swapping screen (if the program runs on a dedicated screen), bringing the program window to front, and activating it. Basically, the APPLIBMT_Unique message should be treated in the same way as the APPLIBMT_ToFront message.
|-
| APPLIBMT_GameModeEntered || Sent to all currently running applications if another application enters the “game mode” – that is, a state in which it doesn’t want to be disturbed. || The message is sent around whenever an application sets its APPATTR_NeedsGameMode attribute to TRUE.
|-
| APPLIBMT_GameModeLeft || Informs all running application that the sender has left the game mode. || The message is sent around whenever an application sets its APPATTR_NeedsGameMode attribute to FALSE.
|}

== Message Handling ==

You already know that messaging in AmigaOS takes place between [[Exec_Messages_and_Ports#Message_Ports|message ports]]. Being a superset of standard Exec messages, Application Library notifications (be they predefined [[#Control Messages|control messages]], [[#Custom Messages|custom messages]] or [[#Special Messages|special messages]]) are, too, sent to a message port. We’ll call this dedicated port – in order to distinguish it from other ports possibly used by the program – the ''notification port''. The port is automatically created by the library at registration time and freed as part of the UnregisterApplication() call. Messages arriving at the port are meant to be processed within the program’s main event loop, together with other events (such as Intuition’s [[Intuition_Input_and_Output_Methods#Receiving_Input_Events_from_Intuition|IDCMP messages]]). To process incoming messages you first need to obtain the notification port pointer from the library and then set the port’s signal bit. The signal bit is used to identify messages as Application Library notifications.

A simplified event loop code could look like the one below. Note that this example loop only waits for and processes Application Library messages. In real use you'll also want to handle other message types, such as input from the user interface (IDCMP events) or ARexx commands.

<syntaxhighlight>
void event_loop(uint32 appID)
{
struct MsgPort *notificationPort = NULL;
struct ApplicationMsg *appLibMsg = NULL;
struct ApplicationCustomMsg *customMsg = NULL;
uint32 appLibSignal = 0, sigGot = 0;
BOOL done = FALSE;

/* Obtain pointer to Application Library's notification port and set the signal bit. */
IApplication->GetApplicationAttrs(appID, APPATTR_Port, &notificationPort, TAG_END);
appLibSignal = (1L << notificationPort->mp_SigBit);

/* Go into the event loop. */
while (!done)
{
/* Wait for a signal to arrive. */
sigGot = IExec->Wait(appLibSignal);

/* Process all Application Library messages. */
if ( sigGot & appLibSignal )
{
/* Obtain pointer to the message. */
while ( (appLibMsg = (struct ApplicationMsg *) IExec->GetMsg(notificationPort)) )
{
/* Identify the type of message. */
switch (appLibMsg->type)
{
case APPLIBMT_Quit:
case APPLIBMT_ForceQuit:
done = TRUE;
break;

case APPLIBMT_ToFront:
/* Make the program window come to front. */
break;

case APPLIBMT_Hide:
/* Iconify the program. */
break;

case APPLIBMT_Unhide:
/* Uniconify the program. */
break;

/* Process the custom message as you like.
Here we just use printf() to output the message text. */
case APPLIBMT_CustomMsg:
customMsg = (struct ApplicationCustomMsg *) appLibMsg;
printf("The message text is: %s\n", customMsg-> customMsg);
break;

/*
Process any other Application Library messages.
*/

}
/* Return the processed message to the sender so that it can be freed. */
IExec->ReplyMsg( (struct Message *) appLibMsg);
}
}
}
</syntaxhighlight>

Like all [[Exec_Messages_and_Ports#Messages|Exec messages]] obtained via the GetMsg() function, Application Library messages must be [[Exec_Messages_and_Ports#Replying|replied to]], i.e. returned to the sender after they have been processed. This is what the last command does in the code above. Remember that all message resources are freed after ReplyMsg() so should you need to use the message data (for example, the custom message text string) beyond the event loop, you must copy it to a memory storage of your own.

Also remember that the notifications are addressed to an abstract ''application'' – this makes them rather different from IDCMP messages, which are always sent to a particular ''window'' (Intuition is unaware of the application concept). Whereas Intuition stops sending IDCMP messages as soon as the window becomes closed/iconified, the Application Library keeps passing messages as long as the application is registered, regardless of program window state. So be smart in your code when processing Application Library notifications: check for the availability of the program window and perform uniconification when necessary. For example, if an APPLIBMT_ToFront command is sent to your iconified application, there is no window to come to front; you need to uniconify it first and only then call the ScreenToFront(), WindowToFront() and ActivateWindow() sequence. The mistake of referencing a non-existing window is as silly as it is easy to make!

== Sending Messages ==

While incoming notifications are [[#Message Handling|processed]] pretty much like normal Exec messages, the Application Library implements its own method for message sending. It takes three simple steps to send a message to another application:

# Prepare the respective [[#Data Structures|data structure]]: specify the type of message and supply the sender's [[#Application Identifiers|identifier]] (appID).
# [[#Finding Applications|Find the receiver]] application.
# Send a message to it via the SendApplicationMsg() function.

For example, if you want to tell the Audio Monster application to quit, you send it an APPLIBMT_Quit message like this:

<syntaxhighlight>
struct ApplicationMsg appMsg; // message data structure
uint32 audioMonsterID; // identifier of the receiver

/* Step 1: Prepare the message data structure. */
appMsg.senderAppID = appID; // identifier of the sender
appMsg.type = APPLIBMT_Quit; // type of message

/* Step 2: Find the receiver application. */
if ( (audioMonsterID = IApplication->FindApplication(FINDAPP_Name, "AudioMonster", TAG_END)) )
{
/* Step 3: Send the message. */
IApplication->SendApplicationMsg(appID,
audioMonsterID,
&appMsg,
APPLIBMT_Quit);
}
</syntaxhighlight>

Should you want to send your message to all currently registered applications at once, just use a receiver appID of 0.

Sending [[#Custom Messages|custom messages]] is done in a similar fashion, the only difference is that you must use a dedicated [[#Data Structures|data structure]] instead of the generic ''struct ApplicationMsg''. As our Audio Monster application is a media player, it may as well have defined a set of commands for external control, one of them being “Start playback”. Now if another application wants to tell Audio Monster to start playing, it will need to send the custom message like this:

<syntaxhighlight>
struct ApplicationCustomMsg customMsg; // custom message data structure
uint32 audioMonsterID; // identifier of the receiver

/* Prepare the message data structure. */
customMsg.almsg.senderAppID = appID; // identifier of the sender
customMsg.almsg.type = APPLIBMT_CustomMsg; // type of message
customMsg.customMsg = "Start playback"; // message text

/* Find the receiver application. */
if ( (audioMonsterID = IApplication->FindApplication(FINDAPP_Name, "AudioMonster", TAG_END)) )
{
/* Send the message. */
IApplication->SendApplicationMsg(appID,
audioMonsterID,
(struct ApplicationMsg *) &customMsg,
APPLIBMT_CustomMsg);
}
</syntaxhighlight>

= Pop-up Notifications (Ringhio Messages) =

As from the introduction of the Ringhio server in AmigaOS 4.1 Update 1, registered applications can inform the user via notifications displayed in a small pop-up box. These are sometimes called ''Ringhio messages'' because the server provides means through which the messages are communicated visually (in other words, Ringhio handles the actual display of messages sent by the Application Library). [[File:RinghioNotification.png|frame|Ringhio notification example]] The pop-ups function similarly to [[Intuition Requesters|requesters]] in that they show a text message; but unlike requesters, Ringhio messages do not require user interaction or acknowledgement. They just show up briefly and disappear – which makes them great for informing about less significant, matter-of-fact events such as that a certain task has been completed (this is especially helpful if the application is hidden or runs on a different screen, as the user is kept informed about something that is currently beyond his/her visual control).

Of all the types of Application Library messages, pop-up notifications are surely the easiest to program. They don’t require any setup or event handling; all it takes is a single function call:

<syntaxhighlight>
uint32 result;

result = IApplication->Notify(appID,
APPNOTIFY_Title, "Important Message",
APPNOTIFY_Text, "Your socks need changing!",
APPNOTIFY_PubScreenName, "FRONT",
TAG_END);
</syntaxhighlight>

The first parameter is your application’s appID received from the [[#Registration Functions|registration function]]. The APPNOTIFY_Title tag specifies a short heading for the pop-up box while APPNOTIFY_Text contains the actual message text. Certain limits to text length apply to ensure that the pop-up remains easy to read: 64 characters for the heading (title) and 128 characters for the text (160 characters as of Ringhio 53.23). This particular message will display on the frontmost public screen (as specified in the APPNOTIFY_PubScreenName tag), which may as well be the right setting for most applications. You can of course provide any other public screen name – or you can call Notify() without this tag and let the library use the default, which is the [[Public_Screen_Type#The_Default_Public_Screen_and_Workbench|Workbench screen]].

The result value shows whether the call was successful; 0 means that an error has occurred and Ringhio failed to display the pop-up. Depending on the significance of the message, you may want to react upon the failure and inform the user through other means of communication, such as a requester.

The look and position of the pop-up box is configurable from the Notifications editor located in the Prefs drawer on your system partition. This is Ringhio’s preferences editor: as we have explained above, it is Ringhio that is responsible for the actual display of notification messages. The pop-up box can also show a small custom image (like the one in the picture above) to make the message more easily identifiable as related to a particular application. The maximum size of the image is 32x32 pixels. It can be any format, provided that there is a datatype for it installed in the system. Being application-specific, these images logically cannot be configured system-wide through the Notifications editor; instead, they are specified as part of the Notify() call. Note that a full path to the image file must be provided:

<syntaxhighlight>
IApplication->Notify(appID,
APPNOTIFY_Title, "Important Message",
APPNOTIFY_Text, "Your socks need changing!",
APPNOTIFY_PubScreenName, "FRONT",
APPNOTIFY_ImageFile, "PROGDIR:Images/AudioMonster.jpg",
APPNOTIFY_BackMsg, "All right, ma!",
TAG_END);
</syntaxhighlight>

But what is this APPNOTIFY_BackMsg thing? It has been mentioned above that notification messages do not require user interaction: they display some text and go away. Nevertheless, Ringhio can send the application a [[#Custom Messages|custom message]] (called “back message” – hence the name of the tag) if the user has double-clicked on the message box. As the code snippet shows, this custom message takes the form of a text string (within the Application Library messaging context, [[#Custom Messages|custom messages]] are always text strings). It is sent to the same event stream, and is supposed to be processed within the same event loop, as other Application Library messages – see the [[#Message Handling|Message Handling]] section for how to go about it.

Whether receiving a “back message” would be useful for a particular application, and whether it would make sense to react upon it, is decided by the programmer. The reaction (if any – often none is needed) should be sensible and logical. Make sure not to misuse the feature! Note that Ringhio messages are not requesters, and double-clicking on the message box does not really equal pressing a requester button. Therefore, receiving the message could be interpreted as the user’s acknowledgement of what Ringhio has said, but never as a selection of an option. Do not use Ringhio to request input via the back-message feature: the text of the message should be a statement, not a question or an offer of choice. Considering this logic, the double click means “I understand”; it doesn't mean “Yes” or “No”.

If the text string provided in the APPNOTIFY_BackMsg tag is an URL, the feature works rather differently. Instead of sending the message to the event stream, this particular URL is opened in your default web browser. Because the process is done through the Launch Handler, your system should be recent enough to have it (the Launch Handler was introduced in AmigaOS 4.1 Update 1). The following piece of code will open Audio Monster’s homepage if the user double-clicks on the Ringhio box. The last in the tag list, APPNOTIFY_CloseOnDC, causes the message box to disappear right after the double click.

<syntaxhighlight>
IApplication->Notify(appID,
APPNOTIFY_Title, "Important Message",
APPNOTIFY_Text, "Your socks need changing!",
APPNOTIFY_PubScreenName, "FRONT",
APPNOTIFY_ImageFile, "PROGDIR:Images/AudioMonster.jpg",
APPNOTIFY_BackMsg, "URL:http://www.supercoders.com",
APPNOTIFY_CloseOnDC, TRUE,
TAG_END);
</syntaxhighlight>

== Pop-up Message Style Guide ==

* Keep the message text short. Give the user chance to read the entire message before it disappears.
* Do not use pop-up messages to report errors. An error is usually a serious situation, and as such it cannot be dismissed by simply displaying an automatic message (which can easily get missed or overlooked).
* Use the pop-up message facility with moderation. Displaying the messages too frequently might hamper the workflow, and would most probably annoy the user.

= PrefsObjects =

== Introduction ==

Many applications are user-configurable so they need a way to store their settings; we traditionally use the term ''preferences'' or simply ''prefs'' in the AmigaOS context. It may come as a surprise that before version 4.x, AmigaOS had no real standard for storing preference data. Developers used various, often proprietary solutions: [[Icon_Library#The_Tool_Types_Array|icon tooltypes]], IFF-based formats, text files mimicking the Windows ''.ini'' format, or binary formats. Some of them are still very popular (tooltypes) or even used by the OS itself (some [[UI_Style_Guide_Preferences#Preferences|system preferences]] are stored as IFF-PREF files). While this is not a place to go into detail and discuss their particular advantages and disadvantages, let’s mention two common drawbacks that ultimately led to the development of the Application Library PrefsObjects system:

# All of the solutions above require you to implement your own preferences handling code (that is, routines for parsing, verification, and saving).
# None of the various formats used have ever provided a smart enough way to administer complex, structured settings.

Since its introduction in AmigaOS, PrefsObjects has largely been promoted as being ''XML-based'' and therefore human-readable and easy to edit. Yet using an industry standard format that is platform-independent and supports Unicode is not the biggest “selling point” of PrefsObjects. What makes it different from (and superior to) previous solutions is not the fact that it is XML-based but, rather, that it is ''object-oriented''. Among other things, this property also helps address the two drawbacks mentioned above.

Imagine, for example, a program that uses a plug-in system. Both the main program and its plug-in modules are configurable. Instead of having ten or more individual preference files, you’ll likely want a single file containing settings for the program as well as for the plug-ins. This naturally introduces a certain hierarchy. Plus, as some plug-ins may be delivered by third parties, the particular structure of the prefs file is somewhat beyond the control of the main program: the amount, contents and sequencing of data in the file depends on which plug-ins are installed and on how (and when, if ever) they store their settings. You would have to take all of this into account when implementing your own prefs-handling routines, which means a good deal of work.

== Object Types ==

PrefsObjects tackles the task by seeing data as ''objects'', and by providing common functions (methods) for object manipulation. Loading, adding, updating or removing preference objects (be they single items or entire clusters of settings) then becomes a matter of calling the respective function – “invoking the method on the object”, as we say in object-oriented programming. If you are acquainted with this philosophy (as used, for example, in Intuition’s [[BOOPSI]] framework), you will find working with PrefsObjects very easy and straightforward.

PrefsObjects distinguishes between the following object types:

{| class="wikitable"
| Dictionary || A container to encapsulate (embed) other objects. The prefs file usually has a Dictionary object at the top level.
|-
| Array || A container to encapsulate other objects. The difference between a Dictionary and an Array is in object referencing: in Arrays encapsulated objects are referenced by an index, while in a Dictionary they are referenced by a name (key string).
|-
| Number || An object to carry a long integer, double, or a boolean value.
|-
| String || An object to carry a text string.
|-
| Date || An object to carry date and time information.
|-
| Binary || An object to carry arbitrary binary data. However, binary data should be avoided as much as possible because it's restrictive in its form and is not future-proof, as it does not enable addition or removal of data without compromising compatibility.
|}

== The Interface and its Functions ==

It has been mentioned above in the [[#Library Opening Chores|Library Opening Chores]] section that the Application Library has two interfaces, called “application” and “prefsobjects”, respectively. If you want to implement your program preferences using the PrefsObjects system, you must obtain the “prefsobjects” interface: all the necessary functions (methods) are contained therein. Naturally, your application must be registered before you can make use of PrefsObjects.

All operations related to settings – retrieving, adding and changing –, as well as all operations related to the prefs file itself – creation, loading and saving – are performed solely through the library functions. Some operations can even be automated, sparing the programmer from unnecessary hassle.

== The Preferences File ==

Prefs files are standard XML documents. They are encoded in UTF-8 (which AmigaOS doesn't support directly) but that doesn't necessarily pose a problem. First, you rarely need to edit prefs files manually – nor are you encouraged to do so, unless the file has become corrupted or contains a setting that prevents the application from running properly. Second, characters beyond the ASCII range are rarely used in preferences, so the prefs files will likely be readable and editable even in a text editor that has no notion of UTF-8. And third, you can always use the dedicated [[PrefsObjectsEditor]], located in the Utilities drawer on your system disk, which allows easy and safe editing of PrefsObjects files (usage of this tool is, however, out of the scope of this page).

=== File Structure ===

It's recommended – but not mandatory – that a preferences file starts with a Dictionary object. The advantage of using a Dictionary is that objects stored in it are identified by a name (called a “key”). Using named objects is very practical. Unlike in Arrays, where objects are indexed, the order of data is quite irrelevant as long as you deal with objects on the same level. Your application can retrieve, add, modify, re-sequence or remove individual objects in an arbitrary order without having to worry about breaking anything: a named object will always be addressed properly if it exists.

Object names (keys) must be unique on each particular level. In other words, you cannot have two settings items (objects) with the same key in the same dictionary. However, identical object names can be used in different dictionaries. The following example shows a prefs file structure that embeds two dictionaries named “Screen settings” and “Window settings”. As you can see, identical keys (“Name”, “Width” and “Height”) are used without collision:

<nowiki>
– "Root" (Dictionary object)
– "Screen settings" (Dictionary object)
– "Name" (String object)
– "Width" (Number object)
– "Height" (Number object)
– "Window settings" (Dictionary object)
– "Name" (String object)
– "Width" (Number object)
– "Height" (Number object)
</nowiki>

The example also illustrates the hierarchical nature of the PrefsObjects system: objects can be embedded inside other objects.

=== Reading the File ===

In most cases, there will be just one preferences file associated with your application. If all you need is simply read settings from the file (and save them upon user request), it is recommended that you let the Application Library handle the file access. Registering your application like this

<syntaxhighlight>
appID = IApplication->RegisterApplication("AudioMonster",
REGAPP_URLIdentifier, "supercoders.com",
REGAPP_Description, "A media player",
REGAPP_LoadPrefs, TRUE,
TAG_END);
</syntaxhighlight>

will tell the library to access the prefs file automatically, under its default name and from the default location. The default naming scheme for prefs files uses the application name combined with the [[#Application Identifiers|URL identifier]]. Also, the ''.xml'' extension is appended at the end of the name to identify the document format. So with this particular registration call, the default file name will be “AudioMonster.supercoders.com.xml” and the library will try to access it from the ENV: directory. (Don't worry, both the file name and location can be changed.) If the file is found, the library will internally allocate a PrefsObject and read the settings into it. If the file is not found, the library will allocate an empty PrefsObject for you. In both cases you can subsequently obtain the PrefsObject pointer just like you would ask for any other application atribute:

<syntaxhighlight>
PrefsObject *mySettings = NULL;

IApplication->GetApplicationAttrs(appID, APPATTR_MainPrefsDict, &mySettings, TAG_END);

if ( mySettings )
{

/*
you can now retrieve the individual settings
from the object, or store them in it
*/
}
</syntaxhighlight>

=== Populating the File ===

Each of the [[#Object Types|Object type]] has a corresponding dispatcher to handle operations on this kind of object. The following table indicates the mapping:

{| class="wikitable"
|+ PrefsObjects type mapping
! Type !! PrefsObjects dispatcher name
|-
| dictionary || PrefsDictionary
|-
| array || PrefsArray
|-
| number || PrefsNumber
|-
| string || PrefsString
|-
| date || PrefsDate
|-
| binary || PrefsBinary
|}

=== Allocating Objects ===

All those dispatchers share a common set of methods among them are allocation and releasing of the object.

To allocate a new dictionary all that is needed is to call the ALPO_Alloc method on the PrefsDictionary dispatcher like this:

<syntaxhighlight>
PrefsObjects * pDict = IPrefsObjects->PrefsDictionary(NULL, &nError, ALPO_Alloc, 0, TAG_END);
</syntaxhighlight>

Should a string be needed the call would be similar using PrefsString instead:

<syntaxhighlight>
PrefsObjects * pStr = IPrefsObjects->PrefsString(NULL, &nError, ALPO_Alloc, 0, TAG_END);
</syntaxhighlight>

=== Releasing Objects ===

When the object is not needed anymore it can be released calling the ALPO_Release method of the dispatcher and providing the object to release like this:

<syntaxhighlight>
IPrefsObjects->PrefsDictionary(pDict, &nError, ALPO_Release, 0, TAG_END);
IPrefsObjects->PrefsString(pStr, &nError, ALPO_Release, 0, TAG_END);
</syntaxhighlight>

=== Reference Counting ===

Note that because objects can be referenced several times, PrefsObjects maintain a reference count of any created object. Deallocation will really take effect when this count reaches 0, else releasing an object only decreases the count by 1.

In some special cases it may be interesting to have more direct control over this automatic mechanism. This is exactly the purpose of methods ALPO_GetRetainCount and ALPO_Retain.

The first one allows retreival of the current count, unlike previous methods this one requires an argument to instruct where to store the retrieved count. This argument takes the form of a pointer to an int32:

<syntaxhighlight>
int32 nCount = -1;
IPrefsObjects->PrefsDictionary(pDict, &nError, ALPO_GetRetainCount, &nCount, TAG_END);
</syntaxhighlight>

The second one allows to explicitly increase the count by 1. This can be needed for several reasons the main one being transfer of ownership.

== Automation ==

By default, the prefs file is stored in and loaded from the ENV: and ENVARC: system directories. The default location can nevertheless be overridden at [[#Registration Functions|registration]] time. For example, your application may want to use its own subdirectory in the ENV(ARC): path. This is done by passing the REGAPP_ENVDir tag-value pair in the RegisterApplication() call. The following line of code will cause saving the prefs file into “ENV:AudioMonster/” and “ENVARC:AudioMonster/”.

<syntaxhighlight>
REGAPP_ENVDir, "AudioMonster",
</syntaxhighlight>

The default naming scheme for the prefs file uses the application name combined with the URL identifier. Also, the ''.xml'' extension is appended at the end of the file name to identify the document format. So if our application registered under the name of “AudioMonster” and with the URL identifier “supercoders.com”, the default preferences file name will be “AudioMonster.supercoders.com.xml”. This yields a unique file name but might look a little quirky so the library provides a way to override the default naming scheme. This is done by passing the REGAPP_ CustomPrefsBaseName tag-value pair in the RegisterApplication() call. The following line of code will cause saving the prefs file as "AudioMonster.xml":

<syntaxhighlight>
REGAPP_CustomPrefsBaseName, "AudioMonster",
</syntaxhighlight>

= Function Reference =

The following are brief descriptions of the Application Library functions. See the SDK/Autodocs for details on each function call.

{| class="wikitable"
|+Functions in the "application" interface
! Function
! Description
|-
| FindApplication()
| Searches for a previously registered application.
|-
| FreeApplicationList()
| Frees the list of applications generated by GetApplicationList().
|-
| GetAppLibAttrs()
| Obtains global Application Library attributes.
|-
| GetApplicationAttrs()
| Obtains attributes of a registered application.
|-
| GetApplicationList()
| Obtains the list of all currently registered applications.
|-
| LockApplicationIcon()
| Attempts to lock an application icon.
|-
| Notify()
| Displays a pop-up message box.
|-
| RegisterApplication()
| Registers an application.
|-
| SendApplicationMsg()
| Sends a message to a registered application.
|-
| SetAppLibAttrs()
| Sets or changes global Application Library attributes.
|-
| SetApplicationAttrs()
| Sets or changes application attributes.
|-
| UnlockApplicationIcon()
| Unlocks an application icon.
|-
| UnregisterApplication()
| Unregisters an application.
|}

{| class="wikitable"
|+Functions in the "prefsobjects" interface
! Function
! Description
|-
| BeginDeserialization()
| Begins the deserialization of a prefs object.
|-
| DictGetBoolForKey()
| Obtains a boolean value for a dictionary key.
|-
| DictGetIntegerForKey()
| Obtains an integer value for a dictionary key.
|-
| DictGetObjectForKey()
| Obtains an object for a dictionary key.
|-
| DictGetOptionForKey()
| Obtains a string from an option table.
|-
| DictGetStringForKey()
| Obtains a string value for a dictionary key.
|-
| DictSetObjectForKey()
| Sets an object for a dictionary key.
|-
| PrefsArray()
| PrefsObjects array object access function.
|-
| PrefsBaseObject()
| PrefsObjects base object access function.
|-
| PrefsBinary()
| PrefsObjects binary object access function.
|-
| PrefsDate()
| PrefsObjects date object access function.
|-
| PrefsDictionary()
| PrefsObjects dictionary object access function.
|-
| PrefsNumber()
| PrefsObjects number object access function.
|-
| PrefsString()
| PrefsObjects string object access function.
|-
| ReadPrefs()
| Reads a prefs dictionary from a file.
|-
| WritePrefs()
| Writes a prefs dictionary to a file.
|}

Serial Device

2014-05-28T02:57:34Z

Lyle Hazelwood: /* Multiple Serial Port Support */ Unit 0 numbering changed

[[Category:Devices|Serial]]
== Serial Device ==

The serial device provides a hardware-independent interface to the Amiga’s built-in RS-232C compatible serial port. Serial ports have a wide range of uses, including communication with modems, printers, MIDI devices, and other computers. The same device interface can be used for additional “byte stream oriented devices”—usually more serial ports. The serial device is based on the conventions of Exec device I/O, with extensions for parameter setting and control.

{| class="wikitable"
|+ Serial Device Characteristics
| Modes
| Exclusive, Shared Access
|-
| Baud Rates
| 110–292,000
|-
| Handshaking
| Three-Wire, Seven-Wire
|}

== Serial Device Commands and Functions ==

{| class="wikitable"
! Command
! Command Operation
|-
| CMD_CLEAR || Reset the serial port’s read buffer pointers.
|-
| CMD_FLUSH || Purge all queued requests for the serial device (does not affect active requests).
|-
| CMD_READ || Read a stream of characters from the serial port buffer. The number of characters can be specified or a termination character(s) used.
|-
| CMD_RESET || Reset the serial port to its initialized state. All active and queued I/O requests will be aborted and the current buffer will be released.
|-
| CMD_START || Restart all paused I/O over the serial port. Also sends an “xON”.
|-
| CMD_STOP || Pause all active I/O over the serial port. Also sends an “xOFF”.
|-
| CMD_WRITE || Write out a stream of characters to the serial port. The number of characters can be specified or a NULL-terminated string can be sent.
|-
| SDCMD_BREAK || Send a break signal out the serial port. May be done immediately or queued. Duration of the break (in microseconds) can be set by the application.
|-
| SDCMD_QUERY || Return the status of the serial port lines and registers, and the number of bytes in the serial port’s read buffer.
|-
| SDCMD_SETPARAMS || Set the parameters of the serial port. This ranges from baud rate to number of microseconds a break will last.
|}

== Device Interface ==

The serial device operates like the other Amiga devices. To use it, you must first open the serial device, then send I/O requests to it, and then close it when finished. See [[Exec_Device_I/O|Exec Device I/O]] for general information on device usage.

The I/O request used by the serial device is called IOExtSer.

<syntaxhighlight>
struct IOExtSer
{
struct IOStdReq IOSer;
ULONG io_CtlChar; /* control characters */
ULONG io_RBufLen; /* length in bytes of serial read buffer */
ULONG io_ExtFlags; /* additional serial flags */
ULONG io_Baud; /* baud rate */
ULONG io_BrkTime; /* duration of break in microseconds */
struct iOTArray io_TermArray; /* termination character array */
UBYTE io_ReadLen; /* number of bits per read character */
UBYTE io_WriteLen; /* number of bits per write character */
UBYTE io_StopBits; /* number of stopbits for read */
UBYTE io_SerFlags; /* serial device flags */
UWORD io_Status; /* status of serial port and lines */
};
</syntaxhighlight>

See the include file devices/serial.h for the complete structure definition.

=== Opening the Serial Device ===

Three primary steps are required to open the serial device:

* Create a message port using AllocSysObject() and the ASOT_PORT type. Reply messages from the device must be directed to a message port.
* Create an extended I/O request structure of type IOExtSer using AllocSysObject() and the ASOT_IOREQUEST type. AllocSysObject() will initialize the I/O request to point to your reply port.
* Open the serial device. Call OpenDevice(), passing the I/O request.

<syntaxhighlight>
struct MsgPort *SerialMP = IExec->AllocSysObjectTags(ASOT_PORT, TAG_END);

if (SerialMP != NULL)
{
struct IOExtSer *SerialIO = IExec->AllocSysObjectTags(ASOT_IOREQUEST,
ASOIOR_ReplyPort, SerialMP,
ASOIOR_Size, sizeof(struct IOExtSer),
TAG_END);

if (SerialIO != NULL)
{
SerialIO->io_SerFlags = SERF_SHARED; /* Turn on SHARED mode */
if (IExec->OpenDevice(SERIALNAME, 0, (struct IORequest *)SerialIO, 0) )
IDOS->Printf("%s did not open\n", SERIALNAME);
</syntaxhighlight>

During the open, the serial device pays attention to a subset of the flags in the io_SerFlags field. The flag bits, SERF_SHARED and SERF_7WIRE, must be set before open. For consistency, the other flag bits should also be properly set. Full descriptions of all flags will be given later.

The serial device automatically fills in default settings for all parameters—stop bits, parity, baud rate, etc. For the default unit, the settings will come from Preferences. You may need to change certain parameters, such as the baud rate, to match your requirements. Once the serial device is opened, all characters received will be buffered, ''even if there is no current request for them''.

=== Reading From the Serial Device ===

You read from the serial device by passing an IOExtSer to the device with CMD_READ set in io_Command, the number of bytes to be read set in io_Length and the address of the read buffer set in io_Data.

<syntaxhighlight>
#define READ_BUFFER_SIZE 256
char SerialReadBuffer[READ_BUFFER_SIZE]; /* Reserve SIZE bytes of storage */

SerialIO->IOSer.io_Length = READ_BUFFER_SIZE;
SerialIO->IOSer.io_Data = (APTR)&SerialReadBuffer[0];
SerialIO->IOSer.io_Command = CMD_READ;
IExec->DoIO((struct IORequest *)SerialIO);
</syntaxhighlight>

If you use this example, your task will be put to sleep waiting until the serial device reads 256 bytes (or terminates early). Early termination can be caused by error conditions such as a break. The number of characters ''actually received'' will be recorded in the io_Actual field of the IOExtSer structure you passed to the serial device.

=== Writing to the Serial Device ===

You write to the serial device by passing an IOExtSer to the device with CMD_WRITE set in io_Command, the number of bytes to be written set in io_Length and the address of the write buffer set in io_Data.

To write a NULL-terminated string, set the length to -1; the device will output from your buffer until it encounters and transmits a value of zero (0x00).

<syntaxhighlight>
SerialIO->IOSer.io_Length = -1;
SerialIO->IOSer.io_Data = (APTR)"Life is but a dream.";
SerialIO->IOSer.io_Command = CMD_WRITE;
IExec->DoIO((struct IORequest *)SerialIO); /* execute write */
</syntaxhighlight>

The length of the request is -1, meaning we are writing a NULL-terminated string. The number of characters sent can be found in io_Actual.

=== Closing the Serial Device ===

Each OpenDevice() must eventually be matched by a call to CloseDevice(). When the last close is performed, the device will deallocate all resources and buffers.

All IORequests must be complete before CloseDevice(). Abort any pending requests with AbortIO().

<syntaxhighlight>
if (!(IExec->CheckIO(SerialIO)))
{
IExec->AbortIO((struct IORequest *)SerialIO); /* Ask device to abort request, if pending */
}
IExec->WaitIO((struct IORequest *)SerialIO); /* Wait for abort, then clean up */
IExec->CloseDevice((struct IORequest *)SerialIO);
</syntaxhighlight>

== A Simple Serial Port Example ==

<syntaxhighlight>
/*
* Simple_Serial.c
*
* This is an example of using the serial device.
*
* Run from CLI only
*/

#include <exec/types.h>
#include <exec/memory.h>
#include <exec/io.h>
#include <devices/serial.h>

#include <proto/exec.h>
#include <proto/dos.h>

int main()
{
struct MsgPort *SerialMP = IExec->AllocSysObjectTags(ASOT_PORT, TAG_END);

/* Create the message port */
if (SerialMP != NULL)
{
/* Create the IORequest */
struct IOExtSer *SerialIO = IExec->AllocSysObjectTags(ASOT_IOREQUEST,
ASOIOR_ReplyPort, SerialMP,
ASOIOR_Size, sizeof(struct IOExtSer),
TAG_END);

if (SerialIO != NULL)
{
/* Open the serial device */
if (IExec->OpenDevice(SERIALNAME, 0, (struct IORequest *)SerialIO, 0))

/* Inform user that it could not be opened */
IDOS->Printf("Error: %s did not open\n",SERIALNAME);
else
{
/* device opened, write NULL-terminated string */
SerialIO->IOSer.io_Length = -1;
SerialIO->IOSer.io_Data = (APTR)"Amiga ";
SerialIO->IOSer.io_Command = CMD_WRITE;
if (IExec->DoIO((struct IORequest *)SerialIO)) /* execute write */
IDOS->Printf("Write failed. Error - %ld\n", SerialIO->IOSer.io_Error);

/* Close the serial device */
IExec->CloseDevice((struct IORequest *)SerialIO);
}
/* Delete the IORequest */
IExec->FreeSysObject(ASOT_IOREQUEST, SerialIO);
}
else
/* Inform user that the IORequest could be created */
IDOS->Printf("Error: Could create IORequest\n");

/* Delete the message port */
IExec->FreeSysOject(ASOT_PORT, SerialMP);
}
else
/* Inform user that the message port could not be created */
IDOS->Printf("Error: Could not create message port\n");

return 0;
}
</syntaxhighlight>

{{Note|title=DoIO() vs. SendIO()|text=The above example code contains some simplifications. The DoIO() function in the example is not always appropriate for executing the CMD_READ or CMD_WRITE commands. DoIO() will not return until the I/O request has finished. With serial handshaking enabled, a write request may ''never'' finish. Read requests will not finish until characters arrive at the serial port. The following sections will demonstrate a solution using the SendIO() and AbortIO() functions.}}

== Alternative Modes for Serial Input or Output ==

As an alternative to DoIO() you can use an asynchronous I/O request to transmit the command. Asynchronous requests are initiated with SendIO(). Your task can continue to execute while the device processes the command. You can occasionally do a CheckIO() to see if the I/O has completed. The write request in this example will be processed while the example continues to run:

<syntaxhighlight>
SerialIO->IOSer.io_Length = -1;
SerialIO->IOSer.io_Data = (APTR)"Save the whales! ";
SerialIO->IOSer.io_Command = CMD_WRITE;
IExec->SendIO((struct IORequest *)SerialIO);

IDOS->Printf("CheckIO %lx\n", IExec->CheckIO((struct IORequest *)SerialIO));
IDOS->Printf("The device will process the request in the background\n");
IDOS->Printf("CheckIO %lx\n", IExec->CheckIO((struct IORequest *)SerialIO));
IExec->WaitIO((struct IORequest *)SerialIO); /* Remove message and cleanup */
</syntaxhighlight>

Most applications will want to wait on multiple signals. A typical application will wait for menu messages from Intuition at the same time as replies from the serial device. The following fragment demonstrates waiting for one of three signals. The Wait() will wake up if the read request ever finishes, or if the user presses Ctrl-C or Ctrl-F from the Shell. This fragment may be inserted into the above complete example.

<syntaxhighlight>
/* Precalculate a wait mask for the CTRL-C, CTRL-F and message
* port signals. When one or more signals are received,
* Wait() will return. Press CTRL-C to exit the example.
* Press CTRL-F to wake up the example without doing anything.
* NOTE: A signal may show up without an associated message!
*/
uint32 WaitMask;
uint32 Temp;
WaitMask = SIGBREAKF_CTRL_C|
SIGBREAKF_CTRL_F|
1L << SerialMP->mp_SigBit;

SerialIO->IOSer.io_Command = CMD_READ;
SerialIO->IOSer.io_Length = READ_BUFFER_SIZE;
SerialIO->IOSer.io_Data = (APTR)&SerialReadBuffer[0];
IExec->SendIO((struct IORequest *)SerialIO);

IDOS->Printf("Sleeping until CTRL-C, CTRL-F, or serial input\n");

while (1)
{
Temp = IExec->Wait(WaitMask);
IDOS->Printf("Just woke up (YAWN!)\n");

if (SIGBREAKF_CTRL_C & Temp)
break;

if (IExec->CheckIO((struct IORequest *)SerialIO) ) /* If request is complete... */
{
IExec->WaitIO((struct IORequest *)SerialIO); /* clean up and remove reply */
IDOS->Printf("%ld bytes received\n", SerialIO->IOSer.io_Actual);
break;
}
}
IExec->AbortIO((struct IORequest *)SerialIO); /* Ask device to abort request, if pending */
IExec->WaitIO((struct IORequest *)SerialIO); /* Wait for abort, then clean up */
</syntaxhighlight>

{{Note|title=WaitIO() vs. Remove()|text=The WaitIO() function is used above, even if the request is already known to be complete. WaitIO() on a completed request simply removes the reply and cleans up. The Remove() function is ''not acceptable'' for clearing the reply port; other messages may arrive while the function is executing.}}

=== High Speed Operation ===

The more characters that are processed in each I/O request, the higher the total throughput of the device. The following technique will minimize device overhead for reads:

* Use the SDCMD_QUERY command to get the number of characters currently in the buffer (see the devices/serial.h Autodocs for information on SDCMD_QUERY).

* Use DoIO() to read all available characters (or the maximum size of your buffer). In this case, DoIO() is guaranteed to return without waiting.

* If zero characters are in the buffer, post an asynchronous request (SendIO()) for 1 character. When at least one is ready, the device will return it. Now go back to the first step.

* If the user decides to quit the program, AbortIO() any pending requests.

=== Use of BeginIO() with the Serial Device ===

Instead of transmitting the read command with either DoIO() or SendIO(), you might elect to use the low level BeginIO() interface to a device.

BeginIO() works much like SendIO(), i.e., asynchronously, except it gives you control over the quick I/O bit (IOB_QUICK) in the io_Flags field. Quick I/O saves the overhead of a reply message, and perhaps the overhead of a task switch. If a quick I/O request is actually completed quickly, the entire command will execute in the context of the caller. See the [[Exec_Device_I/O|Exec Device I/O]] for more detailed information on quick I/O.

The device will determine if a quick I/O request will be handled quickly. Most non-I/O commands will execute quickly; read and write commands may or may not finish quickly.

<syntaxhighlight>
SerialIO.IOSer.io_Flags |= IOF_QUICK; /* Set QuickIO Flag */

IExec->BeginIO((struct IORequest *)SerialIO);
if (SerialIO->IOSer.io_Flags & IOF_QUICK )
/* If flag is still set, I/O was synchronous and is now finished.
* The IORequest was NOT appended a reply port. There is no
* need to remove or WaitIO() for the message.
*/
IDOS->Printf("QuickIO\n");
else
/* The device cleared the QuickIO bit. QuickIO could not happen
* for some reason; the device processed the command normally.
* In this case BeginIO() acted exactly like SendIO().
*/
IDOS->Printf("Regular I/O\n");
IExec->WaitIO(SerialIO);
</syntaxhighlight>

The way you read from the device depends on your need for processing speed. Generally the BeginIO() route provides the lowest system overhead when quick I/O is possible. However, if quick I/O does not work, the same reply message overhead still exists.

=== Ending a Read or Write using Termination Characters ===

Reads and writes from the serial device may terminate early if an error occurs or if an end-of-file (EOF) is sensed. For example, if a break is detected on the line, any current read request will be returned with the error SerErr_DetectedBreak. The count of characters read to that point will be in the io_Actual field of the request.

You can specify a set of possible end-of-file characters that the serial device is to look for in the input stream or output using the SDCDMD_SETPARAMS command. These are contained in an io_TermArray that you provide. io_TermArray is used only when the SERF_EOFMODE flag is selected (see the “Serial Flags” section below).

If EOF mode is selected, each input data character read into or written from the user’s data block is compared against those in io_TermArray. If a match is found, the IOExtSer is terminated as complete, and the count of characters transferred (including the termination character) is stored in io_Actual.

To keep this search overhead as efficient as possible, the serial device requires that the array of characters be in descending order. The array has eight bytes and all must be valid (that is, do not pad with zeros unless zero is a valid EOF character). Fill to the end of the array with the lowest value termination character. When making an arbitrary choice of EOF character(s), you will get the quickest response from the lowest value(s) available.

<syntaxhighlight>
/*
* Terminate_Serial.c
*
* This is an example of using a termination array for reads from the serial
* device. A termination array is set up for the characters Q, E, etx (CTRL-D)
* and eot (CTRL-C). The EOFMODE flag is set in io_SerFlags to indicate that
* we want to use a termination array by sending the SDCMD_SETPARAMS command to
* the device. Then, a CMD_READ command is sent to the device with
* io_Length set to 25.
*
* The read will terminate whenever one of the four characters in the termination
* array is received or when 25 characters have been received.
*
* Run from CLI only
*/

#include <exec/types.h>
#include <exec/memory.h>
#include <exec/io.h>
#include <devices/serial.h>

#include <proto/dos.h>
#include <proto/exec.h>

int main()
{
struct IOTArray Terminators =
{
0x51450403, /* Q E etx eot */
0x03030303 /* fill to end with lowest value */
};

#define READ_BUFFER_SIZE 25
uint8 ReadBuff[READ_BUFFER_SIZE];
uint16 ctr;

struct MsgPort *SerialMP = IExec->AllocSysObjectTags(ASOT_PORT, TAG_END);
if (SerialMP != NULL)
{
struct IOExtSer *SerialIO = IExec->AllocSysObjectTags(ASOT_IOREQUEST,
ASOIOR_ReplyPort, SerialMP,
ASOIOR_Size, sizeof(struct IOExtSer),
TAG_END);

if (SerialIO != NULL)
{
if (IExec->OpenDevice(SERIALNAME, 0, (struct IORequest *)SerialIO, 0) )
IDOS->Printf("%s did not open\n",SERIALNAME);
else
{
/* Tell user what we are doing */
IDOS->Printf("\fLooking for Q, E, EOT or ETX\n");

/* Set EOF mode flag
* Set the termination array
* Send SDCMD_SETPARAMS to the serial device
*/
SerialIO->io_SerFlags |= SERF_EOFMODE;
SerialIO->io_TermArray = Terminators;
SerialIO->IOSer.io_Command = SDCMD_SETPARAMS;
if (IExec->DoIO((struct IORequest *)SerialIO))
IDOS->Printf("Set Params failed "); /* Inform user of error */
else
{
SerialIO->IOSer.io_Length = READ_BUFFER_SIZE;
SerialIO->IOSer.io_Data = (APTR)&ReadBuff[0];
SerialIO->IOSer.io_Command = CMD_READ;
if (IExec->DoIO((struct IORequest *)SerialIO)) /* Execute Read */
IDOS->Printf("Error: Read failed\n");
else
{
/* Display all characters received */
IDOS->Printf("\nThese characters were read:\n\t\t\tASCII\tHEX\n");
for (ctr = 0; ctr < SerialIO->IOSer.io_Actual; ctr++)
IDOS->Printf("\t\t\t %c\t%x\n", ReadBuff[ctr], ReadBuff[ctr]);
IDOS->Printf("\nThe actual number of characters read: %d\n",
SerialIO->IOSer.io_Actual);
}
}
IExec->CloseDevice((struct IORequest *)SerialIO);
}

IExec->FreeSysObject(ASOT_IOREQUEST, SerialIO);
}
else
IDOS->Printf("Error: Could not create IORequest\n");

IExec->FreeSysObject(ASOT_PORT, SerialMP);
}
else
IDOS->Printf("Error: Could not create message port\n");

return 0;
}
</syntaxhighlight>

The read will terminate before the io_Length number of characters is read if a ‘Q’, ‘E’, ETX, or EOT is detected in the serial input stream.

=== Using Separate Read and Write Tasks ===

In some cases there are advantages to creating a separate IOExtSer for reading and writing. This allows simultaneous operation of both reading and writing. Some users of the device have separate tasks for read and write operations. The sample code below creates a separate reply port and request for writing to the serial device.

<syntaxhighlight>
/*
* If two tasks will use the same device at the same time, it is preferred
* to use two OpenDevice() calls and SHARED mode. If exclusive access mode
* is required, then you will need to copy an existing IORequest.
*
* Remember that two separate tasks will require two message ports.
*/

struct MsgPort *SerialWriteMP = IExec->AllocSysObjectTags(ASOT_PORT, TAG_END);

struct IOExtSer *SerialWriteIO = IExec->AllocSysObjectTags(ASOT_IOREQUEST,
ASOIOR_Duplicate, SerialIO, /* Copy over the entire old IO request */
ASOIOR_ReplyPort, SerialWriteMP, /* Override the message port */
TAG_END);

if (SerialWriteMP && SerialWriteIO )
{
SerialWriteIO->IOSer.io_Command = CMD_WRITE;
SerialWriteIO->IOSer.io_Length = -1;
SerialWriteIO->IOSer.io_Data = (APTR)"A poet's food is love and fame";
IExec->DoIO(SerialWriteIO);
}
</syntaxhighlight>

{{Note|title=Where’s OpenDevice()?|text=This code assumes that the OpenDevice() function has already been called. The initialized read request block is copied onto the new write request block.}}

== Setting Serial Parameters ==

When the serial device is opened, default values for baud rate and other parameters are automatically filled in from the serial settings in Preferences. The parameters may be changed by using the SDCMD_SETPARAMS command. The flags are defined in the include file devices/serial.h.

'''Serial Device Parameters (IOExtSer)'''

; io_CtlChar
: Control characters to use for xON, xOFF, INQ, ACK respectively. Positioned within an unsigned longword in the sequence from low address to high as listed. INQ and ACK handshaking is not currently supported.

; io_RBufLen
: Recommended size of the buffer that the serial device should allocate for incoming data. For some hardware the buffer size will not be adjustable. Changing the value may cause the device to allocate a new buffer, which might fail due to lack of memory. In this case the old buffer will continue to be used.

; io_ExtFlags
: An unsigned long that contains the flags SEXTF_MSPON and SEXTF_MARK. SEXTF_MSPON enables either mark or space parity. SEXTF_MARK selects mark parity (instead of space parity). Unused bits are reserved.

; io_Baud
: The real baud rate you request. This is an unsigned long value in the range of 1 to 4,294,967,295. The device will reject your baud request if the hardware is unable to support it.

; io_BrkTime
: If you issue a break command, this variable specifies how long, in microseconds, the break condition lasts. This value controls the break time for all future break commands until modified by another SDCMD_SETPARAMS.

; io_TermArray
: A byte-array of eight termination characters, must be in descending order. If the EOFMODE bit is set in the serial flags, this array specifies eight possible choices of character to use as an end of file mark. See the section above titled “Ending a Read Using Termination Characters” and the SDCMD_SETPARAMS summary page in the Autodocs

; io_ReadLen
: How many bits per read character; typically a value of 7 or 8. Generally must be the same as io_WriteLen.

; io_WriteLen
: How many bits per write character; typically a value of 7 or 8. Generally must be the same as io_ReadLen.

; io_StopBits
: How many stop bits are to be expected when reading a character and to be produced when writing a character; typically 1 or 2. The built-in driver does not allow values above 1 if io_WriteLen is larger than 7.

; io_SerFlags
: See the “Serial Flags” section below.

; io_Status
: Contains status information filled in by the SDCMD_QUERY command. Break status is cleared by the execution of SDCMD_QUERY.

You set the serial parameters by passing an IOExtSer to the device with SDCMD_SETPARAMS set in io_Command and with the flags and parameters set to the values you want.

<syntaxhighlight>
SerialIO->io_SerFlags &= ~SERF_PARTY_ON; /* set parity off */
SerialIO->io_SerFlags |= SERF_XDISABLED; /* set xON/xOFF disabled */
SerialIO->io_Baud = 9600; /* set 9600 baud */
SerialIO->IOSer.io_Command = SDCMD_SETPARAMS; /* Set params command */
if (IExec->DoIO((struct IORequest *)SerialIO))
IDOS->Printf("Error setting parameters!\n");
</syntaxhighlight>

The above fragment modifies two bits in io_SerFlags and changes the baud rate. If the parameters you request are unacceptable or out of range, the SDCMD_SETPARAMS command will fail. You are responsible for checking the error code and informing the user.

{{Note|title=Proper Time for Parameter Changes|text=A parameter change should not be performed while an I/O request is actually being processed because it might invalidate the request handling already in progress. To avoid this, you should use SDCMD_SETPARAMS only when you have no serial I/O requests pending.}}

=== Serial Flags (Bit Definitions For io_SerFlags) ===

There are additional serial device parameters which are controlled by flags set in the io_SerFlags field of the IOExtSer structure. The default state of all of these flags is zero. SERF_SHARED and SERF_7WIRE must always be set before OpenDevice(). The flags are defined in the include file devices/serial.h.

'''Serial Flags (io_SerFlags)'''

; SERF_XDISABLED
: Disable the xON/xOFF feature. xON/xOFF ''must'' be disabled during XModem transfers.

; SERF_EOFMODE
: Set this bit if you want the serial device to check input characters against io_TermArray and to terminate the read immediately if an end-of-file character has been encountered. ''Note'': this bit may be set and reset directly in the user’s IOExtSer without a call to SDCMD_SETPARAMS.

; SERF_SHARED
: Set this bit if you want to allow other tasks to simultaneously access the serial port. The default is exclusive-access. Any number of tasks may have shared access. Only one task may have exclusive access. If someone already has the port for exclusive access, your OpenDevice() call will fail. This flag must be set before OpenDevice().

; SERF_RAD_BOOGIE
: If set, this bit activates high-speed mode. Certain peripheral devices (MIDI, for example) require high serial throughput. Setting this bit high causes the serial device to skip certain of its internal checking code to speed throughput. Use SERF_RAD_BOOGIE only when you have:
:* Disabled parity checking
:* Disabled xON/xOFF handling
:* Use 8-bit character length
:* Do not wish a test for a break signal

: Note that the Amiga is a multitasking system and has immediate processing of software interrupts. If there are other tasks running, it is possible that the serial driver may be unable to keep up with high data transfer rates, even with this bit set.

; SERF_QUEUEDBRK
: If set, every break command that you transmit will be enqueued. This means that all commands will be executed on a FIFO (first in, first out) basis.

; SERF_7WIRE
: If set at OpenDevice() time, the serial device will use seven-wire handshaking for RS-232-C communications. Default is three-wire (pins 2, 3, and 7).

; SERF_PARTY_ODD
: If set, selects odd parity. If clear, selects even parity.

; SERF_PARTY_ON
: If set, parity usage and checking is enabled. Also see the SERF_MSPON bit described under io_ExtFlags above.

== Querying the Serial Device ==

You query the serial device by passing an IOExtSer to the device with SDCMD_QUERY set in io_Command. The serial device will respond with the status of the serial port lines and registers, and the number of unread characters in the read buffer.

<syntaxhighlight>
SerialIO->IOSer.io_Command = SDCMD_QUERY; /* indicate query */
IExec->SendIO((struct IORequest *)SerialIO);

uint16 Serial_Status = SerialIO->io_Status; /* store returned status */
uint32 Unread_Chars = SerialIO->IOSer.io_Actual; /* store unread count */
</syntaxhighlight>

The 16 status bits of the serial device are returned in io_Status; the number of unread characters is returned in io_Actual.

{| class="wikitable"
|+ Serial Device Status Bits
! Bit
! Active
! Symbol
! Function
|-
| 0 || – || || Reserved
|-
| 1 || – || || Reserved
|-
| 2 || high || (RI) || Parallel Select on the ''A1000''. On the ''A500'' and ''A2000'', Select is also connected to the serial port’s Ring Indicator. (Be cautious when making cables.)
|-
| 3 || low || (DSR) || Data set ready
|-
| 4 || low || (CTS) || Clear to send
|-
| 5 || low || (CD) || Carrier detect
|-
| 6 || low || (RTS) || Ready to send
|-
| 7 || low || (DTR) || Data terminal ready
|-
| 8 || high || || Read overrun
|-
| 9 || high || || Break sent
|-
| 10 || high || || Break received
|-
| 11 || high || || Transmit xOFFed
|-
| 12 || high || || Receive xOFFed
|-
| 13-15 || – || || (reserved)
|}

== Sending the Break Command ==

You send a break through the serial device by passing an IOExtSer to the device with SDCMD_BREAK set in io_Command. The break may be immediate or queued. The choice is determined by the state of flag SERF_QUEUEDBRK in io_SerFlags.

<syntaxhighlight>
SerialIO->IOSer.io_Command = SDCMD_BREAK; /* send break */
IExec->SendIO((struct IORequest *)SerialIO);
</syntaxhighlight>

The duration of the break (in microseconds) can be set in io_BrkTime. The default is 250,000 microseconds (0.25 seconds).

== Error Codes from the Serial Device ==

The serial device returns error codes whenever an operation is attempted.

<syntaxhighlight>
SerialIO->IOSer.io_Command = SDCMD_SETPARAMS; /* Set parameters */
if (IExec->DoIO((struct IORequest *)SerialIO))
IDOS->Printf("Set Params failed. Error: %ld ", SerialIO->IOSer.io_Error);
</syntaxhighlight>

The error is returned in the io_Error field of the IOExtSer structure.

{| class="wikitable"
|+ Serial Device Error Codes
! Error
! Value
! Explanation
|-
| SerErr_DevBusy || 1 || Device in use
|-
| SerErr_BaudMismatch || 2 || Baud rate not supported by hardware
|-
| SerErr_BufErr || 4 || Failed to allocate new read buffer
|-
| SerErr_InvParam || 5 || Bad parameter
|-
| SerErr_LineErr || 6 || Hardware data overrun
|-
| SerErr_ParityErr || 9 || Parity error
|-
| SerErr_TimerErr || 11 || Timeout (if using 7-wire handshaking)
|-
| SerErr_BufOverflow || 12 || Read buffer overflowed
|-
| SerErr_NoDSR || 13 || No Data Set Ready
|-
| SerErr_DetectedBreak || 15 || Break detected
|-
| SerErr_UnitBusy || 16 || Selected unit already in use
|}

== Multiple Serial Port Support ==

Applications that use the serial port should provide the user with a means to select the name and unit number of the driver. The defaults will be “serial.device” and unit number 0. Typically unit 0 refers to the built-in serial port. Numbers above 0 are for extended units. The physically lowest connector on a board will always have the lowest unit number.

Careful attention to error handling is required to survive in a multiple port environment. Differing serial hardware will have different capabilities. The device will refuse to open non-existent unit numbers (symbolic name mapping of unit numbers is not provided at the device level). The SDCMD_SETPARAMS command will fail if the underlying hardware cannot support your parameters. Some devices may use quick I/O for read or write requests, others will not. Watch out for partially completed read requests; io_Actual may not match your requested read length.

If the Tool Types mechanism is used for selecting the device and unit, the defaults of "DEVICE=serial.device" and "UNIT=0" should be provided. The user should be able to permanently set the device and unit in a configuration file.

== Advanced Example of Serial Device Usage ==

<syntaxhighlight>
/*
* Complex_Serial.c
*
* Complex tricky example of serial.device usage
*
* Run from CLI only
*/

#include <exec/types.h>
#include <exec/memory.h>
#include <exec/io.h>
#include <devices/serial.h>

#include <proto/dos.h>
#include <proto/exec.h>

int main()
{
#define READ_BUFFER_SIZE 32
char SerialReadBuffer[READ_BUFFER_SIZE]; /* Reserve SIZE bytes of storage */

uint32 Temp;
uint32 WaitMask;

struct MsgPort *SerialMP = IExec->AllocSysObjectTags(ASOT_PORT, TAG_END);
if (SerialMP != NULL)
{
struct IOExtSer *SerialIO = IExec->AllocSysObjectTags(ASOT_IOREQUEST,
ASOIOR_ReplyPort, SerialMP,
ASOIOR_Size, sizeof(struct IOExtSer),
TAG_END);

if (SerialIO != NULL)
{
SerialIO->io_SerFlags = 0; /* Example of setting flags */

if (IExec->OpenDevice(SERIALNAME, 0, SerialIO, 0) )
IDOS->Printf("%s did not open\n", SERIALNAME);
else
{
SerialIO->IOSer.io_Command = SDCMD_SETPARAMS;
SerialIO->io_SerFlags &= ~SERF_PARTY_ON;
SerialIO->io_SerFlags |= SERF_XDISABLED;
SerialIO->io_Baud = 9600;
if (Temp = IExec->DoIO(SerialIO))
IDOS->Printf("Error setting parameters - code %ld!\n",Temp);

SerialIO->IOSer.io_Command = CMD_WRITE;
SerialIO->IOSer.io_Length = -1;
SerialIO->IOSer.io_Data = (APTR)"Amiga.";
IExec->SendIO(SerialIO);
IDOS->Printf("CheckIO %lx\n",CheckIO(SerialIO));
IDOS->Printf("The device will process the request in the background\n");
IDOS->Printf("CheckIO %lx\n",CheckIO(SerialIO));
IExec->WaitIO(SerialIO);

SerialIO->IOSer.io_Command = CMD_WRITE;
SerialIO->IOSer.io_Length = -1;
SerialIO->IOSer.io_Data = (APTR)"Save the whales! ";
IExec->DoIO(SerialIO); /* execute write */

SerialIO->IOSer.io_Command = CMD_WRITE;
SerialIO->IOSer.io_Length = -1;
SerialIO->IOSer.io_Data = (APTR)"Life is but a dream.";
IExec->DoIO(SerialIO); /* execute write */

SerialIO->IOSer.io_Command = CMD_WRITE;
SerialIO->IOSer.io_Length = -1;
SerialIO->IOSer.io_Data = (APTR)"Row, row, row your boat.";
SerialIO->IOSer.io_Flags = IOF_QUICK;
IExec->BeginIO(SerialIO);

if (SerialIO->IOSer.io_Flags & IOF_QUICK )
{

/*
* Quick IO could not happen for some reason; the device processed
* the command normally. In this case BeginIO() acted exactly
* like SendIO().
*/

IDOS->Printf("Quick IO\n");
}
else
{

/* If flag is still set, IO was synchronous and is now finished.
* The IO request was NOT appended a reply port. There is no
* need to remove or WaitIO() for the message.
*/

IDOS->Printf("Regular IO\n");
}

IExec->WaitIO(SerialIO);

SerialIO->IOSer.io_Command = CMD_UPDATE;
SerialIO->IOSer.io_Length = -1;
SerialIO->IOSer.io_Data = (APTR)"Row, row, row your boat.";
SerialIO->IOSer.io_Flags = IOF_QUICK;
IExec->BeginIO(SerialIO);

if (0 == SerialIO->IOSer.io_Flags & IOF_QUICK )
{

/*
* Quick IO could not happen for some reason; the device processed
* the command normally. In this case BeginIO() acted exactly
* like SendIO().
*/

IDOS->Printf("Regular IO\n");

IExec->WaitIO(SerialIO);
}
else
{

/* If flag is still set, IO was synchronous and is now finished.
* The IO request was NOT appended a reply port. There is no
* need to remove or WaitIO() for the message.
*/

IDOS->Printf("Quick IO\n");
}

/* Precalculate a wait mask for the CTRL-C, CTRL-F and message
* port signals. When one or more signals are received,
* Wait() will return. Press CTRL-C to exit the example.
* Press CTRL-F to wake up the example without doing anything.
* NOTE: A signal may show up without an associated message!
*/

WaitMask = SIGBREAKF_CTRL_C|
SIGBREAKF_CTRL_F|
1L << SerialMP->mp_SigBit;

SerialIO->IOSer.io_Command = CMD_READ;
SerialIO->IOSer.io_Length = READ_BUFFER_SIZE;
SerialIO->IOSer.io_Data = (APTR)&SerialReadBuffer[0];
IExec->SendIO(SerialIO);

IDOS->Printf("Sleeping until CTRL-C, CTRL-F, or serial input\n");

while (1)
{
Temp = IExec->Wait(WaitMask);
IDOS->Printf("Just woke up (YAWN!)\n");

if (SIGBREAKF_CTRL_C & Temp)
break;

if (IExec->CheckIO(SerialIO) ) /* If request is complete... */
{
IExec->WaitIO(SerialIO); /* clean up and remove reply */

IDOS->Printf("%ld bytes received\n", SerialIO->IOSer.io_Actual);
break;
}
}

IExec->AbortIO(SerialIO); /* Ask device to abort request, if pending */
IExec->WaitIO(SerialIO); /* Wait for abort, then clean up */

/*
* If two tasks will use the same device at the same time, it is preferred
* use two OpenDevice() calls and SHARED mode. If exclusive access mode
* is required, then you will need to copy an existing IO request.
*
* Remember that two separate tasks will require two message ports.
*/

struct MsgPort *SerialWriteMP = IExec->AllocSysObjectTags(ASOT_PORT, TAG_END);

struct IOExtSer *SerialWriteMP = IExec->AllocSysObjectTags(ASOT_IOREQUEST,
ASOIOR_Duplicate, SerialIO,
ASOIOR_ReplyPort, SerialWriteMP,
TAG_END);

if (SerialWriteMP && SerialWriteIO )
{
SerialWriteIO->IOSer.io_Command = CMD_WRITE;
SerialWriteIO->IOSer.io_Length = -1;
SerialWriteIO->IOSer.io_Data = (APTR)"A poet's food is love and fame";
IExec->DoIO(SerialWriteIO);
}

IExec->FreeSysObject(ASOT_PORT, SerialWriteMP);
IExec->FreeSysObject(ASOT_IOREQUEST, SerialWriteIO);

IExec->CloseDevice(SerialIO);
}

IExec->FreeSysObject(ASOT_IOREQUEST, SerialIO);
}
else
IDOS->Printf("Unable to create IORequest\n");

IExec->FreeSysObject(ASOT_PORT, SerialMP);
}
else
IDOS->Printf("Unable to create message port\n");

return 0;
}
</syntaxhighlight>

== Additional Information on the Serial Device ==

Additional programming information on the serial device can be found in the include files and the Autodocs for the serial device. Both are contained in the SDK.

{| class="wikitable"
! Includes
|-
| devices/serial.h
|}

{| class="wikitable"
! AutoDocs
|-
| serial.doc
|}

AmigaOne X1000

2014-03-11T02:30:49Z

Lyle Hazelwood: tagged steps with <pre> </pre> for better readability

Programming in the Amiga Environment

2013-12-27T17:17:16Z

Lyle Hazelwood: /* Libraries of functions */ minor edit in code example, replace "if(LibIFace)" with "if(LibBase)", added CloseLibrary() if GetInterface() failed

{{NeedUpdate}}
== Programming in the Amiga Environment ==

To program in the Amiga's dynamic environment you need to understand these special features of the Amiga's design:

* Multitasking (without memory protection)
* Shared libraries of functions
* Dynamic memory architecture (no memory map)
* Operating system versions
* Custom chips with DMA access (two kinds of memory)

=== Multitasking ===

The key feature of the Amiga's operating system design is ''multitasking''. Multitasking means many programs, or tasks, reside in memory at the same time sharing system resources with one another. Programs take turns running so it appears that many programs are running simultaneously.

Multitasking is based on the concept that a program spends most of its time waiting for things to happen. A program waits for events like key presses, mouse movement, or disk activity. While a program is waiting, the CPU is idle. The CPU could be used to run a different program during this idle period if there was a convenient method for rapidly switching from one program to another. This is what multitasking does.

=== What the System Does For You ===

The Amiga uses ''preemptive multitasking'' which means that the operating system keeps track of all the tasks in memory and decides which one should run. The system checks hundreds of times per second to see which task should be run based on whether or not it is waiting, and other factors. Since the system handles all the work of task switching, multitasking is transparent to the application. From the application's point of view, it appears to have the machine all to itself.

The Amiga OS also manages the sharing of resources between tasks. This is important because in order for a variety of tasks to run independently in the Amiga's multitasking environment, tasks must be prevented from interfering with one another. Imagine if five tasks were allowed to use the parallel port at the same time. The result would be I/O chaos. To prevent this, the operating system provides an arbitration method (usually a function call) for every system resource. For instance you must call a function, AllocMem(), to get exclusive access to a block of memory.

=== What the System Doesn't Do For You ===

The Amiga operating system handles most of the housekeeping needed for multitasking, but this does not mean that applications don't have to worry about multitasking at all. The current generation of Amiga systems do not have hardware memory protection, so there is nothing to stop a task from using memory it has not legally acquired. An errant task can easily corrupt some other task by accidentally overwriting its instructions or data. Amiga programmers need to be extra careful with memory; one bad memory pointer can cause the machine to crash (debugging utilities such as MungWall and Enforcer will prevent this).

In fact, Amiga programmers need to be careful with every system resource, not just memory. All system resources from audio channels to the floppy disk drives are shared among tasks. Before using a resource, you must ask the system for access to the resource. This may fail if the resource is already being used by another task. Once you have control of a resource, no other task can use it, so give it up as soon as you are finished. When your program exits, you must give everything back whether it's memory, access to a file, or an I/O port. You are responsible for this, the system will not do it for you automatically.

{{Note|title=What Every Amiga Programmer Should Know|text=The Amiga is a ''multitasking'' computer. Keep in mind that other tasks are running at the same time as your application. Always ask the system for control of any resource you need; some other task may already be using it. Give it back as soon as you are done; another task may want to use it. This applies to just about every computing activity your application can perform.}}

=== Libraries of functions ===

Most of the routines that make up the Amiga's operating system are organized into groups called libraries. Each library then contains one or more interfaces. In order to call a function on the Amiga you must first open the library that contains the function. Next, you get the interface which contains the function you want to call. For example, if you want to call the Read() function to read data from disk you must first open the [[AmigaDOS Introduction|DOS]] library and then get the "main" interface the Read() function is defined in.

The system's master library, called [[Exec]], is always open. [[Exec]] keeps track of all the other [[Exec Libraries|libraries]] and is in charge of opening and closing them. [[Exec]]'s "main" interface contains the OpenLibrary() function which is used to open all the other libraries.

Almost any program you write for the Amiga will have to call the OpenLibrary() and GetInterface() functions. Usage is as follows:

<syntaxhighlight>
// Global: declare this above main()
struct Library *LibBase;
struct Interface *LibIFace;

int main()
{
LibBase = IExec->OpenLibrary("library.name", libversion);
if(LibBase == NULL)
{
// Library did not open, so exit.
}
else
{
LibIFace = IExec->GetInterface(LibBase, "main", ifaceversion, NULL);
if(LibIFace == NULL)
{
IExec->CloseLibrary(LibBase);
// Could not get Interface, so exit.
}
else
{
// Interface obtained, so use its functions.
}
}
}
</syntaxhighlight>

; LibBase
: This is a pointer to the library structure in memory, often referred to as the ''library base''. The library may or may not be global depending on your needs. The name of this pointer may be changed although it is proper to use the established standard name. Refer to the list below for the appropriate name.

; LibIFace
: This is a pointer to the interface structure in memory. The interface may or may not be global depending on your needs. The name of this pointer may be changed although it is proper to use the established standard name. Refer to the list below for the appropriate name.

; library.name
: This is a C string that describes the name of the library you wish to open. The list of Amiga library names is given below.

; main
: This is a C string that describes the name of the interface you wish to use. The list of Amiga interface names depends on the library and is given below.

; libversion
: This should be set to the earliest acceptable library version. A value of 0 matches any version. A value of 53 means you require at least version 53 or a later version of the library. If the library version in the system is older than the one you specify, OpenLibrary() will fail (return 0).

; ifaceversion
: This should be set to the interface version you require. Each interface has a unique version number which defines all the functions in that interface. Most often an interface will have a single interface version of 1. If the interface version in the system does not match, GetInterface() will fail (return 0).

The table listed below shows all the function libraries that are currently part of the Amiga system software.

{| class="wikitable"
|+ Parameters to use with OpenLibrary()
!Library Name
!Library Base
!Oldest Library Version In Use
!Interface Name:Version
|-
| library.name* || LibBase || version || iface.name:version
|-
| asl.library || AslBase || 50 || main:1
|-
| commodities.library || CxBase || 50 || main:1
|-
| diskfont.library || DiskfontBase || 50 || main:1
|-
| dos.library || DOSBase || 50 || main:1
|-
| [[Introduction to Exec|exec.library]] || ExecBase || 50 || main:1
|-
| [[Expansion Library|expansion.library]] || ExpansionBase || 50 || main:1
|-
| gadtools.library || GadToolsBase || 50 || main:1
|-
| graphics.library || GfxBase || 50 || main:1
|-
| icon.library || IconBase || 50 || main:1
|-
| iffparse.library || IFFParseBase || 50 || main:1
|-
| intuition.library || IntuitionBase || 50 || main:1
|-
| keymap.library || KeymapBase || 50 || main:1
|-
| layers.library || LayersBase || 50 || main:1
|-
| mathffp.library || MathBase || 50 || main:1
|-
| mathtrans.library || MathTransBase || 50 || main:1
|-
| mathieeedoubbas.library || MathIeeeDoubBasBase || 50 || main:1
|-
| mathieeedoubtrans.library || MathIeeeDoubTransBase || 50 || main:1
|-
| mathieeesingbas.library || MathIeeeSingBasBase || 50 || main:1
|-
| mathieeesingtrans.library || MathIeeeSingTransBase || 50 || main:1
|-
| rexxsyslib.library || RexxSysBase || 50 || main:1
|-
| translator.library || TranslatorBase || 50 || main:1
|-
| [[Utility Library|utility.library]] || UtilityBase || 50 || main:1
|-
| workbench.library || WorkbenchBase || 50 || main:1
|}

* Other libraries may exist that are not supplied by the AmigaOS development team since it is a feature of the operating system to allow such libraries.

==== Opening a Library in C ====

Here's a brief example showing how OpenLibrary() and GetInterface() are used in C.

<syntaxhighlight>
/* easy.c: a complete example of how to open an Amiga function library in C.
* In this case the function library is Intuition. Once the Intuition
* function library is open and the interface obtains, any Intuition function
* can be called. This example uses the DisplayBeep() function of Intuition to
* flash the screen.
*/

#include <proto/exec.h>
#include <proto/intuition.h>

struct Library *IntuitionBase;
struct IntuitionIFace *IIntuition;

int main()
{
IntuitionBase = IExec->OpenLibrary("intuition.library", 50);

// Note it is safe to call GetInterface() with a NULL library pointer.
IIntuition = (struct IntuitionIFace *)IExec->GetInterface(IntuitionBase, "main", 1, NULL);

if(IIntuition != NULL) /* Check to see if it actually opened. */
{ /* The Intuition library is now open so */
IIntuition->DisplayBeep(0); /* any of its functions may be used. */
}

// Always drop the interface and close the library if not in use.
// Note it is safe to call DropInterface() and CloseLibrary() with NULL pointers.
IExec->DropInterface((struct Interface *)IIntuition);
IExec->CloseLibrary(IntuitionBase);
}
</syntaxhighlight>

==== Another Kind of Function Library ====

The Amiga has two kinds of libraries: run-time libraries and link libraries. All the libraries discussed so far are run-time libraries. Run-time libraries make up most of the Amiga's operating system and are the main topic of this book.

There is another type of library known as a link library. Even though a link library is a collection of functions just like a run-time library, there are some major differences in the two types.

A run-time, or shared library is a group of functions managed by [[Exec]] that resides either in ROM or on disk (in the "LIBS:" directory). A run-time library must be opened before it can be used (as explained above). The functions in a run-time library are accessed dynamically at run-time and can be used by many programs at once even though only one copy of the library is in memory. A disk based run-time library is loaded into memory only if requested by a program and can be automatically flushed from memory when no longer needed.

A link library is a group of functions on disk that are managed by the compiler at link time. Link libraries do not have to be opened before they are used, instead you must link your code with the library when you compile a program. The functions in a link library are actually copied into every program that uses them. For instance the exit() function used in the C program listed above is not part of any of the libraries that make up the Amiga OS. It comes from the link library supplied with the compiler. The code that performs the exit() function is copied into the program when it is compiled.

==== Libraries, Devices and Resources ====

Most of the Amiga's OS routines are organized into groups of shared run-time libraries. The Amiga also has specialized function groups called ''devices'' and ''resources'' that programmers use to perform basic I/O operations or access low-level hardware.

Devices and resources are similar in concept to a shared run-time library. They are managed by [[Exec]] and must be opened before they can be used. Their functions are separate from the programs that use them and are accessed dynamically at run time. Multiple programs can access the device or resource even though only one copy exists in memory (a few resources can only be used by one program at a time.)

[[File:LibFig1-1a.png|frame|center|'''Figure 1-1: Amiga System Software Hierarchy''']]

<center></center>

Devices and resources are managed by [[Exec]] just as libraries are. For more information on devices and resources, see the respective sections.

{{Note|title=What Every Amiga Programmer Should Know|text=The functions in the Amiga OS are accessed through shared run-time libraries. Libraries must be opened before their functions may be used. The system's master library, [[Exec]], is always open. The [[Exec]] function OpenLibrary() is used to open all other libraries.}}

=== Dynamic memory architecture ===

Unlike some microcomputer operating systems, the AmigaOS relies on absolute memory addresses as little as possible. Instead the Amiga OS uses a technique (sometimes referred to as soft machine architecture) which allows system routines and data structures to be positioned anywhere in memory.

Amiga run-time libraries may be positioned anywhere in memory because they are always accessed through a jump table. Each library whether in ROM or loaded from disk has an associated Library structure and jump table in RAM.

[[File:LibFig1-1b.png|frame|center|Amiga Library Structure and Jump Table]]

The system knows where the jump table starts in RAM because when a library is opened for the first time, [[Exec]] creates the library structure and keeps track of its location. The order of the entries in the library's jump table is always preserved between versions of the OS but the functions they point to can be anywhere in memory. Hence, system routines in ROM may be moved from one version of the OS to another. Given the location of the jump table and the appropriate offset into the table, any function can always be found.

Not only are system routines relocatable but system data structures are too. In the Amiga's multitasking environment, multiple applications run at the same time and each may have its own screen, memory, open files, and even its own subtasks. Since any number of application tasks are run and stopped at the user's option, system data structures have to be set up as needed. They cannot be set up ahead of time at a fixed memory location because there is no way to tell how many and what type will be needed.

The Amiga system software manages this confusion by using ''linked lists'' of information about items such as libraries, tasks, screens, files and available memory. A linked list is a chain of data items with each data item containing a pointer to the next item in the chain. Given a pointer to the first item in a linked list, pointers to all the other items in the chain can be found.

==== Exec: The System Executive ====

On the Amiga, the module that keeps track of linked lists is [[Exec]], the system executive. [[Exec]] is the heart of the Amiga operating system since it also is in charge of multitasking, granting access to system resources (like memory) and managing the Amiga library system.

As previously discussed, memory location 4 ($0000 0004), also known as SysBase, contains a pointer to the [[Exec]] library structure. This is the only absolutely defined location in the Amiga operating system. A program need only know where to find the [[Exec]] library to find, use and manipulate all other system code and data.

[[File:LibFig1-2.png|frame|center|[[Exec]] and the Organization of the Amiga OS]]

The diagram above shows how the entire Amiga operating system is built as a tree starting at SysBase. [[Exec]] keeps linked lists of all the system libraries, devices, memory, tasks and other data structures. Each of these in turn can have its own variables and linked lists of data structures built onto it. In this way, the flexibility of the OS is preserved so that upgrades can be made without jeopardizing compatibility.

{{Note|title=What Every Amiga Programmer Should Know|text=The Amiga has a dynamic memory map. There are no fixed locations for operating system variables and routines. Do not call ROM routines or access system data structures directly. Instead use the indirect access methods provided by the system.}}

=== Operating system versions ===

The Amiga operating system has undergone several major revisions. The latest revision is Release 4.1 (corresponds to library version 53).

See the table in the [[Introduction_to_Exec#Libraries_and_Devices|Libraries and Devices]] section for details on which version corresponds to which OS release.

The examples listed throughout this wiki assume you are using Release 4.0 or higher.

Many of the libraries and functions documented in this manual are available in all versions of the Amiga operating system. Others are completely new and cannot be used unless you have successfully opened the appropriate version of the library.

To find out which functions are new, refer to the SDK. The functions which are new are marked with ''(V50)'' or ''(V51)'' in the NAME line of the function Autodoc. These new functions require you to use the corresponding version number (50, 51, or higher) when opening the library.

Exit gracefully and informatively if the required library version is not available.

==== About Release 4 ====

Release 4 first appeared on the ''AmigaOne XE''. This initial version corresponds to Kickstart 4.0, system library version number V50.

{{Note|title=What Every Amiga Programmer Should Know|text=Some libraries or specific functions are not available in older versions of the Amiga operating system. Be sure to ask for the lowest library version that meets the requirements of your program.}}

==== Two Kinds of Memory ====

To keep the Classic Amiga running efficiently, the Classic Amiga has two memory buses and two kinds of memory. ''Chip memory'' is memory that both the CPU and custom chips can access. ''Fast memory'' is memory that only the CPU (and certain expansion cards) can access. Since Chip memory is shared, CPU access may be slowed down if the custom chips are doing heavy-duty processing. CPU access to Fast memory is never slowed down by contention with the custom chips.

The distinction between Chip memory and Fast memory is very important for Classic Amiga programmers to keep in mind because any data accessed directly by the custom chips such as video display data, audio data or sprite data ''must be in Chip memory''.

{| class="wikitable"
| ''What Every Amiga Programmer Should Know'': The Classic Amiga has ''two'' kinds of memory: ''Chip'' memory and ''Fast'' memory. Use the right kind.
|}

'''NOTE'''
There is no such thing as ''Chip'' memory in any of new PowerPC-based Amiga systems. The two types of memory only applies to the Classic Amiga hardware platforms such as the A1200 and A4000 models.

== About the Examples ==

For the most part, the examples in this book are written in C.

C examples have been compiled using the standard Software Development Kit (SDK) using GCC.

In general, the examples are also compatible with vbcc and other C compilers, however some changes will usually be necessary.

Specifically, all the C examples assume that the automatic Ctrl-C feature of the compiler has been disabled. For SAS C (and Lattice C revisions 4.0 and greater) this is handled with:

<pre>
/* Add this before main() to override the default Ctrl-C handling
* provided in SAS (Lattice) C. Ctrl-C event will be ignored */

int CXBRK ( void ) { return(0); }
int chkabort( void ) { return(0); }
</pre>

Other changes may be required depending on the example and the C compiler you are using. Most of the C examples do not require any special options and rely on the defaults provided by the SDK.

Except where noted, each example was linked with the standard newlib startup code which provides the following interfaces: IExec, IDOS and IUtility.

== General Amiga Development Guidelines ==

This sections presents specific guidelines that all Amiga programmers must follow. Some of these guidelines are for advanced programmers.

* Check for memory loss. Arrange your Workbench screen so that you have a Shell available and can start your program without rearranging any windows. In the Shell window type Avail flush several times (the flush option requires the Release 2 version of the Avail command). Note the total amount of free memory. Run your program (do not rearrange any windows other than those created by the program) and then exit. At the Shell, type Avail flush several times again. Compare the total amount of free memory with the earlier figure. They should be the same. Any difference indicates that your application is not freeing some memory it used or is not closing a disk-loaded library, device or font it opened. Note that under Release 2, a small amount of memory loss is normal if your application is the first to use the audio or narrator device.

* Use all of the program debugging and stress tools that are available when writing and testing your code. New debugging tools such as Enforcer, MungWall, and Scratch can help find uninitialized pointers, attempted use of freed memory and misuse of scratch registers or condition codes (even in programs that appear to work perfectly).

* Always make sure you actually get any system resource that you ask for. This applies to memory, windows, screens, file handles, libraries, devices, ports, etc. Where an error value or return is possible, ensure that there is a reasonable failure path. Many poorly written programs will appear to be reliable, until some error condition (such as memory full or a disk problem) causes the program to continue with an invalid or null pointer, or branch to untested error handling code.

* Always clean up after yourself. This applies for both normal program exit and program termination due to error conditions. Anything that was opened must be closed, anything allocated must be deallocated. It is generally correct to do closes and deallocations in reverse order of the opens and allocations. Be sure to check your development language manual and startup code; some items may be closed or deallocated automatically for you, especially in abort conditions. If you write in the C language, make sure your code handles Ctrl-C properly.

* Remember that memory, peripheral configurations, and ROMs differ between models and between individual systems. Do not make assumptions about memory address ranges, storage device names, or the locations of system structures or code. Never call ROM routines directly. Beware of any example code you find that calls routines at addresses in the $F00000 $FFFFFF range. These are ROM routines and they will move with every OS release. The only supported interface to system ROM code is through the library, device, and resource calls.

* Never assume library bases or structures will exist at any particular memory location. The only absolute address in the system is $00000004, which contains a pointer to the Exec library base. Do not modify or depend on the format of private system structures. This includes the poking of copper lists, memory lists, and library bases.

* Never assume that programs can access hardware resources directly. Most hardware is controlled by system software that will not respond well to interference from other programs. Shared hardware requires programs to use the proper sharing protocols. Use the defined interface; it is the best way to ensure that your software will continue to operate on future models of the Amiga.

* Never access shared data structures directly without the proper mutual exclusion (locking). Remember that other tasks may be accessing the same structures.

* The system does not monitor the size of a program‚Äôs stack. (Your compiler may have an option to do this for you.) Take care that your program does not cause stack overflow and provide extra stack space for the possibility that some functions may use up additional stack space in future versions of the OS.

* Never use a polling loop to test signal bits. If your program waits for external events like menu selection or keystrokes, do not bog down the multitasking system by busy-waiting in a loop. Instead, let your task go to sleep by ''Wait()''ing on its signal bits. For example:
signals = (ULONG)Wait( (1<<windowPtr->UserPort->mp_SigBit) |
(1<<consoleMsgPortPtr->mp_SigBit) );

* This turns the signal bit number for each port into a mask, then combines them as the argument for the Exec library Wait() function. When your task wakes up, handle all of the messages at each port where the mp_SigBit is set. There may be more than one message per port, or no messages at the port. Make sure that you ReplyMsg() to all messages that are not replies themselves. If you have no signal bits to Wait() on, use Delay() or WaitTOF() to provide a measured delay.

* Tasks (and processes) execute in ''680x0'' user mode. Supervisor mode is reserved for interrupts, traps, and task dispatching. Take extreme care if your code executes in supervisor mode. Exceptions while in supervisor mode are deadly.

* Most system functions require a particular execution environment. All DOS functions and any functions that might call DOS (such as the opening of a disk-resident library, font, or device) can only be executed from a process. A task is not sufficient. Most other kernel functions may be executed from tasks. Only a few may be executed from interrupts.

* Never disable interrupts or multitasking for long periods. If you use Forbid() or Disable(), you should be aware that execution of any system function that performs the Wait() function will temporarily suspend the Forbid() or Disable() state, and allow multitasking and interrupts to occur. Such functions include almost all forms of DOS and device I/O, including common ''stdio'' functions like printf().

* Never tie up system resources unless it is absolutely necessary. For example, if your program does not require constant use of the printer, open the printer device only when you need it. This will allow other tasks to use the printer while your program is running. You must provide a reasonable error response if a resource is not available when you need it.

* All data for the custom chips must reside in Chip memory (type MEMF_CHIP). This includes bitplanes, sound samples, trackdisk buffers, and images for sprites, bobs, pointers, and gadgets. The AllocMem() call takes a flag for specifying the type of memory. A program that specifies the wrong type of memory may appear to run correctly because many Amigas have only Chip memory. (On all models of the Amiga, the first 512K of memory is Chip memory. In later models, Chip memory may occupy up to the first one or two megabytes).

* However, once expansion memory has been added to an Amiga (type MEMF_FAST), any memory allocations will be made in the expansion memory area by default. Hence, a program can run correctly on an unexpanded Amiga which has only Chip memory while crashing on an Amiga which has expanded memory. A developer with only Chip memory may fail to notice that memory was incorrectly specified.

* Most compilers have options to mark specific data structures or object modules so that they will load into Chip RAM. Some older compilers provide the Atom utility for marking object modules. If this method is unacceptable, use the AllocMem() call to dynamically allocate Chip memory, and copy your data there.

* When making allocations that do not require Chip memory, do not explicitly ask for Fast memory. Instead ask for memory type MEMF_PUBLIC or 0L as appropriate. If Fast memory is available, you will get it.

* Never use software delay loops! Under the multitasking operating system, the time spent in a loop can be better used by other tasks. Even ignoring the effect it has on multitasking, timing loops are inaccurate and will wait different amounts of time depending on the specific model of Amiga computer. The timer device provides precision timing for use under the multitasking system and it works the same on all models of the Amiga. The AmigaDOS Delay() function or the graphics library WaitTOF() function provide a simple interface for longer delays. The ''8520'' I/O chips provide timers for developers who are bypassing the operating system (see the ''Amiga Hardware Reference Manual'' for more information).

Always obey structure conventions!

* All non-byte fields must be word-aligned. Longwords should be longword-aligned for performance.

* All address pointers should be 32 bits (not 24 bits). Never use the upper byte for data.

* Fields that are not defined to contain particular initial values must be initialized to zero. This includes pointer fields.

* All reserved or unused fields must be initialized to zero for future compatibility.

* Data structures to be accessed by the custom chips, public data structures (such as a task control block), and structures which must be longword aligned must '''not''' be allocated on a program's stack.

* Dynamic allocation of structures with AllocMem() provides longword aligned memory of a specified type with optional initialization to zero, which is useful in the allocation of structures.

=== Hardware programming guidelines ===

If you find it necessary to program the hardware directly, then it is your responsibility to write code that will work correctly on the various models and configurations of the Amiga. Be sure to properly request and gain control of the hardware resources you are manipulating, and be especially careful in the following areas:

* Kickstart 2.0 uses the ''8520'' Complex Interface Adaptor (CIA) chips differently than 1.3 did. To ensure compatibility, you must always ask for CIA access using the cia.resource AddICRVector() and RemICRVector() functions. Do not make assumptions about what the system might be using the CIA chips for. If you write directly to the CIA chip registers, do not expect system services such as the trackdisk device to function. If you are leaving the system up, do not read or write to the CIA Interrupt Control Registers directly; use the cia.resource AbleICR(), and SetICR() functions. Even if you are taking over the machine, do not assume the initial contents of any of the CIA registers or the state of any enabled interrupts.

* All custom chip registers are Read-only or Write-only. Do not read Write-only registers, and do not write to Read-only registers.

* Never write data to, or interpret data from the unused bits or addresses in the custom chip space. To be software-compatible with future chip revisions, all undefined bits must be set to zeros on writes, and must be masked out on reads before interpreting the contents of the register.

* Never write past the current end of custom chip space. Custom chips may be extended or enhanced to provide additional registers, or to use bits that are currently undefined in existing registers.

* Never read, write, or use any currently undefined address ranges or registers. The current and future usage of such areas is reserved by the AmigaOS development team and is subject to change.

* Never assume that a hardware register will be initialized to any particular value. Different versions of the OS may leave registers set to different values. Check the ''Amiga Hardware Reference Manual'' to ensure that you are setting up all the registers that affect your code.

=== AmigaOS Interface Style Guide ===

In order to make all programs in AmigaOS look consistent, AmigaOS provides some default thumbnails that developers must use in their GUI. These pictures are located in the '''tbimages:''' assign. They are installed in any AmigaOS installation.
Note that something may still go wrong and these pictures may not be found. In this case, the program must provide a fallback method instead of just failing. The developer can choose to display text-only toolbars or include default pictures with their program.

While the look of windows and gadgets can be changed by the user, the default look is similar to this:

[[File:About.png]]

== Error Reports ==

All corrections and bug report should be made by posting a new topic at AmigaOS' support forum. The support forum is located at http://support.amigaos.net

AmigaOne X1000

2013-09-05T14:28:44Z

Lyle Hazelwood: /* X1000 Won't Reboot Reliably */ Added other troubleshooting issues

Graphics Library and Text

2013-08-19T06:02:54Z

Lyle Hazelwood: /* What Fonts Are Available? */ replace AvailFonts example with AmigaOS version

{{WIP}}
== Graphics Library and Text ==

On the Amiga, rendering text is similar to rendering lines and shapes. The Amiga graphics library provides text functions based around the RastPort structure, which makes it easy to intermix graphics and text.

== About Amiga Fonts ==

In order to render text, the Amiga needs to have a graphical representation for each symbol or text character. These individual images are known as glyphs. The Amiga gets each glyph from a font in the system font list. At present, the fonts in the system list contain a bitmap of a specific point size for all the characters and symbols of the font.

Fonts are broken up into different font families. For example, the Amiga's Topaz is a font family. Each font family shares a basic look but can have a variety of styles and point sizes.

The style of a font refers to a minor alteration in the way the plain version of the font's characters are rendered. Currently, the Amiga supports three font styles: '''bold''', ''italics'' and underline (the font's style may also be considered plain when it does not have any of these styles). Although these styles can be inherent to a font, they are normally added algorithmically as text is rendered.

On the Amiga, the point size of a font normally refers to the height of the font in pixels. For example, Topaz-8 is 8 pixels high. Because the size of Amiga pixels varies between display modes, the appearance of a font will also vary between display modes. Future versions of the Amiga OS may measure font size in other units. For example, the standard point in the PostScript page description language normally refers to a point as being a square dot that is 1/72 of an inch on a side. Using a standard measuring unit such as the PostScript point makes it possible to create a WYSIWYG (What You See Is What You Get) display that exactly matches printer or other device output.

When the Amiga first starts up, the only fonts in the system font list are Topaz-8 and Topaz-9, both of which are in ROM. Any other fonts must be loaded from disk or generated somehow.

=== System Fonts ===

If an application asks the diskfont.library to load a font of a size that has no corresponding bitmap on disk, the library can generate that size font. If diskfont.library can find a smaller or larger version of the font requested, it can scale that font's bitmap to the size needed. Of course, because the library is scaling a bitmap, the quality of the bitmap can degenerate in the scaling process.

The diskfont.library can utilize AGFA Compugraphic font outlines. The Compugraphic fonts (CG fonts) are mathematical outlines that describe what the font's characters look like. The advantage of the outline fonts is that they can be scaled to any point size without the loss of resolution inherent in bitmap scaling. From the programmers point of view, no extra information is necessary for using the CG fonts, the diskfont.library takes care of all the scaling. Future releases of the OS may bring finer control over the font scaling engine which will allow an application to rotate and shear glyphs.

== The Text Function ==

Amiga text rendering is centered around the graphics.library function Text(), which renders text into a rastport:

<pre>
VOID Text( struct RastPort *myrp, STRPTR mystring, ULONG count );
</pre>

where myrp is a pointer to the target rastport, mystring is the string to render, and count is the number of characters of mystring to render. Text() renders at the current rastport position and it takes care of moving the rastport's current X position as it renders each letter. Text() only renders text horizontally, so repositioning the rastport's ''Y'' position (for example, for a new line) is the responsibility of the application. This is covered in more detail later in this chapter.

Like the other rastport based graphics primitives, most of the text rendering attributes are specified within the RastPort structure itself. The current position, the color of the text, and even the font itself are all specified in the RastPort structure.

==== Choosing the Font ====

The graphics.library function SetFont() changes the rastport's current font:

<syntaxhighlight>
VOID SetFont( struct RastPort *myrp, struct TextFont *mytf );
</syntaxhighlight>

The parameter mytf is a pointer to an open, valid TextFont structure. The system uses the TextFont structure to keep track of fonts (The TextFont structure is discussed in detail later in this chapter). The OpenFont() (from graphics.library) and OpenDiskFont() (from diskfont.library) functions both return a pointer to a valid TextFont structure. The OpenFont() function will only open fonts that have already been loaded and are currently in the system list. Normally applications use the OpenDiskFont() call instead of OpenFont() because OpenDiskFont() can load and open fonts from disk as well as open those that are already in the system list.

Here are prototypes for these functions:

<syntaxhighlight>
struct TextFont *OpenDiskFont( struct TextAttr *mytextAttr );
struct TextFont *OpenFont( struct TextAttr *mytextAttr );
</syntaxhighlight>

The mytextAttr argument points to a TextAttr structure that describes the requested font. The TextAttr structure (from <graphics/text.h>) looks like this:

<syntaxhighlight>
struct TextAttr {
STRPTR ta_Name; /* name of the font */
UWORD ta_YSize; /* height of the font */
UBYTE ta_Style; /* intrinsic font style */
UBYTE ta_Flags; /* font preferences and flags */
};
</syntaxhighlight>

where ta_Name is a string naming the font to open, ta_YSize is the point size of the font (normally in pixels), ta_Style is a bitfield describing the font style, and ta_Flags is a bitfield that further describes characteristics of the font. Note that the name of the font can either be the font name alone (.font) or it can be prepended with a full path. Without a path to the font, if the font is not already loaded into the system list, OpenDiskFont() will look in the FONTS: directory for the font file. If there is a path, OpenDiskFont() will look in that directory for the font files, allowing the user to put fonts in any directory (although this is discouraged). OpenFont() and OpenDiskFont() try to find a font that matches your TextAttr description. An important thing to remember about OpenDiskFont() is that only a process can call it (as opposed to a task). This is primarily because the function has to use dos.library to scan disks for font files.

The font styles for ta_Style (from <graphics/text.h>) are:

{| class="wikitable"
| FSF_UNDERLINED || The font is underlined
|-
| FSF_BOLD || The font is bolded
|-
| FSF_ITALIC || The font is italicized
|-
| FSF_EXTENDED || The font is extra wide
|}

The flags for ta_Flags (from <graphics/text.h>) are:

; FPF_ROMFONT
: This font is built into the ROM (currently, only Topaz-8 and Topaz-9 are ROM fonts).

; FPF_DISKFONT
: This font was loaded from disk (with diskfont.library)

; FPF_REVPATH
: This font is designed to be printed from from right to left (Hebrew is written from right to left)

; FPF_TALLDOT
: This font was designed for a Hires screen (640x200 NTSC, non-interlaced)

; FPF_WIDEDOT
: This font was designed for a Lores Interlaced screen (320x400 NTSC)

; FPF_PROPORTIONAL
: The character widths of this font are not constant

; FPF_DESIGNED
: This font size was explicitly designed at this size rather than constructed. If you do not set this bit in your TextAttr, then the system may generate a font for you by scaling an existing ROM or disk font.

For example to open an 11 point bold, italic Topaz font, the code would look something like this:

<syntaxhighlight>
/* pseudotext.c */

int main()
{
struct TextAttr myta = {
"topaz.font"
11,
FSF_ITALIC | FSF_BOLD,
NULL
};

struct TextFont *myfont, *oldfont;
struct RastPort *myrp;
struct Window *mywin;

. . .

/* open the graphics and diskfont libraries and whatever else you may need */
. . .

if (myfont = IDiskFont->OpenDiskFont(&myta))
{
/* you would probably set the font of the rastport you are going to use */
myrp = mywin->RPort
oldfont = myrp->Font;
IGraphics->SetFont(myrp, myfont);

. . .

/* perform whatever drawing you need to do */

. . .

/* time to clean up. If the rastport is not exclusively yours,
you may need to restore the original font or other Rasport values */
IGraphics->SetFont(myrp, oldfont);
IGraphics->CloseFont(myfont);
}

/* close whatever libraries and other resources you allocated */
return 0;
}
</syntaxhighlight>

The example above uses the graphics.library's SetFont() function to change the rastport's current font. Notice that this example restores the rastport's original font (myrp->Font) before exiting. This isn't normally necessary unless some other process assumes the rastport's font (or other drawing attributes) will not change. Intuition does not rely on the window's RPort.Font field for rendering or closing the default window font, so applications can change that font without having to restore it.

The user can easily change the default system fonts with the Font Preferences editor. Program designers should not make assumptions about the system font, and wherever possible, honor the user font preferences. See the [[Preferences|Preferences]] section for more information on how to find user preferences.

=== Setting the Text Drawing Attributes ===

In addition to SetFont(), there are three rastport control functions that set attributes for text rendering:

<pre>
VOID SetAPen( struct RastPort *rp, ULONG pen );
VOID SetBPen( struct RastPort *rp, ULONG pen );
VOID SetDrMd( struct RastPort *rp, ULONG drawMode );
</pre>

The color of the text depends upon the rastport's current drawing mode and pen colors. You set the draw mode with the SetDrMd() function passing it a pointer to a rastport and a drawing mode: JAM1, JAM2, COMPLEMENT or INVERSEID.

If the drawing mode is JAM1, the text will be rendered in the RastPort.FgPen color. Wherever there is a set bit in the character's bitmap image, Text() will set the corresponding bit in the rastport to the FgPen color. This is known as overstrike mode. You set the FgPen color with the SetAPen() function by passing it a pointer to the rastport and a color number.

If the drawing mode is set to JAM2, Text() will place the FgPen color as in the JAM1 mode, but it will also set the bits in the rastport to the RastPort.BgPen color wherever there is a corresponding cleared bit in the character's bitmap image. Basically, this prints the character themselves in the FgPen color and fills in the surrounding parts of the character image with the BgPen color. You set the BgPen color with the SetBPen() function by passing it a pointer to the rastport and a color number.

If the drawing mode is COMPLEMENT, for every bit set in the character's bitmap image, the corresponding bits in the rastport (in all of the rastport's bitplanes) will have their state reversed. cleared bits in the character's bitmap image have no effect on the destination rastport. As with the other drawing modes, the write mask can be used to protect certain bitplanes from being modified (see the graphics primitives chapter for more details).

The JAM1, JAM2, and COMPLEMENT drawing modes are mutually exclusive of each other but each can be modified by the INVERSVID drawing mode. If you combine any of the drawing modes with INVERSVID, the Amiga will reverse the state of all the bits in the source drawing area before writing anything into the rastport.

The idea of using a RastPort structure to hold all the rendering attributes is convenient if the rastport's drawing attributes aren't going to change much. This is not the case where several processes need to render into a rastport using very different drawing attributes. An easy way around this problem is to clone the RastPort. By making an ''exact duplicate'' of a RastPort, you can change the various rendering parameters of your RastPort without effecting other programs that render into the RastPort you cloned. Because a RastPort only contains a pointer to the rendering area (the bitmap), the original RastPort and the cloned RastPort both render into the bitmap, but they can use different drawing parameters (font, drawing mode, colors, etc.).

=== Rendering the Text ===

When the Text() routine renders text, it renders at the current rastport position along the text's baseline. The baseline is an imaginary line on top of which the text is rendered. Each font has a baseline that is a constant number of pixels from the top of the font's bitmap. For most fonts, parts of some characters are rendered both above and below the baseline (for example, y, g, and j usually have parts above and below the baseline). The part below the baseline is called the descender.

[[File:LibFig29-1.png|frame|center|Descenders and Baseline of Amiga Fonts]]

Because Text() only increments the rastport's current X position as it renders text horizontally, programs that need to print several lines of text have to take care of moving the current pointer to the beginning of the next line, usually with the graphics.library's Move() function:

<syntaxhighlight>
VOID Move( struct RastPort *rp, LONG x, long y );
</syntaxhighlight>

When moving the current position to the beginning of the next line, an application must make sure it leaves enough space above and below the baseline to prevent characters on different lines from overlapping each other. There are a few fields in the TextFont structure returned by OpenFont() and OpenDiskFont() that are useful for spacing and rendering text:

<syntaxhighlight>
struct TextFont {
struct Message tf_Message; /* reply message for font removal */
/* font name in LN | used in this */
UWORD tf_YSize; /* font height | order to best */
UBYTE tf_Style; /* font style | match a font */
UBYTE tf_Flags; /* preferences and flags / request. */
UWORD tf_XSize; /* nominal font width */
UWORD tf_Baseline; /* distance from the top of char to baseline */
UWORD tf_BoldSmear; /* smear to affect a bold enhancement */

UWORD tf_Accessors; /* access count */

UBYTE tf_LoChar; /* the first character described here */
UBYTE tf_HiChar; /* the last character described here */
APTR tf_CharData; /* the bit character data */

UWORD tf_Modulo; /* the row modulo for the strike font data */
APTR tf_CharLoc; /* ptr to location data for the strike font */
/* 2 words: bit offset then size */
APTR tf_CharSpace; /* ptr to words of proportional spacing data */
APTR tf_CharKern; /* ptr to words of kerning data */
};
</syntaxhighlight>

The fields of interest to applications are as follows.

; tf_YSize
: The "height", in pixels, of this font. None of the characters in this font will be taller than this value.

; tf_XSize
: This is the character width for monospaced (non-proportional) fonts. The width includes the extra space needed to the left and right of the character to keep the characters from running together.

; tf_Baseline
: The distance in pixels from the top line of the font to the baseline.

; tf_LoChar
: This is the first character glyph (the graphical symbol associated with this font) defined in this font. All characters that have ASCII values below this value do not have an associated glyph.

; tf_HiChar
: This is the last character glyph defined in this font. All characters that have ASCII values above this value do not have an associated glyph. An application can use these values to avoid rendering characters which have no associated glyphs. Any characters without an associated glyph will have the default glyph associated to them. Normally, the default glyph is a rectangle.

To erase text, the graphics.library provides two functions that were specifically designed to clear parts of a rastport based on the dimensions of the current font:

<syntaxhighlight>
VOID ClearEOL( struct RastPort *rp );
VOID ClearScreen( struct RastPort *rp );
</syntaxhighlight>

Using the current font, ClearEOL() will clear the rest of the current text line from the rastport's current position to the edge of the rastport. ClearScreen() will clear the rest of the line as ClearEOL() does, but it will also clear the rastport below the current line of text.

=== Setting the Font Style ===

The OpenFont() and OpenDiskFont() functions both search through the fonts available to them, looking for the font that most closely matches the TextAttr structure. If these functions can't find a font that matches exactly, they will open the one with the same name that most closely matches the TextAttr structure's ta_YSize, ta_Style, and ta_Flags fields (in that order of preference).

If the font doesn't match your style choice exactly, it is possible to ask the system to alter how it renders the font so it matches the style you need. The rastport contains some flags that tell the system's text rendering functions to algorithmically add styles to characters as they are rendered. Currently, the system can add up to three styles to a font: italics, bold, and underline. The system cannot alter the style of a font if the style is already intrinsic to the font. For example, it is not possible to add (or remove) the bold styling to a font if the font was designed to be bolded. There are two graphics.library functions that deal with software font style setting:

<syntaxhighlight>
ULONG AskSoftStyle( struct RastPort *rp );
ULONG SetSoftStyle( struct RastPort *rp, ULONG newstyle, ULONG enable );
</syntaxhighlight>

The AskSoftStyle() function returns a bitmask of the style bits available to the rastport's current font. The style bits are the same ones used by the TextAttr's ta_Style field (from <graphics/text.h>). SetSoftStyle() changes the rastport's current software style setting according to the style bits set in the newstyle field (from the function prototype above).

SetSoftStyle() pays attention only to the bits of newstyle that have the corresponding bit in the enable field set as well. This function returns the style, which is the combined result of previous soft style selection, the effect of this function, and the style inherent in the set font. The following code fragment turns on the algorithmic font attributes for the rastport (myrastport) based on those style attributes that were requested in the OpenDiskFont() call (mytextattr.ta_Style) and ''not'' inherent in the font.

<syntaxhighlight>
/* Set the font and add software styling to the text if I asked for a
style in OpenFont() and didn't get it. Because most Amiga fonts do
not have styling built into them, if the user selected some kind of
styling for the text, it will have to be added algorithmically by
calling SetSoftStyle().
*/
if (myfont = IDiskFont->OpenDiskFont(mytextattr))
{
IGraphics->SetFont(myrastport, myfont);
IGraphics->SetSoftStyle(myrastport,
mytextattr.ta_Style ^ myfont->tf_Style,
(FSF_BOLD | FSF_UNDERLINED | FSF_ITALIC));
...
...
IGraphics->CloseFont(myfont);
}
</syntaxhighlight>

== Does the Text Fit? ==

The Text() function renders its text on a single horizontal line without considering whether or not the text it renders will actually fit in the visible portion of the display area. Although for some applications this behavior is acceptable, other applications, for example a word processor, need to render all of their text where the user can see it. These applications need to measure the display area to determine how much text can fit along a given baseline. The graphics.library contains several functions that perform some of the necessary measurements:

<syntaxhighlight>
WORD TextLength( struct RastPort *my_rp, STRPTR mystring, ULONG mycount );

VOID TextExtent( struct RastPort *my_rp, STRPTR mystring, LONG mycount,
struct TextExtent *textExtent );

VOID FontExtent( struct TextFont *font, struct TextExtent *fontExtent );

ULONG TextFit ( struct RastPort *rp, STRPTR mystring, ULONG strLen,
struct TextExtent *textExtent, struct TextExtent *constrainingExtent,
LONG strDirection, ULONG constrainingBitWidth,
ULONG constrainingBitHeight );
</syntaxhighlight>

The TextLength() function is intended to mimic the Text() function without rendering the text. Using the exact same parameters as the Text() function, TextLength() returns the change in my_rp's current ''X'' position (my_rp.cp_x) that would result if the text had been rendered using the Text() function. As in Text(), the mycount parameter tells how many characters of mystring to measure.

Some fonts have characters that intrinsically render outside of the normal rectangular bounds. This can result for example, from the Amiga's version of kerning (which is discussed later in this chapter) or from algorithmic italicizing. In such cases, TextLength() is insufficient for determining whether a text string can fit within a given rectangular bounds.

The TextExtent() function offers a more complete measurement of a string than the TextLength() function. TextExtent() fills in the TextExtent structure passed to it based on the current rendering settings in my_rp.

The TextExtent structure <graphics/text.h>) supplies the dimensions of mystring's bounding box:

<syntaxhighlight>
struct TextExtent {
UWORD te_Width; /* same as TextLength */
UWORD te_Height; /* same as tf_YSize */
struct Rectangle te_Extent; /* relative to CP */
};
</syntaxhighlight>

The Rectangle structure (from <graphics/gfx.h>):

<syntaxhighlight>
struct Rectangle
{
WORD MinX,MinY;
WORD MaxX,MaxY;
};
</syntaxhighlight>

TextExtent() fills in the TextExtent structure as follows:

; te_Width
: the same value returned by TextLength().

; te_Height
: the font's ''Y'' size.

; te_Extent.MinX
: the pixel offset from the rastport's current ''X'' position to the left side of the bounding box defined by the rectangle structure. Normally, this is zero.

; te_Extent.MinY
: the distance in pixels from the baseline to the top of the bounding box.

; te_Extent.MaxX
: the pixel offset from the rastport's current ''X'' position to the right side of the bounding box. Normally, this is te_Width - 1.

; te_Extent.MaxY
: the distance from the baseline to the bottom of the bounding box.

The FontExtent() function is similar to the TextExtent() function. It fills in a TextExtent() structure that describes the bounding box of the largest possible single character in a particular open font, including the effects of kerning. Because the TextExtent() function looks at an open DiskFont structure rather than a rastport to figure out values of the TextExtent structure, it cannot consider the effects of algorithmic styling.

The TextFit() function looks at a string and returns the number of characters of the string that will fit into a given rectangular bounds. TextFit() takes the current rastport rendering settings into consideration when measuring the text. Its parameters (from the prototype above) are:

; my_rp
: tells which rastport to get the rendering attributes from

; mystring
: the string to "fit"

; strLen
: number of characters of mystring to "fit"

; constrainingExtent
: a TextExtent structure describing the bounding box in which to "fit" mystring

; strDirection
: the offset to add to the string pointer to get to the next character in mystring (can be negative)

; constrainingBitWidth
: an alternative way to specify the width of the bounding box in which to "fit" mystring

; constrainingBitHeight
: an alternative way to specify the height of the bounding box in which to "fit" mystring

TextFit() will only pay attention to the constrainingBitWidth and constrainingBitHeight fields if constrainingExtent is NULL.

=== Text Measuring Example ===

The following example, measuretext.c, opens a window on the default public screen and renders the contents of an ASCII file into the window. It uses TextFit() to measure how much of a line of text will fit across the window. If the entire line doesn't fit, measuretext will wrap the remainder of the line into the rows that follow. This example makes use of an ASL font requester, letting the user choose the font, style, size, drawing mode, and color.

<syntaxhighlight>
/*
** MeasureText.c
*/

#define INTUITION_IOBSOLETE_H

#include <dos/dos.h>
#include <dos/dosextens.h>
#include <graphics/text.h>
#include <graphics/rastport.h>
#include <intuition/intuition.h>
#include <exec/libraries.h>

#include <proto/graphics.h>
#include <proto/intuition.h>
#include <proto/diskfont.h>
#include <proto/dos.h>
#include <proto/exec.h>
#include <proto/asl.h>

#define BUFSIZE 32768

UBYTE buffer[BUFSIZE];

void MainLoop(void);
void EOP(void);

struct Library *IntuitionBase, *GfxBase, *DiskfontBase, *AslBase;
BPTR myfile;
UWORD wtbarheight;
struct FontRequester *fr;
struct TextFont *myfont;
struct Window *w;
struct RastPort *myrp;
struct Task *mytask;

int main(int argc, char **argv)
{
struct TextAttr myta;

if (argc == 2)
{
if (myfile = Open(argv[1], MODE_OLDFILE)) /* Open the file to print out. */
{
if (DiskfontBase = OpenLibrary("diskfont.library", 37L)) /* Open the libraries. */
{
if (IntuitionBase = OpenLibrary("intuition.library", 37L))
{
if (GfxBase = OpenLibrary("graphics.library", 37L))
{
if (AslBase = OpenLibrary("asl.library", 37L))
{
if (fr = (struct FontRequester *) /* Open an ASL font requester */
AllocAslRequestTags(ASL_FontRequest,
/* Supply initial values for requester */
ASL_FontName, (ULONG)"topaz.font",
ASL_FontHeight, 11L,
ASL_FontStyqles, FSF_BOLD | FSF_ITALIC,
ASL_FrontPen, 0x01L,
ASL_BackPen, 0x00L,

/* Give us all the gadgetry */
ASL_FuncFlags, FONF_FRONTCOLOR | FONF_BACKCOLOR |
FONF_DRAWMODE | FONF_STYLES,
TAG_END))

{
/* Pop up the requester */
if (AslRequest(fr, 0L))
{
myta.ta_Name = fr->fo_Attr.ta_Name; /* extract the font and */
myta.ta_YSize = fr->fo_Attr.ta_YSize; /* display attributes */
myta.ta_Style = fr->fo_Attr.ta_Style; /* from the FontRequest */
myta.ta_Flags = fr->fo_Attr.ta_Flags; /* structure. */

if (myfont = OpenDiskFont(&myta))
{
if (w = OpenWindowTags(NULL,WA_SizeGadget, TRUE,
WA_MinWidth, 200,
WA_MinHeight, 200,
WA_DragBar, TRUE,
WA_DepthGadget, TRUE,
WA_Title, (ULONG)argv[1],
TAG_END))
{
myrp = w->RPort;
/* figure out where the baseline of the uppermost line should be. */
wtbarheight = w->WScreen->BarHeight + myfont->tf_Baseline + 2;

/* Set the font and add software styling to the text if I asked for it */
/* in OpenFont() and didn't get it. Because most Amiga fonts do not */
/* have styling built into them (with the exception of the CG outline */
/* fonts), if the user selected some kind of styling for the text, it */
/* will to be added algorithmically by calling SetSoftStyle(). */

SetFont(myrp, myfont);
SetSoftStyle(myrp, myta.ta_Style ^ myfont->tf_Style,
(FSF_BOLD | FSF_UNDERLINED | FSF_ITALIC));
SetDrMd(myrp, fr->fo_DrawMode);
SetAPen(myrp, fr->fo_FrontPen);
SetBPen(myrp, fr->fo_BackPen);
Move(myrp, w->WScreen->WBorLeft, wtbarheight);
mytask = FindTask(NULL);

MainLoop();

Delay(25); /* short delay to give user a chance to */
CloseWindow(w); /* see the text before it goes away. */
}
CloseFont(myfont);
}
}
else
VPrintf("Request Cancelled\n", NULL);
FreeAslRequest(fr);
}
CloseLibrary(AslBase);
}
CloseLibrary(GfxBase);
}
CloseLibrary(IntuitionBase);
}
CloseLibrary(DiskfontBase);
}
Close(myfile);
}
}
else
VPrintf("template: MeasureText <file name>\n", NULL);

return 0;
}

void MainLoop(void)
{
struct TextExtent resulttextent;
LONG fit, actual, count, printable, crrts;
BOOL aok = TRUE;

while (((actual = Read(myfile, buffer, BUFSIZE)) > 0) && aok) /* while there's something to */
{ /* read, fill the buffer. */
count = 0;

while(count < actual)
{
crrts = 0;

while ( ((buffer[count] < myfont->tf_LoChar) || /* skip non-printable characters, but */
(buffer[count] > myfont->tf_HiChar)) && /* account for newline characters. */
(count < actual) )
{
if (buffer[count] == '\012') crrts++; /* is this character a newline? if it is, bump */
count++; /* up the newline count. */
}

if (crrts > 0) /* if there where any newlines, be sure to display them. */
{
Move(myrp, w->BorderLeft, myrp->cp_y + (crrts * (myfont->tf_YSize + 1)));
EOP(); /* did we go past the end of the page? */
}

printable = count;
while ( (buffer[printable] >= myfont->tf_LoChar) && /* find the next non-printables */
(buffer[printable] <= myfont->tf_HiChar) &&
(printable < actual) )
{
printable++;
} /* print the string of printable characters wrapping */
while (count < printable) /* lines to the beginning of the next line as needed. */
{
/* how many characters in the current string of printable characters will fit */
/* between the rastport's current X position and the edge of the window? */
fit = TextFit( myrp, &(buffer[count]),
(printable - count), &resulttextent,
NULL, 1,
(w->Width - (myrp->cp_x + w->BorderLeft + w->BorderRight)),
myfont->tf_YSize + 1 );
if ( fit == 0 )
{
/* nothing else fits on this line, need to wrap to the next line. */
Move(myrp, w->BorderLeft, myrp->cp_y + myfont->tf_YSize + 1);
}
else
{
Text(myrp, &(buffer[count]), fit);
count += fit;
}
EOP();
}

if (mytask->tc_SigRecvd & SIGBREAKF_CTRL_C) /* did the user hit CTRL-C (the shell */
{ /* window has to receive the CTRL-C)? */
aok = FALSE;
VPrintf("Ctrl-C Break\n", NULL);
count = BUFSIZE + 1;
}
}
}
if (actual < 0)
VPrintf("Error while reading\n", NULL);
}

void EOP(void)
{
if (myrp->cp_y > (w->Height - (w->BorderBottom + 2))) /* If we reached page bottom, clear the */
{ /* rastport and move back to the top. */
Delay(25);

SetAPen(myrp, 0);
RectFill(myrp, (LONG)w->BorderLeft, (LONG)w->BorderTop, w->Width - (w->BorderRight + 1),
w->Height - (w->BorderBottom + 1) );
SetAPen(myrp, 1);
Move(myrp, w->BorderLeft + 1, wtbarheight);
SetAPen(myrp, fr->fo_FrontPen);
}
}
</syntaxhighlight>

== Font Scaling and Aspect Ratio ==

AmigaOS has the ability to scale fonts to new sizes and dimensions. This means, if the diskfont.library can't find the font size an application requests, it can create a new bitmap font by scaling the bitmap of a different size font in the same font family. AmigaOS can utilize AGFA Compugraphic outline fonts, yielding scalable fonts that don't have the exaggerated jagged edges inherent in bitmap scaling.

The best thing about the Amiga's font scaling is that its addition to the system is completely invisible to an application program. Because the diskfont.library takes care of all the font scaling, any program that uses OpenDiskFont() to open a font can have scalable fonts available to it.

When scaling a font (either from an outline or from another bitmap), diskfont.library can adjust the width of a font's glyphs according to an aspect ratio passed to OpenDiskFont(). A font glyph is the graphical representations associated with each symbol or character of a font.

The aspect ratio refers to the shape of the pixels that make up the bitmap that diskfont.library creates when it scales a font. This ratio is the width of a pixel to the height of the pixel (XWidth/YWidth). The diskfont.library uses this ratio to figure out how wide to make the font glyphs so that the look of a font's glyphs will be the same on display modes with very different aspect ratios.

For the diskfont.library to be able to scale a font to a new aspect ratio, it needs to know what the font's current aspect ratio is. The Amiga gets the aspect ratio of a font currently in the system list from an extension to the TextFont structure called (oddly enough) TextFontExtension. When the system opens a new font (and there is sufficient memory) it creates this extension.

A font's TextFont structure contains a pointer to its associated TextFontExtension. While the font is opened, the TextFont's tf_Message.mn_ReplyPort field points to a font's TextFontExtension. The <graphics/text.h> include file #defines tf_Message.mn_ReplyPort as tf_Extension.

The TextFontExtension structure contains only one field of interest: a pointer to a tag list associated with this font:

<pre>
struct TagItem *tfe_Tags; /* Text Tags for the font */
</pre>

If a font has an aspect ratio associated with it, the OS stores the aspect ratio as a tag/value pair in the tfe_Tags tag list.

The TA_DeviceDPI tag holds a font‚Äôs aspect ratio. The data portion of the TA_DeviceDPI tag contains an ''X'' DPI (dots per inch) value in its upper word and a ''Y'' DPI value in its lower word. These values are unsigned words (UWORD). At present, these values do not necessarily reflect the font's true ''X'' and ''Y'' DPI, so their specific values are not relevant. At present, only the ratio of the ''X'' aspect to the ''Y'' aspect is important (more on this later in the article).

Notice that the ''X'' and ''Y'' DPI values are not aspect values. The ''X'' and ''Y'' aspect values are the reciprocals of the ''X'' and ''Y'' DPI values, respectively:

<pre>
XDPI = 1/XAspect
YDPI = 1/YAspect
</pre>

so, the aspect ratio is ''YDPI/XDPI'', not ''XDPI/YDPI''.

Before accessing the tag list, an application should make sure that this font has a corresponding TextFontExtension. The ExtendFont() function will return a value of TRUE if this font already has an extension or ExtendFont() was able to create an extension for this font.

The Amiga has a place to store a font's ''X'' and ''Y'' DPI values once the font is loaded into memory, but where do these X and Y values come from? A font's ''X'' and ''Y'' DPI values can come from several sources. The ''X'' and ''Y'' DPI can come from a font's disk-based representation, or it can be set by the programmer.

For the traditional Amiga bitmap fonts, in order to store the X and Y DPI values in a bitmap font's ".font" file, the structures that make up the ".font" file had to be expanded slightly. See the discussion of the FontContentsHeader structure in the "Composition of a Bitmap Font on Disk" section later in this chapter for more information. Currently, out of all the system standard bitmap fonts (those loaded from bitmaps on disk or ROM, not scaled from a bitmap or outline), only one has a built in aspect ratio: Topaz-9.

For the Compugraphic outline fonts, the ''X'' and ''Y'' DPI values are built into the font outline. Because the format of the Compugraphic outline fonts is proprietary, information about their layout is available only from AGFA Compugraphic. For most people, the format of the outline fonts is not important, as the diskfont.library handles converting the fonts to an Amiga-usable form.

The other place where a font can get an aspect ratio is an application. When an application opens a font with OpenDiskFont(), it can supply the TA_DeviceDPI tag that the diskfont.library uses to scale (if necessary) the font according to the aspect ratio. To do so, an application has to pass OpenDiskFont() an extended version of the TextAttr structure called the TTextAttr:

<pre>
struct TTextAttr {
STRPTR tta_Name; /* name of the font */
UWORD tta_YSize; /* height of the font */
UBYTE tta_Style; /* intrinsic font style */
UBYTE tta_Flags; /* font preferences and flags */
struct TagItem *tta_Tags; /* extended attributes */
};
</pre>

The TextAttr and the TTextAttr are identical except that the tta_Tags field points to a tag list where you place your TA_DeviceDPI tag. To tell OpenDiskFont() that it has a TTextAttr structure rather than a TextAttr structure, set the FSF_TAGGED bit in the tta_Style field.

For example, to ask for Topaz-9 scaled to an aspect ratio of 75 to 50 the code might look something like this:

<pre>
#define MYXDPI (75L << 16)
#define MYYDPI (50L)

struct TTextAttr mytta = {
"topaz.font", 9,
FSF_TAGGED, 0, NULL
};

struct TagItem tagitem[2];
struct TextFont *myfont;
ULONG dpivalue;

. . .

tagitem[0].ti_tag = TA_DeviceDPI;
tagitem[0].ti_Data = MYXDPI | MYYDPI;
tagitem[1].ti_tag = TAG_END;
mytta.tta_tags = tagitem;

. . .

if (myfont = OpenDiskFont(&mytta))
{
dpi = GetTagData(TA_DeviceDPI,
OL,
((struct TextFontExtension *)(myfont->tf_Extension))->tfe_Tags);
if (dpi) printf("XDPI = %d YDPI = %d\n",
((dpi & 0xFFFF0000)>>16),
(dpi & 0x0000FFFF));
. . . /* Blah Blah print blah */

CloseFont(myfont);
}
</pre>

== Some Things to Look Out For ==

One misleading thing about the TA_DeviceDPI tag is that its name implies that the diskfont.library is going to scale the font glyphs according to an actual DPI (dots per inch) value. As far as scaling is concerned, this tag serves only as a way to specify the aspect ratio, so the actual values of the ''X'' and ''Y'' elements are not important, just the ratio of one to the other. A font glyph will look the same if the ratio is 2:1 or 200:100 as these two ratios are equal.

To makes things a little more complicated, when diskfont.library scales a bitmap font using an aspect ratio, the ''X'' and ''Y'' DPI values that the OS stores in the font's TextFontExtension are identical to the ''X'' and ''Y'' DPI values passed in the TA_DeviceDPI tag. This means the system can associate an ''X'' and ''Y'' DPI value to an open font size that is very different from the font size's actual ''X'' and ''Y'' DPI. For this reason, applications should not use these values as real DPI values. Instead, only use them to calculate a ratio.

For the Compugraphic outline fonts, things are a little different. The ''X'' and ''Y'' DPI values are built into the font outline and reflect a true ''X'' and ''Y'' DPI. When the diskfont.library creates a font from an outline, scaling it according to an application-supplied aspect ratio, diskfont.library does not change the ''Y'' DPI setting. Instead, it calculates a new ''X'' DPI based on the font‚Äôs ''Y'' DPI value and the aspect ratio passed in the TA_DeviceDPI tag. It does this because the Amiga thinks of a font size as being a height in pixels. If an application was able to change the true ''Y'' DPI of a font, the diskfont.library would end up creating font sizes that were much larger or smaller than the YSize the application asked for. If an application needs to scale a font according to height as well as width, the application can adjust the value of the YSize it asks for in the TTextAttr.

As mentioned earlier, almost all of the system standard bitmap fonts do not have a built in aspect ratio. This means that if an application loads one of these bitmap fonts without supplying an aspect ratio, the system will not put a TA_DeviceDPI tag in the font‚Äôs TextFontExtension: the font will not have an aspect ratio. If a font size that is already in the system font list does not have an associated ''X'' and ''Y'' DPI, the diskfont.library cannot create a new font of the same size with a different aspect ratio.

The reason for this is the diskfont.library cannot tell the difference between two instances of the same font size where one has an aspect ratio and the other does not. Because diskfont.library cannot see this difference, when an application asks, for example, for Topaz-8 with an aspect ratio of 2:1, OpenDiskFont() first looks through the system list to see if that font is loaded. OpenDiskFont() happens to find the ROM font Topaz-8 in the system font list, which has no ''X'' and ''Y'' DPI. Because it cannot see the difference, diskfont.library thinks it has found what it was looking for, so it does not create a new Topaz-8 with an aspect ratio of 2:1, and instead opens the Topaz-8 with no aspect ratio.

This also causes problems for programs that do not ask for a specific aspect ratio. When an application asks for a font size without specifying an aspect ratio, OpenDiskFont() will not consider the aspect ratios of fonts in the system font list when it is looking for a matching font. If a font of the same font and style is already in the system font list, even though it may have a wildly distorted aspect ratio, OpenDiskFont() will return the font already in the system rather than creating a new one.

=== Font Aspect Ratio Example ===

The following example, "cliptext.c", renders the contents of a text file to a Workbench window. This example gets the new aspect ratio for a font by asking the display database what the aspect ratio of the current display mode is.

<pre>
;/* cliptext.c - Execute me to compile me with Lattice 5.10a
LC -cfistq -v -y -j73 cliptext.c
Blink FROM LIB:c.o,cliptext.o TO cliptext LIBRARY LIB:LC.lib,LIB:Amiga.lib
quit ;*/

#include <exec/types.h>
#include <dos/rdargs.h>
#include <dos/dosextens.h>
#include <intuition/intuition.h>
#include <graphics/text.h>
#include <graphics/displayinfo.h>
#include <graphics/regions.h>
#include <graphics/gfx.h>
#include <libraries/diskfont.h>
#include <libraries/diskfonttag.h>
#include <utility/tagitem.h>
#include <clib/exec_protos.h>
#include <clib/dos_protos.h>
#include <clib/layers_protos.h>
#include <clib/alib_stdio_protos.h>
#include <clib/intuition_protos.h>
#include <clib/graphics_protos.h>
#include <clib/diskfont_protos.h>

#ifdef LATTICE
int CXBRK(void) { return(0); } /* Disable Lattice CTRL/C handling */
int chkabort(void) { return(0); }
#endif

UBYTE *vers = "\0$VER: cliptext 37.2";

#define BUFSIZE 4096
#define FONT_NAME 0
#define FONT_SIZE 1
#define FILE_NAME 2
#define JAM_MODE 3
#define XASP 4
#define YASP 5
#define NUM_ARGS 6
#define DEFAULTFONTSIZE 11L
#define DEFAULTJAMMODE 0L
#define DEFAULTXASP 0L
#define DEFAULTYASP 0L

void MainLoop(void);

LONG args[NUM_ARGS];
struct TagItem tagitem[2];
UBYTE buffer[BUFSIZE];
BPTR myfile;
struct Library *DiskfontBase, *IntuitionBase, *LayersBase, *GfxBase;
struct IntuiMessage *mymsg;
struct DrawInfo *mydrawinfo;
struct Window *mywin;
struct RastPort *myrp;
struct TTextAttr myta;
struct TextFont *myfont;
struct Rectangle myrectangle;
struct Region *new_region;

void main(int argc, char **argv)
{
struct RDArgs *myrda;
struct DisplayInfo mydi;
ULONG mymodeid;

LONG mydefaultfontsize = DEFAULTFONTSIZE;
LONG mydefaultJAMMode = DEFAULTJAMMODE;
LONG mydefaultXASP = 0L;
LONG mydefaultYASP = 0L;
args[FONT_NAME] = (LONG)"topaz.font";
args[FONT_SIZE] = (LONG)&mydefaultfontsize;
args[FILE_NAME] = (LONG)"s:startup-sequence";
args[JAM_MODE] = (LONG)&mydefaultJAMMode;
args[XASP] = (LONG)&mydefaultXASP;
args[YASP] = (LONG)&mydefaultYASP;

/* dos.library standard command line parsing--See the dos.library Autodoc for details */
if (myrda = ReadArgs("FontName,FontSize/N,FileName,Jam/N,XASP/N,YASP/N\n", args, NULL))
{
if (myfile = Open((UBYTE *)args[FILE_NAME], MODE_OLDFILE) ) /* Open the file to display. */
{
if (DiskfontBase = OpenLibrary("diskfont.library", 37L)) /* Open the libraries. */
{
if (IntuitionBase = OpenLibrary("intuition.library", 37L))
{
if (GfxBase = OpenLibrary("graphics.library", 37L))
{
if (LayersBase = OpenLibrary("layers.library", 37L))
{
if (mywin = OpenWindowTags(NULL, /* Open that window. */
WA_MinWidth, 100, /* This application wants to hear about three */
WA_MinHeight, 100, /* things: 1) When the user clicks the window's */
WA_SmartRefresh, TRUE, /* close gadget, 2) when the user starts to */
WA_SizeGadget, TRUE, /* resize the window, 3) and when the user has */
WA_CloseGadget, TRUE, /* finished resizing the window. */
WA_IDCMP, IDCMP_CLOSEWINDOW | IDCMP_NEWSIZE | IDCMP_SIZEVERIFY,
WA_DragBar, TRUE,
WA_DepthGadget, TRUE,
WA_Title, (ULONG)args[FILE_NAME],
TAG_END))
{
tagitem[0].ti_Tag = OT_DeviceDPI;

/* See if there is a non-zero value in the XASP or YASP fields. Diskfont.library */
/* will get a divide by zero GURU if you give it a zero XDPI or YDPI value. */

/* if there is a zero value in one of them... */
if ( ( (*(ULONG *)args[XASP]) == 0) || ( (*(ULONG *)args[YASP]) == 0) )
{
/* ...then use the aspect ratio of the current display as a default... */
mymodeid = GetVPModeID(&(mywin->WScreen->ViewPort));
if (GetDisplayInfoData( NULL, (UBYTE *)&mydi,
sizeof(struct DisplayInfo), DTAG_DISP, mymodeid))
{
mydefaultXASP = mydi.Resolution.x;
mydefaultYASP = mydi.Resolution.y;
printf("XAsp = %ld YAsp = %ld\n", mydefaultXASP, mydefaultYASP);
/* Notice that the X and Y get _swapped_ to keep the look of the */
/* font glyphs the same using screens with different aspect ratios. */
args[YASP] = (LONG)&mydefaultXASP;
args[XASP] = (LONG)&mydefaultYASP;
}
else /* ...unless something is preventing us from getting the screen */
/* screens resolution. In that case, forget about the DPI tag. */
tagitem[0].ti_Tag = TAG_END;
}
/* Here we have to put the X and Y DPI into the OT_DeviceDPI tags data field. */
/* THESE ARE NOT REAL X AND Y DPI VALUES FOR THIS FONT OR DISPLAY. They only */
/* serve to supply the diskfont.library with values to calculate the aspect */
/* ratio. The X value gets stored in the upper word of the tag value and the Y*/
/* DPI gets stored in the lower word. Because ReadArgs() stores the _address_ */
/* of integers it gets from the command line, you have to dereference the */
/* pointer it puts into the argument array, which results in some ugly casting.*/

tagitem[0].ti_Data = (ULONG)( ( (UWORD) *( (ULONG *)args[XASP] ) << 16) |
((UWORD) *( (ULONG *)args[YASP]) ) );
tagitem[1].ti_Tag = TAG_END;

myta.tta_Name = (STRPTR)args[FONT_NAME]; /* Set up the TTextAttr */
myta.tta_YSize = *((LONG *)args[FONT_SIZE]); /* structure to match the */
myta.tta_Style = FSF_TAGGED; /* font the user requested. */
myta.tta_Flags = 0L;
myta.tta_Tags = tagitem;

if (myfont = OpenDiskFont(&myta)) /* open that font */
{
/* This is for the layers.library clipping region that gets attached to the */
/* window. This prevents the application from unnecessarily rendering beyond */
myrectangle.MinX = mywin->BorderLeft; /* the bounds of the inner part of */
myrectangle.MinY = mywin->BorderTop; /* the window. For now, you can */
myrectangle.MaxX = mywin->Width - /* ignore the layers stuff if you are */
(mywin->BorderRight + 1); /* just interested in learning about */
myrectangle.MaxY = mywin->Height - /* using text. For more information */
(mywin->BorderBottom + 1); /* on clipping regions and layers, see */
/* the Layers chapter of this manual. */

if (new_region = NewRegion()) /* more layers stuff */
{
if (OrRectRegion(new_region, &myrectangle)); /* Even more layers stuff */
{
InstallClipRegion(mywin->WLayer, new_region);
/* Obtain a pointer to the window's rastport and set up some of the */
myrp = mywin->RPort; /* rastport attributes. This example obtains the */
SetFont(myrp, myfont); /* text pen for the window's screen using */
if (mydrawinfo =GetScreenDrawInfo(mywin->WScreen)) /* GetScreenDrawInfo()*/
{
SetAPen(myrp, mydrawinfo->dri_Pens[TEXTPEN]);
FreeScreenDrawInfo(mywin->WScreen, mydrawinfo);
}
SetDrMd(myrp, (BYTE)(*((LONG *)args[JAM_MODE])));

MainLoop();
}
DisposeRegion(new_region);
}
CloseFont(myfont);
}
CloseWindow(mywin);
}
CloseLibrary(LayersBase);
}
CloseLibrary(GfxBase);
}
CloseLibrary(IntuitionBase);
}
CloseLibrary(DiskfontBase);
}
Close(myfile);
}
FreeArgs(myrda);
}
else VPrintf("Error parsing arguments\n", NULL);
}

void MainLoop(void)
{
LONG count, actual, position;
BOOL aok = TRUE, waitfornewsize = FALSE;
struct Task *mytask;

mytask = FindTask(NULL);
Move(myrp, mywin->BorderLeft + 1, mywin->BorderTop + myfont->tf_YSize + 1);

while (((actual = Read(myfile, buffer, BUFSIZE)) > 0) && aok) /* While there's something */
{ /* to read, fill the buffer. */
position = 0;
count = 0;

while (position <= actual)
{
if (!(waitfornewsize))
{
while ( ((buffer[count] >= myfont->tf_LoChar) &&
(buffer[count] <= myfont->tf_HiChar)) && (count <= actual) )
count++;

Text(myrp, &(buffer[position]), (count)-position);

while ( ((buffer[count] < myfont->tf_LoChar) ||
(buffer[count] > myfont->tf_HiChar)) && (count <= actual) )
{
if (buffer[count] == 0x0A)
Move(myrp, mywin->BorderLeft, myrp->cp_y + myfont->tf_YSize + 1);
count++;
}
position = count;
}
else WaitPort(mywin->UserPort);

while (mymsg = (struct IntuiMessage *)GetMsg(mywin->UserPort))
{
if (mymsg->Class == IDCMP_CLOSEWINDOW) /* The user clicked the close gadget */
{
aok = FALSE;
position = actual + 1;
ReplyMsg((struct Message *)mymsg);
} /* The user picked up the */
else if (mymsg->Class == IDCMP_SIZEVERIFY) /* window's sizing gadget */
{
/* When the user has picked up the window's sizing gadget when the */
/* IDCMP_SIZEVERIFY flag is set, the application has to reply to this message*/
/* to tell Intuition to allow the user to move the sizing gadget and resize */
/* the window. The reason for using this here is because the user can resize*/
/* the window while cliptext.c is rendering text to the window. Cliptext.c */
/* has to stop rendering text when it receives an IDCMP_SIZEVERIFY message. */
/* */
/* if this example had instead asked to hear about IDCMP events that could */
/* take place between SIZEVERIFY and NEWSIZE events (especially INTUITICKS), */
/* it should turn off those events here using ModifyIDCMP(). */
/* */
/* After we allow the user to resize the window, we cannot write into the */
/* window until the user has finished resizing it because we need the */
/* window's new size to adjust the clipping area. Specifically, we have */
/* to wait for an IDCMP_NEWSIZE message which Intuition will send when the */
/* user lets go of the resize gadget. For now, we set the waitfornewsize */
/* flag to stop rendering until we get that NEWSIZE message. */

waitfornewsize = TRUE;
WaitBlit();

ReplyMsg((struct Message *)mymsg); /* The blitter is done, let the */
} /* user resize the window. */
else
{
ReplyMsg((struct Message *)mymsg);
waitfornewsize = FALSE;
/* The user has resized the window, so get the new window dimensions */
myrectangle.MinX = mywin->BorderLeft; /* and readjust the layers */
myrectangle.MinY = mywin->BorderTop; /* clipping region accordingly. */
myrectangle.MaxX = mywin->Width - (mywin->BorderRight + 1);
myrectangle.MaxY = mywin->Height - (mywin->BorderBottom + 1);
InstallClipRegion(mywin->WLayer, NULL);
ClearRegion(new_region);
if (OrRectRegion(new_region, &myrectangle))
InstallClipRegion(mywin->WLayer, new_region);
else
{
aok = FALSE;
position = actual + 1;
}
}
}
if (mytask->tc_SigRecvd & SIGBREAKF_CTRL_C) /* Check for user break. */
{
aok = FALSE;
position = actual + 1;
}

if (myrp->cp_y > (mywin->Height - (mywin->BorderBottom + 2))) /* if we reached the */
{ /* bottom of the page, clear the */
Delay(25); /* rastport and move back to the top*/

SetRast(myrp, 0); /* Set the entire rastport to color zero. This will not */
Move(myrp, /* the window borders because of the layers clipping. */
mywin->BorderLeft + 1,
mywin->BorderTop + myfont->tf_YSize + 1);
}
}
}
if (actual < 0) VPrintf("Error while reading\n", NULL);
}
</pre>

== What Fonts Are Available? ==

The diskfont.library function AvailFonts() fills in a memory area designated by you with a list of all of the fonts available to the system. AvailFonts() searches the AmigaDOS directory path currently assigned to FONTS: and locates all available fonts. If you haven‚Äôt issued a DOS Assign command to change the FONTS: directory path, it defaults to the sys:fonts directory.

<pre>
LONG AvailFonts( struct AvailFontsHeader *mybuffer, LONG bufBytes, LONG flags );
</pre>

AvailFonts() fills in a memory area, mybuffer, which is bufBytes bytes long, with an AvailFontsHeader structure:

<pre>
struct AvailFontsHeader {
UWORD afh_NumEntries; /* number of AvailFonts elements */
/* struct AvailFonts afh_AF[], or struct TAvailFonts afh_TAF[]; */
};
</pre>

This structure is followed by an array of AvailFonts structures with the number of entries in the array equal to afh_NumEntries:

<pre>
struct AvailFonts {
UWORD af_Type; /* MEMORY, DISK, or SCALED */
struct TextAttr af_Attr; /* text attributes for font */
};
</pre>

Each AvailFonts structure describes a font available to the OS. The flags field lets AvailFonts() know which fonts you want to hear about. At present, there are four possible flags:

; AFF_MEMORY
: Create AvailFonts structures for all TextFont's currently in the system list.

; AFF_DISK
: Create AvailFonts structures for all TextFont's that are currently available from disk.

; AFF_SCALED
: Create AvailFonts structures for TextFont‚Äôs that do not have their FPF_DESIGNED flag set. If the AFF_SCALED flag is not present, AvailFonts() will not create AvailFonts structures for fonts that have been scaled, which do not have the FPF_DESIGNED flag set.

; AFF_TAGGED
: These AvailFonts structures are really TAvailFonts structures. These structures were created to allow AvailFonts() to list tag values:

: <syntaxhighlight>
struct TAvailFonts {
UWORD taf_Type; /* MEMORY, DISK, or SCALED */
struct TTextAttr taf_Attr; /* text attributes for font */
};
</syntaxhighlight>

Notice that AFF_MEMORY and AFF_DISK are not mutually exclusive; a font that is currently in memory may also be available for loading from disk. In this case, the font will appear twice in the array of AvailFonts (or TAvailFonts) structures.

If AvailFonts() fails without any major system problems, it will be because the buffer for the AvailFontsHeader structure was not big enough to contain all of the AvailFonts or TAvailFonts structures. In this case, AvailFonts() returns the number of additional bytes that mybuffer needed to contain all of the TAvailFonts or AvailFonts structures. You can then use that return value to figure out how big the buffer needs to be, allocate that memory, and try AvailFonts() again:

<pre>
int afShortage, afSize;
struct AvailFontsHeader *afh;
. . .

afSize = AvailFonts(afh, 0L, AFF_MEMORY|AFF_DISK|AFF_SCALED|AFF_TAGGED);
do
{
afh = (struct AvailFontsHeader *) AllocMem(afSize, 0);
if (afh)
{
afShortage = AvailFonts(afh, afSize, AFF_MEMORY|AFF_DISK|AFF_SCALED|AFF_TAGGED);
if (afShortage)
{
FreeMem(afh, afSize);
afSize += afShortage;
}
}
else
{
fail("AllocMem of AvailFonts buffer afh failed\n");
break;
}
} while (afShortage); /* if (afh) non-zero here, then: */
/* 1. it points to a valid AvailFontsHeader, */
/* 2. it must have FreeMem(afh, afSize) called for it after use. */
</pre>

The following code, "AvailFonts.c", uses AvailFonts() to find out what fonts are available to the system. It uses this information to open every available font (one at a time), print some information about the font (including the TA_DeviceDPI tag values if they are present), and renders a sample of the font into a clipping region.

<syntaxhighlight>
;/* AvailFonts.c - Execute me to compile me with GCC
gcc -Wall -c AvailFonts.c
gcc -Wall -N -o AvailFonts availfonts.o
quit ;

Copyright (c) 1992 Commodore-Amiga, Inc.

This example is provided in electronic form by Commodore-Amiga, Inc. for
use with the "Amiga ROM Kernel Reference Manual: Libraries", 3rd Edition,
published by Addison-Wesley (ISBN 0-201-56774-1).

The "Amiga ROM Kernel Reference Manual: Libraries" contains additional
information on the correct usage of the techniques and operating system
functions presented in these examples. The source and executable code
of these examples may only be distributed in free electronic form, via
bulletin board or as part of a fully non-commercial and freely
redistributable diskette. Both the source and executable code (including
comments) must be included, without modification, in any copy. This
example may not be published in printed form or distributed with any
commercial product. However, the programming techniques and support
routines set forth in these examples may be used in the development
of original executable software products for Commodore Amiga computers.

All other rights reserved.

This example is provided "as-is" and is subject to change; no
warranties are made. All use is at your own risk. No liability or
responsibility is assumed.
*/

#include <classes/window.h>
#include <proto/exec.h>
#include <proto/dos.h>
#include <proto/layers.h>
#include <proto/intuition.h>
#include <proto/graphics.h>
#include <proto/diskfont.h>
#include <proto/utility.h>

#include <stdio.h>

STRPTR vers = "\0$VER: AvailFonts 36.3";
struct LayersIFace *ILayers = NULL;
struct UtilityIFace *IUtility = NULL;
struct IntuitionIFace *IIntuition = NULL;
struct GraphicsIFace *IGraphics = NULL;
struct DiskfontIFace *IDiskfont = NULL;
struct ClassLibrary *WindowBase = NULL;
Class *WindowClass;

void MainLoop(void);
uint32 StrLen(STRPTR);

APTR OpenInterface (CONST_STRPTR lib_name, int32 lib_vers,
CONST_STRPTR int_name, int32 int_vers);
void CloseInterface (APTR interface);

int32 OpenAll(int argc, char **argv);
int32 openfail(STRPTR reason);
void CloseAll(void);

struct stringstruct {
STRPTR string;
int32 charcount;
int16 stringwidth;
};

STRPTR alphabetstring = "ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz";
struct stringstruct fname, fheight, XDPI, YDPI, entrynum;
struct Window *mywin;
struct RastPort *mycliprp, myrp;
struct Rectangle myrect;
struct Region *new_region, *old_region;
struct DrawInfo *mydrawinfo;
struct AvailFontsHeader *afh;
int32 fontheight, alphabetcharcount;
int16 stringwidth;

int main(int argc, char **argv)
{
struct TextFont *defaultfont = NULL;
struct TextAttr defaultfontattr = { "topaz.font", 9, 0, 0 };

int32 afsize, afshortage, cliprectside;

fname.string = "Font Name: ";
fheight.string = "Font Height: ";
XDPI.string = "X DPI: ";
YDPI.string = "Y DPI: ";
entrynum.string = "Entry #: ";

if(OpenAll(argc, argv))
{
return(RETURN_FAIL);
}

if ((mywin = IIntuition->OpenWindowTags(NULL, /* Open that window. */
WA_SmartRefresh,TRUE,
WA_SizeGadget, FALSE,
WA_CloseGadget, TRUE,
WA_IDCMP, IDCMP_CLOSEWINDOW,
WA_DragBar, TRUE,
WA_DepthGadget, TRUE,
WA_Title, (uint32)"AvailFonts() example",
TAG_END)))
{
myrp = *(mywin->RPort); /* A structure assign: clone my window's Rastport. */
/* RastPort. This RastPort will be used to render */
/* the font specs, not the actual font sample. */
if ((mydrawinfo = IIntuition->GetScreenDrawInfo(mywin->WScreen)))
{
IGraphics->SetFont(&myrp, mydrawinfo->dri_Font);

myrect.MinX = mywin->BorderLeft; /* LAYOUT THE WINDOW */
myrect.MinY = mywin->BorderTop;
myrect.MaxX = mywin->Width - (mywin->BorderRight + 1);
myrect.MaxY = mywin->Height - (mywin->BorderBottom + 1);

cliprectside = (myrect.MaxX - myrect.MinX) / 20;

fname.charcount = StrLen(fname.string);
fheight.charcount = StrLen(fheight.string);
XDPI.charcount = StrLen(XDPI.string);
YDPI.charcount = StrLen(YDPI.string);
entrynum.charcount = StrLen(entrynum.string);
alphabetcharcount = StrLen(alphabetstring);

fontheight = (myrp.Font->tf_YSize) + 2;

if (fontheight > ((myrect.MaxY - myrect.MinY) / 6)) /* If the default screen */
{ /* font is more than one- */
defaultfont = IGraphics->OpenFont(&defaultfontattr); /* sixth the size of the */
IGraphics->SetFont(&myrp, defaultfont); /* window, use topaz-9. */
fontheight = (myrp.Font->tf_YSize) + 2;
}

fname.stringwidth = IGraphics->TextLength(&myrp, (STRPTR)fname.string, fname.charcount);
fheight.stringwidth = IGraphics->TextLength(&myrp, (STRPTR)fheight.string, fheight.charcount);
XDPI.stringwidth = IGraphics->TextLength(&myrp, (STRPTR)XDPI.string, XDPI.charcount);
YDPI.stringwidth = IGraphics->TextLength(&myrp, (STRPTR)YDPI.string, YDPI.charcount);
entrynum.stringwidth =
IGraphics->TextLength(&myrp, (STRPTR)entrynum.string, entrynum.charcount);

stringwidth = fname.stringwidth; /* What is the largest string length? */
stringwidth =
(fheight.stringwidth > stringwidth) ? fheight.stringwidth : stringwidth;
stringwidth = (XDPI.stringwidth > stringwidth) ? XDPI.stringwidth : stringwidth;
stringwidth = (YDPI.stringwidth > stringwidth) ? YDPI.stringwidth : stringwidth;
stringwidth =
(entrynum.stringwidth > stringwidth) ? entrynum.stringwidth : stringwidth;
stringwidth += mywin->BorderLeft;

if (stringwidth < ((myrect.MaxX - myrect.MinX) >> 1)) /* If the stringwidth is */
{ /* more than half the viewing*/
IGraphics->SetAPen(&myrp, mydrawinfo->dri_Pens[TEXTPEN]); /* area, quit because the */
IGraphics->SetDrMd(&myrp, JAM2); /* font is just too big. */

IGraphics->Move(&myrp, myrect.MinX + 8 + stringwidth - fname.stringwidth,
myrect.MinY + 4 + (myrp.Font->tf_Baseline));
IGraphics->Text(&myrp, fname.string, fname.charcount);

IGraphics->Move(&myrp, myrect.MinX + 8 + stringwidth - fheight.stringwidth,
myrp.cp_y + fontheight);
IGraphics->Text(&myrp, fheight.string, fheight.charcount);

IGraphics->Move(&myrp, myrect.MinX + 8 + stringwidth - XDPI.stringwidth,
myrp.cp_y + fontheight);
IGraphics->Text(&myrp, XDPI.string, XDPI.charcount);

IGraphics->Move(&myrp, myrect.MinX + 8 + stringwidth - YDPI.stringwidth,
myrp.cp_y + fontheight);
IGraphics->Text(&myrp, YDPI.string, YDPI.charcount);

IGraphics->Move(&myrp, myrect.MinX + 8 + stringwidth - entrynum.stringwidth,
myrp.cp_y + fontheight);
IGraphics->Text(&myrp, entrynum.string, entrynum.charcount);

myrect.MinX = myrect.MinX + cliprectside;
myrect.MaxX = myrect.MaxX - cliprectside;
myrect.MinY = myrect.MinY + (5 * fontheight) + 8;
myrect.MaxY = myrect.MaxY - 8;

IGraphics->SetAPen(&myrp, mydrawinfo->dri_Pens[SHINEPEN]); /* Draw a box around */
IGraphics->Move(&myrp, myrect.MinX - 1, myrect.MaxY + 1); /* the cliprect. */
IGraphics->Draw(&myrp, myrect.MaxX + 1, myrect.MaxY + 1);
IGraphics->Draw(&myrp, myrect.MaxX + 1, myrect.MinY - 1);

IGraphics->SetAPen(&myrp, mydrawinfo->dri_Pens[SHADOWPEN]);
IGraphics->Draw(&myrp, myrect.MinX - 1, myrect.MinY - 1);
IGraphics->Draw(&myrp, myrect.MinX - 1, myrect.MaxY);

IGraphics->SetAPen(&myrp, mydrawinfo->dri_Pens[TEXTPEN]);
/* Fill up a buffer with a list of the available fonts */
afsize = IDiskfont->AvailFonts((STRPTR)afh, 0L, AFF_MEMORY|AFF_DISK|AFF_SCALED|AFF_TAGGED);
do
{
afh = (struct AvailFontsHeader *) IExec->AllocVecTags(afsize, TAG_END);
if (afh)
{
afshortage = IDiskfont->AvailFonts((STRPTR)afh, afsize,
AFF_MEMORY|AFF_DISK|AFF_SCALED|AFF_TAGGED);
if (afshortage)
{
IExec->FreeVec(afh);
afsize += afshortage;
afh = (struct AvailFontsHeader *)(-1L);
}
}
} while (afshortage && afh);

if (afh)
{
/* This is for the layers.library clipping region that gets attached to */
/* the window. This prevents the application from unnecessarily */
/* rendering beyond the bounds of the inner part of the window. For */
/* more information on clipping, see the Layers chapter of this manual. */

if ((new_region = IGraphics->NewRegion())) /* More layers stuff */
{
if (IGraphics->OrRectRegion(new_region, &myrect)) /* Even more layers stuff */
{
/* Obtain a pointer to the window's rastport and set up some of */
/* the rastport attributes. This example obtains the text pen */
/* for the window's screen using the GetScreenDrawInfo() function. */
mycliprp = mywin->RPort;
IGraphics->SetAPen(mycliprp, mydrawinfo->dri_Pens[TEXTPEN]);

MainLoop();

}
IGraphics->DisposeRegion(new_region);
}
IExec->FreeVec(afh);
}
}
IIntuition->FreeScreenDrawInfo(mywin->WScreen, mydrawinfo);
}
IIntuition->CloseWindow(mywin);
}

CloseAll();
return(RETURN_OK);
}

void MainLoop(void)
{
uint16 x;
struct Task *mytask;
struct IntuiMessage *mymsg;
BOOL aok = TRUE;
struct TAvailFonts *afont;
struct TextFont *myfont;
uint8 buf[8];
uint32 dpi;

mytask = IExec->FindTask(NULL);
afont = (struct TAvailFonts *)&(afh[1]);

for (x = 0; (x < afh->afh_NumEntries); x++)
{
if (aok)
{
if ((myfont = IDiskfont->OpenDiskFont((struct TextAttr *)&(afont->taf_Attr))))
{

IGraphics->SetAPen(&myrp, mydrawinfo->dri_Pens[BACKGROUNDPEN]); /* Print the TextFont attributes. */
IGraphics->RectFill( &myrp, stringwidth, mywin->BorderTop + 4,
mywin->Width - (mywin->BorderRight + 1), myrect.MinY - 2 );

IGraphics->SetAPen(&myrp, mydrawinfo->dri_Pens[TEXTPEN]);
IGraphics->Move( &myrp, stringwidth + mywin->BorderLeft,
mywin->BorderTop + 4 + (myrp.Font->tf_Baseline) );
IGraphics->Text( &myrp, (STRPTR)myfont->tf_Message.mn_Node.ln_Name,
StrLen((STRPTR)myfont->tf_Message.mn_Node.ln_Name) );

IGraphics->Move(&myrp, stringwidth + mywin->BorderLeft, myrp.cp_y + fontheight); /* Print the */
sprintf((STRPTR)buf, "%d", myfont->tf_YSize); /* font's Y Size. */
IGraphics->Text(&myrp, (STRPTR)buf, StrLen((STRPTR)buf));

IGraphics->Move(&myrp, stringwidth + mywin->BorderLeft, myrp.cp_y + fontheight); /* Print the X DPI */
dpi = IUtility->GetTagData( TA_DeviceDPI, 0L,
((struct TextFontExtension *)(myfont->tf_Extension))->tfe_Tags);
if (dpi)
{
sprintf((STRPTR)buf, "%ld", ((dpi & 0xFFFF0000)>>16));
IGraphics->Text(&myrp, (STRPTR)buf, StrLen((STRPTR)buf));
}
else IGraphics->Text(&myrp, "nil", 3L);

IGraphics->Move(&myrp, stringwidth + mywin->BorderLeft, myrp.cp_y + fontheight); /* Print the Y DPI */
if (dpi)
{
sprintf((STRPTR)buf, "%ld", (dpi & 0x0000FFFF));
IGraphics->Text(&myrp, (STRPTR)buf, StrLen((STRPTR)buf));
}
else IGraphics->Text(&myrp, "nil", 3L);

IGraphics->Move(&myrp, stringwidth + mywin->BorderLeft, myrp.cp_y + fontheight); /* Print the */
sprintf((STRPTR)buf, "%d", x); /* entrynum. */
IGraphics->Text(&myrp, (STRPTR)buf, StrLen((STRPTR)buf));

IGraphics->SetFont(mycliprp, myfont);
old_region = ILayers->InstallClipRegion(mywin->WLayer, new_region); /* Install clipping rectangle */

IGraphics->SetRast(mycliprp, mydrawinfo->dri_Pens[BACKGROUNDPEN]);
IGraphics->Move( mycliprp, myrect.MinX, myrect.MaxY - (myfont->tf_YSize - myfont->tf_Baseline) );
IGraphics->Text(mycliprp, alphabetstring, alphabetcharcount);

IDOS->Delay(100); /* reduce this delay to go faster */

new_region = ILayers->InstallClipRegion(mywin->WLayer, old_region); /* Remove clipping rectangle */

while ((mymsg = (struct IntuiMessage *)IExec->GetMsg(mywin->UserPort)))
{
aok = FALSE;
x = afh->afh_NumEntries;
IExec->ReplyMsg((struct Message *)mymsg);
}

if (mytask->tc_SigRecvd & SIGBREAKF_CTRL_C) /* Did the user hit CTRL-C (the shell */
{ /* window has to receive the CTRL-C)? */
aok = FALSE;
x = afh->afh_NumEntries;
IDOS->VPrintf("Ctrl-C Break\n", NULL);
}
IGraphics->CloseFont(myfont);
}
}
afont++;
}
}

uint32 StrLen(STRPTR string)
{
uint32 x = 0L;

while (string[x++]);
return(--x);
}

APTR OpenInterface (CONST_STRPTR lib_name, int32 lib_vers,
CONST_STRPTR int_name, int32 int_vers)
{
struct Library *library;
struct Interface *interface;
BPTR errout;

library = IExec->OpenLibrary(lib_name, lib_vers);
if (library)
{
interface = IExec->GetInterface(library, int_name, int_vers, NULL);
if (interface)
{
return interface;
}

IExec->CloseLibrary(library);
}

if((errout = IDOS->ErrorOutput()))
{
IDOS->FPrintf(errout, "FAILURE: Problem opening %s version %ld\n",
lib_name, lib_vers);
}

return NULL;
}

void CloseInterface (APTR interface)
{
if (interface)
{
struct Library *library = ((struct Interface *)interface)->Data.LibBase;
IExec->DropInterface(interface);
IExec->CloseLibrary(library);
}
}

/* return 0 for success, any other value for failure */
int32 OpenAll(int argc, char **argv)
{

if((NULL == (IIntuition = OpenInterface("intuition.library", 50, "main", 1))) ||
(NULL == (IUtility = OpenInterface("utility.library", 50, "main", 1))) ||
(NULL == (ILayers = OpenInterface("layers.library", 50, "main", 1))) ||
(NULL == (IGraphics = OpenInterface("graphics.library", 50, "main", 1))) ||
(NULL == (IDiskfont = OpenInterface("diskfont.library", 50, "main", 1))) )
{
return(openfail(NULL));
}
WindowBase = IIntuition->OpenClass("window.class", 52, &WindowClass);
if(NULL == WindowBase)
{
return(openfail((char *)"Could not open window class"));
}

return(0); // success!
}

int32 openfail(STRPTR reason)
{
if(reason)
{
IDOS->Printf("%s\n",reason);
}
CloseAll();
return(RETURN_FAIL);
}

void CloseAll(void)
{
IIntuition->CloseClass(WindowBase);
CloseInterface(IDiskfont);
CloseInterface(IGraphics);
CloseInterface(ILayers);
CloseInterface(IUtility);
CloseInterface(IIntuition);
}
</syntaxhighlight>

== How is an Amiga Font Structured in Memory? ==

So far, this chapter has concentrated on using library functions to render text, letting the system worry about the layout of the underlying font data. As far as the OS representation of a loaded font is concerned, outline fonts and normal bitmap fonts are structured identically. Color fonts have some extras information associated with them and are discussed a little later. Every loaded font, including color fonts, has a TextFont structure associated with them:

<pre>
struct TextFont {
struct Message tf_Message; /* reply message for font removal */
UWORD tf_YSize;
UBYTE tf_Style;
UBYTE tf_Flags;
UWORD tf_XSize;
UWORD tf_Baseline;
UWORD tf_BoldSmear; /* smear to affect a bold enhancement */

UWORD tf_Accessors;
UBYTE tf_LoChar;
UBYTE tf_HiChar;
APTR tf_CharData; /* the bit character data */

UWORD tf_Modulo; /* the row modulo for the strike font data */
APTR tf_CharLoc; /* ptr to location data for the strike font */
/* 2 words: bit offset then size */
APTR tf_CharSpace; /* ptr to words of proportional spacing data */
APTR tf_CharKern; /* ptr to words of kerning data */
};
</pre>

The first field in this structure is a Message structure. The node in this Message structure is what the OS uses to link together the fonts in the system list. From this node, an application can extract a font's name. The other fields in the TextFont structure are as follows:

; tf_YSize
: The maximum height of this font in pixels.

; tf_Style
: The style bits for this particular font, which are defined in <graphics/text.h>. These include the same style bits that were mentioned in the discussion of the TextAttr structure in the "Choosing the Font" section of this chapter. In addition to those bits, there is also the FSF_COLORFONT bit, which identifies this as a special kind of TextFont structure called a ColorTextFont structure. This is discussed later in this chapter.

; tf_Flags
: The flags for this font, which were mentioned along with the style bits in the section, "Choosing the Font".

; tf_XSize
: If this font is monospaced (non-proportional), tf_XSize is the width of each character. The width includes the extra space needed to the left and right of the character to keep the characters from running together.

; tf_Baseline
: The distance in pixels from the top line of the font to the baseline.

; tf_BoldSmear
: When algorithmically bolding, the Amiga currently "smears" a glyph by rendering it, moving over tf_BoldSmear number of pixels, and rerendering the glyph.

; tf_Accessors
: The number of currently open instances of this font (like the open count for libraries).

; tf_LoChar
: This is the first character glyph (the graphical symbol associated with this font) defined in this font. All characters that have ASCII values below this value do not have an associated glyph.

; tf_HiChar
: This is the last character glyph defined in this font. All characters that have ASCII values above this value do not have an associated glyph. An application can use these values to avoid rendering characters which have no associated glyphs. Any characters without an associated glyph will have the default glyph associated to them. Normally, the default glyph is a rectangle.

; tf_CharData
: This is the address of the bitmap from which the OS extracts the font's glyphs. The individual glyphs are bit-packed together. The individual bitmaps of the glyphs are placed in ASCII order side by side, left to right. The last glyph is the default glyph. The following is what the bitmap of the suits-8 font example looks like (suits-8 is the complete, disk-based bitmap font example used later in this chapter):

<pre>
.@@@...@@@......@........@.......@@@....@@@@@@@@@@@@............
@@@@@.@@@@@...@@@@@.....@@@.....@@@@@...@@........@@............
.@@@@@@@@@..@@@@@@@@@..@@@@@..@@..@..@@.@@........@@............
..@@@@@@@..@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@........@@............
...@@@@@....@@@.@.@@@..@@@@@..@@..@..@@.@@........@@............
....@@@.........@.......@@@.......@.....@@........@@............
.....@........@@@@@......@......@@@@@...@@@@@@@@@@@@............
................................................................
</pre>

This font is rather sparse, as it only has five glyphs. Most fonts at least have glyphs for each letter of the alphabet. In this example, each glyph represents a symbol for a suit in a standard deck of cards (from left to right: hearts, spades, diamonds, and clubs). Notice that there is no space between the individual glyphs. The spacing information is kept in separate tables to reduce the amount of memory occupied by the font.

This is number of bytes the pointer must move to go from one line of a glyph to the next. This is the pixel width of the entire font bitmap divided by eight. Notice that the bitmap above does not stop after it gets to the end of the last glyph. It is padded with zero bits to the nearest WORD boundary.

This is a pointer to the CharLoc, the character location table. This table tells the OS how far into the bitmap to look for a character and how many pixels to fetch from each row. The CharLoc table for the suits-8 font looks like this:

<pre>
$0000000B,$000B000B,$00160007,$001D000B,$0028000C
</pre>

Each of the five long words in this character location table corresponds to a glyph in Suits-8. Each long word is broken up into two word values. The first word is the offset in pixels from the left edge of the bitmap to the first column containing the corresponding glyph. The second word is the width in pixels of the corresponding glyph image in the bitmap (note, this is not the width of the actual glyph as the actual glyph will have some space on either side of it). For example, the diamond character (the third character) starts at offset $16 (22) and it is 7 pixels wide.

This is a pointer to an array of WORDs containing the width of each glyph in the font. Each entry tells the OS how much to increment the current horizontal position (usually RastPort.cp_X). For reverse path fonts, these values can be negative.

This is a pointer to an array of "kerning" values. As it is used here, the term "kerning" is unorthodox. On the Amiga, kerning refers to the number pixels to leave blank before rendering a glyph. The normal typographical definition of the word refers to the number of pixels to back up before rendering the current glyph and is usually associated with a specific pair of glyphs rather than one particular glyph.

For each glyph the system renders, it has to do several things:

# Get the value from the kerning table that corresponds to this glyph and begin the rendering that number of pixels to the right.
# Find this glyph's bitmap using the CharLoc table and blit the glyph to the rastport.
# If this is a proportional font, look in the spacing table and figure how many pixels to advance the rastport's horizontal position. For a monospaced font, the horizontal position advance comes from the TextFont's tf_XSize field.

When the system opens a new font, it creates an extension to the TextFont structure called the TextFontExtension. This extension is important because it contains a pointer to the font's tag list, which is where the system keeps the font's TA_DeviceDPI values. The TextFont's tf_Message.mn_ReplyPort field contains a pointer to the TextFontExtension structure (the <graphics/text.h> include file #defines tf_Message.mn_ReplyPort as tf_Extension). The only field of interest in the TextFontExtension structure is:

<pre>
struct TagItem *tfe_Tags; /* Text Tags for the font */
</pre>

which points to the font's tag list. Before accessing the tag list, an application should make sure that this font has a corresponding TextFontExtension. The ExtendFont() function will return a value of TRUE if this font already has an extension or ExtendFont() was able to create an extension for this font.

== But What About Color Fonts? ==

When the Amiga loads a color font, it has to account for more information than will fit into the TextFont structures. For color fonts, the Amiga uses a superset of the TextFont structure called the ColorTextFont structure (defined in <graphics/text.h>):

<pre>
struct ColorTextFont {
struct TextFont ctf_TF;
UWORD ctf_Flags; /* extended flags */
UBYTE ctf_Depth; /* number of bit planes */
UBYTE ctf_FgColor; /* color that is remapped to FgPen */
UBYTE ctf_Low; /* lowest color represented here */
UBYTE ctf_High; /* highest color represented here */
UBYTE ctf_PlanePick; /* PlanePick ala Images */
UBYTE ctf_PlaneOnOff; /* PlaneOnOff ala Images */
struct ColorFontColors *ctf_ColorFontColors; /* colors for font */
APTR ctf_CharData[8]; /*pointers to bit planes ala tf_CharData */
};
</pre>

The ctf_TF field is the TextFont structure described in the previous section. There are two minor differences between the data stored in a color font's TextFont structure and an ordinary TextFont structure. The first is that the color font's TextFont.tf_Style field has the FSF_COLORFONT bit set. The other difference is that the bitmap that TextFont.tf_CharData points to can be a multi-plane bitmap.

The ctf_Flags field is a bitfield that supports the following flags:

; CT_COLORFONT
: The color map for this font contains colors specified by the designer.

; CT_GREYFONT
: The colors for this font describe evenly stepped gray shades from low to high.

The ctf_Depth field contains the bitplane depth of this font's bitmap.

The ctf_FgColor contains the color that will be dynamically remapped during output by changing ctf_FgColor to RastPort.FgPen. This field allows a ColorTextFont to contain color outlines, shadows, etc. while also containing a predominant color that can be changed by the user. If the font does not have a predominant color, ctf_FgColor is 0xFF. For example, given a color font that has a blue and red outline and a white center, the person designing the font can set ctf_FgColor equal to white. Then when the font is used in a paint package that supports color fonts, the white will change to the current foreground color.

The fields ctf_Low and ctf_High contain the lowest and highest color values in the ColorTextFont. For example, a four bitplane color font can have sixteen colors, but the font may use only nine of those colors, thus ctf_Low=0 and ctf_High=8. The most important use of these colors is for defining the boundaries of a gray scale font. If the font uses less than the total number of colors around but needs white as the lowest and black as the highest level of gray, the boundaries would have to be defined in order for the font to be rendered correctly. Defaults for these values should be the lowest and the highest values for the given number of bitplanes.

The ctf_PlanePick and ctf_PlaneOnOff contain information for saving space in memory for some types of ColorTextFont structures. The ctf_PlanePick field contains information about where each plane of data will be rendered in a given bitmap. The ctf_PlaneOnOff field contains information about planes that are not used to render a plane of font data. If ctf_PlaneOnOff contains a zero bit for a given plane, that bitplane is cleared. If ctf_PlaneOnOff contains a set bit for a given plane, that bitplane is filled. For more information on how the ctf_PlaneOnOff and ctf_PlanePick fields work see the "Specifying the Colors of a Bob" section of the "Graphics Sprites, Bobs and Animation" chapter of this book.

The ctf_ColorFontColors field contains a pointer to a ColorFontColors structure:

<pre>
struct ColorFontColors {
UWORD cfc_Reserved; /* *must* be zero */
UWORD cfc_Count; /* number of entries in cfc_ColorTable */
UWORD *cfc_ColorTable; /* 4 bit per component color map packed xRGB */
};
</pre>

Which specifies the colors used by this font. The ColorFontColors cfc_Count field contains the number of colors defined in this structure. Each color is defined as a single, UWORD entry in the cfc_ColorTable. For each entry in cfc_ColorTable, the lowest four bits make up the blue element, the next four bits the green element, the next four bits the red element, and the upper four bits should be masked out.

The ctf_CharData[] fields is an array of pointers to each of the bitplanes of the color font data.

== The Composition of a Bitmap Font on Disk ==

For each Amiga bitmap font stored on disk (normally in the FONTS: assign directory), there is a corresponding ‚Äú.font‚Äù file, a directory, and within that directory, a series of files bearing numeric names. For example, for the font Sapphire, within FONTS:, there is a file called sapphire.font, a directory called Sapphire, and within the directory Sapphire are the files 14 and 19.

For a bitmap font (including color fonts), the ".font" file is a FontContentsHeader structure:

<pre>
struct FontContentsHeader {
UWORD fch_FileID; /* FCH_ID */
UWORD fch_NumEntries; /* the number of FontContents elements */
struct FontContents fch_FC[]; /* or struct TFontContents fch_TFC[]; */
};

#define MAXFONTPATH 256
</pre>

Where the fch_FileID field can be be either:

; FCH_ID (0x0f00)
: This FontContentsHeader uses FontContents structures to describe the available sizes of this font.

; TFCH_ID (0x0f02)
: This FontContentsHeader uses TFontContents structures to describe the available sizes of this font.

The fch_FileID can also be equal to 0x0F03, but that is only for scalable outline fonts.

The FontContents structure:

<pre>
struct FontContents {
char fc_FileName[MAXFONTPATH];
UWORD fc_YSize;
UBYTE fc_Style;
UBYTE fc_Flags;
};
</pre>

describes one of the sizes of this font that is available to the system as a designed font size. For each FontContents structure, there should be a corresponding font descriptor file in this font's directory that contains data for this size font. The FontContents fields correspond to the similarly named field in the TextFont structure.

The TFontContents structure is almost the same as the FontContents structure except that it allows the OS to store tag value pairs in the extra space not used by the file name. Currently, this allows the OS to preserve the ''X'' and ''Y'' DPI (TA_DeviceDPI) values for a font.

<pre>
struct TFontContents {
char tfc_FileName[MAXFONTPATH-2];
UWORD tfc_TagCount; /* including the TAG_END tag */
/*
* if tfc_TagCount is non-zero, tfc_FileName is overlaid with
* Text Tags starting at: (struct TagItem *)
* &tfc_FileName[MAXFONTPATH-(tfc_TagCount*sizeof(struct TagItem))]
*/
UWORD tfc_YSize;
UBYTE tfc_Style;
UBYTE tfc_Flags;
};
</pre>

The fch_NumEntries contains the number of font sizes (and the number of FontContents or TFontContents structures) that this ".font" file describes. The fch_FC[] is the array of FontContents or TFontContents structures that describe this font.

For each font size described in a FontContents (or TFontContents) structure, there is a corresponding file in that font's directory whose name is its size. For example, for the font size Sapphire-19, there is a file in the Sapphire directory called 19. That file is basically a DiskFontHeader disguised as a loadable DOS hunk and is known as a font descriptor file. This allows the diskfont.library to use the dos.library to load the module just like it was a hunk of relocatable ''680x0'' instructions. It even contains two instructions before the real DiskFontHeader structure that will cause the ''680x0'' to stop running the DiskFontHeader if it does inadvertently get executed.

<pre>
#define MAXFONTNAME 32 /* font name including ".font\0" */

struct DiskFontHeader {
/* the following 8 bytes are not actually considered a part of the */
/* DiskFontHeader, but immediately precede it. The NextSegment is */
/* supplied by the linker/loader, and the ReturnCode is the code */
/* at the beginning of the font in case someone runs it... */
/* ULONG dfh_NextSegment; actually a BPTR */
/* ULONG dfh_ReturnCode; MOVEQ #0,D0 : RTS */
/* here then is the official start of the DiskFontHeader... */
struct Node dfh_DF; /* node to link disk fonts */
UWORD dfh_FileID; /* DFH_ID */
UWORD dfh_Revision; /* the font revision */
LONG dfh_Segment; /* the segment address when loaded */
char dfh_Name[MAXFONTNAME]; /* the font name (null terminated) */
struct TextFont dfh_TF; /* loaded TextFont structure */
};

/* unfortunately, this needs to be explicitly typed */
/* used only if dfh_TF.tf_Style FSB_TAGGED bit is set */
#define dfh_TagList dfh_Segment /* destroyed during loading */
</pre>

The dfh_DF field is an Exec Node structure that the diskfont library uses to link together the fonts it has loaded. The dfh_FileID field contains the file type, which currently is DFH_ID (defined in <libraries/diskfont.h>). The dfh_Revision field contains a revision number for this font. The dfh_Segment field will contain the segment address when the font is loaded. The dfh_FontName field will contain the font's name after the font descriptor is LoadSeg()'ed. The last field, dfh_TextFont is a TextFont structure (or ColorTextFont structure) as described in the previous section. The following is a complete example of a proportional, bitmap font.

<pre>
* A sparse (but complete) sample font.
*
* 1. Assemble this file (assumed to have been saved as "suits8.asm"). For example, if you have the
* CAPE 680x0 assembler, and you have assigned "include:" to the directory containing your include
* files, use:
* CAsm -a "suits8.asm" -o "suits8.o" -i "include:"
*
* Link "suits8.o". For example, if you have Lattice, use:
* BLink from "suits8.o" to "suits8"
*
* 2. Create the subdirectory "Fonts:suits". Copy the file "suits8" (created in step 1)
* to "Fonts:suits/8".
*
* 3. Create a font contents file for the font. You can do this by two methods:
*
* a. Run the program "System/FixFonts" which will create the file "Fonts:suits.font"
* automatically.
* b. Use the NewFontContents() call in the diskfont library to create a FontContentsHeader
* structure, which can be saved in the Fonts: directory as "suits.font". This is essentially
* what FixFonts does.
*
* The next word contains the font YSize; in this case, 0x0008.
*
* The next byte contains the font Flags, in this case 0x00.
*
* The last byte contains the font characteristics, in this case 0x60. This says it is a disk-based
* font (bit 1 set) and the font has been removed (bit 7 set), saying that the font is not currently
* resident.
*
* Summary of suits.font file:
*
* Name: fch_FileID fch_NumEntries fc_FileName fc_YSize fc_Flags fc_Style
* Size: word word MAXFONTPATH bytes word byte byte
* Hex: 0f00 0001 73756974732F3800 0008 00 60
* ASCII: s u i t s / 8 \0
*
* The correct length of a font file may be calculated with this formula:
* length = ((number of font contents entries) * (MAXFONTPATH+4)) + 4. In this case (one entry),
* this becomes (MAXFONTPATH + 8) or 264.
*
* To try out this example font, do the following. Use the Fonts Preferences editor or a
* program that allows the user to select fonts. Choose the "suits" font in size 8.
* This example font defines ASCII characters 'a' 'b' 'c' and 'd' only. All other characters
* map to a rectangle, meaning "character unknown".

INCLUDE "exec/types.i"
INCLUDE "exec/nodes.i"
INCLUDE "libraries/diskfont.i"

MOVEQ #-1,D0 ; Provide an easy exit in case this file is
RTS ; "Run" instead of merely loaded.

DC.L 0 ; ln_Succ * These five entries comprise a Node structure,
DC.L 0 ; ln_Pred * used by the system to link disk fonts into a
DC.B NT_FONT ; ln_Type * list. See the definition of the "DiskFontHeader"
DC.B 0 ; ln_Pri * structure in the "libraries/diskfont.i" include
DC.L fontName ; ln_Name * file for more information.

DC.W DFH_ID ; FileID
DC.W 1 ; Revision
DC.L 0 ; Segment

* The next MAXFONTNAME bytes are a placeholder. The name of the font contents file (e.g.
* "suits.font") will be copied here after this font descriptor is LoadSeg-ed into memory. The Name
* field could have been left blank, but inserting the font name and size (or style) allows one to
* tell something about the font by using "Type OPT H" on the file.

fontName:
DC.B "suits8" ; Name

* If your assembler needs an absolute value in place of the "length" variable, simply count the
* number of characters in Name and use that.

length EQU *-fontName ; Assembler calculates Name's length.
DCB.B MAXFONTNAME-length,0 ; Padding of null characters.

font:
DC.L 0 ; ln_Succ * The rest of the information is a TextFont
DC.L 0 ; ln_Pred * structure. See the "graphics/text.i" include
DC.B NT_FONT ; ln_Type * file for more information.
DC.B 0 ; ln_Pri
DC.L fontName ; ln_Name
DC.L 0 ; mn_ReplyPort
DC.W 0 ; (Reserved for 1.4 system use.)
DC.W 8 ; tf_YSize
DC.B 0 ; tf_Style
DC.B FPF_DESIGNED!FPF_PROPORTIONAL!FPF_DISKFONT ; tf_Flags
DC.W 14 ; tf_XSize
DC.W 6 ; tf_Baseline <----* tf_Baseline must be no greater than
DC.W 1 ; tf_BoldSmear * tf_YSize-1, otherwise algorithmically-
DC.W 0 ; tf_Accessors * generated styles (italic in particular)
DC.B 97 ; tf_LoChar * can corrupt system memory.
DC.B 100 ; tf_HiChar
DC.L fontData ; tf_CharData
DC.W 8 ; tf_Modulo <- * add this to the data pointer to go from from
; * one row of a character to the next row of it.
DC.L fontLoc ; tf_CharLoc <---------------- * bit position in the font data
DC.L fontSpace ; tf_CharSpace * at which the character begins.
DC.L fontKern ; tf_CharKern

* The four characters of this font define the four playing-card suit symbols. The heart, club,
* diamond, and spade map to the lower-case ASCII characters 'a', 'b', 'c', and 'd' respectively The
* fifth entry in the table is the character to be output when there is no entry defined in the
* character set for the requested ASCII value. Font data is bit-packed edge to edge to save space.

fontData: ; 97 (a) 98 (b) 99 (c) 100 (d) 255
DC.W $071C0,$08040,$070FF,$0F000 ; < X X X X >
DC.W $0FBE3,$0E0E0,$0F8C0,$03000 ; .@@@...@@@. .....@..... ...@... ....@@@.... @@@@@@@@@@@@
DC.W $07FCF,$0F9F3,$026C0,$03000 ; @@@@@.@@@@@ ...@@@@@... ..@@@.. ...@@@@@... @@........@@
DC.W $03F9F,$0FFFF,$0FFC0,$03000 ; .@@@@@@@@@. .@@@@@@@@@. .@@@@@. .@@..@..@@. @@........@@
DC.W $01F0E,$0B9F3,$026C0,$03000 ; ..@@@@@@@.. @@@@@@@@@@@ @@@@@@@ @@@@@@@@@@@ @@........@@
DC.W $00E00,$080E0,$020C0,$03000 ; ...@@@@@... .@@@.@.@@@. .@@@@@. .@@..@..@@. @@........@@
DC.W $00403,$0E040,$0F8FF,$0F000 ; ....@@@.... .....@..... ..@@@.. .....@..... @@........@@
DC.W $00000,$00000,$00000,$00000 ; .....@..... ...@@@@@... ...@... ...@@@@@... @@@@@@@@@@@@
DC.W $00000,$00000,$00000,$00000 ; ........... ........... ....... ........... ............

fontLoc: ; The fontLoc information is used to "unpack" the fontData. Each
DC.L $00000000B ; pair of words specifies how the characters are bit-packed. For
DC.L $0000B000B ; example, the first character starts at bit position 0x0000, and
DC.L $000160007 ; is 0x000B (11) bits wide. The second character starts at bit
DC.L $0001D000B ; position 0x000B and is 0x000B bits wide, and so on. This tells
DC.L $00028000C ; the font handler how to unpack the bits from the array.

fontSpace: ; fontSpace array: Use a space this wide to contain this
DC.W 000012,000012 ; character when it is printed. For reverse-path fonts
DC.W 000008,000012,000013 ; these values would be small or negative.

fontKern: ; fontKern array: Place a space this wide after the
DC.W 000001,000001 ; corresponding character to separate it from the following
DC.W 000001,000001,000001 ; character. For reverse-path fonts these values would be large
; negative numbers, approximately the width of the characters.
fontEnd:
END
</pre>

== Function Reference ==

The following are brief descriptions of the Graphics and Diskfont library functions that deal with text. See the SDK for details on each function call.
{| class="wikitable"
! Function
! Description
|-
| Text()
| Render a text string to a RastPort.
|-
| SetFont()
| Set a RastPort's font.
|-
| AskFont()
| Get the TextAttr for a RastPort's font.
|-
| OpenFont()
| Open a font currently in the system font list.
|-
| CloseFont()
| Close a font.
|-
| AddFont()
| Add a font to the system list.
|-
| RemFont()
| Remove a font from the system list.
|-
| StripFont()
| Remove the tf_Extension from a font.
|-
| WeighTAMatch()
| Get a measure of how well two fonts match.
|-
| ClearScreen()
| Clear RastPort from the current position to the end of the RastPort.
|-
| ClearEOL()
| Clear RastPort from the current position to the end of the line.
|-
| AskSoftStyle()
| Get the soft style bits of a RastPort's font.
|-
| SetSoftStyle()
| Set the soft style bits of a RastPort's font.
|-
| TextLength()
| Determine the horizontal raster length of a text string using the current RastPort settings.
|-
| TextExtent()
| Determine the raster extent (along the ''X'' and ''Y'' axes) of a text string using the current RastPort settings.
|-
| FontExtent()
| Fill in a TextExtent structure with the bounding box for the characters in the specified font.
|-
| TextFit()
| Count the number of characters in a given string that will fit into a given bounds, using the current RastPort settings.
|}

Bars and Pipes Professional

2013-08-13T03:14:08Z

Lyle Hazelwood: /* The Windows Menu */ added FILE:WindowsMenu.png

== Author and Copyright ==

This documentation is based on the original copyrighted manual. 
'''Copyright (c) 1993 The Blue Ribbon SoundWorks, Ltd.'''

The original documentation has been modified and enhanced where needed to reflect the changes made to the AmigaOS 4 specific port.

All changes and modifications are 
'''Copyright (c) 2013 Lyle Hazelwood and Steven Solie.'''

Explicit written permission to copy and edit the original manuals has been secured.

== Welcome Aboard! ==

These documents are for the AmigaOS 4 port of Bars&Pipes Professional. A few notes may be useful:
The original program will be referred to as Bars&Pipes, the AmigaOS specific port will be called BarsnPipes instead.

This port is based on Bars&Pipes Professional version 2.5c. The AmigaOS 4 version was provided by Alfred von Faust, and he worked for many years to keep it alive. Lyle Hazelwood has recently taken the port over and is continuing to keep the program current.

Thank you for downloading BarsnPipes Professional. In the pages to come, you will understand why you've made an important choice. With BarsnPipes Professional, you're truly bound only by the limits of your own creativity. We encourage you to read this manual, since it contains thorough explanations of BarsnPipes Professional's wide array of features. BarsnPipes Professional is a high-end MIDI sequencing and composition package. In order to use it, you must have a MIDI sound module or keyboard connected to your Amiga via a CAMD supported MIDI interface.

{{Note|text=If you would like to use the Amiga's Internal sounds instead of MIDI, we suggest [http://www.os4depot.net/index.php?function=showfile&file=audio/play/softsyn.lha SoftSyn] available at [http://www.os4depot.net OS4Depot].}}

Everyone at The Blue Ribbon SoundWorks is dedicated to producing the highest quality software and software support in the industry. We have invested thousands of hours of research and development in our products. Much of that time is spent in listening to and learning from people like you. Blue Ribbon products are designed to be affordable, ongoing investments that are improved and expanded over time. We've provided expansion through program updates and add-on software, such as the Creativity Kit and the Pro Studio Kit. If you are a C programmer, with the Rules For Tools add-on, you can even create your own enhancements to BarsnPipes Professional!

==Installation==

Quick Installation

BarsnPipes Professional is easy to install on your AmigaOS computer.

To install Bars&Pipes Professional :

Make sure that you have at least two megabytes of space left on your hard disk.

Unarc BarsnPipes Professional archive to wherever you'd like to keep the program.

You'll also need camd.library which is already included with AmigaOS.

Run Bars&Pipes Professional from the BarsnPipes Professional drawer on your hard disk.

On the first run, BarsnPipes will ask you to select a screen mode. Please select an ARGB mode for best results.
Once the program is open, under the "preferences" menu, select "environment" and then "save" to save your screen choice.

== Touring the MIDI setup ==

=== Overview ===

BarsnPipes Professional works with any CAMD-compatible synthesizer, sound module or application. Let's look at some standard ways to connect MIDI instruments to your Amiga computer.

=== The MIDI Interface ===

In order to use BarsnPipes Professional, you must first own a MIDI interface. The MIDI interface serves as a translator between your MIDI instrument(s) and your Amiga.

Before using BarsnPipes Professional, first connect your MIDI interface to your Amiga. It may connect to a sound board joystick port, or to USB.

=== MIDI Interface Ports ===

Most MIDI interfaces feature one MIDI in, one MIDI out, and possibly one MIDI thru port. The MIDI in and MIDI out ports are the most important aspects of a MIDI interface.

=== Multiple MIDI In Ports ===

CAMD supports any number of MIDI Inputs and Outputs. While it is possible to set the input and output individually for each track, you can (and should) set a default input and output that will be used as defaults for every track that does not have an input or output specified. These are set and saved from the Preferences/Environment window.

{{Note|title=Connecting MIDI Devices|text=
Connect the MIDI OUT from your interface to the MIDI IN on your synth or sound module. 
Connect the MIDI OUT from your keyboard or other instrument to MIDI IN on your interface.}}

If your MIDI gear has a USB port, CAMD may be able to access it directly by using the [http://os4depot.net/share/driver/misc/usbmidi.lha USB Driver]

(is the usb MIDI driver part of the OS??)

==A Quick Tour==

=== Introduction ===

Bars&Pipes Professional is an innovative composition environment with an extensive arsenal of features and options. Before exploring it in depth, let's take a quick tour!

{{Note|text=If you need help connecting your MIDI equipment to your Amiga, please read the previous chapter, Touring The MIDI Setup.}}

=== Running Bars&Pipes Professional ===

Before you run Bars&Pipes Professional, you must first install it. If you have not yet done so, please see Chapter 2, Installation.

==== Running From The Workbench Icon ====

You can run Bars&Pipes Professional from Workbench by double-clicking on its program icon.

Doing so opens Bars&Pipes Professional with an empty Song. Alternatively, you can double-click on a Bars&Pipes Song icon. Doing this opens Bars&Pipes Professional with the selected Song already loaded.

==== Running From A Shell ====

You can also run Bars&Pipes Professional from a shell. Make sure your stack size is at least 100,000 bytes when running the program this way.

=== The Default Screen Setup ===

When Bars&Pipes Professional first starts up, you'll see the Tracks window and a group of icons along the right side of the screen. These icons represent various unopened windows.

Double-click on any icon to open its associated window. Click on the close button in the top left corner of an open window to revert it to its associated icon.

=== The Tracks Window ===
[[File:Tracks.png]]

The Tracks window represents the heart and soul of Bars&Pipes Professional. It is where multi-track recording takes place. It is also the primary place for organizing the PipeLines and Tools which give Bars&Pipes Professional so much of its power and flexibility. Let's take a brief look:

=== The PipeLine ===
[[File:PipeLine.png]]

The Tracks window contains individual Tracks, into which you will record your music. These Tracks run from left to right in rows, with measure and beat lines drawn from top to bottom.

Starting from left to right, each Track contains the following components:

*The Track Name, which identifies a particular Track;
*The Input Selector box, or Input Arrow, which selects which Track(s) are to receive incoming music;
*The Input PipeLine, which holds Tools that process the music as it flows into the Sequencer;

{{Note|text=When first running Bars&Pipes Professional, you will most likely see a MIDI In Tool in the Input PipeLine. This acts as the source for the Track's PipeLine, and, hence, the Track. This is further explained in Chapter 6, Basic Recording.}}

*The Play/Merge/Record Selector, which displays a blue letter P while the Track is in Play mode, a red letter M while the Track is in Merge mode, and a red letter R while the Track is in Record Mode;
*The Sequencer area, which holds and displays the MIDI events, or Sequence, that make up the recording;
*The Thru/Play Only/Mute Selector, or faucet, which switches the Track between Thru, Play Only, and Mute modes;
*The Output PipeLine, which holds Tools such as the MIDI Out Tool that process the music as it flows out of the Sequencer; and
*The MIDI Channel Selector, or Output channel, which displays the MIDI channel over which the final MIDI Out Tool sends.

{{Note|text=This selector is used by the standard MIDI Out Tool. Non MIDI-specific output Tools, such as most Multi-Media Tools, do not need MIDI channels.}}

=== The Flags Area ===
[[File:Flags.png]]

Above the Tracks area is the Flags area.

Bars&Pipes Professional uses these flags to mark specific points in music time for certain operations, such as punch in and auto-locate. It also displays the current time signature and measure numbers in this area.

Bars&Pipes Professional displays twelve Flag icons across the top of the Tracks. You can grab these with the mouse and drag them from left to right. Use the Flags to set positions in your music for editing, recording, looping, and more.

A Flag appearing during the displayed section has an attached vertical stem intersecting all of the Tracks. If you've placed the Flag in a measure which precedes the displayed section, it appears on the left side of the Sequencer. If you've placed it in a measure that follows the displayed section, it appears on the right.

To relocate a Flag, first scroll the Sequencer so that the desired location shows in the Sequencer. Then drag the Flag to its position. To move a Flag to the beginning of the Song, drag it all the way to the left side of the screen. To move it to the end of the Song, drag it all the way to the right. Flags snap to the alignment specified in the Align with... option in the Preferences menu.

The following Flags are found in the Flags area:

* The Position Marker Flag or Song Position Flag (the red triangle with the blue border) which shows the current position in your Song;

{{Note|text=If you press the Play button, your Song starts at this point.}}

* The two Edit Flags (solid purple triangles), which determine the part of your Song that is affected by Cut, Paste, and other editing operations;
The Auto-Locate Flags (blue rectangles marked M1 through M4), which mark important points in your composition;

{{Note|text=You can immediately move to these points by using the corresponding M1 through M4 buttons in the Transport Controls window.}}

* The Punch In and Punch Out flags (yellow rectangles marked IN and OUT), which allow you to record over a restricted part of your Song;
* The Loop Flags (red rectangles containing curved lines with arrows), which mark sections for use with Loop-Mode editing and the Loop Tool; and
* The Stop Sign (the red hexagon with the white border), which marks the point at which Bars&Pipes Professional is to stop playback.

{{Note|text=This feature is useful when you want to sit back and listen to part of a Song while you're away from the keyboard, or if you're performing live or recording a sequence to tape and want the Song to stop upon completion.}}

=== Control Buttons ===
[[File:ControlButtons.png]]

The Tracks Window's control buttons are above the Flags area.

From left to right are the following buttons:

* The Solo button, which both chooses and displays whether the highlighted Track is soloed, muted, or neither;
* The ToolPad, which holds up to sixteen Tools to be used with the Toolize feature;
* The Group selector buttons, which identify combinations of Tracks;
* The Group button, which determines if clicking on a Track adds to a group or not;
* The Up/Down arrows, which move the highlighted Track up or down in the list of Tracks;
* The Tempo button, which chooses and displays the current tempo;
* The Start button, which starts the Sequencer from the beginning of your composition;
* The Play button, which starts the Sequencer from the current Song position, denoted by the red and blue triangular Song Position Flag, found in the Flags Area;
* The Rewind button, which moves the Song Position Flag to the left, toward the beginning of the piece;
* The Fast Forward button, which moves the Song Position Flag to the right, toward the end;
* The Measure display, which shows the measure number in which the Song Position Flag currently resides; and
* The Record button, which chooses and displays whether the Sequencer is in record or playback mode.
* Sizing And Scrolling The Tracks

Use the scroll bar and arrows on the right side of the Tracks window to scroll through the Tracks, in order to view those which don't fit in the display.

At the bottom of the Tracks window, you'll find a set of scroll bars, single arrows, and double arrows. Use the scroll bar and single arrows to search forward and backward. For example, to scroll the Track names from left to right, use the scroll bar and single arrows below the list of Track names.

Use the double arrows to resize sections of the display by dragging the arrows from left to right. With the double arrows, you can resize your display to show only what you want to view.

{{Note|text=You can control how much space is available by using different screen resolutions. Lower resolutions like 800X600 will make everything large and easy to read, while higher resolutions will provides plenty of room for additional Tracks.}}

=== The Main Menu ===

As you may know, in the Amiga's windowing environment each window can have a different menu. Some of the windows in Bars&Pipes Professional do have their own menus, however, most share one menu, the Main menu.

To access the Main menu, click on the Tracks window or the background with the left mouse button. Then, to select one of the Main menu options, click and hold the right mouse button, while moving the mouse pointer to your desired selection.

=== Window Icons and the Windows Menu ===

Several windows in Bars&Pipes Professional are accessible from both icons, located at the right side of the screen, and menu commands, located in the Windows menu found in the Main menu set.

==== Window Icons ====

To the right of the Tracks window, you'll see a column of icons. These icons represent various windows. Double-clicking on an icon opens the window, while clicking on the close gadget of a window turns it back into an icon.

{{Note|text=The Tracks window itself can be closed and turned into an icon. To do so, click on the close gadget in the upper left hand corner of the Tracks window. The close gadget looks like a square with a smaller square inside of it. Notice that the Tracks window turns into an icon of railroad Tracks. Double-click on the Tracks icon to reopen the window.}}

==== The Windows Menu ====

Each window can also be accessed from the Windows menu in the Main menu. This includes many additional windows that do not have icons. Let's take a quick tour of all the windows in the Windows menu. As we do this, we'll get a quick glimpse of the various capabilities of Bars&Pipes Professional. Open each window by selecting it in the Windows menu. If a window has an Icon, notice that the icon disappears. Close the window by clicking on its close button (top left.) You might also experiment with double-clicking on the window icons to become familiar with each.
[[File:WindowsMenu.png|right]]
; Accessories
: Accessories are separate modules that add new features to Bars&Pipes Professional. Use the Accessories window to install, use and remove your Accessories. The Accessory window may also be opened by double-clicking on its icon.

; ClipBoard
: When the ClipBoard window is open, cut copy and paste editing operations store and retrieve from it. Use this to move music around between different parts of the program. The ClipBoard window may also be opened by double-clicking on its icon.

; Define...
: You can define your own Scales, Chords, Rhythms, and Patch Lists using the four Define windows opened from the submenu.

; Edit PadTool Controls
: If you have a Tool in the ToolPad, the Edit PadTool Controls command opens the Control window for that Tool.

; Icons
: The Icons window allows you to keep all of the window icons in their own separate window. Opening the Icons window automatically collects the window icons and places them inside the Icons window. Closing the Icons window causes the window Icons to return to their previous positions.

; Information
: The Information window provides useful information about the state of your project and computer. The Information window may also be opened by double-clicking on its icon.

; Master Parameters
: The Master Parameters window accesses a special master Track where you may set up global Time Signature, Lyrics, Scales, Chords, Dynamics, and Rhythm changes. The Master Parameters window may also be opened by double-clicking on its icon.

; Media Madness
: The Media Madness window brings multi-media production to Bars&Pipes Professional. With this window, you can place Multi-Media Tools in each Track, and edit a complete Multi-Media presentation. The Media Madness window can also be opened by double-clicking on its icon.

; Metronome
: Use the Metronome window to set up your metronome click - internal Amiga audio, MIDI or visual. The Metronome can also be opened by double-clicking on its icon.

; Mini Transport
: The Mini Transport window provides a subset of the main Transport Controls window (see below.) It's designed to be small and innocuous. You can open it from anywhere simply by pressing the 'M' key on your keyboard.

; Mix Maestro
: Use Mix Maestro to do a complete automated mixdown of your performance. Mix Maestro provides a volume slider and pan pot for each Track. As the Song plays, drag the slider to lower or raise the volume and turn the knob to rotate the sound left or right. Mix Maestro memorizes your moves and plays them back faithfully. The Mix Maestro window can also be opened by double-clicking on its icon.

; Record Activation
: By default, when Bars&Pipes Professional's Sequencer records into a Track, it erases all MIDI event types (note, pitch bend, etc.) and replaces them with the new. However, with the Record Activation window you can tell the Sequencer to ignore specific MIDI types. For example, you can set it to record over pitch bend while leaving notes intact. The Record Activation window may also be opened by double-clicking on its icon.

; Set Flags
: The Set Flags window allows you to position any Flag in the Track's window by typing in the location you want for the Flag, either in music or SMPTE time. Open the Set Flags window by choosing Set Flags from the Main menu's Windows menu, or double-click on the Set Flags icon.

: To determine music time or SMPTE time, click on the SMPTE/Music Time button. To change the Flag, click on the numbers to the right of the Flag representation.

; Song Construction
: Edit your music at the highest level with the Song Construction window. Create, drag, duplicate and erase everything from individual measures to entire sections. The Song Construction window can also be opened by double-clicking on its icon.

; Tempo Map
: Use the Tempo Map window to create a graphical Tempo Map for your performance. With a Tempo Map, you can tell Bars&Pipes Professional when to speed up and slow down as it plays your music. The Tempo Map window can also be opened by double-clicking on its icon.

; Tempo Palette
: You may set four preset Tempos in the Tempo Palette window, and then switch instantly to anyone at any time. The Tempo Palette can also be opened by double-clicking on its icon.

; Time Line Scoring
: Connect several Songs into one performance on a SMPTE time line using the Time Line Scoring window. This is useful for laying out an extended piece where different Songs occur at different times. The Time Line Scoring window can also be opened by double-clicking on its icon.

; ToolBox
: The ToolBox window displays several rows of square icons. These represent Tools. Each Tool can be placed in a Track's PipeLine where it performs a specific task to the MIDI music as it flows through the pipe. To place a Tool in a PipeLine, click on the Tool with the left mouse button, and, while holding the button down, drag the Tool to the destination Track's PipeLine. Although the ToolBox displays a palette of available Tools, you may install more Tools, create your own Tools, as well as remove Tools from Bars&Pipes Professional, thereby changing the collection of available Tools in the ToolBox. The ToolBox can also be opened by double-clicking on its icon.

; Tracks
: This command opens the main Tracks window, which is also accessed by double-clicking on its icon.

; Transport
: This window provides the complete set of commands to control the movement of Bars&Pipes Professional's Sequencer. Notice that the Transport window duplicates many of the commands found in the top of the Tracks window as well as all the commands in the Mini Transport. You may click on identical buttons to achieve identical results. The Transport Controls window displays the current time in music time (Measures, Beats and Clocks) as well as SMPTE time (Hours, Minutes, Seconds and Frames.) It also adds additional buttons for using the Punch and Loop Flags as well as setting and using all of the Flags. The Transport window can also be opened by double-clicking on its icon.

==Playing a Demo Song File==

Chapter 5

=== Getting Ready to Play ===

In this chapter, we'll play one of the demo Songs provided on your Bars&Pipes Professional disk. Before we play the Songfile, however, let's make sure that Bars&Pipes Professional is set up properly.

{{Note|text=Make sure that your MIDI equipment is setup properly.}}

==== The MIDI Out And Quick Patch Tools ====

The MIDI Out Tool must be loaded in order for Bars&Pipes Professional to play music via a standard MIDI interface. The MIDI Out Tool's job is to send notes out of the Sequencer to your MIDI instrument.

When you first run Bars&Pipes Professional, you should see a MIDI Out Tool at the end of each and every PipeLine, unless you've set up your environment differently (more on this later).

{{Note|text=You'll probably also see the MIDI In Tool at the beginning of each PipeLine. We won't need the MIDI In Tool until we're ready to record MIDI In the next chapter. It doesn't hurt to have it in the PipeLine, though.}}

We also recommend using the Quick Patch Tool when playing a Songfile.

The Quick Patch Tool allows you to easily change patches, or sounds, on your MIDI instrument.

The demo Songfiles provided with Bars&Pipes Professional already contain this Tool in their PipeLines. Please refer to the Tools chapter of this manual for more information on the Quick Patch Tool.

==== Installing The MIDI Out And Quick Patch Tools ====

If you don't see the MIDI Out Tool at the end of every PipeLine, open your ToolBox by either double-clicking on the ToolBox icon, or choosing ToolBox from the Windows menu.

Do you see the MIDI Out Tool in the ToolBox? You can click down on the Question Mark button to bring up a pop-up list of Tool names. Is the MIDI Out Tool listed?

If not, you need to install the MIDI Out Tool. Follow these steps to load the MIDI Out Tool:

# If the ToolBox window isn't open, open the ToolBox.
# With the ToolBox window still active, use the right mouse button to access the ToolBox menu and select Install Tool....
#A file requester will appear. You should see a list of Tool names. If not, there should be a Tools directory in the Bars&Pipes Professional directory. Direct the file requester to this directory to find all of the Tools.
#Once inside the Tools directory, find the MIDI Out Tool. Click on MIDI Out once and select Load, or just double-click on MIDI Out.

The MIDI Out Tool will appear in your ToolBox. From now on each time you run Bars&Pipes Professional, it will automatically load the MIDI Out Tool into the ToolBox. You won't have to perform these steps again unless you Remove the Tool from your ToolBox.

{{Note|text=Bars&Pipes Professional keeps Track of which Tools are in the ToolBox by a text file called Tools. This file resides in either your S: directory on your WorkBench disk or System partition, or, if the directory "Support" exists in your Bars&Pipes Professional directory, in the Support directory.}}

As you did with the MIDI Out Tool, look in the ToolBox for the Quick Patch Tool. If it isn't in your ToolBox, install it as you did the MIDI Out Tool.

=== The Song Menu ===

The Song menu is the first menu in the Main menu set. Activate the Tracks window by clicking within it to access the Main menu set.

Although we won't be using most its commands right away, now is a good time to introduce the Song. The Song menu contains commands that create, load, and save entire compositions, as well as exit Bars&Pipes Professional. The Song menu commands are:

; New
: The New command begins a new composition. If you have made any changes to the current composition, Bars&Pipes Professional will ask if you'd like to save them before closing. Choosing Yes saves the current Song, while choosing No disregards any changes you have made since the last save. Choosing Cancel cancels the New operation and returns you to the current Song.

: If a 'New.Song' files exists, Bars&Pipes Professional loads it. Otherwise, Bars&Pipes Professional create its own default blank Song.

{{Note|text=Use the Save As Default command {see below) to create and update the 'New.Song' file.}}

; Load...
: The Load... command loads a previously saved Song. If the Song's Tracks, ToolTrays, or ToolPad contain Tools that aren't loaded in the ToolBox, Bars&Pipes Professional attempts to load the missing Tools. If Bars&Pipes Professional can't find a Tool, a requester appears to give you the opportunity to load the Tool manually.

; Revert
: The Revert command returns the Song to its condition at the most recent save, by loading the last Song saved to disk. Think of Revert as a powerful Undo command. At regular intervals during the composition process, save your Song with the Save command. Then, if you make a mistake, you can use the Revert command to return to an earlier version of your Song.

; Save As...
: The Save As... command either saves your Song for the first time or saves it as a different file name. When you select this command, a file requester opens, which enables you to create a new file or to select an old one to overwrite. Once you save a Song with the Save As... command, Bars&Pipes Professional recognizes the file name. From then on, you can use the Save command instead.

; Save
: The Save command saves your Song to disk. This command works only if a file has been previously saved or loaded from disk. Once you load a Song or save it with the Save As... command, you can use the Save command without bothering with the file requester.

; Save As Default
: The Save as Default command saves the current Song as the default Song. Whenever you run Bars&Pipes Professional, this Song automatically loads as your initial blank Song. Also, whenever you choose New from the Song menu, this Song loads as the initial template.

; Print
: The Print command prints your Song. When you select Print, Bars&Pipes Professional opens the Print requester that allows you to print the entire score. (Please refer to Chapter 11, Printing Notation)

; Title/Author
: The Title/ Author command opens a requester into which you can enter the Song's title and author.

; Length...
: The Length... command sets the overall length of your Song. Bars&Pipes Professional sets all of its scroll bars to accommodate the new length.

; Disable/Enable MIDI
: When MIDI is enabled, the Disable/Enable command displays as "Disable MIDI" in the Song menu. When you select Disable MIDI, Bars&Pipes Professional disconnects the MIDI In Tool from the Amiga's internal serial port, so that another program can access the port. When MIDI is disabled, this command displays as "Enable MIDI" in the Song menu. Choose Enable MIDI to reconnect the MIDI In Tool.

; Propagate
: The Propagate command, in conjunction with the Song Construction window's A-B-A feature, copies changes made to the first instance of each section to all other instances of those sections. The Propagate command is ghosted if the A-B-A feature has not been utilized.

; About
: The About command brings up a requester with version and copyright information.

; Quit
: The Quit command exits Bars&Pipes Professional and returns to Workbench. Bars&Pipes Professional will ask you if you'd like to save your file before exiting.

=== Loading an Example Song ===

Let's load the Brandenburg Demo and play it.

# Select Load... from the Song menu. The file requester appears.
# Find the Song titled "Brandenburg Demo". It's in the Example Songs directory.
# Load the Song by either double-clicking on its file name, or clicking once on its file name and selecting Load. Bars&Pipes Professional loads the Song.
# Notice that the Tracks window displays seven Tracks. The Track names correspond to the name of the instrument that each Track plays.

{{Note|text=If you can't find the Song menu, it is probably because another window's menus are active. Click on the Tracks window to activate the Main menu set.}}

Look at the Output PipeLine of each Track:

You'll see the Quick Patch Tool, followed by the MIDI Out Tool, followed by the MIDI Channel number.

=== Setting Your MIDI Channel Numbers ===

On the far right of each Track, notice a blue number denoting the MIDI Channel number for the Track. This number tells Bars&Pipes Professional though which MIDI Channel to play the Track.

The Brandenburg Demo performs on MIDI Channels one through seven; each Track is associate with a different MIDI channel. The result is a multi-timbral performance, since each Track plays with a different sound, or timbre.

{{Note|text=Please check your synthesizer manual to make sure that it is capable of playing multi-timbrally and receiving on these seven MIDI channels simultaneously. Also, please refer to the chapter "Touring the MIDI Setup" for more information on MIDI channels and MIDI synthesizers.}}

If your synthesizer isn't able to play multi-timbrally, all seven Tracks will sound like the same instrument. If your synthesizer can play multi-timbrally, but can't receive on MIDI channels one through seven simultaneously, you'll need to change the MIDI channel number for each Track:

To change a Track's MIDI channel, click on the MIDI channel number. A pop-up grid appears. Highlight the MIDI channel on which you want the Track to output MIDI, and then lift the mouse button.

=== Selecting Your Patch Changes ===

The Quick Patch Tools at the end of each Track send out Program Changes, or patches, to your MIDI instrument. These patches set up your synthesizer to play the correct sound on each MIDI channel. Each Quick Patch Tool in the Brandenburg Demo ia configured to send patch changes that will sound correct on General MIDI instruments.

If your synthesizer or sound modules supports the General MIDI patch list, then skip to the next section, Playing the Songfile.

If your synthesizer isn't set up to play General MIDI patches, the Brandenburg Demo might sound funny. To make it sound better, you'll need to change the patch numbers in the Quick Patch Tool. To do so, double-click on the Quick Patch Tool in one of the Tracks.

The Control window for the Quick Patch Tool opens:

As with all Tools, each Quick Patch Tool has its own Control window, so that you can set up different patches for each one. Drag the slider to change instruments and Quick Patch plays test notes so you can hear how each instrument sounds.

Above the slider, Quick Patch displays the name of the currently selected patch. This name is only valid for a General MIDI synthesizer. If you have a different configuration, you can change the names in the Patch List by using the Define Patch List window.

{{Note|text=We'll learn about defining Patch Lists later. For now, don't worry, just drag the slider until you get an appropriate sound.}}

Once you've selected the instrument of your choice, close the Control window to get it out of the way, or leave it open in case you'd like to continue trying different instruments while the music plays.

At this point, you may have a few questions:

* What if more than one Track is set to the same MIDI channel? If that's the case, will both Tracks play?
* And, if there is a Quick Patch Tool on every Track, which patch will be selected for that MIDI channel?
Good questions!

First of all, Bars&Pipes Professional plays both Tracks. They'll be performed by the same instrument, since they share the same MIDI Channel.

Second, only one Quick Patch Tool can determine what instrument your synthesizer will use. Since Bars&Pipes Professional performs the Tracks in order from top to bottom, the Quick Patch on Track 2 will override the Quick Patch one Track 1.

{{Note|text=Remember, we're referring to two Tracks that share the same MIDI channel number. Quick Patch will not override any other Tracks.}}

=== Playing the Songfile ===

If you've followed along from the beginning of this chapter, loaded the Brandenburg Demo, and set channel numbers and the Quick Patch Tool for each Track, then it's time to hear the Brandenburg Demo!

To start the sequence from the beginning, click on the Start button (blue square followed by a triangle) at the top of the Tracks window or in the Transport Control window:

Another way to start the sequence from the beginning is to press the 0 (zero) key on your numeric keypad.

You should hear your synthesizer playing the music. Notice a blue vertical line scrolling across the Tracks in the Tracks window. This is the Song Position Line.

NOTE-> As the Song Position line passes over the beginning of a note, that note sounds. As it passes over the end of a note, that note becomes silent.

If your synthesizer does not play, check your cables, amplifier, and MIDI interface. Refer to Chapter 3, Touring The MIDI Setup if you need more help. Also, review the beginning of this chapter to make sure that you didn't miss a crucial step.

=== Saving Your Changes ===

If you've made any changes to the Brandenburg Demo, for example the MIDI channel numbers or the Quick Patch settings, you should save the Brandenburg Demo so that it will play the same way next time.

Select the Save command from the Song menu. This tells Bars&Pipes Professional to update the Brandenburg Demo with your new changes.

==Recording==
Chapter 6

Recording Checklist

Before we begin recording, let's make sure that everything is ready to go.

Select The New Song Command

Select New from the Song menu. This command clears the Tracks and PipeLines of all data and Tools, except the MIDI In and MIDI Out Tools.

NOTE-> You can set Bars&Pipes Professional to load a custom environment whenever you select the New menu option. Simply set the Tracks and Tools the way you'd like them to be when you need a fresh slate, then select the Save As Default menu command from the Song menu.

Verify The MIDI In Tool

The MIDI In Tool absolutely must be installed in order to record from a MIDI source. The MIDI In Tool can only be placed at the beginning of the Input PipeLine:

It's the MIDI In Tool's job to listen to the MIDI In port, and send the MIDI data down the PipeLine to be processed by other Tools and recorded in the Sequencer. If you don't see a MIDI In Tool at the input of each Track, load it in just like you did with the MIDI Out Tool in the last chapter.

Configure The Metronome

The Metronome provides a solid reference click to help you keep time while recording. It can also give you a count-down click for a few measures before recording, so that you have time to prepare. If you'd like, the Metronome can also click during playback.

You can set Bars&Pipes Professional's Metronome to play out of the Amiga's internal sounds, flash the screen, and/or play out of your MIDI instrument.

To open the Metronome window, double-click on the Metronome icon or select Metronome from the Windows menu. Like all Bars&Pipes Professional windows, you may leave this window open and change its parameters as the music plays.

Please refer to Chapter 15, The Metronome, for further details.

Set Your Keyboard's Local On/Off Switch

If you have a single keyboard connected to your computer, so that MIDI Out of the keyboard is connected to the MIDI In on the computer and MIDI Out on the computer is connected to the MIDI in on the keyboard, you may want to use the keyboard's "local off" feature.

Many keyboards support a local on/off switch. Here's why:

When the local setting is switched on, the sound producing hardware of your keyboard performs as soon as you press a piano key. Meanwhile, the keyboard also sends a MIDI note command down the MIDI cable. This can create a problem when the keyboard is connected to a computer. The computer receives the MIDI note, then sends it back to the keyboard via the second MIDI cable. Unfortunately, this tells the keyboard to play the same note a second time, stacked on top of the first.

When local is switched off, the sound producing hardware in your keyboard only responds to MIDI notes coming from the computer. It doesn't make a sound when you press a key. However, it still sends the note via MIDI to your computer which sends the note back via the second MIDI cable into the sound producing hardware which can now respond.

Test Run

Click on the Input Selector of Track 2.

The Input Selector is the grey box to the right of the Track name. A red arrow should appear in the box. This indicates that all MIDI input should flow down Track 2.

NOTE-> If the red arrow doesn't appear, you probably don't have the MIDI In Tool Installed in Track 2.

With your keyboard's local setting on, play a key. If your keyboard is multi-timbral, and is set up to receive on MIDI channe1 2, and MIDI channel 2 is set up to play a different patch than MIDI channel 1, you should hear two distinct sounds simultaneously.

This is because your keyboard's sound producing hardware is receiving the command to play from two sources. One, pressing a key on your keyboard tells your sound hardware to play on MIDI channel 1. Two, the MIDI information sent out of the MIDI out, goes through Bars&Pipes Professional's Track 2, and returns to the sound producing hardware on MIDI channel 2.

Now, turn your keyboard's local off and play a key. You'll only hear the MIDI channel 2 patch. This is because the sound producing hardware is only receiving the command to play from MIDI, and not directly from the key press itself.

When recording or overdubbing multi-timbrally, it is best to set your keyboard's local off.

Recording Two Tracks

Although Bars&Pipes Professional is a sophisticated music environment, you'll find that you can accomplish wondrous things simply by recording a few Tracks. Let's walk through the steps of the recording process:

Step One: Turn On The Metronome

If you haven't already done so, turn on the Metronome from the Metronome window. If you record with the Metronome, you'll find it much easier to edit your music later on, because the notes will line up properly with the measures and beats.

Test the Metronome by clicking on the Play button.

You should hear the metronome's click. If not, please refer to the Metronome chapter to learn how to set up Bars&Pipes Professional's metronome.

Step Two: Set The Tempo

While testing the Metronome, click on the Tempo display in the Tracks or Transport window and drag it with the mouse.

Drag up to increase the tempo, drag down to decrease the tempo. You can also click once in the top half of the tempo button to increase the tempo by one or click once in the bottom half of the button to decrease by one. Once you've settled on a comfortable tempo, click on the Stop button.

* TIP * You may also set the tempo with the Tempo Tap Tool. Please refer to the Music Tools chapter for more Information.

Step Three: Activate The Input Selector

Click on the Input Selector for the Track you want to record. The Input Selectors are the gray boxes in front of the MIDI In Tools.

When you click on the Input Selector, a red arrow appears.

If the red arrow doesn't appear, you'll need to load in the MIDI In Tool and select New from the Song menu.

Step Four: Set The Track's Record/Play/Merge Selector

Click on the Track's Record/Play /Merge Select button until it displays a red "R", to put the Track in Record mode.

A red "R" indicates that it is in Record mode. A blue "P" indicates Play mode, while a red "M" indicates merge mode.

Step Five: Place The Track In Thru Mode

By default, Bars&Pipes Professional places each Track in Thru Mode. To switch among Thru, Mute, and Play Only, click on the faucet to the right of the Sequencer display.

When a Track is in Thru mode (depicted by a faucet with two connections on the left) you can hear notes played via your MIDI sound module or keyboard as you play them into the Sequencer.

When a Track is in Play Only mode, notes input from the keyboard can't be heard.

* TIP * If you are using only one keyboard and it does not support Local Off, you might want to record with the faucets in Play Only instead of Thru mode.

Step Six: Select The Output Channel

Depending on which MIDI instrument you use, set the Output Channel so that the synthesizer or device responds with the proper instrument.

The Output Channel selector is to the right of the Output PipeLine:

To select the Output Channel, click down with the mouse and drag it to the desired channel number in the pop-up menu.

NOTE-> The MIDI Out Tool must be the last Tool in the PipeLine; otherwise, the notes wont be sent out the MIDI cable.

Test your selection by playing a note on your MIDI keyboard. Notes enter the MIDI Tool on the left side of the PipeLine, pass through the Sequencer, and exit the MIDI Out Tool direct to the instrument indicated by the selected Output Channel.

* TIP * Make sure that you're thoroughly familiar with how to operate your MIDI synthesizer in particular, how to set the MIDI channels for receiving.

Step Seven: Put The Sequencer In Record

Click on the Record button in the Transport Controls window or at the top of the Tracks window to activate the Sequencer Record mechanism.

* TIP * You can use the "R" key on your Amlga keyboard to toggle in and out of Sequencer Record mode.

In Sequencer Record mode, all Tracks that have their Record Select buttons set to "R" record the MIDI music flowing in their Input PipeLines, replacing whatever was there previously. Tracks set to P continue to perform, without recording. Tracks set to M play while recording, merging the new performance with the previous material already in the Track.

It is important to understand the distinction between the Sequencer Record and Track Record modes: When you click on the Record button at the top of the Tracks window, Bars&Pipes Professional enters Sequencer Record mode. Only then can a Track in Track Record mode be overwritten. Otherwise, it simply acts as if it were in Play mode.

When you start Bars&Pipes Professional with either the Start or Play buttons after activating Record mode, Bars&Pipes Professional records MIDI data into the Tracks in Track Record or Merge modes.

This two-step operation is analogous to pressing the Record and Play buttons simultaneously on a hardware multi-track recorder.

NOTE-> Track Record mode allows you to determine which Tracks actually record MIDI data. Only tracks with their R/P/M selectors set to Record or Merge modes actually record when Bars&Pipes Professional Is put Into sequencer record mode. This feature allows you to determine which Tracks actually record MIDI data and which Tracks only play back.

Understanding the relationship between the Track Record mode and the Input Selector is important. Please keep in mind the following points:

The Input Selector indicates which Track is currently selected for keyboard input.
The Input Selector must be set to the same Track on which you want to record, and that Track must be placed in Track Record mode.
If you first set the Input Selector for a given Track, and then set that same Track to Track Record mode, changing the Input Selector to another Track also changes the new Track to Track Record mode, and cancels Track Record mode in the previous Track.
It's a good idea to get into the habit of selecting your options in the Tracks Window from left to right, since Bars&Pipes Professional was designed from the ground up to present you with all information logically as it would be encountered if you were viewing a flow chart.
Step Eight: Start Recording

To begin recording, click on the Start button.

* TIP * You can also use the Insert key on the numeric keypad on your Amlga keyboard. The Insert key is the same as the zero (0) key.

When you are finished recording, click on the Stop button or press the Enter key on the numeric keypad on your Amiga keyboard.

NOTE-> Notice that the Sequencer Record button turns off, but the Track Record button stays on. This is a safety feature. It enables you to Immediately review your recording without fear of erasing it.

Step Nine: View The Recording

When you stop recording, Bars&Pipes Professional redraws the Sequencer display with the current measure in the center and the Song Position Flag over it. It displays notes as blue lines in selected Tracks and as yellow lines in unselected Tracks.

To view an earlier section, drag the scroll bar below the Sequence section of the Tracks to the left, or to scroll one measure at a time, click on the left arrow.

To view a later section, drag the scroll bar to the right or click on the right arrow.

Step Ten: Play The Recording

Because the Sequencer Record button is no longer activated, you can safely play back your recording even though the Track is still in Record mode. Tracks in Record mode will not record or be erased if the Sequencer is in Sequencer Play mode.

NOTE-> If you have trouble with playback, refer to the previous chapter, Playing A Demo Songfile.

To play from the beginning, click on the Start button or press the Insert key on the numeric keypad on your Amiga keyboard.

To play from the current Song position, click on the Play button or use the Enter key on the numeric keypad on your Amiga keyboard.

You can also use the Start and Play buttons in a similar fashion when Bars&Pipes Professional is in Sequencer Record mode, in order to record from the beginning of the composition or from the current Song position, respectively.

If you are dissatisfied with what you hear, you can record a second time by clicking on Sequencer Record, then clicking on Start.

Step Eleven: Record A Second Track

Once you are finished with your first Track, click on the Input Selector of another Track to record. The "R" in the first Track should change to a "P" to indicate Play mode, while the "P" in the new Track should change to "R" to indicate Record mode.

{{Note|text=This may not happen if the first Track's Input Selector was not selected. You can change the "R" to a "P" In the first Track and the "P" to an "R" In the second Track manually in this case. Just click on the button.}}

Click on the Record button in the Transport Controls, then click on Start. Your first Track starts to play. Play along with it as the Sequencer records your performance on the second Track.

When you are finished recording, click on the Stop button and take the second Track out of Track Record mode. Next, click on the Start button to play both Tracks from the beginning.

You have now accomplished basic multi-track recording.

Step Twelve: Save Your Song

Now that you've composed some music, let's save it to disk.

Select Save As from the Song menu. Point the File Requester to the appropriate directory where you want to save your Song. Then enter a name for your Song and hit return, or click on the Save button.

Advanced Recording Topics

The rest of this chapter covers more sophisticated aspects of recording that you may not need initially but will appreciate as time goes by. Feel free to skim these topics and check back when the need warrants.

Multiple In Recording

There are times that you need to record multiple MIDI channels simultaneously. For instance, you might want to simultaneously record yourself on one Track and someone else on another Track. Or, you might want to transfer several Tracks from another MIDI Sequencer into Bars&Pipes Professional.

In either case, choose Multiple In from the Main menu's Preference menu. This turns the Input Selectors on each Track into MIDI channel selectors. Click on these selectors to choose which MIDI channel should enter into each Track. Now all Tracks act as inputs but each Track only receives MIDI events set for its particular channel.

When Multiple In isn't selected, all events, regardless of MIDI channel, are sent to the Track with the active Input Selector.

Manual Punching In And Out

Suppose you record a Track and discover one section that needs to be fixed. It would be a waste to record the entire Track just to get one phrase right. Bars&Pipes Professional solves this by letting you enter and leave record mode on the fly. This is called "punching in" and "punching out". Punch In switches Bars&Pipes Professional from playback to recording, Punch Out switches back to playback.

To switch from playback to record (punch in) at any point while the Song is playing, click on the Record button in the Transport controls. At this point, the music playing on all Tracks that are currently in record mode stops and the Tracks start recording. Switch back to playback (punch out) by clicking again on the Record button and the Tracks resume playing. You can continue to punch in and out as many times as is necessary. When you finally stop the performance and play it again from the top, all of the "punched" sections are erased and replaced with the new recording.

Automatic Punching In And Out

Manual punching in and out has its limitations. If you are working alone, you'd need two arms to play and a third to punch in and out. Bars&Pipes Professional provides that third arm with the Punch In and Punch Out Flags.

Bars&Pipes Professional's Punch In and Out Flags automatically switch the Sequencer in and out of Record mode at preset locations.

To use the Punch In and Out Flags, move them to the boundaries of the section you'd like to record.

To move a Flag, first drag the scroll bar at the bottom to display the desired section, then drag the flag itself to the desired location.

* TIP * You can also set flags directly with the Set Flags window, accessed from the Windows menu.

When you drag flags, Bars&Pipes Professional aligns them with time boundaries. Set the alignment with the Alignment option in the Preferences menu.

Once you've positioned the Flags, click on the Punch In/Out button in the Transport Controls window. (Open the Transport Controls window by double-clicking on its icon, or choosing Transport from the Windows menu.)

Doing so activates the Punch In and Out and sets the Sequencer to start four measures before the Punch In point.

If you'd rather start elsewhere, use the Rewind, Fast Forward, or Auto-Locate buttons to relocate the Position Marker after clicking on the Punch In/Out button.

After you've positioned the Flags, start the Sequencer. At the Punch In point; the Sequencer Record button automatically depresses and all Tracks in Track Record mode switch from playback to recording. At the Punch Out point, these same Track revert to playback.

* TIP * Double-clicking on the Punch In/Out button both moves the Song Position marker back four measures and starts the Sequencer automatically.

To Punch In only, drag the Punch Out flag to the far right, which places it at the end of the Song. To Punch Out only, drag the Punch In Flag all the way to the left, which places it the beginning of the Song's first measure.

If you select the Clean Cuts command in the Preferences menu, Bars&Pipes Professional will start recording at the Punch In flag. Any notes that were started in the measure prior to the Punch In flag will be truncated. Notes that end after the Punch Out flag will be truncated, as well.

If you do not select the Clean Cuts command in the Preferences menu, notes that you play before the Punch In flag will not be truncated or recorded at all in the Punch area. Notes that you hold past the Punch Out flag will not be cut off at the Punch Out flag.

Merge Recording

When you place a Track into Merge mode instead of Record mode, newly recorded events will be merged with the current contents of the Track.

Merge mode is designated by a red "M" in the Track.

Unlike Record mode, Merge mode does not erase the MIDI events that are already in the Track. Instead, it mixes the existing notes with the newly recorded MIDI events. Merge mode may also be used with the Punch In/Out function.

Loop Recording

The Loop button in the Transport Controls activates the Loop Mode recording function.

With Loop Mode, you can record one section of your Track over and over. Use the Loop Mode button in conjunction with the Loop Flags.

Position the Loop Flags on the boundaries of the section you'd like to loop. Then click on the Loop button, which in turn opens the Loop Record requester. Bars&Pipes Professional automatically places the Song Position Marker at the start of the looped section and activates the Sequencer Record button.

To begin recording, click on the Play button in the Loop Record requester. Bars&Pipes Professional plays the section marked by the Loop Flags eight times. This gives you eight opportunities to record in the looped section.

When the eighth loop finishes playing, or when you've clicked on the Stop button in the Loop Record Requester, another requester opens. This, the Loop Choice or Select A Section requester, allows you to choose which of the eight repetitions to keep. If you change your mind, select Cancel to abort the Loop Recording process.

The Loop Choice requester represents the eight versions recorded during Loop Mode by buttons numbered one through eight. Click on each number to hear its particular version. When you settle on a choice, click Okay to accept it. Bars&Pipes Professional retains only the selected version, discarding the other seven versions. If you are unhappy with all eight versions, select Cancel to discard all of them.

* TIP * For a different kind of loop recording, please read about the Pattern Tool in Chapter 27.

The Record Activation Window

The Record Activation window allows you to globally filter MIDI events when recording with MIDI In Tools. Furthermore, prerecorded MIDI events can be selectively left alone while others are recorded on top of them.

Open the Record Activation window by choosing the Record Activation option in the Main menu's Windows menu. A window similar to a MIDI In Tool's Control window opens.

Highlight the MIDI Events you want to record, and deactivate the MIDI Events you want to ignore. Events appearing in red are recorded, while unhighlighted events appearing in blue are filtered out.

Bars&Pipes Professional will remove filtered events before they enter the Sequencer. It will not, however, remove existing events of the same type that have previously been recorded into the Track.

Here's a quick example: Let's assume that you have recorded a sequence on Track 4 that includes pitch bends and control changes. If you want to rerecord the notes on the Track, but leave the pitch bends and control changes intact, choose to ignore (deactivate) Pitch Bend and Control Change in the Record Activation window. When you rerecord Track 4, the new notes will be recorded, while the pitch bends and control changes will be left alone.

Stuck Notes

If you experience stuck, or "hung", notes, click on the Stop button in the Transport Controls window. This sends the MIDI All Notes Off command through all Tracks to each Track output. As a result, most MIDI instruments turn off their voices.

Clogged Pipeline

It is possible to create a "logjam" in the PipeLines. For example, if MIDI enters and exits the same PipeLine, and the MIDI synthesizer returns the notes it receives to Bars&Pipes Professional, a feedback loop results.

At this point, none of the Transport Controls are operable. If this "logjam" occurs, press the Escape key on your Amiga keyboard. You may need to press Escape several times to completely clear the PipeLine.

==Tools==
Chapter 7

Overview

If you've read the previous chapter, you know how to record and overdub Tracks. Now it's time to move to one of the most important aspects of Bars&Pipes Professional: Using Tools.

What is a Bars&Pipes Professional Tool? Technically, a Tool is device that sits in a Track's PipeLine and performs an operation on the MIDI events flowing through it. Some Tools are musical in nature and perform operations that are standard operations, like delay and quantize. But Tools can also organize the flow of the music by interconnecting PipeLines, help compose music by creating or changing notes, and even translate music events into other media, such as displayed pictures.

Tool Modules

Tools are special additions to Bars&Pipes Professional's main program. Each Tool is actually a separate module that Bars&Pipes Professional loads. This is a very important concept.

You can expand the capability of Bars&Pipes Professional by adding more Tools without upgrading Bars&Pipes Professional itself. And, you can remove unneeded Tools to save memory.

Once you've loaded a Tool, Bars&Pipes Professional automatically installs it each time. When you remove a Tool, Bars&Pipes Professional will no longer install it.

{{Note|text=Sometimes, you might create a Song with a particular Tool in its PipeLines, save it, then remove the Tool at a later date. Great news! If Bars&Pipes Professional senses the Tool is missing, it reinstalls it automatically.}}

Multiple Usage Of Tools Once you've installed a Tool in Bars&Pipes Professional, you can use it in several different places at a time. Each time you drag a Tool out of the ToolBox, Bars&Pipes Professional makes a unique copy of the Tool. This way, you can setup each copy to behave differently.

Example:
Set one instance of an Echo Tool to create four echoes in Track 1, while setting a second Echo Tool in Track 2 to create only two echoes. Each Echo Tool is a unique copy of the original Echo Tool that Bars&Pipes Professional loaded when you installed it.

Tool Types

Tools fall into two primary categories: Music Tools and Multi-Media Tools. Within these categories, Tools are further classified as Input, Output, and Branching Tools. Input and Output Tools serve as the inputs and outputs of each Track's PipeLine, i.e., the MIDI In and MIDI Out Tools. Branching Tools connect PipeLines between Tracks. Combinations of Tools are called MacroTools.

Music Tools

Music Tools perform musical functions. The Quantize Tool (tightens the note timing,) CounterPoint Tool (creates a counter melody,) and Quick Patch Tool (sets up the MIDI instrument) are examples of Music Tools.

Multi-Media Tools

Multi-Media Tools, in conjunction with Bars&Pipes Professional's Media Madness window, control non-musical aspects of sequencing, including other hardware and software. The ANIMal Tool (plays animations,) Toasty Tool (controls the Video Toaster,) and Command Performance Tool (sends ARexx commands to other programs) are examples of Multi-Media Tools. Most of the Multi-Media Tools are also Output Tools. The Media Madness window controls Multi-Media Tools that are also Output Tools.

Macro Tools

MacroTools are a special category of Tools. MacroTools are combinations of regular Tools. Use MacroTools to create your own Tools by putting together individual Tools with the Create-A-Tool feature. MacroTools have icons, may be placed in PipeLines, and are loaded separately from disk, just like all other Tools.

The ToolBox

Bars&Pipes Professional organizes the installation, usage, and removal of Tools all from one window, the ToolBox.

Open the ToolBox by double-clicking on its icon, or choosing the ToolBox command from the Windows menu. The ToolBox window displays all currently installed Tools.

Tool Icons

Tools appear in the ToolBox as icons. Select a Tool by clicking once on its icon. To place a copy of the Tool in a Track or ToolPad, hold down on the mouse and drag the Tool to the desired destination. This makes a copy of the Tool and places it.

{{Note|text=If there are no Tools in the ToolBox, Bars&Pipes Professional can't find the Tools to load. Often this occurs with improper installation. You will need to load in the Tools one by one. Please see the section below, Installing Tools.}}

The Question Mark Button

The first icon in the ToolBox window, the grey box with the "?" (question mark), is not a Tool. If you click and hold the mouse button over the question mark, a pop-up menu opens containing the names of all the Tools in the ToolBox.

To select a Tool with the pop-up menu, drag the mouse pointer until the desired Tool name highlights; then release the mouse button. A copy of the Tool icon "sticks" to the mouse. You can then drag the Tool to a PipeLine or ToolPad to drop the selected Tool in it, or click anywhere else to eliminate the copy.

Tool Names

You can optionally display the Tool names to the right of each icon by selecting the Show Tool Names option in the Preferences menu of the ToolBox.

Installing Tools

The first time you run Bars&Pipes Professional, it loads a preset collection of Tools. This preset collection is a mere subset of the dozens of Tools that come with Bars&Pipes Professional. In order to access the additional Tools included with the program, you must install them.

To install a Tool, use the Install Tool command in the ToolBox menu. This command loads the Tool from disk, places it in the ToolBox and makes the Tool a permanent part of your environment. Once you've installed a Tool, Bars&Pipes Professional automatically loads the Tool every time it runs until you remove the Tool with the Remove Tool command.

Example:

Open the ToolBox window, if it is not already open.
Activate the ToolBox window by clicking on it.
Access the ToolBox menu by holding down the right mouse button and dragging the mouse pointer to the top of the Bars&Pipes Professional screen, over the words "ToolBox". The ToolBox menu opens.
Drag the mouse down over the words "Install Tool..." and then release the right mouse button. The file requester opens.
If the file requester is not already in the Tools directory, find the directory where you keep your Tools.
Find the Loop Tool in the Tools directory. Double-click on Loop to open it.

{{Note|text=A text file called Tools is kept in the Support directory to keep Track of which Tools have been installed. Although we don't recommend it, you can edit this file in a text editor. Please see Chapter 31, Customizing Your Environment, for more information on the Support directory.}}

You might load a Song or MacroTool that includes Tools that are no longer installed. Bars&Pipes senses this and tries to automatically install the missing Tools. If it can't find them, it prompts with the file requester and the missing Tool name. Then, Bars&Pipes Professional actually installs the missing Tool. As a result, the process of loading a Song can actually install one or more Tools permanently in the ToolBox!

Removing Tools

If you have a Tool in your ToolBox that you never use, consider removing it. Too many Tools eat up precious memory, take extra time when loading Bars&Pipes Professional, as well as create a jungle of icons.

To remove a Tool, first select it in the ToolBox. Then, select the Remove Tool command in the ToolBox menu. This removes the Tool and tells Bars&Pipes Professional not to automatically load the Tool every time it runs.

{{Note|text=If the Tool is in a Track, ToolPad, or ToolTray, Bars&Pipes Professional alerts you that the Tool is in use, and asks you to verify the operation.}}

The Remove Tool option does not erase the Tool from your disk. It only removes the Tool's name out of the active Tool list, stored in the file "Tools" in the Support directory.

Creating, Editing & Saving MacroTools

Three additional commands in the ToolBox menu control the design and updating of MacroTools.

To create a new, empty MacroTool, select the command Create MacroTool. This creates a blank MacroTool and opens the Create-A- Tool window to edit it. Please see Chapter 24, Create-A-Tool, for more information.

{{Note|text=You can Install and remove Macro Tools as you would any Tool.}}

If you'd like to make changes to an existing MacroTool, click once on the MacroTool to select it, then choose the Edit MacroTool command in the ToolBox menu, or double-click on the MacroTool. The Edit MacroTool command opens the Create-A-Tool window, so that you can make design changes.

Although the Create-A-Tool window automatically prompts you to save the MacroTool, you can also do so directly by selecting the Save MacroTool command found in the ToolBox menu. This opens the file requester, where you may choose a destination file.

{{Note|text=Saving a Macro Tool to a new location updates the Installation information in the Tools file. Bars&Pipes Professional will always load the Macro Tool from the new file location instead of the old.}}

Using Tools in the PipeLine

Tools are most often used in the PipeLine and ToolPad. In the PipeLine, a Tool processes music flowing through it. In the ToolPad, a Tool modifies entire segments of music all at once, using the Toolize command found in the Edit and Tracks menus.

A Tool in a particular Track's PipeLine modifies the MIDI data that flows through it. Most Tools may be placed in either the Input PipeLine or the Output PipeLine. Some Tools are Input Tools, and only place themselves as the first Tool on the Input PipeLine. Other Tools are Output Tools, and only place themselves as the last Tool on the Output PipeLine.

Bars&Pipes Professional displays the complete PipeLines with all Tools only in the Tracks window, although it does display the final Output Tools in the Media Madness window as well.

Placing A Tool In A Pipeline

To place a Tool in a PipeLine, drag a copy of the Tool from the ToolBox, another PipeLine, or a ToolTray (more on that later,) and drop it into the PipeLine.

Opening The Tool's Control Window

Double-click on a Tool in a PipeLine to open its Control window. Alternatively, highlight the Tool by single-clicking on it, and choose Edit from the Tool menu. You can edit the Tool's Control window while Bars&Pipes Professional plays and MIDI events flow through the Tool. As a result, you hear instant feedback as you make changes in the Control window. You can also open multiple Control windows at once.

Duplicating A Tool

You can duplicate an existing Tool in the PipeLine by clicking on the Tool and dragging it to a new location. Copying a Tool in this manner is useful because you can edit one Tool's Control window, then place duplicates in several other Tracks.

Moving A Tool In The PipeLine

To move a Tool in the PipeLine, click on the Tool once to highlight it, then choose the Move Left and Move Right commands in the Tools menu. Alternatively, you can use the left and right arrow keys on the Amiga keyboard to move the highlighted Tool. You can even make a Tool jump across from the Input PipeLine to the Output PipeLine and vice versa. You cannot, however, move Input and Output Tools.

{{Note|text=Remember, clicking on and dragging a Tool duplicates it, rather than moving it. Also, moving a Tool from the Input PipeLine to the Output PipeLine or vice versa breaks its connections with other Tools.}}

Connecting With Vertical Pipes

You can actually connect a Tool in one Track to Tool in another via vertical pipes. To do so, you need two types of Tools: The first type, the branching Tool, uses preset criteria to send MIDI events to another Track. There are many branching Tools. For example, the Keyboard Splitter Tool sends all notes below its split point to a second Track and the CounterPoint Tool can send the countermelody to a second Track.

The second type of Tool, the merging Tool, sits in the second Track's PipeLine and receives incoming MIDI events. Unlike the branching Tools, there is only one merging Tool included with Bars&Pipes Professional, the Merge In Tool.

{{Note|text=The Pro Studio and Creativity Add-On Kits include merging Tools that use MIDI events coming down the vertical pipes to control events in the second Track's PipeLine.}}

To connect a branching (sending) Tool to the merging (receiving) Tool, click on the branching Tool. Then select the Connect command in the Tools menu and click once on the merging Tool. A vertical pipe will be drawn between the two Tools, indicating that they are connected.

Removing A Tool

To remove a Tool from the PipeLine, highlight that Tool by clicking on it. Then select Remove from the Tool menu to remove the Tool. Alternatively, you can use the Del key on the Amiga keyboard.

Using Tools in the ToolPad

The ToolPad provides a means to permanently change your music. Whereas Tools in PipeLines process events as the events flow through them, Tools in the ToolPad do nothing until you use the Toolize command. Using the Toolize command causes the entire Song, individual Tracks, or parts thereof, to change permanently.

You'll find ToolPads in the Tracks window, the Edit and List Edit windows, the Media Madness window, and the Song Construction window. These buttons all represent the same ToolPad, regardless of which window they appear in.

Unlike Tools in the PipeLine, Tools placed in the ToolPad do not process notes as they are played. Instead, they process all of the notes in a Song, sequence, or section. For example, if you place the Quantize Tool in the ToolPad, you can use it to Quantize all of the notes in a selected Track. The ToolPad holds up to sixteen Tools at once.

Placing A Tool In The Toolpad

To place a Tool in the ToolPad, click and drag it from the ToolBox, a ToolTray, or even a Track's PipeLine, and drop it onto the ToolPad. If the ToolPad is not full, the new Tool takes the next empty slot. However, if the ToolPad is full, the new Tool replaces the currently displayed Tool in the ToolPad.

{{Note|text=You can put more than one of the same type of Tool in the ToolPad.}}

Selecting A Tool From The Toolpad

To select a Tool from the ToolPad, click down on the pad with the mouse and hold it. Under the mouse, a pop-up menu appears with sixteen Tools displayed. (The unfilled slots are displayed as empty pipes.) Move the mouse pointer to the Tool you need and lift up. The ToolPad now displays that Tool.

Editing A Tool In The ToolPad

To edit a Tool in the ToolPad, called a PadTool, first select it, then use the Edit PadTool Controls command in the Windows menu.

* TIP * You can also hold down the Shift key on your Amiga keyboard while dlcklng on the ToolPad.

This opens the Control window for the Tool, if one exists. Some Tools do not have parameters to change and therefore no Control window. You can keep the Control window open for the Tool as you use it to process your Song. You can even have several Tools' Control windows open at the same time.

Removing A Tool From The ToolPad

There is no need to remove a Tool from the ToolPad. Once the ToolPad is full, placing a Tool in the ToolPad replaces the currently showing Tool.

Toolizing With The ToolPad

Tools placed in the ToolPad can process all of the notes in an area of your Song. To do so, use the Toolize command, found in both the Edit and Track/Group menus.

The Toolize command in the Edit menu processes all notes on all Tracks between the Edit Flags. Set the Edit Flags (the two purple triangles) either by dragging them in the Tracks window or typing in positions in the Set Flags window.

For more information on editing with the Edit Flags, please see Chapter 20, Multi-Track Editing.

The Toolize command in the Track/Group menu processes all notes in the currently selected Track or a Group of Tracks.

* TIP * Use the Output PipeLine to test a Tool while changing its controls. Once you're pleased with the results, drag the Tool into the ToolPad and Toollze the entire Track to make the changes permanent. Then, delete the Tool from the PipeLine since it no longer is needed.

Replacing A Tool In The ToolPad

To replace a Tool in the ToolPad with another Tool, select the Tool to discard by choosing it from the pop-up menu so that it appears in the ToolPad on the screen. Then drag the new Tool from the ToolBox onto the ToolPad. The new Tool replaces the displayed one.

ToolTrays

The ToolBox organizes the original copies of each Tool. Every time you drag a Tool from the ToolBox and place it in a PipeLine, you must double-click on the Tool and edit its Control window. In other words, while a Tool resides in the ToolBox, it cannot be edited.

On the other hand, ToolTrays provide a place to keep preset versions of Tools. Just drag a Tool from the ToolBox into a ToolTray and then edit the Tool's Control window by double-clicking on the Tool in the ToolTray.

From then on, drag the Tool from the ToolTray instead of from the ToolBox, and the changes you made remain intact. You can organize up to sixteen individual copies of Tools in each of eight ToolTray windows.

To access a ToolTray, choose one of the ToolTrays in the Tool menu. If the ToolBox window is active, you can also select a ToolTray from the ToolTrays menu. The ToolTray window opens.

Drag a Tool from the ToolBox or from a PipeLine and drop it into the ToolTray beneath the horizontal gray line. The name of the Tool appears above the gray line.

Modify the name of the Tool by clicking on its name and using the Amiga keyboard.

{{Note|text=Changing the name of the Tool in the ToolTray does not change the name of the Tool in the PipeLine or ToolBox. This feature allows you to keep several copies of the same Tool in a ToolTray, and be able to distinguish between them when you dick on them.}}

For example, you might prepare two versions of the Quantize Tool with different resolutions and give each a name that describes its resolution.

Double-click on a Tool in a ToolTray to open that Tool's Control window. Set the parameters to whatever you want. When you drag this Tool into a PipeLine or ToolPad, it retains these parameters.

{{Note|text=The ToolTrays load and save with your composition.}}

For a complete explanation on using ToolTrays, please see Chapter 25, ToolTrays.

Examples

In the following sections, we present some step by step examples of using specific Tools. This will help you to understand the Tool concept, and how to use Tools in your own compositions.

Let's look first at a very simple Tool called the CounterPoint Tool. Open your ToolBox. If you do not see the CounterPoint Tool, install it.

{{Note|text=There are several ways to view Tools by name: You can dick on the ? button to access a scrolling list of Tools, You can dick on a Tool and view its name in the ToolBox window's Title bar. You can also select the Display Tool Names option in the ToolBox window's Preferences menu to display the Tools by name as well as Icon.}}

The CounterPoint Tool does not have a Control window.

Using CounterPoint On The Input Pipeline

Grab the CounterPoint Tool from the ToolBox by clicking on it with the left mouse button. Drag the Tool until it is over the Input PipeLine of Track 1, just to the right of the MIDI In Tool. Release the mouse button. Activate the Input Selector for Track 1.

Play a few notes on your keyboard. You'll hear an accompaniment to the notes you play

Here's how it works: The notes you play on your keyboard come into the active MIDI In Tool. Then, the notes flow into the CounterPoint Tool. The CounterPoint Tool creates a countermelody note for each note that enters it.

The original note and the countermelody note flow down the rest of the Input PipeLine and into the Sequencer. Even if Track 1 is in record mode, since we haven't activated the Sequencer Record mode, the notes just travel right on through the Sequencer .

When the notes reach the Thru/Mute/Play faucet, they continue through if it is in Thru mode. Thru mode is represented by a blue faucet with two inputs on the left side.

{{Note|text=If the faucet is red, without an Input on the left side, it is in Mute mode. Nothing will play out of the Track when the faucet is in Mute mode. If the faucet is yellow, with one Input on the left side, it is in Play Only mode. In Play Only mode, only notes previously recorded into the Track go through.}}

The notes flow down the Output PipeLine until they reach the MIDI Out Tool. The MIDI Out Tool sends the notes out the MIDI out port on your interface, on the MIDI channel selected by the MIDI channel selector. The MIDI channel selector is the blue number on the right of each Track.

Sending The Countermelody To Another Track

Now, lets record the original melody on Track 1, and the countermelody created by the CounterPoint Tool on Track 3. We can do this because the CounterPoint Tool is a Branching Tool. To use any branching Tool, you'll need the Merge Tool.

Select the Merge Tool from the ToolBox. Its icon is a horizontal length of pipe with an angled pipe entering it from the top left. If you don't see the Merge Tool, load it in. Place the Merge Tool on the Input PipeLine of Track 3.

Click on the CounterPoint Tool with the mouse. A red box surrounds it to show that it is the active Tool. Select Connect from the Tool menu, then click on the Merge Tool. Bars&Pipes Professional connects the CounterPoint Tool to the Merge Tool with a vertical piece of pipe. Now the countermelody flows down the vertical pipe and into the second Track.

With the Input Arrow on Track 1 still active, click on the blue 'P' in Track 3 until it turns into a red 'R'. The red 'R' should already be showing in Track 1.

Now, record another melody. When you stop the Transport, notes in Track 1 and in Track 3 are displayed. Track 1 contains the original melody, while Track 3 contains the counter melody.

Using CounterPoint On The Output Pipeline

Now that you have two Tracks containing a melody and a countermelody, let's see what happens when we place a CounterPoint Tool on the Output PipeLine of both Tracks.

You don't need to open the ToolBox to get another copy of the CounterPoint Tool. Just grab the one that is on the Input PipeLine of Track 1. Place copies of the CounterPoint Tool on the Output PipeLines of Tracks 1 and 3.

Press Start on the Transport Controls to listen to the effects of these Tools. You should hear four notes simultaneously: two out MIDI channel 1 and two out MIDI channel 3.

Toolizing With CounterPoint

Pick up another copy of the CounterPoint Tool and drop it into the ToolPad. The ToolPad is the box in the upper left corner of the Tracks window, to the right of the Solo button, and to the left of the Group buttons numbered 1 through 8.

Click on Track 1, then select Toolize from the Track menu. Notice that it instantly doubles all of the notes in Track 1, adding the countermelody to the recorded music. Press Start on the Transport to hear the results.

Other Examples

You'll find more Tool examples in the Tools chapter. Learning how to use Tools can be a daunting task. Take it slow and learn one Tool at a time. Try every Tool that you can in as many ways as possible. Experience is the best teacher.

Have fun and experiment! Remember, you can always leave a Tool's Control window open while you experiment with it. In particular, this is very useful for setting up a Tool while music flows through it in the PipeLine.

Once you've learned all of the Tools that come with the basic Bars&Pipes Professional package, remember that we continue to release new Add-On Tool Kits. Call or write to us for more information.
==Note Editing==Chapter 8

Overview

Bars&Pipes Professional's Graphic Editor lets fine-tune your composition. All of its buttons, menu options and features eliminate guess work. In fact, the Graphic Editor has so many features that we've divided our discussion of it into several chapters. This chapter covers specifically note entry and editing.

Sequenced Notes

Before we delve into editing notes with Bars&Pipes Professional, let's look at how Bars&Pipes Professional actually represents those notes.

Sequenced notes are comprised of MIDI note on and note off events that you've input. The MIDI standard allows for a total of 128 different note values, beginning with the note C0 (C, octave 0) denoted by the byte 0, and ending with the note Gl0 (G, octave 10,) denoted by the byte 127.

{{Note|text=Some synthesizers refer to the range as C-2 through G8.}}

Bars&Pipes Professional stores a note as a MIDI note pitch number, a starting time, and a duration. To reproduce a stored note, the Sequencer sends out the MIDI note on event at the starting time, waits for the duration, and then sends out the MIDI note off event for that note.

{{Note|text=In the Multi-Media portions of this manual, you will see references to items called hit lists. A member of a hit list is actually a note in disguise. While using hit lists, instead of note number representing a note, the note number represents a command. When a Multi-Media Tool receives this command, it performs whatever task you've programmed it to perform. You'll learn more about this in Chapter 28, Media Madness.}}

Opening The Graphic Editor

To Open the Graphic Editor, double-click on the Track you'd like to edit, or select the desired Track and press Return. The Graphic Editor window opens, and displays the Track.

{{Note|text=The Graphic Editor window is also referred to as the Edit window.}}

The Sequence Display

The Sequence Display occupies most of the Edit window. It shows your Sequence from left to right.

Vertical lines, indicating the beats and measures, provide you with a view of the exact time and place of each note.

SMPTE Time

Click on the SMPTE button, located on the far right end of the Graphic Editor's command button to view the Sequence Display in SMPTE time rather than in measures and beats. This option is very useful if you're working on a project where you need to know when particular events happen in absolute minutes and seconds instead of music time.

Sizing The Display

The Sizing... option in the Display Options menu gives you five choices for displaying data: Very Large, Large, Normal, Small and Very Small. If you choose Very Large, you can do very fine work with the timing of your notes. On the other hand, the lowest resolution, Very Small, is the same as the resolution in the Main Screen. At this resolution, you gain a much better feel for how your Song progresses.

You can also use the Zoom In and Zoom Out buttons to enlarge or reduce the display size. Click the Zoom In button to select the next larger size, up to Very Large. Click the Zoom Out button to select the next smaller size, down to Very Small.

{{Note|text=The sizing of a Track determines how many measures across will be printed when printing notation.}}

The Show Menu

From the Edit window, use the Show menu to determine what options Bars&Pipes Professional draws in the Sequence Display. By default, Bars&Pipes Professional displays the Hybrid Staff, Piano Roll and Velocity Curve, the options most frequently used. You can toggle as many options as you want at once by holding down the right mouse button and clicking the left mouse button over the items you want to toggle.

The Staff - Hybrid

Displaying The Hybrid Staff

When you select Staff-Hybrid from the Show menu, Bars&Pipes Professional displays notes as horizontal bars on a traditional treble and bass clef. The length of the bar reflects the length of each note. Bars&Pipes Professional marks accidentals with sharps and flats. If you haven't defined a key, the Staff defaults to the key of C MAJOR.

If you select the Hit List option in the Display menu, all notes that have hit translations assigned to them display the name of the hit (for example, "Dog Bark" or "Door Slam") instead of the note rectangle. Hit List Translations are used primarily by the Media Madness Tools and the List Editor. We'll talk about Hit Lists extensively in later chapters.

Centering The Hybrid Staff

The center of the Staff - Hybrid defaults to middle C, octave five on the MIDI keyboard. To change to another octave, use the Note Range... Staff Center command in the Display Options menu. The Staff Center requester opens.

In the box to the right of "Center", the requester displays the note currently at the center of the Staff. By default, the Staff centers around C5, the note C of the fifth octave.

To change the octave, click on the center note and hold the mouse down. Under the mouse, a pop-up menu appears with a choice of octaves. Move the mouse to the one you want and lift up. The center note changes to C of the octave you choose.

The Auto Center button automatically calculates the center note and accommodates the range of notes displayed.

When you finish, press Okay, to accept the new Staff Center, or Cancel, to leave it as it was.

The Piano Roll

Displaying The Piano Roll

When you select the Piano Roll, Bars&Pipes Professional displays your MIDI note events as horizontal bars on a graph which extends from a column of piano keys on the left. Like the Hybrid Staff, notes are blue.

If you select the Background... Key option in the Display Options menu, the spaces on the graph that make up the current key are displayed behind the notes in a faded purple color. To learn how to set the key, please see the chapter on Song Parameters.

Like the Hybrid Staff, you can also display notes as Hits by selecting the Hit List option in the Display menu.

Changing The Piano Roll Bounds

At times, the Piano Roll may display too much or too little of your composition. A Note Event can span a range of 128 notes, just over ten octaves. The Piano Roll can show all or any section of that ten-octave keyboard. Since an individual Sequence rarely ranges more than two octaves, Bars&Pipes Professional shows two octaves by default.

To change the range of notes displayed, select the Piano Roll Bounds command, which opens the Piano Range requester.

You can set two variables: the Upper Range and the Lower Range. Respectively, these denote the highest and lowest keys displayed on the Piano Roll. The Piano Roll will not display notes above the Upper Range nor below the Lower Range.

Define each boundary by the specific note and octave. To select the note, click on the note letter, in this example, C. A pop-up menu of a piano keyboard appears under the mouse. Drag the mouse to the note of choice and lift up. To set the octave, click on the octave number, in this case, 4, and a pop-up menu of octave choices appears under the mouse. Select the octave and lift up on the mouse.

The Auto Range button automatically sets the upper and lower boundaries of your sequence. To accept the new Piano Roll bounds, click on Okay. To return to the Graphic Editor window without any changes, select Cancel.

The Velocity Curve

When you select the Velocity Curve, Bars&Pipes Professional draws the velocity of each note as a vertical line. The greater the velocity, the higher the line. Since most synthesizers translate velocity directly to loudness, consider the velocity curve as a volume curve.

If your keyboard supports velocity, then the harder you strike the keys, the louder the instrument plays.

{{Note|text=A number of drum machines and synthesizers that don't respond to velocity when you play them directly nevertheless respond to velocity when they receive the notes from Bars&Pipes Professional.}}

Staff - Notation

When you select Staff-Notation from the Show menu, Bars&Pipes Professional displays the notes on a traditional treble and bass clef in standard musical format. Please refer to the section on Notation later in this chapter for more information about transcribing music to standard notation.

Tablature

When you select Tablature from the Show menu, Bars&Pipes Professional displays note pitches as fret numbers on guitar strings. The open string note value of each string, which can be changed, is shown on the left. For more information about transcribing to tablature, please refer to the Tablature section later in this chapter.

Editing Notes with the Mouse

Across the top of the Graphic Editor window sits a row of buttons. Think of these as a palette of options. By clicking on these, you select the manner in which you use the mouse to draw, erase, drag, and alter your music.

The buttons belong to three groups: the first nine buttons from the left, the Command buttons, determine how you use the mouse. The middle four buttons, the Default Note buttons, define the current note resolution for entering and editing. On the right lie the Zoom and Speaker buttons. Use the Zoom buttons to change the range of the display. Click on the Speaker button to hear the displayed section of music.

The Command Buttons

The first nine buttons from the left are the Command Buttons. As you click each one with the mouse, the mouse's icon changes. Most of these buttons have keyboard equivalents as well. Set the Command Buttons to determine how you use the mouse. The following list describes each button briefly.

From left to right, the buttons are as follows:

The Magnifying Glass displays information about notes you touch with the mouse.
The Pencil enters notes into either Staff, Tablature, or the Piano Roll.
The Magic Wand alters the length and velocity of notes in the Staves or Piano Roll; it alters the fret number of a note in Tablature.
The Hand grabs and drags notes.
The Duplicator makes an exact copy of the selected note and drags the copy to a new position.
The Eraser deletes notes.
The ToolPad contains selected Tools and processes notes with the currently-displayed Tool.
The Bounding Box, working in conjunction with the Drag, Duplicator, Erase, and ToolPad buttons, enables you to draw a rectangle around a set of notes and then Drag, Duplicate, Erase, or Toolize them. The Bounding Box, working in conjunction with the Magic Wand, allows you to tie notes together.
The Step Entry Button enables step entry of notes from a MIDI keyboard. This button enables you to enter notes and their durations at your own pace, without having to play your instrument keyboard in real-time.
Setting The Default Note

Before drawing, dragging, or step-entering notes, you must set the Default Note. The Default Note consists of a note value (eighth, quarter, etc.), a modifier (triplet, dotted, normal), an articulation (staccato, legato, etc.), and a dynamic level (pp through ff).

The middle group of four buttons sets these values. Upon being pressed with the mouse, each button reveals a pop-up menu with the options displayed. Drag the mouse to the desired option and lift up to select it. Bars&Pipes Professional displays your choice on the appropriate button.

From left to right, the buttons are as follows:

The Default Note Value and Default Note Modifier buttons determine the type of note to be entered by the Pencil or Step entry. It also determines the interval for dragging a note left or right, in conjunction with the Lock to Default Note option in the Prefs menu.
The Default Articulation button determines the length of the newly entered note.
The Default Velocity button determines the emphasis, or loudness, of the newly entered note.

{{Note|text=You can use the F7 through F10 keys to change these values. Use the shift key In conjunction with the function key to change them in the opposite direction.}}

Entering Notes With The Pencil

Activate the Pencil by clicking on the Pencil Button or pressing function key "F1". Then, click the Pencil on the display to enter notes in the sequence.

{{Note|text=Remember, the articulation (length) and dynamics (velocity) of the note you enter are defined by the Default Note.}}

Once you click down in the display, the way that the Pencil operates is determined by the following options in the Prefs menu:

Drag With Pencil: When you hold down the mouse after entering a note, the Pencil becomes the Hand so that you can drag the note. Lift up on the mouse button when you are satisfied with the note's position.
Lengthen With Pencil: When you hold down the mouse after entering a note, the Pencil becomes the Magic Wand so that you can shorten and lengthen the note. This option is most usable in the Hybrid Staff.
Lock to Default Note Entered notes align to the Default Note interval. For instance, if your Default Note is an eighth note, then all notes you enter align with eighth note increments in each measure.
Lock to Resolution: The Pencil works as it does with the Lock to Default Notes option, except that it uses the Resolution value defined in the Notation menu (please see the Notation section, later in this chapter, for more information.)
Lock to Key: The Pencil automatically places the notes in key (see Chapter 10, Editing Song Parameters.)
Lock to Rhythm: The Pencil behaves as it does with the Lock to Default Note option, except that it conforms all notes to the current rhythm template boundaries (please see Chapter 10, Editing Song Parameters.)
Entering Notes In Staves

To enter a note in a stave, click with the Pencil. To add a sharp or flat, press once on the up or down arrow keys.

{{Note|text=Whether the note displays as a sharp of flat is determined by the Key Signature. Please see Chapter 10, Editing Song Parameters, to learn how to set the Key Signature.}}

Entering Notes In The Piano Roll

Use the Pencil to enter notes within the range of the Piano Roll. To change the range, go to the Note Range... command in the Display Options menu.

Entering Notes In Tablature

Choose a string and click down on it with the mouse. A fret number appears corresponding to the current position defined in the Position option in the Tablature menu. Slide the mouse up and down to change the fret number, and therefore, the pitch. Please see the Tablature section, later in this chapter, for more information.

Entering Notes with Step Entry

Use the Step Entry option to enter notes directly into the Graphic Editor from your MIDI keyboard. With Step Entry, you can record at your own pace without having to play your MIDI keyboard in real-time.

Activating Step Entry

To activate Step Entry, click on the Step Entry button. The mouse icon becomes a picture of a person's leg on a step. Then, position the left Edit Flag (the leftmost purple triangle above the display) in the location that you would like to begin step entry.

Important Points

Before Step-Entering, remember the following:

Notes entering the Editor must first pass through the Tools in the Input PipeLine of the Track.
* TIP * To temporarily disable a Tool, move it to the right side of the Track. Do this by selecting them and pressing the right arrow key on your Amlga keyboard. Remember to return them to the Input PipeLine when you're finished Step-Entering.
Step Entry starts at the left Edit Flag. Click with the mouse at the point where you want Step Entry to begin. The left Edit Flag automatically snaps into place, marking the starting point for Step Entry.
Step-Entered notes use the Default Note and Articulation.
Step-Entering A Note

To Step-Enter single notes, play them one by one. After you lift up on each one, the cursor moves forward. To enter a chord, hold down each member note, lifting them all up at once. When you release all notes, the left Edit Flag moves to the right, allowing you to immediately enter another note or chord.

Step-Entering A Rest

To enter a rest, press the Space Bar. The rest will be the same duration as a note.

Backing Up And Erasing Mistakes

To back up a step, and erase a mistake, press the Backspace key.

Refreshing the Display

To refresh the display at any time while editing, press the Return key on your Amiga keyboard. If you have selected "Auto Redraw" from the Prefs menu, the display refreshes automatically and you do not have to press the Return key.

Boxing Notes

Several of the Command buttons can be selected in conjunction with the Bounding Box button (F6 key). The Bounding Box lets you draw a box around a group of notes, then edit them all at once.

To draw the box, click down where you'd like one corner of the box to be and drag the mouse to the opposite corner. A box grows as your mouse travels. The box never crosses the boundary between two display strips, for example the Piano Roll and either Staff.

Once you have enclosed what you want in the box, lift up on the mouse.

The beginning of a note must be within the box to be counted as being a member. If only the later half of a note is in the box, it will not be one of the boxed notes.

The Bounding Box works in conjunction with the Magic Wand, the Eraser, the Duplicator, and the Toolizer. As we discuss each of these in the pages to follow, we'll describe how to use the Bounding Box in each case.

Altering Note Lengths and Velocities

Once you enter Notes, you may need to edit them by changing their lengths and velocities. To the right of the Pencil sits the Magic Wand. Select this button to alter the data with the mouse, either by clicking on it or by pressing function key "F2".

{{Note|text=The Magic Wand, in conjunctlon with the bounding box, allows you to tie notes of the same pitch together. Please see Tying Notes, below.}}

Altering Notes In The Hybrid Staff And Piano Roll

Use the Magic Wand to alter the length of individual notes. Click down with the mouse over a note; the Editor highlights the note in red. Drag to the left to make the note shorter or to the right to make the note longer .

If the Lock Wand to Note option in the Prefs menu is enabled, the Wand sticks to the first note you select. No matter where you drag the mouse, it continually lengthens or shortens the note length. This is great if you want to edit just one note because the mouse never slips off the note.

If you want to change the lengths of more than one note at a time, deselect the Lock Wand to Note option in the Prefs menu. Edit the first note in the "stack", then drag the mouse vertically through the remaining notes. All remaining notes conform to the size of the first one you edited.

* TIP * You can also use the Left and Right Arrow keys to decrease and increase, respectively, a note's length.

Altering Notes In The Notation Staff

Use the Magic Wand to conform notes to the current Default Note. Click on any note; the Editor automatically changes the note length to that of the Default Note.

Altering Notes In Tablature

You cannot use the Magic Wand to alter the length of a note in Tablature. Instead, use one of the Staves or Piano Roll, or utilize the Magnifying Glass.

Rather than altering the length of a note, the Magic Wand alters the fret number of a selected note in Tablature. Click on the note with the Wand, and slide the mouse up and down to the desired fret number.

Altering The Velocity Curve

Drag the Magic Wand over the Velocity lines to change them. This way, you can change their individual volume levels. As an option, use the Up and Down Arrow keys to increase and decrease a note's velocity.

Tying Notes

You can tie notes of equal pitch together by using the Magic Wand in conjunction with the Bounding Box. Activate the Magic Wand and Bounding Box buttons. Surround the notes you want to tie with the Bounding Box. This ties all notes inside the bounding box that are of equal pitch together and leaves all other notes alone.

Dragging Notes

When you select the Hand button, either with the mouse or function key "F3", the mouse icon becomes a hand with one finger extending. Use this to drag and reposition notes.

Dragged notes are affected by the following options in the Prefs menu:

Lock to Default Note: The note you grab moves left and right on a grid defined by the Default Note. For instance, if the Default Note is a quarter note, every note you drag moves left or right at quarter note intervals.
Lock to Resolution: The note you grab moves left and right on a grid defined by the Notation Resolution defined in the Notation menu.
Lock to Key: The note you grab moves up and down, skipping notes that are not in the current key. Otherwise, the note moves up and down chromatically.
Lock to Rhythm: The note you grab moves left and right on a grid defined by the current rhythm template.
Dragging Notes In A Staff Or The Piano Roll

Dragging notes right and left moves them forward and back in time. Dragging them up and down changes their position on either Staff or the Piano Roll, thereby changing their pitch.

If you have the Play Notes option in the Prefs menu selected, Bars&Pipes Professional plays each note as you drag it.

If you hold down the shift key prior to clicking on the note, the hand only moves vertically or horizontally, but not both, depending on your first move. In other words, if you hold the shift key down, click on the note, and start to drag it up in pitch, the note locks in time and only lets you change its pitch no matter how far to the left or right you drag the mouse. Likewise, if you start by dragging left or right, the note only moves in time, it does not let you change its pitch.

Dragging Notes In Tablature

Dragging notes up and down in Tablature, across strings, causes the note to jump from one string to another. The pitch of the note remains the same, while the fret number changes.

To change the note pitch, use the Magic Wand. This changes the fret number on the string, thereby increasing or decreasing the pitch.

Using Hot Keys For Dragging

You may also use the arrow keys on the Amiga keyboard to move a note. First, highlight the note that you want to change. Then, use the left and right arrow keys to shift the note backward and forward in time by the default note amount. Or, use the up and down arrows on the Amiga keyboard to change note pitch chromatically. The up arrow increases the pitch by one half step. The down arrow decreases the pitch by one half step. This is a great way to add sharps or flats to notes.

{{Note|text=In the key of C Major, and all key signatures that have sharps in the key signature, notes may only be sharpened. For instance, the note F# may not be displayed as a Gb. In key signatures that have flats, notes may only be flatted. For instance, the note Gb may not be displayed as F#. Double sharps and flats are not supported.}}

When you use the Shift key in conjunction with the up and down arrow keys, the note shifts its pitch by an additional octave.

Dragging With The Bounding Box

You can use the Hand and Bounding Box together to move a group of notes simultaneously. First, use the mouse to draw a box around the group of notes you want to move. Then, click down in the box and drag it.

Duplicating Notes

To duplicate notes, click on the Duplicator button or press function key "F4". When you click and drag a note, Bars&Pipes Professional creates a new note of the same type, which you may then drag to a new destination. Once it is dragging the note, the Duplicator behaves identically to the Hand as described above.

You can use the Duplicator in conjunction with the Bounding Box to duplicate a group of notes simultaneously and drag them to a new location.

Erasing Notes

To use the mouse to erase Notes, choose the Erase button, either by clicking on this button or pressing "F5". In selecting this button, the mouse icon becomes a Pencil with the Eraser end pointing down and to the left. To delete notes, click down and drag the Eraser over the Notes. You do not need to click down on each note individually. Instead, click down and drag the mouse through the notes, erasing them all at once, much like an Eraser on a chalkboard.

* TIP * Use the Eraser and the Bounding Box to erase a group of notes simultaneously.

Toolizing Notes

The Graphic Editor Window contains a ToolPad. In it, you place Tools, which then can process, or Toolize, your music. The ToolPad holds up to sixteen Tools. This ToolPad contains a set of Tools identical to that in the Tracks window ToolPad. In fact, all of Bars&Pipes Professional's ToolPads, including those in other Graphic Editor Windows, share the same Tools

Placing A Tool In The ToolPad

To place a Tool in the ToolPad, dragit from the ToolBox, a ToolTray, or even a PipeLine, to the ToolPad. You can place Branching, Merge, and other pipe routing Tools in the ToolPad, but they have no effect on your music. If sixteen Tools occupy the ToolPad already, the new Tool replaces the currently displayed one.

Selecting A Tool From The ToolPad

Select the Toolize button by clicking on it once. The mouse becomes a wrench with a note in its mouth.

To select a Tool in the ToolPad, click on the ToolPad a second time, while holding the mouse down. A menu of sixteen Tools appears under the mouse. Select the one you want by moving the pointer to it and lifting up.

Editing A Tool In The ToolPad

To edit the parameters of the Tool currently displayed in the ToolPad, select Edit PadTool Controls... from the Display Options Window or press down the SHIFT key and click on the ToolPad.

The Control window for the selected Tool opens, if such a window exists. There you can set the variables determining the Tool's behavior. It isn't necessary to close a Control window before using the Tool. You can continue to make adjustments while you use the Tool.

Using The Tool

Tools work in three ways in the Graphic Editor. They process all notes between the Edit Flags; they process all notes within the Bounding Box; or they effect individual notes.

Once you select the ToolPad, the Tool processes any notes you touch with the wrench. Just drag the wrench through the notes to affect them immediately.

Although Toolizing individual notes may appear somewhat peculiar at first, it's an extremely useful feature. Tools can quantize, transpose, modulate, filter, echo, invert, and do much more on a note-by-note basis.

To process all notes between the Edit Flags, first drag them to border the range of notes you'd like to Toolize. Then, select the Toolize or Selectively Toolize commands from the Edit menu. We'll discuss Toolizing with the Edit Flags in depth later in this chapter.

You may also use the Bounding Box to Toolize or Selectively Toolize a group of notes. Click down with the mouse and draw a box around the notes you'd like to Toolize.

Magnifying Notes

Use the Magnifying Glass to analyze and modify notes. The Magnifying Glass allows you to operate on a note's values by typing them in specifically.

When you select the Magnify button the Magnify window opens.

The Magnify window displays all of the properties of any note that you touch with the mouse and lets you edit them. Use the left and right arrow keys to move from note to note. Use the up and down arrow keys to move through all of the MIDI events in chronological order.

{{Note|text=The Graphic Editor window must be activated in order to use the arrow keys, not the Magnification window.}}

The Time Field

The first field in the Magnify Window, "Time", indicates the time in measures, beats, and clocks of the note. The second field, "HMSF", indicates the time in SMPTE format (Hours, Minutes, Seconds, Frames). To change the time, click on either line with the mouse and enter a new time. Press the Return key to indicate that you've finished and the note jumps to the new time.

The Note Information Fields

Three information fields, "Note", "Velo", and "Leng", follow. The first indicates the note value as a key and octave, e.g., "A3", for A in the third octave. The second indicates the velocity , how hard you played the note. Often, this translates to note volume. The last field, "Leng", denotes the length of the note in measures, beats, and clocks.

{{Note|text=Press the Return or Enter keys on your Amlga keyboard after you change a line to confirm the change.}}

Undoing, Updating, and Aborting

Any changes that you make while in the Graphic Editor do not take effect until you either choose the Update command from the Edit menu or close the Graphic Editor.

{{Note|text=If you haven't updated the Track but you'd like to hear your edits along with the other Tracks, enable the Perform All Tracks option in the Prefs menu and dick on the Speaker button.}}

Of course, if you don't like your edits, you can close the Editor with no changes made to the Track by selecting the Abort command in the Edit menu.

Finally, if you make a single mistake while editing you don't necessarily want to Abort the entire editing session. Select the Undo command from the Edit menu to undo your last edit.

Here's a rundown of the Edit menu commands:

Undo (Right Amiga - U)
Use Undo in the Edit menu to return your Sequence to its state prior to the last edit operation. In addition to undoing any of the commands in the Edit menu, Undo works on all of the mouse-based editing operations, such as inserting, dragging, and altering Events.

Update (Right Amiga - Z)
Use Update in the Edit menu to update the Tracks window. In this manner, your changes are integrated into the Song without closing the window.

Abort (Right Amiga - Q)
Use Abort in the Edit menu to abort the editing process and revert your Track to its condition at the last Update (or before opening its Graphic Editor). The Graphic Editor window closes without updating the Track.

Auditioning Your Edit

In the Edit window, you have the option of hearing notes as you enter or drag them. Also, you can listen to the visible portion of your music, or listen to the portion from one Edit Flag to the other. You can hear these portions by themselves, or in context with the other Tracks you've recorded.

Hearing Notes As They Are Entered Or Dragged

If you set the Play Notes flag in the Prefs menu, every time you enter, drag, or Toolize a note, you will hear it. Bars&Pipes Professional sends the note from the Graphic Editor out through the Output side of the Track's PipeLine. If this option is not selected, the editing process is silent.

Listening To The Displayed Section

To listen to the portion of your Song displayed in the editor window, click the Speaker button. You can use the Sizing option or the Zoom In/Zoom Out buttons to control how much of your Song Bars&Pipes Professional plays.

Listening To The Portion Between The Edit Flags

Choose the Listen option in the Edit menu to play the music from the left Edit flag to the right Edit flag.

Hearing Edits In Context With Other Tracks

Choose the Perform All Tracks option in the Prefs menu. When you click on the Speaker or choose the Listen option, the Editor plays all of the Tracks along with the music in the Graphic Editor. Otherwise, if you do not select this option, the Editor plays only the notes in its window.

Performing With The Transport Controls

You can also listen to your edits in context by clicking on the Start button in the Transport Controls, starting the Sequencer. However, this plays from the Track, not the Edit buffer.

{{Note|text=This provides a valuable way to compare your edits before and after. Play from the Transport Controls to hear the muslc prior to opening the Ed,t window. Enable Perform All Tracks and dick on the Speaker button to hear the music with the new edits in place.}}

Scrolling With The Sequencer Performance

Performance Select Scroll With Performance from the Display menu if you'd like the Sequence Display to scroll along when you play from the Transport Controls.

Viewing Your Edit With Other Tracks In The Background

You can view other Tracks in the background of the Graphic Editor's Hybrid Staff and Piano Roll displays. To do so, go to the Tracks window and create a Group composed of the Track you are editing and the Tracks you'd like to see in the background. Once the Group is active, the extra Tracks display in grey in the background of the Graphic Editor. This feature allows you to compare notes in one Track with notes in others.

{{Note|text=Please see Chapter 19, Advanced Sequencing, for information on creating and using Groups.}}

Notation

Displaying Notation

When you select Staff-Notation from the Show menu, Bars&Pipes Professional displays the notes on a traditional treble and bass clef in standard musical format.

Bars&Pipes Professional marks accidentals, those notes which fall outside of the selected key, with sharps or flats. If you haven't defined a key, the Staff defaults to the key of C MAJOR (no standard notes sharped or flatted).

{{Note|text=The Edit window refreshes after each editing operation whenever Staff-Notatlon is activated.}}

The Notation Resolution

When you select Staff - Notation, Bars&Pipes Professional creates rests and ties on the fly. Bars&Pipes Professional uses the duration of each note and the notation resolution to determine what the music looks like. The notation resolution is the smallest note value (eighth, sixteenth, etc.) that Bars&Pipes Professional displays.

You can control the resolution of the notation by selecting Resolution from the Notation menu.

By default, Bars&Pipes Professional selects a sixteenth note resolution. Always choose a resolution that corresponds to the shortest note in the Track. Otherwise, Bars&Pipes Professional displays the note at the selected resolution, which means that shorter notes may run together. On the other hand, if you set the resolution too small, Bars&Pipes Professional can add unnecessary fractions of notes that muddle the page.

{{Note|text=Bars&Pipes Professional plays the notes as you have composed them, even if the selected Resolution causes them to display improperly.}}

Notation Transposition

Bars&Pipes Professional supports two different key types: Concert Key and Transposed Key. Transposed Key applies to those instruments that require transposition, e.g., Eb Alto Sax or Bb Clarinet. If you select a Transposed Key for a particular Track, you have the option of displaying it either in Concert Key or Transposed Key.

To assign a Transposed Key to a Track, select Transposition... from the Notation menu. This opens the Transposition requester.

Most of the time, you'll be using the Transposition Type button. When you click down on this button, Bars&Pipes Professional opens a pop-up menu containing a list of all popular instruments.

If you are writing for an instrument that is not in the list (e.g., piccolo trumpet), select Custom from the list. Then adjust the Octave and Interval sliders to the desired transposition. The Octave slider steps the transposition by octaves; the Interval slider controls the interval within an octave, e.g., a major third or minor sixth. You can also alter any of the instrument presets in the list.

To switch the display of a Track to Concert or Transposition Key, select Notation... from the Display Options menu.

Updating The Notation Display

In certain situations, typically after a lot of editing, the Notation display may contain a few errors. To refresh the Notation display, use the Update Transcription command found in the Notation menu. Bars&Pipes Professional recalculates where to place ties and rests, then redisplays the Track's Notation Staff.

Transcribing Notation

The Transcribe option in the Notation menu goes one step further than the Update command. It commands Bars&Pipes Professional to recalculate the notation values of the notes themselves. It uses the value chosen in the Resolution... option to determine the smallest note that may be displayed. It also uses the options in the Transcription Options requester to determine how it addresses various transcription issues.

You can transcribe the entire Track, or just the portion of the Track between the Edit window's Edit Flags by choosing All or Between Flags respectively. Bars&Pipes Professional then calculates the notation value for each note, and insert rests appropriately.

Transcription Options...

The Transcription Option requester controls the way Bars&Pipes Professional transcribes music. Open it by selecting the Transcription Options command in the Notation menu.

The Transcription Options requester contains three categories of buttons: Note length options, Note stem options, and Chord options.

The Note length buttons help Bars&Pipes Professional decide how to represent a note's length. The following lists each Note length option in detail:

Overlap Notes
When you select Overlap Notes, the Transcribe command handles overlapping notes by creating tied notes. Otherwise, the Transcribe command truncates the first note before starting the second. By default, Overlap Notes is off for a cleaner, though slightly less accurate, representation.

Extend Notes
When you select the Extend Notes option, the Transcribe command extends each note to the next note or beat, whichever comes first. This option makes the display cleaner because it minimizes the use of rests.

Insert Rests
When you select the Insert Rests option, the Transcribe command displays rests. Otherwise, rests will not be transcribed. By default, this option is on.

The Chord Options also control the way Bars&Pipes Professional transcribes music. Bars&Pipes Professional considers notes that begin at the same time, within the selected Resolution, to be members of the same chord. These options control how it decides to display notes in one chord.

The following Chord Options are mutually exclusive:

Shorten Notes
When you select the Insert Notes option, the Transcribe command causes all notes in a chord to be displayed as the smallest note in the chord.

Lengthen Notes
When you select the Lengthen Notes option, the Transcribe command causes all notes in a chord to be displayed as the longest note in the chord.

Keep Note Lengths
When you select the Keep Note Lengths option, the Transcribe command transcribes the notes in a chord to different lengths. It splits longer notes into tied notes.

The Note Stems options controls how Bars&Pipes Professional transcribes stem directions:

Auto Stem
The Auto Stem option lets Bars&Pipes Professional decide which directions to place the note stems.

Stem Up
The Stem Up option sets all note stems up.

Stem Down
The Stem Down option sets all notes stems down.

Oppose Rhythm
With the Oppose Rhythm option selected, Bars&Pipes Professional analyzes the music for two different rhythms in each measure. If there are two different rhythms, it sets the stems up on the first rhythm and the stems down on the second. This option is useful in conjunction with printing notation.

Printing Notation

Choose the Print... command from the Notation menu to open the Print Requester for the Track. Please see chapter 11, Printing Notation, for more information.

Centering The Notation Staff

The center of the Notation Staff defaults to middle C, octave five on the MIDI keyboard. To change to another octave, use the Note Range... Staff Center command in the Display Options menu. The Staff Center requester opens.

In the box to the right of the Center: prompt, the requester displays the note currently at the center of the Staff. By default, the Staff centers around C5, the note C of the fifth octave.

To change the octave, click on the center note and hold the mouse down. Under the mouse, a pop-up menu appears with a choice of octaves. Move the mouse to the one that you want and lift up. The center note changes to C of the octave you choose.

The Auto Center button automatically calculates the center note and accommodates the range of notes displayed.

When you finish, press Okay to accept the new Staff Center, or Cancel, to leave it as it was.

Tablature

Displaying Tablature

When you select Tablature from the Show menu, Bars&Pipes Professional displays note pitches as fret numbers on guitar strings. The open string note value of each string, which can be changed, is shown on the left. To the left of that is either an ON or an OFF. This value is used by the Tabulate... menu option in the Tablature menu. If a string is ON, it may have notes assigned to it. Otherwise, notes are not be assigned to it.

Setting The Tablature Resolution

Use the Set Tablature Resolution command to control how Bars&Pipes Professional spreads notes across the strings. This opens the Tablature Resolution requester.

Since tablature is not concerned with durations of notes, every note could potentially be transcribed to the same string (provided that the pitch of the note exists on the string).

Notes which sound simultaneously obviously need to be transcribed to different strings in order to be played simultaneously. Notes which do not sound simultaneously can be played on the same string, one after another.

The larger the Tablature Resolution, the more notes Bars&Pipes Professional attempts to transcribe simultaneously. This value is measured in clocks. When Bars&Pipes Professional transcribes one note, it goes on to the next note and the next note, filling up each of the six guitar strings.

Once Bars&Pipes Professional has looked ahead of the first note by the number of clocks set by the Tablature Resolution, Bars&Pipes Professional starts over from scratch, filling each string with a note, one by one.

You can set the Tablature Resolution from one clock to 768 clocks.

Setting The Tablature Position

Use the Set Tablature Position requester to control which position, or fret, Bars&Pipes Professional uses during transcription. This value can be set to auto, or from one to 23.

With auto position chosen, Bars&Pipes Professional attempts to find the most comfortable position for the notes to be played in.

When a specific position is chosen, Bars&Pipes Professional attempts to place all notes within one fret below and four frets above the selected position.

Transcribing Tablature

Use the Tabulate... command to transcribe your music to tablature. Choose All or Between Flags to transcribe all of the Track or just the portion between the Edit Flags.

Changing String Octaves

Open the Change String Octaves requester to change the octaves of all strings up or down.

This allows easier access to some transcriptions.

Enabling And Disabling Strings

Sometimes, you may want to transcribe a piece of music only to certain strings. Use the ON/OFF toggle to do so. Click with the Magic Wand on the ON/OFF to toggle between the two.

{{Note|text=Even though a string may be disabled for transcription, you can still drag or Input a note by hand onto that string.}}

{{Note|title=Tip|text=MIDI guitarists can use this feature to get an accurate transcription of what to play. (Please see below.)}}

Changing Open String Notes

Click with the Magic Wand on the open string note value, and drag the mouse up and down to change the open string note value.

Creating A Note In Tablature

To create a note in tablature, click in the tab area with the Pencil. A number appears, indicating the fret number. To set the pitch to the desired note, continue by dragging the mouse up or down to change the number to the correct fret. The duration of the note created is equal to the default note value.

Editing A Note In Tablature

Only the pitch of a note can be changed in Tablature, not the duration. Use the Magic Wand to change the note pitch of existing notes. Click on the note's fret number with the Wand; then drag the mouse up and down to change the fret number. To change the duration, use the Wand in the Piano Roll or Hybrid Notation displays. To change the note velocity, use the Wand in the Velocity display.

Creating An Accurate Transcription

If you record from a MIDI guitar, Bars&Pipes Professional can create an accurate transcription of what you play. Set up Bars&Pipes Professional to record each string on a separate Track, using the multiple-in preferences option, and have your MIDI guitar output each string on a different MIDI channel.

After recording, go into each Track's Edit window. Display Tablature, and set the ON/OFF toggles for each string so that only the correct string is ON, and all others are OFF. Choose the Tabulate... option from the Tablature menu to transcribe the music to the string. This sets each Track to tabulate all of its notes on only the chosen string.

Once you've finished with all six strings, close each Edit window. Create a Group out of the six Tracks, and use the Merge option in the Group menu to merge all six Tracks into one Track. Each note retains its string identity. When you look at the Tablature for the merged Track, you will see an accurate transcription of what you've played.

{{Note|text=Please see Chapter 19, Advanced Sequencing, for Information on creating and using Groups.}}

Cut and Paste Editing

The first menu on the left in the Graphic Editor window is the Edit menu. Most operations in this menu work on the section between the Edit flags. The Edit flags are the purple triangles above the Sequence Display.

We'll refer to the section between the Flags as the Clip. A Clip includes all Events and Parameters which occur between the two Flags. You can drag the Edit flags to any location, and then cut, copy, paste and place Clips into the Clip buffer or, if it is open, the ClipBoard.

{{Note|text=The ClipBoard is explained in the Multi-Track Editing chapter.}}

To set an Edit Flag, click down on it and drag. If you drag beyond the edge of the display, it scrolls. The Edit Flags follow the same rules for alignment as the Flags in the Tracks window; when you lift up on the Flag, it jumps to the leftmost alignment boundary. By default, alignment is set to every measure. Change the alignment by selecting from the Align With... option in the Prefs menu. Alternatively, set the alignment with the alignment buttons in the Set Flags window.

Let's look at each edit command in the Edit menu:

Cut (Right Amiga - X)
Use the Cut command to cut a Clip from your Sequence. Doing so removes the section between the Edit Flags. Everything to the right of the section shifts to the left Edit Flag. You can then use the Paste command to insert the Clip elsewhere in your Track. If the ClipBoard window is open, the Clip displays in it. Use this if you'd like to Cut and Paste between multiple Edit windows. When the ClipBoard window is closed, the Clip remains hidden for use within the same Track.

Copy (Right Amiga - C)
Use the Copy command to copy a Clip without actually removing it. Nothing visibly happens, but the section between the Edit Flags becomes a Clip, available for Pasting. If the ClipBoard window is open, the Clip appears in it.

Paste (Right Amiga - P)
Use the Paste command to insert a Clip after the placement of the left Edit flag. If the ClipBoard window is open, the Paste command uses the currently selected Clip in the ClipBoard. Otherwise, it uses the result of the last Cut or Copy operation from the same Edit window.

You may do multiple Paste operations with the same Clip. The Clip remains the same until the next Cut or Copy command.

Mix (Right Amiga - M)
Use Mix to merge a Clip on top of a section. Starting at the left Edit Flag, Bars&Pipes Professional mixes in Events such as notes, pitch bends, and after-touches, but ignores Parameters such as Chords, Rhythms, etc. Once again, if the ClipBoard window is open, the Mix command uses the currently selected Clip in the ClipBoard. Otherwise, it uses the result of the last Cut or Copy operation from the same Edit window.

Erase (Right Amiga - E)
Use Erase to clear the section between the left and right Edit Flags. All Events disappear, which leaves your Sequence silent during this section. Erase is different from the Cut command, in that the section to the right of the Clip is not shifted over to the left Edit Flag and nothing is placed in the ClipBoard for later Paste or Mix operations.

Insert (Right Amiga - I)
Use Insert to insert a blank space in your music between the Edit Flags. This command comes in handy when adding a section somewhere in the middle of the Sequence. Insert the section, then use whatever methods you prefer to fill the gap with music.

Delete (Right Amiga - D)
To delete a section between the right and left Edit flags, use the Delete command. This command operates identically to the Cut command, but does not place the deleted section into the Clip buffer or ClipBoard.

Toolize (Right Amiga - T)
Use Toolize to process the Clip with the currently selected Tool in the ToolPad.

Selective Toolize
Use the Selective Toolize command to selectively Toolize only certain events and note ranges between the two Edit Flags. When you select this option, a requester appears.

Highlight in red the MIDI event types you want to Toolize. If you select Note On/Off, you may select a note range with the two sliders.

Once you've set the parameters, select the Toolize button. The Tool in the ToolPad processes all activated event types and, if Note On/Off is activated, all notes between the upper and lower limits inclusive.

Repeat... (Right Amiga - R)
Use Repeat to duplicate a section of your Sequence. This command makes multiple copies of the section between the Edit Flags and inserts them into the Sequence.

When you select the Repeat command from the Edit menu, the Repeat requester opens. enter the number of repeats, then select Okay or Cancel.

Listen (Right Amiga - L)
Use Listen to preview everything in the section between the Edit Flags. Bars&Pipes Professional plays all MIDI Events in the section at the current tempo. Because the Events travel down the PipeLine, any Tools you have selected to process the Output PipeLine will process the section as it plays.

* TIP * The Listen command is different from the Speaker button because the Listen command plays back everything between the Edit Flags. The Speaker button plays back everything that is visible in the Edit window.

If the Perform All Tracks option in the Prefs menu is selected, the Listen command plays all other Tracks in the sequence as well.

Boundaries... (Right Amiga - B)
Use Boundaries to enter the numerical values for the Edit Flags. Doing so opens a requester into which you can type positions for the two Flags.
==MIDI Event Editing==

Chapter 9

Overview

Notes aren't the only MIDI events you can record, edit and play. Bars&Pipes Professional lets you work with all MIDI channelized events, including Pitch Bend, Program Change, Control Change, and more.

Entering and editing other MIDI events is similar to entering and editing notes. In this chapter, we'll show you specifically how to enter and edit these special MIDI events.

Types of MIDI Events

When musical information travels through a MIDI cable, it's broken into individual commands that describe specific actions. These commands are commonly called "MIDI messages", or "MIDI events."

With Bars&Pipes Professional, you can record, play and edit all of the MIDI-channeled voice events. These events encompass all the commands that control how your synthesizer(s) can play: what notes to play, how loud to play them, how much pitch bend to include, etc. The MIDI channeled voice events embody the actual performance. Let's look at each:

Note On And Note Off Events

Note On and Note Off are by far the most important MIDI events. They describe when a note starts to play and when it ceases to do so.

From a MIDI perspective, Note On and Note Off are separate entities. When you press a key on your MIDI keyboard, it immediately sends a MIDI Note On event which states that the note is playing. Your MIDI keyboard has no way of knowing however, how long you'll sustain that note. Not until you lift your finger off the keyboard does it send a MIDI Note Off event. As you see, the performance of a note is described by MIDI as two separate occurrences.

In traditional music, a note is considered one event, not two. Bars&Pipes Professional's Sequencer combines Note On and Note Off to create one note event that describes when the note starts, as well as its duration. Even so, it's useful to remember that a note is broken into two parts when it leaves your keyboard, zings across MIDI to your Amiga, flows down a PipeLine, enters the Sequencer and combines into one.

Upon playback, a note is once again broken into two parts, which flow down the right side of the PipeLine, out through MIDI, and into your synthesizer.

Note Velocity Data

In addition to the actual value of the note, the MIDI Note On event also stores the note's velocity, i.e., how hard you strike the key to produce the note. Note Velocity translates into note emphasis or volume. To view and edit MIDI Note events, please see the preceding chapter.

Pitch Bend Events

Pitch Bend allows the performer to bend the pitch of a note. Since bending a note is an extremely powerful form of musical expression, almost all MIDI instruments provide it. The MIDI Pitch Bend event states how far out of pitch all notes are shifted at a specified point in time.

The MIDI Pitch Bend event can be confusing. While it states how far between two extremes the pitch is shifted, it has no knowledge of the boundaries of those extremes. It does not explicitly state, "Shift all notes up a half step." Instead, it says, "Shift all notes up one-eighth of the maximum distance by which you shift." The synthesizer produces the shifting pitch that decides how to interpret the bend. You can set the range on most synthesizers between one half step and a full octave for the Pitch Bend extremes.

Bars&Pipes Professional draws each MIDI Pitch Bend event as a vertical line stemming from a central axis. If the pitch bend is positive, or sharp, the line extends up from the axis. If the pitch bend is negative, or flat, the line drops down. Although you can think of a pitch bend over time as a continuous curve, in MIDI terms it's a series of individual Pitch Bend events, which is why the resulting display looks more like a picket fence, the tops connected to describe the steps of the curve.

Mono After-Touch Events

Mono After-Touch measures how hard you press a key on a MIDI keyboard. The changing pressure is converted into numeric values which are constantly sent down the MIDI link. When these describe the overall pressure on the keyboard, as opposed to individual key pressure, they are Mono After-Touch events. Just how the key pressure is interpreted is completely up to the performing synthesizer. Two typical uses are vibrato and volume control.

Bars&Pipes Professional draws each MIDI Mono After-Touch event as a vertical line and connects the tops with a horizontal line. The greater the key pressure, the higher the line.

Poly After-Touch Events

Poly After-Touch transmits key pressure on an individual key basis. Poly After-Touch MIDI events specify both the key being pressed and its current pressure. Unfortunately, since the hardware to do this is expensive, not many keyboards feature it. For the machines that do support it, Poly After-Touch can be used to describe note emphasis on a continually changing basis.

Bars&Pipes Professional displays Poly After-Touch events in the same way that it displays Mono After-Touch events: with a vertical line denoting pressure, however, since these events also specify which note each After-Touch influences, you can specify the range of notes as well. Do this by setting the Piano Roll note range with the Note Range command in the Display Option menu. All notes displayed in the Piano Roll have their After-Touch values displayed; all others do not.

Control Change Events

Control Change handles many different continuous controllers. Continuous controllers are hardware devices such as volume pedals, breath controllers, and modulation wheels. Every time you alter the position of one of these devices, the device sends a MIDI event reflecting the new value. These events are called MIDI Control Change events. The receiving synthesizer interprets this information to generate vibrato change the timbre of a sound, or adjust the volume.

No limit exists on the scope of sound-producing parameters that can be controlled with these events. In order to support multiple controllers, the Control Change event carries two pieces of data, an identifier that specifies a controller, and the controller data itself.

The identifier, called the Control Change Number, can range from 0 to 127. For example, most synthesizers use Control Change #1 to set the Modulation Wheel and Control Change #7 to set the Volume. The data, the actual position of the wheel, pedal or other controller, is a number between 0 and 127.

Since 128 different Control Change numbers exist, you can't see them all at once. For example, if Bars&Pipes Professional were simultaneously to display a rising Volume Pedal event and a decreasing Modulation Wheel event, it would be impossible to make sense of the resulting mixture, much less edit it with the mouse. Bars&Pipes Professional shows, therefore, only one Control Change type at a time.

To select which Controller you'd like to view and edit, use the Control Change # option in the Display Options menu.

Program Change Events

Program Change tells your synthesizer what sound, or "patch," to use when playing notes. This event holds a number, from 0 to 127, which identifies which patch to use. For example, on your synthesizer, patch #2 could be a violin, patch #45, a marimba. If your synthesizer receives a Program Change event with patch #2, it plays the violin. Later, if it receives a Program Change with patch #45, it switches to a marimba.

Most synthesizers can switch between sounds instantly. It is possible, therefore, to embed Program Change events in your sequence that switch among several voices on the same synthesizer as it plays your piece of music. Embedding such Program Change events is a great way of squeezing more performance out of your available hardware.

Unfortunately, no correlation exists between Program Change patch IDs and specific sounds. Patch #2 may be a violin on one synthesizer and a dog bark on another. The General MIDI Standard is an attempt to remedy this problem. It standardizes the assignment of patches to instruments. For example, with all General MIDI instruments, Patch #0 is a Grand Piano.

Bars&Pipes Professional displays Program Change events as numbers, 0 through 127, or as Patch Names if they have been defined in the Define Patch Lists window. These numbers and names indicate to which patch the synthesizer switches when receiving the event.

System Exclusive Events

System Exclusive events are special commands unique to the instrument (or product line). Manufacturers use System Exclusive events, for example, to set pitch bend ranges, transpose keys, send new patch data to the instrument, and many other functions. The user's manual for your instrument can tell you whether your instrument supports System Exclusive events, and what they do.

Unlike the previous commands, System Exclusive events are not generally considered performance events and they do not obey the same system of MIDI channels as performance events. However, they can be useful to record and play, so Bars&Pipes Professional's recording, playback, and editing mechanisms support them.

Bars&Pipes Professional displays the first four bytes of a System Exclusive event in the strip. Entering new events (with the Pencil) or editing existing events (with the Wand) opens the System Exclusive requester, described in Chapter 13, System Exclusive.

Editing MIDI Events

Use the Graphic Editor to edit MIDI events. To open the Graphic Editor, double-click a specific Track. The Graphic Editor window opens, displaying your selected Track, starting with the measure you clicked on. Depending on which MIDI events you want to edit, it may or may not display all of the appropriate data. To select the events you'd like to edit, check them off in the Show menu of the Graphic Editor window.

You can toggle several Show menu options at once by holding down the right mouse button and pressing the left mouse button over each option you want to toggle. This feature can be a big timesaver, especially if you're changing five or six options.

The Command Buttons in the Graphic Editor

The first eight buttons from the left of the Graphic Editor are the Command Buttons. The Command buttons determine how you use the mouse: for dragging events, erasing events, or whatever. As you click each button with the mouse, the mouse's icon changes. Most of these buttons have keyboard equivalents as well. The following list describes each button briefly:

The Magnifying Glass displays information about events you touch with the mouse.

The Pencil, or function key "F1", draws new events.

The Magic Wand, or function key "F2", alters events.

The Hand, or function key "F3", grabs and drags events.

The Duplicator, or function key "F4", creates an exact duplicate of the selected MIDI event.

The Eraser, or function key "F5", deletes events.

The ToolPad allows you to process MIDI events with certain Tools

The Bounding Box, or function key "F6", working in conjunction with the Hand, Duplicate, Erase, and ToolPad buttons, enables you to draw a rectangle around a set of events and then move, duplicate, delete, or Toolize them.

Setting the Lock Grid

In the last chapter, Note Editing, we needed to set the Default Note before drawing notes. This is because notes have definite durations and volumes. Other types of MIDI events do not have this information. However, it may still be desirable to set some type of quantization for entering and dragging MIDI events.

Before drawing or dragging events, set the Lock grid. The Lock grid determines on what boundaries events fall when dragged or entered. Set the Lock options with the Lock to Default Note and Lock to Notation Resolution options in the Prefs menu.

No Lock Selected

If no Lock grid is selected, events can be dragged and entered at the resolution of the display, which is typically about 4 clock cycles (with 192 clocks per quarter note). In order to tweak the event time even further, use the Magnifying Glass or List Editor.

Lock To Default Note

Selecting Lock to Default Note in the Prefs menu causes events to lock to a grid with intervals corresponding to the Default Note value. The Default Note consists of a note value (eighth, quarter, etc.), and a modifier (triplet, dotted, or normal). Please see the previous chapter, Note Editing, for more information about setting the Default Note.

{{Note|text=The Default Note also contains an articulation (staccato, legato, etc.), and a dynamic level (pp through ff). However, these are only used with Note events, discussed in the previous chapter.}}

Lock To Notation Resolution

Selecting Lock to Notation Resolution in the Prefs menu cause events to lock to a grid with intervals corresponding to the Resolution value assigned in the Notation menu.

Lock To Rhythm

Selecting Lock to Rhythm in the Prefs menu causes events to lock to a grid corresponding to the current Rhythm template. Please see the next chapter, Song Parameters to learn more about Rhythm parameters.

Entering MIDI Events

Use the Pencil to enter MIDI events. To do so, click on the Pencil button, which highlights it. Notice that the mouse resembles a Pencil. Enter events by clicking down with the mouse where you want the first Event. Then drag it across the display to enter a trail of events. Here is what happens when you draw in each MIDI Event type:

Note On And Note Off Events

Please refer to Chapter 8, Note Editing, for more information.

Pitch Bend Events

To enter a Pitch Bend curve, click down with the Pencil where you'd like it to start and drag it to the right. Set the height of each Pitch Bend Event by the vertical position of the mouse. The current Default Note determines the distance between each Pitch Bend Event. If you'd like many events close together for high resolution, select a small Note Value. Sixty-fourth note resolution works very well.

Mono After-Touch Events

To enter a Mono After-Touch curve, click down with the Pencil and drag it to the right. Remember that the Default Note determines the distance between each Event.

Poly After-Touch Events

Drawing in the Poly After-Touch curve is a bit complex because each Poly After-Touch Event corresponds to a particular note. In other words, Bars&Pipes Professional organized Poly After-touch event according to its Poly After-Touch information and its pitch, denoted as a letter and an octave number, such as C5.

As you draw the curve with the Pencil, two factors govern which note corresponds with which Event. First, Bars&Pipes Professional includes only notes within the range of the Piano Roll. Second, Bars&Pipes Professional chooses the current or most recent note in the sequence. As a result, if the Piano Roll displays a C in octave 5, Poly After-Touch events drawn under that note have C5 integrated into them.

Control Change Events

To enter a Control Change curve, you must select the right Control Change number. Then click down with the Pencil and draw in the Control Change events.

To avoid confusion, Bars&Pipes Professional displays only one Controller at a time. Use the Control Change # command from the Display Options menu to open the Control Change Number requester.

After the Controller #: prompt enter the Controller number that you want Bars&Pipes Professional to display or click on the Next Controller button to cycle through all the Control Change numbers in your Sequence. This way, you can quickly jump from one Control Change number to the next. Cycling is also useful for discovering what types of Control Change events are embedded in your Sequence.

Program Change Events

To enter each Program Change, select the Pencil and click in the Program Change region.

You can select a Program (or "Patch") by number, and, if a Patch List is installed, by name as well. To select by name, click the button after the Patch: prompt and hold. A scrolling list of available patch names appears under the mouse. Drag the mouse and click on your choice. To select by number, drag the slider under the Patch name.

The button after the Synth: prompt displays the currently selected Patch List. If you'd like to change it, click on the button and select a different Patch List from the scrolling list.

Create and install Patch Lists from the Patch List window, accessed from the Define menu.

{{Note|text=Each Track references one Patch List. Not only does this list define the names displayed in the Program Change requester and Program Change display, it also defines the Patch List used by the Quick Patch Tool.}}

System Exclusive Events

To enter a System Exclusive event, select the Pencil and click in the System Exclusive region. This opens the System Exclusive requester, described in detail in Chapter 13, System Exclusive.

Altering MIDI Events

Once you enter events, you can alter them. To the right of the Pencil sits the Magic Wand. Once you select the Magic Wand, you can alter the events with the mouse. Click down and pass it over the events you want to change and their heights magically conform to the path of the mouse. Notice that the Magic Wand draws a line as the events change shape.

This holds true for all MIDI Event types except for the Program Change and System Exclusive events. To alter one of these events, touch the event line with the Magic Wand. The Program Change requester or System Exclusive requester appears, which allows you to alter the event data.

Dragging MIDI Events

If you select the Hand button, you can use it to drag events forward and backward in time. Because Bars&Pipes Professional displays most MIDI events as thin vertical lines, you're not required to position the mouse exactly over an Event before you click on it. Instead click down the mouse and sweep it through the Event. The Event sticks to the mouse,. which you can then drag to its destination.

All of the "Lock to" options in the Prefs menu operate on other MIDI events, just like note events. If you set the Lock to Default Note option in the Preferences menu, the item moves to a grid defined by the Default Note. For example, if the Default Note is a quarter note, everything you drag moves left or right at quarter note intervals. Select Lock to Resolution to lock to the Resolution assigned in the Notation menu. Select Lock to Rhythm to lock to the current Rhythm template.

You can also use the Right and Left Arrow keys to move events forward or backward in Song time.

Duplicating MIDI Events

To duplicate events, click on the Duplicator button or press function key "F5." When you click and drag an event, Bars&Pipes Professional creates a new event of the same type, with the same data, and places it at the destination.

Erasing MIDI Events

To erase events, choose the Erase button, which, when selected, causes the mouse to resemble an Eraser. Click down and drag the Eraser through MIDI events to delete them.

Toolizing MIDI Events

You can Toolize all MIDI events, although most Tools concentrate specifically on Note events. Exceptions to this rule are the Delay and Echo Tools, which work on all Event types, and the Modulation, Flip, and Inverter Tools, which do their work on both Poly After-Touch and Note events.

Toolizing other MIDI events is similar to Toolizing Note events. Please see the previous chapter, Note Editing, for more information on Toolizing.

Boxing MIDI Events

You can select some of the Command buttons in conjunction with the Bounding Box. When you use the Bounding Box, you affect everything within it.

To draw the box, click down where you'd like one comer of the box to be and drag the mouse to the opposite corner. A box grows as your mouse travels. The box does not cross boundaries between data displays. Thus, you can't draw a box that encompasses Pitch Bend events as well as Mono After-Touch events.

The Bounding Box works with the following four Command buttons:

The Hand Button
The Hand drags everything in the box with the mouse. Once you create the box, click down on it a second time and drag it. All MIDI events in the box move with the mouse.

The Duplicate Button
The Duplicator duplicates everything in the box. Once you create the box, click down on it and drag it. A copy of the selected MIDI events moves with the mouse.

The Erase Button
The Eraser erases every MIDI Event within the box, once you lift up on the mouse.

The ToolPad
The ToolPad Toolizes all events within the box with the currently selected Tool.

Magnifying MIDI Events

When you select the Magnify button, the Magnify window opens and the mouse resembles a magnifying glass. The Magnify window displays data which can be edited, about each MIDI Event currently being touched with the mouse. Use the Right and Left Arrow keys on your Amiga keyboard to move through the selected event types one by one. Use the Up and Down Arrow keys to move to the event which occurs next chronologically. Bars&Pipes Professional displays the type of event in the Title bar of the Magnify window.

The first field in the Magnify window, labelled "Time," lists the time in measures, beats, and clocks. The second field, labelled "HMSF," lists the time in SMPTE format. If you click in either line with the mouse, you can change the time by entering a new one. Press the Return key when you complete the line. This causes the Event to jump to the new time.

All of the other lines differ depending on the type of MIDI Event. Remember, after you edit any of these lines, you just press the Return key to register the change. Here's a listing of what each Event's Magnify window displays:

Pitch Bend Events

Pitch Bend has one line, "Bend," which displays a numeric value for the bend.

The maximum positive pitch bend is 8191. The maximum negative bend is -8192. A positive bend makes the music play up in pitch, while a negative bend makes it flat.

Mono After-Touch Events

Mono After-Touch has one line, "Pres," which represents the key pressure.

The numbers range from 0, for no pressure, to 127, for extreme pressure.

Poly After-Touch Events

Poly After-Touch has two fields, "Note" and "Pres."

Poly After-Touch has two fields, "Note" and "Pres." "Note" identifies the key being pressed, while "Pres" shows the pressure as a number between 0 and 127.

Control Change Events

Control Change has two fields, "CC #" and "Data."

122 different Control Change numbers exist. The first line specifies which controller this Event addresses. The second provides the data, a number between 0 and 127.

Program Change Events

Program Change has one field, "Ptch," which is a patch selection number between 0 and 127.

System Exclusive Events

System Exclusive has three fields, "Time," "HMSF," and "Data." Clicking in the Data field opens the System Exclusive requester.

==Editing Song Parameters==
Chapter 10

Overview

Song Parameters describe your music in terms more sophisticated than MIDI events. They provide the foundation for your composition.

Song Parameters do not affect your composition directly. Instead, they are used by Tools, Accessories, and other functions to indirectly effect or further illuminate your composition. For instance, Time Signatures affect the display and printout of notation. Chords can be used in conjunction with the Chord Player Tool. Dynamics can be used with the Phrase Shaper Tool.

There are two different uses for Song Parameters: the Master Parameters, which characterize your Song as a whole, and the Track Parameters, which override the Master Parameters and work on a Track-by-Track basis.

Song Parameters are edited in the same Graphic Editor you've been using in the two previous chapters.

To edit the Master Song Parameters, open the Graphic Editor from the Windows menu by selecting Master Parameters. To edit the Song Parameters for any Track, double-click on the Track's sequence display in the Tracks window.

In the Graphic Editor window, Bars&Pipes Professional displays each Parameter in a band that runs from left to right. On the left side of each band is the name of the Parameter.

Select which Parameters you'd like to see from the Show menu.

Since the display can't possibly show all Notes, Parameters and Events at once, a scroll bar on the right enables you to scroll up and down.

An Explanation of Each Parameter

Six different Song Parameters exist. Before we discuss how to enter and edit them, let's consider how they relate to music in general:

Lyrics

Lyrics are words which accompany music. They exist in rock, blues, opera, pop, jazz, heavy metal, church music, and many other musical forms. Lyrics can reinforce a composition's tone or contradict it altogether. They, as well as the meter, rhyme scheme, and rhythm you choose, can complement the music and further its meaning.

Recognizing that not all music is purely instrumental, Bars&Pipes Professional allows you to enter lyrics directly above the measures in which they occur.

You can use the printing Accessory, "Follow the Leader," to print your Lyrics. Also, if you save your Song in MDI File Format with the "sMerFF" Accessory, sMerFF saves the lyrics so that notation programs that read MIDI File Format can display your lyrics with the music. The Graphic Editor displays each word positioned in its appropriate measure.

Chords

Chords consist of three or more notes played at once. Many types exist, but the most common in popular music are major and minor chords and derivations thereof. Basic chords can be formed by taking the first three of every other note in a scale and playing them simultaneously. Sound confusing? Let's look at an example:

A "C major" scale consists of the notes "C,D,E,F,G,A,B,C." To form a triad (a chord with only three notes) in this key, pick a root note (the bottom of the chord) and build up from it by choosing every other note in the scale. A D triad in the key of C consists of the notes D, F and A. An F triad in the key of C consists of the notes F, A, and C. By skipping every other note, you form basic triads within a key.

Every triad or chord conveys a certain emotional tone. Minor chords are often used to project sadness, anger, or seriousness, while major chords tend to sound happy and pure. Since a major scale contains seven distinct notes, seven basic triads exist within the scale. In other words, a triad can be constructed by using each note of the scale as the root note. CEG, DFA, EGB, and FAC are the first four triads in the key of C.

More specifically, rules govern the "flavor" of each triad as it relates to a key. In a major scale, for example, the triad built on the second note in the scale is always minor. The triad built on the third note is minor, too, but the triad built on the fourth note is major.

If you have a keyboard available, play the triads by moving note by note up the C major scale and you can hear the differences in tonal quality. Some triads are major; others, minor. (The triad built on the seventh note is "diminished" in quality, but since this manual has space limitations, we won't branch into aspects of music theory that would explain this.) Major triads are based on the interval formula, "root note + two whole steps + a whole step and a half". Minor triads are based on the formula "root note + a whole step and a half + two whole steps."

The Chords option presents an assortment of chord types including major, augmented, major7, major6, dominant7, minor, minor-6, minor+5, minor6, minor7, minorMA7, diminished, minor7-5, diminishedMA7, dominant 7-5, major9, dominant7-9, dominant9+5, dominant7 -9+5, and the list goes on. Should you fail to find one to your liking, create your own chords in the Define Chords window.

Although Bars&Pipes Professional doesn't play chords automatically, they provide valuable information that can be used by Tools to assist in the composing process. Once chords are entered into a Song, Tools come into play that make sophisticated musical decisions based upon your chord choices. As an illustration, the Accompany B Tool takes your chords and hammers out a rhythmic accompaniment. The "Follow the Leader" Accessory prints your chord changes.

Bars&Pipes Professional displays the root note followed by the chord type. For instance, the major chord CEG is shown as C MAJOR.

Key & Scale/Mode

Key & Scale/Mode indicates the key, or tonal center, of a composition. The tonal center is the single note around which your music revolves. In the key of "C major," it is the note "C;" in the key "Ab minor," "Ab." For nearly every piece of music, a key can be ascertained and assigned. The key, and hence the key signature, provides a framework for composition.

Directly related to keys and key signatures are scales. A scale, in its simplest definition, is a series of notes ascending from a specific note. Every type of scale is formulaic in nature; each is determined by half-step and whole-step relationships, which stem from the tonal center. (On a piano, C, a white key, is a half step from C#, a black key, and a whole step from D, another white key. Although not every white key is a whole-step from the white key next to it and a half-step from the black key next to it, for the most part, this is true.)

To illustrate, the formula for a major scale begins with the tonal center and progresses a whole-step (denoted by "W"), W, half-step (denoted by "H"), W, W, W, H. (All the white keys in succession from C to C on a keyboard.) Minor scales are a bit trickier as there are several types.

Although most American music fits into either the Major or Minor scales, many other scales exist. Some of these are the Whole Tone, in which every note is a whole-step beyond its predecessor; the Chromatic, where every note is a half-step beyond its predecessor; the Pentatonic, containing only notes 1,2,4,5,and 6 of the major scale; and the Gypsy, whose formula is W, H, W+H, H, H, W+H.

Not only is Key & Scale/Mode useful for editing, since the Graphic Editor can display the key signature and accidentals on the Staff, it is also quite useful for Tools that work with your music. For example, the CounterPoint Tool creates a countermelody accompaniment by knowing your chosen note system and calculating the proper intervals according to the rules of first species counterpoint. As with chords, Bars&Pipes Professional comes with a long list of preset scales and all of the classical modes. You are free, however, to design your own with the Define Scales window.

Bars&Pipes Professional displays the tonal center, or key, followed by the scale or mode name, e.g., C Major, Eb Minor, F# Blues. The Staff displays the key signatures for all major and minor scales as well as for all of the modes.

The Display Options menu provides the option of showing the Key & Scale/Mode on the Piano Roll. This command, Background... Key, shadows the current Key & Scale/Mode in a hazy purple. As a result, you can easily compose while staying within your chosen Key & Scale/Mode. Along the same lines, the Lock to Key option in the Preferences menu confines all notes you enter or edit into your chosen Key & Scale/Mode.

Rhythm

Rhythm, in its simplest form, conveys the motion of your music. Beats of varying lengths are organized into rhythmic patterns. Rhythms can be simple or complex, on the beat or off. Certain styles of music are noted first and foremost for their rhythmic form. For instance, Samba music is characterized by syncopated rhythmic patterns, where the beat is shifted to the upbeat, or second half of the beat, over a 2/4 meter, and Shuffle is known for its triplet-based feel in 4/4 time.

Armed with a particular rhythmic style along with the key and chord progressions, any capable musician can quickly construct a Song. Once again, some Tools can use rhythm to make intelligent decisions as they process your music. Accompany B is a good example. It combines the Rhythm and Chord parameters to play a chord pattern. No limit exists to the scope of conceivable rhythms, and although Bars&Pipes Professional does come with a set of pre-defined rhythms, you will almost certainly use the Define Rhythms window to create your own.

Bars&Pipes Professional displays each rhythm by name. If you select Background... Rhythm in the Display Options menu, Bars&Pipes Professional displays the Rhythm pattern in the background behind all the Parameters and MIDI Events. This pattern resembles a set of vertical bands. This gives you a visual cue for how the rhythm lines up with other events.

Use the Background... Rhythm option to analyze how your Rhythm relates to your Sequence. Keep this in mind: a Rhythm consists of Note events, which have durations. The durations determine the width of the bands, some of which may overlap.

Remember, Rhythms don't play anything by themselves. Used in conjunction with Chords and the Accompany B Tool, Rhythms can command Accompany B to play Chords at a defined pace and syncopation. The Groove Quantize Tool uses the Rhythm to lock a performance to the Rhythm's timing. Please refer to the Music Tools chapter for more information.

Dynamics

Dynamics indicate the volume at which each section of music is played. If you're familiar with classical notation, you will recognize these markings as the following lower case letters: "pp," "p," "mp," "mf," "f," and "ff." These abbreviations stand for pianissimo (very soft), piano (soft), mezzo piano (medium soft), mezzo forte (medium loud), forte (loud) and fortissimo (very loud), respectively.

A crescendo gradually increases the volume. The inverse is true of a decrescendo or diminuendo. Without dynamic road signs, music sounds stagnant and lifeless. Dynamics focus attention on or away from various segments of a piece. Ironically, sometimes a quiet section of music is easier to hear than a loud one.

You can define the overall volume of your Song with the Dynamics Parameter. With dynamics, you can draw crescendos and decrescendos.

Bars&Pipes Professional shows the Dynamic curve as a set of points with lines drawn between them. Each point represents a dynamic setting; for example, mezzo piano (mp) or fortissimo (ff). The connecting line conveys the dynamic change over time between the two points. To show a dramatic crescendo across one measure, you might start the measure with a dynamic point labeled "pp' and end with a second, labeled "ff." The Editor automatically draws a line between them.

{{Note|text=Like all Song Parameters, Dynamics do nothing unless they are used in conjunction with a Tool. The Phrase Shaper Tool is a very simple, but powerful implementatIon of Dynamics. It takes each note, places it against the Dynamics curve, and assigns it the proper velocity.}}

Time Signature

A Time Signature appears at the beginning of a piece as two numbers, one above the other. The lower indicates the type of note that is used to measure each beat, (half note, quarter note, etc.), while the upper indicates the number of such beats per measure. 4/4 is by far the most common time signature.

Time signatures provide the basic rhythmic framework of a piece. Though most popular music, such as rock-n-roll, rhythm and blues, and funk, tends to be in symmetrical meters (2/4, 4/4, or 6/8), uneven meters (3/4, 5/4) often lend a fresh feel and unpredictability to music.

Bars&Pipes Professional uses traditional time signature notation and permits a different time signature to be assigned for every measure that exists in a sequence. You can therefore experiment with a multiplicity of beat resolutions. Bars&Pipes Professional also permits different time signatures in different Tracks simultaneously.

Bars&Pipes Professional supports all standard time signatures; however, in keeping with the "one-size-fits-all principle," you can use time signatures as bizarre as 77/8 or 36/2. To enter a time signature, select one from the pre-determined palette or enter your own.

The Time Signature defined in the Master Parameters window is the main Time Signature displayed in the Tracks window. Please see the chapter, Advanced Sequencing, for more information. Individual Tracks can also contain their own Time Signatures that are different from the main Time Signature.

Two Important Considerations About Song Parameters

You do not have to use all the Parameters that Bars&Pipes Professional provides. Rarely would you use all six while composing a single piece of music. The organization of your Song, and more importantly, which Tools you use, dictate which Parameters are necessary and which are a waste of time.
Depending on how you use them, some Parameters may be more useful on a Track-by-Track basis, while others may be preferable in the Master Parameters window. Lyrics, Key, Rhythm and Time Signature usually belong to the entire composition. On the other hand, you may have different voices singing different lyrics or juxtapose different rhythms on individual Tracks.
* TIP * As you add and edit Parameters, think about the appropriateness of their placement. Fortunately, it's quite easy to move Parameters between the Track and the Master Parameters windows, should you want to change them.

Bars&Pipes Professional follows a simple rule with all Parameters: when a Tool uses a Parameter to process a Track, it first checks the Track Parameters. If the required Parameter type is not represented, it refers to the Master Parameters for the data.

Editing the Master and Track Parameters

Two scenarios exist for editing Parameters: editing the Master Parameters or editing the Track Parameters.

Master Parameters define the guidelines used in your Song as a whole. For example, if you add Key and Scale/Mode to your Song, you can place it in the Master Parameters window, since usually every Track shares the same key. On the other hand, you may want separate Dynamic curves for each Track. In this case, use the Track Parameters on an individual Track basis.

To access the Master Parameters, select the Master Parameters option in the windows menu. To access the Parameters for an individual Track, open the Graphic Editor by double-clicking on the Sequencer.

The Master and Track Parameters share the same user interface. By default, Bars&Pipes Professional displays all Parameters when you open the Master Parameters window and none of the Track parameters when you open the Graphic Editor. To display the Master or Track Parameters of choice, select them from the Show menu of the Graphic Editor or Master Parameters window. (You'll notice that the Show menu enables only the Parameters when opening the menu from the Master Parameters window.) This lets you hide the parameters in one window that you're using in another.

You can toggle-select more than one parameter at a time by holding the right mouse button while the Show menu is open, then clicking the left mouse button over the parameters you want to toggle. This can save you some time whenever you change the parameters to display.

The Master Parameter Window Buttons

The Master Parameters window is actually the Graphic Editor with only the Song Parameters available for editing. Please refer to the Note Editing chapter for a thorough guide to this window.

The Command Buttons

The first nine buttons from the left are the Command Buttons. When you press each, the mouse's icon changes. Set these to determine how you use the mouse.

The command buttons in the Master Parameter window are the same as the command buttons in an Edit window. Please refer to Chapter 8, Note Editing, for more information about each command button.

The Lock Grid

Just like other MIDI Events, Song Parameters respond to the "Lock to" menu items in the Prefs menu. Please see the previous chapter, MIDI Event Editing, for more information.

Entering Parameters

Parameters may be entered into either the Master Parameters window or an individual Edit window for a Track. Remember to activate the parameter you want to edit by selecting it in the Show menu.

To enter a parameter, click on the Pencil button or function key "F1." The mouse pointer becomes a Pencil. The way that the Pencil operates is determined by the following options in the Prefs menu.

If you choose the Drag With Pencil option, click down to enter a parameter and the Pencil becomes the Hand so that you can drag the parameter. Lift up on the mouse button when you are satisfied with the parameter's position.
If you choose the Lock to Default Note option, entered parameters align to the Default Note interval. For instance, if your Default Note is an eighth note, then all parameters you enter correspond to eighth note increments in each measure.
The Lock to Resolution option works just like the Lock to Default Notes option, except that it uses the Resolution value defined in the Notation menu.
The Lock to Rhythm option works the same as the Lock to Default Note option, except that it conforms all parameters to the current rhythm template boundaries.
Here is what happens when you draw in each Parameter type:

Lyrics

When you click the Pencil in the Lyrics region, the Lyrics Entry requester opens.

Lyrics must be entered in such a way that each word lines up at its proper position in the music.

If you arbitrarily place a complete sentence at the beginning of a line, the singer won t know on which beat to sing each word. However, opening the Lyrics Entry requester for every word would be time-consuming. So, the Lyric requester let's you enter a line of lyrics and then it breaks it up into individual lyric parameters.

To enter Lyrics in the Song Parameters, enter the entire sentence or phrase on the Lyrics: line. Then enter the number of measures over which this sentence or phrase occurs at the Measures: prompt.

When you press Okay, Bars&Pipes Professional breaks your sentence into its component words and spaces them equally across the number of measures you define. It places the first word at the point you clicked to open the requester.

You can also break words into syllables by placing a dash, followed by a space, between each syllable. Because each word or hyphenated syllable becomes a separate entity in your sequence, it can now be individually positioned to your taste.

When you close the requester, you may find that some of the Lyrics are not exactly where you want them. Follow with the Hand to drag them into position.

Chords

To enter a Chord, click the Pencil on the Chord region and hold the mouse button down. An octave of piano keys appears under the mouse. Choose the root note of the chord by dragging the mouse to the note and lifting up.

The Graphic Editor then tries to choose an appropriate chord, given the current Key & Scale/Mode. However, if you have not selected a Key & Scale/Mode, or the note you chose is not within the selected Key & Scale/Mode, a second menu opens under the mouse. This features a list of chords from which to choose. Since this scrolling menu contains more chords than it displays, it has two arrows, one each at the top and bottom. If you move the mouse over an arrow, the chords scroll by. Move the mouse to the one you want and click down.

Remember, the Graphic Editor only opens the chord menu if it cannot find a triad that fits your selected Key & Scale/Mode. If you don't like its choice, you can always edit the chord with the Wand.

* TIP * You can create your own Chords in the Define Chords window.

Key & Scale/Mode

Enter a Key and Scale or Mode as you would a Chord. Click the Pencil where the key change occurs and hold it down. Choose the key from the octave of piano keys and lift up.

A scrolling menu of Scales and Modes appears under the mouse. Move it to the scale or mode you desire and click down. Since the list of available scales is longer than the menu can show, move the mouse to the bottom arrow. It then scrolls the list up to reveal further choices.

If you selected a black key, a third menu with a sharp and a flat now appears under the mouse. This menu lets you choose whether sharps or flats are used to represent the note value. For example, if you choose the first black key to the right of a C, the sharp/flat menu appears. At this time, you must determine whether the selected note is a C# or a Db. Although these notes are identical in pitch, they are considered different notes and define different scales.

The Key & Scale/Mode Parameter always lines up on measure boundaries. If you place it anywhere else, it locks to the beginning of the measure. The first time you enter a Key & Scale/Mode, Bars&Pipes Professional places the entry at the first measure of the Song. Subsequent Key & Scale/Mode entries stay in the measure where you click the Pencil.

Rhythm

To enter a rhythm, click the Pencil on the Rhythm region and hold it down. A scrolling menu of available Rhythms appears under the mouse. Select the one you want and lift up. Choose from predefined rhythms or define your own in the Define Rhythms window.

Dynamics

Since Bars&Pipes Professional displays Dynamics as lines between points, you must enter both the beginning and end of the dynamic curve. To enter each point, click with the Pencil and hold it down. Depending on whether you've already entered a point, the following happens: If you've already entered a point, Bars&Pipes Professional displays the Dynamic Change pop-up menu. If you haven't yet entered a dynamic point, Bars&Pipes Professional places a point of identical value at the beginning of the Track or Song.

From this menu, choose whether the Dynamic change is Gradual or Immediate. If you choose Gradual, then the dynamic change happens gradually from the point which precedes the one you just entered. Notice that Bars&Pipes Professional draws a sloping line between the two dynamic levels. If you choose Immediate, the dynamic change is sudden. In this case, Bars&Pipes Professional draws a horizontal line that becomes vertical just before the volume change.

A point placed at the top of the Dynamics display indicates the loudest volume, while a point placed at the bottom, indicates the softest. For example, if you want a crescendo to occur within a four-measure time frame, set your original volume on the first of the four measures. Then set your destination volume at the end of the four measures. Bars&Pipes Professional automatically shows a line indicating a gradual increase in volume between the two points.

Time Signature

To enter a Time Signature change, click with the Pencil on its starting measure. The Time Signature requester then opens.

The Time Signature requester provides six standard Time Signatures and a method to define custom Time Signatures The six buttons across the top feature the pre defined Time Signatures Click on your preference to select it.

If you don't find one that meets your needs create your own by first typing the values for the Time Signature after the Other: prompt. Then click on Other to select it.

{{Note|text=It is important that you first enter the values, and then click on the Other button to activate it. Clicking the Other button first, and then typing in the values won't work.}}

By default, Bars&Pipes Professional displays the measure in which the Time Signature change occurs after the "Signature begins on measure:" prompt. This is the point where you clicked with the Pencil. Change the measure by editing this number.

You can also access the previous and next time signature changes. To go to the previous Time Signature change, click on the left arrow button in the Time Signature requester. The arrow finds the Time Signature prior to the one you are viewing and displays so that you can edit it. The right arrow button scans forward to the next Time Signature change.

If you create two adjacent, identical Time Signatures, Bars&Pipes Professional removes the second one. To illustrate, if you have 6/8 on measure 5, then place 6/8 on measure 4, Bars&Pipes Professional discards the 6/8 on measure 5.

Altering Parameters

After you enter a Parameter, you may want to edit it. To the right of the Pencil on the menu Buttons is the Magic Wand. When this button is highlighted (function key "F2"), the mouse takes the shape of a Magic Wand. Selecting this button allows you to touch a Parameter with the mouse and alter it. Wave the Wand through the Parameter to change it. In all cases, this opens a menu or requester. Here's a run-down on how the mouse works with each Parameter:

Lyrics

Touching a Lyric with the Magic Wand opens the Edit Lyric requester.

Edit the Lyric, then press the Okay button if you'd like to keep the change, or press Cancel to forget it.

Chords

Touching a Chord with the Magic Wand opens the piano keyboard under the mouse, which enables you to select a new root note for the chord. Hold the mouse down, roll it to your chord of choice and lift up. If you'd like to keep the current choice, just roll it off the keyboard to retain it.

The Chords list appears under the mouse. Unlike when you enter a Chord, this time Bars&Pipes Professional does not attempt to fit your choice into the selected Key & Scale/Mode. The scrolling menu of Chord choices always opens. Move the mouse to your choice and click on it. If you'd rather go with what you had before, roll the mouse off the menu and the chord reverts to its previous status.

Key & Scale/Mode

Edit a Key & Scale/Mode Parameter as you would a Chord. Touch it and a piano keyboard appears under the Magic Wand. Select the key by moving the mouse to the note and lifting up. Then select the Scale or Mode from the scrolling menu that appears under the mouse. Remember that, at any point, you can go with the original value by rolling the mouse off the menu. If you select a black key, the sharp/flat menu opens as is the case when defining a Key & Scale/Mode.

Rhythm

To change a Rhythm, touch the Rhythm's name. The scrolling list of available Rhythms appears under the mouse. Select your choice by moving the Magic Wand to it and lifting up on the button. To leave the Rhythm unchanged, roll the mouse off the menu.

Dynamic Marking

When you touch a Dynamic Marking with the Magic Wand, the Dynamic Change pop-up menu appears. From this menu, you can reselect the type of volume change, either Gradual or Immediate. If you choose Gradual, then the dynamic change happens gradually from the point which precedes the one you just selected.

Notice that Bars&Pipes Professional draws a sloping line between the two dynamic levels. If you choose Immediate, the dynamic change is sudden. In this case, Bars&Pipes Professional draws a horizontal line that becomes vertical just before the volume change. To move a Dynamic Marking, use the Hand button.

Time Signature

Touch a Time Signature with the Magic Wand and the Time Signature requester opens. Change the Time Signature as desired and click on Okay to keep the change, or on Cancel, to abort.

Dragging Parameters

Select the Hand button (function key "F3") to use the mouse to drag Parameters around and reposition them. Highlighting this button transforms the mouse into a hand. You don't have to position the mouse directly over a Parameter before clicking on it. Instead, click down the mouse and sweep it through the Parameter. The Parameter sticks to the mouse, which you can then drag to the Parameter's new destination.

All of the "Lock to" options in the Prefs menu operate on Song Parameters, just like note events. For instance, if you set the Lock to Default Note option, the Parameter moves only in steps along a grid defined by the Default Note. For example, if the Default Note is a quarter note, everything you drag moves left or right at quarter note intervals. Please refer to Chapter 8, Note Editing, for more information.

You can drag all of the Parameters to the left or right. In addition to these directions, you can drag the Dynamic points up and down. Unlike the case with all other Parameters, you cannot drag one Dynamic point past another, which would create a Dynamic curve that doubles back on itself. If you've dragged a Dynamic Marking and want to change its slope, use the Magic Wand to access the Dynamic Change pop-up menu.

You can also use the Left and Right Arrow keys on your Amiga keyboard to drag Parameters left or right according to the default note grid.

Duplicating Parameters

To duplicate parameters, click on the Duplicator button or press function key "F4." When you click and drag a parameter, Bars&Pipes Professional creates a new parameter of the same type, with the same data, and places it at the destination. While dragging the parameter, the Duplicator works just like the Hand. Please see the previous section, Dragging Parameters, for more information.

Erasing Parameters

To use the mouse to erase Parameters, choose the Erase button (function key "F5'). Highlighting this button turns the mouse into an Eraser. Click down and drag the Eraser over Parameters to delete them.

Toolizing Parameters

You cannot use Tools to process Parameters directly; however, many Tools use Parameters as part of their design. As an example, the CounterPoint Tool uses the Key & Scale/Mode to select the correct intervals. The Phrase-Shaper Tool uses the Dynamics Curve to set Note velocities.

Whenever a Tool looks for a Parameter, it first checks in the Track with which it is working. If it finds no Parameter there, it consults the Master Parameters. If you have a Dynamic curve defined for Track A, but not for Track B, the Phrase-Shaper Tool uses Track A's Dynamic Curve to phrase notes on Track A, but uses the Master Dynamic curve to phrase Track B.

Boxing Parameters

The Bounding Box allows you to operate on more than one parameter at a time by drawing a box around a group of parameters. To select the Bounding Box, click on the Box button (function key "F6").

You can select the Hand, Duplicate, or Erase Buttons in conjunction with the Box button. When you select the Bounding Box, instead of directly touching Parameters with the mouse, you can draw a box around them to affect everything within the box.

To draw the box, click down on one corner of the area and drag the mouse to the opposite corner. A box grows as your mouse travels. The box does not cross boundaries between different Parameters; therefore, you can't draw a box around Lyrics and Chords together. Once you have enclosed what you want in the box, lift up on the mouse.

Depending on which Command button you select in conjunction with the Bounding Box, the following happens:

The Hand Button
Everything in the box drags with the Hand. Once you create the box, click down on the box a second time and drag it. All Parameters in the box move with the mouse.

The Duplicate Button
The Duplicate button works just like the Hand button, but creates a copy of the parameters rather than moving the selection.

The Erase Button
Once you lift up on the mouse, every Parameter within the box disappears when using the Erase button.

Magnifying Parameters

When you select the Magnify button, the Magnify window opens and the mouse pointer changes to a Magnifying Glass. The Magnify window displays information about each Parameter that you select with the mouse. Click on each line to edit it. The Title bar of the Magnify window displays the Parameter's name. Use the Right and Left Arrow keys to move through the parameters one by one.

The first line in the Magnify window lists the time in measures, beats, and clocks. To change a time, click in this field with the mouse and enter a new one. Press the Return or Enter keys on your Amiga keyboard when you finish and the Parameter jumps to the new time.

The second line lists the time in SMPTE format. You can change a time by editing either field; Bars&Pipes Professional automatically updates the other field to display the equivalent time.

The remaining lines in this window change according to the specific Parameter. Remember that after you finish editing a field in the Magnify window, you must press the Return key to register the change.

Lyrics

The Lyric Magnify window contains one field, "Lyric."

Because the Magnify window stays open while you go from lyric to lyric, editing this way is actually quicker than using the Magic Wand to change lyrics.

Chords

The Chord Magnify window contains two fields, "Root" and "Chrd."

The first specifies the chord's root note; the second, the name of the chord. If you change the name of the chord, you must enter the new chord's exact name. The new chord must exist in the list of defined chords. If it does not, the original chord remains unchanged.

Key & Scale/Mode

The Key & Scale/Mode's Magnify window contains two fields, "Root" and "S/M."

The first lists the key; the second, the Scale or Mode associated with it. As with the Chord, the Scale or Mode name that you enter must exist, or Bars&Pipes Professional ignores it.

Rhythm

The Rhythm's Magnify window contains one field, "Name," which displays the name of the selected Rhythm.

If you want, enter a new one. Remember, the entered Rhythm must exist in the list of available Rhythms.

Dynamics

The Dynamics' Magnify window contains two fields, "Emph" and "=". "Emph" and "=" actually represent the same things. What differs is the way Bars&Pipes Professional describes them. "Emph" is the actual value of the Dynamic, or emphasis. This is a number from 0 to 127.

Below, "Emph," in the second box, is "=," the equivalent music notation, ranging from "pp' to "ff". Time Signature: The Time Signature's Magnify window contains two fields, "BPM" and "Beat." The first describes the number of beats per measure; the second, the value of the actual beat.

Time Signature

The Time Signature's Magnify window contains two fields, "BPM" and "Beat".

"BPM" stands for beats per measure. "Beat" stands for the note value that receives the beat.

Importing and Exporting Parameters

You can copy individual Parameter lists back and forth between the Master and Track Parameters. As an example, you may want to duplicate the Master Dynamic curve onto a Track, and then change it a bit to fit the character of the Track's part in the Song. Or, you may have a great set of Chord changes in a Track and want to make them available to the other Tracks by placing them in the Master Parameters.

To copy in either direction, use the Master Parameters menu. This menu can only be accessed from the Graphic Editor window of an individual Track; you cannot copy from the Master Parameters window. If you haven't already done so, open the Graphic Editor window of the Track from which you want to import or export Parameters.

Importing Parameters Into A Track

To import a Parameter list from the Master Parameters to an individual Track's Parameters, select the Import submenu from the Master Parameters menu. Notice that you have six options, one for each category in the Parameters list. Select your preferred Parameter option and Bars&Pipes Professional automatically copies it from the Master Parameters to your Track.

Exporting Parameters From A Track

To export a Parameter list from the Track Parameters to the Master Parameters, select the Export submenu from the Master Parameters menu. Again, you have six options, one for each category in the Parameters list. Select your Parameter of choice and Bars&Pipes Professional copies it from your Track to the Master Parameters.
==Printing Notation==
Chapter 11

Overview

Bars&Pipes Professional provides several options for printing your composition in standard notation. You can print a concert or transposed score from the Song menu, a Group of Tracks from the Groups menu, or one part from either the Tracks menu or a Track's Graphic Editor window's Notation menu.

You can also save your music printout in standard notation as a graphics file. This file can be loaded and modified by paint programs such as Deluxe Paint from Electronic Arts.

Preparing to Print

Before you print a Track, you must first arrange things so that Bars&Pipes Professional prints to your specifications.

Selecting The Printer Driver

You must choose the correct printer driver in your Workbench Printer Preferences program. Be sure to set the graphics preferences for the printer driver, too.

{{Note|text=Setting the graphics preferences may require some experimentation. Please refer to your Amiga Users Manual for more information.}}

Printing Memory Requirements

Printing requires large amounts of free and contiguous (i.e. non-fragmented) graphics memory. Bars&Pipes Professional Tools and Accessories, along with any other application running on your system, consume this precious resource.

For a common example of memory usage, let's say that you wish to print a page of four measures across and four full staves down at normal note spacing and normal resolution. This operation requires 64 Kilobytes of free graphics memory. At high note spacing, this memory requirement increases to 283 Kilobytes.

There are several things you can do to decrease the amount of graphics memory required for a print:

Decrease the number of measures across and staves down you wish to print.
Decrease the note spacing of your printout by sliding the Note Spacing: slider in the Page Print Options requester (please see the next section for information about this requester).
Print in Default Res or High Res rather than Extra Hi Res.
Also, make sure that no other applications are running, and that all unnecessary Bars&Pipes Professional Tools and Accessories are removed from your system.

* TIP * On many Amigas, you can see how much contiguous free memory you have by opening a Shell and typing "avail". The amount shown to the right of "chip" and beneath "largest" is the amount of contiguous free graphics memory.

Organizing Your Score

Before you Print, prepare your score to get the best results.

Fill In The Title And Composer

The printout includes the Song title and composer. Enter these in the Title/Author requester accessed by the Title/Author... command found in the Song menu. Bars&Pipes Professional centers the title on the top and places the author's name in the upper right-hand corner of the first page it prints.

Label The Tracks

Each Track label is the instrument name. Use the Track Name requester found in the Tracks window by double-clicking on the Track Name to the left of each Track. Bars&Pipes Professional prints the name of each part in the top left-hand corner of the first printed page. In a Concert or Transposed Score, Bars&Pipes Professional prints the name of each part above the first measure of each line.

Organize The Tracks

Bars&Pipes Professional prints the individual parts of Concert and Transposed Scores in the order in which the Tracks appear in the Tracks window. To rearrange the ordering of your Tracks, and thus the print order of your score, use the Track Up and Track Down buttons found on the top of the Tracks window.

Select a Track, then click on the up arrow to move it up one in the list or on the down arrow to move it down. Double-click to send a Track to the top or bottom of the Track list.

Size The Display

The sizing of the first Track's Graphic Editor display determines the number of measures per line printed. To change the Sizing of the Edit display, open the Edit window for the Track by double-clicking on the Track. Use the Zoom In and Zoom Out buttons, or the Sizing menu option, to choose the overall Sizing for the Edit display.

Select The Clefs

Each part may be printed on the Treble Clef, the Bass Clef, or both. For each Track, open the Graphic Editor and select the desired Clefs from the Print Options... submenu of the Notation menu.

By default, Bars&Pipes Professional prints both Treble and Bass Clef. You may choose either or both.

Set The Transpositions

You may need to print certain instrument parts in the appropriate transpositions. For example, an Alto Sax part can be displayed in Eb to be easily read by an Alto Sax player. If you need to set the Transposition for a Track, open the Transposition requester from the Notation menu of the Graphic Editor.

Determine the Transpose type by clicking after the Transpose: prompt and selecting from the scrolling list. If you'd like to define your own transposition, select Custom and drag the Octave and Interval sliders. Please read Chapter 8, Note Editing, for a thorough explanation.

Printing Ledger Lines

When printing a single staff, it is usually desirable to print several ledger lines above and below the staff.

The Graphic Editor's Notation/Print Options/Set Ledger Lines... menu command allows you to customize the way that each Track's staves are notated and printed.

Example: Print Treble Clef With As Many Ledger Lines As Possible.

Open the Graphic Editor for a Track by double-clicking on the Track in the main Tracks window (or, single-click and hit the Return key).
Make sure that the notation staff is showing. If it isn't, select the Show/Staff-Notation menu option.
Choose the Notation/Print Options/Set Ledger Lines... menu command. The Adjust Ledger Lines requester opens.

Click on the down arrow until the white arrow pointing to the staff is at the bottom. This arrow denotes the center position between the bassclef and the treble clef.

{{Note|text=If you want to print a bass clef with as many ledger lines above as possible, click the up arrow until the white arrow is as high as possible.}}

Click Okay. Bars&Pipes asks if you would like to renotate your entire Track.
Click Yes. Bars&Pipes renotates the Track with the new ledger line positions. Notice that most notes in the bass clef are now actually part of the treble clef.

{{Note|text=If you choose No, Bars&Pipes does not renotate, and your music prints the same way it always did. This allows you to renotate only the measures that you wish, using the Notation/Transcribe/Between Flags menu option.}}

Printing Tablature

To enable Tablature printing for a Track, open the Graphic Editor and choose the Notation/Print Options/Tablature menu option.

{{Note|text=Tablature can not print by itself. It requires that you also print at least one staff, or both staves along with it.}}

Make sure that you've tabulated your music before you print. If necessary, choose the Tablature/Tabulate menu option from the Graphic Editor.

Formatting The Printed Page

You can easily tell Bars&Pipes how many measures to print per line and how many grand staves to print per page.

You can set these options in one of two ways:

Choose Notation/Print Options/Page Options... from the Graphic Editor.
Choose Preferences/Page Print Options... from the main Tracks window.
The Adjust Page Print Options requester opens.

Slide the Measures/line: slider to the number of measures per line you would like to print.

Slide the Full Staves/Page: slider to the number of full staves you would like to print per page.

{{Note|text=If you open the requester from the Graphic Editor, and you've chosen to only print one staff, the second slider reads "Half Staves/Page" instead of "Full Staves/Page", and is double the number of full staves per page.}}

The Note Spacing: slider controls the overall resolution of the printout. The only real way to know the best note spacing on your particular system is to try a few sample printouts.

{{Note|title=Tip|text=Low note spacings tend to look chunkier and clutter the notes together. High note spacings make the notes thinner and more spaced apart. Normal note spacing is a compromise between the two.}}

The Print Requester

Once you have finalized your printing specifications, open the Print requester by selecting the Print... command. When you select the Print requester from the Song menu, Bars&Pipes Professional prints the entire score; when you select it from the Groups menu, Bars&Pipes Professional prints only the selected Group's member Tracks; and when you select the Print requester from the Track menu or an individual Track's Graphic Editor window's Notation menu, Bars&Pipes Professional prints the contents of the Track.

Additional Information

The top six buttons in the Print requester select additional information to print. To turn each option on or off click on its button.

Sections
If you choose to print Sections, Bars&Pipes Professional prints the A-B-A section names above the music.

Bar Numbers
If you choose Bar Numbers, Bars&Pipes Professional prints the measure number over each line's beginning measure in your music.

Tempo
If you choose Tempo. Bars&Pipes Professional prints the tempo at the beginning of your music.

Chords
If you choose Chords, Bars&Pipes Professional prints chord changes, entered in the Song Parameters, above each Track, or part. In either a Concert or Transposed Score, Bars&Pipes Professional prints chords which were entered in the Master Parameters above the first Track.

Lyrics
If you choose Lyrics, Bars&Pipes Professional prints lyrics, entered in the Song Parameters, above each Track, or part. In either a Concert or Transposed Score, Bars&Pipes Professional prints lyrics which were entered in the Master Parameters above the first Track.

Dynamics
If you choose Dynamics, Bars&Pipes Professional prints dynamic markings, entered in the Song Parameters, within a Track, or part.

Transposed Or Concert Score

If you choose Transposed Score, Bars&Pipes Professional prints each Track transposed by the key established in the Transposition requester (see above.) Choosing this option tums off the Concert Score option.

If you choose Concert Score, Bars&Pipes Professional prints each Track without transposition. Choosing this option tums off the Transposed Score option.

Selecting Measures To Print

To specify which measures Bars&Pipes Professional prints, enter the starting and ending measure numbers after the From Bar: and To Bar: prompts.

If you want to print all measures, click on the All button, which sets the fields to cover the entire range of the piece.

Print Resolution

You may choose from three different print resolutions.

Default Res
Select Default Res for printing in the default resolution. You may determine the resolution from the graphics preferences in your WorkBench printer Preferences. Typically, you might set the WorkBench preferences to the minimum acceptable resolution, for fastest printout. Use this option to get quick trial printouts.

High Res
High Res automatically chooses the highest resolution available in your Workbench preferences. This option gives the best quality available under Workbench 1.3.

Extra Hi Res
Workbench 2.0 users with at least 1 megabyte of chip memory can select Extra Hi Res for much sharper printing. This mode creates much cleaner lines but requires extra time to print.

Previewing

To view the final output without actually sending it to the printer, click on the Preview button found in the Print requester. This opens a small screen with the notation displayed.

{{Note|text=If you're previewing an Extra Hi Res printout, you can scroll to view the entire screen by clicking down with the mouse and dragging.}}

It also opens a small requester with three buttons: Next, Print and Cancel.

Next
To view the next line of notation, click on Next. Bars&Pipes Professional shows you each line of notation until it has displayed all of the selected measures.

Print
Click on the Print button to leave preview mode and start printing immediately.

Cancel
Click on the Cancel button to access the Print Requester again. (If you want to exit the Print Requester, click on its Cancel button.)

Printing
Bars&Pipes Professional prints notation by sending an image of the music to the Preferences printer driver. Remember, in order to print properly, you must set Preferences from Workbench to accommodate your printer.

To begin printing, click on the Print button. Bars&Pipes Professional opens a display screen, paints the notation in it, and sends this out to the printer. Above, it opens a requester with a Cancel button. Printing can take a while, so be patient. Click on the Cancel button to abort printing.

Saving as an ILBM File

Click on the Save button in the Print Requester if you would like to save your music as an IFF/ILBM file. The file requester opens. enter a unique file name for each page of printout. The IFF/ILBM file(s) may then be loaded into a graphics program such as Deluxe Paint, and imported into word processors, etc.

==The List Editor==
Chapter 12

Overview

While Bars&Pipes Professional's Graphic Editor provides a powerful graphics-based environment for editing music, certain editing operations require finer detail. For low-level, numeric editing of MIDI events, Bars&Pipes Professional provides the List Editor.

Accessing the List Editor

To open the List Editor, you must first open the Graphic Editor for the Track you want to edit, then select List Editing from the Prefs menu. Open the Graphic Editor for a Track by either double-clicking on a Track in the Tracks window, using the Magic Wand in the Song Construction window, or double-clicking a Track in the Media Madness Window.

Once you select List Editing, Bars&Pipes Professional closes the Graphic Editor window, then opens the List Editor window for that Track. The List Editor displays a list of all MIDI events in the Track.

{{Note|text=Double-clicking on a Track in the Media Madness Window automatically opens the List Editor, if the Graphic Editor for that Track has not been previously opened.}}

The List Display

The List Editor window contains most of the Command and Default Note Buttons of the Graphic Editor window. The List Editor, however, does not have the Magnifying Glass, Hand, Bounding Box, Duplicator, or Zoom buttons. Below the buttons is a slider, used for modifying events or data (more on this later). Finally, the bulk of the window consists of MIDI events of various types, one event per line. Use the scroll bar to the right of the events to move through the event list.

Use the Show menu to select which MIDI events to display.

{{Note|text=The List Editor does not display Song Parameters.}}

To display Note events, select any of the following options from the Show Menu: Staff-Notation, Tablature, Staff-Hybrid, Piano Roll, or Velocity.

The List Editor displays an event as a start time, followed by the type of event (please see the event types below), followed by event data.

The start time displays in either SMPTE time (hours, minutes, seconds, frames) or music time (measures, beats, clocks.) Use the SMPTE/Music button to select which time format is used.

When the button displays a film strip, the List Editor draws events in SMPTE time. Otherwise, the button displays musical notes and the List Editor draws events in music time.

The MIDI Events Display

The second field denotes the type of MIDI event. A listing of the different MIDI events and an explanation of their data fields follows. The name in parenthesis is the abbreviation the List Editor uses to display the MIDI event type.

Note (Nt)
The Note MIDI event contains the pitch, both as a note/octave (from C0 to G10) and as a numeric MIDI value (from 0 to 127), the velocity of the note (from 0 to 127), and the duration of the note (in Song-time).

With the Hit List option selected in the Display menu, the Hit List name of the Note event displays instead of the Note duration. This is particularly useful when used in conjunction with the Media Madness feature (please see Chapter 28, Media Madness).

Pitch Bend (PB)
The Pitch Bend MIDI event contains the amount of shift, from +8192 (maximum shift down) to 8191 (maximum shift up). Remember, the value given to Pitch Bend determines the proportion of the shift to the maximum. For example, a value of -4096 shifts the current note downward by half the maximum. The MIDI specification uses this scheme because different instruments have different Pitch Bend ranges; full range on one synth may be an octave while only a whole step on another.

Mono After-Touch (MT)
The Mono After-Touch MIDI event contains the overall keyboard pressure, from 0 to 127.

Poly After-Touch (PT)
The Poly After-Touch MIDI event contains the note value for the key being pressed (like Mono After-touch) and the pressure on that key (from 0 to 127). Poly After-Touch is featured only on the most expensive keyboards, since the hardware must sense pressure on each individual key.

Control Change (CC)
The Control Change MIDI event contains the Control Change type (0 to 127) and the Control Change data (0 to 127). Control Change governs continuous controllers such as volume pedals and breath controllers.

Program Change (PC)
The Program Change MIDI event contains the patch number (0 to 127). Program Change controls the sound used by your MIDI device to play subsequent notes.

System Exclusive (SX)
The System Exclusive MIDI event contains no visible data. When you edit a System Exclusive event, Bars&Pipes Professional opens the System Exclusive requester. Please see the System Exclusive chapter for more on this requester.

System Exclusive events are special commands unique to the instrument (or product line). Manufacturers use System Exclusive events, for example, to set pitch bend ranges, transpose keys, send new patch data to the instrument, and to execute many other functions.

{{Note|text=The user's manual for your MIDI instrument can tell you whether your instrument supports System Exclusive events, and what the commands do.}}

The Edit Flags

To the left of the event list are the Edit Flags. Use these to set the boundaries of a Clip section for editing with Clips, just like in the Graphic Editor. The "begin Clip" Flag is a triangle pointing upward; the "end Clip" Flag is a triangle pointing downward.

Use the Flags in conjunction with the options in the Edit menu. Please refer back to the Note Editing chapter for a complete description of these commands.

Except for being turned sideways, the Edit Flags in the List Editor work just as they do in the Graphic Editor. As you probably know, the Edit Flags align with boundaries assigned by the Align with... Preferences option.

* TIP * When you try to place an Edit Flag right after an event in the List Editor, don't be surprised if the flag jumps behind a number of events because you have "Align with... Measures" selected. Change it to "Align with...Anywhere" to able to place an Edit Flag after any event. Even then, if several events have the exact same time, the Flag jumps to just before all of the events. because the position of the Flag is actually the time it occurs, not its position in the list.

Remember: in the List Editor, one event may be at one time, and the next event in the list could be a beat later, a measure later, or several measures later. Because of this, be careful when cutting and pasting.

Command Buttons

The first five buttons from the left are the Command Buttons. As you click each one with the mouse, the mouse's icon changes. All of these buttons have keyboard equivalents as well. Set the Command Buttons to determine how you use the mouse. The following list describes each button briefly. Later in this chapter, we'll delve into greater detail.

The Pencil:
The Pencil, or function key "Fl" enters MIDI events. Clicking with the Pencil on a specific event creates a duplicate of the event, substituting the chosen default note parameters.

The Magic Wand
The Magic Wand, or function key "F2" alters the MIDI events type and data.

The Eraser
The Eraser, or function key "F5" deletes events.

The ToolPad
The ToolPad contains selected Tools and processes notes with the currently-displayed Tool. The mouse pointer turns into a Wrench when the ToolPad is selected.

The Step Entry
The Step Entry button enables step entry of events from a MIDI keyboard.

Default Note Buttons

Before drawing or step-entering events, set the Default Note. The Default Note consists of a note value (eighth, quarter, etc.), a modifier (triplet, dotted, normal), an articulation (staccato, legato, etc.), and a dynamic level (pp through ff). Four separate buttons set these standards.

Upon pressing them with the mouse, each button reveals a pop-up menu with the options displayed. Drag the mouse to the desired option and lift up to select it. Bars&Pipes Professional displays your choice on the appropriate button.

Note Value
The first button determines the currently selected note division. Your choices range from a whole note to a sixty-fourth note. Select your choice from the menu by dragging the mouse to the desired choice. You can also press function key "F7" to decrease the note value without using the mouse, or press SHIFT and function key "F7" to increase the note value.

Note Modifier
The second button modifies your selected note value. The first item in this menu, a triplet, shrinks the size of the note to two-thirds its note value. The second menu item, a "normal" note, leaves the selected note value as is. The third item, the dotted note, adds half of the note to the selected note's length. In other words, Bars&Pipes Professional multiplies the note value by one and one-half. Select your choice by dragging the mouse to the desired choice. You can also press function key "F8" to decrease the note length without using the mouse, or press SHIFT and function key "F8" to increase the note length.

Articulation
The third button determines the relative length of the selected note. The menu range extends from staccato (short) to legato (slurred). Staccato, signified traditionally as a dot above a note, usually indicates a duration of 1/4 its full length value; Portato, signified traditionally by the absence of a marking above the note, indicates a note duration of 1/2 its full length value; Leggiero, traditionally signified as a horizontal line above a note, indicates a note duration of 3/4 its full note value; and Legato, traditionally signified with an arched line above a series of notes, indicates a note duration equal to its full value, with no perceptible space between each note. Make your selection by dragging the mouse to the desired choice and lifting up. You can also press function key "F9" to make the articulation longer in duration without using the mouse, or press SHIFT and function key "F9" to make the duration shorter.

Velocity
The final button, the farthest to the right, determines the velocity of the note. You have six choices ranging from very soft (pp) to very loud (ff). Make your selection by dragging the mouse to the desired choice and lifting up. You can also press function key "F10" to increase the note volume without using the mouse, or press SHIFT and function key "F10" to decrease its volume.

Editing Events

Use the Command buttons described earlier to edit events in the List Editor.

Entering Events

To enter new MIDI events, activate the Pencil by clicking on the Pencil button or by pressing function key "F1". Then, click the Pencil on the MIDI event located just after the point where you want to insert the new event. If you want to enter a new event at the very bottom of the list, click in the blank area below the last event.

The type of event you enter is the same as the one you clicked on. If you clicked on a note, the note also has the same pitch of the note you clicked on, and the volume, duration, and articulation set by the Default Note. Other MIDI events use data from the events you clicked on.

Altering MIDI Events

With the List Editor, you can edit MIDI Events directly by changing the data associated with the Events, or even by changing the Events themselves. To edit Events, activate the Magic Wand by clicking on the Magic Wand button or pressing function key "F2".

When editing Events, the slider above the event list becomes active. To edit an Event, click on any part of the event. Bars&Pipes Professional highlights the selected data in red. Now, you can drag the slider to the desired value (or use the arrow buttons to the right of the slider).

You can also directly edit the text to the right of the slider.

{{Note|text=If the Hit List option is enabled in the Display menu, the textual translation of note value to Hit List name displays here, Use this field to enter new Hit List translations. Remember, each note can have only one Hit List equivalent. If you set C4 to be "dog bark", all C4 notes display as "dog bark."}}

Erasing Events

To erase events, select the Eraser by clicking the Erase button or by pressing function key "F5" then click on each event you want to erase. If you make a mistake, you can select Undo (Right Amiga-U) from the Edit menu to restore the last event you erased.

Toolizing Events

The List Editor window contains the same ToolPad as the Graphic Editor and Song window. You can place, select, and edit Tools from the List Editor in the same manner as for other windows in Bars&Pipes Professional. Toolizing events in the List Editor can be both powerful and confusing. Powerful, since you can edit the results exactly to your liking. Confusing, since Tools can remove an event, reposition it in time, or add additional ones. For example, if you use the Echo Tool on a note, the echoes get mixed in with other notes and events down the line.

* TIP * Another powerful way to use the ToolPad in the List Editor is to explore how Tools affect specific MIDI events. When you Toolize an event in the List Editor, you see the results accurately in numerical form. You can use this knowledge to edit Tool parameters to your liking, with less guesswork and better results.

Step Entering Events

To enter MIDI events into the List Editor from any MIDI instrument, click on the Step Entry button. Then, set the "begin editing" flag (the flag with the arrow pointing upward) to the point where you want to enter new events.

Like the Graphic Editor, any notes you step-enter from your MIDI keyboard automatically conform to the length, articulation, and velocity set by the Default Note parameters. To move forward one note length without entering an event, press the Space bar. To delete the previous event, press the Backspace key. Please see Chapter 8, Note Editing for a thorough explanation of Step Entering.
==System Exclusive==
Chapter 13

Overview

Use the System Exclusive requester to enter and edit System Exclusive MIDI messages. Normally, you'll access it from the Graphic and List Editors, but you'll also use it from the Big Sys Accessory.

Unlike other MIDI events, System Exclusive MIDI events are system specific - one MIDI device's System Exclusive implementation may not be the same as another's. Examples of System Exclusive data are patch banks, system memory dumps, system specific filters, etc.

{{Note|text=Certainly the most frequent use of System Exclusive packets is in patch organization. The PatchMeister, which integrates directly into Bars&Pipes Professional, covers this aspect extremely well. As a result you don't need to become versed in the underlying technology of System Exclusive protocols to effectively use them to your advantage.}}

Recording System Exclusive Events

Bars&Pipes Professional can record System Exclusive events just like other events. By default, the MIDI In and MIDI Out Tools are set up to filter out System Exclusive data. You may decide to record a System Exclusive dump from your keyboard, for instance.

To do so:

Highlight the System Exclusive button in the MIDI In and MIDI Out Tools of the target Track.
Make sure that the Track is in Record mode, and put the Sequencer in Record mode as well.
Start the Sequencer.
Command your MIDI unit to dump System Exclusive. Make certain that there is no handshaking needed.
Stop the Sequencer when your MIDI device is finished.
Do the opposite when you want to send the System Exclusive data back to your MIDI device: set your device to receive, and start the Sequencer.

{{Note|text=This process does no handshaking. Handshaking protocols require communication in both directions. The PatchMeister universal patch librarian takes full advantage of the handshaking ability of many brands of MIDI devices.}}

Accessing the System Exclusive Requester

Access the System Exclusive requester by clicking with the Pencil or Magic Wand in the System Exclusive region of the Graphic Editor. Please see Chapter 9, MIDI Event Editing, for more information

Creating A System Exclusive Event

To create a System Exclusive event, select the Pencil, then click in the System Exclusive region of the Graphic Editor. Bars&Pipes Professional opens the System Exclusive requester.

Editing A System Exclusive Event

To edit an existing System Exclusive event, select the Magic Wand, then click on a System Exclusive event. Bars&Pipes Professional again opens the System Exclusive requester.

Big Sys

The Big Sys Accessory also accesses the System Exclusive Requester. Please see the Big Sys Accessory in the Accessories chapter.

Editing System Exclusive Data

Use the three Command buttons to edit System Exclusive data in the System Exclusive requester.

Entering System Exclusive Data

To enter data into the System Exclusive requester, select the Pencil by clicking on it or pressing function key "F1". Click on any byte in the display to introduce a new byte. The requester creates a new data byte with the same value as the byte you clicked on. If you click to the right of the last byte, Bars&Pipes Professional creates a new byte just before the ending F7 byte.

{{Note|text=The System Exclusive Requester displays all bytes in Hexadecimal notation. Hexadecimal represents numbers in base 16. instead of base 10. The digits are 0 through 9 followed by A through F (for 10 through 15). As odd as it may sound. this is much more natural for binary data, because two hexadecimal characters always make up a byte (0 through 255 becomes 0 through FF).}}

Altering System Exclusive Data

To change the value of a data byte in the display window, select the Magic Wand by clicking on it or pressing the "F2" function key.

Click on the byte you want to change. The requester displays the byte in the slider above the display window. You may now drag the slider to change to the desired value.

Deleting System Exclusive Data

To delete a data byte, select the Eraser by clicking on it or pressing the "F5" function key.

Click on the byte you'd like to erase.

Sending The System Exclusive Command

Click on the Speaker button to the System Exclusive event down the Track's PipeLine and out the MIDI cable. Since the system ID and channel number are embedded in the event data, only the intended instrument receives the event.

Bars&Pipes Professional does not support messages that require a dialog with the synthesizer. And, since the channel number is embedded in the event data, if you want to send this command to more than one instrument, you must edit the channel number and send the command again.

If you are satisfied with your entry, click Okay to accept the changes, or click Cancel to abort the changes.

About System Exclusive Data

Please keep in mind the following points about System Exclusive Data:

Real-Time Recording And Playback

During real-time recording and playback, Bars&Pipes Professional does not support System Exclusive messages that require responses or handshaking, from the synthesizer. Usually, such messages involve downloading large sound patches to the synthesizer. You should do this in advance rather than during the Song's performance. The amount of data involved usually clogs the MIDI network, which results in the pausing of all music until the computer finishes sending the patch.

Instead, set up your System Exclusive information first by using Big Sys or, for patch organization, The PatchMeister. You can also keep System Exclusive packets recorded in one Track. After loading the Song, solo the Track and have it send its stuff. Then, mute the Track and activate all others.

Format Constraints

The first and last bytes of the System Exclusive data always have the hexadecimal values of FO and F7. You cannot change or delete these bytes, as they signal the beginning and ending of the event.

The next byte specifies the manufacturer's ID and channel number of the instrument. This manufacturer's ID (obviously) varies from machine to machine, and is used by the instrument to verify that the event makes sense to that instrument.

The third byte and onward (to the next to last byte) specify the System Exclusive command plus any data needed by that command.

From this, we can see that all System Exclusive events must be at least three bytes long, including the start and stop bytes. The System Exclusive requester, however, does not force a minimum message length beyond the start and stop bytes.
==Accessories==
Accessories can be loaded by openeing the accessories window and selecting "load" from the menu.
At this time SmerFF is the only accessory available. It allows loading and saving MIDI files.
==The Metronome==
Chapter 15

=== Overview ===

Bars&Pipes Professional's Metronome provides a standard metronome click. Use this as a timing reference when recording your performances.

The Metronome creates a click by sounding the Amiga's internal circuitry, sending a MIDI event, or flashing the screen. It can click at rates varying from 1/64 note to a whole note. If you want, it can also provide a lead-in countdown before recording.

Access the Metronome window by double-clicking on the Metronome icon, or choosing the Metronome option in the Windows menu.

=== The Metronome Window ===

The following describes the functionality of the Metronome window:

==== Choosing The Metronome ====

There are three metronome sources:

; Internal
: Select the Internal button to send a tone to the Amiga's speakers for each metronome click.

; Visual
: Select the Visual button to flash the Amiga's screen on every click. The first beat of any measure flashes red, followed by a series of other colors.

; MIDI
: Select the MIDI button to send a MIDI note through the MIDI cable.

==== Setting Up The MIDI Metronome ====

The MIDI metronome option requires a few additional parameters:

; MIDI Note
: Select the pitch of the MIDI note by sliding the MIDI Note: slider to the appropriate note value. By default, this is set to the General MIDI note for a metronome sound (if a drum kit is being played.)

; MIDI Channel
: Select the MIDI channel by clicking on the button after the Channel: prompt and selecting from the pop-up menu. By default, this is set to the General MIDI drum channel, channel 10.

; MIDI Tool
: Drop an Output Tool onto the button after the Tool: prompt. This determines which Tool transmits MIDI metronome clicks. Usually, this is the MIDI Out Tool.

{{Note|text=Triple Play Plus users can use the Triple Play MIDI Out I, 2, or 3 Tools. One-Stop Music Shop users can use the One-Stop MIDI Out or SoundEngine Tools.}}

You can also use other Output Tools with varying results. For example, many of the Media Madness Tools can be used with interesting results!

; Loudness
: The Loudness (volume) of the metronome can be set by moving the slider after the Loudness: prompt. The default is 84.

==== Selecting The Beat Resolution ====

By default, the metronome sounds at each quarter note beat. you can change this rate by clicking on the button after the Resolution: prompt. Choose a rate from 1/64 to a whole (1/1) note.

If you select a 1/4 resolution in 4/4 time, the Metronome clicks on every beat. If you select 1/2 resolution, the Metronome clicks on every other beat, starting with the first beat in the measure. If you choose 1/8, the Metronome clicks twice per beat.

Depress the Triplet button if you want the Metronome to play in triplet time.

==== The Lead In Option ====

Often, it helps to have a countdown before you start recording. To set up a countdown, set the Lead In slider. The slider lets you set the number of measures to count down before recording actually starts.

To disable Lead In, set the number of measures for Lead In to zero.

You may find that you do not want to use the Metronome, except for the Lead In time. In this case, select the Metronome On Lead In Only button. You can also disable all three metronome options; this provides a silent Lead In.

==== Extra features ====

The metronome also responds to hotkeys to control its function. These can be used in any of the the main Bars&Pipes windows (Tracks, Transport etc.).

{| class="wikitable"
|+ The keys are:
| I || toggles the Internal Amiga sound metronome on and off.
|-
| V || toggles the Visual metronome on and off
|-
| O || toggles the Output (e.g. MIDI) metronome on and off
|-
| L || toggles the Lead In funtcion on and off.
|}

==The Transport Controls==
Chapter 16

Overview

The Transport Controls govern the Sequencer's recording, playback, and Song positioning functions. These functions are accessible from the Transport Controls window, the Mini-Transport, and the Tracks window. They are also accessible from hot keys on the Amiga keyboard and, if defined, as MIDI remote controls. The Transport Controls contain familiar tape deck commands, such as Play, Record, Rewind, and Stop, to control recording and playback.

You can reposition the Transport Controls window or shrink it down to an icon. If you close the Transport Controls window, you can reopen it by double-clicking on the icon or by selecting Transport Controls from the Windows menu.

You can bring up the Mini-Transport by choosing its menu option in the Windows menu, or by typing the letter M on the Amiga's keyboard.

The Transport Controls Window

The Transport Controls window contains all of the Transport Controls. The Transport Controls in the Mini Transport and the Tracks window are subsets of the Transport Controls window.

The Transport Controls window contains four groups of controls: the Transport buttons, the Tempo controls, the Song Position controls, and the Flag controls.

Transport Controls

Across the top of the Transport Controls window are nine buttons, which control recording and playback. They are similar in function to the controls on a tape recorder.

Briefly, the Transport buttons are:

Stop (Enter Key on numeric keypad)
The Stop button halts recording and playback. It also sets the Position Marker to the current Stop time so the next Play command will pick up at the same point. Click to activate the Stop button.

Start (Insert Key)
The Start button begins recording and playback from the beginning of the Song.

Play (Enter Key on numeric keypad)
The Play button begins recording and playback from the Position Marker. Use this control when you want to start from a specific point in the Song. Pressing the Play button a second time stops the performance.

Rewind
Rewind quickly shuttles the Song backward to access a specific point in the Song. If the Song is playing when you press the Rewind button, it stops, then resumes when you lift up on the new location.

Fast Forward
Fast Forward shuttles the Song forward in time. If the Song is playing when you press the Fast Forward button, it stops, then resumes when you lift up on the new location.

Record ("R" Key)
The Record button enables Sequencer recording. To activate, click on it. Doing so activates recording only in Tracks placed in Record mode. All others continue to play back.

Loop
The Loop button activates the Loop Mode recording function. With Loop mode, you can record one section of your Track over and over. For more information on Loop Mode recording, please see the Loop Recording Mode section in the Recording chapter.

Punch In/Out ("P" key)
Punch In/Out automatically switches the Sequencer in and out of Sequencer Record mode at preset locations. Although you can manually activate and deactivate the Record button while your Song plays, if you're also playing an instrument, you'll need a third hand, which the Punch In and Out Flags provide.

Set
Use the Set button in conjunction with the Flag buttons, described below, to set Flag positions.

Tempo Controls

The Tempo Controls are on the left side of the Transport Controls window, beneath the Stop button. Use these to set the initial tempo.

{{Note|text=If you'd like to work with a Tempo Map and place tempo changes at specific times in your composition, you must enter them in the Tempo Map window.}}

Tempo
The Tempo button shows the tempo of the Song in beats per minute. Set the tempo, or speed, by clicking on the numbers and, while holding down the mouse button, dragging the mouse up to increase and down to decrease. You can change the tempo in single increments by single-clicking in the top or bottom half of the numbers.

1/2 and 3/4
If, temporarily, you need to slow down the Song (for example, when recording a difficult passage), click on the 1/2 or 3/4 buttons to slow the tempo to one-half or three-quarters of the original speed. Clicking on the same button a second time restores the tempo to its original speed.

* TIP * These functions do not work in conjunction with a Tempo Map, except at the beginning of your Song, before there are any tempo changes in the Tempo Map. Disable the Synchronize to Tempo Map option in the Timing window to disable the Tempo Map. Enable this option to reinstate the Tempo Map.

Song Position Display

Just as a tape deck marks time with a counter that measures the tape's length, Bars&Pipes Professional keeps Track with the Song Position Display.

The top number in the Song Position Display keeps Track of the Song time in Measures, Beats, and Clocks. The bottom display shows Song time in the SMPTE format of Hours, Minutes, Seconds, and Frames.

To reposition your Song to an exact time, click on the top or bottom half of the numbers in the desired display to increase or decrease their values. Note that the second display adjusts itself to the new position as well.

The Position Marker Flag

Bars&Pipes Professional also provides the Position Marker Flag, a red triangle with a blue border, which shows the location of the Song Position in the Sequencer. When you click the numbers in the Song Position Display as described above, the Position Marker moves to the new position as well. You can also adjust the Song position by using the mouse to drag this Flag to a new location.

Flag Position Controls

Use the Flag Position Control buttons to set and use the positions of each of the twelve Flags Bars&Pipes Professional supports.

To set a Flag to a particular point in your music, use the Set button directly above the Flag Position Controls. First, click on the Set button. With the Set button highlighted, adjust the Song Position Display by clicking on the Rewind or Fast Forward buttons or by clicking directly on the Song Position Display as described above. Then, click on the button corresponding to the Flag you want to move. This installs the Song Position into the Flag and disables the Set button.

* TIP * You can also set Flags numerically in the Set Flags window.

To instantly jump to a Flag position, click on the Flag's button without first selecting the Set button. This automatically sets the Song Position to the value in the Flag.

* TIP * Pressing the 1, 2, 3, and 4 keys on the numeric keypad also jumps to the four Auto-Locate Flags.

To instantly jump to a Flag position and start playing immediately, double-click on a Flag.

The Mini-Transport Window

The Mini-Transport window provides the most important Transport Controls in a small convenient window. Access it by choosing the Mini-Transport menu option in the Windows menu, or by typing the letter "M" on the Amiga keyboard.

Most of the buttons are the same as in the Transport Controls window, with a few exceptions:

You cannot change the Song Position by clicking on the Song Position display.
There is an additional button, the SMPTE/Music Time button, that controls whether the Song Position display shows the current Song Position in measure time or SMPTE time. Click on this button to toggle between the two modes.
Remote Control

With the Remote Control option, you can use your MIDI keyboard to control the Sequencer. Remote controls let you Start, Stop, Record, Play, Punch In, Punch Out, and move to the Auto-Locate Flags (Ml through M4) in your composition.

To set up the Remote Controls, select Remote Control from the Preferences menu. In response, Bars&Pipes Professional opens the Remote Control requester.

Click on the Control you want to set up, then press the desired key on your MIDI keyboard. Use the keys located at the very top or bottom of your MIDI keyboard to prevent pressing one accidentally while recording.

Clicking on each control in the requester toggles it on and off. Only the highlighted controls are active. Each active control behaves identically to the button it represents in the Transport Control window. When you're done, close the requester.
==Timing, Syncing, and Tempo==
Chapter 17

Overview

Bars&Pipes Professional contains sophisticated timing controls. It can run on its own or synchronize with external devices. It can synchronize to external MIDI Clock messages that vary the Tempo or synchronize to external SMPTE time and control the timing with the Tempo Map option.

Bars&Pipes Professional plays with a musical timing resolution of 192 PPQN (Parts Per Quarter Note). Its internal resolution is up to one millisecond at higher tempos.

Changing Tempo

Use the Tempo controls in the Tracks window, the Mini Transport window, or the Transport Controls window to change the initial Tempo. Also, you can use the Tempo Palette window to quickly change the Tempo.

Use the Tempo Map window to create changing Tempos over the course of your music. Real-Time Tracks allow you to create Tracks that ignore Tempo Maps.

Tempo

There are tempo buttons in the Transport Controls window, the Mini-Transport Window, and the Tracks window. They all represent the same Tempo.

Set the tempo, or speed, by clicking on the button and, while holding down the mouse button, dragging the mouse up to increase and down to decrease. You can change the tempo in single increments by single-clicking in the top or bottom half of the numbers.

The Tempo Palette Window

Quickly change the Tempo with the Tempo Palette window. To open the Tempo Palette, select Tempo Palette from the main menu's Windows menu, or double-click on the Tempo Palette icon.

The Tempo Palette lists four preset Tempos: A, B, C, and D. To set the Tempo, click on the preset letter, e.g., A, and the Tempo assumes that value. To change a preset tempo, click on the number and enter the desired tempo.

* TIP * You may find it useful to place the Tempo Palette window directly above the Tempo controls (obscuring the Transport Control buttons), and use the "window to back" buttons on the windows to expose or hide the Tempo Palette as needed. This way, you can quickly change tempos while youre working.

The Tempo Map Window

If you are synchronizing with either the internal timer or SMPTE, you can use the Tempo Map window to create a series of tempo change commands to alter the pace of your music. Open the Tempo Map window by selecting Tempo Map from the Windows menu or clicking on the Tempo Map icon.

The Tempo Map window consists of seven control buttons and a graphic display of the Song s tempo over time The graph shows constant tempo in blue tempo changes in red and the tempo at the end of each tempo change in blue The top of the graph displays the measure numbers. Use this window to create and place multiple tempo changes throughout your composition.

Please refer to the next chapter, Chapter 18, Tempo Mapping, for more information on creating and editing Tempo Maps.

Disabling Tempo Changes

Sometimes, you might want to temporarily disable a tempo map.

To do so, turn off the Use Tempo Map selection in the Timing menu. Bars&Pipes Professional then uses the tempo you have set in the Transport Controls window to determine the Song tempo.

To return to your tempo map, deselect the Use Tempo Map option in the Timing menu.

Real-Time Tracks

By default, Tracks operate in Song-time mode. In Song-time mode, increasing the Song's tempo causes notes to play faster. Each note plays on a particular measure, beat and clock, not at an absolute hour, minute and second.

Real-time Tracks do not follow Tempo conventions. Instead, they contain events that occur at specific SMPTE times. This is useful when you are scoring for video or Media Madness and need to have certain notes or events occur at specific times.

To change a Track to a real-time Track, double-click on the Track's name in the Tracks window, or click on the Track name with the Magic Wand in the Song Construction or Media Madness windows. This opens the Track name requester.

Click on the real-time button to convert the Track into a real-time Track. Thereafter, each note plays at an absolute hour, minute, and second, independent of the selected tempo. Deselect the button to convert the Track back into a regular Track. Once a Track is in real-time mode, every time you change the Tempo, the Track stretches or shrinks to make sure the events all still occur at the correct SMPTE times.

Real-time Track names appear purple instead of blue when not highlighted, and red when highlighted.

MIDI Clock Synchronization

The simplest, most affordable method to synchronize Bars&Pipes Professional with external sources involves using MIDI Clocks (sometimes called Song Position Pointer).

MIDI Clocks work in the following manner: The MIDI standard includes a set of commands designed to synchronize multiple devices via the MIDI cable. These commands include instructions to start, stop, and reposition playback, as well as Clock tick instructions that Bars&Pipes Professional uses to maintain accurate synchronization.

Designed with music in mind, MIDI Clock ticks correlate directly with Measures, Beats, and Clocks. As each Clock tick comes in via MIDI, Bars&Pipes Professional increments its position in Song time. In this manner, the MIDI Clocks control both the tempo and the position of the piece as it performs.

Sending MIDI Clocks

To synchronize an extemal MIDI device with Bars&Pipes Professional, first set the MIDI device to which you would like MIDI Clocks sent. For instance, if you have the Triple Play Plus MIDI interface, you can choose to have MIDI Clocks sent out of the Triple Play MIDI Out 1, 2, or 3. To select the MIDI device, choose Set MIDI Clock Tool... from the Timing menu. A requester opens.

Click on the Tool displayed after the MIDI Tool: prompt to cycle through the available Tools. Select the appropriate Tool and click on Okay.

{{Note|text=Only Tools that send out of a MIDI port are accessible from the Set MIDI Clock Tool requester. If there is no MIDI Out Tool loaded, you need to install a MIDI Out Tool to continue.}}

Then, select Send MIDI Clocks from the Timing menu. This command instructs Bars&Pipes Professional to send MIDI Clock events as well as Start, Stop, Continue, and Song Position events.

Recording A MIDI Clocks Synchronization Track

If you are synchronizing Bars&Pipes Professional to a device such as a drum machine that creates its own tempo map, you can skip over this section. However, if you plan to synchronize Bars&Pipes Professional to an audio or video recorder with MIDI Clocks, you'll need to lay down a MIDI Clocks sync Track on tape first.

To lay down a sync Track, do the following:

If you need a Tempo Map for your Song, create it. This will be used to record the timing.

{{Note|text=Instant tempo changes do not work well with MIDI Clocks. Always slope your tempo changes somewhat to improve precision while syncing to MIDI Clocks.}}

Activate Send MIDI Clocks in the Timing menu.
Prepare your tape deck and/or your MIDI Clock interface.
Start recording with your tape deck as you start the Bars&Pipes Professional Sequencer.
When you finish, you should have a MIDI Clock stripe on your tape. All the timing information, include the Tempo Map is embedded in the strip. You can now use the tape to slave Bars&Pipes Professional to your audio or video production.

Synchronizing To MIDI Clocks

To synchronize with an external MIDI device that transmits MIDI Clock events, select the option Synchronize to MIDI Clocks in the Timing menu.

The Synchronize to MIDI Clocks command disables Bars&Pipes Professional's internal timer and slaves it to MIDI Clocks coming in the MIDI interface attached to your Amiga. The incoming MIDI messages determine both the Tempo and Song Position.

* TIP * To help the synchronization happen quickly and effortlessly, set the Tempo to a value reasonably close to intended Incoming Tempo prior to starting.

If you have more than one MIDI input device, you don't have to set MIDI Clocks to enter the device of your choice. All MIDI Input Tools automatically route MIDI Clock messages to Bars&Pipes Professional's timing mechanism.

However, be careful not to have MIDI Clocks coming in at the same time on multiple MIDI inputs. For instance, you would not want to receive MIDI Clocks on the One-Stop Music Shop's MIDI In at the same time as on the standard serial MIDI interface's MIDI In.

Start from your MIDI Clock source, e.g. a drum machine or tape deck. Bars&Pipes Professional automatically jumps to the proper location and plays. You can even record while synchronized. Just put the Transport Controls into Record mode, then start from the MIDI Clock source.

When Bars&Pipes Professional synchronizes with MIDI Clocks, it disables the Lead-In feature (no countdown before starting).

* TIP * Use MIDI Clock synchronization to dump a performance from another Sequencer into Bars&Pipes Professional. First, enable Bars&Pipes Professional's Multiple Ins Preference. This activates input on all Tracks on a channel by channel basis. Then, enable the Synchronize to MIDI Clocks option. Place all Tracks as well as the Transport Controls in Record Mode. Start the external Sequencer. Bars&Pipes Professional locks to the external Sequencer and records the entire performance on up to sixteen individual Tracks. Sometimes, for extra accuracy, it helps to record the transfer at a slow tempo.

SMPTE (MIDI Time Code)

If you require synchronization to an external device in real-time instead of music time, a second option, SMPTE time code, comes into play. SMPTE time code specifies the time in hours, minutes, seconds and frames, with no correlation to music time or tempo.

MIDI Time Code is a protocol for communicating SMPTE time via MIDI. MIDI Time Code events specify the time in hours, minutes, seconds, and frames. By listening to MIDI Time Code, Bars&Pipes Professional can ascertain where in the sequenced piece it currently is. Use MIDI Time Code to synchronize with video hardware, as well as audio and video tape recorders.

To use Time Code with music, create a Tempo Map within Bars&Pipes Professional to specify the music tempo at different points in time. Then assign the desired SMPTE Offset in hours, minutes, seconds, and frames. In this manner, Bars&Pipes Professional's Tempo Map and SMPTE Offset combine to translate real-time into music time.

Bars&Pipes Professional supports SMPTE in two ways: through menu options and Accessories. In the Main menu, the Timing menu options SMPTE Format.., and SMPTE Offset.., allow you to set these two aspects of SMPTE (more on these below.)

The MTC Accessory allows synchronization to most SMPTE boxes. The SyncPro Accessory interfaces directly with Blue Ribbon's SyncPro sync box. (Please see the Accessories chapter for more details)

SMPTE Sync Options

The following SMPTE synchronization options can be found in the Timing menu:

SMPTE Format...
When using MIDI Time Code, set the SMPTE format in the SMPTE Format... option. This option determines how many frames per second (FPS) Bars&Pipes Professional displays in SMPTE time.

{{Note|text=If you are synchronizing to an external SMPTE source, it automatically sets the SMPTE format. Under such circumstances there is no need to set the format.}}

Four SMPTE frame rates are available:

24 FPS - This is the standard frame rate used with motion picture film.
25 FPS - This is the standard frame rate used with European television, video, and film.
30 FPS (Drop Frame) - This is the standard frame rate for American color video today. The frame rate for color video is actually 29.97 FPS. If you use Non-Drop Frame, at the end of one hour, there will be 108 frames less than expected. Drop Frame corrects this deficiency by systematically dropping 108 frames per hour, so that at the end of an hour, the total number of frames will still be 108 frames short, but the frame numbers will be correct. However, Drop Frame should only be used when necessary because of the inaccuracies caused by the dropped frame.
30 FPS (Non-Drop Frame) - This is the standard frame rate for black and white television.
SMPTE Offset...
If you synchronize your music to SMPTE, your music rarely begins at the time 0:0:0.0. Instead, the beginning is most likely between a few seconds to several hours later. If you are scoring a film or video, each composition certainly starts at a different point in SMPTE time.

To adjust the SMPTE Offset, open the SMPTE Offset requester by selecting SMPTE Offset... in the Timing menu. Enter the Song's starting time in SMPTE format; Hours, Minutes, Seconds, and Frames. Bars&Pipes Professional plays your music when the SMPTE source, perhaps a video recorder or multi-track recorder, reaches this point in SMPTE time. Click on Okay to accept your settings and Cancel, to abort them.

If you start the SMPTE source at a point after the SMPTE Offset, Bars&Pipes Professional automatically calculates the Song position based on the current SMPTE time, starting the Song somewhere in the middle.

Display SMPTE Offset
By default, Bars&Pipes Professional adds the SMPTE Offset to the Song time to display the SMPTE time; however, if you'd rather see the Song time without the SMPTE offset added, deselect Display SMPTE Offset in the Timing menu.

Syncing To SMPTE

In order to synchronize Bars&Pipes Professional to SMPTE, you'll need a SMPTE to MIDI Time Code converter such as SyncPro.

{{Note|text=Because we've designed synchronization in as an Accessory, Bars&Pipes Professional easily supports third party SMPTE synchronization boxes. In addition, the Accessory mechanism provides for synchronization with other software. Programs like Real 3D and Imagine currently control Bars&Pipes Professional as if they were SMPTE sources. Please see the Accessories drawer on your Bars&Pipes Professional distribution disks for more on these and other options.}}

Either the SyncPro or MTC Accessory should be loaded in the Accessory window. Please refer to the Accessories chapter for more information.

* TIP * Sometimes, Bars&Pipes Professional may not start exactly when the SMPTE time coming from your SMPTE Interface reaches the SMPTE Offset. As a result, the very first MIDI events may not play. To avoid this, place a blank measure at the beginning of each Song. An easy way to do this is set the Edit Flags in the Tracks window to encompass the first measure and select Insert from the Edit menu.
==Tempo Mapping==
Chapter 18

The Tempo Map Window

Use the Tempo Map window to create a series of tempo change commands to alter the pace of your music over time. Open the Tempo Map window by selecting Tempo Map from the Windows menu or click on the Tempo Map icon.

The Tempo Map window consists of eight control buttons and a graphic display of the Song tempo over time.

The Tempo Map Display

Most of the Tempo Map window features the Tempo Map graph. This graph displays the tempo on the vertical axis and the time in measures or SMPTE on the horizontal axis.

The graph shows constant tempo in blue, tempo changes in red, and the tempo at the end of each tempo change in blue.

Adjusting The Display

To display in SMPTE time, click on the SMPTE/Music Time button until it shows a film strip. The Tempo Map window redraws the tempo changes against a background of vertical lines at every one second interval.

{{Note|text=Once you've entered tempo changes, the spacing between the second markers stretch and shrink as the tempo slows and increases.}}

To display in music time, click until notes appear on the SMPTE/Music Time button. The Tempo Map window redraws the tempo changes against a background of vertical lines at every measure interval.

Click on the two Zoom buttons to change the range of the display. The Zoom In button with the large note magnifies the view for a detailed look, while the Zoom Out button pulls back for a better overview of your the tempo map.

Editing the Tempo Map

Creating A New Tempo Map

Select New from the Tempo Map menu to erase the current Tempo Map and create a new one. The starting tempo for the new Tempo Map is the same as the old one.

* TIP * The starting tempo Is the same tempo entered In any of the Transport Controls.

Entering A Tempo Change

Before entering a tempo change, decide what kind of tempo change you'd like from by clicking on the Curve button. It provides four choices:

Instant, a sudden tempo change
Linear, a change that progresses at a constant rate;
Exponential, a change that starts slowly, then accelerates.
Logarithmic, a change that starts quickly, then eases into the final tempo.
The Pencil, or function key "F1" inserts new tempo changes. Press and hold the mouse button down over the measure where you want the tempo change to begin. Drag up or down to the set the new tempo and to the right to determine the length of the change. Instant tempo changes have no length.

As you drag the mouse, the Tempo Map window displays a straight "rubber band" connecting the beginning and ending points of the tempo change. The Title bar of the Tempo Map window shows the endpoint of the tempo change in Song-time and the ending tempo.

When you reach the desired endpoint, release the mouse button.

Altering A Tempo Change

To numerically alter a tempo change, select the Magic Wand or press function key "F2". Then, click on the tempo change you'd like to edit. This opens the Edit tempo change requester.

The Edit tempo change requester displays seven parameters that describe the tempo change. The parameters are:

Starting Tempo
Enter the Starting Tempo in beats per minute. Each tempo change starts at one tempo, then accelerates or decelerates to a second tempo, the Ending Tempo. The Starting Tempo of each tempo change is the Ending Tempo of the previous tempo change. As a result, you need only edit one of these Tempos, not both.

Starting Time (M.B.C)
Each tempo change begins at a specific point in the Song. To edit this position in Song-time (Measures, Beats, and Clocks), click on the Starting Time (M.B.C) line and edit it.

Starting Time (H:M:S.F)
The second Starting Time parameter displays the Starting Time in Hours, Minutes, Seconds, and Frames. You can edit this parameter, but take note: if you edit a tempo change which precedes this tempo change, the Starting Time for this tempo change changes, because the amount of time in hours, minutes, seconds and frames required to reach this point has changed.

Accel/Rall Curve
The Accelerando/Rallentando Curve lets you change the tempo change Curve type from the four options described above: Instant, Linear, Logarithmic and Exponential.

Select a curve by clicking on the appropriate button.

Ending Time (M.R.C)
Unless a tempo change has an Instant curve, you must specify the duration of the tempo change curve. Enter the time in Song-time after the Ending Time (M.B.C): prompt. B&P Pro calculates a tempo change which occurs gradually between the starting and ending times.

Ending Time (H:M:S.F)
The second Ending Time parameter displays the tempo change ending time in Hours, Minutes, Seconds, and Frames. Edit this field to set the tempo curve ending in SMPTE time.

Ending Tempo
Enter the final Tempo in the Ending Tempo: field. The Song continues at this Tempo until the next tempo change occurs.

When you have finished editing the tempo change, click on Okay, to accept the changes, or Cancel, to leave the previous settings intact.

Moving A Tempo Change

The Hand (function key "F3") drags either the start or the end of the tempo change. To drag the start point, click with the mouse just after the start of the tempo change and drag. To drag the end point, click just after the end point and drag. Move the mouse up or down to change the tempo, and across to change the duration.

The Title bar of the Tempo Map window displays the end time and tempo of the tempo change as you drag it with the mouse.

Erasing A Tempo Change

The Eraser (function key "F5") deletes tempo changes. Click on any part of the red tempo change curve to delete it.

Deleting a tempo change also affects the next tempo change. For instance, the slope of the next tempo change is altered when the starting tempo changes.

Conforming A Section

Sometimes, you may need to create a tempo change that forces a section of music to fit exactly within a specific span of time. Do so with the Conform command in the Tempo Map menu.

When you select the Conform command, the Conform requester opens.

Fill in the following fields:

Starting Time
Enter the Starting Time of the portion you want to conform, in Song Time (M.B.C.) The requester automatically adjusts the starting SMPTE time.

Ending Time
Then, enter the Ending Time of the portion. This time you must enter both Music time in Measures, Beats, and Clocks, as well as SMPTE time, in Hours, Minutes, Seconds, and Frames.

Resulting Tempo
The requester then calculates the appropriate tempo change and places it in the Resulting Tempo field.

Conform
If you approve of the Resulting Tempo, click the Conform button to insert the tempo change into the Tempo Map.

Cancel
Otherwise, click Cancel to return to the Tempo Map or enter new Ending Time values to create a different Resulting Tempo.

* TIP * The Conform option is very useful for scoring to video.

Undoing A Mistake

The Undo option (right-Amiga U) in the Tempo Map menu cancels the last change to the Tempo Map.

Aborting All Changes

The Abort command in the Tempo Map menu restores the Tempo Map to the condition it was in before you opened the Tempo Map window.

Loading & Saving Tempo Maps

To load a Tempo Map from disk, select the Load command in the Tempo Map menu.

Select Save from the Tempo Map menu to save a Tempo Map to disk. Saving a Tempo Map makes it available for use with other Songs, or allows you to try out different Tempo Maps with the same Song.

Disabling Tempo Changes

If you need to disable tempo changes, open the Timing menu from the Tracks window and turn off the Synchronize to Tempo Map selection. Bars&Pipes Professional then uses the tempo you have set in the Transport Controls window to determine the Song tempo for the entire Song.

For more information, please refer to the previous chapter, Timing, Syncing, and Tempo.

==Advanced Sequencing==

Chapter 19

Overview

In Chapters 3 through 7, we learned the basics of multi-track recording and composition with Bars&Pipes Professional. Now it's time to jump back in and complete our exploration with some more advanced concepts.

Most of this chapter pertains to the Tracks window. The Tracks window is the central focus of multi-track sequencing in Bars&Pipes Professional. If it's not open now, open the Tracks window by double-clicking on its icon and close all other windows.

Groups

Sometimes it's nice to be able to grab a collection of Tracks at once and perform an operation on them as a whole. For example, you might want to isolate all of your string Tracks and Toolize them together. Or, you might want to mute everything but the percussion Tracks so you can hear them out of context.

Use Bars&Pipes Professionals Groups mechanism to organize the Tracks that comprise your Song into Groups. A Group is a collection of Tracks that can be accessed as a unit. When a Track belongs to a Group, it's called a member Track. With Groups, you can Mute or Solo several Tracks on playback, which helps you isolate parts of your Song, or Toolize several Tracks at once, or execute many of the operations found in the Edit menu. You can create as many as eight Groups.

The Group buttons at the top of the Tracks window organize and control access to the Groups.

The numbered buttons, the Group Selectors, represent each of the eight Groups. Click on a Group Selector to activate its Group. Click again to deactivate. Use the Group button, to the right, when creating or changing the members of a Group.

Creating Groups

To create a Group, enter into Group Edit mode by clicking on the Group Button. Then click on one of the Group Selectors.

Click on all of the Tracks that you want to belong to the Group. Notice that each Member Track is drawn highlighted. Click a second time on a Track to remove it from the Group. Click on the Group Button again to deactivate Group Edit mode.

From now on, whenever you activate the particular Group Selector, your defined Group is selected.

Editing A Group

You can reorganize a Group at any time.

To enter into Group Edit mode, depress the Group button and the Group Selector button for the Group you'd like to change. While the Group button remains active, you may toggle Tracks in and out of the Group by clicking on them. When you're done, click on the Group button to deactivate Group Edit mode.

* TIP * You can place a Track in several Groups at once. This can be very useful.

Creating A Temporary Group

Often, it's useful to quickly create a temporary Group, especially when used in conjunction with the Group menu (discussed later in this chapter.) To create a temporary Group, hold down a shift key on the Amiga keyboard and click on several Tracks. Each Track that you click on becomes a member of the temporary Group.

Once you finish working with the temporary Group, deselect it by clicking once on any Track.

Group Mode

Clicking on one of the Group selector buttons places you in Group mode. In Group mode, the Track menu becomes the Group menu, and operates on every Track in the Group (see the Track and Group menus later in this chapter.)

Group Mode And The Graphic Editor

Groups allow you to view a Track of music in the Graphic Editor's Hybrid Staff and Piano Roll with other Tracks in the background. This useful feature allows you to compare the timing of notes on one Track with the timing of notes on another.

First, create or select a Group. Once in Group mode, open the Graphic Editor for a member Track of the Group. The notes of the other Tracks in the Group display as grey background notes. You cannot directly edit these notes.

When you open more than one Graphic Edit window simultaneously and both Tracks are members of the same Group, the notes in the foreground of one Edit window appear in the background of the second Edit window, and vice versa.

{{Note|text=Editing notes in one of these windows does not automatically update the background of the other window. The background notes of the other window updates only after the first window closes or updates the Track with the Update command Then, the second window's background notes update upon the next window refresh of the second window.}}

Soloing and Muting

The Solo button is the leftmost button at the top of the Tracks window. The Solo button controls the Solo and Mute state of the currently selected Track or Group. Click on Solo once to solo the highlighted Track or Group. Click again to mute the Track or Group. Click one more time to return the Track or Group to its normal state.

Soloing A Track Or Group

Sometimes, you may want to hear only one Track or Group at a time. Click on the Solo button to isolate the selected Track or Group. This command mutes all remaining Tracks. Notice that their Mute/Thru/Play Only faucets switch to the Mute settings.

Muting A Track Or Group

It can also be useful to mute the selected Track or Group. Click a second time on the Solo button and the selected Track or Group becomes mute, while all other Tracks turn on. The selected Track or Group's Mute/Thru/Play Only faucets switch to the Mute setting while the remaining Tracks' faucets return to their normal states.

Click on the Solo button a third time to return the Track or Group to Normal mode.

The Track Name Requester

Open the Track Name requester by double-clicking on its name in the far left of the Tracks window.

* TIP * You can also open the Track Name requester by selecting the Wand in the Song Construction or Media Madness windows and clicking on the Track name.

Use the Track Name requester to change the name, enter notes, and set the Real-Time property of each Track. The following features are found in the Track Name requester:

Name
Change the Track Name by editing the Name: field.

Notes
You may also enter a brief note about the Track in the Notes: field.

Real-time
The real-time button determines whether or not the Track is in real-time or Song-time mode. By default, Tracks operate in Song-time mode. In Song-time mode, increasing the Song's tempo causes notes to play faster. Each note plays on a particular measure, beat and clock, not at an absolute hour, minute and second.

In some cases, however, certain events must happen at times independent of the Song's tempo, such as sound effects in a film score. The sound effects must synchronize with their real-time screen counterparts. Such a situation calls for real-time mode. To lock a Track into real-time mode, click on the real-time button. Thereafter, each note plays at an absolute hour, minute, and second, independent of the selected tempo.

Since tempo changes cannot affect the timing of events in real-time Tracks, they change the position of the events in the Tracks instead. For example, if an event occurs at measure 2 in a real-time Track, doubling up the tempo should make that event play twice as soon. To avoid that, the event shifts further down to measure 3, to effectively play at the exact same time in seconds and frames.

Real-time Track names appear purple instead of blue in the Tracks window. They still highlight as a red color.

Okay & Cancel
Click on the Okay button to accept the changes, or click on Cancel to ignore them.

Rearranging Tracks

You can rearrange the list of Tracks any way you like. To do so, use the two arrow buttons that are to the right of the Group button.

The Track Up button, on top, moves the highlighted Track up one in the list. The Track Down button, on bottom, moves it down one.

Double-click on the Track Up or Track Down button to jump the selected Track to the top or bottom of the display, respectively.

The Track Menu

The Track menu, accessed from the Tracks, Song Construction, and Media Madness windows, contains operations that primarily apply to the currently selected Track in the Tracks display.

If a Group is currently selected, the Track menu becomes the Group menu. Many of the commands in the Track menu change to accommodate multiple Tracks instead of one. Notice that when an individual Track is highlighted, the menu items Load Group, Share Input, and Gather Group are disabled in the Track menu. These options exist purely for the Group menu.

Before using the Track menu, be sure to select the Track of your choice by clicking on it. The following commands are found in the Track menu:

New
The New command creates a new Track. If a Track is highlighted, the New command creates a new Track directly underneath the highlighted Track. Otherwise, it places the new Track at the bottom of all of the Tracks.

The new Track has, by default, standard MIDI In and MIDI Out Tools (if they are in the ToolBox.)

Alternatively, if you've prepared a default Track and saved it with the Save As Default command, New loads the default Track and installs it.

The new Track is automatically highlighted and its Input Arrow activated.

Copy
The Copy command creates a duplicate of the selected Track and places it directly beneath the selected Track.

Merge...
The Merge command mixes the contents of two Tracks together, placing the results in the second Track.

To use the Merge command, select the first Track, then pick the Merge command.

Notice that the Title bar of the Tracks window displays the command, Select the Merge Track:. Click on the second Track to merge the Tracks, or click on the background of the screen to abort the Merge operation.

Bars&Pipes Professional adds the events from the first Track into the second Track, leaving the first Track as it was originally.

Delete
The Delete command removes the selected Track. A requester verifies the operation. Use Delete with care. Once you delete a Track, you cannot bring it back.

Load Track...
The Load Track... command loads a Track from disk. When you select this command, the file requester opens. Use it to select a Track for loading. Of course, in order to use the Load Track command, you must have a previously saved Track to load.

Load Group...
The Load Group... command is only available when in Group mode. To enter into Group mode, select one of the Group buttons, or hold down a shift key while clicking on multiple Tracks. Please see the Load Group command in the next section, The Group menu, below.

Save Track...
The Save Track... command saves the selected Track to disk. The file requester opens. Use it to select or create a file in which to save your Track.

Save As Default
The Save As Default command saves the selected Track to disk as "New.Track" in the Bars&Pipes Professional directory. Once you've saved a default Track, the New command loads this Track instead of creating a standard blank Track with standard MIDI In and Out Tools.

* TIP * If you're working with MIDI connectors other than the standard MIDI In and Out, create a blank Track, install the MIDI Tools of your choice (for example, the One-Stop Music Shop's,) place any additional Tools that you'd usually add to your PipeLines (Quantize, General MIDI, etch) and save the Track with the Save As Default command. From then on, when you select the New command, the previously prepared Track loads.

Erase
The Erase command erases the Track, emptying it of its contents. The Track itself is not deleted, just erased. The Erase command leave Tools in the PipeLines unharmed.

Toolize
The Toolize command processes all notes in the currently selected Track with the currently selected Tool in the ToolPad. Please see Chapter 7, Tools, for more information.

{{Note|text=This command is ghosted if there is no active Tool in the ToolPad.}}

Time-Shift...
The Time-Shift... command moves everything in the selected Track forward or backward in time. When you select the command, Bars&Pipes Professional opens the Time Shift requester.

Enter the shift distance in measures, beats and clocks after the Shift: prompt. For example, "0.01.0" moves the time by zero measures, one beat, and no clocks. Click on the Forward button to move the music forward in time. Click on the Backward button to move the music backward in time.

{{Note|text=Be careful time-shifting backwards. Notes at the beginning of the Track collect at the very beginning because they can't have negative performance times.}}

Click Okay to confirm or Cancel to leave the Track unchanged.

Propagate
The Propagate command in conjunction with the A-B-A feature of the Song Construction window, copies changes made to the first instance of each section to all other instances of those sections (for the selected Track only).

{{Note|text=This command is ghosted if the A-B-A feature has not been utilized.}}

Please see Chapter 21, Song Construction, for more information.

Print...
The Print command opens the print requester to print the Track. (Please see Chapter 11, Printing Notation.)

{{Note|text=Before Printing a Track, you should set up the Notation parameters by first opening the Graphic Editor for the Track.}}

The Group Menu

The Group menu is active when the Tracks window is in Group mode. To enter Group mode, click on one of the Group buttons or hold down a shift key while clicking on multiple Tracks.

Notice that the menu items Copy and Merge are disabled in the Group menu. They are only active in the Track menu.

Although you can only create Groups from the Tracks window, the Group menu is also available from the Song Construction and Media Madness windows, in case you need to use the Group editing features.

The following commands are found in the Group menu:

New
The New command creates a new Track and places it in the Group. The new Track receives standard MIDI In and Out Tools.

Delete
The Delete command removes the Group as a whole. Use this command with care! A requester asks you to verify the command.

Load Track...
The Load Track... command loads a Track from disk and places it in the Group.

Load Group...
The Load Group... command loads a Group from disk and adds it to the currently selected Group.

Save Group...
The Save Group... command saves the member Tracks of a Group to disk.

{{Note|text=You can reload the Group into a different Group number with the Load Group command.}}

Erase
The Erase command deletes all events in the Group. The Erase command does note delete the Tracks in the Group, just their contents.

Toolize
The Toolize command takes the currently selected Tool in the ToolPad and applies it to every event in each Track member of the Group.

{{Note|text=This command is ghosted if there is no Tool selected in the ToolPad.}}

Time-Shift...
The Time-Shift command offsets the timing of the Group by a specified amount. Please see the Time-Shift command in the Track menu for more information.

Propagate
In conjunction with the Song Construction window's A-B-A feature, the Propagate command copies changes to the first instance of each section to all other instances of those sections for the entire Group. This command is ghosted if the A-B-A feature has not been utilized.

Share Input
The Share Input command connects the PipeLines of all Tracks in the Group so that any input to the top Track goes to the other Tracks as well. The Share Input command uses the Merge In and Branch Out Tools to accomplish this, so make sure they are installed in the ToolBox for this command to function.

Gather Group
The Gather Group command reorganizes the Tracks window display so that all the Tracks in the selected Group are adjacent to each other.

Print...
The Print command prints only the Tracks in the selected Group. (Please see Chapter 11, Printing Notation). Before Printing, be sure to set up the notation in each Track by opening each Track's Graphic Editor first.

The Master Time Signature

The Tracks window displays measure numbers and Time Signature Changes in the Flag Strip, directly above the Sequence display in the Tracks window.

The Tracks window displays each measure number unless a Time Signature Change occurs, in which case it displays the new Time Signature instead. These Time Signature Changes are the same Time Signature Changes accessed in the Master Parameters window.

Since each Track can have its own Time Signature, it is possible that some Tracks in your Song do not line up exactly with the Global Time Signatures.

{{Note|text=From within the Graphic Edit windows of these Tracks, you can use the Export and Import commands from the Master Parameters menu to exchange Time Signatures between Tracks and the Master Parameters Time Signatures.}}

To insert, remove, or change a Time Signature, double-click on the measure with which you want to work. The Time Signature requester opens.

Selecting A Time Signature

Bars&Pipes Professional provides six standard Time Signatures, as well as a method to define custom Time Signatures The six buttons across the top of this requester feature the pre-defined Time Signatures. Click on your preference to select it.

If you don't find one that meets your needs, create your own by first typing the values for the Time Signature after the Other: prompt. Then click on Other to select it.

{{Note|text=It is important that you first enter the values, and then click on the Other button to activate it. Clicking the Other button first, and then typing in the values won't work.}}

Placing The Time Signature On A Specific Measure

By default, Bars&Pipes Professional displays the measure in which the Time Signature change occurs after the "Signature begins on measure:" prompt. Change the measure by editing this number.

Adding A Time Signature

Adding: To add a Time Signature change, select the Time Signature and click on Okay to accept it.

Removing A Time Signature

Removing: To remove a Time Signature change, enter the Time Signature requester by double-clicking on the Time Signature you'd like to remove; click on the No Signature Change button; then select Okay.

Changing A Time Signature

Changing: To alter an existing Time Signature change, double-click on the Time Signature displayed above the Sequencer; then select a new Time Signature.

You can alter when a Time Signature change occurs by editing the measure number after the Signature Begins on Measure: prompt. Once you change the Time Signature to your liking, click on Okay to accept the change, or Cancel, to disregard it.

Selecting The Previous Or Next Time Signature Change

To go to the previous Time Signature change, click on the left arrow button in the Time Signature requester. The arrow finds the Time Signature prior to the one you are viewing and displays it, so that you can edit it. The right arrow button scans forward to the next Time Signature change.

Automatic Removal Of Identical Time Signatures

If you create two adjacent, identical Time Signatures, Bars&Pipes Professional removes the second one. To illustrate, if you have 6/8 on measure 5, then place 6/8 on measure 4, Bars&Pipes Professional discards the 6/8 on measure 5.
==Multi-Track Editing==
Chapter 20

Introduction

Although Bars&Pipes Professional includes sophisticated Graphic and List Editors, you can also perform many editing functions from the Tracks window. In particular, you can Cut, Copy, and Paste individual Tracks, or perform these functions globally on all Tracks. These operations involve the Edit Flags, Edit menu, and ClipBoard.

In addition to the Tracks window, you can also perform multi-track edits from the Song Construction and Media Madness windows. For our examples, however, we will concentrate on the Tracks window.

Clip Editing

All Edit menu operations use "Clips", which store and retrieve edited information. A Clip stores a section of music containing one or more Tracks. A Clip Buffer is a place in your computer's memory that stores a Clip.

The Track Clip Buffers

Each Track has its own Clip Buffer that stores a single Clip. The Cut and Copy commands replace the previous contents of the Track's Clip Buffer with the new Clip; the Paste and Mix commands copy the contents of the Clip Buffer to the Track.

The ClipBoard

Unlike an individual Tracks Clip Buffer, the ClipBoard allows you to work with multiple Cliresents you with filtering options. The Cut and Copy commands add a new Clip to the ClipBoard; the Paste and Mix commands copy the selected Clip to the Tracks. To use the ClipBoard instead of the Clip Buffer, open the ClipBoard by selecting the Windows menu or double-clicking on the Clip Board icon. While the ClipBoard is open, Clips are sent to it instead of the Track's Clip Buffers.

The Edit Window Clip Buffers

Although you don't use the Graphic and List Editor windows when editing multiple Tracks, it's important to understand their usage of Clip buffers:

Like a Track, each Edit window maintains its own Clip Buffer. All Cut and Paste commands in the Editor's Edit menu use this Clip Buffer when the ClipBoard window is not open. When the ClipBoard window is open, the Edit window uses the ClipBoard, just as the multi-track editing operations do. This means that you can Cut and Paste between the Edit windows and individual Tracks in the Tracks, Media Madness, and Song Construction windows.

The Edit Flags

Use the Edit Flags to mark a section of music for editing. The Flags look like purple slanted triangles, and sit directly above the Track displays in the Tracks, Media Madness, and Song Construction windows.

Position these Flags to indicate where you want your edits to occur. The left Edit Flag, designated by a triangular flag with the mast on the right, identifies where an edit operation starts, while the right Edit Flag, designated by a triangular flag with the mast on the left, identifies where an edit operation ends.

Positioning The Edit Flags

To position a Flag, drag it with the mouse. If the desired position is not visible in the display, first scroll the display so that the desired position is visible, then drag the Flag into position.

Dragging a Flag all the way to the left tells Bars&Pipes Professional to place it at the very beginning of your Song or Track. Dragging it all the way to the right indicates that you want it placed at the end of the Song or Track.

* TIP * Notice that as you drag the Flag its position is shown in the LED displays in the Transport Controls Mini Transport and Tracks windows.

You can also position the Flags by entering exact values with the Set Flags Window. To enter exact values open the Set Flags Window from the Windows menu.

Enter the values in Measures, Beats, and Clocks, or, if the SMPTE/Music Time button is set to SMPTE, set the time in Hours, Minutes, Seconds, and Frames. Once you have entered a number, remember to press the Return key, which enters the new value and moves the Flag to its new position.

Flag Alignment

You can specify whether the Flag automatically aligns with Measures, Beats, Seconds, Frames, or Anywhere, by selecting the desired option from the Align with... command in the Preferences menu. If you select Align with Measures, the Edit Flag always sticks to the measure boundary just to the left of, or under, the place where you drag it. If you select Align with Beats, it sticks to the beat boundary. Seconds stick to seconds boundaries, Frames stick to SMPTE frame boundaries, and if you select Align with Anywhere, it stays exactly where you place it.

Alternatively, you can set the Alignment with the four Alignment buttons located in the Set Flags window. "->M<-" sets the alignment to Measures, "->B<-" sets the alignment to Beats, "->S<-" sets the alignment to Seconds, and "->F<-" sets the alignment to Frames. If no button is selected, the alignment is set to Anywhere.

{{Note|text=If you align the Edit Flags on measure boundaries, the Time Signature and Key & Scale/Mode Parameters will be incorporated in the edit. Otherwise, they will not.}}

Selecting Tracks to Edit

You can edit one Track, a Group of Tracks, or the entire Track list at once.

Editing One Track Only

To edit one Track only, select the Track, activate the Solo mode and choose the appropriate edit command. This is the only option available in the Graphic and List Editors.

Editing A Group Of Tracks

To edit an entire Group of Tracks, select that group with the Group Number button or make a temporary Group by shift-clicking several Tracks. Then solo the Group with the Solo button and choose the appropriate Edit command.

Editing All Tracks

To edit all Tracks, make sure the Normal/Solo/Mute button is in Normal mode, then mark off the desired area and use the appropriate edit command.

The Edit Operations

The Edit menu operations work in conjunction with the Edit Flags and the Normal/Solo/Mute button.

Once you have aligned the Edit Flags and set the Normal/Solo/Mute button, select the desired operation from the Edit menu. Once they've been executed, all of the Edit menu commands automatically turn off the Solo button (if selected), so that you can quickly listen to your changes.

The following shows the menu command followed by the hotkey in parenthesis.

Cut (Right Amiga - X)
The Cut command cuts a section from your Song or selected Track. Cut removes the section between the Edit Flags and shifts everything to the right of the section to the left Edit Flag. This is analogous to cutting out a section of tape physically and splicing the remaining ends together.

Use the Paste command to insert the Clip elsewhere in your Track, or the Mix command to merge the Clip with existing notes. Notice that the Solo button is automatically turned off, after the cut is made. If you plan to Paste into just one Track, you must reactivate the Solo button.

Copy (Right Amiga - C)
The Copy command copies a section, without actually removing it, for use with the Paste or Mix commands. Nothing visibly happens, but the section between the Edit Flags is now available for Pasting.

Paste (Right Amiga - P)
The Paste command inserts a cut or copied section into the Song or Track. It's not necessary to set the right Edit Flag, since the length of the inserted section is determined at the time it is cut or copied. For example, if you cut a four-measure section, the Paste command inserts those same four measures and moves everything to the right of the insertion by four measures.

You can do multiple Paste operations with the same Clip it does not change until you cut or coy another section of the Track.

{{Note|text=Remember to activate the Solo button before you Paste, if you intend to Paste into just one Track or Group.}}

Mix
The Mix commands merge a copied or cut section with the existing Song or Track. As with Paste, you need only set the Left Edit flag, unless you explicity wish to limit the pasted size with the Mix To Right Edit flag command. Unlike the Paste command, Mix does not increase the legth of the Track; rather it adds the notes to the notes already in the section.

Erase (Right Amiga - E)
The Erase command clears the section between the left and right Edit Flags. Erase removes all events and your Sequence is silent during this section. This is analogous to erasing a section of tape.

Insert (Right Amiga - I)
The Insert command inserts a blank space in your music. This command is useful when you want to add a section to your Song somewhere in the middle of it. Insert the section, then use whatever methods you prefer to fill the gap with music.

In other words, the section contained between the Edit Flags shifts to the right of the right Edit Flag, and the section between the edit flags is becomes empty.

Delete
To delete a section between the right and left Edit flags, use the Delete command. This command operates identically to the Cut command, but does not place the deleted section into the Clip buffer or ClipBoard.

{{Note|text=You can still use the Undo command.}}

Toolize (Right Amiga - T)
The Toolize command uses the currently selected Tool in the ToolPad to process the section marked off by the Edit Flags. This command is ghosted if there is no Tool in the ToolPad

Repeat (Right Amiga - R)
The Repeat command repeats a section of your Song one or more times. Repeat makes multiple copies of the section designated by the Edit Flags and inserts them in the Song.

When you select the Repeat command, a requester opens and asks you to specify the number of times to repeat.

{{Note|text=This is NOT the number of times that the section plays, but the number of times it repeats. Hence, selecting "1" repeats the section one time.}}

The repeated section appears immediately following the source section. Enter a number and select Okay to repeat, or Cancel, to abort.

Propagate (Right Amiga - A)
The Propagate command is the only Edit command used in association with the A-B-A feature of the Song Construction window. (Please see the Song Construction chapter.)

If you make a change to an A-B-A section and you'd like the change to be reflected in all other copies of that specific section, use the Propagate command in conjunction with the left Edit Flag.

To do so, place the left Edit Flag on or within the boundaries of the section to be propagated. Bars&Pipes Professional then rewrites all occurrences of that section to include the change.

For example, if you change some notes in the first instance of your "A" section, place the left Edit Flag within or on that section's boundaries and the Propagate command changes all other instances of your "A" section.

The Propagate command always uses the first instance of each section to make its changes; therefore, in order to use Propagate successfully, you must always edit the first section.

Undo (Right Amiga - U)
The Undo command returns your Song to its state prior to the last operation. In addition to undoing all of the commands in the Edit menu, it undoes other actions, including the last time you recorded.

Merging Groups Of Tracks Together

You can merge several Tracks into one Track in a single operation. This is useful for merging several Tracks of drums into a single drum track, or merging several Tracks recorded from different MIDI channels from a guitar controller into a single Track for tablature printing.

* TIP * In the latter case, where each guitar string is recorded on a separate Track, open the Graphic Editor for each track separately, and tabulate on the correct string for each track. Then, merge the Tracks together. The notes retain their original string assignments for accurate tablature transcriptions.

Example: Merging Several Tracks

Open the main Tracks window. Choose a blank, unused track to merge the tracks into. If you do not have a blank track, select New from the Track menu to create a new blank track.
Activate one of the Group button numbers (1-8) in the upper left corner of the Tracks window. This places Bars&Pipes in Group mode. If any tracks turn white, they are already members of this group, and you should choose a different number.
Activate the Group button (the button that says "Group" on it). This places you in Group Edit mode. Any Track you click on becomes a member of this new group.
Click on the tracks to merge together. Each track turns white to indicate it is a member of the group.
Deactivate the Group button, but leave the Group Number button active. This takes you out of Group edit mode and back into Group mode.
Choose the Group/Merge... menu command. "Select the Merge Track:" appears in the Track window's title bar.
Click on an empty Track. The Track fills with the merged contents of the group of tracks. The original group is left intact.
If desired, choose the Group/Remove menu command to remove all the original tracks from the song. Alternatively, you may wish to click on the solo/mute button until the group of tracks is muted, in case you ever wish to reuse the original group of tracks.
Deactivate the Group Number button to return to normal track editing mode.
* TIP * Optionally, use multiple selection to create a temporary group. To do so, hold down on the Shift key and click one by one on the Tracks that you would like to merge

Splitting A Drum Track Into Several Parts

There are times when you might wish to split a single track of multiple drum sounds into several tracks of single drum sounds. For instance, this might be useful if you wish to set an echo on the snare drum, but not the bass drum.

The Track/Split menu command provides the ability to split a Track into component parts in a single move.

* TIP * You can also accomplish similar and sometimes more intriguing results using different Tools from the variety of Tool Kits available.

Example: Splitting a drum track into component drum parts

Open the main Tracks window.
Click on the track that you wish to split.
Choose the Track/Split menu command. A requester will appear that tells you how many Tracks will be created if you choose to continue.
Choose Yes to split the track. The track splits into several Tracks, all having the same name and MIDI channel as the original track.

{{Note|text=You can reconstruct the original track by merging all split tracks back together. See above.}}

Clean Cuts

The Clean Cuts option in the Preferences menu controls how Bars&Pipes Professional treats notes that extend over Clip boundaries.

Without Clean Cuts, when Bars&Pipes Professional creates a Clip, it extracts all notes up to the right Edit Flag and leaves the note durations untouched. If a note near the end of the Clip has a duration that hangs over beyond the right edit Flag, it overlaps when pasted in elsewhere.

With Clean Cuts enabled, Bars&Pipes Professional chops notes that overlap the start and end of the Clip into two notes apiece. And, when pasting, if two identical notes butt up to each other on the Clip boundary, it merges them into one.

{{Note|text=The Clean Cuts option also controls how notes cut and merge when Punching in and Out during recording.}}

The ClipBoard

The ClipBoard provides a convenient way to move music Clips from one Track or Group of Tracks to another. It also allows you to filter out events and Song parameters while you cut and paste. And, it provides a convenient storage spot to post Clips that you'd like to use later. You can even load and save Clips to disk.

Accessing The Clipboard

Use the ClipBoard with the Track, Song Construction, Media Madness, and any Edit window. To open the ClipBoard, double-click on its icon along the right side of the screen (the icon that looks like a Clipboard), or select ClipBoard from the Windows menu.

The ClipBoard window controls the use of the ClipBoard. Whenever the window is open, Clips are automatically sent to it, rather than the associated Clip Buffer. As long as the ClipBoard window remains open, all Clip edit operations in all windows pass their Clips through the ClipBoard.

The ClipBoard window displays the list of Clips, with the currently selected Clip highlighted. Each Clip in the list displays its name, the number of Tracks in the Clip, and the length of the Clip in Song-time.

{{Note|text=If the number of Tracks is denoted as a capital S, this means that the Clip is for a single Track only.}}

The ClipBoard Commands

To select a Clip, click on its name in the list. The Clip highlights and its name displays after the Clip Name: prompt. Use the scroll bar and arrows to scroll the Clip list up or down.

The following features are found in the ClipBoard window:

Clip Name
To change the name of the selected Clip, enter the new name after the Clip Name: prompt.

{{Note|text=By default, Bars&Pipes Professional assigns names in the form "Clip #<number>".}}

Clear
To remove a Clip, select the Clip, and then select the Clear button.

Load Clip
To load a previously saved Clip, use the Load Clip command from the File menu.

Save Clip
To save the selected Clip to disk, use the Save Clip command from the File menu. Once the file requester opens, select or enter a file name and click on Save.

Clear all Clips
To delete the entire list of Clips, select the Clear All Clips command from the File menu.

Editing with the ClipBoard

When you enable the ClipBoard, the four Edit menu commands, Cut, Copy, Paste, and Mix pass Clips to and from the ClipBoard. To Cut, Copy, Paste, or Mix an individual Track or Group of Tracks instead of all Tracks, click on the Solo button before selecting the specific edit command.

{{Note|text=When you Cut or Copy all Tracks into the ClipBoard, it displays a Clip size one greater than the number of Tracks. This happens because it also includes the hidden Master Parameters Track.}}

Edit Menu Commands And The Clipboard

Here is how each edit command behaves in conjunction with the ClipBoard:

Cut (Right Amiga - X)
The Cut command removes the section between the Edit Flags and places it in the ClipBoard. Notice that the new Clip is highlighted.

Copy (Right Amiga - C)
The Copy command duplicates the section between the Edit Flags and places it, highlighted, in the ClipBoard. The source Track(s) remains unchanged.

Paste (Right Amiga- P)
The Paste command inserts the selected (highlighted) Clip at the point marked by the left Edit Flag. The Clip remains in the ClipBoard, so that you can make multiple pastes.

You can control which Parameters and Event types you paste with the Include menu. (See below.) You can also control which Tracks receive pasted Clips. (See below.)

Mix
The Mix commands merge the selected Clip into the target Track(s). This command excludes Parameters from the mix. You can, however, choose which MIDI Events to mix with the Include menu.

There are times when you may cut or copy a clip from one Track and wish to mix (e.g. Merge) its contents into another Track.

{{Note|text=When you past a clip into a Track, it actually inserts the clip into the Track, moving the contents of the Track to the right to make room for the clip. If you mix the clip into the Track instead, it does not move the Track's original contents to the right.}}

Example: Mixing the contents of measures 5-8 of one track into measures 10-13 of another:

Open the Main Track window.
Click on the Track to copy the clip from. The Track highlights in white.
Set the Left Edit flag at the beginning of measure 5.
Set the Right Edit flag at the beginning of measure 9.
Click on the Solo button in the upper left hand corner of the Tracks window. All Tracks except the highlighted one become muted.

{{Note|text=This causes the next Edit operation to work only on the soloed Track.}}

Choose the Edit/Copy menu command. If it is not already open, the Clipboard window opens and displays the new clip. It highlight the new clip in red, and it displays the name after the Clip Name: prompt. The name in the list appears with an "S", signifying a single Track, and "0003.00.00", signifying a length of 3 measures, no beats, and no clocks.
Click on the destination Track. It highlights in white.
Once again, click on the solo button to solo the Track.
Move the Left Efit flag to the beginning of measure 10. It does not matter where the Right Edit flag is.
Choose the Edit/Mix To End Of Clip menu command. The entire contents of the clip are mixed into the track.
The menu option Edit/Mix To Right Edit Flag work similarly to the Mix To End Of Clip command, except that it stops mixing the clip when it reaches the Right Edit flag.

For instance, if the Right Edit flag had been set at the beginning of measure 11 in the above example, only the first measure of the clip would have been mixed into the Track.

Cutting From One Track And Pasting Into Another

If you want to Cut and Paste from one Track to another, you must use the Solo button before each command. When the Solo button is used in conjunction with an editing command, the ClipBoard automatically opens if it is not already open.

To Cut from one Track and paste into another:

Highlight the Track you want to Cut (or Copy) from.
Set the Edit flags around the area you want to Cut (or Copy).
Click on the Solo button.
Select the Cut (or Copy) command from the Edit menu.
Highlight the Track you want to Paste (or Mix) into.
Set the left Edit flag to the position you would like to Paste (or Mix).
Click on the Solo button.
Make certain that the correct Clip is highlighted in the ClipBoard.
Select the Paste (or Mix) command from the Edit menu.
* TIP * Another easy way to Cut and Paste from one Track to another is to use the Song Construction window. Please refer to that chapter for more information.

Filtering Clips With The Clipboard

The Include menu is available only when you have selected the ClipBoard window. This menu allows you to select specific Song Parameters and MIDI Events which will be included in the pasting or mixing.

By default, the Include menu includes everything but System Exclusive events. Omit those you don't want by clicking on the particular items in the menu.

{{Note|text=During a Mix operation, only MIDI Events are included, and not Parameters.}}

Multi-Track Clip Alignment

Clips can contain portions of several Tracks. Depending upon whether you're working with one Song or several, you may want to paste multiple Tracks differently. The Align Clips... selection in the Preferences menu gives you two ways to paste multi-track Clips.

When you select By Name, Bars&Pipes Professional pastes multi-track Clips into Tracks with the same names as the Tracks from which the Clips were cut or copied. This method is very useful for moving Clips between Songs, since you do not need to enforce a particular Track order for all of your Songs. Bars&Pipes Professional pastes only the Tracks that have matching names in the Song; other Tracks are not pasted, but do remain in the Clip.

When you select By Position, Bars&Pipes Professional pastes multi-track Clips into the selected Track, and Tracks below, until all Tracks are pasted. This method is useful for moving Clips between Tracks in the same Song, or between Songs without regard to Track names. Pasting "wraps around" from bottom to top, if necessary. For example, if you paste starting three Tracks from the bottom and five Tracks are in the Clip, Bars&Pipes Professional pastes the last two Clip Tracks in the top two Tracks of the Song.
==Song Construction==
Chapter 21

Overview

The Song Construction window provides powerful arrangement functions. You can insert, delete, or move any block of measures, as well as create and edit selected measures.

The Song Construction window also supports powerful A-B-A lists, which give you the option of locking measures to sections and rearranging your Song by rearranging the sections. The A-B-A sections also allow you to loop, or repeat, several measures in several tracks over and over a specified number of times.

Access the Song Construction window by choosing the Song Construction option in the Main menu's Windows menu, or double-click on the Song Construction window's icon.

The Song Construction Window

There are four major parts to the Song Construction window:

The Track Display, the Track Names, the Edit Flags, the A-B-A Strip, and the Command Buttons.

The Track Display

Most of the Song Construction Window features the Track Display. The Track Display shows your Tracks as a series of small measure boxes. Each box represents a measure in a Track. White boxes contain at least one note. Grey boxes contain none. Boxes may change color during moves, deletions, or editing operations.

{{Note|text=If a note spans more than one measure, the second measure's box also displays white, indicating musical activity in that measure.}}

Above the Tracks are the measure numbers; these numbers give you an idea of where you are in your Song. If you have time signature changes in your music, the measure boxes can be different sizes. Track names display to the left.

In conjunction with the Control Buttons (see below) you can perform the following operations in the Tracks Display:

Insert a measure with the Pencil.
Open the Edit window for a measure with the Magic Wand.
Move a measure from left to right within a Track, or even up and down across Tracks, with the Hand.
Duplicate a measure with the Duplicator.
Erase a measure with the Eraser.
Toolize a measure with the ToolPad. The mouse icon tums into a Wrench when this button is selected.
The Right Mouse button cancels dragging, copying, and wanding operations. For example, if you are dragging a group of measures that you surrounded with the bounding box, clicking the Right Mouse Button returns them to their original location.

The Track Names

The Track Names on the left also respond to several of the editing modes. You can:

Create and insert a new Track by clicking in the Track Name area with the Pencil.
Modify a Track name by clicking on it with the Magic Wand, or double-clicking with the Saxophone/Default pointer.
Move a Track up and down relative to the other Tracks with the Hand.
Duplicate a Track by clicking on its Track name with the Duplicator.
Erase a Track by clicking on its Track name with the Eraser.
The Edit Flags

The Song Construction window displays just the two Edit Flags. These are in fact the same as the Edit Flags in the Tracks window. Drag these to set edit boundaries and the same flags in the Tracks window and Media Madness windows follow to the new positions.

The A-B-A Strip

The narrow strip located between the Command Buttons and the Edit Flags contains the current A-B-A sections. This area is called the A-B-A Strip. When you open the Song Construction window for the first time, the A-B-A Strip is completely blank.

A-B-A sections can be named "A", "B", "C", etc. You can also assign more specific names such as "Verse", "Chorus", "Refrain", "Bridge", and "Finale".

Bars&Pipes Professional automatically numbers each section in the order it appears in the A-B-A strip, and assigns different colors to each type of section so that, at a glance, you can see transitions between sections.

You can perform the following editing operations in the A-B-A Strip:

Create and insert a new A-B-A section with the Pencil.
Modify an existing A-B-A section's name, length or number of repeats with the Magic Wand.
Move an A-B-A section with the hand.
Duplicate an A-B-A section with the Duplicator.
Erase an A-B-A section with the Eraser.
Toolize an A-B-A section with the Wrench. Click on the ToolPad in the Song Construction window to access the Wrench

{{Note|text=The actual measures beneath the A-B-A sections are not changed in any way by modifying the A-B-A sections, until the Lock to A-B-A button is selected (please see below).}}

The Control Buttons

The Pencil

Use the Pencil (Fl key) to:

Create and insert a new Track by clicking in the Track Names area.
Insert a blank measure by clicking in the Track Display area.
Create and insert a new A-B-A section by clicking in the A-B-A Strip.
The Magic Wand

Use the Magic Wand (F2 key) to:

Rename a Track name by clicking on the Track name in the Track Names area.
Open the Edit window for a Track at a selected measure by clicking on the measure in the Track Display area.
Modify the name and length of an A-B-A section by clicking on the A-B-A section in the A-B-A Strip.
The Hand

Use the Hand (F3 key) to:

Move a Track up and down relative to other Tracks by clicking and dragging a Track's name in the Track Names area.
Move a measure in the same Track, or across Tracks, by clicking and dragging in the Track Display area. Use the Hand in conjunction with the Bounding Box to move a group of measures
Move an A-B-A section forward or backward by clicking and dragging. The measures beneath the A-B-A section are moved only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker moves.
The Duplicator

Use the Duplicator (F4 key) to:

Duplicate a Track by clicking on the Track's name in the Track Names area.
Duplicate a measure by clicking and dragging the measure in the Track Display area. Use the Duplicator in conjunction with the Bounding Box to duplicate a group of measures
Duplicate an A-B-A section by clicking and dragging in the A-B-A Strip. The measures beneath the A-B-A section are duplicated only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker is duplicated.
The Eraser

Use the Eraser (F5 key) to:

Erase a Track by clicking on the Track's name. A requester asks you to confirm your decision.

{{Note|text=You cannot unerase once you've used the Eraser.}}

Erase a measure by clicking on the measure in the Track Display area. Use the Eraser in conjunction with the Bounding Box to erase a group of measures.
Erase an A-B-A section by clicking on the section in the A-B-A Strip. The measures beneath the A-B-A section are erased only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker is erased.
The ToolPad

Clicking on the ToolPad causes the mouse pointer to turn into a Wrench. Use the Wrench to:

Toolize a measure by clicking on the measure in the Track Display area. Use the Wrench in conjunction with the Bounding Box to Toolize a group of measures
Toolize an A-B-A section by clicking on the section in the A-B-A Strip. This only works if the Lock to A-B-A button is depressed
The Bounding Box

Use the Bounding Box (F6 key) to edit groups of measures in the Track Display area in conjunction with the Hand, Duplicator, Eraser, and ToolPad.

The Lock To A-B-A Button

Activate the Lock to A-B-A button when you want to have changes made to the A-B-A sections in the A-B-A Strip to also affect the measures beneath the Strip

Deactivate the Lock to A-B-A button when you just want to affect the A-B-A sections themselves without affecting the measures beneath.

The Zoom In And Zoom Out Buttons

The Zoom In button is the large note button. Click on it to enlarge the display by one step. This gives you finer control, but shows fewer measures.

The Zoom Out button is the small note button. Click on it to reduce the display by one step. This allows more measures to be displayed, at the loss of fine editing control.

A-B-A Section Editing

Not only are A-B-A sections useful for labeling your music, they can also be used to physically rearrange your music, or repeat sectons.

By using the Lock to A-B-A button. you can reposition, copy, add and/or delete labeled sections of music. You can also make changes to the first occurrence of each labeled section and propagate those changes throughout your Song.

{{Note|text=Propagate, in this context, means to copy the changes made in the first occurrence of a section to all other occurrences of that particular section within your Song.}}

Arranging Your Composition

When setting up your A-B-A layout, remember to deselect the Lock to A-B-A button in the Song Construction window. This ensures that Bars&Pipes Professional will not rearrange your music as you rearrange the section labels. Use the Pencil to create new sections, the Duplicator to copy them, and the Wand and hand to change and move them.

Once you've set up the A-B-A sections, enable the "Lock to A-B-A" button. Then, rearrange your Song by simply dragging, duplicating, erasing, and inserting sections. As you do so, the music undemeath follows the lead of the section markers.

Propagating Changes

Bars&Pipes Professional automatically copies changes made to a section to all other identically named sections with the Propagate command. For example, if you edit section "A" and then execute the Propagate command, Bars&Pipes Professional inserts the changes in all other sections named "A."

The Propagate command appears in three separate menus: the Song menu, the Track (or Group) menu, and the Edit menu, all of which can be accessed from the Tracks and Song Construction window. The Propagate command behaves differently in each menu.

In the Song menu, the Propagate command copies changes made to the first instance of each section to all other instances of those sections throughout your Song.
In the Track menu, the Propagate command copies the first instance of each section to all other instances of those sections, for the selected Track only.

{{Note|text=When you have a Group selected, the Track menu becomes the Group menu. In this case, the Propagate command, working on the Group as a whole, copies changes made to the first instance of each section to all other instances of those sections within the Group.}}

In the Edit menu, the Propagate command copies changes made to the first instance of a specific section to all other instances of that section. Mark the section by dragging the left Edit Flag on or within its boundaries. The Propagate command works on the section that contains the left Edit Flag; don't forget to set it.
In all cases, the Propagate command copies to all other instances of that section, only the changes made to the first occurrence of each section. You must make your changes to the first of each section in order to use Propagate.

{{Note|title=Remember|text=For Propagate to work, identical sections must retain identical names. If you rename a section, it automatically becomes independent of all sections with its previous label.}}

An A-B-A Example

Let's use the Song Construction window and the A-B-A feature in an example. First, starting with a new Song, create eight measures of music on Track 1 in any way you see fit. We will split this eight-measure section up into five measures plus three measures. Therefore, make certain that there are no notes dangling from measure five into measure six.

Once you've created your eight measures, open the Song Construction window. Bars&Pipes Professional lists your Tracks with the eight measures you've created highlighted in white. All other measures are grey.

Copying Measures From One Track To Another

Just for the fun of it, let's copy the eight measures in Track 1 over to Track 2. Click on the Duplicator button and the Bounding Box button. Then click on the white square representing measure 1 in Track 1, and drag the mouse until it is over the white square representing measure 8 in Track 1. A rubber banding box shape stretches over the eight measures.

Lift the mouse button, and then click on the area you just put the box in. Slide the mouse downward until the eight measures in Track 2 highlight in blue Release the mouse button to copy the measures.

Erasing A Measure

Erase measure four in Track 2. To do so, click on the Eraser, then click on the white square representing measure four in Track 2. The white square disappears and is replaced by a grey square. If it remains white, this means that there is a note in measure three that extends into measure four. In this case, select Clean Cuts from the Preferences menu, and erase measure four again. The note will be cleanly cut so that measure four is clear of all notes.

{{Note|text=Our purpose for erasing measure four in Track 2 is to provide an asymmetrical grid so that we can see our editing operations reflected in the Tracks area.}}

Creating Two A-B-A Sections

Now that we have two Tracks of music, let's create the A-B-A sections. Choose the Pencil. The Duplicator and Bounding Box buttons will automatically deselect. Click with the Pencil after the A-B-A: prompt, and above the Edit flag area above measure 1. A requester will appear.

The section label, by default, will be "A". Change the label to "First". Set the Measures: slider to 5 measures. Click on the Okay button. You'll see a colored bar with your label appear in the A-B-A: area.

Click with the Pencil again, this time to the right of the colored bar. The requester will appear again. enter the name "Second" in the Section Name: area. Set the Measures: slider to 3 measures. Click on the Okay button. You'll see another colored bar appear after the first.

Arranging The A-B-A Sections

To arrange your A-B-A sections, first make sure that the Lock to A-B-A button is tumed off. Then click on the Hand button to enter Drag mode.

Grab the First colored bar, and drag it to the right of the Second bar. The two bars exchange position. The music below does nothing, because the lock to A-B-A button is deselected. Now, grab the Second bar and drag it to the right of the First. The two bars return to their original position.

Now, click on the Lock to A-B-A button to activate it. Repeats the steps in the paragraph above. Notice anything different? When the Lock to A-B-A button is on, the actual measures beneath each A-B-A strip exchange positions along with the Section Names.

You can use any of the mouse modes to operate on the A-B-A sections. While the Lock to A-B-A button is on, any operation you do to an A-B-A section will also be done to that section's measures. Erasing a section will erase the measures, duplicating a section will duplicate the measures, etc. Experiment.

Duplicating A-B-A Changes

Now, activate the Lock to A-B-A button (if it is not still activated). Use the Duplicator to duplicate the Section Names above your music by clicking on the Duplicator, and then clicking and dragging the Section Names. Make a few copies of the A-B-A section, "First." Arrange these sections in any way you like. The music underneath will be copied along with the sections.

Propagating A-B-A Changes

Let's assume that measure 1 is the beginning of the A-B-A section, "First" and Tracks 1 and 2 have musical information on them Now, let's create some music on Track 3 on measure 1. Normally, we would probably record new music into measure 1, but for the sake of brevity let's just select the Duplicator (without the Bounding Box) and copy measure 1 of Track 2 into measure 1 of Track 3. You'll notice that only the first instance of the "First" A-B-A section has Track 3's music in it. This is where the Propagate command comes in.

Choose the Propagate command in the Song menu. The information contained under the first "First" will be copied so that it is under each "First" section, while the information contained under the first "Second" will be copied so that it is under each "Second" section. Notice that the music in Track 3 is now undemeath every instance of the "First" section.

You can use the Propagate command in the Edit menu if you'd like to propagate changes from the section marked by the Left Edit Flag, or use the Propagate command in the Track menu if you'd like to propagate changes on one Track only.

Looping

Looping, also known as repeating is the ability to play several measures in several Tracks over and over a specified number of times.

You can set each song section to play through once or repeat any number of times.

Creating a Looping Section

The easiest way is to learn by example:

Example: Looping measures 1-4, 4 times

Open the Song Construction window.
Activate the Pencil button.
Make sure that there are no A-B-A sections.

{{Note|text=If you don't see any colored bars to the right of the A-B-A prompt above the measure numbers, there are no A-B-A sections. If necessary, activater button and erase any existing A-B-A sections, and then reactivate the Pencil.}}

Click in the A-B-A area with the Pencil. The A-B-A section requester open with the default values. The Section Name: should be "A", the Measures: should be "4", and the Repeats: should be "0".

Slide the Repeats: slider to "4".
Select Okay. The A-B-A section appears to the right of the A-B-A: prompt, showing the name of the A-B-A section, followed by "R: 4".

{{Note|text=The "R:4" denotes "repeats this section 4 times.}}

That's it! Play your song from the beginning, and measures 1 through 4 will repeat 4 times.

Example: Looping measures 12-20, 4 Times

Clear all sections with the eraser, then use the pencil to enter a new section. Again, this opens the A-B-A section requester.
Slide the Measures: slider to "11", and leave the Repeats: slider at "0".
Select Okay. The A-B-A section appears to the right of the A-B-A: prompt, showing only the name of the section.
Click in the A-B-A area again with the Pencil, to the right of the first section you just created. The A-B-A section requester open again.
Slide the Measures: slider to "8" and the Repeats: slider to "4".
Select Okay. Another A-B-A section appears to the right of the first, showing the name of the section followed by "R:4", denoting "repeat 4 times".
That's all there is to it.

Example: General Looping Procedure

If you want a loop beginning with measure 1, then follow Example 1 and adjust the Measures: and Repeats: sliders in the section requester according to how many measures you want to loop and how many times to loop them.

If you want to loop beginning with a measure other than 1, then you must first enter a section long enough to cover measures 1 through the measure before you want to begin the loop. Then, you must create another section of the appropriate length and repeat count, as in example 2.

Changing The Number Of Times A Looping Section Repeats

To change the number of times an existing Section repeats.

Example: Changing section repeat count

Open the Song Construction window.
Activate the Magic Wand.
Click with the Wand on looping Section. The A-B-A section requester opens.
Adjusts the Repeats: slider accordingly
Select Okay. The A-B-A section appears after the A-B-A: prompt. It shows the name of the section, followed by an R:#, where # denotes the repeat count.
Changing The Length Of A Looping Section

Example: To change the length (number of measures) of an existing looping section:

Open the Song Construction window.
Activate the Magic Wand.
Click with the Wand on the looping Section. The A-B-A section requester opens.
Adjust the measures slider accordingly.
Select Okay. The A-B-A section appears after the A-B-A prompt, showing the name of the section followed by an R:#, where # denotes the repeat count. The length of the A-B-A section changes to reflect your new choice.
Changing The Position Of A Looping Section

Change the position of a looping section either by dragging it with the hand or changing the length of sections that precede it.

For instance, if you want to move an existing looping section to the right by 3 measures, you increase the length of one or more sections to the left of the looping section by a total of 3 measures.

Recording Over A Looping Section

Of course, there will be times when you record a Track of music over other looping Tracks. Here's how:

Example: Overwriting a Looped Section

Create a looping section of music.
Set up a Track on which to record. Make sure the Input Arrow or MIDI Channel (in multi-in mode) are correct, and the red R indicates that the Track is in record mode.
Activate sequencer record mode by highlighting R in the Transport.
Click on Start to begin recording.
Record music. You should hear the other Tracks looping as you overdub on top of them. You do not hear what you record looping. You are, in essence, recording a linear Track on top of the looping Tracks.
Click on Stop. A requester appears.
Choose Create. A new, special linear Track is created. This Track does not loop like the others. This way, you hear your music as you recorded it.
Click on Play in the Transport to hear the results.
You should notice that the new Linear Track looks slightly different than the other Tracks. Its colors are light grey when non-highlighted, and the notes are purple when highlighted, instead of yellow. It is very similar to a RealTime Track.

Double click on the Linear Track's name (it's named the same as the Track from which it was created).

Notice that the Linear button is highlighted. This indicates that this Track is linear in nature, and does not loop like other Tracks.

Excluding A Track From Looping

RealTime Tracks do not loop. The difference between a RealTime Track and a Linear Track is that RealTime Tracks do not follow Tempo changes, while Linear Tracks do.

Linear Tracks are explained in the previous section, while RealTime Tracks are explained elsewhere in the manual.

To change an existing Track into a Linear Track, double click on the Track's name. The Track Name requester opens. Highlight either the RealTime or the Linear button and choose OK.
==Mix Maestro==
Chapter 22

Overview

In traditional recording, mixing a Song means combining the recorded Tracks down to a final form. Mixing includes, among other things, setting relative volume levels of each Track and setting stereo positioning of each Track.

Mix Maestro brings mixing capabilities to your Bars&Pipes Professional compositions, giving you real-time control over the mixing process.

Use Mix Maestro to control volume and panning of individual Tracks in your Songs. Mix Maestro does this by entering Control Changes into each Track. Most MIDI instruments respond to Control Change #10 as panning and Control Change #7 as volume. However, Mix Maestro can send out any Control Change that you specify.

Mix Maestro actually records these Control Changes directly into each Track. Once you've created a mix with Mix Maestro, you can view and edit the mix by looking at the Control Changes in each Track with the Sequence or List Editor.

During playback, Mix Maestro's volume sliders and panning knobs follow along with the Control Change information in each Track. They also follow along with real-time Control Change information if you are using a real-time controller during recording.

The Mix Maestro Window

To start Mix Maestro, select the Mix Maestro command from the Windows menu or double-click on the Mix Maestro icon along the right side of Bars&Pipes Professional's screen.

The Mix Maestro window displays three sets of controls for each Track in your composition. Note that the Track names displayed at the top of the window match the Track names in the Tracks window.

The Mix Maestro Controls

Mix Maestro has three sets of controls for each Track: the Lock/Mute buttons, the Panning knob, and the Volume slider.

When you run your Song with Mix Maestro open, the Panning knobs and Volume sliders move with whatever panning and volume information (actually the values of Control Change parameters #10 and #7) you've already recorded in your Song.

The Panning Knob
The Panning knob usually alters the Control Change #10 parameter. This controls the balance, or "pan" of the instrument between the left and right speakers.

To use the Panning knob, press and hold the left mouse button over the knob and drag the mouse left and right. Notice the thin pointer move, and the numeric counter above the knob change, as you drag the mouse.

With the knob in the 9 o'clock position (counter showing -64), the Track position is full left (no power at the right channel for this Track). With the knob at the 3 o'clock position (counter showing 63), the Track position is full right. Intermediate settings yield intermediate positions; when the counter shows 0, you have a perfect balance between the left and right channels.

While dragging the knob, you can move the mouse outside the knob itself; as long as you hold down the mouse button, the pointer follows your moves.

* TIP * You can move the mouse out toward the edges of the screen to get finer control over the knob position.

The Volume Slider
The Volume slider usually alters the Control Change #7 parameter. On most synthesizers, this parameter controls Volume.

To use the Volume slider, drag the small square up and down in its Track. Watch the numeric counter at the bottom of the Mix Maestro window; as you move the Volume slider, this number changes to show you the exact volume level.

The numbers range from 0 (silence) to 127 (full volume).

The Mute Button
There are four buttons below each Track name. The button in the upper left corner is the Mute Button. This button corresponds with the Thru/Play/Mute selector in the Tracks window.

To mute a Track, activate the Mute Button. To unmute a Track, deactivate the Mute Button. Notice that the Thru/Play/Mute faucet in the Tracks window and Media Madness window follows along with this button, and vice versa.

The Lock Buttons
The remaining three buttons are the Lock buttons. In Lock mode, the Volume sliders of several Tracks can be tied together. When moving the slider in a Track that is Locked, the other Locked Tracks follow along, keeping their positions relative to each other.

There are three lock buttons, each with a different color. Tracks that have the same color activated are locked together.

For instance, let's say that Track 1 and Track 2 are locked together. Track 1 is at a volume of 127, and Track 2 is at a volume of 64. If we move Track l's volume slider halfway down to 64, Track 2's volume slider moves halfway down to 32.

{{Note|text=To save CPU processing time, the other Tracks' sliders don't actually move, but the numbers underneath the sliders are continuously updated. When you let go of the slider, the other sliders move to their new positions.}}

Locking is very useful when dealing with groups of related instruments, such as drum effects or a horn section, which tend to be grouped in a live performance.

Without locking Tracks, it would be impossible to change more than one Track at a time, or to fade all Tracks at once at the end of the Song.

If you want to lock all the Tracks in your Song together, select Lock All from the Mix Maestro menu. This sets the Lock button on all Tracks that are not already locked. Conversely, you can select Unlock All from the Mix Maestro menu to unlock all Tracks.

The Mix Maestro Menu

The MixMaestro window has its own menu, the Mix Maestro menu. These commands can be accessed only from the MixMaestro window. The following lists each option contained in the Mix Maestro menu:

ByPass Mix
The ByPass Mix option disables Mix Maestro. This option filters out the Control Changes selected with the Set Controllers menu option during playback.

{{Note|text=These Control Change values are normally 10 for panning and 7 for volume. Use the Set Controllers menu option to change them.}}

Copy Mix to ClipBoard
The Copy Mix to ClipBoard option copies the Control Changes selected in Set Controllers into a Clip in the ClipBoard. This operation works even if the ClipBoard is not open.

* TIP * This command, in conjunction with the Paste Mix and Clear Mix commands, provides a method for saving and auditioning different mixes.

Paste Mix From ClipBoard
The Paste Mix From ClipBoard option replaces the current Mix with the one highlighted in the ClipBoard.

{{Note|text=Use the Copy Mix to ClipBoard command to create the Clip.}}

Clear Mix
The Clear Mix command erases from all Tracks the Control Changes selected in Set Controllers.

Clear Locked Pans
The Clear Locked Pans command erases the Control Change selected as panning in Set Controllers from each locked Track. This command operates independently on Tracks locked with either the yellow, blue, or purple locks. Select the appropriate color from the Clear Locked Pans submenu.

Clear Locked Volumes
The Clear Locked Volumes command erases the Control Change selected as volume in Set Controllers from each locked Track. This command operates independently on Tracks locked with either the yellow, blue, or purple locks. Select the appropriate color from the Clear Locked Volumes submenu.

Lock All
The Lock All command sets one of the three colored locks on all Tracks. Choose the color from the Lock All submenu.

UnLock All
The UnLock All command deselects one of the colored locks on all Tracks. Choose which color of lock to deselect from the UnLock All submenu.

Mute All
The Mute All command mutes all Tracks.

UnMute All
The UnMute All command unmutes all Tracks.

Set Controllers
The Set Controllers command opens the Mix Maestro requester, allowing you to set which Control Change corresponds to panning or volume Slide the appropriate slider to the value you would like to use for each effect.

SnapShot
The SnapShot command enters the current volume and panning information into each Track at the current Song Position. Use the SnapShot command to set initial values, and to create jumps from one value to another.

Select Yellow, Blue, Purple, or All from the SnapShot submenu to enter the Control Changes into locked Tracks or all Tracks respectively.

Recording with Mix Maestro

To use Mix Maestro, open the Mix Maestro window and click the Start or Play buttons in the Transport Controls window. If you already have Control Change #10 or #7 events in your Song, the knobs and sliders for each Track move with the set values as the Song plays. Dragging the Volume slider or Panning knob for any Track overrides the Control Change information in your Song, and replaces it with the values you set. If you have several Tracks locked together, all the locked Tracks immediately reflect the changes you make to any of them.

Setting The Initial Mix

Before you begin your mix, set each Track's pan and volume positions so that your Song begins with these values. To do so, first set all your panning knobs and volume sliders to the desired positions for each Track and your Song Position marker to the first measure of your Song.

Next, select the Snapshot command from the Mix Maestro menu. This command grabs the position of your knobs and sliders and places their respective Control Change values at the current Song Position in each Track.

Recording The Mix

To record the mix, click on the Start button in the Transport Controls. As the music plays, click on a volume or pan pot and drag it as appropriate. When you've recorded one Track's mix, click on Stop in the Transport Controls, then click on Start to mix another Track. Continue in this manner until you've mixed all Tracks.

{{Note|text=You don't have to place your Track in record mode to record a mix in the Mix Maestro window.}}

As you mix your music, Mix Maestro's knobs and sliders move in real-time, automating your mix.

Undoing Or Bypassing Your Mix

If you are unsatisfied with your mix, you can undo your efforts. To clear the volume or pan information from one or more Tracks, select Clear Locked Volumes and Clear Locked Pans respectively from the Mix Maestro menu. Doing so affects all Tracks locked with a Lock button. If you are unhappy with your mix as a whole, use the Clear Mix command from the Mix Maestro menu to clear all pan and volume information. If you pleased with your mix, but want to disregard it temporarily, use the Bypass Mix command.

Saving And Restoring Your Mix

Once you're satisfied with your mix, you can save it in the ClipBoard and retrieve it at a later time. From the Mix Maestro menu, use the Copy Mix to ClipBoard command to save your mix as a Clip. Once you've copied a mix into the ClipBoard, use the ClipBoard's File menu to Load and Save your mix to disk. When you want to retrieve a mix from the ClipBoard, use the Paste Mix from ClipBoard command.
==Time Line Scoring==

Chapter 23

Overview

When you create a soundtrack for a movie, video, or multimedia production, you often need to synchronize several disjointed sections of music with specific points in the movie.

Bars&Pipes Professional's Time Line Scoring feature gives you a high-level view of your soundtrack, and allows you easily to position any number of music sections in SMPTE time. Each of the music sections is actually a full-fledged Bars&Pipes Professional Song, complete with multiple Tracks and its own Tempo Map.

Use the Time Line Scoring window to load multiple Songs and position them relative to each other. Time Line Scoring adds each Song's Tracks to the Track list and recomputes the master Tempo Map to include the time period of each Song.

* TIP * You can access other Songs' Tracks by scrolling the Track display down below the current Song's Tracks.

Before you use Time Line Scoring, you must first create, edit, and save each section as a separate Song. Once you add a Song to the Time Line Scoring window, you can still perform all the standard Bars&Pipes Professional editing operations on the Song.

Accessing

Open the Time Line Scoring window by double-clicking on the Time Line Scoring icon, or using the menu option in the Windows menu.

The Scoring Grid

The Scoring Grid occupies most of the Time Line Scoring window. Rectangular colored areas with Song titles display in the Scoring Grid. These represent the Songs in memory.

The numbers above the scoring grid represent the time in minutes and seconds. By looking at the position of the Song rectangles, you can see at what time a Song begins and ends. For more exact information, click on the Song rectangle with the Magic Wand (please see below).

{{Note|text=Only the horizontal (side-to-side) placement affects the Songs' start time.}}

Adjusting The Zoom

The Zoom In button is the large note. Click on it to enlarge the display by one step. This gives you finer control, but shows fewer measures. The Zoom Out button is the small note. Click on it to reduce the display by one step. This allows more measures to be displayed, at the loss of fine editing control.

Using Time Line Scoring

Adding A Song

To add a Song to the Time Line Scoring window, select the Pencil (or F1 key) and click in the Time Line window. Bars&Pipes Professional opens the File Requester.

When you select the Song you want to include in the soundtrack, Bars&Pipes Professional loads the Song and inserts a colored bar in the Time Line window with the Song title inside. The Song starts at the point at which you clicked with the Pencil. Each Song has a different color, so that you can easily see where one Song ends and another begins.

When you add a Song with Time Line Scoring, the Tracks of the Song are appended to the Tracks that already exist in the Tracks window.

Adjusting The Song's Start Time

One way to adjust the Song's start time is to drag the Song rectangle with the Hand. To do so, click on the Hand button (or choose the F3 key). Then click and drag the Song forward or backward in time.

You can also adjust the Songs start time by entering a start time. Click with the Magic Wand (F2 key) on a Song rectangle to bring up the Song Start Time requester.

The Song Start Time requester shows you the current start time of the Song, in SMPTE time and Song time. Click in either field to enter a new starting time for the Song.

{{Note|text=Tempo changes, Time Signatures, and the SMPTE Global Offset affect the SMPTE starting lime of the selected Song.}}

You can use the Lock to Measure button when you want to move the start time of the Song to the nearest measure boundary when inserting a tempo change. This is handy since the Song Time rarely lands on the beginning of a measure.

To use align your Song with a measure boundary, click on the Lock to Measure button. Bars&Pipes Professional calculates a tempo change and inserts it into the measure immediately before the selected Song. The measure number designated by the Starting Time: prompt equals the sum of all measures in the soundtrack up to this point.

* TIP * When you first create a Song, notes are generally lined up with measures. However, when you connect multiple Songs in the Time Line Scoring window, note can be shifted in time, relative to their original measure positions. If you need to edit a Track, use the Lock to Measure button, then deselect Lock to Measure when you're finished editing.

Combine TimeLine Options

Each Song maintains its own A-B-A section list, Tempo Map, and Song Parameters. Every time you reposition a Song in the TimeLine, Bars&Pipes Professional must recalculate the complete performance's A-B-A section list, Tempo Map, and Song Parameters from the component parts. As such, it's desirable to control which portions get recomputed and which are left alone.

Use the Combine TimeLine... options in the Preferences menu to control how Bars&Pipes Professional recomputes each of the following parameters:

Sections
If the Sections option is enabled, Bars&Pipes Professional computes a new A-B-A section list out of the component parts. Otherwise, it uses the A-B-A section list that existed before the repositioning of a Song portion required recalculating the A-B-A section list.

Tempo Maps
If the Tempo Maps option is enabled, Bars&Pipes Professional computes a new tempo map out of the component parts. Otherwise, it uses the tempo map that existed before.

Song Parameters
If the Song Parameters option is enabled, Bars&Pipes Professional computes a new set of Song Parameters out of the component parts. Otherwise, it uses the Song Parameters that existed before. Remember, the Song Parameters include Lyrics, Time Signature, Chord Changes, Dynamics, Rhythms, and Key Signature.

Removing A Song

Use the Eraser (F5 key) to delete a Song from the soundtrack. Click on the Song you want to delete. A requester asks you to confirm your decision.
==Create-a-Tool==
Chapter 24

=== Overview ===

You can create and edit your own MacroTools in the Create-A-Tool window. A MacroTool is a Tool created by combining several Tools into one. Like the Tools provided with this program, a MacroTool has one input, one output, and an icon representing it. Not only is the use of MacroTools a convenient way to keep your PipeLines from overcrowding (you can take a string of commonly used Tools and create a MacroTool to replace them), but it's a very potent method for making specialized Tools of your own design.

=== The Create-A-Tool Window ===

The Create-A-Tool window enables you to design your own MacroTools. Access the Create-A-Tool window from the ToolBox by choosing the Create MacroTool... option from the ToolBox window.

If you'd like to edit an existing MacroTool, choose the Edit MacroTool... option after you've highlighted an existing MacroTool in the ToolBox. Alternatively, you can double-click on an existing MacroTool in the ToolBox to open its Create-A-Tool window.

=== MacroTools: A List of Ingredients ===

Each MacroTool contains several important parameters:

==== A Unique Name ====

Each MacroTool has a unique name and a four-letter identifier.

For example, a Tool that creates random harmonies could be called "Split-Quant-Counterpoint" and the identifier could be "SQCP." You use the full name, "Split-Quant-Counterpoint," to describe the Tool for your reference. Bars&Pipes Professional uses the identifier, in this case "SQCP," for internal operations that require speed and compact size.

If you choose not to give an identifier a name, Bars&Pipes Professional automatically assigns one.

==== An Icon ====

Each Tool must have an icon to display in the ToolBox, PipeLine and/or ToolPad. In addition, if the Tool has a branching output and can send data two places at once, it requires two icons: one for when the Tool is above the receiving Tool (the connector is on the bottom of the Tool) and one for when the Tool is below the receiving Tool. (The connector is on the top of the Tool.)

==== Tools ====

A MacroTool consists of a collection of interconnected Tools. You arrange these Tools on a grid of PipeLines, much like the PipeLines in the Main Screen.

For example, our Split-Quant-Counterpoint MacroTool feeds notes to a Keyboard Split Tool, which sends notes below the split point to an Echo Tool. The notes at or above the split point enter the Quantize Tool, then, the CounterPoint Tool.

==== Input And Output ====

A MacroTool can have only one input; therefore, you must identify the Tool that accepts incoming notes as the input of the MacroTool. Also you must label the last Tool in the MacroTool as the output. In addition, if this MacroTool is capable of sending a branched output, you must identify the Tool that sends notes down the branch.

==== Tool Parameters ====

Some of the Tools in the MacroTool may have parameters that can be preset.

For example, you might, in your MacroTool, use a Transpose Tool that always shifts a note by a predetermined interval. This requires presetting that component Tool in your MacroTool.

=== Constructing Your MacroTool ===

To construct a MacroTool, open the Create-A-Tool window by selecting Create MacroTool from the ToolBox menu. This menu is only available from the ToolBox window. The Create-A-Tool window opens with a new, blank MacroTool, ready to assemble.

==== Naming Your Macro Tool ====

Across the top of the window are two text entry fields, Tool Name: and Tool ID:. Bars&Pipes Professional automatically supplies a default name and a unique default ID. To name your Tool, click on the Name: field and enter a description of your Tool.

{{Note|text=Changing the ID is optional.}}

==== Painting The Macro Tool Icon ====

On the left side of the Create-A-Tool window is a box with an enlarged icon in it. Since a Tool can have two icons, both are displayed at their normal size to the left of this box. To choose which icon is enlarged, click on one of the two.

Below the box is a Palette of eight colors. To paint the icon, select the paint color by clicking on it in the Palette and draw your icon in the box. Like any other paint program, you draw by clicking down with the mouse and dragging it. The MacroTool window displays the selected color in the tall box to the left of the Palette.

From the Paint menu, you can choose from the following commands:

; Clear
: Clear sets the entire icon to the color currently selected in the Palette.

; Copy
: Copy duplicates your MacroTool icon. Bars&Pipes Professional needs the extra icon for MacroTools that branch off to Tools above or below. Alter the duplicate so that the placement of the output Pipe inverts. If you've created a branching MacroTool, draw your main icon, then duplicate it with the Copy command and edit the position of the outgoing Pipe to go up.

; Flip...
: Flip... turns your icon around an axis. To flip from top to bottom, choose Flip Vertically. To flip from left to right, choose Flip Horizontally.

; Start With...
: Start With... provides a choice of four pre-defined icons. To select a pre-defined icon (a time-saver), drag the mouse over your icon of choice and lift up. That icon now appears in the Paint Box.

; Flood Fill
: Flood Fill paints an entire area of the icon with the selected color. To use the Flood Fill command, first select the fill color and the Flood Fill command. Then, with the mouse, touch the area to be painted and click the mouse. For instance, if you have a red shape you'd like to make yellow, select yellow from the Palette, select Flood Fill from the menu, then click on the center of the shape. It's now filled with yellow.

; Undo
: Undo reverts the icon to the state that existed prior to your most recent action.

==== Adding And Connecting Tools ====

Once you've set up your MacroTool icon, you're ready to build your MacroTools using existing Tools.

; Adding
: In the large box on the right half of the Create-A-Tool window sit six PipeLines. To construct your MacroTool, drag your Tools of choice from the ToolBox and place them on any one of the PipeLines. Determine which PipeLine is the input line and place the first Tool there. Continue by placing the Tools that follow it to the right of the input Tool on the PipeLine. To reposition the placement of a Tool in the PipeLine, select it by clicking on it once. A red box appears around it. Then press either the Left or Right Arrow keys to move it.

; Duplicating
: To duplicate a Tool already in the Create-A-Tool window, drag the Tool to a new location. Bars&Pipes Professional creates an exact copy of the Tool, including its parameter settings.

; Removing
: To remove a Tool, select it, then press the Delete key.

; Connecting
: If a Tool has a branching output, place a Merge In Tool on another PipeLine. (The Merge In icon looks like a Pipe with another Pipe feeding into it above from the left.) This second PipeLine is now active and Tools can be placed in it as well. When you first place the Merge In Tool in the second PipeLine, it may not line up with the source Tool because they have not yet been connected. To connect a Merge In Tool with another Tool, click on the source Tool (the Branching Tool,) select Connect (Right Amiga - K) from the PipeTool menu, then click on the target Tool (the Merge In Tool). The two icons are now connected and the display is redrawn with everything positioned appropriately.

: If your PipeLine is long and you start running out of room, scroll it forward by using the slider and arrows at the bottom of the display. Your MacroTool can be as long as you need.

==== Determining The Input And Output(s) ====

To the right of the PipeLine grid are three arrow-shaped icons. Drag these onto your Tool layout to specify the input and output(s).

; Input
: The top icon, the In arrow, is a blue arrow that selects the input. Drag and place it to the left of the first Tool in your MacroTool lineup. All notes coming into the MacroTool pass through here first. You cannot delete the input arrow. If you want to send the input to a different PipeLine, drag another blue arrow to it; the arrow to your previously selected PipeLine automatically disappears.

; Normal Output
: The middle icon the Out arrow, is a red arrow that represents the Normal Output. Drag it to the right of the last Tool in your Macro sequence. Whatever comes out of that last Tool comes out of the MacroTool as a whole. Unlike the Input arrow, you can have more than one Normal Output per MacroTool because you can use several PipeLines in your design. The MacroTool merges notes coming out of all Normal Output icons. If you want to remove a Normal Output icon, select it, then hit the Delete key.

; Branching Output
: The bottom icon, the Branch arrow, is a purple arrow that represents the Branching Output. This arrow is optional. Whereas every MacroTool requires an Input and an Output, a MacroTool requires a Branching Output only when the MacroTool needs to send events off to a second PipeLine. Install the Branching arrow in the same way that you install the Output arrow.

: Once you have a Branching Output, the alternate icon, on the left of the Paint Box, comes into play. This alternate icon behaves identically to the original, except that it branches off in the opposite direction. In this way, you can have a MacroTool that connects to a Tool above and to a Tool below.

==== Setting The Tool's Controls ====

Many of the Tools that constitute your MacroTool have parameters that you can preset. For example, the Triad Tool uses two Transpose Tools to shift the input note up a third and up a fifth. It is an example of a MacroTool. If you load the Triad Tool into the ToolBox and then double-click on it, Create-A-Tool shows the structure of the MacroTool. You can then open the Control window of each Transpose Tool to see its parameter settings.

As an example, you can edit the parameters to create a chord inversion by changing the second Transpose Tool from shifting up a fifth to down a fourth.

==== Making Macro Tools Out Of Macro Tools ====

Like any other Tool, you can place a MacroTool in any other MacroTool you build; however, you cannot place it inside itself. Nor can you place it within another MacroTool that is contained within it. The Create-A-Tool Editor makes sure this doesn't happen. If you drag a MacroTool into the definition of itself, it won't stay there.

=== Installing, Removing, Using, Altering, and Testing ===

==== Installing ====

Once you have created a MacroTool, you must save it to disk. If you fail to do so, the MacroTool will be deleted when you exit Bars&Pipes Professional.

To save a MacroTool, click once on the MacroTool in the ToolBox, then select the Save option from the ToolBox menu. Bars&Pipes Professional opens its file requester. Create a new file name for your Tool.

{{Note|text=If you use the name of an existing Tool, Bars&Pipes ProfessIonal overwrites the older Tool.}}

Bars&Pipes Professional saves your MacroTool to that file. From now on, when Bars&Pipes Professional runs, it automatically loads your MacroTool.

==== Removing ====

If you don't like what you've created, you can remove your MacroTool by clicking on it in the ToolBox and selecting the Remove option from the ToolBox menu. Bars&Pipes Professional removes the MacroTool from the ToolBox, removes all copies of it from your composition, and no longer loads this MacroTool. The MacroTool, however, is still on your disk; you can leave it there or delete it by using the Workbench or CLI (Command Line Interface.)

==== Using ====

Use your MacroTool just as you would a normal Tool. You can place it in a PipeLine to process notes in real-time, or in a ToolPad, to process notes in a section, or on a note-by-note basis.

==== Altering ====

You can always go back and edit your MacroTool. To do so, double-click on the MacroTool's icon in the ToolBox. The Create-A-Tool Window opens with your MacroTool, and you can edit it in any way you'd like. If you have already used this MacroTool, versions that are in use are not affected by editing the master. Once you are satisfied with the changes you have made, you must once again save the MacroTool to disk.

==== Testing ====

To audition a MacroTool before saving it to disk, drag the Test Tool at the bottom right of the Create-A-Tool window into a PipeLine in the Sequencer window. If you don't like the results, you can continue editing the MacroTool. The Test Tool automatically incorporates the changes, so that you can quickly edit, test, and re-edit until you're satisfied with the MacroTool.

==Tool Trays==

Chapter 25

=== ToolTrays ===

ToolTrays offer a convenient method for organizing your Tools. Bars&Pipes Professional includes eight ToolTrays, each of which can hold up to sixteen Tools. You can define a Tools parameters by double-clicking on the Tool in the ToolTray, and give each instance of a Tool an original name.

Bars&Pipes Professional integrates ToolTrays into your Song. When you save a Song, Bars&Pipes Professional saves your ToolTrays along with it.

To set up a default environment with ToolTrays, select New from the Song menu, arrange your ToolTrays, and then select Save As Default from the Song menu. Please see the chapter, Customizing Your Environment, for more information.

=== The ToolTray Windows ===

Open a ToolTray from the ToolTray menu in the ToolBox or the Tool menu in the Main screen. Choose the menu option corresponding to the particular ToolTray that you'd like to open. By default, ToolTrays are named numerically, however, you can rename a ToolTray however you'd like.

The ToolTray window is divided into two areas by a horizontal grey line. Above the grey line is space for the names of Tools. Below the grey line is room for up to sixteen instances of Tools.

==== Placing A Tool In A ToolTray ====

To install a Tool in a ToolTray, grab a Tool from the ToolBox, PipeLine, or other ToolTray, and drag it to a space beneath the gray line. When you release the mouse button to drop the Tool into the ToolTray, the name of the Tool appears in the space above the grey line.

{{Note|text=By dropping a Tool into a ToolTray, you create a unique instance, or copy, of the Tool,just as you do when you drop a Tool Into a PipeLine.}}

==== Editing A Tool ====

If the Tool has a Control window, double-click on the Tool's icon to open it. Then edit the Tool's parameters as you desire. Once you've changed a Tool, the changes stay with the Tool when you copy it into a PipeLine, ToolPad, MacroTool, or another ToolTray.

==== Naming A Tool ====

Once you've edited a Tool, you can rename it for easy reference. Click once on the Tool to select it, then enter the new name above the gray line.

{{Note|text=When you click on a Tool in a PipeLine, the name of the Tool is displayed in the Title bar of the Tracks window. Even though you can rename Tools in the ToolTrays, Tools in the PipeLine are still displayed as their original names in the Tracks Title bar. This is because only the ToolTray knows about the names that you've given the instances of the Tools within it. The Tracks window has no access to this information.}}

==== Using The ToolTray Tools ====

You can work with ToolTrays as you do the ToolBox. Copy Tools from ToolTrays into PipeLines, MacroTools, and ToolPads by clicking and dragging them to their appropriate destination. Unlike Tools from the ToolBox, the Tool copies retain the settings that you provided in the ToolTray.

==== Copying Tools In ToolTrays ====

Copy a Tool by grabbing it and dropping it in an empty space in the ToolTray. This is similar to copying a Tool in a PipeLine by picking it up and dropping it in another PipeLine. Because you can have several copies of Tools in ToolTrays, renaming Tools help you avoid confusion. For instance, you can have a ToolTray that you call "Quantize Tools.", In this ToolTray, you might have one Quantize Tool that you call "Sixteenth Notes," that quantizes to sixteenth notes, and one called "Eight Notes" that quantizes to eight notes.

If you drag a Tool and place it on top of an existing Tool in the ToolTray, it replaces the Tool beneath it.

==== Loading ToolTrays ====

The Load ToolTray option in the ToolTray menu allows you to load in previously saved ToolTrays. If there are any Tools in the ToolTray that are not in the ToolBox, Bars&Pipes Professional automatically loads them into the ToolBox. If the Bars&Pipes Professional is unable to find a Tool, it asks you to load it manually.

==== Saving Tool Trays ====

The Save ToolTray command in the ToolTray menu allows you to save your ToolTrays to disk. The Load ToolTray command allows you to load ToolTrays from disk.

==== Renaming ToolTrays ====

The Rename ToolTray menu command in the ToolTray menu allows you to rename the ToolTray. When you select this option, a requester appears, displaying the ToolTray name.

Enter the new name and click okay. The new name displays not only in the ToolTray window, but in all menus that refer to the ToolTray as well, such as the menu options in the Main menu's Tool menu.

==== Loading Instances Of Tools Into ToolTrays ====

The Load Tool command in the ToolTray menu allows you to load a Tool into the ToolTray that was previously saved with the Save Tool command from a ToolTray. Each Tool loads with its parameters set to the values they had when it was saved.

==== Saving Instances Of Tools From ToolTrays ====

Use the Save Tool command in the ToolTray menu to save the Tool. Doing so saves the Tool, along with the parameters you've set.

==== Removing Tools From ToolTrays ====

Use the Remove Tool command to remove a Tool from a ToolTray. Do to so, activate the Tool by clicking on it, then select the Remove Tool command in the ToolTray menu.

If you drag a Tool from any source and drop it on a Tool in a ToolTray, it replaces the Tool beneath it, effectively removing that Tool.

==Scales, Chords, Rythms and Patches==

Chapter 30

=== Overview ===

This chapter focuses on defining Scales, Chords, Rhythms, and Patch Lists in their respective Define windows. Many Tools and Sequencer functions use these items to produce customized results. For instance, the Quick Patch Tool and the Program Change area use Patch Lists, so that you can choose program changes by name. The CounterPoint Tool uses Scales to compose and the Accompany B Tool uses Chords and Rhythms to create auto-accompaniments.

Bars&Pipes Professional stores Scale, Chord, and Rhythm information in each Track's Song Parameters. To choose a particular Scale, Chord,or Rhythm, use the Pencil in either the Master Parameters or a specific Track's Song Parameters.

Bars&Pipes Professional saves your Scales, Chords, Rhythms, and Patch Lists with each Song. When Bars&Pipes Professional loads the Song, these additional items load with it.

{{Note|title=Tip|text=To include new Scales, Chords, Rhythms and Patch Lists in your New environment, select New from the Song menu, add the new items, then select Save As Default in the Song menu.}}

The Define windows can be reached from either the Define... option in the Main menu set's Windows menu, or the Edit window's Define menu.

=== Define Scales Window ===

To create your own Key & Scale/Modes, use the Define Scales window.

The Define Scales window has a keyboard area, a name area, three buttons, and two menu options.

==== Adding And Subtracting Notes From Scales ====

On the right side of the Define Scales window is a one-octave keyboard. Active notes are highlighted in blue, while inactive notes are white. To include a note in the scales, click on a white note, thereby turning it blue. Click on a blue note to exclude it from the Scale, thereby turning it white.

==== Creating A New Scale ====

Click on the Add button to create a new Scale. Then, enter a name after the Name: prompt. Click and highlight the notes you want include in your Scale. Once you've defined your scale, you must save your Song. If you do not save your Song, you will lose your Scale upon exiting Bars&Pipes Professional. You can also use the Save Scale... menu option to save your Scale (please see below).

==== Selecting From Existing Scales ====

To bring up a pop-up list of existing Scales, click on the Select button. Once you've chosen from the list, you can rename it or add and subtract notes from it.

==== Removing An Existing Scale ====

To remove the selected Scale from your list, click on the Remove button . A requester asks you to confirm your decision. Once you Remove a Scale, you cannot retrieve it, unless you load a previously saved version of the Scale from disk.

==== Changing The Name Of A Scale ====

After the Name: prompt, you'll find the name of the selected Scale. Click in this area to modify the name or enter a new one. Use the backspace and delete keys if necessary.

==== Loading A Previously Saved Scale ====

To load a previously saved Scale from disk, choose Load Scale from the Define Scales window menu.

==== Saving A Scale ====

To save a Scale to disk, select the Save Scale option.

=== Define Chords Window ===

Use the Define Chords window to create your own Chords.

The Define Chords window has a two octave keyboard area, control buttons, a name area, and menu options.

==== Adding And Subtracting Notes From Chords ====

On the lower right side of the Define Chords window, you'll find a two- octave keyboard. Active notes are highlighted in blue, while inactive notes are white. When you click on a white note, it turns blue. This indicates that the note is included in the Chord. When you click on a blue note, it turns white again, thus indicating that the note is no longer a member of the Chord.

==== Creating A New Chord ====

Click on the Add button to create a new Chord. Then, enter a name after the Name: prompt. Click and highlight the notes you want include in your Chord.

Once you've defined your Chord, you must save your Song. If you do not save your Song, you will lose your Chord upon exiting Bars&Pipes Professional. You can also use the Save Chord... menu option to save your Chord (please see below).

==== Selecting From Existing Chords ====

To bring up a pop-up list of existing Chords, click on the Select button. Once you've chosen from the list, you can rename it or add and subtract notes from it.

==== Removing An Existing Chord ====

To remove the selected Chord from your list, click on the Remove button. A requester asks you to confirm your decision. Once you Remove a Chord, you cannot retrieve it, unless you load a previously saved version of the Chord from disk.

==== Changing The Name Of A Chord ====

After the Name: prompt, you'll find the name of the selected Chord. Click in this area to modify the name or enter a new one. Use the backspace and delete keys if necessary.

==== Loading A Previously Saved Chord ====

To load a previously saved Chord from disk, choose Load Chord from the Define Chords window menu.

==== Saving A Chord ====

To save a Chord to disk, select the Save Chord option.

=== Define Rhythms ===

Use the Define Rhythms window to create your own Rhythms.

By definition a Rhythm includes three elements:

# A sequence of notes which defines the timing, emphasis, and length of each rhythmic event;
# A loop length that determines the length of the pattern; and
# A name for the Rhythm.

==== Creating A New Rhythm ====

To create your own Rhythms, open the Define Rhythms Window from the Define... Rhythms option of the Windows menu. Or, from the Graphic Editor window, use the Define menu.

{{Note|text=If you want to import a Rhythm from the Main Screen, open the Define Rhythms window from the Main Screen. If you want to import a Rhythm from the ClipBoard, or if you are currently in a Track's Sequence Editor window, open the Define Rhythms window from the Sequence Editor window.}}

To create your own rhythm from scratch, first record a sequence of notes that the rhythm uses to define its timing, emphasis, and length. To do so, tap out any notes on your instrument keyboard, as if you were playing the drums. The actual notes you play don't matter, since the rhythm just uses only the start time, velocity, and duration of the notes to define the rhythm pattern.

==== Adding A New Rhythm ====

To add a new Rhythm to the list, click on the Add button. This creates a blank Rhythm with no pattern and a loop length of zero.

==== Selecting An Existing Rhythm ====

To access a scrolling list of all available Rhythms, click and hold on the Select button. Then drag the mouse to the desired Rhythm. If you cannot see the Rhythm you want, use the arrows above and below the list to scroll the menu up or down. You can change the name, length, and patterns of any existing Rhythm.

==== Removing A Rhythm ====

To remove a Rhythm from the list, select it and press the Remove button.

==== Grabbing Clips As Rhythms ====

Because the Rhythm Pattern consists of a sequence of notes, you can record it the same way you would a Track Sequence. For example, you can record your Rhythm in real-time, step-enter it, or draw each note with the Pencil.

{{Note|title=Tip|text=Often, sections of previously recorded Songs make great Rhythm templates.}}

Once you've created a pattern of notes and activated the Add button, you're ready to pull the pattern into the Define Rhythm window. Do so by clicking on one of two command buttons: Grab Clip from ClipBoard or Grab Clip from Track.

The Grab Clip from ClipBoard button copies the currently selected Clip from the ClipBoard window to the Define Rhythm window. Use this command if you have saved your rhythm template to the ClipBoard. By default, the loop length is the length of the Clip, however, you can edit the loop length as needed.

The Grab Clip from Track button copies the notes from the section bounded by the Edit Flags of the selected Track and copies these notes into the Rhythm. This button provides the mechanism for tapping a Rhythm into a Track and quickly transferring it into a Rhythm.

==== Replacing A Rhythm ====

If a Rhythm has an existing pattern of notes, you can change it by replacing the existing pattern with a new one. Do this by executing either of the Grab commands.

==== Setting The Loop Length ====

Once a pattern has been transferred to the Define Rhythms window, the length of the loop appears after the Loop Length: requester. To change this value, assign the Rhythm a loop length in measures, beats, and clocks.

For example, a two measure loop would be entered as "2.0.0", two measures, zero beats and zero clocks.

==== Changing The Rhythm Name ====

Give your Rhythm a name by entering it after the Name: prompt.

==== Loading A Previously Saved Rhythm ====

To load a Rhythm from disk, use the Load Rhythm... command in the Define Rhythms menu.

==== Saving A Rhythm ====

To save individual Rhythms to disk, use the Save.., command in the Define Rhythms menu. Selecting this command opens the file requester from which you can create or select a file name.

=== Define Patch List ===

The Define Patch List window allows you to create Patch Lists for your synths. A Patch List contains the name and its associated Program Change number (between 0 and 127) for each of your synth's instrument sounds.

In addition to using the Define Patch List window to create Patch Lists, you can use it to access Patch Lists from disk.

{{Note|title=Tip|text=You can also load lists created with The PatchMeister and SuperJAM!}}

==== The Define Patch Lists Window ====

The Define Patch List window contains three buttons: the Add, Select, and Remove buttons. These button allow you to create a new Patch List, choose a Patch List from the ones which are loaded, and remove a Patch List, respectively. Above the Add button is the Synth: prompt and Patch List name area. To the right of the Add button is the number prompt and the program change name area. To the right of the Select and Remove buttons is the scrolling Patch List. Use the scroll bar and scroll arrows to scroll through the list.

==== Creating A New Patch List ====

To create a new Patch List, click on the Add button. Then, enter a Patch List name by clicking in the space to the right of the Synth: prompt, and entering the name. To enter the actual Patch List, click after the number prompt and enter the Program Change's name. When you press the return key on your Amiga keyboard, the number prompt automatically increments to the next Program Change.

==== Choosing A Patch List ====

To choose a Patch List, click and hold the Select button. A pop-up list appears where you can select the Patch List you want to use.

{{Note|text=If there are no Patch Lists loaded, the pop-up list does not appear.}}

==== Editing A Patch List ====

To edit an existing Patch List, choose it with the Select button. Change the name of the Patch List after the Synth: prompt; change the names of the individual program changes by clicking on the name in the scrolling list, then changing the name after the number prompt.

==== Removing A Patch List ====

To remove unused Patch Lists, click on the Remove button. This removes the selected Patch List from the loaded list of Patch Lists. A requester asks you to verify this operation.

==== Loading A Patch List ====

To load Patch Lists previously saved with Bars&Pipes Professional, SuperJAM! or The PatchMeister, use the Load Patch List... command found in the Define Patch Lists menu.

{{Note|title=Tip|text=You'll find the SuperJAM! Patch Lists in the SuperJAM!/Bands directory.}}

==== Saving A Patch List ====

Choose the Save Patch List... option in the Define Patch Lists menu to save the selected Patch List.

{{Note|title=Tip|text=You can use Patch Lists created in Bars&Pipes Professional for your Super JAM! Bands.}}

You can find out more about Patch Lists in the chapter on Customizing Your Environment.

==Customizing your Environment==
Chapter 31

=== Overview ===

In this chapter, we'll learn how to customize your Bars&Pipes Professional environment, so that it automatically sets up the system to your liking. We'll also discuss the disk files that Bars&Pipes Professional uses to keep track of your preferences.

=== The Environment Preferences ===

In the Main menu, the Environment.., option in the Preferences menu opens the Environment Preferences requester. This requester controls various aspects of Bars&Pipes Professional's appearance as well as some memory-saving options:

; Interlace Screen
: Select the Interlace Screen option to double the vertical resolution of the Bars&Pipes Professional environment.

; Use Workbench Pointer
: If you'd rather use the Workbench mouse pointer instead of the Bars&Pipes Professional saxophone, enable Use Workbench Pointer.

; Exploding Windows
: The Exploding Windows option causes windows to open with an expanding rectangle and close with a contracting rectangle.

; Windows To Front
: Normally, use the standard Window To Front/Back button on the top right of each window to bring a window to the front If you'd like any window to come immediately to the front no matter where you click in it, select Windows To Front.

; Save Icons
: Bars&Pipes Professional will only create an icon for a song file if the Save Icons option is enabled.

; WB 2.0 File Requester
: If you're running Bars&Pipes Professional under Workbench 2.0 or later, you may optionally use the Workbench file requester for selecting files.

; Double Width Screen/Double Height Screen
: Under Workbench 2.0, Bars&Pipes Professional can display its screen at double width and/or double height, providing much more room to drag and place windows. When in this mode, certain hotkeys make navigating this huge screen easier:

: The Alt key, in conjunction with the arrow keys moves the screen by one screenful. The window icons always appear in the current screen for easy access.

: Holding the Shift key causes the currently active window to move into the new view area. Hold down both the Shift and Alt keys while pressing the arrow keys.

: These features can make it seem like Bars&Pipes Professional is four screen instead of one! For instance, you could open Mix Maestro in one quadrant, the Track window in another, and still have two full screens for other windows. Keep in mind, however, that open windows consume CPU and memory resources

; 68000 Optimization
: If you are running Bars&Pipes on an Amiga using a 68000 processor, such as the A500 or A2000, setting this option will enable Bars&Pipes to run slightly more efficiently.

; Workbench Screen Mode
: Also under Workbench 2.0, Bars&Pipes Professional can adopt the current screen mode used by Workbench. This is particularly useful with the new AGA chipset machines (the Amiga 4000 and 1200) because it provides an automatic method for supporting the new graphic modes.

; Close Workbench
: To save memory, Bars&Pipes Professional can attempt to close Workbench. This only succeeds if no programs have windows open in Workbench.

; Disable Undo Buffer
: When the Bars&Pipes Professional sequencer records a Track, it automatically backs up the entire performance in an Undo buffer. Although this provides an easy way to recover from a poor recording, it doubles the memory provided for MIDI events. Disable the Undo buffer to double the number of notes you can record in low memory situations.

; Use Grey Scale
: Bars&Pipes Professional normally displays in eight colors. Use Grey Scale halves the color count to only four, saving graphics memory.

; Disable Fast Refresh
: Bars&Pipes Professional's windows keep their images intact, even when behind other windows. This results in very fast refresh, but eats memory. Disable Fast Refresh saves memory because it no longer stores hidden imagery, but the drawing time can become painfully slow.

; Save
: Select the Save button to implement the changes and permanently save your choices in the "Bars&Pipes Professional.info" file. Whether run Bars&Pipes Professional from its icon or the Shell, the program still looks at the "Bars&Pipes Professional.info" file for these preferences. If the .info does not exist, Bars&Pipes Professional chooses its default preferences.

; Use
: To use the changes without making them permanent, select Use.

=== The Support Drawer and Support Files ===

Bars&Pipes Professional must keep its control files in a support directory: If a drawer named "Support" exists within the same directory as the Bars&Pipes Professional drawer, Bars&Pipes Professional places its support files there.

If there is no drawer named "Support" located within the same directory, Bars&Pipes Professional places the support files in the S: directory. This is the same directory that contains your startup-sequence.)

* TIP * If you are using Bars&Pipes Professional without a hard drive and want to boot with a Workbench disk, create a Support drawer on your Bars&Pipes Professional program disk Then move the files, Tools, Accessories, and BPPDirs from the & directory on your WorkBench disk to the Support drawer created on your program disk.

==== The Tools File ====

Bars&Pipes Professional uses the Tools file when customizing your environment. This text file contains the names and path names of the Tools currently loaded in the ToolBox. Bars&Pipes Professional updates the Tools file whenever you Install or Remove a Tool in the ToolBox.

==== The Accessories File ====

Bars&Pipes Professional also uses the Accessories file when customizing your environment. This text file contains the names and path names of the Accessories loaded in the Accessories window.

Bars&Pipes Professional updates the Accessories file whenever you Install or Remove an Accessory

==== BPPDirs ====

The BPPDirs file, another environment file, is a binary file that contains the path names of files that you load and save, such as Song files, Patch Lists, and Chords.

Whenever you load or save a file, Bars&Pipes Professional refers to the Bppdirs file to determine the last place you loaded or saved a similar type of file. Bars& Pipes Professional then directs the file requester to this location.

When you change directories with the file requester and select Load or Save, Bars&Pipes Professional looks to the new directory. Bars&Pipes Professional updates the BPPDirs file whenever you exit Bars&Pipes Professional.

=== Settings in Song Files ===

Bars&Pipes Professional saves many settings in each individual Song file, including which windows are open and closed, the color palette as defined by the True Colors Accessory, the position of window icons, Patch Lists, Chords, Scales, Rhythms, Metronome settings, Tool Trays, the ToolPad, Tools in PipeLines, the status of Thru faucets, MIDI channel selectors, the status of Edit windows and all other musical information.

=== Creating a Preset Environment With New.song ===

If you prefer a particular configuration of Tools, Tracks, Tempos, etc., you can set your preferences, then save them as a Song,. This way, you'll have a preset environment each time you begin a new Song.

To do so, first set up your Tracks, MIDI channels, Tool placements, etc., and then use the Save As Default command found in the Song menu. This saves your settings to a file called "New.song." Each time you run Bars&Pipes Professional or select New from the Song menu, Bars&Pipes Professional automatically loads this file.

{{Note|title=Tip|text=When you load another Song, Bars&Pipes Professional overrides your "New" settings with those in the currently loaded file. To impose your new environment on old Song files, load your old Song. Then make a Group out of all of the Tracks contained in the old Song file. Next, save the Group to disk and select New from the Song menu. After you delete all the Tracks in the New Song, load in the Group!}}

File:WindowsMenu.png

2013-08-13T03:11:43Z

Lyle Hazelwood: Windows Menu from BarsnPipes

Windows Menu from BarsnPipes

Bars and Pipes Professional

2013-08-12T23:26:53Z

Lyle Hazelwood: /* Control Buttons */ added FILE:ControlButtons.png

== Author and Copyright ==

This documentation is based on the original copyrighted manual. 
'''Copyright (c) 1993 The Blue Ribbon SoundWorks, Ltd.'''

The original documentation has been modified and enhanced where needed to reflect the changes made to the AmigaOS 4 specific port.

All changes and modifications are 
'''Copyright (c) 2013 Lyle Hazelwood and Steven Solie.'''

Explicit written permission to copy and edit the original manuals has been secured.

== Welcome Aboard! ==

These documents are for the AmigaOS 4 port of Bars&Pipes Professional. A few notes may be useful:
The original program will be referred to as Bars&Pipes, the AmigaOS specific port will be called BarsnPipes instead.

This port is based on Bars&Pipes Professional version 2.5c. The AmigaOS 4 version was provided by Alfred von Faust, and he worked for many years to keep it alive. Lyle Hazelwood has recently taken the port over and is continuing to keep the program current.

Thank you for downloading BarsnPipes Professional. In the pages to come, you will understand why you've made an important choice. With BarsnPipes Professional, you're truly bound only by the limits of your own creativity. We encourage you to read this manual, since it contains thorough explanations of BarsnPipes Professional's wide array of features. BarsnPipes Professional is a high-end MIDI sequencing and composition package. In order to use it, you must have a MIDI sound module or keyboard connected to your Amiga via a CAMD supported MIDI interface.

{{Note|text=If you would like to use the Amiga's Internal sounds instead of MIDI, we suggest [http://www.os4depot.net/index.php?function=showfile&file=audio/play/softsyn.lha SoftSyn] available at [http://www.os4depot.net OS4Depot].}}

Everyone at The Blue Ribbon SoundWorks is dedicated to producing the highest quality software and software support in the industry. We have invested thousands of hours of research and development in our products. Much of that time is spent in listening to and learning from people like you. Blue Ribbon products are designed to be affordable, ongoing investments that are improved and expanded over time. We've provided expansion through program updates and add-on software, such as the Creativity Kit and the Pro Studio Kit. If you are a C programmer, with the Rules For Tools add-on, you can even create your own enhancements to BarsnPipes Professional!

==Installation==

Quick Installation

BarsnPipes Professional is easy to install on your AmigaOS computer.

To install Bars&Pipes Professional :

Make sure that you have at least two megabytes of space left on your hard disk.

Unarc BarsnPipes Professional archive to wherever you'd like to keep the program.

You'll also need camd.library which is already included with AmigaOS.

Run Bars&Pipes Professional from the BarsnPipes Professional drawer on your hard disk.

On the first run, BarsnPipes will ask you to select a screen mode. Please select an ARGB mode for best results.
Once the program is open, under the "preferences" menu, select "environment" and then "save" to save your screen choice.

== Touring the MIDI setup ==

=== Overview ===

BarsnPipes Professional works with any CAMD-compatible synthesizer, sound module or application. Let's look at some standard ways to connect MIDI instruments to your Amiga computer.

=== The MIDI Interface ===

In order to use BarsnPipes Professional, you must first own a MIDI interface. The MIDI interface serves as a translator between your MIDI instrument(s) and your Amiga.

Before using BarsnPipes Professional, first connect your MIDI interface to your Amiga. It may connect to a sound board joystick port, or to USB.

=== MIDI Interface Ports ===

Most MIDI interfaces feature one MIDI in, one MIDI out, and possibly one MIDI thru port. The MIDI in and MIDI out ports are the most important aspects of a MIDI interface.

=== Multiple MIDI In Ports ===

CAMD supports any number of MIDI Inputs and Outputs. While it is possible to set the input and output individually for each track, you can (and should) set a default input and output that will be used as defaults for every track that does not have an input or output specified. These are set and saved from the Preferences/Environment window.

{{Note|title=Connecting MIDI Devices|text=
Connect the MIDI OUT from your interface to the MIDI IN on your synth or sound module. 
Connect the MIDI OUT from your keyboard or other instrument to MIDI IN on your interface.}}

If your MIDI gear has a USB port, CAMD may be able to access it directly by using the [http://os4depot.net/share/driver/misc/usbmidi.lha USB Driver]

(is the usb MIDI driver part of the OS??)

==A Quick Tour==

=== Introduction ===

Bars&Pipes Professional is an innovative composition environment with an extensive arsenal of features and options. Before exploring it in depth, let's take a quick tour!

{{Note|text=If you need help connecting your MIDI equipment to your Amiga, please read the previous chapter, Touring The MIDI Setup.}}

=== Running Bars&Pipes Professional ===

Before you run Bars&Pipes Professional, you must first install it. If you have not yet done so, please see Chapter 2, Installation.

==== Running From The Workbench Icon ====

You can run Bars&Pipes Professional from Workbench by double-clicking on its program icon.

Doing so opens Bars&Pipes Professional with an empty Song. Alternatively, you can double-click on a Bars&Pipes Song icon. Doing this opens Bars&Pipes Professional with the selected Song already loaded.

==== Running From A Shell ====

You can also run Bars&Pipes Professional from a shell. Make sure your stack size is at least 100,000 bytes when running the program this way.

=== The Default Screen Setup ===

When Bars&Pipes Professional first starts up, you'll see the Tracks window and a group of icons along the right side of the screen. These icons represent various unopened windows.

Double-click on any icon to open its associated window. Click on the close button in the top left corner of an open window to revert it to its associated icon.

=== The Tracks Window ===
[[File:Tracks.png]]

The Tracks window represents the heart and soul of Bars&Pipes Professional. It is where multi-track recording takes place. It is also the primary place for organizing the PipeLines and Tools which give Bars&Pipes Professional so much of its power and flexibility. Let's take a brief look:

=== The PipeLine ===
[[File:PipeLine.png]]

The Tracks window contains individual Tracks, into which you will record your music. These Tracks run from left to right in rows, with measure and beat lines drawn from top to bottom.

Starting from left to right, each Track contains the following components:

*The Track Name, which identifies a particular Track;
*The Input Selector box, or Input Arrow, which selects which Track(s) are to receive incoming music;
*The Input PipeLine, which holds Tools that process the music as it flows into the Sequencer;

{{Note|text=When first running Bars&Pipes Professional, you will most likely see a MIDI In Tool in the Input PipeLine. This acts as the source for the Track's PipeLine, and, hence, the Track. This is further explained in Chapter 6, Basic Recording.}}

*The Play/Merge/Record Selector, which displays a blue letter P while the Track is in Play mode, a red letter M while the Track is in Merge mode, and a red letter R while the Track is in Record Mode;
*The Sequencer area, which holds and displays the MIDI events, or Sequence, that make up the recording;
*The Thru/Play Only/Mute Selector, or faucet, which switches the Track between Thru, Play Only, and Mute modes;
*The Output PipeLine, which holds Tools such as the MIDI Out Tool that process the music as it flows out of the Sequencer; and
*The MIDI Channel Selector, or Output channel, which displays the MIDI channel over which the final MIDI Out Tool sends.

{{Note|text=This selector is used by the standard MIDI Out Tool. Non MIDI-specific output Tools, such as most Multi-Media Tools, do not need MIDI channels.}}

=== The Flags Area ===
[[File:Flags.png]]

Above the Tracks area is the Flags area.

Bars&Pipes Professional uses these flags to mark specific points in music time for certain operations, such as punch in and auto-locate. It also displays the current time signature and measure numbers in this area.

Bars&Pipes Professional displays twelve Flag icons across the top of the Tracks. You can grab these with the mouse and drag them from left to right. Use the Flags to set positions in your music for editing, recording, looping, and more.

A Flag appearing during the displayed section has an attached vertical stem intersecting all of the Tracks. If you've placed the Flag in a measure which precedes the displayed section, it appears on the left side of the Sequencer. If you've placed it in a measure that follows the displayed section, it appears on the right.

To relocate a Flag, first scroll the Sequencer so that the desired location shows in the Sequencer. Then drag the Flag to its position. To move a Flag to the beginning of the Song, drag it all the way to the left side of the screen. To move it to the end of the Song, drag it all the way to the right. Flags snap to the alignment specified in the Align with... option in the Preferences menu.

The following Flags are found in the Flags area:

* The Position Marker Flag or Song Position Flag (the red triangle with the blue border) which shows the current position in your Song;

{{Note|text=If you press the Play button, your Song starts at this point.}}

* The two Edit Flags (solid purple triangles), which determine the part of your Song that is affected by Cut, Paste, and other editing operations;
The Auto-Locate Flags (blue rectangles marked M1 through M4), which mark important points in your composition;

{{Note|text=You can immediately move to these points by using the corresponding M1 through M4 buttons in the Transport Controls window.}}

* The Punch In and Punch Out flags (yellow rectangles marked IN and OUT), which allow you to record over a restricted part of your Song;
* The Loop Flags (red rectangles containing curved lines with arrows), which mark sections for use with Loop-Mode editing and the Loop Tool; and
* The Stop Sign (the red hexagon with the white border), which marks the point at which Bars&Pipes Professional is to stop playback.

{{Note|text=This feature is useful when you want to sit back and listen to part of a Song while you're away from the keyboard, or if you're performing live or recording a sequence to tape and want the Song to stop upon completion.}}

=== Control Buttons ===
[[File:ControlButtons.png]]

The Tracks Window's control buttons are above the Flags area.

From left to right are the following buttons:

* The Solo button, which both chooses and displays whether the highlighted Track is soloed, muted, or neither;
* The ToolPad, which holds up to sixteen Tools to be used with the Toolize feature;
* The Group selector buttons, which identify combinations of Tracks;
* The Group button, which determines if clicking on a Track adds to a group or not;
* The Up/Down arrows, which move the highlighted Track up or down in the list of Tracks;
* The Tempo button, which chooses and displays the current tempo;
* The Start button, which starts the Sequencer from the beginning of your composition;
* The Play button, which starts the Sequencer from the current Song position, denoted by the red and blue triangular Song Position Flag, found in the Flags Area;
* The Rewind button, which moves the Song Position Flag to the left, toward the beginning of the piece;
* The Fast Forward button, which moves the Song Position Flag to the right, toward the end;
* The Measure display, which shows the measure number in which the Song Position Flag currently resides; and
* The Record button, which chooses and displays whether the Sequencer is in record or playback mode.
* Sizing And Scrolling The Tracks

Use the scroll bar and arrows on the right side of the Tracks window to scroll through the Tracks, in order to view those which don't fit in the display.

At the bottom of the Tracks window, you'll find a set of scroll bars, single arrows, and double arrows. Use the scroll bar and single arrows to search forward and backward. For example, to scroll the Track names from left to right, use the scroll bar and single arrows below the list of Track names.

Use the double arrows to resize sections of the display by dragging the arrows from left to right. With the double arrows, you can resize your display to show only what you want to view.

{{Note|text=You can control how much space is available by using different screen resolutions. Lower resolutions like 800X600 will make everything large and easy to read, while higher resolutions will provides plenty of room for additional Tracks.}}

=== The Main Menu ===

As you may know, in the Amiga's windowing environment each window can have a different menu. Some of the windows in Bars&Pipes Professional do have their own menus, however, most share one menu, the Main menu.

To access the Main menu, click on the Tracks window or the background with the left mouse button. Then, to select one of the Main menu options, click and hold the right mouse button, while moving the mouse pointer to your desired selection.

=== Window Icons and the Windows Menu ===

Several windows in Bars&Pipes Professional are accessible from both icons, located at the right side of the screen, and menu commands, located in the Windows menu found in the Main menu set.

==== Window Icons ====

To the right of the Tracks window, you'll see a column of icons. These icons represent various windows. Double-clicking on an icon opens the window, while clicking on the close gadget of a window turns it back into an icon.

{{Note|text=The Tracks window itself can be closed and turned into an icon. To do so, click on the close gadget in the upper left hand corner of the Tracks window. The close gadget looks like a square with a smaller square inside of it. Notice that the Tracks window turns into an icon of railroad Tracks. Double-click on the Tracks icon to reopen the window.}}

==== The Windows Menu ====

Each window can also be accessed from the Windows menu in the Main menu. This includes many additional windows that do not have icons. Let's take a quick tour of all the windows in the Windows menu. As we do this, we'll get a quick glimpse of the various capabilities of Bars&Pipes Professional. Open each window by selecting it in the Windows menu. If a window has an Icon, notice that the icon disappears. Close the window by clicking on its close button (top left.) You might also experiment with double-clicking on the window icons to become familiar with each.

; Accessories
: Accessories are separate modules that add new features to Bars&Pipes Professional. Use the Accessories window to install, use and remove your Accessories. The Accessory window may also be opened by double-clicking on its icon.

; ClipBoard
: When the ClipBoard window is open, cut copy and paste editing operations store and retrieve from it. Use this to move music around between different parts of the program. The ClipBoard window may also be opened by double-clicking on its icon.

; Define...
: You can define your own Scales, Chords, Rhythms, and Patch Lists using the four Define windows opened from the submenu.

; Edit PadTool Controls
: If you have a Tool in the ToolPad, the Edit PadTool Controls command opens the Control window for that Tool.

; Icons
: The Icons window allows you to keep all of the window icons in their own separate window. Opening the Icons window automatically collects the window icons and places them inside the Icons window. Closing the Icons window causes the window Icons to return to their previous positions.

; Information
: The Information window provides useful information about the state of your project and computer. The Information window may also be opened by double-clicking on its icon.

; Master Parameters
: The Master Parameters window accesses a special master Track where you may set up global Time Signature, Lyrics, Scales, Chords, Dynamics, and Rhythm changes. The Master Parameters window may also be opened by double-clicking on its icon.

; Media Madness
: The Media Madness window brings multi-media production to Bars&Pipes Professional. With this window, you can place Multi-Media Tools in each Track, and edit a complete Multi-Media presentation. The Media Madness window can also be opened by double-clicking on its icon.

; Metronome
: Use the Metronome window to set up your metronome click - internal Amiga audio, MIDI or visual. The Metronome can also be opened by double-clicking on its icon.

; Mini Transport
: The Mini Transport window provides a subset of the main Transport Controls window (see below.) It's designed to be small and innocuous. You can open it from anywhere simply by pressing the 'M' key on your keyboard.

; Mix Maestro
: Use Mix Maestro to do a complete automated mixdown of your performance. Mix Maestro provides a volume slider and pan pot for each Track. As the Song plays, drag the slider to lower or raise the volume and turn the knob to rotate the sound left or right. Mix Maestro memorizes your moves and plays them back faithfully. The Mix Maestro window can also be opened by double-clicking on its icon.

; Record Activation
: By default, when Bars&Pipes Professional's Sequencer records into a Track, it erases all MIDI event types (note, pitch bend, etc.) and replaces them with the new. However, with the Record Activation window you can tell the Sequencer to ignore specific MIDI types. For example, you can set it to record over pitch bend while leaving notes intact. The Record Activation window may also be opened by double-clicking on its icon.

; Set Flags
: The Set Flags window allows you to position any Flag in the Track's window by typing in the location you want for the Flag, either in music or SMPTE time. Open the Set Flags window by choosing Set Flags from the Main menu's Windows menu, or double-click on the Set Flags icon.

: To determine music time or SMPTE time, click on the SMPTE/Music Time button. To change the Flag, click on the numbers to the right of the Flag representation.

; Song Construction
: Edit your music at the highest level with the Song Construction window. Create, drag, duplicate and erase everything from individual measures to entire sections. The Song Construction window can also be opened by double-clicking on its icon.

; Tempo Map
: Use the Tempo Map window to create a graphical Tempo Map for your performance. With a Tempo Map, you can tell Bars&Pipes Professional when to speed up and slow down as it plays your music. The Tempo Map window can also be opened by double-clicking on its icon.

; Tempo Palette
: You may set four preset Tempos in the Tempo Palette window, and then switch instantly to anyone at any time. The Tempo Palette can also be opened by double-clicking on its icon.

; Time Line Scoring
: Connect several Songs into one performance on a SMPTE time line using the Time Line Scoring window. This is useful for laying out an extended piece where different Songs occur at different times. The Time Line Scoring window can also be opened by double-clicking on its icon.

; ToolBox
: The ToolBox window displays several rows of square icons. These represent Tools. Each Tool can be placed in a Track's PipeLine where it performs a specific task to the MIDI music as it flows through the pipe. To place a Tool in a PipeLine, click on the Tool with the left mouse button, and, while holding the button down, drag the Tool to the destination Track's PipeLine. Although the ToolBox displays a palette of available Tools, you may install more Tools, create your own Tools, as well as remove Tools from Bars&Pipes Professional, thereby changing the collection of available Tools in the ToolBox. The ToolBox can also be opened by double-clicking on its icon.

; Tracks
: This command opens the main Tracks window, which is also accessed by double-clicking on its icon.

; Transport
: This window provides the complete set of commands to control the movement of Bars&Pipes Professional's Sequencer. Notice that the Transport window duplicates many of the commands found in the top of the Tracks window as well as all the commands in the Mini Transport. You may click on identical buttons to achieve identical results. The Transport Controls window displays the current time in music time (Measures, Beats and Clocks) as well as SMPTE time (Hours, Minutes, Seconds and Frames.) It also adds additional buttons for using the Punch and Loop Flags as well as setting and using all of the Flags. The Transport window can also be opened by double-clicking on its icon.

==Playing a Demo Song File==

Chapter 5

=== Getting Ready to Play ===

In this chapter, we'll play one of the demo Songs provided on your Bars&Pipes Professional disk. Before we play the Songfile, however, let's make sure that Bars&Pipes Professional is set up properly.

{{Note|text=Make sure that your MIDI equipment is setup properly.}}

==== The MIDI Out And Quick Patch Tools ====

The MIDI Out Tool must be loaded in order for Bars&Pipes Professional to play music via a standard MIDI interface. The MIDI Out Tool's job is to send notes out of the Sequencer to your MIDI instrument.

When you first run Bars&Pipes Professional, you should see a MIDI Out Tool at the end of each and every PipeLine, unless you've set up your environment differently (more on this later).

{{Note|text=You'll probably also see the MIDI In Tool at the beginning of each PipeLine. We won't need the MIDI In Tool until we're ready to record MIDI In the next chapter. It doesn't hurt to have it in the PipeLine, though.}}

We also recommend using the Quick Patch Tool when playing a Songfile.

The Quick Patch Tool allows you to easily change patches, or sounds, on your MIDI instrument.

The demo Songfiles provided with Bars&Pipes Professional already contain this Tool in their PipeLines. Please refer to the Tools chapter of this manual for more information on the Quick Patch Tool.

==== Installing The MIDI Out And Quick Patch Tools ====

If you don't see the MIDI Out Tool at the end of every PipeLine, open your ToolBox by either double-clicking on the ToolBox icon, or choosing ToolBox from the Windows menu.

Do you see the MIDI Out Tool in the ToolBox? You can click down on the Question Mark button to bring up a pop-up list of Tool names. Is the MIDI Out Tool listed?

If not, you need to install the MIDI Out Tool. Follow these steps to load the MIDI Out Tool:

# If the ToolBox window isn't open, open the ToolBox.
# With the ToolBox window still active, use the right mouse button to access the ToolBox menu and select Install Tool....
#A file requester will appear. You should see a list of Tool names. If not, there should be a Tools directory in the Bars&Pipes Professional directory. Direct the file requester to this directory to find all of the Tools.
#Once inside the Tools directory, find the MIDI Out Tool. Click on MIDI Out once and select Load, or just double-click on MIDI Out.

The MIDI Out Tool will appear in your ToolBox. From now on each time you run Bars&Pipes Professional, it will automatically load the MIDI Out Tool into the ToolBox. You won't have to perform these steps again unless you Remove the Tool from your ToolBox.

{{Note|text=Bars&Pipes Professional keeps Track of which Tools are in the ToolBox by a text file called Tools. This file resides in either your S: directory on your WorkBench disk or System partition, or, if the directory "Support" exists in your Bars&Pipes Professional directory, in the Support directory.}}

As you did with the MIDI Out Tool, look in the ToolBox for the Quick Patch Tool. If it isn't in your ToolBox, install it as you did the MIDI Out Tool.

=== The Song Menu ===

The Song menu is the first menu in the Main menu set. Activate the Tracks window by clicking within it to access the Main menu set.

Although we won't be using most its commands right away, now is a good time to introduce the Song. The Song menu contains commands that create, load, and save entire compositions, as well as exit Bars&Pipes Professional. The Song menu commands are:

; New
: The New command begins a new composition. If you have made any changes to the current composition, Bars&Pipes Professional will ask if you'd like to save them before closing. Choosing Yes saves the current Song, while choosing No disregards any changes you have made since the last save. Choosing Cancel cancels the New operation and returns you to the current Song.

: If a 'New.Song' files exists, Bars&Pipes Professional loads it. Otherwise, Bars&Pipes Professional create its own default blank Song.

{{Note|text=Use the Save As Default command {see below) to create and update the 'New.Song' file.}}

; Load...
: The Load... command loads a previously saved Song. If the Song's Tracks, ToolTrays, or ToolPad contain Tools that aren't loaded in the ToolBox, Bars&Pipes Professional attempts to load the missing Tools. If Bars&Pipes Professional can't find a Tool, a requester appears to give you the opportunity to load the Tool manually.

; Revert
: The Revert command returns the Song to its condition at the most recent save, by loading the last Song saved to disk. Think of Revert as a powerful Undo command. At regular intervals during the composition process, save your Song with the Save command. Then, if you make a mistake, you can use the Revert command to return to an earlier version of your Song.

; Save As...
: The Save As... command either saves your Song for the first time or saves it as a different file name. When you select this command, a file requester opens, which enables you to create a new file or to select an old one to overwrite. Once you save a Song with the Save As... command, Bars&Pipes Professional recognizes the file name. From then on, you can use the Save command instead.

; Save
: The Save command saves your Song to disk. This command works only if a file has been previously saved or loaded from disk. Once you load a Song or save it with the Save As... command, you can use the Save command without bothering with the file requester.

; Save As Default
: The Save as Default command saves the current Song as the default Song. Whenever you run Bars&Pipes Professional, this Song automatically loads as your initial blank Song. Also, whenever you choose New from the Song menu, this Song loads as the initial template.

; Print
: The Print command prints your Song. When you select Print, Bars&Pipes Professional opens the Print requester that allows you to print the entire score. (Please refer to Chapter 11, Printing Notation)

; Title/Author
: The Title/ Author command opens a requester into which you can enter the Song's title and author.

; Length...
: The Length... command sets the overall length of your Song. Bars&Pipes Professional sets all of its scroll bars to accommodate the new length.

; Disable/Enable MIDI
: When MIDI is enabled, the Disable/Enable command displays as "Disable MIDI" in the Song menu. When you select Disable MIDI, Bars&Pipes Professional disconnects the MIDI In Tool from the Amiga's internal serial port, so that another program can access the port. When MIDI is disabled, this command displays as "Enable MIDI" in the Song menu. Choose Enable MIDI to reconnect the MIDI In Tool.

; Propagate
: The Propagate command, in conjunction with the Song Construction window's A-B-A feature, copies changes made to the first instance of each section to all other instances of those sections. The Propagate command is ghosted if the A-B-A feature has not been utilized.

; About
: The About command brings up a requester with version and copyright information.

; Quit
: The Quit command exits Bars&Pipes Professional and returns to Workbench. Bars&Pipes Professional will ask you if you'd like to save your file before exiting.

=== Loading an Example Song ===

Let's load the Brandenburg Demo and play it.

# Select Load... from the Song menu. The file requester appears.
# Find the Song titled "Brandenburg Demo". It's in the Example Songs directory.
# Load the Song by either double-clicking on its file name, or clicking once on its file name and selecting Load. Bars&Pipes Professional loads the Song.
# Notice that the Tracks window displays seven Tracks. The Track names correspond to the name of the instrument that each Track plays.

{{Note|text=If you can't find the Song menu, it is probably because another window's menus are active. Click on the Tracks window to activate the Main menu set.}}

Look at the Output PipeLine of each Track:

You'll see the Quick Patch Tool, followed by the MIDI Out Tool, followed by the MIDI Channel number.

=== Setting Your MIDI Channel Numbers ===

On the far right of each Track, notice a blue number denoting the MIDI Channel number for the Track. This number tells Bars&Pipes Professional though which MIDI Channel to play the Track.

The Brandenburg Demo performs on MIDI Channels one through seven; each Track is associate with a different MIDI channel. The result is a multi-timbral performance, since each Track plays with a different sound, or timbre.

{{Note|text=Please check your synthesizer manual to make sure that it is capable of playing multi-timbrally and receiving on these seven MIDI channels simultaneously. Also, please refer to the chapter "Touring the MIDI Setup" for more information on MIDI channels and MIDI synthesizers.}}

If your synthesizer isn't able to play multi-timbrally, all seven Tracks will sound like the same instrument. If your synthesizer can play multi-timbrally, but can't receive on MIDI channels one through seven simultaneously, you'll need to change the MIDI channel number for each Track:

To change a Track's MIDI channel, click on the MIDI channel number. A pop-up grid appears. Highlight the MIDI channel on which you want the Track to output MIDI, and then lift the mouse button.

=== Selecting Your Patch Changes ===

The Quick Patch Tools at the end of each Track send out Program Changes, or patches, to your MIDI instrument. These patches set up your synthesizer to play the correct sound on each MIDI channel. Each Quick Patch Tool in the Brandenburg Demo ia configured to send patch changes that will sound correct on General MIDI instruments.

If your synthesizer or sound modules supports the General MIDI patch list, then skip to the next section, Playing the Songfile.

If your synthesizer isn't set up to play General MIDI patches, the Brandenburg Demo might sound funny. To make it sound better, you'll need to change the patch numbers in the Quick Patch Tool. To do so, double-click on the Quick Patch Tool in one of the Tracks.

The Control window for the Quick Patch Tool opens:

As with all Tools, each Quick Patch Tool has its own Control window, so that you can set up different patches for each one. Drag the slider to change instruments and Quick Patch plays test notes so you can hear how each instrument sounds.

Above the slider, Quick Patch displays the name of the currently selected patch. This name is only valid for a General MIDI synthesizer. If you have a different configuration, you can change the names in the Patch List by using the Define Patch List window.

{{Note|text=We'll learn about defining Patch Lists later. For now, don't worry, just drag the slider until you get an appropriate sound.}}

Once you've selected the instrument of your choice, close the Control window to get it out of the way, or leave it open in case you'd like to continue trying different instruments while the music plays.

At this point, you may have a few questions:

* What if more than one Track is set to the same MIDI channel? If that's the case, will both Tracks play?
* And, if there is a Quick Patch Tool on every Track, which patch will be selected for that MIDI channel?
Good questions!

First of all, Bars&Pipes Professional plays both Tracks. They'll be performed by the same instrument, since they share the same MIDI Channel.

Second, only one Quick Patch Tool can determine what instrument your synthesizer will use. Since Bars&Pipes Professional performs the Tracks in order from top to bottom, the Quick Patch on Track 2 will override the Quick Patch one Track 1.

{{Note|text=Remember, we're referring to two Tracks that share the same MIDI channel number. Quick Patch will not override any other Tracks.}}

=== Playing the Songfile ===

If you've followed along from the beginning of this chapter, loaded the Brandenburg Demo, and set channel numbers and the Quick Patch Tool for each Track, then it's time to hear the Brandenburg Demo!

To start the sequence from the beginning, click on the Start button (blue square followed by a triangle) at the top of the Tracks window or in the Transport Control window:

Another way to start the sequence from the beginning is to press the 0 (zero) key on your numeric keypad.

You should hear your synthesizer playing the music. Notice a blue vertical line scrolling across the Tracks in the Tracks window. This is the Song Position Line.

NOTE-> As the Song Position line passes over the beginning of a note, that note sounds. As it passes over the end of a note, that note becomes silent.

If your synthesizer does not play, check your cables, amplifier, and MIDI interface. Refer to Chapter 3, Touring The MIDI Setup if you need more help. Also, review the beginning of this chapter to make sure that you didn't miss a crucial step.

=== Saving Your Changes ===

If you've made any changes to the Brandenburg Demo, for example the MIDI channel numbers or the Quick Patch settings, you should save the Brandenburg Demo so that it will play the same way next time.

Select the Save command from the Song menu. This tells Bars&Pipes Professional to update the Brandenburg Demo with your new changes.

==Recording==
Chapter 6

Recording Checklist

Before we begin recording, let's make sure that everything is ready to go.

Select The New Song Command

Select New from the Song menu. This command clears the Tracks and PipeLines of all data and Tools, except the MIDI In and MIDI Out Tools.

NOTE-> You can set Bars&Pipes Professional to load a custom environment whenever you select the New menu option. Simply set the Tracks and Tools the way you'd like them to be when you need a fresh slate, then select the Save As Default menu command from the Song menu.

Verify The MIDI In Tool

The MIDI In Tool absolutely must be installed in order to record from a MIDI source. The MIDI In Tool can only be placed at the beginning of the Input PipeLine:

It's the MIDI In Tool's job to listen to the MIDI In port, and send the MIDI data down the PipeLine to be processed by other Tools and recorded in the Sequencer. If you don't see a MIDI In Tool at the input of each Track, load it in just like you did with the MIDI Out Tool in the last chapter.

Configure The Metronome

The Metronome provides a solid reference click to help you keep time while recording. It can also give you a count-down click for a few measures before recording, so that you have time to prepare. If you'd like, the Metronome can also click during playback.

You can set Bars&Pipes Professional's Metronome to play out of the Amiga's internal sounds, flash the screen, and/or play out of your MIDI instrument.

To open the Metronome window, double-click on the Metronome icon or select Metronome from the Windows menu. Like all Bars&Pipes Professional windows, you may leave this window open and change its parameters as the music plays.

Please refer to Chapter 15, The Metronome, for further details.

Set Your Keyboard's Local On/Off Switch

If you have a single keyboard connected to your computer, so that MIDI Out of the keyboard is connected to the MIDI In on the computer and MIDI Out on the computer is connected to the MIDI in on the keyboard, you may want to use the keyboard's "local off" feature.

Many keyboards support a local on/off switch. Here's why:

When the local setting is switched on, the sound producing hardware of your keyboard performs as soon as you press a piano key. Meanwhile, the keyboard also sends a MIDI note command down the MIDI cable. This can create a problem when the keyboard is connected to a computer. The computer receives the MIDI note, then sends it back to the keyboard via the second MIDI cable. Unfortunately, this tells the keyboard to play the same note a second time, stacked on top of the first.

When local is switched off, the sound producing hardware in your keyboard only responds to MIDI notes coming from the computer. It doesn't make a sound when you press a key. However, it still sends the note via MIDI to your computer which sends the note back via the second MIDI cable into the sound producing hardware which can now respond.

Test Run

Click on the Input Selector of Track 2.

The Input Selector is the grey box to the right of the Track name. A red arrow should appear in the box. This indicates that all MIDI input should flow down Track 2.

NOTE-> If the red arrow doesn't appear, you probably don't have the MIDI In Tool Installed in Track 2.

With your keyboard's local setting on, play a key. If your keyboard is multi-timbral, and is set up to receive on MIDI channe1 2, and MIDI channel 2 is set up to play a different patch than MIDI channel 1, you should hear two distinct sounds simultaneously.

This is because your keyboard's sound producing hardware is receiving the command to play from two sources. One, pressing a key on your keyboard tells your sound hardware to play on MIDI channel 1. Two, the MIDI information sent out of the MIDI out, goes through Bars&Pipes Professional's Track 2, and returns to the sound producing hardware on MIDI channel 2.

Now, turn your keyboard's local off and play a key. You'll only hear the MIDI channel 2 patch. This is because the sound producing hardware is only receiving the command to play from MIDI, and not directly from the key press itself.

When recording or overdubbing multi-timbrally, it is best to set your keyboard's local off.

Recording Two Tracks

Although Bars&Pipes Professional is a sophisticated music environment, you'll find that you can accomplish wondrous things simply by recording a few Tracks. Let's walk through the steps of the recording process:

Step One: Turn On The Metronome

If you haven't already done so, turn on the Metronome from the Metronome window. If you record with the Metronome, you'll find it much easier to edit your music later on, because the notes will line up properly with the measures and beats.

Test the Metronome by clicking on the Play button.

You should hear the metronome's click. If not, please refer to the Metronome chapter to learn how to set up Bars&Pipes Professional's metronome.

Step Two: Set The Tempo

While testing the Metronome, click on the Tempo display in the Tracks or Transport window and drag it with the mouse.

Drag up to increase the tempo, drag down to decrease the tempo. You can also click once in the top half of the tempo button to increase the tempo by one or click once in the bottom half of the button to decrease by one. Once you've settled on a comfortable tempo, click on the Stop button.

* TIP * You may also set the tempo with the Tempo Tap Tool. Please refer to the Music Tools chapter for more Information.

Step Three: Activate The Input Selector

Click on the Input Selector for the Track you want to record. The Input Selectors are the gray boxes in front of the MIDI In Tools.

When you click on the Input Selector, a red arrow appears.

If the red arrow doesn't appear, you'll need to load in the MIDI In Tool and select New from the Song menu.

Step Four: Set The Track's Record/Play/Merge Selector

Click on the Track's Record/Play /Merge Select button until it displays a red "R", to put the Track in Record mode.

A red "R" indicates that it is in Record mode. A blue "P" indicates Play mode, while a red "M" indicates merge mode.

Step Five: Place The Track In Thru Mode

By default, Bars&Pipes Professional places each Track in Thru Mode. To switch among Thru, Mute, and Play Only, click on the faucet to the right of the Sequencer display.

When a Track is in Thru mode (depicted by a faucet with two connections on the left) you can hear notes played via your MIDI sound module or keyboard as you play them into the Sequencer.

When a Track is in Play Only mode, notes input from the keyboard can't be heard.

* TIP * If you are using only one keyboard and it does not support Local Off, you might want to record with the faucets in Play Only instead of Thru mode.

Step Six: Select The Output Channel

Depending on which MIDI instrument you use, set the Output Channel so that the synthesizer or device responds with the proper instrument.

The Output Channel selector is to the right of the Output PipeLine:

To select the Output Channel, click down with the mouse and drag it to the desired channel number in the pop-up menu.

NOTE-> The MIDI Out Tool must be the last Tool in the PipeLine; otherwise, the notes wont be sent out the MIDI cable.

Test your selection by playing a note on your MIDI keyboard. Notes enter the MIDI Tool on the left side of the PipeLine, pass through the Sequencer, and exit the MIDI Out Tool direct to the instrument indicated by the selected Output Channel.

* TIP * Make sure that you're thoroughly familiar with how to operate your MIDI synthesizer in particular, how to set the MIDI channels for receiving.

Step Seven: Put The Sequencer In Record

Click on the Record button in the Transport Controls window or at the top of the Tracks window to activate the Sequencer Record mechanism.

* TIP * You can use the "R" key on your Amlga keyboard to toggle in and out of Sequencer Record mode.

In Sequencer Record mode, all Tracks that have their Record Select buttons set to "R" record the MIDI music flowing in their Input PipeLines, replacing whatever was there previously. Tracks set to P continue to perform, without recording. Tracks set to M play while recording, merging the new performance with the previous material already in the Track.

It is important to understand the distinction between the Sequencer Record and Track Record modes: When you click on the Record button at the top of the Tracks window, Bars&Pipes Professional enters Sequencer Record mode. Only then can a Track in Track Record mode be overwritten. Otherwise, it simply acts as if it were in Play mode.

When you start Bars&Pipes Professional with either the Start or Play buttons after activating Record mode, Bars&Pipes Professional records MIDI data into the Tracks in Track Record or Merge modes.

This two-step operation is analogous to pressing the Record and Play buttons simultaneously on a hardware multi-track recorder.

NOTE-> Track Record mode allows you to determine which Tracks actually record MIDI data. Only tracks with their R/P/M selectors set to Record or Merge modes actually record when Bars&Pipes Professional Is put Into sequencer record mode. This feature allows you to determine which Tracks actually record MIDI data and which Tracks only play back.

Understanding the relationship between the Track Record mode and the Input Selector is important. Please keep in mind the following points:

The Input Selector indicates which Track is currently selected for keyboard input.
The Input Selector must be set to the same Track on which you want to record, and that Track must be placed in Track Record mode.
If you first set the Input Selector for a given Track, and then set that same Track to Track Record mode, changing the Input Selector to another Track also changes the new Track to Track Record mode, and cancels Track Record mode in the previous Track.
It's a good idea to get into the habit of selecting your options in the Tracks Window from left to right, since Bars&Pipes Professional was designed from the ground up to present you with all information logically as it would be encountered if you were viewing a flow chart.
Step Eight: Start Recording

To begin recording, click on the Start button.

* TIP * You can also use the Insert key on the numeric keypad on your Amlga keyboard. The Insert key is the same as the zero (0) key.

When you are finished recording, click on the Stop button or press the Enter key on the numeric keypad on your Amiga keyboard.

NOTE-> Notice that the Sequencer Record button turns off, but the Track Record button stays on. This is a safety feature. It enables you to Immediately review your recording without fear of erasing it.

Step Nine: View The Recording

When you stop recording, Bars&Pipes Professional redraws the Sequencer display with the current measure in the center and the Song Position Flag over it. It displays notes as blue lines in selected Tracks and as yellow lines in unselected Tracks.

To view an earlier section, drag the scroll bar below the Sequence section of the Tracks to the left, or to scroll one measure at a time, click on the left arrow.

To view a later section, drag the scroll bar to the right or click on the right arrow.

Step Ten: Play The Recording

Because the Sequencer Record button is no longer activated, you can safely play back your recording even though the Track is still in Record mode. Tracks in Record mode will not record or be erased if the Sequencer is in Sequencer Play mode.

NOTE-> If you have trouble with playback, refer to the previous chapter, Playing A Demo Songfile.

To play from the beginning, click on the Start button or press the Insert key on the numeric keypad on your Amiga keyboard.

To play from the current Song position, click on the Play button or use the Enter key on the numeric keypad on your Amiga keyboard.

You can also use the Start and Play buttons in a similar fashion when Bars&Pipes Professional is in Sequencer Record mode, in order to record from the beginning of the composition or from the current Song position, respectively.

If you are dissatisfied with what you hear, you can record a second time by clicking on Sequencer Record, then clicking on Start.

Step Eleven: Record A Second Track

Once you are finished with your first Track, click on the Input Selector of another Track to record. The "R" in the first Track should change to a "P" to indicate Play mode, while the "P" in the new Track should change to "R" to indicate Record mode.

{{Note|text=This may not happen if the first Track's Input Selector was not selected. You can change the "R" to a "P" In the first Track and the "P" to an "R" In the second Track manually in this case. Just click on the button.}}

Click on the Record button in the Transport Controls, then click on Start. Your first Track starts to play. Play along with it as the Sequencer records your performance on the second Track.

When you are finished recording, click on the Stop button and take the second Track out of Track Record mode. Next, click on the Start button to play both Tracks from the beginning.

You have now accomplished basic multi-track recording.

Step Twelve: Save Your Song

Now that you've composed some music, let's save it to disk.

Select Save As from the Song menu. Point the File Requester to the appropriate directory where you want to save your Song. Then enter a name for your Song and hit return, or click on the Save button.

Advanced Recording Topics

The rest of this chapter covers more sophisticated aspects of recording that you may not need initially but will appreciate as time goes by. Feel free to skim these topics and check back when the need warrants.

Multiple In Recording

There are times that you need to record multiple MIDI channels simultaneously. For instance, you might want to simultaneously record yourself on one Track and someone else on another Track. Or, you might want to transfer several Tracks from another MIDI Sequencer into Bars&Pipes Professional.

In either case, choose Multiple In from the Main menu's Preference menu. This turns the Input Selectors on each Track into MIDI channel selectors. Click on these selectors to choose which MIDI channel should enter into each Track. Now all Tracks act as inputs but each Track only receives MIDI events set for its particular channel.

When Multiple In isn't selected, all events, regardless of MIDI channel, are sent to the Track with the active Input Selector.

Manual Punching In And Out

Suppose you record a Track and discover one section that needs to be fixed. It would be a waste to record the entire Track just to get one phrase right. Bars&Pipes Professional solves this by letting you enter and leave record mode on the fly. This is called "punching in" and "punching out". Punch In switches Bars&Pipes Professional from playback to recording, Punch Out switches back to playback.

To switch from playback to record (punch in) at any point while the Song is playing, click on the Record button in the Transport controls. At this point, the music playing on all Tracks that are currently in record mode stops and the Tracks start recording. Switch back to playback (punch out) by clicking again on the Record button and the Tracks resume playing. You can continue to punch in and out as many times as is necessary. When you finally stop the performance and play it again from the top, all of the "punched" sections are erased and replaced with the new recording.

Automatic Punching In And Out

Manual punching in and out has its limitations. If you are working alone, you'd need two arms to play and a third to punch in and out. Bars&Pipes Professional provides that third arm with the Punch In and Punch Out Flags.

Bars&Pipes Professional's Punch In and Out Flags automatically switch the Sequencer in and out of Record mode at preset locations.

To use the Punch In and Out Flags, move them to the boundaries of the section you'd like to record.

To move a Flag, first drag the scroll bar at the bottom to display the desired section, then drag the flag itself to the desired location.

* TIP * You can also set flags directly with the Set Flags window, accessed from the Windows menu.

When you drag flags, Bars&Pipes Professional aligns them with time boundaries. Set the alignment with the Alignment option in the Preferences menu.

Once you've positioned the Flags, click on the Punch In/Out button in the Transport Controls window. (Open the Transport Controls window by double-clicking on its icon, or choosing Transport from the Windows menu.)

Doing so activates the Punch In and Out and sets the Sequencer to start four measures before the Punch In point.

If you'd rather start elsewhere, use the Rewind, Fast Forward, or Auto-Locate buttons to relocate the Position Marker after clicking on the Punch In/Out button.

After you've positioned the Flags, start the Sequencer. At the Punch In point; the Sequencer Record button automatically depresses and all Tracks in Track Record mode switch from playback to recording. At the Punch Out point, these same Track revert to playback.

* TIP * Double-clicking on the Punch In/Out button both moves the Song Position marker back four measures and starts the Sequencer automatically.

To Punch In only, drag the Punch Out flag to the far right, which places it at the end of the Song. To Punch Out only, drag the Punch In Flag all the way to the left, which places it the beginning of the Song's first measure.

If you select the Clean Cuts command in the Preferences menu, Bars&Pipes Professional will start recording at the Punch In flag. Any notes that were started in the measure prior to the Punch In flag will be truncated. Notes that end after the Punch Out flag will be truncated, as well.

If you do not select the Clean Cuts command in the Preferences menu, notes that you play before the Punch In flag will not be truncated or recorded at all in the Punch area. Notes that you hold past the Punch Out flag will not be cut off at the Punch Out flag.

Merge Recording

When you place a Track into Merge mode instead of Record mode, newly recorded events will be merged with the current contents of the Track.

Merge mode is designated by a red "M" in the Track.

Unlike Record mode, Merge mode does not erase the MIDI events that are already in the Track. Instead, it mixes the existing notes with the newly recorded MIDI events. Merge mode may also be used with the Punch In/Out function.

Loop Recording

The Loop button in the Transport Controls activates the Loop Mode recording function.

With Loop Mode, you can record one section of your Track over and over. Use the Loop Mode button in conjunction with the Loop Flags.

Position the Loop Flags on the boundaries of the section you'd like to loop. Then click on the Loop button, which in turn opens the Loop Record requester. Bars&Pipes Professional automatically places the Song Position Marker at the start of the looped section and activates the Sequencer Record button.

To begin recording, click on the Play button in the Loop Record requester. Bars&Pipes Professional plays the section marked by the Loop Flags eight times. This gives you eight opportunities to record in the looped section.

When the eighth loop finishes playing, or when you've clicked on the Stop button in the Loop Record Requester, another requester opens. This, the Loop Choice or Select A Section requester, allows you to choose which of the eight repetitions to keep. If you change your mind, select Cancel to abort the Loop Recording process.

The Loop Choice requester represents the eight versions recorded during Loop Mode by buttons numbered one through eight. Click on each number to hear its particular version. When you settle on a choice, click Okay to accept it. Bars&Pipes Professional retains only the selected version, discarding the other seven versions. If you are unhappy with all eight versions, select Cancel to discard all of them.

* TIP * For a different kind of loop recording, please read about the Pattern Tool in Chapter 27.

The Record Activation Window

The Record Activation window allows you to globally filter MIDI events when recording with MIDI In Tools. Furthermore, prerecorded MIDI events can be selectively left alone while others are recorded on top of them.

Open the Record Activation window by choosing the Record Activation option in the Main menu's Windows menu. A window similar to a MIDI In Tool's Control window opens.

Highlight the MIDI Events you want to record, and deactivate the MIDI Events you want to ignore. Events appearing in red are recorded, while unhighlighted events appearing in blue are filtered out.

Bars&Pipes Professional will remove filtered events before they enter the Sequencer. It will not, however, remove existing events of the same type that have previously been recorded into the Track.

Here's a quick example: Let's assume that you have recorded a sequence on Track 4 that includes pitch bends and control changes. If you want to rerecord the notes on the Track, but leave the pitch bends and control changes intact, choose to ignore (deactivate) Pitch Bend and Control Change in the Record Activation window. When you rerecord Track 4, the new notes will be recorded, while the pitch bends and control changes will be left alone.

Stuck Notes

If you experience stuck, or "hung", notes, click on the Stop button in the Transport Controls window. This sends the MIDI All Notes Off command through all Tracks to each Track output. As a result, most MIDI instruments turn off their voices.

Clogged Pipeline

It is possible to create a "logjam" in the PipeLines. For example, if MIDI enters and exits the same PipeLine, and the MIDI synthesizer returns the notes it receives to Bars&Pipes Professional, a feedback loop results.

At this point, none of the Transport Controls are operable. If this "logjam" occurs, press the Escape key on your Amiga keyboard. You may need to press Escape several times to completely clear the PipeLine.

==Tools==
Chapter 7

Overview

If you've read the previous chapter, you know how to record and overdub Tracks. Now it's time to move to one of the most important aspects of Bars&Pipes Professional: Using Tools.

What is a Bars&Pipes Professional Tool? Technically, a Tool is device that sits in a Track's PipeLine and performs an operation on the MIDI events flowing through it. Some Tools are musical in nature and perform operations that are standard operations, like delay and quantize. But Tools can also organize the flow of the music by interconnecting PipeLines, help compose music by creating or changing notes, and even translate music events into other media, such as displayed pictures.

Tool Modules

Tools are special additions to Bars&Pipes Professional's main program. Each Tool is actually a separate module that Bars&Pipes Professional loads. This is a very important concept.

You can expand the capability of Bars&Pipes Professional by adding more Tools without upgrading Bars&Pipes Professional itself. And, you can remove unneeded Tools to save memory.

Once you've loaded a Tool, Bars&Pipes Professional automatically installs it each time. When you remove a Tool, Bars&Pipes Professional will no longer install it.

{{Note|text=Sometimes, you might create a Song with a particular Tool in its PipeLines, save it, then remove the Tool at a later date. Great news! If Bars&Pipes Professional senses the Tool is missing, it reinstalls it automatically.}}

Multiple Usage Of Tools Once you've installed a Tool in Bars&Pipes Professional, you can use it in several different places at a time. Each time you drag a Tool out of the ToolBox, Bars&Pipes Professional makes a unique copy of the Tool. This way, you can setup each copy to behave differently.

Example:
Set one instance of an Echo Tool to create four echoes in Track 1, while setting a second Echo Tool in Track 2 to create only two echoes. Each Echo Tool is a unique copy of the original Echo Tool that Bars&Pipes Professional loaded when you installed it.

Tool Types

Tools fall into two primary categories: Music Tools and Multi-Media Tools. Within these categories, Tools are further classified as Input, Output, and Branching Tools. Input and Output Tools serve as the inputs and outputs of each Track's PipeLine, i.e., the MIDI In and MIDI Out Tools. Branching Tools connect PipeLines between Tracks. Combinations of Tools are called MacroTools.

Music Tools

Music Tools perform musical functions. The Quantize Tool (tightens the note timing,) CounterPoint Tool (creates a counter melody,) and Quick Patch Tool (sets up the MIDI instrument) are examples of Music Tools.

Multi-Media Tools

Multi-Media Tools, in conjunction with Bars&Pipes Professional's Media Madness window, control non-musical aspects of sequencing, including other hardware and software. The ANIMal Tool (plays animations,) Toasty Tool (controls the Video Toaster,) and Command Performance Tool (sends ARexx commands to other programs) are examples of Multi-Media Tools. Most of the Multi-Media Tools are also Output Tools. The Media Madness window controls Multi-Media Tools that are also Output Tools.

Macro Tools

MacroTools are a special category of Tools. MacroTools are combinations of regular Tools. Use MacroTools to create your own Tools by putting together individual Tools with the Create-A-Tool feature. MacroTools have icons, may be placed in PipeLines, and are loaded separately from disk, just like all other Tools.

The ToolBox

Bars&Pipes Professional organizes the installation, usage, and removal of Tools all from one window, the ToolBox.

Open the ToolBox by double-clicking on its icon, or choosing the ToolBox command from the Windows menu. The ToolBox window displays all currently installed Tools.

Tool Icons

Tools appear in the ToolBox as icons. Select a Tool by clicking once on its icon. To place a copy of the Tool in a Track or ToolPad, hold down on the mouse and drag the Tool to the desired destination. This makes a copy of the Tool and places it.

{{Note|text=If there are no Tools in the ToolBox, Bars&Pipes Professional can't find the Tools to load. Often this occurs with improper installation. You will need to load in the Tools one by one. Please see the section below, Installing Tools.}}

The Question Mark Button

The first icon in the ToolBox window, the grey box with the "?" (question mark), is not a Tool. If you click and hold the mouse button over the question mark, a pop-up menu opens containing the names of all the Tools in the ToolBox.

To select a Tool with the pop-up menu, drag the mouse pointer until the desired Tool name highlights; then release the mouse button. A copy of the Tool icon "sticks" to the mouse. You can then drag the Tool to a PipeLine or ToolPad to drop the selected Tool in it, or click anywhere else to eliminate the copy.

Tool Names

You can optionally display the Tool names to the right of each icon by selecting the Show Tool Names option in the Preferences menu of the ToolBox.

Installing Tools

The first time you run Bars&Pipes Professional, it loads a preset collection of Tools. This preset collection is a mere subset of the dozens of Tools that come with Bars&Pipes Professional. In order to access the additional Tools included with the program, you must install them.

To install a Tool, use the Install Tool command in the ToolBox menu. This command loads the Tool from disk, places it in the ToolBox and makes the Tool a permanent part of your environment. Once you've installed a Tool, Bars&Pipes Professional automatically loads the Tool every time it runs until you remove the Tool with the Remove Tool command.

Example:

Open the ToolBox window, if it is not already open.
Activate the ToolBox window by clicking on it.
Access the ToolBox menu by holding down the right mouse button and dragging the mouse pointer to the top of the Bars&Pipes Professional screen, over the words "ToolBox". The ToolBox menu opens.
Drag the mouse down over the words "Install Tool..." and then release the right mouse button. The file requester opens.
If the file requester is not already in the Tools directory, find the directory where you keep your Tools.
Find the Loop Tool in the Tools directory. Double-click on Loop to open it.

{{Note|text=A text file called Tools is kept in the Support directory to keep Track of which Tools have been installed. Although we don't recommend it, you can edit this file in a text editor. Please see Chapter 31, Customizing Your Environment, for more information on the Support directory.}}

You might load a Song or MacroTool that includes Tools that are no longer installed. Bars&Pipes senses this and tries to automatically install the missing Tools. If it can't find them, it prompts with the file requester and the missing Tool name. Then, Bars&Pipes Professional actually installs the missing Tool. As a result, the process of loading a Song can actually install one or more Tools permanently in the ToolBox!

Removing Tools

If you have a Tool in your ToolBox that you never use, consider removing it. Too many Tools eat up precious memory, take extra time when loading Bars&Pipes Professional, as well as create a jungle of icons.

To remove a Tool, first select it in the ToolBox. Then, select the Remove Tool command in the ToolBox menu. This removes the Tool and tells Bars&Pipes Professional not to automatically load the Tool every time it runs.

{{Note|text=If the Tool is in a Track, ToolPad, or ToolTray, Bars&Pipes Professional alerts you that the Tool is in use, and asks you to verify the operation.}}

The Remove Tool option does not erase the Tool from your disk. It only removes the Tool's name out of the active Tool list, stored in the file "Tools" in the Support directory.

Creating, Editing & Saving MacroTools

Three additional commands in the ToolBox menu control the design and updating of MacroTools.

To create a new, empty MacroTool, select the command Create MacroTool. This creates a blank MacroTool and opens the Create-A- Tool window to edit it. Please see Chapter 24, Create-A-Tool, for more information.

{{Note|text=You can Install and remove Macro Tools as you would any Tool.}}

If you'd like to make changes to an existing MacroTool, click once on the MacroTool to select it, then choose the Edit MacroTool command in the ToolBox menu, or double-click on the MacroTool. The Edit MacroTool command opens the Create-A-Tool window, so that you can make design changes.

Although the Create-A-Tool window automatically prompts you to save the MacroTool, you can also do so directly by selecting the Save MacroTool command found in the ToolBox menu. This opens the file requester, where you may choose a destination file.

{{Note|text=Saving a Macro Tool to a new location updates the Installation information in the Tools file. Bars&Pipes Professional will always load the Macro Tool from the new file location instead of the old.}}

Using Tools in the PipeLine

Tools are most often used in the PipeLine and ToolPad. In the PipeLine, a Tool processes music flowing through it. In the ToolPad, a Tool modifies entire segments of music all at once, using the Toolize command found in the Edit and Tracks menus.

A Tool in a particular Track's PipeLine modifies the MIDI data that flows through it. Most Tools may be placed in either the Input PipeLine or the Output PipeLine. Some Tools are Input Tools, and only place themselves as the first Tool on the Input PipeLine. Other Tools are Output Tools, and only place themselves as the last Tool on the Output PipeLine.

Bars&Pipes Professional displays the complete PipeLines with all Tools only in the Tracks window, although it does display the final Output Tools in the Media Madness window as well.

Placing A Tool In A Pipeline

To place a Tool in a PipeLine, drag a copy of the Tool from the ToolBox, another PipeLine, or a ToolTray (more on that later,) and drop it into the PipeLine.

Opening The Tool's Control Window

Double-click on a Tool in a PipeLine to open its Control window. Alternatively, highlight the Tool by single-clicking on it, and choose Edit from the Tool menu. You can edit the Tool's Control window while Bars&Pipes Professional plays and MIDI events flow through the Tool. As a result, you hear instant feedback as you make changes in the Control window. You can also open multiple Control windows at once.

Duplicating A Tool

You can duplicate an existing Tool in the PipeLine by clicking on the Tool and dragging it to a new location. Copying a Tool in this manner is useful because you can edit one Tool's Control window, then place duplicates in several other Tracks.

Moving A Tool In The PipeLine

To move a Tool in the PipeLine, click on the Tool once to highlight it, then choose the Move Left and Move Right commands in the Tools menu. Alternatively, you can use the left and right arrow keys on the Amiga keyboard to move the highlighted Tool. You can even make a Tool jump across from the Input PipeLine to the Output PipeLine and vice versa. You cannot, however, move Input and Output Tools.

{{Note|text=Remember, clicking on and dragging a Tool duplicates it, rather than moving it. Also, moving a Tool from the Input PipeLine to the Output PipeLine or vice versa breaks its connections with other Tools.}}

Connecting With Vertical Pipes

You can actually connect a Tool in one Track to Tool in another via vertical pipes. To do so, you need two types of Tools: The first type, the branching Tool, uses preset criteria to send MIDI events to another Track. There are many branching Tools. For example, the Keyboard Splitter Tool sends all notes below its split point to a second Track and the CounterPoint Tool can send the countermelody to a second Track.

The second type of Tool, the merging Tool, sits in the second Track's PipeLine and receives incoming MIDI events. Unlike the branching Tools, there is only one merging Tool included with Bars&Pipes Professional, the Merge In Tool.

{{Note|text=The Pro Studio and Creativity Add-On Kits include merging Tools that use MIDI events coming down the vertical pipes to control events in the second Track's PipeLine.}}

To connect a branching (sending) Tool to the merging (receiving) Tool, click on the branching Tool. Then select the Connect command in the Tools menu and click once on the merging Tool. A vertical pipe will be drawn between the two Tools, indicating that they are connected.

Removing A Tool

To remove a Tool from the PipeLine, highlight that Tool by clicking on it. Then select Remove from the Tool menu to remove the Tool. Alternatively, you can use the Del key on the Amiga keyboard.

Using Tools in the ToolPad

The ToolPad provides a means to permanently change your music. Whereas Tools in PipeLines process events as the events flow through them, Tools in the ToolPad do nothing until you use the Toolize command. Using the Toolize command causes the entire Song, individual Tracks, or parts thereof, to change permanently.

You'll find ToolPads in the Tracks window, the Edit and List Edit windows, the Media Madness window, and the Song Construction window. These buttons all represent the same ToolPad, regardless of which window they appear in.

Unlike Tools in the PipeLine, Tools placed in the ToolPad do not process notes as they are played. Instead, they process all of the notes in a Song, sequence, or section. For example, if you place the Quantize Tool in the ToolPad, you can use it to Quantize all of the notes in a selected Track. The ToolPad holds up to sixteen Tools at once.

Placing A Tool In The Toolpad

To place a Tool in the ToolPad, click and drag it from the ToolBox, a ToolTray, or even a Track's PipeLine, and drop it onto the ToolPad. If the ToolPad is not full, the new Tool takes the next empty slot. However, if the ToolPad is full, the new Tool replaces the currently displayed Tool in the ToolPad.

{{Note|text=You can put more than one of the same type of Tool in the ToolPad.}}

Selecting A Tool From The Toolpad

To select a Tool from the ToolPad, click down on the pad with the mouse and hold it. Under the mouse, a pop-up menu appears with sixteen Tools displayed. (The unfilled slots are displayed as empty pipes.) Move the mouse pointer to the Tool you need and lift up. The ToolPad now displays that Tool.

Editing A Tool In The ToolPad

To edit a Tool in the ToolPad, called a PadTool, first select it, then use the Edit PadTool Controls command in the Windows menu.

* TIP * You can also hold down the Shift key on your Amiga keyboard while dlcklng on the ToolPad.

This opens the Control window for the Tool, if one exists. Some Tools do not have parameters to change and therefore no Control window. You can keep the Control window open for the Tool as you use it to process your Song. You can even have several Tools' Control windows open at the same time.

Removing A Tool From The ToolPad

There is no need to remove a Tool from the ToolPad. Once the ToolPad is full, placing a Tool in the ToolPad replaces the currently showing Tool.

Toolizing With The ToolPad

Tools placed in the ToolPad can process all of the notes in an area of your Song. To do so, use the Toolize command, found in both the Edit and Track/Group menus.

The Toolize command in the Edit menu processes all notes on all Tracks between the Edit Flags. Set the Edit Flags (the two purple triangles) either by dragging them in the Tracks window or typing in positions in the Set Flags window.

For more information on editing with the Edit Flags, please see Chapter 20, Multi-Track Editing.

The Toolize command in the Track/Group menu processes all notes in the currently selected Track or a Group of Tracks.

* TIP * Use the Output PipeLine to test a Tool while changing its controls. Once you're pleased with the results, drag the Tool into the ToolPad and Toollze the entire Track to make the changes permanent. Then, delete the Tool from the PipeLine since it no longer is needed.

Replacing A Tool In The ToolPad

To replace a Tool in the ToolPad with another Tool, select the Tool to discard by choosing it from the pop-up menu so that it appears in the ToolPad on the screen. Then drag the new Tool from the ToolBox onto the ToolPad. The new Tool replaces the displayed one.

ToolTrays

The ToolBox organizes the original copies of each Tool. Every time you drag a Tool from the ToolBox and place it in a PipeLine, you must double-click on the Tool and edit its Control window. In other words, while a Tool resides in the ToolBox, it cannot be edited.

On the other hand, ToolTrays provide a place to keep preset versions of Tools. Just drag a Tool from the ToolBox into a ToolTray and then edit the Tool's Control window by double-clicking on the Tool in the ToolTray.

From then on, drag the Tool from the ToolTray instead of from the ToolBox, and the changes you made remain intact. You can organize up to sixteen individual copies of Tools in each of eight ToolTray windows.

To access a ToolTray, choose one of the ToolTrays in the Tool menu. If the ToolBox window is active, you can also select a ToolTray from the ToolTrays menu. The ToolTray window opens.

Drag a Tool from the ToolBox or from a PipeLine and drop it into the ToolTray beneath the horizontal gray line. The name of the Tool appears above the gray line.

Modify the name of the Tool by clicking on its name and using the Amiga keyboard.

{{Note|text=Changing the name of the Tool in the ToolTray does not change the name of the Tool in the PipeLine or ToolBox. This feature allows you to keep several copies of the same Tool in a ToolTray, and be able to distinguish between them when you dick on them.}}

For example, you might prepare two versions of the Quantize Tool with different resolutions and give each a name that describes its resolution.

Double-click on a Tool in a ToolTray to open that Tool's Control window. Set the parameters to whatever you want. When you drag this Tool into a PipeLine or ToolPad, it retains these parameters.

{{Note|text=The ToolTrays load and save with your composition.}}

For a complete explanation on using ToolTrays, please see Chapter 25, ToolTrays.

Examples

In the following sections, we present some step by step examples of using specific Tools. This will help you to understand the Tool concept, and how to use Tools in your own compositions.

Let's look first at a very simple Tool called the CounterPoint Tool. Open your ToolBox. If you do not see the CounterPoint Tool, install it.

{{Note|text=There are several ways to view Tools by name: You can dick on the ? button to access a scrolling list of Tools, You can dick on a Tool and view its name in the ToolBox window's Title bar. You can also select the Display Tool Names option in the ToolBox window's Preferences menu to display the Tools by name as well as Icon.}}

The CounterPoint Tool does not have a Control window.

Using CounterPoint On The Input Pipeline

Grab the CounterPoint Tool from the ToolBox by clicking on it with the left mouse button. Drag the Tool until it is over the Input PipeLine of Track 1, just to the right of the MIDI In Tool. Release the mouse button. Activate the Input Selector for Track 1.

Play a few notes on your keyboard. You'll hear an accompaniment to the notes you play

Here's how it works: The notes you play on your keyboard come into the active MIDI In Tool. Then, the notes flow into the CounterPoint Tool. The CounterPoint Tool creates a countermelody note for each note that enters it.

The original note and the countermelody note flow down the rest of the Input PipeLine and into the Sequencer. Even if Track 1 is in record mode, since we haven't activated the Sequencer Record mode, the notes just travel right on through the Sequencer .

When the notes reach the Thru/Mute/Play faucet, they continue through if it is in Thru mode. Thru mode is represented by a blue faucet with two inputs on the left side.

{{Note|text=If the faucet is red, without an Input on the left side, it is in Mute mode. Nothing will play out of the Track when the faucet is in Mute mode. If the faucet is yellow, with one Input on the left side, it is in Play Only mode. In Play Only mode, only notes previously recorded into the Track go through.}}

The notes flow down the Output PipeLine until they reach the MIDI Out Tool. The MIDI Out Tool sends the notes out the MIDI out port on your interface, on the MIDI channel selected by the MIDI channel selector. The MIDI channel selector is the blue number on the right of each Track.

Sending The Countermelody To Another Track

Now, lets record the original melody on Track 1, and the countermelody created by the CounterPoint Tool on Track 3. We can do this because the CounterPoint Tool is a Branching Tool. To use any branching Tool, you'll need the Merge Tool.

Select the Merge Tool from the ToolBox. Its icon is a horizontal length of pipe with an angled pipe entering it from the top left. If you don't see the Merge Tool, load it in. Place the Merge Tool on the Input PipeLine of Track 3.

Click on the CounterPoint Tool with the mouse. A red box surrounds it to show that it is the active Tool. Select Connect from the Tool menu, then click on the Merge Tool. Bars&Pipes Professional connects the CounterPoint Tool to the Merge Tool with a vertical piece of pipe. Now the countermelody flows down the vertical pipe and into the second Track.

With the Input Arrow on Track 1 still active, click on the blue 'P' in Track 3 until it turns into a red 'R'. The red 'R' should already be showing in Track 1.

Now, record another melody. When you stop the Transport, notes in Track 1 and in Track 3 are displayed. Track 1 contains the original melody, while Track 3 contains the counter melody.

Using CounterPoint On The Output Pipeline

Now that you have two Tracks containing a melody and a countermelody, let's see what happens when we place a CounterPoint Tool on the Output PipeLine of both Tracks.

You don't need to open the ToolBox to get another copy of the CounterPoint Tool. Just grab the one that is on the Input PipeLine of Track 1. Place copies of the CounterPoint Tool on the Output PipeLines of Tracks 1 and 3.

Press Start on the Transport Controls to listen to the effects of these Tools. You should hear four notes simultaneously: two out MIDI channel 1 and two out MIDI channel 3.

Toolizing With CounterPoint

Pick up another copy of the CounterPoint Tool and drop it into the ToolPad. The ToolPad is the box in the upper left corner of the Tracks window, to the right of the Solo button, and to the left of the Group buttons numbered 1 through 8.

Click on Track 1, then select Toolize from the Track menu. Notice that it instantly doubles all of the notes in Track 1, adding the countermelody to the recorded music. Press Start on the Transport to hear the results.

Other Examples

You'll find more Tool examples in the Tools chapter. Learning how to use Tools can be a daunting task. Take it slow and learn one Tool at a time. Try every Tool that you can in as many ways as possible. Experience is the best teacher.

Have fun and experiment! Remember, you can always leave a Tool's Control window open while you experiment with it. In particular, this is very useful for setting up a Tool while music flows through it in the PipeLine.

Once you've learned all of the Tools that come with the basic Bars&Pipes Professional package, remember that we continue to release new Add-On Tool Kits. Call or write to us for more information.
==Note Editing==Chapter 8

Overview

Bars&Pipes Professional's Graphic Editor lets fine-tune your composition. All of its buttons, menu options and features eliminate guess work. In fact, the Graphic Editor has so many features that we've divided our discussion of it into several chapters. This chapter covers specifically note entry and editing.

Sequenced Notes

Before we delve into editing notes with Bars&Pipes Professional, let's look at how Bars&Pipes Professional actually represents those notes.

Sequenced notes are comprised of MIDI note on and note off events that you've input. The MIDI standard allows for a total of 128 different note values, beginning with the note C0 (C, octave 0) denoted by the byte 0, and ending with the note Gl0 (G, octave 10,) denoted by the byte 127.

{{Note|text=Some synthesizers refer to the range as C-2 through G8.}}

Bars&Pipes Professional stores a note as a MIDI note pitch number, a starting time, and a duration. To reproduce a stored note, the Sequencer sends out the MIDI note on event at the starting time, waits for the duration, and then sends out the MIDI note off event for that note.

{{Note|text=In the Multi-Media portions of this manual, you will see references to items called hit lists. A member of a hit list is actually a note in disguise. While using hit lists, instead of note number representing a note, the note number represents a command. When a Multi-Media Tool receives this command, it performs whatever task you've programmed it to perform. You'll learn more about this in Chapter 28, Media Madness.}}

Opening The Graphic Editor

To Open the Graphic Editor, double-click on the Track you'd like to edit, or select the desired Track and press Return. The Graphic Editor window opens, and displays the Track.

{{Note|text=The Graphic Editor window is also referred to as the Edit window.}}

The Sequence Display

The Sequence Display occupies most of the Edit window. It shows your Sequence from left to right.

Vertical lines, indicating the beats and measures, provide you with a view of the exact time and place of each note.

SMPTE Time

Click on the SMPTE button, located on the far right end of the Graphic Editor's command button to view the Sequence Display in SMPTE time rather than in measures and beats. This option is very useful if you're working on a project where you need to know when particular events happen in absolute minutes and seconds instead of music time.

Sizing The Display

The Sizing... option in the Display Options menu gives you five choices for displaying data: Very Large, Large, Normal, Small and Very Small. If you choose Very Large, you can do very fine work with the timing of your notes. On the other hand, the lowest resolution, Very Small, is the same as the resolution in the Main Screen. At this resolution, you gain a much better feel for how your Song progresses.

You can also use the Zoom In and Zoom Out buttons to enlarge or reduce the display size. Click the Zoom In button to select the next larger size, up to Very Large. Click the Zoom Out button to select the next smaller size, down to Very Small.

{{Note|text=The sizing of a Track determines how many measures across will be printed when printing notation.}}

The Show Menu

From the Edit window, use the Show menu to determine what options Bars&Pipes Professional draws in the Sequence Display. By default, Bars&Pipes Professional displays the Hybrid Staff, Piano Roll and Velocity Curve, the options most frequently used. You can toggle as many options as you want at once by holding down the right mouse button and clicking the left mouse button over the items you want to toggle.

The Staff - Hybrid

Displaying The Hybrid Staff

When you select Staff-Hybrid from the Show menu, Bars&Pipes Professional displays notes as horizontal bars on a traditional treble and bass clef. The length of the bar reflects the length of each note. Bars&Pipes Professional marks accidentals with sharps and flats. If you haven't defined a key, the Staff defaults to the key of C MAJOR.

If you select the Hit List option in the Display menu, all notes that have hit translations assigned to them display the name of the hit (for example, "Dog Bark" or "Door Slam") instead of the note rectangle. Hit List Translations are used primarily by the Media Madness Tools and the List Editor. We'll talk about Hit Lists extensively in later chapters.

Centering The Hybrid Staff

The center of the Staff - Hybrid defaults to middle C, octave five on the MIDI keyboard. To change to another octave, use the Note Range... Staff Center command in the Display Options menu. The Staff Center requester opens.

In the box to the right of "Center", the requester displays the note currently at the center of the Staff. By default, the Staff centers around C5, the note C of the fifth octave.

To change the octave, click on the center note and hold the mouse down. Under the mouse, a pop-up menu appears with a choice of octaves. Move the mouse to the one you want and lift up. The center note changes to C of the octave you choose.

The Auto Center button automatically calculates the center note and accommodates the range of notes displayed.

When you finish, press Okay, to accept the new Staff Center, or Cancel, to leave it as it was.

The Piano Roll

Displaying The Piano Roll

When you select the Piano Roll, Bars&Pipes Professional displays your MIDI note events as horizontal bars on a graph which extends from a column of piano keys on the left. Like the Hybrid Staff, notes are blue.

If you select the Background... Key option in the Display Options menu, the spaces on the graph that make up the current key are displayed behind the notes in a faded purple color. To learn how to set the key, please see the chapter on Song Parameters.

Like the Hybrid Staff, you can also display notes as Hits by selecting the Hit List option in the Display menu.

Changing The Piano Roll Bounds

At times, the Piano Roll may display too much or too little of your composition. A Note Event can span a range of 128 notes, just over ten octaves. The Piano Roll can show all or any section of that ten-octave keyboard. Since an individual Sequence rarely ranges more than two octaves, Bars&Pipes Professional shows two octaves by default.

To change the range of notes displayed, select the Piano Roll Bounds command, which opens the Piano Range requester.

You can set two variables: the Upper Range and the Lower Range. Respectively, these denote the highest and lowest keys displayed on the Piano Roll. The Piano Roll will not display notes above the Upper Range nor below the Lower Range.

Define each boundary by the specific note and octave. To select the note, click on the note letter, in this example, C. A pop-up menu of a piano keyboard appears under the mouse. Drag the mouse to the note of choice and lift up. To set the octave, click on the octave number, in this case, 4, and a pop-up menu of octave choices appears under the mouse. Select the octave and lift up on the mouse.

The Auto Range button automatically sets the upper and lower boundaries of your sequence. To accept the new Piano Roll bounds, click on Okay. To return to the Graphic Editor window without any changes, select Cancel.

The Velocity Curve

When you select the Velocity Curve, Bars&Pipes Professional draws the velocity of each note as a vertical line. The greater the velocity, the higher the line. Since most synthesizers translate velocity directly to loudness, consider the velocity curve as a volume curve.

If your keyboard supports velocity, then the harder you strike the keys, the louder the instrument plays.

{{Note|text=A number of drum machines and synthesizers that don't respond to velocity when you play them directly nevertheless respond to velocity when they receive the notes from Bars&Pipes Professional.}}

Staff - Notation

When you select Staff-Notation from the Show menu, Bars&Pipes Professional displays the notes on a traditional treble and bass clef in standard musical format. Please refer to the section on Notation later in this chapter for more information about transcribing music to standard notation.

Tablature

When you select Tablature from the Show menu, Bars&Pipes Professional displays note pitches as fret numbers on guitar strings. The open string note value of each string, which can be changed, is shown on the left. For more information about transcribing to tablature, please refer to the Tablature section later in this chapter.

Editing Notes with the Mouse

Across the top of the Graphic Editor window sits a row of buttons. Think of these as a palette of options. By clicking on these, you select the manner in which you use the mouse to draw, erase, drag, and alter your music.

The buttons belong to three groups: the first nine buttons from the left, the Command buttons, determine how you use the mouse. The middle four buttons, the Default Note buttons, define the current note resolution for entering and editing. On the right lie the Zoom and Speaker buttons. Use the Zoom buttons to change the range of the display. Click on the Speaker button to hear the displayed section of music.

The Command Buttons

The first nine buttons from the left are the Command Buttons. As you click each one with the mouse, the mouse's icon changes. Most of these buttons have keyboard equivalents as well. Set the Command Buttons to determine how you use the mouse. The following list describes each button briefly.

From left to right, the buttons are as follows:

The Magnifying Glass displays information about notes you touch with the mouse.
The Pencil enters notes into either Staff, Tablature, or the Piano Roll.
The Magic Wand alters the length and velocity of notes in the Staves or Piano Roll; it alters the fret number of a note in Tablature.
The Hand grabs and drags notes.
The Duplicator makes an exact copy of the selected note and drags the copy to a new position.
The Eraser deletes notes.
The ToolPad contains selected Tools and processes notes with the currently-displayed Tool.
The Bounding Box, working in conjunction with the Drag, Duplicator, Erase, and ToolPad buttons, enables you to draw a rectangle around a set of notes and then Drag, Duplicate, Erase, or Toolize them. The Bounding Box, working in conjunction with the Magic Wand, allows you to tie notes together.
The Step Entry Button enables step entry of notes from a MIDI keyboard. This button enables you to enter notes and their durations at your own pace, without having to play your instrument keyboard in real-time.
Setting The Default Note

Before drawing, dragging, or step-entering notes, you must set the Default Note. The Default Note consists of a note value (eighth, quarter, etc.), a modifier (triplet, dotted, normal), an articulation (staccato, legato, etc.), and a dynamic level (pp through ff).

The middle group of four buttons sets these values. Upon being pressed with the mouse, each button reveals a pop-up menu with the options displayed. Drag the mouse to the desired option and lift up to select it. Bars&Pipes Professional displays your choice on the appropriate button.

From left to right, the buttons are as follows:

The Default Note Value and Default Note Modifier buttons determine the type of note to be entered by the Pencil or Step entry. It also determines the interval for dragging a note left or right, in conjunction with the Lock to Default Note option in the Prefs menu.
The Default Articulation button determines the length of the newly entered note.
The Default Velocity button determines the emphasis, or loudness, of the newly entered note.

{{Note|text=You can use the F7 through F10 keys to change these values. Use the shift key In conjunction with the function key to change them in the opposite direction.}}

Entering Notes With The Pencil

Activate the Pencil by clicking on the Pencil Button or pressing function key "F1". Then, click the Pencil on the display to enter notes in the sequence.

{{Note|text=Remember, the articulation (length) and dynamics (velocity) of the note you enter are defined by the Default Note.}}

Once you click down in the display, the way that the Pencil operates is determined by the following options in the Prefs menu:

Drag With Pencil: When you hold down the mouse after entering a note, the Pencil becomes the Hand so that you can drag the note. Lift up on the mouse button when you are satisfied with the note's position.
Lengthen With Pencil: When you hold down the mouse after entering a note, the Pencil becomes the Magic Wand so that you can shorten and lengthen the note. This option is most usable in the Hybrid Staff.
Lock to Default Note Entered notes align to the Default Note interval. For instance, if your Default Note is an eighth note, then all notes you enter align with eighth note increments in each measure.
Lock to Resolution: The Pencil works as it does with the Lock to Default Notes option, except that it uses the Resolution value defined in the Notation menu (please see the Notation section, later in this chapter, for more information.)
Lock to Key: The Pencil automatically places the notes in key (see Chapter 10, Editing Song Parameters.)
Lock to Rhythm: The Pencil behaves as it does with the Lock to Default Note option, except that it conforms all notes to the current rhythm template boundaries (please see Chapter 10, Editing Song Parameters.)
Entering Notes In Staves

To enter a note in a stave, click with the Pencil. To add a sharp or flat, press once on the up or down arrow keys.

{{Note|text=Whether the note displays as a sharp of flat is determined by the Key Signature. Please see Chapter 10, Editing Song Parameters, to learn how to set the Key Signature.}}

Entering Notes In The Piano Roll

Use the Pencil to enter notes within the range of the Piano Roll. To change the range, go to the Note Range... command in the Display Options menu.

Entering Notes In Tablature

Choose a string and click down on it with the mouse. A fret number appears corresponding to the current position defined in the Position option in the Tablature menu. Slide the mouse up and down to change the fret number, and therefore, the pitch. Please see the Tablature section, later in this chapter, for more information.

Entering Notes with Step Entry

Use the Step Entry option to enter notes directly into the Graphic Editor from your MIDI keyboard. With Step Entry, you can record at your own pace without having to play your MIDI keyboard in real-time.

Activating Step Entry

To activate Step Entry, click on the Step Entry button. The mouse icon becomes a picture of a person's leg on a step. Then, position the left Edit Flag (the leftmost purple triangle above the display) in the location that you would like to begin step entry.

Important Points

Before Step-Entering, remember the following:

Notes entering the Editor must first pass through the Tools in the Input PipeLine of the Track.
* TIP * To temporarily disable a Tool, move it to the right side of the Track. Do this by selecting them and pressing the right arrow key on your Amlga keyboard. Remember to return them to the Input PipeLine when you're finished Step-Entering.
Step Entry starts at the left Edit Flag. Click with the mouse at the point where you want Step Entry to begin. The left Edit Flag automatically snaps into place, marking the starting point for Step Entry.
Step-Entered notes use the Default Note and Articulation.
Step-Entering A Note

To Step-Enter single notes, play them one by one. After you lift up on each one, the cursor moves forward. To enter a chord, hold down each member note, lifting them all up at once. When you release all notes, the left Edit Flag moves to the right, allowing you to immediately enter another note or chord.

Step-Entering A Rest

To enter a rest, press the Space Bar. The rest will be the same duration as a note.

Backing Up And Erasing Mistakes

To back up a step, and erase a mistake, press the Backspace key.

Refreshing the Display

To refresh the display at any time while editing, press the Return key on your Amiga keyboard. If you have selected "Auto Redraw" from the Prefs menu, the display refreshes automatically and you do not have to press the Return key.

Boxing Notes

Several of the Command buttons can be selected in conjunction with the Bounding Box button (F6 key). The Bounding Box lets you draw a box around a group of notes, then edit them all at once.

To draw the box, click down where you'd like one corner of the box to be and drag the mouse to the opposite corner. A box grows as your mouse travels. The box never crosses the boundary between two display strips, for example the Piano Roll and either Staff.

Once you have enclosed what you want in the box, lift up on the mouse.

The beginning of a note must be within the box to be counted as being a member. If only the later half of a note is in the box, it will not be one of the boxed notes.

The Bounding Box works in conjunction with the Magic Wand, the Eraser, the Duplicator, and the Toolizer. As we discuss each of these in the pages to follow, we'll describe how to use the Bounding Box in each case.

Altering Note Lengths and Velocities

Once you enter Notes, you may need to edit them by changing their lengths and velocities. To the right of the Pencil sits the Magic Wand. Select this button to alter the data with the mouse, either by clicking on it or by pressing function key "F2".

{{Note|text=The Magic Wand, in conjunctlon with the bounding box, allows you to tie notes of the same pitch together. Please see Tying Notes, below.}}

Altering Notes In The Hybrid Staff And Piano Roll

Use the Magic Wand to alter the length of individual notes. Click down with the mouse over a note; the Editor highlights the note in red. Drag to the left to make the note shorter or to the right to make the note longer .

If the Lock Wand to Note option in the Prefs menu is enabled, the Wand sticks to the first note you select. No matter where you drag the mouse, it continually lengthens or shortens the note length. This is great if you want to edit just one note because the mouse never slips off the note.

If you want to change the lengths of more than one note at a time, deselect the Lock Wand to Note option in the Prefs menu. Edit the first note in the "stack", then drag the mouse vertically through the remaining notes. All remaining notes conform to the size of the first one you edited.

* TIP * You can also use the Left and Right Arrow keys to decrease and increase, respectively, a note's length.

Altering Notes In The Notation Staff

Use the Magic Wand to conform notes to the current Default Note. Click on any note; the Editor automatically changes the note length to that of the Default Note.

Altering Notes In Tablature

You cannot use the Magic Wand to alter the length of a note in Tablature. Instead, use one of the Staves or Piano Roll, or utilize the Magnifying Glass.

Rather than altering the length of a note, the Magic Wand alters the fret number of a selected note in Tablature. Click on the note with the Wand, and slide the mouse up and down to the desired fret number.

Altering The Velocity Curve

Drag the Magic Wand over the Velocity lines to change them. This way, you can change their individual volume levels. As an option, use the Up and Down Arrow keys to increase and decrease a note's velocity.

Tying Notes

You can tie notes of equal pitch together by using the Magic Wand in conjunction with the Bounding Box. Activate the Magic Wand and Bounding Box buttons. Surround the notes you want to tie with the Bounding Box. This ties all notes inside the bounding box that are of equal pitch together and leaves all other notes alone.

Dragging Notes

When you select the Hand button, either with the mouse or function key "F3", the mouse icon becomes a hand with one finger extending. Use this to drag and reposition notes.

Dragged notes are affected by the following options in the Prefs menu:

Lock to Default Note: The note you grab moves left and right on a grid defined by the Default Note. For instance, if the Default Note is a quarter note, every note you drag moves left or right at quarter note intervals.
Lock to Resolution: The note you grab moves left and right on a grid defined by the Notation Resolution defined in the Notation menu.
Lock to Key: The note you grab moves up and down, skipping notes that are not in the current key. Otherwise, the note moves up and down chromatically.
Lock to Rhythm: The note you grab moves left and right on a grid defined by the current rhythm template.
Dragging Notes In A Staff Or The Piano Roll

Dragging notes right and left moves them forward and back in time. Dragging them up and down changes their position on either Staff or the Piano Roll, thereby changing their pitch.

If you have the Play Notes option in the Prefs menu selected, Bars&Pipes Professional plays each note as you drag it.

If you hold down the shift key prior to clicking on the note, the hand only moves vertically or horizontally, but not both, depending on your first move. In other words, if you hold the shift key down, click on the note, and start to drag it up in pitch, the note locks in time and only lets you change its pitch no matter how far to the left or right you drag the mouse. Likewise, if you start by dragging left or right, the note only moves in time, it does not let you change its pitch.

Dragging Notes In Tablature

Dragging notes up and down in Tablature, across strings, causes the note to jump from one string to another. The pitch of the note remains the same, while the fret number changes.

To change the note pitch, use the Magic Wand. This changes the fret number on the string, thereby increasing or decreasing the pitch.

Using Hot Keys For Dragging

You may also use the arrow keys on the Amiga keyboard to move a note. First, highlight the note that you want to change. Then, use the left and right arrow keys to shift the note backward and forward in time by the default note amount. Or, use the up and down arrows on the Amiga keyboard to change note pitch chromatically. The up arrow increases the pitch by one half step. The down arrow decreases the pitch by one half step. This is a great way to add sharps or flats to notes.

{{Note|text=In the key of C Major, and all key signatures that have sharps in the key signature, notes may only be sharpened. For instance, the note F# may not be displayed as a Gb. In key signatures that have flats, notes may only be flatted. For instance, the note Gb may not be displayed as F#. Double sharps and flats are not supported.}}

When you use the Shift key in conjunction with the up and down arrow keys, the note shifts its pitch by an additional octave.

Dragging With The Bounding Box

You can use the Hand and Bounding Box together to move a group of notes simultaneously. First, use the mouse to draw a box around the group of notes you want to move. Then, click down in the box and drag it.

Duplicating Notes

To duplicate notes, click on the Duplicator button or press function key "F4". When you click and drag a note, Bars&Pipes Professional creates a new note of the same type, which you may then drag to a new destination. Once it is dragging the note, the Duplicator behaves identically to the Hand as described above.

You can use the Duplicator in conjunction with the Bounding Box to duplicate a group of notes simultaneously and drag them to a new location.

Erasing Notes

To use the mouse to erase Notes, choose the Erase button, either by clicking on this button or pressing "F5". In selecting this button, the mouse icon becomes a Pencil with the Eraser end pointing down and to the left. To delete notes, click down and drag the Eraser over the Notes. You do not need to click down on each note individually. Instead, click down and drag the mouse through the notes, erasing them all at once, much like an Eraser on a chalkboard.

* TIP * Use the Eraser and the Bounding Box to erase a group of notes simultaneously.

Toolizing Notes

The Graphic Editor Window contains a ToolPad. In it, you place Tools, which then can process, or Toolize, your music. The ToolPad holds up to sixteen Tools. This ToolPad contains a set of Tools identical to that in the Tracks window ToolPad. In fact, all of Bars&Pipes Professional's ToolPads, including those in other Graphic Editor Windows, share the same Tools

Placing A Tool In The ToolPad

To place a Tool in the ToolPad, dragit from the ToolBox, a ToolTray, or even a PipeLine, to the ToolPad. You can place Branching, Merge, and other pipe routing Tools in the ToolPad, but they have no effect on your music. If sixteen Tools occupy the ToolPad already, the new Tool replaces the currently displayed one.

Selecting A Tool From The ToolPad

Select the Toolize button by clicking on it once. The mouse becomes a wrench with a note in its mouth.

To select a Tool in the ToolPad, click on the ToolPad a second time, while holding the mouse down. A menu of sixteen Tools appears under the mouse. Select the one you want by moving the pointer to it and lifting up.

Editing A Tool In The ToolPad

To edit the parameters of the Tool currently displayed in the ToolPad, select Edit PadTool Controls... from the Display Options Window or press down the SHIFT key and click on the ToolPad.

The Control window for the selected Tool opens, if such a window exists. There you can set the variables determining the Tool's behavior. It isn't necessary to close a Control window before using the Tool. You can continue to make adjustments while you use the Tool.

Using The Tool

Tools work in three ways in the Graphic Editor. They process all notes between the Edit Flags; they process all notes within the Bounding Box; or they effect individual notes.

Once you select the ToolPad, the Tool processes any notes you touch with the wrench. Just drag the wrench through the notes to affect them immediately.

Although Toolizing individual notes may appear somewhat peculiar at first, it's an extremely useful feature. Tools can quantize, transpose, modulate, filter, echo, invert, and do much more on a note-by-note basis.

To process all notes between the Edit Flags, first drag them to border the range of notes you'd like to Toolize. Then, select the Toolize or Selectively Toolize commands from the Edit menu. We'll discuss Toolizing with the Edit Flags in depth later in this chapter.

You may also use the Bounding Box to Toolize or Selectively Toolize a group of notes. Click down with the mouse and draw a box around the notes you'd like to Toolize.

Magnifying Notes

Use the Magnifying Glass to analyze and modify notes. The Magnifying Glass allows you to operate on a note's values by typing them in specifically.

When you select the Magnify button the Magnify window opens.

The Magnify window displays all of the properties of any note that you touch with the mouse and lets you edit them. Use the left and right arrow keys to move from note to note. Use the up and down arrow keys to move through all of the MIDI events in chronological order.

{{Note|text=The Graphic Editor window must be activated in order to use the arrow keys, not the Magnification window.}}

The Time Field

The first field in the Magnify Window, "Time", indicates the time in measures, beats, and clocks of the note. The second field, "HMSF", indicates the time in SMPTE format (Hours, Minutes, Seconds, Frames). To change the time, click on either line with the mouse and enter a new time. Press the Return key to indicate that you've finished and the note jumps to the new time.

The Note Information Fields

Three information fields, "Note", "Velo", and "Leng", follow. The first indicates the note value as a key and octave, e.g., "A3", for A in the third octave. The second indicates the velocity , how hard you played the note. Often, this translates to note volume. The last field, "Leng", denotes the length of the note in measures, beats, and clocks.

{{Note|text=Press the Return or Enter keys on your Amlga keyboard after you change a line to confirm the change.}}

Undoing, Updating, and Aborting

Any changes that you make while in the Graphic Editor do not take effect until you either choose the Update command from the Edit menu or close the Graphic Editor.

{{Note|text=If you haven't updated the Track but you'd like to hear your edits along with the other Tracks, enable the Perform All Tracks option in the Prefs menu and dick on the Speaker button.}}

Of course, if you don't like your edits, you can close the Editor with no changes made to the Track by selecting the Abort command in the Edit menu.

Finally, if you make a single mistake while editing you don't necessarily want to Abort the entire editing session. Select the Undo command from the Edit menu to undo your last edit.

Here's a rundown of the Edit menu commands:

Undo (Right Amiga - U)
Use Undo in the Edit menu to return your Sequence to its state prior to the last edit operation. In addition to undoing any of the commands in the Edit menu, Undo works on all of the mouse-based editing operations, such as inserting, dragging, and altering Events.

Update (Right Amiga - Z)
Use Update in the Edit menu to update the Tracks window. In this manner, your changes are integrated into the Song without closing the window.

Abort (Right Amiga - Q)
Use Abort in the Edit menu to abort the editing process and revert your Track to its condition at the last Update (or before opening its Graphic Editor). The Graphic Editor window closes without updating the Track.

Auditioning Your Edit

In the Edit window, you have the option of hearing notes as you enter or drag them. Also, you can listen to the visible portion of your music, or listen to the portion from one Edit Flag to the other. You can hear these portions by themselves, or in context with the other Tracks you've recorded.

Hearing Notes As They Are Entered Or Dragged

If you set the Play Notes flag in the Prefs menu, every time you enter, drag, or Toolize a note, you will hear it. Bars&Pipes Professional sends the note from the Graphic Editor out through the Output side of the Track's PipeLine. If this option is not selected, the editing process is silent.

Listening To The Displayed Section

To listen to the portion of your Song displayed in the editor window, click the Speaker button. You can use the Sizing option or the Zoom In/Zoom Out buttons to control how much of your Song Bars&Pipes Professional plays.

Listening To The Portion Between The Edit Flags

Choose the Listen option in the Edit menu to play the music from the left Edit flag to the right Edit flag.

Hearing Edits In Context With Other Tracks

Choose the Perform All Tracks option in the Prefs menu. When you click on the Speaker or choose the Listen option, the Editor plays all of the Tracks along with the music in the Graphic Editor. Otherwise, if you do not select this option, the Editor plays only the notes in its window.

Performing With The Transport Controls

You can also listen to your edits in context by clicking on the Start button in the Transport Controls, starting the Sequencer. However, this plays from the Track, not the Edit buffer.

{{Note|text=This provides a valuable way to compare your edits before and after. Play from the Transport Controls to hear the muslc prior to opening the Ed,t window. Enable Perform All Tracks and dick on the Speaker button to hear the music with the new edits in place.}}

Scrolling With The Sequencer Performance

Performance Select Scroll With Performance from the Display menu if you'd like the Sequence Display to scroll along when you play from the Transport Controls.

Viewing Your Edit With Other Tracks In The Background

You can view other Tracks in the background of the Graphic Editor's Hybrid Staff and Piano Roll displays. To do so, go to the Tracks window and create a Group composed of the Track you are editing and the Tracks you'd like to see in the background. Once the Group is active, the extra Tracks display in grey in the background of the Graphic Editor. This feature allows you to compare notes in one Track with notes in others.

{{Note|text=Please see Chapter 19, Advanced Sequencing, for information on creating and using Groups.}}

Notation

Displaying Notation

When you select Staff-Notation from the Show menu, Bars&Pipes Professional displays the notes on a traditional treble and bass clef in standard musical format.

Bars&Pipes Professional marks accidentals, those notes which fall outside of the selected key, with sharps or flats. If you haven't defined a key, the Staff defaults to the key of C MAJOR (no standard notes sharped or flatted).

{{Note|text=The Edit window refreshes after each editing operation whenever Staff-Notatlon is activated.}}

The Notation Resolution

When you select Staff - Notation, Bars&Pipes Professional creates rests and ties on the fly. Bars&Pipes Professional uses the duration of each note and the notation resolution to determine what the music looks like. The notation resolution is the smallest note value (eighth, sixteenth, etc.) that Bars&Pipes Professional displays.

You can control the resolution of the notation by selecting Resolution from the Notation menu.

By default, Bars&Pipes Professional selects a sixteenth note resolution. Always choose a resolution that corresponds to the shortest note in the Track. Otherwise, Bars&Pipes Professional displays the note at the selected resolution, which means that shorter notes may run together. On the other hand, if you set the resolution too small, Bars&Pipes Professional can add unnecessary fractions of notes that muddle the page.

{{Note|text=Bars&Pipes Professional plays the notes as you have composed them, even if the selected Resolution causes them to display improperly.}}

Notation Transposition

Bars&Pipes Professional supports two different key types: Concert Key and Transposed Key. Transposed Key applies to those instruments that require transposition, e.g., Eb Alto Sax or Bb Clarinet. If you select a Transposed Key for a particular Track, you have the option of displaying it either in Concert Key or Transposed Key.

To assign a Transposed Key to a Track, select Transposition... from the Notation menu. This opens the Transposition requester.

Most of the time, you'll be using the Transposition Type button. When you click down on this button, Bars&Pipes Professional opens a pop-up menu containing a list of all popular instruments.

If you are writing for an instrument that is not in the list (e.g., piccolo trumpet), select Custom from the list. Then adjust the Octave and Interval sliders to the desired transposition. The Octave slider steps the transposition by octaves; the Interval slider controls the interval within an octave, e.g., a major third or minor sixth. You can also alter any of the instrument presets in the list.

To switch the display of a Track to Concert or Transposition Key, select Notation... from the Display Options menu.

Updating The Notation Display

In certain situations, typically after a lot of editing, the Notation display may contain a few errors. To refresh the Notation display, use the Update Transcription command found in the Notation menu. Bars&Pipes Professional recalculates where to place ties and rests, then redisplays the Track's Notation Staff.

Transcribing Notation

The Transcribe option in the Notation menu goes one step further than the Update command. It commands Bars&Pipes Professional to recalculate the notation values of the notes themselves. It uses the value chosen in the Resolution... option to determine the smallest note that may be displayed. It also uses the options in the Transcription Options requester to determine how it addresses various transcription issues.

You can transcribe the entire Track, or just the portion of the Track between the Edit window's Edit Flags by choosing All or Between Flags respectively. Bars&Pipes Professional then calculates the notation value for each note, and insert rests appropriately.

Transcription Options...

The Transcription Option requester controls the way Bars&Pipes Professional transcribes music. Open it by selecting the Transcription Options command in the Notation menu.

The Transcription Options requester contains three categories of buttons: Note length options, Note stem options, and Chord options.

The Note length buttons help Bars&Pipes Professional decide how to represent a note's length. The following lists each Note length option in detail:

Overlap Notes
When you select Overlap Notes, the Transcribe command handles overlapping notes by creating tied notes. Otherwise, the Transcribe command truncates the first note before starting the second. By default, Overlap Notes is off for a cleaner, though slightly less accurate, representation.

Extend Notes
When you select the Extend Notes option, the Transcribe command extends each note to the next note or beat, whichever comes first. This option makes the display cleaner because it minimizes the use of rests.

Insert Rests
When you select the Insert Rests option, the Transcribe command displays rests. Otherwise, rests will not be transcribed. By default, this option is on.

The Chord Options also control the way Bars&Pipes Professional transcribes music. Bars&Pipes Professional considers notes that begin at the same time, within the selected Resolution, to be members of the same chord. These options control how it decides to display notes in one chord.

The following Chord Options are mutually exclusive:

Shorten Notes
When you select the Insert Notes option, the Transcribe command causes all notes in a chord to be displayed as the smallest note in the chord.

Lengthen Notes
When you select the Lengthen Notes option, the Transcribe command causes all notes in a chord to be displayed as the longest note in the chord.

Keep Note Lengths
When you select the Keep Note Lengths option, the Transcribe command transcribes the notes in a chord to different lengths. It splits longer notes into tied notes.

The Note Stems options controls how Bars&Pipes Professional transcribes stem directions:

Auto Stem
The Auto Stem option lets Bars&Pipes Professional decide which directions to place the note stems.

Stem Up
The Stem Up option sets all note stems up.

Stem Down
The Stem Down option sets all notes stems down.

Oppose Rhythm
With the Oppose Rhythm option selected, Bars&Pipes Professional analyzes the music for two different rhythms in each measure. If there are two different rhythms, it sets the stems up on the first rhythm and the stems down on the second. This option is useful in conjunction with printing notation.

Printing Notation

Choose the Print... command from the Notation menu to open the Print Requester for the Track. Please see chapter 11, Printing Notation, for more information.

Centering The Notation Staff

The center of the Notation Staff defaults to middle C, octave five on the MIDI keyboard. To change to another octave, use the Note Range... Staff Center command in the Display Options menu. The Staff Center requester opens.

In the box to the right of the Center: prompt, the requester displays the note currently at the center of the Staff. By default, the Staff centers around C5, the note C of the fifth octave.

To change the octave, click on the center note and hold the mouse down. Under the mouse, a pop-up menu appears with a choice of octaves. Move the mouse to the one that you want and lift up. The center note changes to C of the octave you choose.

The Auto Center button automatically calculates the center note and accommodates the range of notes displayed.

When you finish, press Okay to accept the new Staff Center, or Cancel, to leave it as it was.

Tablature

Displaying Tablature

When you select Tablature from the Show menu, Bars&Pipes Professional displays note pitches as fret numbers on guitar strings. The open string note value of each string, which can be changed, is shown on the left. To the left of that is either an ON or an OFF. This value is used by the Tabulate... menu option in the Tablature menu. If a string is ON, it may have notes assigned to it. Otherwise, notes are not be assigned to it.

Setting The Tablature Resolution

Use the Set Tablature Resolution command to control how Bars&Pipes Professional spreads notes across the strings. This opens the Tablature Resolution requester.

Since tablature is not concerned with durations of notes, every note could potentially be transcribed to the same string (provided that the pitch of the note exists on the string).

Notes which sound simultaneously obviously need to be transcribed to different strings in order to be played simultaneously. Notes which do not sound simultaneously can be played on the same string, one after another.

The larger the Tablature Resolution, the more notes Bars&Pipes Professional attempts to transcribe simultaneously. This value is measured in clocks. When Bars&Pipes Professional transcribes one note, it goes on to the next note and the next note, filling up each of the six guitar strings.

Once Bars&Pipes Professional has looked ahead of the first note by the number of clocks set by the Tablature Resolution, Bars&Pipes Professional starts over from scratch, filling each string with a note, one by one.

You can set the Tablature Resolution from one clock to 768 clocks.

Setting The Tablature Position

Use the Set Tablature Position requester to control which position, or fret, Bars&Pipes Professional uses during transcription. This value can be set to auto, or from one to 23.

With auto position chosen, Bars&Pipes Professional attempts to find the most comfortable position for the notes to be played in.

When a specific position is chosen, Bars&Pipes Professional attempts to place all notes within one fret below and four frets above the selected position.

Transcribing Tablature

Use the Tabulate... command to transcribe your music to tablature. Choose All or Between Flags to transcribe all of the Track or just the portion between the Edit Flags.

Changing String Octaves

Open the Change String Octaves requester to change the octaves of all strings up or down.

This allows easier access to some transcriptions.

Enabling And Disabling Strings

Sometimes, you may want to transcribe a piece of music only to certain strings. Use the ON/OFF toggle to do so. Click with the Magic Wand on the ON/OFF to toggle between the two.

{{Note|text=Even though a string may be disabled for transcription, you can still drag or Input a note by hand onto that string.}}

{{Note|title=Tip|text=MIDI guitarists can use this feature to get an accurate transcription of what to play. (Please see below.)}}

Changing Open String Notes

Click with the Magic Wand on the open string note value, and drag the mouse up and down to change the open string note value.

Creating A Note In Tablature

To create a note in tablature, click in the tab area with the Pencil. A number appears, indicating the fret number. To set the pitch to the desired note, continue by dragging the mouse up or down to change the number to the correct fret. The duration of the note created is equal to the default note value.

Editing A Note In Tablature

Only the pitch of a note can be changed in Tablature, not the duration. Use the Magic Wand to change the note pitch of existing notes. Click on the note's fret number with the Wand; then drag the mouse up and down to change the fret number. To change the duration, use the Wand in the Piano Roll or Hybrid Notation displays. To change the note velocity, use the Wand in the Velocity display.

Creating An Accurate Transcription

If you record from a MIDI guitar, Bars&Pipes Professional can create an accurate transcription of what you play. Set up Bars&Pipes Professional to record each string on a separate Track, using the multiple-in preferences option, and have your MIDI guitar output each string on a different MIDI channel.

After recording, go into each Track's Edit window. Display Tablature, and set the ON/OFF toggles for each string so that only the correct string is ON, and all others are OFF. Choose the Tabulate... option from the Tablature menu to transcribe the music to the string. This sets each Track to tabulate all of its notes on only the chosen string.

Once you've finished with all six strings, close each Edit window. Create a Group out of the six Tracks, and use the Merge option in the Group menu to merge all six Tracks into one Track. Each note retains its string identity. When you look at the Tablature for the merged Track, you will see an accurate transcription of what you've played.

{{Note|text=Please see Chapter 19, Advanced Sequencing, for Information on creating and using Groups.}}

Cut and Paste Editing

The first menu on the left in the Graphic Editor window is the Edit menu. Most operations in this menu work on the section between the Edit flags. The Edit flags are the purple triangles above the Sequence Display.

We'll refer to the section between the Flags as the Clip. A Clip includes all Events and Parameters which occur between the two Flags. You can drag the Edit flags to any location, and then cut, copy, paste and place Clips into the Clip buffer or, if it is open, the ClipBoard.

{{Note|text=The ClipBoard is explained in the Multi-Track Editing chapter.}}

To set an Edit Flag, click down on it and drag. If you drag beyond the edge of the display, it scrolls. The Edit Flags follow the same rules for alignment as the Flags in the Tracks window; when you lift up on the Flag, it jumps to the leftmost alignment boundary. By default, alignment is set to every measure. Change the alignment by selecting from the Align With... option in the Prefs menu. Alternatively, set the alignment with the alignment buttons in the Set Flags window.

Let's look at each edit command in the Edit menu:

Cut (Right Amiga - X)
Use the Cut command to cut a Clip from your Sequence. Doing so removes the section between the Edit Flags. Everything to the right of the section shifts to the left Edit Flag. You can then use the Paste command to insert the Clip elsewhere in your Track. If the ClipBoard window is open, the Clip displays in it. Use this if you'd like to Cut and Paste between multiple Edit windows. When the ClipBoard window is closed, the Clip remains hidden for use within the same Track.

Copy (Right Amiga - C)
Use the Copy command to copy a Clip without actually removing it. Nothing visibly happens, but the section between the Edit Flags becomes a Clip, available for Pasting. If the ClipBoard window is open, the Clip appears in it.

Paste (Right Amiga - P)
Use the Paste command to insert a Clip after the placement of the left Edit flag. If the ClipBoard window is open, the Paste command uses the currently selected Clip in the ClipBoard. Otherwise, it uses the result of the last Cut or Copy operation from the same Edit window.

You may do multiple Paste operations with the same Clip. The Clip remains the same until the next Cut or Copy command.

Mix (Right Amiga - M)
Use Mix to merge a Clip on top of a section. Starting at the left Edit Flag, Bars&Pipes Professional mixes in Events such as notes, pitch bends, and after-touches, but ignores Parameters such as Chords, Rhythms, etc. Once again, if the ClipBoard window is open, the Mix command uses the currently selected Clip in the ClipBoard. Otherwise, it uses the result of the last Cut or Copy operation from the same Edit window.

Erase (Right Amiga - E)
Use Erase to clear the section between the left and right Edit Flags. All Events disappear, which leaves your Sequence silent during this section. Erase is different from the Cut command, in that the section to the right of the Clip is not shifted over to the left Edit Flag and nothing is placed in the ClipBoard for later Paste or Mix operations.

Insert (Right Amiga - I)
Use Insert to insert a blank space in your music between the Edit Flags. This command comes in handy when adding a section somewhere in the middle of the Sequence. Insert the section, then use whatever methods you prefer to fill the gap with music.

Delete (Right Amiga - D)
To delete a section between the right and left Edit flags, use the Delete command. This command operates identically to the Cut command, but does not place the deleted section into the Clip buffer or ClipBoard.

Toolize (Right Amiga - T)
Use Toolize to process the Clip with the currently selected Tool in the ToolPad.

Selective Toolize
Use the Selective Toolize command to selectively Toolize only certain events and note ranges between the two Edit Flags. When you select this option, a requester appears.

Highlight in red the MIDI event types you want to Toolize. If you select Note On/Off, you may select a note range with the two sliders.

Once you've set the parameters, select the Toolize button. The Tool in the ToolPad processes all activated event types and, if Note On/Off is activated, all notes between the upper and lower limits inclusive.

Repeat... (Right Amiga - R)
Use Repeat to duplicate a section of your Sequence. This command makes multiple copies of the section between the Edit Flags and inserts them into the Sequence.

When you select the Repeat command from the Edit menu, the Repeat requester opens. enter the number of repeats, then select Okay or Cancel.

Listen (Right Amiga - L)
Use Listen to preview everything in the section between the Edit Flags. Bars&Pipes Professional plays all MIDI Events in the section at the current tempo. Because the Events travel down the PipeLine, any Tools you have selected to process the Output PipeLine will process the section as it plays.

* TIP * The Listen command is different from the Speaker button because the Listen command plays back everything between the Edit Flags. The Speaker button plays back everything that is visible in the Edit window.

If the Perform All Tracks option in the Prefs menu is selected, the Listen command plays all other Tracks in the sequence as well.

Boundaries... (Right Amiga - B)
Use Boundaries to enter the numerical values for the Edit Flags. Doing so opens a requester into which you can type positions for the two Flags.
==MIDI Event Editing==

Chapter 9

Overview

Notes aren't the only MIDI events you can record, edit and play. Bars&Pipes Professional lets you work with all MIDI channelized events, including Pitch Bend, Program Change, Control Change, and more.

Entering and editing other MIDI events is similar to entering and editing notes. In this chapter, we'll show you specifically how to enter and edit these special MIDI events.

Types of MIDI Events

When musical information travels through a MIDI cable, it's broken into individual commands that describe specific actions. These commands are commonly called "MIDI messages", or "MIDI events."

With Bars&Pipes Professional, you can record, play and edit all of the MIDI-channeled voice events. These events encompass all the commands that control how your synthesizer(s) can play: what notes to play, how loud to play them, how much pitch bend to include, etc. The MIDI channeled voice events embody the actual performance. Let's look at each:

Note On And Note Off Events

Note On and Note Off are by far the most important MIDI events. They describe when a note starts to play and when it ceases to do so.

From a MIDI perspective, Note On and Note Off are separate entities. When you press a key on your MIDI keyboard, it immediately sends a MIDI Note On event which states that the note is playing. Your MIDI keyboard has no way of knowing however, how long you'll sustain that note. Not until you lift your finger off the keyboard does it send a MIDI Note Off event. As you see, the performance of a note is described by MIDI as two separate occurrences.

In traditional music, a note is considered one event, not two. Bars&Pipes Professional's Sequencer combines Note On and Note Off to create one note event that describes when the note starts, as well as its duration. Even so, it's useful to remember that a note is broken into two parts when it leaves your keyboard, zings across MIDI to your Amiga, flows down a PipeLine, enters the Sequencer and combines into one.

Upon playback, a note is once again broken into two parts, which flow down the right side of the PipeLine, out through MIDI, and into your synthesizer.

Note Velocity Data

In addition to the actual value of the note, the MIDI Note On event also stores the note's velocity, i.e., how hard you strike the key to produce the note. Note Velocity translates into note emphasis or volume. To view and edit MIDI Note events, please see the preceding chapter.

Pitch Bend Events

Pitch Bend allows the performer to bend the pitch of a note. Since bending a note is an extremely powerful form of musical expression, almost all MIDI instruments provide it. The MIDI Pitch Bend event states how far out of pitch all notes are shifted at a specified point in time.

The MIDI Pitch Bend event can be confusing. While it states how far between two extremes the pitch is shifted, it has no knowledge of the boundaries of those extremes. It does not explicitly state, "Shift all notes up a half step." Instead, it says, "Shift all notes up one-eighth of the maximum distance by which you shift." The synthesizer produces the shifting pitch that decides how to interpret the bend. You can set the range on most synthesizers between one half step and a full octave for the Pitch Bend extremes.

Bars&Pipes Professional draws each MIDI Pitch Bend event as a vertical line stemming from a central axis. If the pitch bend is positive, or sharp, the line extends up from the axis. If the pitch bend is negative, or flat, the line drops down. Although you can think of a pitch bend over time as a continuous curve, in MIDI terms it's a series of individual Pitch Bend events, which is why the resulting display looks more like a picket fence, the tops connected to describe the steps of the curve.

Mono After-Touch Events

Mono After-Touch measures how hard you press a key on a MIDI keyboard. The changing pressure is converted into numeric values which are constantly sent down the MIDI link. When these describe the overall pressure on the keyboard, as opposed to individual key pressure, they are Mono After-Touch events. Just how the key pressure is interpreted is completely up to the performing synthesizer. Two typical uses are vibrato and volume control.

Bars&Pipes Professional draws each MIDI Mono After-Touch event as a vertical line and connects the tops with a horizontal line. The greater the key pressure, the higher the line.

Poly After-Touch Events

Poly After-Touch transmits key pressure on an individual key basis. Poly After-Touch MIDI events specify both the key being pressed and its current pressure. Unfortunately, since the hardware to do this is expensive, not many keyboards feature it. For the machines that do support it, Poly After-Touch can be used to describe note emphasis on a continually changing basis.

Bars&Pipes Professional displays Poly After-Touch events in the same way that it displays Mono After-Touch events: with a vertical line denoting pressure, however, since these events also specify which note each After-Touch influences, you can specify the range of notes as well. Do this by setting the Piano Roll note range with the Note Range command in the Display Option menu. All notes displayed in the Piano Roll have their After-Touch values displayed; all others do not.

Control Change Events

Control Change handles many different continuous controllers. Continuous controllers are hardware devices such as volume pedals, breath controllers, and modulation wheels. Every time you alter the position of one of these devices, the device sends a MIDI event reflecting the new value. These events are called MIDI Control Change events. The receiving synthesizer interprets this information to generate vibrato change the timbre of a sound, or adjust the volume.

No limit exists on the scope of sound-producing parameters that can be controlled with these events. In order to support multiple controllers, the Control Change event carries two pieces of data, an identifier that specifies a controller, and the controller data itself.

The identifier, called the Control Change Number, can range from 0 to 127. For example, most synthesizers use Control Change #1 to set the Modulation Wheel and Control Change #7 to set the Volume. The data, the actual position of the wheel, pedal or other controller, is a number between 0 and 127.

Since 128 different Control Change numbers exist, you can't see them all at once. For example, if Bars&Pipes Professional were simultaneously to display a rising Volume Pedal event and a decreasing Modulation Wheel event, it would be impossible to make sense of the resulting mixture, much less edit it with the mouse. Bars&Pipes Professional shows, therefore, only one Control Change type at a time.

To select which Controller you'd like to view and edit, use the Control Change # option in the Display Options menu.

Program Change Events

Program Change tells your synthesizer what sound, or "patch," to use when playing notes. This event holds a number, from 0 to 127, which identifies which patch to use. For example, on your synthesizer, patch #2 could be a violin, patch #45, a marimba. If your synthesizer receives a Program Change event with patch #2, it plays the violin. Later, if it receives a Program Change with patch #45, it switches to a marimba.

Most synthesizers can switch between sounds instantly. It is possible, therefore, to embed Program Change events in your sequence that switch among several voices on the same synthesizer as it plays your piece of music. Embedding such Program Change events is a great way of squeezing more performance out of your available hardware.

Unfortunately, no correlation exists between Program Change patch IDs and specific sounds. Patch #2 may be a violin on one synthesizer and a dog bark on another. The General MIDI Standard is an attempt to remedy this problem. It standardizes the assignment of patches to instruments. For example, with all General MIDI instruments, Patch #0 is a Grand Piano.

Bars&Pipes Professional displays Program Change events as numbers, 0 through 127, or as Patch Names if they have been defined in the Define Patch Lists window. These numbers and names indicate to which patch the synthesizer switches when receiving the event.

System Exclusive Events

System Exclusive events are special commands unique to the instrument (or product line). Manufacturers use System Exclusive events, for example, to set pitch bend ranges, transpose keys, send new patch data to the instrument, and many other functions. The user's manual for your instrument can tell you whether your instrument supports System Exclusive events, and what they do.

Unlike the previous commands, System Exclusive events are not generally considered performance events and they do not obey the same system of MIDI channels as performance events. However, they can be useful to record and play, so Bars&Pipes Professional's recording, playback, and editing mechanisms support them.

Bars&Pipes Professional displays the first four bytes of a System Exclusive event in the strip. Entering new events (with the Pencil) or editing existing events (with the Wand) opens the System Exclusive requester, described in Chapter 13, System Exclusive.

Editing MIDI Events

Use the Graphic Editor to edit MIDI events. To open the Graphic Editor, double-click a specific Track. The Graphic Editor window opens, displaying your selected Track, starting with the measure you clicked on. Depending on which MIDI events you want to edit, it may or may not display all of the appropriate data. To select the events you'd like to edit, check them off in the Show menu of the Graphic Editor window.

You can toggle several Show menu options at once by holding down the right mouse button and pressing the left mouse button over each option you want to toggle. This feature can be a big timesaver, especially if you're changing five or six options.

The Command Buttons in the Graphic Editor

The first eight buttons from the left of the Graphic Editor are the Command Buttons. The Command buttons determine how you use the mouse: for dragging events, erasing events, or whatever. As you click each button with the mouse, the mouse's icon changes. Most of these buttons have keyboard equivalents as well. The following list describes each button briefly:

The Magnifying Glass displays information about events you touch with the mouse.

The Pencil, or function key "F1", draws new events.

The Magic Wand, or function key "F2", alters events.

The Hand, or function key "F3", grabs and drags events.

The Duplicator, or function key "F4", creates an exact duplicate of the selected MIDI event.

The Eraser, or function key "F5", deletes events.

The ToolPad allows you to process MIDI events with certain Tools

The Bounding Box, or function key "F6", working in conjunction with the Hand, Duplicate, Erase, and ToolPad buttons, enables you to draw a rectangle around a set of events and then move, duplicate, delete, or Toolize them.

Setting the Lock Grid

In the last chapter, Note Editing, we needed to set the Default Note before drawing notes. This is because notes have definite durations and volumes. Other types of MIDI events do not have this information. However, it may still be desirable to set some type of quantization for entering and dragging MIDI events.

Before drawing or dragging events, set the Lock grid. The Lock grid determines on what boundaries events fall when dragged or entered. Set the Lock options with the Lock to Default Note and Lock to Notation Resolution options in the Prefs menu.

No Lock Selected

If no Lock grid is selected, events can be dragged and entered at the resolution of the display, which is typically about 4 clock cycles (with 192 clocks per quarter note). In order to tweak the event time even further, use the Magnifying Glass or List Editor.

Lock To Default Note

Selecting Lock to Default Note in the Prefs menu causes events to lock to a grid with intervals corresponding to the Default Note value. The Default Note consists of a note value (eighth, quarter, etc.), and a modifier (triplet, dotted, or normal). Please see the previous chapter, Note Editing, for more information about setting the Default Note.

{{Note|text=The Default Note also contains an articulation (staccato, legato, etc.), and a dynamic level (pp through ff). However, these are only used with Note events, discussed in the previous chapter.}}

Lock To Notation Resolution

Selecting Lock to Notation Resolution in the Prefs menu cause events to lock to a grid with intervals corresponding to the Resolution value assigned in the Notation menu.

Lock To Rhythm

Selecting Lock to Rhythm in the Prefs menu causes events to lock to a grid corresponding to the current Rhythm template. Please see the next chapter, Song Parameters to learn more about Rhythm parameters.

Entering MIDI Events

Use the Pencil to enter MIDI events. To do so, click on the Pencil button, which highlights it. Notice that the mouse resembles a Pencil. Enter events by clicking down with the mouse where you want the first Event. Then drag it across the display to enter a trail of events. Here is what happens when you draw in each MIDI Event type:

Note On And Note Off Events

Please refer to Chapter 8, Note Editing, for more information.

Pitch Bend Events

To enter a Pitch Bend curve, click down with the Pencil where you'd like it to start and drag it to the right. Set the height of each Pitch Bend Event by the vertical position of the mouse. The current Default Note determines the distance between each Pitch Bend Event. If you'd like many events close together for high resolution, select a small Note Value. Sixty-fourth note resolution works very well.

Mono After-Touch Events

To enter a Mono After-Touch curve, click down with the Pencil and drag it to the right. Remember that the Default Note determines the distance between each Event.

Poly After-Touch Events

Drawing in the Poly After-Touch curve is a bit complex because each Poly After-Touch Event corresponds to a particular note. In other words, Bars&Pipes Professional organized Poly After-touch event according to its Poly After-Touch information and its pitch, denoted as a letter and an octave number, such as C5.

As you draw the curve with the Pencil, two factors govern which note corresponds with which Event. First, Bars&Pipes Professional includes only notes within the range of the Piano Roll. Second, Bars&Pipes Professional chooses the current or most recent note in the sequence. As a result, if the Piano Roll displays a C in octave 5, Poly After-Touch events drawn under that note have C5 integrated into them.

Control Change Events

To enter a Control Change curve, you must select the right Control Change number. Then click down with the Pencil and draw in the Control Change events.

To avoid confusion, Bars&Pipes Professional displays only one Controller at a time. Use the Control Change # command from the Display Options menu to open the Control Change Number requester.

After the Controller #: prompt enter the Controller number that you want Bars&Pipes Professional to display or click on the Next Controller button to cycle through all the Control Change numbers in your Sequence. This way, you can quickly jump from one Control Change number to the next. Cycling is also useful for discovering what types of Control Change events are embedded in your Sequence.

Program Change Events

To enter each Program Change, select the Pencil and click in the Program Change region.

You can select a Program (or "Patch") by number, and, if a Patch List is installed, by name as well. To select by name, click the button after the Patch: prompt and hold. A scrolling list of available patch names appears under the mouse. Drag the mouse and click on your choice. To select by number, drag the slider under the Patch name.

The button after the Synth: prompt displays the currently selected Patch List. If you'd like to change it, click on the button and select a different Patch List from the scrolling list.

Create and install Patch Lists from the Patch List window, accessed from the Define menu.

{{Note|text=Each Track references one Patch List. Not only does this list define the names displayed in the Program Change requester and Program Change display, it also defines the Patch List used by the Quick Patch Tool.}}

System Exclusive Events

To enter a System Exclusive event, select the Pencil and click in the System Exclusive region. This opens the System Exclusive requester, described in detail in Chapter 13, System Exclusive.

Altering MIDI Events

Once you enter events, you can alter them. To the right of the Pencil sits the Magic Wand. Once you select the Magic Wand, you can alter the events with the mouse. Click down and pass it over the events you want to change and their heights magically conform to the path of the mouse. Notice that the Magic Wand draws a line as the events change shape.

This holds true for all MIDI Event types except for the Program Change and System Exclusive events. To alter one of these events, touch the event line with the Magic Wand. The Program Change requester or System Exclusive requester appears, which allows you to alter the event data.

Dragging MIDI Events

If you select the Hand button, you can use it to drag events forward and backward in time. Because Bars&Pipes Professional displays most MIDI events as thin vertical lines, you're not required to position the mouse exactly over an Event before you click on it. Instead click down the mouse and sweep it through the Event. The Event sticks to the mouse,. which you can then drag to its destination.

All of the "Lock to" options in the Prefs menu operate on other MIDI events, just like note events. If you set the Lock to Default Note option in the Preferences menu, the item moves to a grid defined by the Default Note. For example, if the Default Note is a quarter note, everything you drag moves left or right at quarter note intervals. Select Lock to Resolution to lock to the Resolution assigned in the Notation menu. Select Lock to Rhythm to lock to the current Rhythm template.

You can also use the Right and Left Arrow keys to move events forward or backward in Song time.

Duplicating MIDI Events

To duplicate events, click on the Duplicator button or press function key "F5." When you click and drag an event, Bars&Pipes Professional creates a new event of the same type, with the same data, and places it at the destination.

Erasing MIDI Events

To erase events, choose the Erase button, which, when selected, causes the mouse to resemble an Eraser. Click down and drag the Eraser through MIDI events to delete them.

Toolizing MIDI Events

You can Toolize all MIDI events, although most Tools concentrate specifically on Note events. Exceptions to this rule are the Delay and Echo Tools, which work on all Event types, and the Modulation, Flip, and Inverter Tools, which do their work on both Poly After-Touch and Note events.

Toolizing other MIDI events is similar to Toolizing Note events. Please see the previous chapter, Note Editing, for more information on Toolizing.

Boxing MIDI Events

You can select some of the Command buttons in conjunction with the Bounding Box. When you use the Bounding Box, you affect everything within it.

To draw the box, click down where you'd like one comer of the box to be and drag the mouse to the opposite corner. A box grows as your mouse travels. The box does not cross boundaries between data displays. Thus, you can't draw a box that encompasses Pitch Bend events as well as Mono After-Touch events.

The Bounding Box works with the following four Command buttons:

The Hand Button
The Hand drags everything in the box with the mouse. Once you create the box, click down on it a second time and drag it. All MIDI events in the box move with the mouse.

The Duplicate Button
The Duplicator duplicates everything in the box. Once you create the box, click down on it and drag it. A copy of the selected MIDI events moves with the mouse.

The Erase Button
The Eraser erases every MIDI Event within the box, once you lift up on the mouse.

The ToolPad
The ToolPad Toolizes all events within the box with the currently selected Tool.

Magnifying MIDI Events

When you select the Magnify button, the Magnify window opens and the mouse resembles a magnifying glass. The Magnify window displays data which can be edited, about each MIDI Event currently being touched with the mouse. Use the Right and Left Arrow keys on your Amiga keyboard to move through the selected event types one by one. Use the Up and Down Arrow keys to move to the event which occurs next chronologically. Bars&Pipes Professional displays the type of event in the Title bar of the Magnify window.

The first field in the Magnify window, labelled "Time," lists the time in measures, beats, and clocks. The second field, labelled "HMSF," lists the time in SMPTE format. If you click in either line with the mouse, you can change the time by entering a new one. Press the Return key when you complete the line. This causes the Event to jump to the new time.

All of the other lines differ depending on the type of MIDI Event. Remember, after you edit any of these lines, you just press the Return key to register the change. Here's a listing of what each Event's Magnify window displays:

Pitch Bend Events

Pitch Bend has one line, "Bend," which displays a numeric value for the bend.

The maximum positive pitch bend is 8191. The maximum negative bend is -8192. A positive bend makes the music play up in pitch, while a negative bend makes it flat.

Mono After-Touch Events

Mono After-Touch has one line, "Pres," which represents the key pressure.

The numbers range from 0, for no pressure, to 127, for extreme pressure.

Poly After-Touch Events

Poly After-Touch has two fields, "Note" and "Pres."

Poly After-Touch has two fields, "Note" and "Pres." "Note" identifies the key being pressed, while "Pres" shows the pressure as a number between 0 and 127.

Control Change Events

Control Change has two fields, "CC #" and "Data."

122 different Control Change numbers exist. The first line specifies which controller this Event addresses. The second provides the data, a number between 0 and 127.

Program Change Events

Program Change has one field, "Ptch," which is a patch selection number between 0 and 127.

System Exclusive Events

System Exclusive has three fields, "Time," "HMSF," and "Data." Clicking in the Data field opens the System Exclusive requester.

==Editing Song Parameters==
Chapter 10

Overview

Song Parameters describe your music in terms more sophisticated than MIDI events. They provide the foundation for your composition.

Song Parameters do not affect your composition directly. Instead, they are used by Tools, Accessories, and other functions to indirectly effect or further illuminate your composition. For instance, Time Signatures affect the display and printout of notation. Chords can be used in conjunction with the Chord Player Tool. Dynamics can be used with the Phrase Shaper Tool.

There are two different uses for Song Parameters: the Master Parameters, which characterize your Song as a whole, and the Track Parameters, which override the Master Parameters and work on a Track-by-Track basis.

Song Parameters are edited in the same Graphic Editor you've been using in the two previous chapters.

To edit the Master Song Parameters, open the Graphic Editor from the Windows menu by selecting Master Parameters. To edit the Song Parameters for any Track, double-click on the Track's sequence display in the Tracks window.

In the Graphic Editor window, Bars&Pipes Professional displays each Parameter in a band that runs from left to right. On the left side of each band is the name of the Parameter.

Select which Parameters you'd like to see from the Show menu.

Since the display can't possibly show all Notes, Parameters and Events at once, a scroll bar on the right enables you to scroll up and down.

An Explanation of Each Parameter

Six different Song Parameters exist. Before we discuss how to enter and edit them, let's consider how they relate to music in general:

Lyrics

Lyrics are words which accompany music. They exist in rock, blues, opera, pop, jazz, heavy metal, church music, and many other musical forms. Lyrics can reinforce a composition's tone or contradict it altogether. They, as well as the meter, rhyme scheme, and rhythm you choose, can complement the music and further its meaning.

Recognizing that not all music is purely instrumental, Bars&Pipes Professional allows you to enter lyrics directly above the measures in which they occur.

You can use the printing Accessory, "Follow the Leader," to print your Lyrics. Also, if you save your Song in MDI File Format with the "sMerFF" Accessory, sMerFF saves the lyrics so that notation programs that read MIDI File Format can display your lyrics with the music. The Graphic Editor displays each word positioned in its appropriate measure.

Chords

Chords consist of three or more notes played at once. Many types exist, but the most common in popular music are major and minor chords and derivations thereof. Basic chords can be formed by taking the first three of every other note in a scale and playing them simultaneously. Sound confusing? Let's look at an example:

A "C major" scale consists of the notes "C,D,E,F,G,A,B,C." To form a triad (a chord with only three notes) in this key, pick a root note (the bottom of the chord) and build up from it by choosing every other note in the scale. A D triad in the key of C consists of the notes D, F and A. An F triad in the key of C consists of the notes F, A, and C. By skipping every other note, you form basic triads within a key.

Every triad or chord conveys a certain emotional tone. Minor chords are often used to project sadness, anger, or seriousness, while major chords tend to sound happy and pure. Since a major scale contains seven distinct notes, seven basic triads exist within the scale. In other words, a triad can be constructed by using each note of the scale as the root note. CEG, DFA, EGB, and FAC are the first four triads in the key of C.

More specifically, rules govern the "flavor" of each triad as it relates to a key. In a major scale, for example, the triad built on the second note in the scale is always minor. The triad built on the third note is minor, too, but the triad built on the fourth note is major.

If you have a keyboard available, play the triads by moving note by note up the C major scale and you can hear the differences in tonal quality. Some triads are major; others, minor. (The triad built on the seventh note is "diminished" in quality, but since this manual has space limitations, we won't branch into aspects of music theory that would explain this.) Major triads are based on the interval formula, "root note + two whole steps + a whole step and a half". Minor triads are based on the formula "root note + a whole step and a half + two whole steps."

The Chords option presents an assortment of chord types including major, augmented, major7, major6, dominant7, minor, minor-6, minor+5, minor6, minor7, minorMA7, diminished, minor7-5, diminishedMA7, dominant 7-5, major9, dominant7-9, dominant9+5, dominant7 -9+5, and the list goes on. Should you fail to find one to your liking, create your own chords in the Define Chords window.

Although Bars&Pipes Professional doesn't play chords automatically, they provide valuable information that can be used by Tools to assist in the composing process. Once chords are entered into a Song, Tools come into play that make sophisticated musical decisions based upon your chord choices. As an illustration, the Accompany B Tool takes your chords and hammers out a rhythmic accompaniment. The "Follow the Leader" Accessory prints your chord changes.

Bars&Pipes Professional displays the root note followed by the chord type. For instance, the major chord CEG is shown as C MAJOR.

Key & Scale/Mode

Key & Scale/Mode indicates the key, or tonal center, of a composition. The tonal center is the single note around which your music revolves. In the key of "C major," it is the note "C;" in the key "Ab minor," "Ab." For nearly every piece of music, a key can be ascertained and assigned. The key, and hence the key signature, provides a framework for composition.

Directly related to keys and key signatures are scales. A scale, in its simplest definition, is a series of notes ascending from a specific note. Every type of scale is formulaic in nature; each is determined by half-step and whole-step relationships, which stem from the tonal center. (On a piano, C, a white key, is a half step from C#, a black key, and a whole step from D, another white key. Although not every white key is a whole-step from the white key next to it and a half-step from the black key next to it, for the most part, this is true.)

To illustrate, the formula for a major scale begins with the tonal center and progresses a whole-step (denoted by "W"), W, half-step (denoted by "H"), W, W, W, H. (All the white keys in succession from C to C on a keyboard.) Minor scales are a bit trickier as there are several types.

Although most American music fits into either the Major or Minor scales, many other scales exist. Some of these are the Whole Tone, in which every note is a whole-step beyond its predecessor; the Chromatic, where every note is a half-step beyond its predecessor; the Pentatonic, containing only notes 1,2,4,5,and 6 of the major scale; and the Gypsy, whose formula is W, H, W+H, H, H, W+H.

Not only is Key & Scale/Mode useful for editing, since the Graphic Editor can display the key signature and accidentals on the Staff, it is also quite useful for Tools that work with your music. For example, the CounterPoint Tool creates a countermelody accompaniment by knowing your chosen note system and calculating the proper intervals according to the rules of first species counterpoint. As with chords, Bars&Pipes Professional comes with a long list of preset scales and all of the classical modes. You are free, however, to design your own with the Define Scales window.

Bars&Pipes Professional displays the tonal center, or key, followed by the scale or mode name, e.g., C Major, Eb Minor, F# Blues. The Staff displays the key signatures for all major and minor scales as well as for all of the modes.

The Display Options menu provides the option of showing the Key & Scale/Mode on the Piano Roll. This command, Background... Key, shadows the current Key & Scale/Mode in a hazy purple. As a result, you can easily compose while staying within your chosen Key & Scale/Mode. Along the same lines, the Lock to Key option in the Preferences menu confines all notes you enter or edit into your chosen Key & Scale/Mode.

Rhythm

Rhythm, in its simplest form, conveys the motion of your music. Beats of varying lengths are organized into rhythmic patterns. Rhythms can be simple or complex, on the beat or off. Certain styles of music are noted first and foremost for their rhythmic form. For instance, Samba music is characterized by syncopated rhythmic patterns, where the beat is shifted to the upbeat, or second half of the beat, over a 2/4 meter, and Shuffle is known for its triplet-based feel in 4/4 time.

Armed with a particular rhythmic style along with the key and chord progressions, any capable musician can quickly construct a Song. Once again, some Tools can use rhythm to make intelligent decisions as they process your music. Accompany B is a good example. It combines the Rhythm and Chord parameters to play a chord pattern. No limit exists to the scope of conceivable rhythms, and although Bars&Pipes Professional does come with a set of pre-defined rhythms, you will almost certainly use the Define Rhythms window to create your own.

Bars&Pipes Professional displays each rhythm by name. If you select Background... Rhythm in the Display Options menu, Bars&Pipes Professional displays the Rhythm pattern in the background behind all the Parameters and MIDI Events. This pattern resembles a set of vertical bands. This gives you a visual cue for how the rhythm lines up with other events.

Use the Background... Rhythm option to analyze how your Rhythm relates to your Sequence. Keep this in mind: a Rhythm consists of Note events, which have durations. The durations determine the width of the bands, some of which may overlap.

Remember, Rhythms don't play anything by themselves. Used in conjunction with Chords and the Accompany B Tool, Rhythms can command Accompany B to play Chords at a defined pace and syncopation. The Groove Quantize Tool uses the Rhythm to lock a performance to the Rhythm's timing. Please refer to the Music Tools chapter for more information.

Dynamics

Dynamics indicate the volume at which each section of music is played. If you're familiar with classical notation, you will recognize these markings as the following lower case letters: "pp," "p," "mp," "mf," "f," and "ff." These abbreviations stand for pianissimo (very soft), piano (soft), mezzo piano (medium soft), mezzo forte (medium loud), forte (loud) and fortissimo (very loud), respectively.

A crescendo gradually increases the volume. The inverse is true of a decrescendo or diminuendo. Without dynamic road signs, music sounds stagnant and lifeless. Dynamics focus attention on or away from various segments of a piece. Ironically, sometimes a quiet section of music is easier to hear than a loud one.

You can define the overall volume of your Song with the Dynamics Parameter. With dynamics, you can draw crescendos and decrescendos.

Bars&Pipes Professional shows the Dynamic curve as a set of points with lines drawn between them. Each point represents a dynamic setting; for example, mezzo piano (mp) or fortissimo (ff). The connecting line conveys the dynamic change over time between the two points. To show a dramatic crescendo across one measure, you might start the measure with a dynamic point labeled "pp' and end with a second, labeled "ff." The Editor automatically draws a line between them.

{{Note|text=Like all Song Parameters, Dynamics do nothing unless they are used in conjunction with a Tool. The Phrase Shaper Tool is a very simple, but powerful implementatIon of Dynamics. It takes each note, places it against the Dynamics curve, and assigns it the proper velocity.}}

Time Signature

A Time Signature appears at the beginning of a piece as two numbers, one above the other. The lower indicates the type of note that is used to measure each beat, (half note, quarter note, etc.), while the upper indicates the number of such beats per measure. 4/4 is by far the most common time signature.

Time signatures provide the basic rhythmic framework of a piece. Though most popular music, such as rock-n-roll, rhythm and blues, and funk, tends to be in symmetrical meters (2/4, 4/4, or 6/8), uneven meters (3/4, 5/4) often lend a fresh feel and unpredictability to music.

Bars&Pipes Professional uses traditional time signature notation and permits a different time signature to be assigned for every measure that exists in a sequence. You can therefore experiment with a multiplicity of beat resolutions. Bars&Pipes Professional also permits different time signatures in different Tracks simultaneously.

Bars&Pipes Professional supports all standard time signatures; however, in keeping with the "one-size-fits-all principle," you can use time signatures as bizarre as 77/8 or 36/2. To enter a time signature, select one from the pre-determined palette or enter your own.

The Time Signature defined in the Master Parameters window is the main Time Signature displayed in the Tracks window. Please see the chapter, Advanced Sequencing, for more information. Individual Tracks can also contain their own Time Signatures that are different from the main Time Signature.

Two Important Considerations About Song Parameters

You do not have to use all the Parameters that Bars&Pipes Professional provides. Rarely would you use all six while composing a single piece of music. The organization of your Song, and more importantly, which Tools you use, dictate which Parameters are necessary and which are a waste of time.
Depending on how you use them, some Parameters may be more useful on a Track-by-Track basis, while others may be preferable in the Master Parameters window. Lyrics, Key, Rhythm and Time Signature usually belong to the entire composition. On the other hand, you may have different voices singing different lyrics or juxtapose different rhythms on individual Tracks.
* TIP * As you add and edit Parameters, think about the appropriateness of their placement. Fortunately, it's quite easy to move Parameters between the Track and the Master Parameters windows, should you want to change them.

Bars&Pipes Professional follows a simple rule with all Parameters: when a Tool uses a Parameter to process a Track, it first checks the Track Parameters. If the required Parameter type is not represented, it refers to the Master Parameters for the data.

Editing the Master and Track Parameters

Two scenarios exist for editing Parameters: editing the Master Parameters or editing the Track Parameters.

Master Parameters define the guidelines used in your Song as a whole. For example, if you add Key and Scale/Mode to your Song, you can place it in the Master Parameters window, since usually every Track shares the same key. On the other hand, you may want separate Dynamic curves for each Track. In this case, use the Track Parameters on an individual Track basis.

To access the Master Parameters, select the Master Parameters option in the windows menu. To access the Parameters for an individual Track, open the Graphic Editor by double-clicking on the Sequencer.

The Master and Track Parameters share the same user interface. By default, Bars&Pipes Professional displays all Parameters when you open the Master Parameters window and none of the Track parameters when you open the Graphic Editor. To display the Master or Track Parameters of choice, select them from the Show menu of the Graphic Editor or Master Parameters window. (You'll notice that the Show menu enables only the Parameters when opening the menu from the Master Parameters window.) This lets you hide the parameters in one window that you're using in another.

You can toggle-select more than one parameter at a time by holding the right mouse button while the Show menu is open, then clicking the left mouse button over the parameters you want to toggle. This can save you some time whenever you change the parameters to display.

The Master Parameter Window Buttons

The Master Parameters window is actually the Graphic Editor with only the Song Parameters available for editing. Please refer to the Note Editing chapter for a thorough guide to this window.

The Command Buttons

The first nine buttons from the left are the Command Buttons. When you press each, the mouse's icon changes. Set these to determine how you use the mouse.

The command buttons in the Master Parameter window are the same as the command buttons in an Edit window. Please refer to Chapter 8, Note Editing, for more information about each command button.

The Lock Grid

Just like other MIDI Events, Song Parameters respond to the "Lock to" menu items in the Prefs menu. Please see the previous chapter, MIDI Event Editing, for more information.

Entering Parameters

Parameters may be entered into either the Master Parameters window or an individual Edit window for a Track. Remember to activate the parameter you want to edit by selecting it in the Show menu.

To enter a parameter, click on the Pencil button or function key "F1." The mouse pointer becomes a Pencil. The way that the Pencil operates is determined by the following options in the Prefs menu.

If you choose the Drag With Pencil option, click down to enter a parameter and the Pencil becomes the Hand so that you can drag the parameter. Lift up on the mouse button when you are satisfied with the parameter's position.
If you choose the Lock to Default Note option, entered parameters align to the Default Note interval. For instance, if your Default Note is an eighth note, then all parameters you enter correspond to eighth note increments in each measure.
The Lock to Resolution option works just like the Lock to Default Notes option, except that it uses the Resolution value defined in the Notation menu.
The Lock to Rhythm option works the same as the Lock to Default Note option, except that it conforms all parameters to the current rhythm template boundaries.
Here is what happens when you draw in each Parameter type:

Lyrics

When you click the Pencil in the Lyrics region, the Lyrics Entry requester opens.

Lyrics must be entered in such a way that each word lines up at its proper position in the music.

If you arbitrarily place a complete sentence at the beginning of a line, the singer won t know on which beat to sing each word. However, opening the Lyrics Entry requester for every word would be time-consuming. So, the Lyric requester let's you enter a line of lyrics and then it breaks it up into individual lyric parameters.

To enter Lyrics in the Song Parameters, enter the entire sentence or phrase on the Lyrics: line. Then enter the number of measures over which this sentence or phrase occurs at the Measures: prompt.

When you press Okay, Bars&Pipes Professional breaks your sentence into its component words and spaces them equally across the number of measures you define. It places the first word at the point you clicked to open the requester.

You can also break words into syllables by placing a dash, followed by a space, between each syllable. Because each word or hyphenated syllable becomes a separate entity in your sequence, it can now be individually positioned to your taste.

When you close the requester, you may find that some of the Lyrics are not exactly where you want them. Follow with the Hand to drag them into position.

Chords

To enter a Chord, click the Pencil on the Chord region and hold the mouse button down. An octave of piano keys appears under the mouse. Choose the root note of the chord by dragging the mouse to the note and lifting up.

The Graphic Editor then tries to choose an appropriate chord, given the current Key & Scale/Mode. However, if you have not selected a Key & Scale/Mode, or the note you chose is not within the selected Key & Scale/Mode, a second menu opens under the mouse. This features a list of chords from which to choose. Since this scrolling menu contains more chords than it displays, it has two arrows, one each at the top and bottom. If you move the mouse over an arrow, the chords scroll by. Move the mouse to the one you want and click down.

Remember, the Graphic Editor only opens the chord menu if it cannot find a triad that fits your selected Key & Scale/Mode. If you don't like its choice, you can always edit the chord with the Wand.

* TIP * You can create your own Chords in the Define Chords window.

Key & Scale/Mode

Enter a Key and Scale or Mode as you would a Chord. Click the Pencil where the key change occurs and hold it down. Choose the key from the octave of piano keys and lift up.

A scrolling menu of Scales and Modes appears under the mouse. Move it to the scale or mode you desire and click down. Since the list of available scales is longer than the menu can show, move the mouse to the bottom arrow. It then scrolls the list up to reveal further choices.

If you selected a black key, a third menu with a sharp and a flat now appears under the mouse. This menu lets you choose whether sharps or flats are used to represent the note value. For example, if you choose the first black key to the right of a C, the sharp/flat menu appears. At this time, you must determine whether the selected note is a C# or a Db. Although these notes are identical in pitch, they are considered different notes and define different scales.

The Key & Scale/Mode Parameter always lines up on measure boundaries. If you place it anywhere else, it locks to the beginning of the measure. The first time you enter a Key & Scale/Mode, Bars&Pipes Professional places the entry at the first measure of the Song. Subsequent Key & Scale/Mode entries stay in the measure where you click the Pencil.

Rhythm

To enter a rhythm, click the Pencil on the Rhythm region and hold it down. A scrolling menu of available Rhythms appears under the mouse. Select the one you want and lift up. Choose from predefined rhythms or define your own in the Define Rhythms window.

Dynamics

Since Bars&Pipes Professional displays Dynamics as lines between points, you must enter both the beginning and end of the dynamic curve. To enter each point, click with the Pencil and hold it down. Depending on whether you've already entered a point, the following happens: If you've already entered a point, Bars&Pipes Professional displays the Dynamic Change pop-up menu. If you haven't yet entered a dynamic point, Bars&Pipes Professional places a point of identical value at the beginning of the Track or Song.

From this menu, choose whether the Dynamic change is Gradual or Immediate. If you choose Gradual, then the dynamic change happens gradually from the point which precedes the one you just entered. Notice that Bars&Pipes Professional draws a sloping line between the two dynamic levels. If you choose Immediate, the dynamic change is sudden. In this case, Bars&Pipes Professional draws a horizontal line that becomes vertical just before the volume change.

A point placed at the top of the Dynamics display indicates the loudest volume, while a point placed at the bottom, indicates the softest. For example, if you want a crescendo to occur within a four-measure time frame, set your original volume on the first of the four measures. Then set your destination volume at the end of the four measures. Bars&Pipes Professional automatically shows a line indicating a gradual increase in volume between the two points.

Time Signature

To enter a Time Signature change, click with the Pencil on its starting measure. The Time Signature requester then opens.

The Time Signature requester provides six standard Time Signatures and a method to define custom Time Signatures The six buttons across the top feature the pre defined Time Signatures Click on your preference to select it.

If you don't find one that meets your needs create your own by first typing the values for the Time Signature after the Other: prompt. Then click on Other to select it.

{{Note|text=It is important that you first enter the values, and then click on the Other button to activate it. Clicking the Other button first, and then typing in the values won't work.}}

By default, Bars&Pipes Professional displays the measure in which the Time Signature change occurs after the "Signature begins on measure:" prompt. This is the point where you clicked with the Pencil. Change the measure by editing this number.

You can also access the previous and next time signature changes. To go to the previous Time Signature change, click on the left arrow button in the Time Signature requester. The arrow finds the Time Signature prior to the one you are viewing and displays so that you can edit it. The right arrow button scans forward to the next Time Signature change.

If you create two adjacent, identical Time Signatures, Bars&Pipes Professional removes the second one. To illustrate, if you have 6/8 on measure 5, then place 6/8 on measure 4, Bars&Pipes Professional discards the 6/8 on measure 5.

Altering Parameters

After you enter a Parameter, you may want to edit it. To the right of the Pencil on the menu Buttons is the Magic Wand. When this button is highlighted (function key "F2"), the mouse takes the shape of a Magic Wand. Selecting this button allows you to touch a Parameter with the mouse and alter it. Wave the Wand through the Parameter to change it. In all cases, this opens a menu or requester. Here's a run-down on how the mouse works with each Parameter:

Lyrics

Touching a Lyric with the Magic Wand opens the Edit Lyric requester.

Edit the Lyric, then press the Okay button if you'd like to keep the change, or press Cancel to forget it.

Chords

Touching a Chord with the Magic Wand opens the piano keyboard under the mouse, which enables you to select a new root note for the chord. Hold the mouse down, roll it to your chord of choice and lift up. If you'd like to keep the current choice, just roll it off the keyboard to retain it.

The Chords list appears under the mouse. Unlike when you enter a Chord, this time Bars&Pipes Professional does not attempt to fit your choice into the selected Key & Scale/Mode. The scrolling menu of Chord choices always opens. Move the mouse to your choice and click on it. If you'd rather go with what you had before, roll the mouse off the menu and the chord reverts to its previous status.

Key & Scale/Mode

Edit a Key & Scale/Mode Parameter as you would a Chord. Touch it and a piano keyboard appears under the Magic Wand. Select the key by moving the mouse to the note and lifting up. Then select the Scale or Mode from the scrolling menu that appears under the mouse. Remember that, at any point, you can go with the original value by rolling the mouse off the menu. If you select a black key, the sharp/flat menu opens as is the case when defining a Key & Scale/Mode.

Rhythm

To change a Rhythm, touch the Rhythm's name. The scrolling list of available Rhythms appears under the mouse. Select your choice by moving the Magic Wand to it and lifting up on the button. To leave the Rhythm unchanged, roll the mouse off the menu.

Dynamic Marking

When you touch a Dynamic Marking with the Magic Wand, the Dynamic Change pop-up menu appears. From this menu, you can reselect the type of volume change, either Gradual or Immediate. If you choose Gradual, then the dynamic change happens gradually from the point which precedes the one you just selected.

Notice that Bars&Pipes Professional draws a sloping line between the two dynamic levels. If you choose Immediate, the dynamic change is sudden. In this case, Bars&Pipes Professional draws a horizontal line that becomes vertical just before the volume change. To move a Dynamic Marking, use the Hand button.

Time Signature

Touch a Time Signature with the Magic Wand and the Time Signature requester opens. Change the Time Signature as desired and click on Okay to keep the change, or on Cancel, to abort.

Dragging Parameters

Select the Hand button (function key "F3") to use the mouse to drag Parameters around and reposition them. Highlighting this button transforms the mouse into a hand. You don't have to position the mouse directly over a Parameter before clicking on it. Instead, click down the mouse and sweep it through the Parameter. The Parameter sticks to the mouse, which you can then drag to the Parameter's new destination.

All of the "Lock to" options in the Prefs menu operate on Song Parameters, just like note events. For instance, if you set the Lock to Default Note option, the Parameter moves only in steps along a grid defined by the Default Note. For example, if the Default Note is a quarter note, everything you drag moves left or right at quarter note intervals. Please refer to Chapter 8, Note Editing, for more information.

You can drag all of the Parameters to the left or right. In addition to these directions, you can drag the Dynamic points up and down. Unlike the case with all other Parameters, you cannot drag one Dynamic point past another, which would create a Dynamic curve that doubles back on itself. If you've dragged a Dynamic Marking and want to change its slope, use the Magic Wand to access the Dynamic Change pop-up menu.

You can also use the Left and Right Arrow keys on your Amiga keyboard to drag Parameters left or right according to the default note grid.

Duplicating Parameters

To duplicate parameters, click on the Duplicator button or press function key "F4." When you click and drag a parameter, Bars&Pipes Professional creates a new parameter of the same type, with the same data, and places it at the destination. While dragging the parameter, the Duplicator works just like the Hand. Please see the previous section, Dragging Parameters, for more information.

Erasing Parameters

To use the mouse to erase Parameters, choose the Erase button (function key "F5'). Highlighting this button turns the mouse into an Eraser. Click down and drag the Eraser over Parameters to delete them.

Toolizing Parameters

You cannot use Tools to process Parameters directly; however, many Tools use Parameters as part of their design. As an example, the CounterPoint Tool uses the Key & Scale/Mode to select the correct intervals. The Phrase-Shaper Tool uses the Dynamics Curve to set Note velocities.

Whenever a Tool looks for a Parameter, it first checks in the Track with which it is working. If it finds no Parameter there, it consults the Master Parameters. If you have a Dynamic curve defined for Track A, but not for Track B, the Phrase-Shaper Tool uses Track A's Dynamic Curve to phrase notes on Track A, but uses the Master Dynamic curve to phrase Track B.

Boxing Parameters

The Bounding Box allows you to operate on more than one parameter at a time by drawing a box around a group of parameters. To select the Bounding Box, click on the Box button (function key "F6").

You can select the Hand, Duplicate, or Erase Buttons in conjunction with the Box button. When you select the Bounding Box, instead of directly touching Parameters with the mouse, you can draw a box around them to affect everything within the box.

To draw the box, click down on one corner of the area and drag the mouse to the opposite corner. A box grows as your mouse travels. The box does not cross boundaries between different Parameters; therefore, you can't draw a box around Lyrics and Chords together. Once you have enclosed what you want in the box, lift up on the mouse.

Depending on which Command button you select in conjunction with the Bounding Box, the following happens:

The Hand Button
Everything in the box drags with the Hand. Once you create the box, click down on the box a second time and drag it. All Parameters in the box move with the mouse.

The Duplicate Button
The Duplicate button works just like the Hand button, but creates a copy of the parameters rather than moving the selection.

The Erase Button
Once you lift up on the mouse, every Parameter within the box disappears when using the Erase button.

Magnifying Parameters

When you select the Magnify button, the Magnify window opens and the mouse pointer changes to a Magnifying Glass. The Magnify window displays information about each Parameter that you select with the mouse. Click on each line to edit it. The Title bar of the Magnify window displays the Parameter's name. Use the Right and Left Arrow keys to move through the parameters one by one.

The first line in the Magnify window lists the time in measures, beats, and clocks. To change a time, click in this field with the mouse and enter a new one. Press the Return or Enter keys on your Amiga keyboard when you finish and the Parameter jumps to the new time.

The second line lists the time in SMPTE format. You can change a time by editing either field; Bars&Pipes Professional automatically updates the other field to display the equivalent time.

The remaining lines in this window change according to the specific Parameter. Remember that after you finish editing a field in the Magnify window, you must press the Return key to register the change.

Lyrics

The Lyric Magnify window contains one field, "Lyric."

Because the Magnify window stays open while you go from lyric to lyric, editing this way is actually quicker than using the Magic Wand to change lyrics.

Chords

The Chord Magnify window contains two fields, "Root" and "Chrd."

The first specifies the chord's root note; the second, the name of the chord. If you change the name of the chord, you must enter the new chord's exact name. The new chord must exist in the list of defined chords. If it does not, the original chord remains unchanged.

Key & Scale/Mode

The Key & Scale/Mode's Magnify window contains two fields, "Root" and "S/M."

The first lists the key; the second, the Scale or Mode associated with it. As with the Chord, the Scale or Mode name that you enter must exist, or Bars&Pipes Professional ignores it.

Rhythm

The Rhythm's Magnify window contains one field, "Name," which displays the name of the selected Rhythm.

If you want, enter a new one. Remember, the entered Rhythm must exist in the list of available Rhythms.

Dynamics

The Dynamics' Magnify window contains two fields, "Emph" and "=". "Emph" and "=" actually represent the same things. What differs is the way Bars&Pipes Professional describes them. "Emph" is the actual value of the Dynamic, or emphasis. This is a number from 0 to 127.

Below, "Emph," in the second box, is "=," the equivalent music notation, ranging from "pp' to "ff". Time Signature: The Time Signature's Magnify window contains two fields, "BPM" and "Beat." The first describes the number of beats per measure; the second, the value of the actual beat.

Time Signature

The Time Signature's Magnify window contains two fields, "BPM" and "Beat".

"BPM" stands for beats per measure. "Beat" stands for the note value that receives the beat.

Importing and Exporting Parameters

You can copy individual Parameter lists back and forth between the Master and Track Parameters. As an example, you may want to duplicate the Master Dynamic curve onto a Track, and then change it a bit to fit the character of the Track's part in the Song. Or, you may have a great set of Chord changes in a Track and want to make them available to the other Tracks by placing them in the Master Parameters.

To copy in either direction, use the Master Parameters menu. This menu can only be accessed from the Graphic Editor window of an individual Track; you cannot copy from the Master Parameters window. If you haven't already done so, open the Graphic Editor window of the Track from which you want to import or export Parameters.

Importing Parameters Into A Track

To import a Parameter list from the Master Parameters to an individual Track's Parameters, select the Import submenu from the Master Parameters menu. Notice that you have six options, one for each category in the Parameters list. Select your preferred Parameter option and Bars&Pipes Professional automatically copies it from the Master Parameters to your Track.

Exporting Parameters From A Track

To export a Parameter list from the Track Parameters to the Master Parameters, select the Export submenu from the Master Parameters menu. Again, you have six options, one for each category in the Parameters list. Select your Parameter of choice and Bars&Pipes Professional copies it from your Track to the Master Parameters.
==Printing Notation==
Chapter 11

Overview

Bars&Pipes Professional provides several options for printing your composition in standard notation. You can print a concert or transposed score from the Song menu, a Group of Tracks from the Groups menu, or one part from either the Tracks menu or a Track's Graphic Editor window's Notation menu.

You can also save your music printout in standard notation as a graphics file. This file can be loaded and modified by paint programs such as Deluxe Paint from Electronic Arts.

Preparing to Print

Before you print a Track, you must first arrange things so that Bars&Pipes Professional prints to your specifications.

Selecting The Printer Driver

You must choose the correct printer driver in your Workbench Printer Preferences program. Be sure to set the graphics preferences for the printer driver, too.

{{Note|text=Setting the graphics preferences may require some experimentation. Please refer to your Amiga Users Manual for more information.}}

Printing Memory Requirements

Printing requires large amounts of free and contiguous (i.e. non-fragmented) graphics memory. Bars&Pipes Professional Tools and Accessories, along with any other application running on your system, consume this precious resource.

For a common example of memory usage, let's say that you wish to print a page of four measures across and four full staves down at normal note spacing and normal resolution. This operation requires 64 Kilobytes of free graphics memory. At high note spacing, this memory requirement increases to 283 Kilobytes.

There are several things you can do to decrease the amount of graphics memory required for a print:

Decrease the number of measures across and staves down you wish to print.
Decrease the note spacing of your printout by sliding the Note Spacing: slider in the Page Print Options requester (please see the next section for information about this requester).
Print in Default Res or High Res rather than Extra Hi Res.
Also, make sure that no other applications are running, and that all unnecessary Bars&Pipes Professional Tools and Accessories are removed from your system.

* TIP * On many Amigas, you can see how much contiguous free memory you have by opening a Shell and typing "avail". The amount shown to the right of "chip" and beneath "largest" is the amount of contiguous free graphics memory.

Organizing Your Score

Before you Print, prepare your score to get the best results.

Fill In The Title And Composer

The printout includes the Song title and composer. Enter these in the Title/Author requester accessed by the Title/Author... command found in the Song menu. Bars&Pipes Professional centers the title on the top and places the author's name in the upper right-hand corner of the first page it prints.

Label The Tracks

Each Track label is the instrument name. Use the Track Name requester found in the Tracks window by double-clicking on the Track Name to the left of each Track. Bars&Pipes Professional prints the name of each part in the top left-hand corner of the first printed page. In a Concert or Transposed Score, Bars&Pipes Professional prints the name of each part above the first measure of each line.

Organize The Tracks

Bars&Pipes Professional prints the individual parts of Concert and Transposed Scores in the order in which the Tracks appear in the Tracks window. To rearrange the ordering of your Tracks, and thus the print order of your score, use the Track Up and Track Down buttons found on the top of the Tracks window.

Select a Track, then click on the up arrow to move it up one in the list or on the down arrow to move it down. Double-click to send a Track to the top or bottom of the Track list.

Size The Display

The sizing of the first Track's Graphic Editor display determines the number of measures per line printed. To change the Sizing of the Edit display, open the Edit window for the Track by double-clicking on the Track. Use the Zoom In and Zoom Out buttons, or the Sizing menu option, to choose the overall Sizing for the Edit display.

Select The Clefs

Each part may be printed on the Treble Clef, the Bass Clef, or both. For each Track, open the Graphic Editor and select the desired Clefs from the Print Options... submenu of the Notation menu.

By default, Bars&Pipes Professional prints both Treble and Bass Clef. You may choose either or both.

Set The Transpositions

You may need to print certain instrument parts in the appropriate transpositions. For example, an Alto Sax part can be displayed in Eb to be easily read by an Alto Sax player. If you need to set the Transposition for a Track, open the Transposition requester from the Notation menu of the Graphic Editor.

Determine the Transpose type by clicking after the Transpose: prompt and selecting from the scrolling list. If you'd like to define your own transposition, select Custom and drag the Octave and Interval sliders. Please read Chapter 8, Note Editing, for a thorough explanation.

Printing Ledger Lines

When printing a single staff, it is usually desirable to print several ledger lines above and below the staff.

The Graphic Editor's Notation/Print Options/Set Ledger Lines... menu command allows you to customize the way that each Track's staves are notated and printed.

Example: Print Treble Clef With As Many Ledger Lines As Possible.

Open the Graphic Editor for a Track by double-clicking on the Track in the main Tracks window (or, single-click and hit the Return key).
Make sure that the notation staff is showing. If it isn't, select the Show/Staff-Notation menu option.
Choose the Notation/Print Options/Set Ledger Lines... menu command. The Adjust Ledger Lines requester opens.

Click on the down arrow until the white arrow pointing to the staff is at the bottom. This arrow denotes the center position between the bassclef and the treble clef.

{{Note|text=If you want to print a bass clef with as many ledger lines above as possible, click the up arrow until the white arrow is as high as possible.}}

Click Okay. Bars&Pipes asks if you would like to renotate your entire Track.
Click Yes. Bars&Pipes renotates the Track with the new ledger line positions. Notice that most notes in the bass clef are now actually part of the treble clef.

{{Note|text=If you choose No, Bars&Pipes does not renotate, and your music prints the same way it always did. This allows you to renotate only the measures that you wish, using the Notation/Transcribe/Between Flags menu option.}}

Printing Tablature

To enable Tablature printing for a Track, open the Graphic Editor and choose the Notation/Print Options/Tablature menu option.

{{Note|text=Tablature can not print by itself. It requires that you also print at least one staff, or both staves along with it.}}

Make sure that you've tabulated your music before you print. If necessary, choose the Tablature/Tabulate menu option from the Graphic Editor.

Formatting The Printed Page

You can easily tell Bars&Pipes how many measures to print per line and how many grand staves to print per page.

You can set these options in one of two ways:

Choose Notation/Print Options/Page Options... from the Graphic Editor.
Choose Preferences/Page Print Options... from the main Tracks window.
The Adjust Page Print Options requester opens.

Slide the Measures/line: slider to the number of measures per line you would like to print.

Slide the Full Staves/Page: slider to the number of full staves you would like to print per page.

{{Note|text=If you open the requester from the Graphic Editor, and you've chosen to only print one staff, the second slider reads "Half Staves/Page" instead of "Full Staves/Page", and is double the number of full staves per page.}}

The Note Spacing: slider controls the overall resolution of the printout. The only real way to know the best note spacing on your particular system is to try a few sample printouts.

{{Note|title=Tip|text=Low note spacings tend to look chunkier and clutter the notes together. High note spacings make the notes thinner and more spaced apart. Normal note spacing is a compromise between the two.}}

The Print Requester

Once you have finalized your printing specifications, open the Print requester by selecting the Print... command. When you select the Print requester from the Song menu, Bars&Pipes Professional prints the entire score; when you select it from the Groups menu, Bars&Pipes Professional prints only the selected Group's member Tracks; and when you select the Print requester from the Track menu or an individual Track's Graphic Editor window's Notation menu, Bars&Pipes Professional prints the contents of the Track.

Additional Information

The top six buttons in the Print requester select additional information to print. To turn each option on or off click on its button.

Sections
If you choose to print Sections, Bars&Pipes Professional prints the A-B-A section names above the music.

Bar Numbers
If you choose Bar Numbers, Bars&Pipes Professional prints the measure number over each line's beginning measure in your music.

Tempo
If you choose Tempo. Bars&Pipes Professional prints the tempo at the beginning of your music.

Chords
If you choose Chords, Bars&Pipes Professional prints chord changes, entered in the Song Parameters, above each Track, or part. In either a Concert or Transposed Score, Bars&Pipes Professional prints chords which were entered in the Master Parameters above the first Track.

Lyrics
If you choose Lyrics, Bars&Pipes Professional prints lyrics, entered in the Song Parameters, above each Track, or part. In either a Concert or Transposed Score, Bars&Pipes Professional prints lyrics which were entered in the Master Parameters above the first Track.

Dynamics
If you choose Dynamics, Bars&Pipes Professional prints dynamic markings, entered in the Song Parameters, within a Track, or part.

Transposed Or Concert Score

If you choose Transposed Score, Bars&Pipes Professional prints each Track transposed by the key established in the Transposition requester (see above.) Choosing this option tums off the Concert Score option.

If you choose Concert Score, Bars&Pipes Professional prints each Track without transposition. Choosing this option tums off the Transposed Score option.

Selecting Measures To Print

To specify which measures Bars&Pipes Professional prints, enter the starting and ending measure numbers after the From Bar: and To Bar: prompts.

If you want to print all measures, click on the All button, which sets the fields to cover the entire range of the piece.

Print Resolution

You may choose from three different print resolutions.

Default Res
Select Default Res for printing in the default resolution. You may determine the resolution from the graphics preferences in your WorkBench printer Preferences. Typically, you might set the WorkBench preferences to the minimum acceptable resolution, for fastest printout. Use this option to get quick trial printouts.

High Res
High Res automatically chooses the highest resolution available in your Workbench preferences. This option gives the best quality available under Workbench 1.3.

Extra Hi Res
Workbench 2.0 users with at least 1 megabyte of chip memory can select Extra Hi Res for much sharper printing. This mode creates much cleaner lines but requires extra time to print.

Previewing

To view the final output without actually sending it to the printer, click on the Preview button found in the Print requester. This opens a small screen with the notation displayed.

{{Note|text=If you're previewing an Extra Hi Res printout, you can scroll to view the entire screen by clicking down with the mouse and dragging.}}

It also opens a small requester with three buttons: Next, Print and Cancel.

Next
To view the next line of notation, click on Next. Bars&Pipes Professional shows you each line of notation until it has displayed all of the selected measures.

Print
Click on the Print button to leave preview mode and start printing immediately.

Cancel
Click on the Cancel button to access the Print Requester again. (If you want to exit the Print Requester, click on its Cancel button.)

Printing
Bars&Pipes Professional prints notation by sending an image of the music to the Preferences printer driver. Remember, in order to print properly, you must set Preferences from Workbench to accommodate your printer.

To begin printing, click on the Print button. Bars&Pipes Professional opens a display screen, paints the notation in it, and sends this out to the printer. Above, it opens a requester with a Cancel button. Printing can take a while, so be patient. Click on the Cancel button to abort printing.

Saving as an ILBM File

Click on the Save button in the Print Requester if you would like to save your music as an IFF/ILBM file. The file requester opens. enter a unique file name for each page of printout. The IFF/ILBM file(s) may then be loaded into a graphics program such as Deluxe Paint, and imported into word processors, etc.

==The List Editor==
Chapter 12

Overview

While Bars&Pipes Professional's Graphic Editor provides a powerful graphics-based environment for editing music, certain editing operations require finer detail. For low-level, numeric editing of MIDI events, Bars&Pipes Professional provides the List Editor.

Accessing the List Editor

To open the List Editor, you must first open the Graphic Editor for the Track you want to edit, then select List Editing from the Prefs menu. Open the Graphic Editor for a Track by either double-clicking on a Track in the Tracks window, using the Magic Wand in the Song Construction window, or double-clicking a Track in the Media Madness Window.

Once you select List Editing, Bars&Pipes Professional closes the Graphic Editor window, then opens the List Editor window for that Track. The List Editor displays a list of all MIDI events in the Track.

{{Note|text=Double-clicking on a Track in the Media Madness Window automatically opens the List Editor, if the Graphic Editor for that Track has not been previously opened.}}

The List Display

The List Editor window contains most of the Command and Default Note Buttons of the Graphic Editor window. The List Editor, however, does not have the Magnifying Glass, Hand, Bounding Box, Duplicator, or Zoom buttons. Below the buttons is a slider, used for modifying events or data (more on this later). Finally, the bulk of the window consists of MIDI events of various types, one event per line. Use the scroll bar to the right of the events to move through the event list.

Use the Show menu to select which MIDI events to display.

{{Note|text=The List Editor does not display Song Parameters.}}

To display Note events, select any of the following options from the Show Menu: Staff-Notation, Tablature, Staff-Hybrid, Piano Roll, or Velocity.

The List Editor displays an event as a start time, followed by the type of event (please see the event types below), followed by event data.

The start time displays in either SMPTE time (hours, minutes, seconds, frames) or music time (measures, beats, clocks.) Use the SMPTE/Music button to select which time format is used.

When the button displays a film strip, the List Editor draws events in SMPTE time. Otherwise, the button displays musical notes and the List Editor draws events in music time.

The MIDI Events Display

The second field denotes the type of MIDI event. A listing of the different MIDI events and an explanation of their data fields follows. The name in parenthesis is the abbreviation the List Editor uses to display the MIDI event type.

Note (Nt)
The Note MIDI event contains the pitch, both as a note/octave (from C0 to G10) and as a numeric MIDI value (from 0 to 127), the velocity of the note (from 0 to 127), and the duration of the note (in Song-time).

With the Hit List option selected in the Display menu, the Hit List name of the Note event displays instead of the Note duration. This is particularly useful when used in conjunction with the Media Madness feature (please see Chapter 28, Media Madness).

Pitch Bend (PB)
The Pitch Bend MIDI event contains the amount of shift, from +8192 (maximum shift down) to 8191 (maximum shift up). Remember, the value given to Pitch Bend determines the proportion of the shift to the maximum. For example, a value of -4096 shifts the current note downward by half the maximum. The MIDI specification uses this scheme because different instruments have different Pitch Bend ranges; full range on one synth may be an octave while only a whole step on another.

Mono After-Touch (MT)
The Mono After-Touch MIDI event contains the overall keyboard pressure, from 0 to 127.

Poly After-Touch (PT)
The Poly After-Touch MIDI event contains the note value for the key being pressed (like Mono After-touch) and the pressure on that key (from 0 to 127). Poly After-Touch is featured only on the most expensive keyboards, since the hardware must sense pressure on each individual key.

Control Change (CC)
The Control Change MIDI event contains the Control Change type (0 to 127) and the Control Change data (0 to 127). Control Change governs continuous controllers such as volume pedals and breath controllers.

Program Change (PC)
The Program Change MIDI event contains the patch number (0 to 127). Program Change controls the sound used by your MIDI device to play subsequent notes.

System Exclusive (SX)
The System Exclusive MIDI event contains no visible data. When you edit a System Exclusive event, Bars&Pipes Professional opens the System Exclusive requester. Please see the System Exclusive chapter for more on this requester.

System Exclusive events are special commands unique to the instrument (or product line). Manufacturers use System Exclusive events, for example, to set pitch bend ranges, transpose keys, send new patch data to the instrument, and to execute many other functions.

{{Note|text=The user's manual for your MIDI instrument can tell you whether your instrument supports System Exclusive events, and what the commands do.}}

The Edit Flags

To the left of the event list are the Edit Flags. Use these to set the boundaries of a Clip section for editing with Clips, just like in the Graphic Editor. The "begin Clip" Flag is a triangle pointing upward; the "end Clip" Flag is a triangle pointing downward.

Use the Flags in conjunction with the options in the Edit menu. Please refer back to the Note Editing chapter for a complete description of these commands.

Except for being turned sideways, the Edit Flags in the List Editor work just as they do in the Graphic Editor. As you probably know, the Edit Flags align with boundaries assigned by the Align with... Preferences option.

* TIP * When you try to place an Edit Flag right after an event in the List Editor, don't be surprised if the flag jumps behind a number of events because you have "Align with... Measures" selected. Change it to "Align with...Anywhere" to able to place an Edit Flag after any event. Even then, if several events have the exact same time, the Flag jumps to just before all of the events. because the position of the Flag is actually the time it occurs, not its position in the list.

Remember: in the List Editor, one event may be at one time, and the next event in the list could be a beat later, a measure later, or several measures later. Because of this, be careful when cutting and pasting.

Command Buttons

The first five buttons from the left are the Command Buttons. As you click each one with the mouse, the mouse's icon changes. All of these buttons have keyboard equivalents as well. Set the Command Buttons to determine how you use the mouse. The following list describes each button briefly. Later in this chapter, we'll delve into greater detail.

The Pencil:
The Pencil, or function key "Fl" enters MIDI events. Clicking with the Pencil on a specific event creates a duplicate of the event, substituting the chosen default note parameters.

The Magic Wand
The Magic Wand, or function key "F2" alters the MIDI events type and data.

The Eraser
The Eraser, or function key "F5" deletes events.

The ToolPad
The ToolPad contains selected Tools and processes notes with the currently-displayed Tool. The mouse pointer turns into a Wrench when the ToolPad is selected.

The Step Entry
The Step Entry button enables step entry of events from a MIDI keyboard.

Default Note Buttons

Before drawing or step-entering events, set the Default Note. The Default Note consists of a note value (eighth, quarter, etc.), a modifier (triplet, dotted, normal), an articulation (staccato, legato, etc.), and a dynamic level (pp through ff). Four separate buttons set these standards.

Upon pressing them with the mouse, each button reveals a pop-up menu with the options displayed. Drag the mouse to the desired option and lift up to select it. Bars&Pipes Professional displays your choice on the appropriate button.

Note Value
The first button determines the currently selected note division. Your choices range from a whole note to a sixty-fourth note. Select your choice from the menu by dragging the mouse to the desired choice. You can also press function key "F7" to decrease the note value without using the mouse, or press SHIFT and function key "F7" to increase the note value.

Note Modifier
The second button modifies your selected note value. The first item in this menu, a triplet, shrinks the size of the note to two-thirds its note value. The second menu item, a "normal" note, leaves the selected note value as is. The third item, the dotted note, adds half of the note to the selected note's length. In other words, Bars&Pipes Professional multiplies the note value by one and one-half. Select your choice by dragging the mouse to the desired choice. You can also press function key "F8" to decrease the note length without using the mouse, or press SHIFT and function key "F8" to increase the note length.

Articulation
The third button determines the relative length of the selected note. The menu range extends from staccato (short) to legato (slurred). Staccato, signified traditionally as a dot above a note, usually indicates a duration of 1/4 its full length value; Portato, signified traditionally by the absence of a marking above the note, indicates a note duration of 1/2 its full length value; Leggiero, traditionally signified as a horizontal line above a note, indicates a note duration of 3/4 its full note value; and Legato, traditionally signified with an arched line above a series of notes, indicates a note duration equal to its full value, with no perceptible space between each note. Make your selection by dragging the mouse to the desired choice and lifting up. You can also press function key "F9" to make the articulation longer in duration without using the mouse, or press SHIFT and function key "F9" to make the duration shorter.

Velocity
The final button, the farthest to the right, determines the velocity of the note. You have six choices ranging from very soft (pp) to very loud (ff). Make your selection by dragging the mouse to the desired choice and lifting up. You can also press function key "F10" to increase the note volume without using the mouse, or press SHIFT and function key "F10" to decrease its volume.

Editing Events

Use the Command buttons described earlier to edit events in the List Editor.

Entering Events

To enter new MIDI events, activate the Pencil by clicking on the Pencil button or by pressing function key "F1". Then, click the Pencil on the MIDI event located just after the point where you want to insert the new event. If you want to enter a new event at the very bottom of the list, click in the blank area below the last event.

The type of event you enter is the same as the one you clicked on. If you clicked on a note, the note also has the same pitch of the note you clicked on, and the volume, duration, and articulation set by the Default Note. Other MIDI events use data from the events you clicked on.

Altering MIDI Events

With the List Editor, you can edit MIDI Events directly by changing the data associated with the Events, or even by changing the Events themselves. To edit Events, activate the Magic Wand by clicking on the Magic Wand button or pressing function key "F2".

When editing Events, the slider above the event list becomes active. To edit an Event, click on any part of the event. Bars&Pipes Professional highlights the selected data in red. Now, you can drag the slider to the desired value (or use the arrow buttons to the right of the slider).

You can also directly edit the text to the right of the slider.

{{Note|text=If the Hit List option is enabled in the Display menu, the textual translation of note value to Hit List name displays here, Use this field to enter new Hit List translations. Remember, each note can have only one Hit List equivalent. If you set C4 to be "dog bark", all C4 notes display as "dog bark."}}

Erasing Events

To erase events, select the Eraser by clicking the Erase button or by pressing function key "F5" then click on each event you want to erase. If you make a mistake, you can select Undo (Right Amiga-U) from the Edit menu to restore the last event you erased.

Toolizing Events

The List Editor window contains the same ToolPad as the Graphic Editor and Song window. You can place, select, and edit Tools from the List Editor in the same manner as for other windows in Bars&Pipes Professional. Toolizing events in the List Editor can be both powerful and confusing. Powerful, since you can edit the results exactly to your liking. Confusing, since Tools can remove an event, reposition it in time, or add additional ones. For example, if you use the Echo Tool on a note, the echoes get mixed in with other notes and events down the line.

* TIP * Another powerful way to use the ToolPad in the List Editor is to explore how Tools affect specific MIDI events. When you Toolize an event in the List Editor, you see the results accurately in numerical form. You can use this knowledge to edit Tool parameters to your liking, with less guesswork and better results.

Step Entering Events

To enter MIDI events into the List Editor from any MIDI instrument, click on the Step Entry button. Then, set the "begin editing" flag (the flag with the arrow pointing upward) to the point where you want to enter new events.

Like the Graphic Editor, any notes you step-enter from your MIDI keyboard automatically conform to the length, articulation, and velocity set by the Default Note parameters. To move forward one note length without entering an event, press the Space bar. To delete the previous event, press the Backspace key. Please see Chapter 8, Note Editing for a thorough explanation of Step Entering.
==System Exclusive==
Chapter 13

Overview

Use the System Exclusive requester to enter and edit System Exclusive MIDI messages. Normally, you'll access it from the Graphic and List Editors, but you'll also use it from the Big Sys Accessory.

Unlike other MIDI events, System Exclusive MIDI events are system specific - one MIDI device's System Exclusive implementation may not be the same as another's. Examples of System Exclusive data are patch banks, system memory dumps, system specific filters, etc.

{{Note|text=Certainly the most frequent use of System Exclusive packets is in patch organization. The PatchMeister, which integrates directly into Bars&Pipes Professional, covers this aspect extremely well. As a result you don't need to become versed in the underlying technology of System Exclusive protocols to effectively use them to your advantage.}}

Recording System Exclusive Events

Bars&Pipes Professional can record System Exclusive events just like other events. By default, the MIDI In and MIDI Out Tools are set up to filter out System Exclusive data. You may decide to record a System Exclusive dump from your keyboard, for instance.

To do so:

Highlight the System Exclusive button in the MIDI In and MIDI Out Tools of the target Track.
Make sure that the Track is in Record mode, and put the Sequencer in Record mode as well.
Start the Sequencer.
Command your MIDI unit to dump System Exclusive. Make certain that there is no handshaking needed.
Stop the Sequencer when your MIDI device is finished.
Do the opposite when you want to send the System Exclusive data back to your MIDI device: set your device to receive, and start the Sequencer.

{{Note|text=This process does no handshaking. Handshaking protocols require communication in both directions. The PatchMeister universal patch librarian takes full advantage of the handshaking ability of many brands of MIDI devices.}}

Accessing the System Exclusive Requester

Access the System Exclusive requester by clicking with the Pencil or Magic Wand in the System Exclusive region of the Graphic Editor. Please see Chapter 9, MIDI Event Editing, for more information

Creating A System Exclusive Event

To create a System Exclusive event, select the Pencil, then click in the System Exclusive region of the Graphic Editor. Bars&Pipes Professional opens the System Exclusive requester.

Editing A System Exclusive Event

To edit an existing System Exclusive event, select the Magic Wand, then click on a System Exclusive event. Bars&Pipes Professional again opens the System Exclusive requester.

Big Sys

The Big Sys Accessory also accesses the System Exclusive Requester. Please see the Big Sys Accessory in the Accessories chapter.

Editing System Exclusive Data

Use the three Command buttons to edit System Exclusive data in the System Exclusive requester.

Entering System Exclusive Data

To enter data into the System Exclusive requester, select the Pencil by clicking on it or pressing function key "F1". Click on any byte in the display to introduce a new byte. The requester creates a new data byte with the same value as the byte you clicked on. If you click to the right of the last byte, Bars&Pipes Professional creates a new byte just before the ending F7 byte.

{{Note|text=The System Exclusive Requester displays all bytes in Hexadecimal notation. Hexadecimal represents numbers in base 16. instead of base 10. The digits are 0 through 9 followed by A through F (for 10 through 15). As odd as it may sound. this is much more natural for binary data, because two hexadecimal characters always make up a byte (0 through 255 becomes 0 through FF).}}

Altering System Exclusive Data

To change the value of a data byte in the display window, select the Magic Wand by clicking on it or pressing the "F2" function key.

Click on the byte you want to change. The requester displays the byte in the slider above the display window. You may now drag the slider to change to the desired value.

Deleting System Exclusive Data

To delete a data byte, select the Eraser by clicking on it or pressing the "F5" function key.

Click on the byte you'd like to erase.

Sending The System Exclusive Command

Click on the Speaker button to the System Exclusive event down the Track's PipeLine and out the MIDI cable. Since the system ID and channel number are embedded in the event data, only the intended instrument receives the event.

Bars&Pipes Professional does not support messages that require a dialog with the synthesizer. And, since the channel number is embedded in the event data, if you want to send this command to more than one instrument, you must edit the channel number and send the command again.

If you are satisfied with your entry, click Okay to accept the changes, or click Cancel to abort the changes.

About System Exclusive Data

Please keep in mind the following points about System Exclusive Data:

Real-Time Recording And Playback

During real-time recording and playback, Bars&Pipes Professional does not support System Exclusive messages that require responses or handshaking, from the synthesizer. Usually, such messages involve downloading large sound patches to the synthesizer. You should do this in advance rather than during the Song's performance. The amount of data involved usually clogs the MIDI network, which results in the pausing of all music until the computer finishes sending the patch.

Instead, set up your System Exclusive information first by using Big Sys or, for patch organization, The PatchMeister. You can also keep System Exclusive packets recorded in one Track. After loading the Song, solo the Track and have it send its stuff. Then, mute the Track and activate all others.

Format Constraints

The first and last bytes of the System Exclusive data always have the hexadecimal values of FO and F7. You cannot change or delete these bytes, as they signal the beginning and ending of the event.

The next byte specifies the manufacturer's ID and channel number of the instrument. This manufacturer's ID (obviously) varies from machine to machine, and is used by the instrument to verify that the event makes sense to that instrument.

The third byte and onward (to the next to last byte) specify the System Exclusive command plus any data needed by that command.

From this, we can see that all System Exclusive events must be at least three bytes long, including the start and stop bytes. The System Exclusive requester, however, does not force a minimum message length beyond the start and stop bytes.
==Accessories==
Accessories can be loaded by openeing the accessories window and selecting "load" from the menu.
At this time SmerFF is the only accessory available. It allows loading and saving MIDI files.
==The Metronome==
Chapter 15

=== Overview ===

Bars&Pipes Professional's Metronome provides a standard metronome click. Use this as a timing reference when recording your performances.

The Metronome creates a click by sounding the Amiga's internal circuitry, sending a MIDI event, or flashing the screen. It can click at rates varying from 1/64 note to a whole note. If you want, it can also provide a lead-in countdown before recording.

Access the Metronome window by double-clicking on the Metronome icon, or choosing the Metronome option in the Windows menu.

=== The Metronome Window ===

The following describes the functionality of the Metronome window:

==== Choosing The Metronome ====

There are three metronome sources:

; Internal
: Select the Internal button to send a tone to the Amiga's speakers for each metronome click.

; Visual
: Select the Visual button to flash the Amiga's screen on every click. The first beat of any measure flashes red, followed by a series of other colors.

; MIDI
: Select the MIDI button to send a MIDI note through the MIDI cable.

==== Setting Up The MIDI Metronome ====

The MIDI metronome option requires a few additional parameters:

; MIDI Note
: Select the pitch of the MIDI note by sliding the MIDI Note: slider to the appropriate note value. By default, this is set to the General MIDI note for a metronome sound (if a drum kit is being played.)

; MIDI Channel
: Select the MIDI channel by clicking on the button after the Channel: prompt and selecting from the pop-up menu. By default, this is set to the General MIDI drum channel, channel 10.

; MIDI Tool
: Drop an Output Tool onto the button after the Tool: prompt. This determines which Tool transmits MIDI metronome clicks. Usually, this is the MIDI Out Tool.

{{Note|text=Triple Play Plus users can use the Triple Play MIDI Out I, 2, or 3 Tools. One-Stop Music Shop users can use the One-Stop MIDI Out or SoundEngine Tools.}}

You can also use other Output Tools with varying results. For example, many of the Media Madness Tools can be used with interesting results!

; Loudness
: The Loudness (volume) of the metronome can be set by moving the slider after the Loudness: prompt. The default is 84.

==== Selecting The Beat Resolution ====

By default, the metronome sounds at each quarter note beat. you can change this rate by clicking on the button after the Resolution: prompt. Choose a rate from 1/64 to a whole (1/1) note.

If you select a 1/4 resolution in 4/4 time, the Metronome clicks on every beat. If you select 1/2 resolution, the Metronome clicks on every other beat, starting with the first beat in the measure. If you choose 1/8, the Metronome clicks twice per beat.

Depress the Triplet button if you want the Metronome to play in triplet time.

==== The Lead In Option ====

Often, it helps to have a countdown before you start recording. To set up a countdown, set the Lead In slider. The slider lets you set the number of measures to count down before recording actually starts.

To disable Lead In, set the number of measures for Lead In to zero.

You may find that you do not want to use the Metronome, except for the Lead In time. In this case, select the Metronome On Lead In Only button. You can also disable all three metronome options; this provides a silent Lead In.

==== Extra features ====

The metronome also responds to hotkeys to control its function. These can be used in any of the the main Bars&Pipes windows (Tracks, Transport etc.).

{| class="wikitable"
|+ The keys are:
| I || toggles the Internal Amiga sound metronome on and off.
|-
| V || toggles the Visual metronome on and off
|-
| O || toggles the Output (e.g. MIDI) metronome on and off
|-
| L || toggles the Lead In funtcion on and off.
|}

==The Transport Controls==
Chapter 16

Overview

The Transport Controls govern the Sequencer's recording, playback, and Song positioning functions. These functions are accessible from the Transport Controls window, the Mini-Transport, and the Tracks window. They are also accessible from hot keys on the Amiga keyboard and, if defined, as MIDI remote controls. The Transport Controls contain familiar tape deck commands, such as Play, Record, Rewind, and Stop, to control recording and playback.

You can reposition the Transport Controls window or shrink it down to an icon. If you close the Transport Controls window, you can reopen it by double-clicking on the icon or by selecting Transport Controls from the Windows menu.

You can bring up the Mini-Transport by choosing its menu option in the Windows menu, or by typing the letter M on the Amiga's keyboard.

The Transport Controls Window

The Transport Controls window contains all of the Transport Controls. The Transport Controls in the Mini Transport and the Tracks window are subsets of the Transport Controls window.

The Transport Controls window contains four groups of controls: the Transport buttons, the Tempo controls, the Song Position controls, and the Flag controls.

Transport Controls

Across the top of the Transport Controls window are nine buttons, which control recording and playback. They are similar in function to the controls on a tape recorder.

Briefly, the Transport buttons are:

Stop (Enter Key on numeric keypad)
The Stop button halts recording and playback. It also sets the Position Marker to the current Stop time so the next Play command will pick up at the same point. Click to activate the Stop button.

Start (Insert Key)
The Start button begins recording and playback from the beginning of the Song.

Play (Enter Key on numeric keypad)
The Play button begins recording and playback from the Position Marker. Use this control when you want to start from a specific point in the Song. Pressing the Play button a second time stops the performance.

Rewind
Rewind quickly shuttles the Song backward to access a specific point in the Song. If the Song is playing when you press the Rewind button, it stops, then resumes when you lift up on the new location.

Fast Forward
Fast Forward shuttles the Song forward in time. If the Song is playing when you press the Fast Forward button, it stops, then resumes when you lift up on the new location.

Record ("R" Key)
The Record button enables Sequencer recording. To activate, click on it. Doing so activates recording only in Tracks placed in Record mode. All others continue to play back.

Loop
The Loop button activates the Loop Mode recording function. With Loop mode, you can record one section of your Track over and over. For more information on Loop Mode recording, please see the Loop Recording Mode section in the Recording chapter.

Punch In/Out ("P" key)
Punch In/Out automatically switches the Sequencer in and out of Sequencer Record mode at preset locations. Although you can manually activate and deactivate the Record button while your Song plays, if you're also playing an instrument, you'll need a third hand, which the Punch In and Out Flags provide.

Set
Use the Set button in conjunction with the Flag buttons, described below, to set Flag positions.

Tempo Controls

The Tempo Controls are on the left side of the Transport Controls window, beneath the Stop button. Use these to set the initial tempo.

{{Note|text=If you'd like to work with a Tempo Map and place tempo changes at specific times in your composition, you must enter them in the Tempo Map window.}}

Tempo
The Tempo button shows the tempo of the Song in beats per minute. Set the tempo, or speed, by clicking on the numbers and, while holding down the mouse button, dragging the mouse up to increase and down to decrease. You can change the tempo in single increments by single-clicking in the top or bottom half of the numbers.

1/2 and 3/4
If, temporarily, you need to slow down the Song (for example, when recording a difficult passage), click on the 1/2 or 3/4 buttons to slow the tempo to one-half or three-quarters of the original speed. Clicking on the same button a second time restores the tempo to its original speed.

* TIP * These functions do not work in conjunction with a Tempo Map, except at the beginning of your Song, before there are any tempo changes in the Tempo Map. Disable the Synchronize to Tempo Map option in the Timing window to disable the Tempo Map. Enable this option to reinstate the Tempo Map.

Song Position Display

Just as a tape deck marks time with a counter that measures the tape's length, Bars&Pipes Professional keeps Track with the Song Position Display.

The top number in the Song Position Display keeps Track of the Song time in Measures, Beats, and Clocks. The bottom display shows Song time in the SMPTE format of Hours, Minutes, Seconds, and Frames.

To reposition your Song to an exact time, click on the top or bottom half of the numbers in the desired display to increase or decrease their values. Note that the second display adjusts itself to the new position as well.

The Position Marker Flag

Bars&Pipes Professional also provides the Position Marker Flag, a red triangle with a blue border, which shows the location of the Song Position in the Sequencer. When you click the numbers in the Song Position Display as described above, the Position Marker moves to the new position as well. You can also adjust the Song position by using the mouse to drag this Flag to a new location.

Flag Position Controls

Use the Flag Position Control buttons to set and use the positions of each of the twelve Flags Bars&Pipes Professional supports.

To set a Flag to a particular point in your music, use the Set button directly above the Flag Position Controls. First, click on the Set button. With the Set button highlighted, adjust the Song Position Display by clicking on the Rewind or Fast Forward buttons or by clicking directly on the Song Position Display as described above. Then, click on the button corresponding to the Flag you want to move. This installs the Song Position into the Flag and disables the Set button.

* TIP * You can also set Flags numerically in the Set Flags window.

To instantly jump to a Flag position, click on the Flag's button without first selecting the Set button. This automatically sets the Song Position to the value in the Flag.

* TIP * Pressing the 1, 2, 3, and 4 keys on the numeric keypad also jumps to the four Auto-Locate Flags.

To instantly jump to a Flag position and start playing immediately, double-click on a Flag.

The Mini-Transport Window

The Mini-Transport window provides the most important Transport Controls in a small convenient window. Access it by choosing the Mini-Transport menu option in the Windows menu, or by typing the letter "M" on the Amiga keyboard.

Most of the buttons are the same as in the Transport Controls window, with a few exceptions:

You cannot change the Song Position by clicking on the Song Position display.
There is an additional button, the SMPTE/Music Time button, that controls whether the Song Position display shows the current Song Position in measure time or SMPTE time. Click on this button to toggle between the two modes.
Remote Control

With the Remote Control option, you can use your MIDI keyboard to control the Sequencer. Remote controls let you Start, Stop, Record, Play, Punch In, Punch Out, and move to the Auto-Locate Flags (Ml through M4) in your composition.

To set up the Remote Controls, select Remote Control from the Preferences menu. In response, Bars&Pipes Professional opens the Remote Control requester.

Click on the Control you want to set up, then press the desired key on your MIDI keyboard. Use the keys located at the very top or bottom of your MIDI keyboard to prevent pressing one accidentally while recording.

Clicking on each control in the requester toggles it on and off. Only the highlighted controls are active. Each active control behaves identically to the button it represents in the Transport Control window. When you're done, close the requester.
==Timing, Syncing, and Tempo==
Chapter 17

Overview

Bars&Pipes Professional contains sophisticated timing controls. It can run on its own or synchronize with external devices. It can synchronize to external MIDI Clock messages that vary the Tempo or synchronize to external SMPTE time and control the timing with the Tempo Map option.

Bars&Pipes Professional plays with a musical timing resolution of 192 PPQN (Parts Per Quarter Note). Its internal resolution is up to one millisecond at higher tempos.

Changing Tempo

Use the Tempo controls in the Tracks window, the Mini Transport window, or the Transport Controls window to change the initial Tempo. Also, you can use the Tempo Palette window to quickly change the Tempo.

Use the Tempo Map window to create changing Tempos over the course of your music. Real-Time Tracks allow you to create Tracks that ignore Tempo Maps.

Tempo

There are tempo buttons in the Transport Controls window, the Mini-Transport Window, and the Tracks window. They all represent the same Tempo.

Set the tempo, or speed, by clicking on the button and, while holding down the mouse button, dragging the mouse up to increase and down to decrease. You can change the tempo in single increments by single-clicking in the top or bottom half of the numbers.

The Tempo Palette Window

Quickly change the Tempo with the Tempo Palette window. To open the Tempo Palette, select Tempo Palette from the main menu's Windows menu, or double-click on the Tempo Palette icon.

The Tempo Palette lists four preset Tempos: A, B, C, and D. To set the Tempo, click on the preset letter, e.g., A, and the Tempo assumes that value. To change a preset tempo, click on the number and enter the desired tempo.

* TIP * You may find it useful to place the Tempo Palette window directly above the Tempo controls (obscuring the Transport Control buttons), and use the "window to back" buttons on the windows to expose or hide the Tempo Palette as needed. This way, you can quickly change tempos while youre working.

The Tempo Map Window

If you are synchronizing with either the internal timer or SMPTE, you can use the Tempo Map window to create a series of tempo change commands to alter the pace of your music. Open the Tempo Map window by selecting Tempo Map from the Windows menu or clicking on the Tempo Map icon.

The Tempo Map window consists of seven control buttons and a graphic display of the Song s tempo over time The graph shows constant tempo in blue tempo changes in red and the tempo at the end of each tempo change in blue The top of the graph displays the measure numbers. Use this window to create and place multiple tempo changes throughout your composition.

Please refer to the next chapter, Chapter 18, Tempo Mapping, for more information on creating and editing Tempo Maps.

Disabling Tempo Changes

Sometimes, you might want to temporarily disable a tempo map.

To do so, turn off the Use Tempo Map selection in the Timing menu. Bars&Pipes Professional then uses the tempo you have set in the Transport Controls window to determine the Song tempo.

To return to your tempo map, deselect the Use Tempo Map option in the Timing menu.

Real-Time Tracks

By default, Tracks operate in Song-time mode. In Song-time mode, increasing the Song's tempo causes notes to play faster. Each note plays on a particular measure, beat and clock, not at an absolute hour, minute and second.

Real-time Tracks do not follow Tempo conventions. Instead, they contain events that occur at specific SMPTE times. This is useful when you are scoring for video or Media Madness and need to have certain notes or events occur at specific times.

To change a Track to a real-time Track, double-click on the Track's name in the Tracks window, or click on the Track name with the Magic Wand in the Song Construction or Media Madness windows. This opens the Track name requester.

Click on the real-time button to convert the Track into a real-time Track. Thereafter, each note plays at an absolute hour, minute, and second, independent of the selected tempo. Deselect the button to convert the Track back into a regular Track. Once a Track is in real-time mode, every time you change the Tempo, the Track stretches or shrinks to make sure the events all still occur at the correct SMPTE times.

Real-time Track names appear purple instead of blue when not highlighted, and red when highlighted.

MIDI Clock Synchronization

The simplest, most affordable method to synchronize Bars&Pipes Professional with external sources involves using MIDI Clocks (sometimes called Song Position Pointer).

MIDI Clocks work in the following manner: The MIDI standard includes a set of commands designed to synchronize multiple devices via the MIDI cable. These commands include instructions to start, stop, and reposition playback, as well as Clock tick instructions that Bars&Pipes Professional uses to maintain accurate synchronization.

Designed with music in mind, MIDI Clock ticks correlate directly with Measures, Beats, and Clocks. As each Clock tick comes in via MIDI, Bars&Pipes Professional increments its position in Song time. In this manner, the MIDI Clocks control both the tempo and the position of the piece as it performs.

Sending MIDI Clocks

To synchronize an extemal MIDI device with Bars&Pipes Professional, first set the MIDI device to which you would like MIDI Clocks sent. For instance, if you have the Triple Play Plus MIDI interface, you can choose to have MIDI Clocks sent out of the Triple Play MIDI Out 1, 2, or 3. To select the MIDI device, choose Set MIDI Clock Tool... from the Timing menu. A requester opens.

Click on the Tool displayed after the MIDI Tool: prompt to cycle through the available Tools. Select the appropriate Tool and click on Okay.

{{Note|text=Only Tools that send out of a MIDI port are accessible from the Set MIDI Clock Tool requester. If there is no MIDI Out Tool loaded, you need to install a MIDI Out Tool to continue.}}

Then, select Send MIDI Clocks from the Timing menu. This command instructs Bars&Pipes Professional to send MIDI Clock events as well as Start, Stop, Continue, and Song Position events.

Recording A MIDI Clocks Synchronization Track

If you are synchronizing Bars&Pipes Professional to a device such as a drum machine that creates its own tempo map, you can skip over this section. However, if you plan to synchronize Bars&Pipes Professional to an audio or video recorder with MIDI Clocks, you'll need to lay down a MIDI Clocks sync Track on tape first.

To lay down a sync Track, do the following:

If you need a Tempo Map for your Song, create it. This will be used to record the timing.

{{Note|text=Instant tempo changes do not work well with MIDI Clocks. Always slope your tempo changes somewhat to improve precision while syncing to MIDI Clocks.}}

Activate Send MIDI Clocks in the Timing menu.
Prepare your tape deck and/or your MIDI Clock interface.
Start recording with your tape deck as you start the Bars&Pipes Professional Sequencer.
When you finish, you should have a MIDI Clock stripe on your tape. All the timing information, include the Tempo Map is embedded in the strip. You can now use the tape to slave Bars&Pipes Professional to your audio or video production.

Synchronizing To MIDI Clocks

To synchronize with an external MIDI device that transmits MIDI Clock events, select the option Synchronize to MIDI Clocks in the Timing menu.

The Synchronize to MIDI Clocks command disables Bars&Pipes Professional's internal timer and slaves it to MIDI Clocks coming in the MIDI interface attached to your Amiga. The incoming MIDI messages determine both the Tempo and Song Position.

* TIP * To help the synchronization happen quickly and effortlessly, set the Tempo to a value reasonably close to intended Incoming Tempo prior to starting.

If you have more than one MIDI input device, you don't have to set MIDI Clocks to enter the device of your choice. All MIDI Input Tools automatically route MIDI Clock messages to Bars&Pipes Professional's timing mechanism.

However, be careful not to have MIDI Clocks coming in at the same time on multiple MIDI inputs. For instance, you would not want to receive MIDI Clocks on the One-Stop Music Shop's MIDI In at the same time as on the standard serial MIDI interface's MIDI In.

Start from your MIDI Clock source, e.g. a drum machine or tape deck. Bars&Pipes Professional automatically jumps to the proper location and plays. You can even record while synchronized. Just put the Transport Controls into Record mode, then start from the MIDI Clock source.

When Bars&Pipes Professional synchronizes with MIDI Clocks, it disables the Lead-In feature (no countdown before starting).

* TIP * Use MIDI Clock synchronization to dump a performance from another Sequencer into Bars&Pipes Professional. First, enable Bars&Pipes Professional's Multiple Ins Preference. This activates input on all Tracks on a channel by channel basis. Then, enable the Synchronize to MIDI Clocks option. Place all Tracks as well as the Transport Controls in Record Mode. Start the external Sequencer. Bars&Pipes Professional locks to the external Sequencer and records the entire performance on up to sixteen individual Tracks. Sometimes, for extra accuracy, it helps to record the transfer at a slow tempo.

SMPTE (MIDI Time Code)

If you require synchronization to an external device in real-time instead of music time, a second option, SMPTE time code, comes into play. SMPTE time code specifies the time in hours, minutes, seconds and frames, with no correlation to music time or tempo.

MIDI Time Code is a protocol for communicating SMPTE time via MIDI. MIDI Time Code events specify the time in hours, minutes, seconds, and frames. By listening to MIDI Time Code, Bars&Pipes Professional can ascertain where in the sequenced piece it currently is. Use MIDI Time Code to synchronize with video hardware, as well as audio and video tape recorders.

To use Time Code with music, create a Tempo Map within Bars&Pipes Professional to specify the music tempo at different points in time. Then assign the desired SMPTE Offset in hours, minutes, seconds, and frames. In this manner, Bars&Pipes Professional's Tempo Map and SMPTE Offset combine to translate real-time into music time.

Bars&Pipes Professional supports SMPTE in two ways: through menu options and Accessories. In the Main menu, the Timing menu options SMPTE Format.., and SMPTE Offset.., allow you to set these two aspects of SMPTE (more on these below.)

The MTC Accessory allows synchronization to most SMPTE boxes. The SyncPro Accessory interfaces directly with Blue Ribbon's SyncPro sync box. (Please see the Accessories chapter for more details)

SMPTE Sync Options

The following SMPTE synchronization options can be found in the Timing menu:

SMPTE Format...
When using MIDI Time Code, set the SMPTE format in the SMPTE Format... option. This option determines how many frames per second (FPS) Bars&Pipes Professional displays in SMPTE time.

{{Note|text=If you are synchronizing to an external SMPTE source, it automatically sets the SMPTE format. Under such circumstances there is no need to set the format.}}

Four SMPTE frame rates are available:

24 FPS - This is the standard frame rate used with motion picture film.
25 FPS - This is the standard frame rate used with European television, video, and film.
30 FPS (Drop Frame) - This is the standard frame rate for American color video today. The frame rate for color video is actually 29.97 FPS. If you use Non-Drop Frame, at the end of one hour, there will be 108 frames less than expected. Drop Frame corrects this deficiency by systematically dropping 108 frames per hour, so that at the end of an hour, the total number of frames will still be 108 frames short, but the frame numbers will be correct. However, Drop Frame should only be used when necessary because of the inaccuracies caused by the dropped frame.
30 FPS (Non-Drop Frame) - This is the standard frame rate for black and white television.
SMPTE Offset...
If you synchronize your music to SMPTE, your music rarely begins at the time 0:0:0.0. Instead, the beginning is most likely between a few seconds to several hours later. If you are scoring a film or video, each composition certainly starts at a different point in SMPTE time.

To adjust the SMPTE Offset, open the SMPTE Offset requester by selecting SMPTE Offset... in the Timing menu. Enter the Song's starting time in SMPTE format; Hours, Minutes, Seconds, and Frames. Bars&Pipes Professional plays your music when the SMPTE source, perhaps a video recorder or multi-track recorder, reaches this point in SMPTE time. Click on Okay to accept your settings and Cancel, to abort them.

If you start the SMPTE source at a point after the SMPTE Offset, Bars&Pipes Professional automatically calculates the Song position based on the current SMPTE time, starting the Song somewhere in the middle.

Display SMPTE Offset
By default, Bars&Pipes Professional adds the SMPTE Offset to the Song time to display the SMPTE time; however, if you'd rather see the Song time without the SMPTE offset added, deselect Display SMPTE Offset in the Timing menu.

Syncing To SMPTE

In order to synchronize Bars&Pipes Professional to SMPTE, you'll need a SMPTE to MIDI Time Code converter such as SyncPro.

{{Note|text=Because we've designed synchronization in as an Accessory, Bars&Pipes Professional easily supports third party SMPTE synchronization boxes. In addition, the Accessory mechanism provides for synchronization with other software. Programs like Real 3D and Imagine currently control Bars&Pipes Professional as if they were SMPTE sources. Please see the Accessories drawer on your Bars&Pipes Professional distribution disks for more on these and other options.}}

Either the SyncPro or MTC Accessory should be loaded in the Accessory window. Please refer to the Accessories chapter for more information.

* TIP * Sometimes, Bars&Pipes Professional may not start exactly when the SMPTE time coming from your SMPTE Interface reaches the SMPTE Offset. As a result, the very first MIDI events may not play. To avoid this, place a blank measure at the beginning of each Song. An easy way to do this is set the Edit Flags in the Tracks window to encompass the first measure and select Insert from the Edit menu.
==Tempo Mapping==
Chapter 18

The Tempo Map Window

Use the Tempo Map window to create a series of tempo change commands to alter the pace of your music over time. Open the Tempo Map window by selecting Tempo Map from the Windows menu or click on the Tempo Map icon.

The Tempo Map window consists of eight control buttons and a graphic display of the Song tempo over time.

The Tempo Map Display

Most of the Tempo Map window features the Tempo Map graph. This graph displays the tempo on the vertical axis and the time in measures or SMPTE on the horizontal axis.

The graph shows constant tempo in blue, tempo changes in red, and the tempo at the end of each tempo change in blue.

Adjusting The Display

To display in SMPTE time, click on the SMPTE/Music Time button until it shows a film strip. The Tempo Map window redraws the tempo changes against a background of vertical lines at every one second interval.

{{Note|text=Once you've entered tempo changes, the spacing between the second markers stretch and shrink as the tempo slows and increases.}}

To display in music time, click until notes appear on the SMPTE/Music Time button. The Tempo Map window redraws the tempo changes against a background of vertical lines at every measure interval.

Click on the two Zoom buttons to change the range of the display. The Zoom In button with the large note magnifies the view for a detailed look, while the Zoom Out button pulls back for a better overview of your the tempo map.

Editing the Tempo Map

Creating A New Tempo Map

Select New from the Tempo Map menu to erase the current Tempo Map and create a new one. The starting tempo for the new Tempo Map is the same as the old one.

* TIP * The starting tempo Is the same tempo entered In any of the Transport Controls.

Entering A Tempo Change

Before entering a tempo change, decide what kind of tempo change you'd like from by clicking on the Curve button. It provides four choices:

Instant, a sudden tempo change
Linear, a change that progresses at a constant rate;
Exponential, a change that starts slowly, then accelerates.
Logarithmic, a change that starts quickly, then eases into the final tempo.
The Pencil, or function key "F1" inserts new tempo changes. Press and hold the mouse button down over the measure where you want the tempo change to begin. Drag up or down to the set the new tempo and to the right to determine the length of the change. Instant tempo changes have no length.

As you drag the mouse, the Tempo Map window displays a straight "rubber band" connecting the beginning and ending points of the tempo change. The Title bar of the Tempo Map window shows the endpoint of the tempo change in Song-time and the ending tempo.

When you reach the desired endpoint, release the mouse button.

Altering A Tempo Change

To numerically alter a tempo change, select the Magic Wand or press function key "F2". Then, click on the tempo change you'd like to edit. This opens the Edit tempo change requester.

The Edit tempo change requester displays seven parameters that describe the tempo change. The parameters are:

Starting Tempo
Enter the Starting Tempo in beats per minute. Each tempo change starts at one tempo, then accelerates or decelerates to a second tempo, the Ending Tempo. The Starting Tempo of each tempo change is the Ending Tempo of the previous tempo change. As a result, you need only edit one of these Tempos, not both.

Starting Time (M.B.C)
Each tempo change begins at a specific point in the Song. To edit this position in Song-time (Measures, Beats, and Clocks), click on the Starting Time (M.B.C) line and edit it.

Starting Time (H:M:S.F)
The second Starting Time parameter displays the Starting Time in Hours, Minutes, Seconds, and Frames. You can edit this parameter, but take note: if you edit a tempo change which precedes this tempo change, the Starting Time for this tempo change changes, because the amount of time in hours, minutes, seconds and frames required to reach this point has changed.

Accel/Rall Curve
The Accelerando/Rallentando Curve lets you change the tempo change Curve type from the four options described above: Instant, Linear, Logarithmic and Exponential.

Select a curve by clicking on the appropriate button.

Ending Time (M.R.C)
Unless a tempo change has an Instant curve, you must specify the duration of the tempo change curve. Enter the time in Song-time after the Ending Time (M.B.C): prompt. B&P Pro calculates a tempo change which occurs gradually between the starting and ending times.

Ending Time (H:M:S.F)
The second Ending Time parameter displays the tempo change ending time in Hours, Minutes, Seconds, and Frames. Edit this field to set the tempo curve ending in SMPTE time.

Ending Tempo
Enter the final Tempo in the Ending Tempo: field. The Song continues at this Tempo until the next tempo change occurs.

When you have finished editing the tempo change, click on Okay, to accept the changes, or Cancel, to leave the previous settings intact.

Moving A Tempo Change

The Hand (function key "F3") drags either the start or the end of the tempo change. To drag the start point, click with the mouse just after the start of the tempo change and drag. To drag the end point, click just after the end point and drag. Move the mouse up or down to change the tempo, and across to change the duration.

The Title bar of the Tempo Map window displays the end time and tempo of the tempo change as you drag it with the mouse.

Erasing A Tempo Change

The Eraser (function key "F5") deletes tempo changes. Click on any part of the red tempo change curve to delete it.

Deleting a tempo change also affects the next tempo change. For instance, the slope of the next tempo change is altered when the starting tempo changes.

Conforming A Section

Sometimes, you may need to create a tempo change that forces a section of music to fit exactly within a specific span of time. Do so with the Conform command in the Tempo Map menu.

When you select the Conform command, the Conform requester opens.

Fill in the following fields:

Starting Time
Enter the Starting Time of the portion you want to conform, in Song Time (M.B.C.) The requester automatically adjusts the starting SMPTE time.

Ending Time
Then, enter the Ending Time of the portion. This time you must enter both Music time in Measures, Beats, and Clocks, as well as SMPTE time, in Hours, Minutes, Seconds, and Frames.

Resulting Tempo
The requester then calculates the appropriate tempo change and places it in the Resulting Tempo field.

Conform
If you approve of the Resulting Tempo, click the Conform button to insert the tempo change into the Tempo Map.

Cancel
Otherwise, click Cancel to return to the Tempo Map or enter new Ending Time values to create a different Resulting Tempo.

* TIP * The Conform option is very useful for scoring to video.

Undoing A Mistake

The Undo option (right-Amiga U) in the Tempo Map menu cancels the last change to the Tempo Map.

Aborting All Changes

The Abort command in the Tempo Map menu restores the Tempo Map to the condition it was in before you opened the Tempo Map window.

Loading & Saving Tempo Maps

To load a Tempo Map from disk, select the Load command in the Tempo Map menu.

Select Save from the Tempo Map menu to save a Tempo Map to disk. Saving a Tempo Map makes it available for use with other Songs, or allows you to try out different Tempo Maps with the same Song.

Disabling Tempo Changes

If you need to disable tempo changes, open the Timing menu from the Tracks window and turn off the Synchronize to Tempo Map selection. Bars&Pipes Professional then uses the tempo you have set in the Transport Controls window to determine the Song tempo for the entire Song.

For more information, please refer to the previous chapter, Timing, Syncing, and Tempo.

==Advanced Sequencing==

Chapter 19

Overview

In Chapters 3 through 7, we learned the basics of multi-track recording and composition with Bars&Pipes Professional. Now it's time to jump back in and complete our exploration with some more advanced concepts.

Most of this chapter pertains to the Tracks window. The Tracks window is the central focus of multi-track sequencing in Bars&Pipes Professional. If it's not open now, open the Tracks window by double-clicking on its icon and close all other windows.

Groups

Sometimes it's nice to be able to grab a collection of Tracks at once and perform an operation on them as a whole. For example, you might want to isolate all of your string Tracks and Toolize them together. Or, you might want to mute everything but the percussion Tracks so you can hear them out of context.

Use Bars&Pipes Professionals Groups mechanism to organize the Tracks that comprise your Song into Groups. A Group is a collection of Tracks that can be accessed as a unit. When a Track belongs to a Group, it's called a member Track. With Groups, you can Mute or Solo several Tracks on playback, which helps you isolate parts of your Song, or Toolize several Tracks at once, or execute many of the operations found in the Edit menu. You can create as many as eight Groups.

The Group buttons at the top of the Tracks window organize and control access to the Groups.

The numbered buttons, the Group Selectors, represent each of the eight Groups. Click on a Group Selector to activate its Group. Click again to deactivate. Use the Group button, to the right, when creating or changing the members of a Group.

Creating Groups

To create a Group, enter into Group Edit mode by clicking on the Group Button. Then click on one of the Group Selectors.

Click on all of the Tracks that you want to belong to the Group. Notice that each Member Track is drawn highlighted. Click a second time on a Track to remove it from the Group. Click on the Group Button again to deactivate Group Edit mode.

From now on, whenever you activate the particular Group Selector, your defined Group is selected.

Editing A Group

You can reorganize a Group at any time.

To enter into Group Edit mode, depress the Group button and the Group Selector button for the Group you'd like to change. While the Group button remains active, you may toggle Tracks in and out of the Group by clicking on them. When you're done, click on the Group button to deactivate Group Edit mode.

* TIP * You can place a Track in several Groups at once. This can be very useful.

Creating A Temporary Group

Often, it's useful to quickly create a temporary Group, especially when used in conjunction with the Group menu (discussed later in this chapter.) To create a temporary Group, hold down a shift key on the Amiga keyboard and click on several Tracks. Each Track that you click on becomes a member of the temporary Group.

Once you finish working with the temporary Group, deselect it by clicking once on any Track.

Group Mode

Clicking on one of the Group selector buttons places you in Group mode. In Group mode, the Track menu becomes the Group menu, and operates on every Track in the Group (see the Track and Group menus later in this chapter.)

Group Mode And The Graphic Editor

Groups allow you to view a Track of music in the Graphic Editor's Hybrid Staff and Piano Roll with other Tracks in the background. This useful feature allows you to compare the timing of notes on one Track with the timing of notes on another.

First, create or select a Group. Once in Group mode, open the Graphic Editor for a member Track of the Group. The notes of the other Tracks in the Group display as grey background notes. You cannot directly edit these notes.

When you open more than one Graphic Edit window simultaneously and both Tracks are members of the same Group, the notes in the foreground of one Edit window appear in the background of the second Edit window, and vice versa.

{{Note|text=Editing notes in one of these windows does not automatically update the background of the other window. The background notes of the other window updates only after the first window closes or updates the Track with the Update command Then, the second window's background notes update upon the next window refresh of the second window.}}

Soloing and Muting

The Solo button is the leftmost button at the top of the Tracks window. The Solo button controls the Solo and Mute state of the currently selected Track or Group. Click on Solo once to solo the highlighted Track or Group. Click again to mute the Track or Group. Click one more time to return the Track or Group to its normal state.

Soloing A Track Or Group

Sometimes, you may want to hear only one Track or Group at a time. Click on the Solo button to isolate the selected Track or Group. This command mutes all remaining Tracks. Notice that their Mute/Thru/Play Only faucets switch to the Mute settings.

Muting A Track Or Group

It can also be useful to mute the selected Track or Group. Click a second time on the Solo button and the selected Track or Group becomes mute, while all other Tracks turn on. The selected Track or Group's Mute/Thru/Play Only faucets switch to the Mute setting while the remaining Tracks' faucets return to their normal states.

Click on the Solo button a third time to return the Track or Group to Normal mode.

The Track Name Requester

Open the Track Name requester by double-clicking on its name in the far left of the Tracks window.

* TIP * You can also open the Track Name requester by selecting the Wand in the Song Construction or Media Madness windows and clicking on the Track name.

Use the Track Name requester to change the name, enter notes, and set the Real-Time property of each Track. The following features are found in the Track Name requester:

Name
Change the Track Name by editing the Name: field.

Notes
You may also enter a brief note about the Track in the Notes: field.

Real-time
The real-time button determines whether or not the Track is in real-time or Song-time mode. By default, Tracks operate in Song-time mode. In Song-time mode, increasing the Song's tempo causes notes to play faster. Each note plays on a particular measure, beat and clock, not at an absolute hour, minute and second.

In some cases, however, certain events must happen at times independent of the Song's tempo, such as sound effects in a film score. The sound effects must synchronize with their real-time screen counterparts. Such a situation calls for real-time mode. To lock a Track into real-time mode, click on the real-time button. Thereafter, each note plays at an absolute hour, minute, and second, independent of the selected tempo.

Since tempo changes cannot affect the timing of events in real-time Tracks, they change the position of the events in the Tracks instead. For example, if an event occurs at measure 2 in a real-time Track, doubling up the tempo should make that event play twice as soon. To avoid that, the event shifts further down to measure 3, to effectively play at the exact same time in seconds and frames.

Real-time Track names appear purple instead of blue in the Tracks window. They still highlight as a red color.

Okay & Cancel
Click on the Okay button to accept the changes, or click on Cancel to ignore them.

Rearranging Tracks

You can rearrange the list of Tracks any way you like. To do so, use the two arrow buttons that are to the right of the Group button.

The Track Up button, on top, moves the highlighted Track up one in the list. The Track Down button, on bottom, moves it down one.

Double-click on the Track Up or Track Down button to jump the selected Track to the top or bottom of the display, respectively.

The Track Menu

The Track menu, accessed from the Tracks, Song Construction, and Media Madness windows, contains operations that primarily apply to the currently selected Track in the Tracks display.

If a Group is currently selected, the Track menu becomes the Group menu. Many of the commands in the Track menu change to accommodate multiple Tracks instead of one. Notice that when an individual Track is highlighted, the menu items Load Group, Share Input, and Gather Group are disabled in the Track menu. These options exist purely for the Group menu.

Before using the Track menu, be sure to select the Track of your choice by clicking on it. The following commands are found in the Track menu:

New
The New command creates a new Track. If a Track is highlighted, the New command creates a new Track directly underneath the highlighted Track. Otherwise, it places the new Track at the bottom of all of the Tracks.

The new Track has, by default, standard MIDI In and MIDI Out Tools (if they are in the ToolBox.)

Alternatively, if you've prepared a default Track and saved it with the Save As Default command, New loads the default Track and installs it.

The new Track is automatically highlighted and its Input Arrow activated.

Copy
The Copy command creates a duplicate of the selected Track and places it directly beneath the selected Track.

Merge...
The Merge command mixes the contents of two Tracks together, placing the results in the second Track.

To use the Merge command, select the first Track, then pick the Merge command.

Notice that the Title bar of the Tracks window displays the command, Select the Merge Track:. Click on the second Track to merge the Tracks, or click on the background of the screen to abort the Merge operation.

Bars&Pipes Professional adds the events from the first Track into the second Track, leaving the first Track as it was originally.

Delete
The Delete command removes the selected Track. A requester verifies the operation. Use Delete with care. Once you delete a Track, you cannot bring it back.

Load Track...
The Load Track... command loads a Track from disk. When you select this command, the file requester opens. Use it to select a Track for loading. Of course, in order to use the Load Track command, you must have a previously saved Track to load.

Load Group...
The Load Group... command is only available when in Group mode. To enter into Group mode, select one of the Group buttons, or hold down a shift key while clicking on multiple Tracks. Please see the Load Group command in the next section, The Group menu, below.

Save Track...
The Save Track... command saves the selected Track to disk. The file requester opens. Use it to select or create a file in which to save your Track.

Save As Default
The Save As Default command saves the selected Track to disk as "New.Track" in the Bars&Pipes Professional directory. Once you've saved a default Track, the New command loads this Track instead of creating a standard blank Track with standard MIDI In and Out Tools.

* TIP * If you're working with MIDI connectors other than the standard MIDI In and Out, create a blank Track, install the MIDI Tools of your choice (for example, the One-Stop Music Shop's,) place any additional Tools that you'd usually add to your PipeLines (Quantize, General MIDI, etch) and save the Track with the Save As Default command. From then on, when you select the New command, the previously prepared Track loads.

Erase
The Erase command erases the Track, emptying it of its contents. The Track itself is not deleted, just erased. The Erase command leave Tools in the PipeLines unharmed.

Toolize
The Toolize command processes all notes in the currently selected Track with the currently selected Tool in the ToolPad. Please see Chapter 7, Tools, for more information.

{{Note|text=This command is ghosted if there is no active Tool in the ToolPad.}}

Time-Shift...
The Time-Shift... command moves everything in the selected Track forward or backward in time. When you select the command, Bars&Pipes Professional opens the Time Shift requester.

Enter the shift distance in measures, beats and clocks after the Shift: prompt. For example, "0.01.0" moves the time by zero measures, one beat, and no clocks. Click on the Forward button to move the music forward in time. Click on the Backward button to move the music backward in time.

{{Note|text=Be careful time-shifting backwards. Notes at the beginning of the Track collect at the very beginning because they can't have negative performance times.}}

Click Okay to confirm or Cancel to leave the Track unchanged.

Propagate
The Propagate command in conjunction with the A-B-A feature of the Song Construction window, copies changes made to the first instance of each section to all other instances of those sections (for the selected Track only).

{{Note|text=This command is ghosted if the A-B-A feature has not been utilized.}}

Please see Chapter 21, Song Construction, for more information.

Print...
The Print command opens the print requester to print the Track. (Please see Chapter 11, Printing Notation.)

{{Note|text=Before Printing a Track, you should set up the Notation parameters by first opening the Graphic Editor for the Track.}}

The Group Menu

The Group menu is active when the Tracks window is in Group mode. To enter Group mode, click on one of the Group buttons or hold down a shift key while clicking on multiple Tracks.

Notice that the menu items Copy and Merge are disabled in the Group menu. They are only active in the Track menu.

Although you can only create Groups from the Tracks window, the Group menu is also available from the Song Construction and Media Madness windows, in case you need to use the Group editing features.

The following commands are found in the Group menu:

New
The New command creates a new Track and places it in the Group. The new Track receives standard MIDI In and Out Tools.

Delete
The Delete command removes the Group as a whole. Use this command with care! A requester asks you to verify the command.

Load Track...
The Load Track... command loads a Track from disk and places it in the Group.

Load Group...
The Load Group... command loads a Group from disk and adds it to the currently selected Group.

Save Group...
The Save Group... command saves the member Tracks of a Group to disk.

{{Note|text=You can reload the Group into a different Group number with the Load Group command.}}

Erase
The Erase command deletes all events in the Group. The Erase command does note delete the Tracks in the Group, just their contents.

Toolize
The Toolize command takes the currently selected Tool in the ToolPad and applies it to every event in each Track member of the Group.

{{Note|text=This command is ghosted if there is no Tool selected in the ToolPad.}}

Time-Shift...
The Time-Shift command offsets the timing of the Group by a specified amount. Please see the Time-Shift command in the Track menu for more information.

Propagate
In conjunction with the Song Construction window's A-B-A feature, the Propagate command copies changes to the first instance of each section to all other instances of those sections for the entire Group. This command is ghosted if the A-B-A feature has not been utilized.

Share Input
The Share Input command connects the PipeLines of all Tracks in the Group so that any input to the top Track goes to the other Tracks as well. The Share Input command uses the Merge In and Branch Out Tools to accomplish this, so make sure they are installed in the ToolBox for this command to function.

Gather Group
The Gather Group command reorganizes the Tracks window display so that all the Tracks in the selected Group are adjacent to each other.

Print...
The Print command prints only the Tracks in the selected Group. (Please see Chapter 11, Printing Notation). Before Printing, be sure to set up the notation in each Track by opening each Track's Graphic Editor first.

The Master Time Signature

The Tracks window displays measure numbers and Time Signature Changes in the Flag Strip, directly above the Sequence display in the Tracks window.

The Tracks window displays each measure number unless a Time Signature Change occurs, in which case it displays the new Time Signature instead. These Time Signature Changes are the same Time Signature Changes accessed in the Master Parameters window.

Since each Track can have its own Time Signature, it is possible that some Tracks in your Song do not line up exactly with the Global Time Signatures.

{{Note|text=From within the Graphic Edit windows of these Tracks, you can use the Export and Import commands from the Master Parameters menu to exchange Time Signatures between Tracks and the Master Parameters Time Signatures.}}

To insert, remove, or change a Time Signature, double-click on the measure with which you want to work. The Time Signature requester opens.

Selecting A Time Signature

Bars&Pipes Professional provides six standard Time Signatures, as well as a method to define custom Time Signatures The six buttons across the top of this requester feature the pre-defined Time Signatures. Click on your preference to select it.

If you don't find one that meets your needs, create your own by first typing the values for the Time Signature after the Other: prompt. Then click on Other to select it.

{{Note|text=It is important that you first enter the values, and then click on the Other button to activate it. Clicking the Other button first, and then typing in the values won't work.}}

Placing The Time Signature On A Specific Measure

By default, Bars&Pipes Professional displays the measure in which the Time Signature change occurs after the "Signature begins on measure:" prompt. Change the measure by editing this number.

Adding A Time Signature

Adding: To add a Time Signature change, select the Time Signature and click on Okay to accept it.

Removing A Time Signature

Removing: To remove a Time Signature change, enter the Time Signature requester by double-clicking on the Time Signature you'd like to remove; click on the No Signature Change button; then select Okay.

Changing A Time Signature

Changing: To alter an existing Time Signature change, double-click on the Time Signature displayed above the Sequencer; then select a new Time Signature.

You can alter when a Time Signature change occurs by editing the measure number after the Signature Begins on Measure: prompt. Once you change the Time Signature to your liking, click on Okay to accept the change, or Cancel, to disregard it.

Selecting The Previous Or Next Time Signature Change

To go to the previous Time Signature change, click on the left arrow button in the Time Signature requester. The arrow finds the Time Signature prior to the one you are viewing and displays it, so that you can edit it. The right arrow button scans forward to the next Time Signature change.

Automatic Removal Of Identical Time Signatures

If you create two adjacent, identical Time Signatures, Bars&Pipes Professional removes the second one. To illustrate, if you have 6/8 on measure 5, then place 6/8 on measure 4, Bars&Pipes Professional discards the 6/8 on measure 5.
==Multi-Track Editing==
Chapter 20

Introduction

Although Bars&Pipes Professional includes sophisticated Graphic and List Editors, you can also perform many editing functions from the Tracks window. In particular, you can Cut, Copy, and Paste individual Tracks, or perform these functions globally on all Tracks. These operations involve the Edit Flags, Edit menu, and ClipBoard.

In addition to the Tracks window, you can also perform multi-track edits from the Song Construction and Media Madness windows. For our examples, however, we will concentrate on the Tracks window.

Clip Editing

All Edit menu operations use "Clips", which store and retrieve edited information. A Clip stores a section of music containing one or more Tracks. A Clip Buffer is a place in your computer's memory that stores a Clip.

The Track Clip Buffers

Each Track has its own Clip Buffer that stores a single Clip. The Cut and Copy commands replace the previous contents of the Track's Clip Buffer with the new Clip; the Paste and Mix commands copy the contents of the Clip Buffer to the Track.

The ClipBoard

Unlike an individual Tracks Clip Buffer, the ClipBoard allows you to work with multiple Cliresents you with filtering options. The Cut and Copy commands add a new Clip to the ClipBoard; the Paste and Mix commands copy the selected Clip to the Tracks. To use the ClipBoard instead of the Clip Buffer, open the ClipBoard by selecting the Windows menu or double-clicking on the Clip Board icon. While the ClipBoard is open, Clips are sent to it instead of the Track's Clip Buffers.

The Edit Window Clip Buffers

Although you don't use the Graphic and List Editor windows when editing multiple Tracks, it's important to understand their usage of Clip buffers:

Like a Track, each Edit window maintains its own Clip Buffer. All Cut and Paste commands in the Editor's Edit menu use this Clip Buffer when the ClipBoard window is not open. When the ClipBoard window is open, the Edit window uses the ClipBoard, just as the multi-track editing operations do. This means that you can Cut and Paste between the Edit windows and individual Tracks in the Tracks, Media Madness, and Song Construction windows.

The Edit Flags

Use the Edit Flags to mark a section of music for editing. The Flags look like purple slanted triangles, and sit directly above the Track displays in the Tracks, Media Madness, and Song Construction windows.

Position these Flags to indicate where you want your edits to occur. The left Edit Flag, designated by a triangular flag with the mast on the right, identifies where an edit operation starts, while the right Edit Flag, designated by a triangular flag with the mast on the left, identifies where an edit operation ends.

Positioning The Edit Flags

To position a Flag, drag it with the mouse. If the desired position is not visible in the display, first scroll the display so that the desired position is visible, then drag the Flag into position.

Dragging a Flag all the way to the left tells Bars&Pipes Professional to place it at the very beginning of your Song or Track. Dragging it all the way to the right indicates that you want it placed at the end of the Song or Track.

* TIP * Notice that as you drag the Flag its position is shown in the LED displays in the Transport Controls Mini Transport and Tracks windows.

You can also position the Flags by entering exact values with the Set Flags Window. To enter exact values open the Set Flags Window from the Windows menu.

Enter the values in Measures, Beats, and Clocks, or, if the SMPTE/Music Time button is set to SMPTE, set the time in Hours, Minutes, Seconds, and Frames. Once you have entered a number, remember to press the Return key, which enters the new value and moves the Flag to its new position.

Flag Alignment

You can specify whether the Flag automatically aligns with Measures, Beats, Seconds, Frames, or Anywhere, by selecting the desired option from the Align with... command in the Preferences menu. If you select Align with Measures, the Edit Flag always sticks to the measure boundary just to the left of, or under, the place where you drag it. If you select Align with Beats, it sticks to the beat boundary. Seconds stick to seconds boundaries, Frames stick to SMPTE frame boundaries, and if you select Align with Anywhere, it stays exactly where you place it.

Alternatively, you can set the Alignment with the four Alignment buttons located in the Set Flags window. "->M<-" sets the alignment to Measures, "->B<-" sets the alignment to Beats, "->S<-" sets the alignment to Seconds, and "->F<-" sets the alignment to Frames. If no button is selected, the alignment is set to Anywhere.

{{Note|text=If you align the Edit Flags on measure boundaries, the Time Signature and Key & Scale/Mode Parameters will be incorporated in the edit. Otherwise, they will not.}}

Selecting Tracks to Edit

You can edit one Track, a Group of Tracks, or the entire Track list at once.

Editing One Track Only

To edit one Track only, select the Track, activate the Solo mode and choose the appropriate edit command. This is the only option available in the Graphic and List Editors.

Editing A Group Of Tracks

To edit an entire Group of Tracks, select that group with the Group Number button or make a temporary Group by shift-clicking several Tracks. Then solo the Group with the Solo button and choose the appropriate Edit command.

Editing All Tracks

To edit all Tracks, make sure the Normal/Solo/Mute button is in Normal mode, then mark off the desired area and use the appropriate edit command.

The Edit Operations

The Edit menu operations work in conjunction with the Edit Flags and the Normal/Solo/Mute button.

Once you have aligned the Edit Flags and set the Normal/Solo/Mute button, select the desired operation from the Edit menu. Once they've been executed, all of the Edit menu commands automatically turn off the Solo button (if selected), so that you can quickly listen to your changes.

The following shows the menu command followed by the hotkey in parenthesis.

Cut (Right Amiga - X)
The Cut command cuts a section from your Song or selected Track. Cut removes the section between the Edit Flags and shifts everything to the right of the section to the left Edit Flag. This is analogous to cutting out a section of tape physically and splicing the remaining ends together.

Use the Paste command to insert the Clip elsewhere in your Track, or the Mix command to merge the Clip with existing notes. Notice that the Solo button is automatically turned off, after the cut is made. If you plan to Paste into just one Track, you must reactivate the Solo button.

Copy (Right Amiga - C)
The Copy command copies a section, without actually removing it, for use with the Paste or Mix commands. Nothing visibly happens, but the section between the Edit Flags is now available for Pasting.

Paste (Right Amiga - P)
The Paste command inserts a cut or copied section into the Song or Track. It's not necessary to set the right Edit Flag, since the length of the inserted section is determined at the time it is cut or copied. For example, if you cut a four-measure section, the Paste command inserts those same four measures and moves everything to the right of the insertion by four measures.

You can do multiple Paste operations with the same Clip it does not change until you cut or coy another section of the Track.

{{Note|text=Remember to activate the Solo button before you Paste, if you intend to Paste into just one Track or Group.}}

Mix
The Mix commands merge a copied or cut section with the existing Song or Track. As with Paste, you need only set the Left Edit flag, unless you explicity wish to limit the pasted size with the Mix To Right Edit flag command. Unlike the Paste command, Mix does not increase the legth of the Track; rather it adds the notes to the notes already in the section.

Erase (Right Amiga - E)
The Erase command clears the section between the left and right Edit Flags. Erase removes all events and your Sequence is silent during this section. This is analogous to erasing a section of tape.

Insert (Right Amiga - I)
The Insert command inserts a blank space in your music. This command is useful when you want to add a section to your Song somewhere in the middle of it. Insert the section, then use whatever methods you prefer to fill the gap with music.

In other words, the section contained between the Edit Flags shifts to the right of the right Edit Flag, and the section between the edit flags is becomes empty.

Delete
To delete a section between the right and left Edit flags, use the Delete command. This command operates identically to the Cut command, but does not place the deleted section into the Clip buffer or ClipBoard.

{{Note|text=You can still use the Undo command.}}

Toolize (Right Amiga - T)
The Toolize command uses the currently selected Tool in the ToolPad to process the section marked off by the Edit Flags. This command is ghosted if there is no Tool in the ToolPad

Repeat (Right Amiga - R)
The Repeat command repeats a section of your Song one or more times. Repeat makes multiple copies of the section designated by the Edit Flags and inserts them in the Song.

When you select the Repeat command, a requester opens and asks you to specify the number of times to repeat.

{{Note|text=This is NOT the number of times that the section plays, but the number of times it repeats. Hence, selecting "1" repeats the section one time.}}

The repeated section appears immediately following the source section. Enter a number and select Okay to repeat, or Cancel, to abort.

Propagate (Right Amiga - A)
The Propagate command is the only Edit command used in association with the A-B-A feature of the Song Construction window. (Please see the Song Construction chapter.)

If you make a change to an A-B-A section and you'd like the change to be reflected in all other copies of that specific section, use the Propagate command in conjunction with the left Edit Flag.

To do so, place the left Edit Flag on or within the boundaries of the section to be propagated. Bars&Pipes Professional then rewrites all occurrences of that section to include the change.

For example, if you change some notes in the first instance of your "A" section, place the left Edit Flag within or on that section's boundaries and the Propagate command changes all other instances of your "A" section.

The Propagate command always uses the first instance of each section to make its changes; therefore, in order to use Propagate successfully, you must always edit the first section.

Undo (Right Amiga - U)
The Undo command returns your Song to its state prior to the last operation. In addition to undoing all of the commands in the Edit menu, it undoes other actions, including the last time you recorded.

Merging Groups Of Tracks Together

You can merge several Tracks into one Track in a single operation. This is useful for merging several Tracks of drums into a single drum track, or merging several Tracks recorded from different MIDI channels from a guitar controller into a single Track for tablature printing.

* TIP * In the latter case, where each guitar string is recorded on a separate Track, open the Graphic Editor for each track separately, and tabulate on the correct string for each track. Then, merge the Tracks together. The notes retain their original string assignments for accurate tablature transcriptions.

Example: Merging Several Tracks

Open the main Tracks window. Choose a blank, unused track to merge the tracks into. If you do not have a blank track, select New from the Track menu to create a new blank track.
Activate one of the Group button numbers (1-8) in the upper left corner of the Tracks window. This places Bars&Pipes in Group mode. If any tracks turn white, they are already members of this group, and you should choose a different number.
Activate the Group button (the button that says "Group" on it). This places you in Group Edit mode. Any Track you click on becomes a member of this new group.
Click on the tracks to merge together. Each track turns white to indicate it is a member of the group.
Deactivate the Group button, but leave the Group Number button active. This takes you out of Group edit mode and back into Group mode.
Choose the Group/Merge... menu command. "Select the Merge Track:" appears in the Track window's title bar.
Click on an empty Track. The Track fills with the merged contents of the group of tracks. The original group is left intact.
If desired, choose the Group/Remove menu command to remove all the original tracks from the song. Alternatively, you may wish to click on the solo/mute button until the group of tracks is muted, in case you ever wish to reuse the original group of tracks.
Deactivate the Group Number button to return to normal track editing mode.
* TIP * Optionally, use multiple selection to create a temporary group. To do so, hold down on the Shift key and click one by one on the Tracks that you would like to merge

Splitting A Drum Track Into Several Parts

There are times when you might wish to split a single track of multiple drum sounds into several tracks of single drum sounds. For instance, this might be useful if you wish to set an echo on the snare drum, but not the bass drum.

The Track/Split menu command provides the ability to split a Track into component parts in a single move.

* TIP * You can also accomplish similar and sometimes more intriguing results using different Tools from the variety of Tool Kits available.

Example: Splitting a drum track into component drum parts

Open the main Tracks window.
Click on the track that you wish to split.
Choose the Track/Split menu command. A requester will appear that tells you how many Tracks will be created if you choose to continue.
Choose Yes to split the track. The track splits into several Tracks, all having the same name and MIDI channel as the original track.

{{Note|text=You can reconstruct the original track by merging all split tracks back together. See above.}}

Clean Cuts

The Clean Cuts option in the Preferences menu controls how Bars&Pipes Professional treats notes that extend over Clip boundaries.

Without Clean Cuts, when Bars&Pipes Professional creates a Clip, it extracts all notes up to the right Edit Flag and leaves the note durations untouched. If a note near the end of the Clip has a duration that hangs over beyond the right edit Flag, it overlaps when pasted in elsewhere.

With Clean Cuts enabled, Bars&Pipes Professional chops notes that overlap the start and end of the Clip into two notes apiece. And, when pasting, if two identical notes butt up to each other on the Clip boundary, it merges them into one.

{{Note|text=The Clean Cuts option also controls how notes cut and merge when Punching in and Out during recording.}}

The ClipBoard

The ClipBoard provides a convenient way to move music Clips from one Track or Group of Tracks to another. It also allows you to filter out events and Song parameters while you cut and paste. And, it provides a convenient storage spot to post Clips that you'd like to use later. You can even load and save Clips to disk.

Accessing The Clipboard

Use the ClipBoard with the Track, Song Construction, Media Madness, and any Edit window. To open the ClipBoard, double-click on its icon along the right side of the screen (the icon that looks like a Clipboard), or select ClipBoard from the Windows menu.

The ClipBoard window controls the use of the ClipBoard. Whenever the window is open, Clips are automatically sent to it, rather than the associated Clip Buffer. As long as the ClipBoard window remains open, all Clip edit operations in all windows pass their Clips through the ClipBoard.

The ClipBoard window displays the list of Clips, with the currently selected Clip highlighted. Each Clip in the list displays its name, the number of Tracks in the Clip, and the length of the Clip in Song-time.

{{Note|text=If the number of Tracks is denoted as a capital S, this means that the Clip is for a single Track only.}}

The ClipBoard Commands

To select a Clip, click on its name in the list. The Clip highlights and its name displays after the Clip Name: prompt. Use the scroll bar and arrows to scroll the Clip list up or down.

The following features are found in the ClipBoard window:

Clip Name
To change the name of the selected Clip, enter the new name after the Clip Name: prompt.

{{Note|text=By default, Bars&Pipes Professional assigns names in the form "Clip #<number>".}}

Clear
To remove a Clip, select the Clip, and then select the Clear button.

Load Clip
To load a previously saved Clip, use the Load Clip command from the File menu.

Save Clip
To save the selected Clip to disk, use the Save Clip command from the File menu. Once the file requester opens, select or enter a file name and click on Save.

Clear all Clips
To delete the entire list of Clips, select the Clear All Clips command from the File menu.

Editing with the ClipBoard

When you enable the ClipBoard, the four Edit menu commands, Cut, Copy, Paste, and Mix pass Clips to and from the ClipBoard. To Cut, Copy, Paste, or Mix an individual Track or Group of Tracks instead of all Tracks, click on the Solo button before selecting the specific edit command.

{{Note|text=When you Cut or Copy all Tracks into the ClipBoard, it displays a Clip size one greater than the number of Tracks. This happens because it also includes the hidden Master Parameters Track.}}

Edit Menu Commands And The Clipboard

Here is how each edit command behaves in conjunction with the ClipBoard:

Cut (Right Amiga - X)
The Cut command removes the section between the Edit Flags and places it in the ClipBoard. Notice that the new Clip is highlighted.

Copy (Right Amiga - C)
The Copy command duplicates the section between the Edit Flags and places it, highlighted, in the ClipBoard. The source Track(s) remains unchanged.

Paste (Right Amiga- P)
The Paste command inserts the selected (highlighted) Clip at the point marked by the left Edit Flag. The Clip remains in the ClipBoard, so that you can make multiple pastes.

You can control which Parameters and Event types you paste with the Include menu. (See below.) You can also control which Tracks receive pasted Clips. (See below.)

Mix
The Mix commands merge the selected Clip into the target Track(s). This command excludes Parameters from the mix. You can, however, choose which MIDI Events to mix with the Include menu.

There are times when you may cut or copy a clip from one Track and wish to mix (e.g. Merge) its contents into another Track.

{{Note|text=When you past a clip into a Track, it actually inserts the clip into the Track, moving the contents of the Track to the right to make room for the clip. If you mix the clip into the Track instead, it does not move the Track's original contents to the right.}}

Example: Mixing the contents of measures 5-8 of one track into measures 10-13 of another:

Open the Main Track window.
Click on the Track to copy the clip from. The Track highlights in white.
Set the Left Edit flag at the beginning of measure 5.
Set the Right Edit flag at the beginning of measure 9.
Click on the Solo button in the upper left hand corner of the Tracks window. All Tracks except the highlighted one become muted.

{{Note|text=This causes the next Edit operation to work only on the soloed Track.}}

Choose the Edit/Copy menu command. If it is not already open, the Clipboard window opens and displays the new clip. It highlight the new clip in red, and it displays the name after the Clip Name: prompt. The name in the list appears with an "S", signifying a single Track, and "0003.00.00", signifying a length of 3 measures, no beats, and no clocks.
Click on the destination Track. It highlights in white.
Once again, click on the solo button to solo the Track.
Move the Left Efit flag to the beginning of measure 10. It does not matter where the Right Edit flag is.
Choose the Edit/Mix To End Of Clip menu command. The entire contents of the clip are mixed into the track.
The menu option Edit/Mix To Right Edit Flag work similarly to the Mix To End Of Clip command, except that it stops mixing the clip when it reaches the Right Edit flag.

For instance, if the Right Edit flag had been set at the beginning of measure 11 in the above example, only the first measure of the clip would have been mixed into the Track.

Cutting From One Track And Pasting Into Another

If you want to Cut and Paste from one Track to another, you must use the Solo button before each command. When the Solo button is used in conjunction with an editing command, the ClipBoard automatically opens if it is not already open.

To Cut from one Track and paste into another:

Highlight the Track you want to Cut (or Copy) from.
Set the Edit flags around the area you want to Cut (or Copy).
Click on the Solo button.
Select the Cut (or Copy) command from the Edit menu.
Highlight the Track you want to Paste (or Mix) into.
Set the left Edit flag to the position you would like to Paste (or Mix).
Click on the Solo button.
Make certain that the correct Clip is highlighted in the ClipBoard.
Select the Paste (or Mix) command from the Edit menu.
* TIP * Another easy way to Cut and Paste from one Track to another is to use the Song Construction window. Please refer to that chapter for more information.

Filtering Clips With The Clipboard

The Include menu is available only when you have selected the ClipBoard window. This menu allows you to select specific Song Parameters and MIDI Events which will be included in the pasting or mixing.

By default, the Include menu includes everything but System Exclusive events. Omit those you don't want by clicking on the particular items in the menu.

{{Note|text=During a Mix operation, only MIDI Events are included, and not Parameters.}}

Multi-Track Clip Alignment

Clips can contain portions of several Tracks. Depending upon whether you're working with one Song or several, you may want to paste multiple Tracks differently. The Align Clips... selection in the Preferences menu gives you two ways to paste multi-track Clips.

When you select By Name, Bars&Pipes Professional pastes multi-track Clips into Tracks with the same names as the Tracks from which the Clips were cut or copied. This method is very useful for moving Clips between Songs, since you do not need to enforce a particular Track order for all of your Songs. Bars&Pipes Professional pastes only the Tracks that have matching names in the Song; other Tracks are not pasted, but do remain in the Clip.

When you select By Position, Bars&Pipes Professional pastes multi-track Clips into the selected Track, and Tracks below, until all Tracks are pasted. This method is useful for moving Clips between Tracks in the same Song, or between Songs without regard to Track names. Pasting "wraps around" from bottom to top, if necessary. For example, if you paste starting three Tracks from the bottom and five Tracks are in the Clip, Bars&Pipes Professional pastes the last two Clip Tracks in the top two Tracks of the Song.
==Song Construction==
Chapter 21

Overview

The Song Construction window provides powerful arrangement functions. You can insert, delete, or move any block of measures, as well as create and edit selected measures.

The Song Construction window also supports powerful A-B-A lists, which give you the option of locking measures to sections and rearranging your Song by rearranging the sections. The A-B-A sections also allow you to loop, or repeat, several measures in several tracks over and over a specified number of times.

Access the Song Construction window by choosing the Song Construction option in the Main menu's Windows menu, or double-click on the Song Construction window's icon.

The Song Construction Window

There are four major parts to the Song Construction window:

The Track Display, the Track Names, the Edit Flags, the A-B-A Strip, and the Command Buttons.

The Track Display

Most of the Song Construction Window features the Track Display. The Track Display shows your Tracks as a series of small measure boxes. Each box represents a measure in a Track. White boxes contain at least one note. Grey boxes contain none. Boxes may change color during moves, deletions, or editing operations.

{{Note|text=If a note spans more than one measure, the second measure's box also displays white, indicating musical activity in that measure.}}

Above the Tracks are the measure numbers; these numbers give you an idea of where you are in your Song. If you have time signature changes in your music, the measure boxes can be different sizes. Track names display to the left.

In conjunction with the Control Buttons (see below) you can perform the following operations in the Tracks Display:

Insert a measure with the Pencil.
Open the Edit window for a measure with the Magic Wand.
Move a measure from left to right within a Track, or even up and down across Tracks, with the Hand.
Duplicate a measure with the Duplicator.
Erase a measure with the Eraser.
Toolize a measure with the ToolPad. The mouse icon tums into a Wrench when this button is selected.
The Right Mouse button cancels dragging, copying, and wanding operations. For example, if you are dragging a group of measures that you surrounded with the bounding box, clicking the Right Mouse Button returns them to their original location.

The Track Names

The Track Names on the left also respond to several of the editing modes. You can:

Create and insert a new Track by clicking in the Track Name area with the Pencil.
Modify a Track name by clicking on it with the Magic Wand, or double-clicking with the Saxophone/Default pointer.
Move a Track up and down relative to the other Tracks with the Hand.
Duplicate a Track by clicking on its Track name with the Duplicator.
Erase a Track by clicking on its Track name with the Eraser.
The Edit Flags

The Song Construction window displays just the two Edit Flags. These are in fact the same as the Edit Flags in the Tracks window. Drag these to set edit boundaries and the same flags in the Tracks window and Media Madness windows follow to the new positions.

The A-B-A Strip

The narrow strip located between the Command Buttons and the Edit Flags contains the current A-B-A sections. This area is called the A-B-A Strip. When you open the Song Construction window for the first time, the A-B-A Strip is completely blank.

A-B-A sections can be named "A", "B", "C", etc. You can also assign more specific names such as "Verse", "Chorus", "Refrain", "Bridge", and "Finale".

Bars&Pipes Professional automatically numbers each section in the order it appears in the A-B-A strip, and assigns different colors to each type of section so that, at a glance, you can see transitions between sections.

You can perform the following editing operations in the A-B-A Strip:

Create and insert a new A-B-A section with the Pencil.
Modify an existing A-B-A section's name, length or number of repeats with the Magic Wand.
Move an A-B-A section with the hand.
Duplicate an A-B-A section with the Duplicator.
Erase an A-B-A section with the Eraser.
Toolize an A-B-A section with the Wrench. Click on the ToolPad in the Song Construction window to access the Wrench

{{Note|text=The actual measures beneath the A-B-A sections are not changed in any way by modifying the A-B-A sections, until the Lock to A-B-A button is selected (please see below).}}

The Control Buttons

The Pencil

Use the Pencil (Fl key) to:

Create and insert a new Track by clicking in the Track Names area.
Insert a blank measure by clicking in the Track Display area.
Create and insert a new A-B-A section by clicking in the A-B-A Strip.
The Magic Wand

Use the Magic Wand (F2 key) to:

Rename a Track name by clicking on the Track name in the Track Names area.
Open the Edit window for a Track at a selected measure by clicking on the measure in the Track Display area.
Modify the name and length of an A-B-A section by clicking on the A-B-A section in the A-B-A Strip.
The Hand

Use the Hand (F3 key) to:

Move a Track up and down relative to other Tracks by clicking and dragging a Track's name in the Track Names area.
Move a measure in the same Track, or across Tracks, by clicking and dragging in the Track Display area. Use the Hand in conjunction with the Bounding Box to move a group of measures
Move an A-B-A section forward or backward by clicking and dragging. The measures beneath the A-B-A section are moved only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker moves.
The Duplicator

Use the Duplicator (F4 key) to:

Duplicate a Track by clicking on the Track's name in the Track Names area.
Duplicate a measure by clicking and dragging the measure in the Track Display area. Use the Duplicator in conjunction with the Bounding Box to duplicate a group of measures
Duplicate an A-B-A section by clicking and dragging in the A-B-A Strip. The measures beneath the A-B-A section are duplicated only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker is duplicated.
The Eraser

Use the Eraser (F5 key) to:

Erase a Track by clicking on the Track's name. A requester asks you to confirm your decision.

{{Note|text=You cannot unerase once you've used the Eraser.}}

Erase a measure by clicking on the measure in the Track Display area. Use the Eraser in conjunction with the Bounding Box to erase a group of measures.
Erase an A-B-A section by clicking on the section in the A-B-A Strip. The measures beneath the A-B-A section are erased only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker is erased.
The ToolPad

Clicking on the ToolPad causes the mouse pointer to turn into a Wrench. Use the Wrench to:

Toolize a measure by clicking on the measure in the Track Display area. Use the Wrench in conjunction with the Bounding Box to Toolize a group of measures
Toolize an A-B-A section by clicking on the section in the A-B-A Strip. This only works if the Lock to A-B-A button is depressed
The Bounding Box

Use the Bounding Box (F6 key) to edit groups of measures in the Track Display area in conjunction with the Hand, Duplicator, Eraser, and ToolPad.

The Lock To A-B-A Button

Activate the Lock to A-B-A button when you want to have changes made to the A-B-A sections in the A-B-A Strip to also affect the measures beneath the Strip

Deactivate the Lock to A-B-A button when you just want to affect the A-B-A sections themselves without affecting the measures beneath.

The Zoom In And Zoom Out Buttons

The Zoom In button is the large note button. Click on it to enlarge the display by one step. This gives you finer control, but shows fewer measures.

The Zoom Out button is the small note button. Click on it to reduce the display by one step. This allows more measures to be displayed, at the loss of fine editing control.

A-B-A Section Editing

Not only are A-B-A sections useful for labeling your music, they can also be used to physically rearrange your music, or repeat sectons.

By using the Lock to A-B-A button. you can reposition, copy, add and/or delete labeled sections of music. You can also make changes to the first occurrence of each labeled section and propagate those changes throughout your Song.

{{Note|text=Propagate, in this context, means to copy the changes made in the first occurrence of a section to all other occurrences of that particular section within your Song.}}

Arranging Your Composition

When setting up your A-B-A layout, remember to deselect the Lock to A-B-A button in the Song Construction window. This ensures that Bars&Pipes Professional will not rearrange your music as you rearrange the section labels. Use the Pencil to create new sections, the Duplicator to copy them, and the Wand and hand to change and move them.

Once you've set up the A-B-A sections, enable the "Lock to A-B-A" button. Then, rearrange your Song by simply dragging, duplicating, erasing, and inserting sections. As you do so, the music undemeath follows the lead of the section markers.

Propagating Changes

Bars&Pipes Professional automatically copies changes made to a section to all other identically named sections with the Propagate command. For example, if you edit section "A" and then execute the Propagate command, Bars&Pipes Professional inserts the changes in all other sections named "A."

The Propagate command appears in three separate menus: the Song menu, the Track (or Group) menu, and the Edit menu, all of which can be accessed from the Tracks and Song Construction window. The Propagate command behaves differently in each menu.

In the Song menu, the Propagate command copies changes made to the first instance of each section to all other instances of those sections throughout your Song.
In the Track menu, the Propagate command copies the first instance of each section to all other instances of those sections, for the selected Track only.

{{Note|text=When you have a Group selected, the Track menu becomes the Group menu. In this case, the Propagate command, working on the Group as a whole, copies changes made to the first instance of each section to all other instances of those sections within the Group.}}

In the Edit menu, the Propagate command copies changes made to the first instance of a specific section to all other instances of that section. Mark the section by dragging the left Edit Flag on or within its boundaries. The Propagate command works on the section that contains the left Edit Flag; don't forget to set it.
In all cases, the Propagate command copies to all other instances of that section, only the changes made to the first occurrence of each section. You must make your changes to the first of each section in order to use Propagate.

{{Note|title=Remember|text=For Propagate to work, identical sections must retain identical names. If you rename a section, it automatically becomes independent of all sections with its previous label.}}

An A-B-A Example

Let's use the Song Construction window and the A-B-A feature in an example. First, starting with a new Song, create eight measures of music on Track 1 in any way you see fit. We will split this eight-measure section up into five measures plus three measures. Therefore, make certain that there are no notes dangling from measure five into measure six.

Once you've created your eight measures, open the Song Construction window. Bars&Pipes Professional lists your Tracks with the eight measures you've created highlighted in white. All other measures are grey.

Copying Measures From One Track To Another

Just for the fun of it, let's copy the eight measures in Track 1 over to Track 2. Click on the Duplicator button and the Bounding Box button. Then click on the white square representing measure 1 in Track 1, and drag the mouse until it is over the white square representing measure 8 in Track 1. A rubber banding box shape stretches over the eight measures.

Lift the mouse button, and then click on the area you just put the box in. Slide the mouse downward until the eight measures in Track 2 highlight in blue Release the mouse button to copy the measures.

Erasing A Measure

Erase measure four in Track 2. To do so, click on the Eraser, then click on the white square representing measure four in Track 2. The white square disappears and is replaced by a grey square. If it remains white, this means that there is a note in measure three that extends into measure four. In this case, select Clean Cuts from the Preferences menu, and erase measure four again. The note will be cleanly cut so that measure four is clear of all notes.

{{Note|text=Our purpose for erasing measure four in Track 2 is to provide an asymmetrical grid so that we can see our editing operations reflected in the Tracks area.}}

Creating Two A-B-A Sections

Now that we have two Tracks of music, let's create the A-B-A sections. Choose the Pencil. The Duplicator and Bounding Box buttons will automatically deselect. Click with the Pencil after the A-B-A: prompt, and above the Edit flag area above measure 1. A requester will appear.

The section label, by default, will be "A". Change the label to "First". Set the Measures: slider to 5 measures. Click on the Okay button. You'll see a colored bar with your label appear in the A-B-A: area.

Click with the Pencil again, this time to the right of the colored bar. The requester will appear again. enter the name "Second" in the Section Name: area. Set the Measures: slider to 3 measures. Click on the Okay button. You'll see another colored bar appear after the first.

Arranging The A-B-A Sections

To arrange your A-B-A sections, first make sure that the Lock to A-B-A button is tumed off. Then click on the Hand button to enter Drag mode.

Grab the First colored bar, and drag it to the right of the Second bar. The two bars exchange position. The music below does nothing, because the lock to A-B-A button is deselected. Now, grab the Second bar and drag it to the right of the First. The two bars return to their original position.

Now, click on the Lock to A-B-A button to activate it. Repeats the steps in the paragraph above. Notice anything different? When the Lock to A-B-A button is on, the actual measures beneath each A-B-A strip exchange positions along with the Section Names.

You can use any of the mouse modes to operate on the A-B-A sections. While the Lock to A-B-A button is on, any operation you do to an A-B-A section will also be done to that section's measures. Erasing a section will erase the measures, duplicating a section will duplicate the measures, etc. Experiment.

Duplicating A-B-A Changes

Now, activate the Lock to A-B-A button (if it is not still activated). Use the Duplicator to duplicate the Section Names above your music by clicking on the Duplicator, and then clicking and dragging the Section Names. Make a few copies of the A-B-A section, "First." Arrange these sections in any way you like. The music underneath will be copied along with the sections.

Propagating A-B-A Changes

Let's assume that measure 1 is the beginning of the A-B-A section, "First" and Tracks 1 and 2 have musical information on them Now, let's create some music on Track 3 on measure 1. Normally, we would probably record new music into measure 1, but for the sake of brevity let's just select the Duplicator (without the Bounding Box) and copy measure 1 of Track 2 into measure 1 of Track 3. You'll notice that only the first instance of the "First" A-B-A section has Track 3's music in it. This is where the Propagate command comes in.

Choose the Propagate command in the Song menu. The information contained under the first "First" will be copied so that it is under each "First" section, while the information contained under the first "Second" will be copied so that it is under each "Second" section. Notice that the music in Track 3 is now undemeath every instance of the "First" section.

You can use the Propagate command in the Edit menu if you'd like to propagate changes from the section marked by the Left Edit Flag, or use the Propagate command in the Track menu if you'd like to propagate changes on one Track only.

Looping

Looping, also known as repeating is the ability to play several measures in several Tracks over and over a specified number of times.

You can set each song section to play through once or repeat any number of times.

Creating a Looping Section

The easiest way is to learn by example:

Example: Looping measures 1-4, 4 times

Open the Song Construction window.
Activate the Pencil button.
Make sure that there are no A-B-A sections.

{{Note|text=If you don't see any colored bars to the right of the A-B-A prompt above the measure numbers, there are no A-B-A sections. If necessary, activater button and erase any existing A-B-A sections, and then reactivate the Pencil.}}

Click in the A-B-A area with the Pencil. The A-B-A section requester open with the default values. The Section Name: should be "A", the Measures: should be "4", and the Repeats: should be "0".

Slide the Repeats: slider to "4".
Select Okay. The A-B-A section appears to the right of the A-B-A: prompt, showing the name of the A-B-A section, followed by "R: 4".

{{Note|text=The "R:4" denotes "repeats this section 4 times.}}

That's it! Play your song from the beginning, and measures 1 through 4 will repeat 4 times.

Example: Looping measures 12-20, 4 Times

Clear all sections with the eraser, then use the pencil to enter a new section. Again, this opens the A-B-A section requester.
Slide the Measures: slider to "11", and leave the Repeats: slider at "0".
Select Okay. The A-B-A section appears to the right of the A-B-A: prompt, showing only the name of the section.
Click in the A-B-A area again with the Pencil, to the right of the first section you just created. The A-B-A section requester open again.
Slide the Measures: slider to "8" and the Repeats: slider to "4".
Select Okay. Another A-B-A section appears to the right of the first, showing the name of the section followed by "R:4", denoting "repeat 4 times".
That's all there is to it.

Example: General Looping Procedure

If you want a loop beginning with measure 1, then follow Example 1 and adjust the Measures: and Repeats: sliders in the section requester according to how many measures you want to loop and how many times to loop them.

If you want to loop beginning with a measure other than 1, then you must first enter a section long enough to cover measures 1 through the measure before you want to begin the loop. Then, you must create another section of the appropriate length and repeat count, as in example 2.

Changing The Number Of Times A Looping Section Repeats

To change the number of times an existing Section repeats.

Example: Changing section repeat count

Open the Song Construction window.
Activate the Magic Wand.
Click with the Wand on looping Section. The A-B-A section requester opens.
Adjusts the Repeats: slider accordingly
Select Okay. The A-B-A section appears after the A-B-A: prompt. It shows the name of the section, followed by an R:#, where # denotes the repeat count.
Changing The Length Of A Looping Section

Example: To change the length (number of measures) of an existing looping section:

Open the Song Construction window.
Activate the Magic Wand.
Click with the Wand on the looping Section. The A-B-A section requester opens.
Adjust the measures slider accordingly.
Select Okay. The A-B-A section appears after the A-B-A prompt, showing the name of the section followed by an R:#, where # denotes the repeat count. The length of the A-B-A section changes to reflect your new choice.
Changing The Position Of A Looping Section

Change the position of a looping section either by dragging it with the hand or changing the length of sections that precede it.

For instance, if you want to move an existing looping section to the right by 3 measures, you increase the length of one or more sections to the left of the looping section by a total of 3 measures.

Recording Over A Looping Section

Of course, there will be times when you record a Track of music over other looping Tracks. Here's how:

Example: Overwriting a Looped Section

Create a looping section of music.
Set up a Track on which to record. Make sure the Input Arrow or MIDI Channel (in multi-in mode) are correct, and the red R indicates that the Track is in record mode.
Activate sequencer record mode by highlighting R in the Transport.
Click on Start to begin recording.
Record music. You should hear the other Tracks looping as you overdub on top of them. You do not hear what you record looping. You are, in essence, recording a linear Track on top of the looping Tracks.
Click on Stop. A requester appears.
Choose Create. A new, special linear Track is created. This Track does not loop like the others. This way, you hear your music as you recorded it.
Click on Play in the Transport to hear the results.
You should notice that the new Linear Track looks slightly different than the other Tracks. Its colors are light grey when non-highlighted, and the notes are purple when highlighted, instead of yellow. It is very similar to a RealTime Track.

Double click on the Linear Track's name (it's named the same as the Track from which it was created).

Notice that the Linear button is highlighted. This indicates that this Track is linear in nature, and does not loop like other Tracks.

Excluding A Track From Looping

RealTime Tracks do not loop. The difference between a RealTime Track and a Linear Track is that RealTime Tracks do not follow Tempo changes, while Linear Tracks do.

Linear Tracks are explained in the previous section, while RealTime Tracks are explained elsewhere in the manual.

To change an existing Track into a Linear Track, double click on the Track's name. The Track Name requester opens. Highlight either the RealTime or the Linear button and choose OK.
==Mix Maestro==
Chapter 22

Overview

In traditional recording, mixing a Song means combining the recorded Tracks down to a final form. Mixing includes, among other things, setting relative volume levels of each Track and setting stereo positioning of each Track.

Mix Maestro brings mixing capabilities to your Bars&Pipes Professional compositions, giving you real-time control over the mixing process.

Use Mix Maestro to control volume and panning of individual Tracks in your Songs. Mix Maestro does this by entering Control Changes into each Track. Most MIDI instruments respond to Control Change #10 as panning and Control Change #7 as volume. However, Mix Maestro can send out any Control Change that you specify.

Mix Maestro actually records these Control Changes directly into each Track. Once you've created a mix with Mix Maestro, you can view and edit the mix by looking at the Control Changes in each Track with the Sequence or List Editor.

During playback, Mix Maestro's volume sliders and panning knobs follow along with the Control Change information in each Track. They also follow along with real-time Control Change information if you are using a real-time controller during recording.

The Mix Maestro Window

To start Mix Maestro, select the Mix Maestro command from the Windows menu or double-click on the Mix Maestro icon along the right side of Bars&Pipes Professional's screen.

The Mix Maestro window displays three sets of controls for each Track in your composition. Note that the Track names displayed at the top of the window match the Track names in the Tracks window.

The Mix Maestro Controls

Mix Maestro has three sets of controls for each Track: the Lock/Mute buttons, the Panning knob, and the Volume slider.

When you run your Song with Mix Maestro open, the Panning knobs and Volume sliders move with whatever panning and volume information (actually the values of Control Change parameters #10 and #7) you've already recorded in your Song.

The Panning Knob
The Panning knob usually alters the Control Change #10 parameter. This controls the balance, or "pan" of the instrument between the left and right speakers.

To use the Panning knob, press and hold the left mouse button over the knob and drag the mouse left and right. Notice the thin pointer move, and the numeric counter above the knob change, as you drag the mouse.

With the knob in the 9 o'clock position (counter showing -64), the Track position is full left (no power at the right channel for this Track). With the knob at the 3 o'clock position (counter showing 63), the Track position is full right. Intermediate settings yield intermediate positions; when the counter shows 0, you have a perfect balance between the left and right channels.

While dragging the knob, you can move the mouse outside the knob itself; as long as you hold down the mouse button, the pointer follows your moves.

* TIP * You can move the mouse out toward the edges of the screen to get finer control over the knob position.

The Volume Slider
The Volume slider usually alters the Control Change #7 parameter. On most synthesizers, this parameter controls Volume.

To use the Volume slider, drag the small square up and down in its Track. Watch the numeric counter at the bottom of the Mix Maestro window; as you move the Volume slider, this number changes to show you the exact volume level.

The numbers range from 0 (silence) to 127 (full volume).

The Mute Button
There are four buttons below each Track name. The button in the upper left corner is the Mute Button. This button corresponds with the Thru/Play/Mute selector in the Tracks window.

To mute a Track, activate the Mute Button. To unmute a Track, deactivate the Mute Button. Notice that the Thru/Play/Mute faucet in the Tracks window and Media Madness window follows along with this button, and vice versa.

The Lock Buttons
The remaining three buttons are the Lock buttons. In Lock mode, the Volume sliders of several Tracks can be tied together. When moving the slider in a Track that is Locked, the other Locked Tracks follow along, keeping their positions relative to each other.

There are three lock buttons, each with a different color. Tracks that have the same color activated are locked together.

For instance, let's say that Track 1 and Track 2 are locked together. Track 1 is at a volume of 127, and Track 2 is at a volume of 64. If we move Track l's volume slider halfway down to 64, Track 2's volume slider moves halfway down to 32.

{{Note|text=To save CPU processing time, the other Tracks' sliders don't actually move, but the numbers underneath the sliders are continuously updated. When you let go of the slider, the other sliders move to their new positions.}}

Locking is very useful when dealing with groups of related instruments, such as drum effects or a horn section, which tend to be grouped in a live performance.

Without locking Tracks, it would be impossible to change more than one Track at a time, or to fade all Tracks at once at the end of the Song.

If you want to lock all the Tracks in your Song together, select Lock All from the Mix Maestro menu. This sets the Lock button on all Tracks that are not already locked. Conversely, you can select Unlock All from the Mix Maestro menu to unlock all Tracks.

The Mix Maestro Menu

The MixMaestro window has its own menu, the Mix Maestro menu. These commands can be accessed only from the MixMaestro window. The following lists each option contained in the Mix Maestro menu:

ByPass Mix
The ByPass Mix option disables Mix Maestro. This option filters out the Control Changes selected with the Set Controllers menu option during playback.

{{Note|text=These Control Change values are normally 10 for panning and 7 for volume. Use the Set Controllers menu option to change them.}}

Copy Mix to ClipBoard
The Copy Mix to ClipBoard option copies the Control Changes selected in Set Controllers into a Clip in the ClipBoard. This operation works even if the ClipBoard is not open.

* TIP * This command, in conjunction with the Paste Mix and Clear Mix commands, provides a method for saving and auditioning different mixes.

Paste Mix From ClipBoard
The Paste Mix From ClipBoard option replaces the current Mix with the one highlighted in the ClipBoard.

{{Note|text=Use the Copy Mix to ClipBoard command to create the Clip.}}

Clear Mix
The Clear Mix command erases from all Tracks the Control Changes selected in Set Controllers.

Clear Locked Pans
The Clear Locked Pans command erases the Control Change selected as panning in Set Controllers from each locked Track. This command operates independently on Tracks locked with either the yellow, blue, or purple locks. Select the appropriate color from the Clear Locked Pans submenu.

Clear Locked Volumes
The Clear Locked Volumes command erases the Control Change selected as volume in Set Controllers from each locked Track. This command operates independently on Tracks locked with either the yellow, blue, or purple locks. Select the appropriate color from the Clear Locked Volumes submenu.

Lock All
The Lock All command sets one of the three colored locks on all Tracks. Choose the color from the Lock All submenu.

UnLock All
The UnLock All command deselects one of the colored locks on all Tracks. Choose which color of lock to deselect from the UnLock All submenu.

Mute All
The Mute All command mutes all Tracks.

UnMute All
The UnMute All command unmutes all Tracks.

Set Controllers
The Set Controllers command opens the Mix Maestro requester, allowing you to set which Control Change corresponds to panning or volume Slide the appropriate slider to the value you would like to use for each effect.

SnapShot
The SnapShot command enters the current volume and panning information into each Track at the current Song Position. Use the SnapShot command to set initial values, and to create jumps from one value to another.

Select Yellow, Blue, Purple, or All from the SnapShot submenu to enter the Control Changes into locked Tracks or all Tracks respectively.

Recording with Mix Maestro

To use Mix Maestro, open the Mix Maestro window and click the Start or Play buttons in the Transport Controls window. If you already have Control Change #10 or #7 events in your Song, the knobs and sliders for each Track move with the set values as the Song plays. Dragging the Volume slider or Panning knob for any Track overrides the Control Change information in your Song, and replaces it with the values you set. If you have several Tracks locked together, all the locked Tracks immediately reflect the changes you make to any of them.

Setting The Initial Mix

Before you begin your mix, set each Track's pan and volume positions so that your Song begins with these values. To do so, first set all your panning knobs and volume sliders to the desired positions for each Track and your Song Position marker to the first measure of your Song.

Next, select the Snapshot command from the Mix Maestro menu. This command grabs the position of your knobs and sliders and places their respective Control Change values at the current Song Position in each Track.

Recording The Mix

To record the mix, click on the Start button in the Transport Controls. As the music plays, click on a volume or pan pot and drag it as appropriate. When you've recorded one Track's mix, click on Stop in the Transport Controls, then click on Start to mix another Track. Continue in this manner until you've mixed all Tracks.

{{Note|text=You don't have to place your Track in record mode to record a mix in the Mix Maestro window.}}

As you mix your music, Mix Maestro's knobs and sliders move in real-time, automating your mix.

Undoing Or Bypassing Your Mix

If you are unsatisfied with your mix, you can undo your efforts. To clear the volume or pan information from one or more Tracks, select Clear Locked Volumes and Clear Locked Pans respectively from the Mix Maestro menu. Doing so affects all Tracks locked with a Lock button. If you are unhappy with your mix as a whole, use the Clear Mix command from the Mix Maestro menu to clear all pan and volume information. If you pleased with your mix, but want to disregard it temporarily, use the Bypass Mix command.

Saving And Restoring Your Mix

Once you're satisfied with your mix, you can save it in the ClipBoard and retrieve it at a later time. From the Mix Maestro menu, use the Copy Mix to ClipBoard command to save your mix as a Clip. Once you've copied a mix into the ClipBoard, use the ClipBoard's File menu to Load and Save your mix to disk. When you want to retrieve a mix from the ClipBoard, use the Paste Mix from ClipBoard command.
==Time Line Scoring==

Chapter 23

Overview

When you create a soundtrack for a movie, video, or multimedia production, you often need to synchronize several disjointed sections of music with specific points in the movie.

Bars&Pipes Professional's Time Line Scoring feature gives you a high-level view of your soundtrack, and allows you easily to position any number of music sections in SMPTE time. Each of the music sections is actually a full-fledged Bars&Pipes Professional Song, complete with multiple Tracks and its own Tempo Map.

Use the Time Line Scoring window to load multiple Songs and position them relative to each other. Time Line Scoring adds each Song's Tracks to the Track list and recomputes the master Tempo Map to include the time period of each Song.

* TIP * You can access other Songs' Tracks by scrolling the Track display down below the current Song's Tracks.

Before you use Time Line Scoring, you must first create, edit, and save each section as a separate Song. Once you add a Song to the Time Line Scoring window, you can still perform all the standard Bars&Pipes Professional editing operations on the Song.

Accessing

Open the Time Line Scoring window by double-clicking on the Time Line Scoring icon, or using the menu option in the Windows menu.

The Scoring Grid

The Scoring Grid occupies most of the Time Line Scoring window. Rectangular colored areas with Song titles display in the Scoring Grid. These represent the Songs in memory.

The numbers above the scoring grid represent the time in minutes and seconds. By looking at the position of the Song rectangles, you can see at what time a Song begins and ends. For more exact information, click on the Song rectangle with the Magic Wand (please see below).

{{Note|text=Only the horizontal (side-to-side) placement affects the Songs' start time.}}

Adjusting The Zoom

The Zoom In button is the large note. Click on it to enlarge the display by one step. This gives you finer control, but shows fewer measures. The Zoom Out button is the small note. Click on it to reduce the display by one step. This allows more measures to be displayed, at the loss of fine editing control.

Using Time Line Scoring

Adding A Song

To add a Song to the Time Line Scoring window, select the Pencil (or F1 key) and click in the Time Line window. Bars&Pipes Professional opens the File Requester.

When you select the Song you want to include in the soundtrack, Bars&Pipes Professional loads the Song and inserts a colored bar in the Time Line window with the Song title inside. The Song starts at the point at which you clicked with the Pencil. Each Song has a different color, so that you can easily see where one Song ends and another begins.

When you add a Song with Time Line Scoring, the Tracks of the Song are appended to the Tracks that already exist in the Tracks window.

Adjusting The Song's Start Time

One way to adjust the Song's start time is to drag the Song rectangle with the Hand. To do so, click on the Hand button (or choose the F3 key). Then click and drag the Song forward or backward in time.

You can also adjust the Songs start time by entering a start time. Click with the Magic Wand (F2 key) on a Song rectangle to bring up the Song Start Time requester.

The Song Start Time requester shows you the current start time of the Song, in SMPTE time and Song time. Click in either field to enter a new starting time for the Song.

{{Note|text=Tempo changes, Time Signatures, and the SMPTE Global Offset affect the SMPTE starting lime of the selected Song.}}

You can use the Lock to Measure button when you want to move the start time of the Song to the nearest measure boundary when inserting a tempo change. This is handy since the Song Time rarely lands on the beginning of a measure.

To use align your Song with a measure boundary, click on the Lock to Measure button. Bars&Pipes Professional calculates a tempo change and inserts it into the measure immediately before the selected Song. The measure number designated by the Starting Time: prompt equals the sum of all measures in the soundtrack up to this point.

* TIP * When you first create a Song, notes are generally lined up with measures. However, when you connect multiple Songs in the Time Line Scoring window, note can be shifted in time, relative to their original measure positions. If you need to edit a Track, use the Lock to Measure button, then deselect Lock to Measure when you're finished editing.

Combine TimeLine Options

Each Song maintains its own A-B-A section list, Tempo Map, and Song Parameters. Every time you reposition a Song in the TimeLine, Bars&Pipes Professional must recalculate the complete performance's A-B-A section list, Tempo Map, and Song Parameters from the component parts. As such, it's desirable to control which portions get recomputed and which are left alone.

Use the Combine TimeLine... options in the Preferences menu to control how Bars&Pipes Professional recomputes each of the following parameters:

Sections
If the Sections option is enabled, Bars&Pipes Professional computes a new A-B-A section list out of the component parts. Otherwise, it uses the A-B-A section list that existed before the repositioning of a Song portion required recalculating the A-B-A section list.

Tempo Maps
If the Tempo Maps option is enabled, Bars&Pipes Professional computes a new tempo map out of the component parts. Otherwise, it uses the tempo map that existed before.

Song Parameters
If the Song Parameters option is enabled, Bars&Pipes Professional computes a new set of Song Parameters out of the component parts. Otherwise, it uses the Song Parameters that existed before. Remember, the Song Parameters include Lyrics, Time Signature, Chord Changes, Dynamics, Rhythms, and Key Signature.

Removing A Song

Use the Eraser (F5 key) to delete a Song from the soundtrack. Click on the Song you want to delete. A requester asks you to confirm your decision.
==Create-a-Tool==
Chapter 24

=== Overview ===

You can create and edit your own MacroTools in the Create-A-Tool window. A MacroTool is a Tool created by combining several Tools into one. Like the Tools provided with this program, a MacroTool has one input, one output, and an icon representing it. Not only is the use of MacroTools a convenient way to keep your PipeLines from overcrowding (you can take a string of commonly used Tools and create a MacroTool to replace them), but it's a very potent method for making specialized Tools of your own design.

=== The Create-A-Tool Window ===

The Create-A-Tool window enables you to design your own MacroTools. Access the Create-A-Tool window from the ToolBox by choosing the Create MacroTool... option from the ToolBox window.

If you'd like to edit an existing MacroTool, choose the Edit MacroTool... option after you've highlighted an existing MacroTool in the ToolBox. Alternatively, you can double-click on an existing MacroTool in the ToolBox to open its Create-A-Tool window.

=== MacroTools: A List of Ingredients ===

Each MacroTool contains several important parameters:

==== A Unique Name ====

Each MacroTool has a unique name and a four-letter identifier.

For example, a Tool that creates random harmonies could be called "Split-Quant-Counterpoint" and the identifier could be "SQCP." You use the full name, "Split-Quant-Counterpoint," to describe the Tool for your reference. Bars&Pipes Professional uses the identifier, in this case "SQCP," for internal operations that require speed and compact size.

If you choose not to give an identifier a name, Bars&Pipes Professional automatically assigns one.

==== An Icon ====

Each Tool must have an icon to display in the ToolBox, PipeLine and/or ToolPad. In addition, if the Tool has a branching output and can send data two places at once, it requires two icons: one for when the Tool is above the receiving Tool (the connector is on the bottom of the Tool) and one for when the Tool is below the receiving Tool. (The connector is on the top of the Tool.)

==== Tools ====

A MacroTool consists of a collection of interconnected Tools. You arrange these Tools on a grid of PipeLines, much like the PipeLines in the Main Screen.

For example, our Split-Quant-Counterpoint MacroTool feeds notes to a Keyboard Split Tool, which sends notes below the split point to an Echo Tool. The notes at or above the split point enter the Quantize Tool, then, the CounterPoint Tool.

==== Input And Output ====

A MacroTool can have only one input; therefore, you must identify the Tool that accepts incoming notes as the input of the MacroTool. Also you must label the last Tool in the MacroTool as the output. In addition, if this MacroTool is capable of sending a branched output, you must identify the Tool that sends notes down the branch.

==== Tool Parameters ====

Some of the Tools in the MacroTool may have parameters that can be preset.

For example, you might, in your MacroTool, use a Transpose Tool that always shifts a note by a predetermined interval. This requires presetting that component Tool in your MacroTool.

=== Constructing Your MacroTool ===

To construct a MacroTool, open the Create-A-Tool window by selecting Create MacroTool from the ToolBox menu. This menu is only available from the ToolBox window. The Create-A-Tool window opens with a new, blank MacroTool, ready to assemble.

==== Naming Your Macro Tool ====

Across the top of the window are two text entry fields, Tool Name: and Tool ID:. Bars&Pipes Professional automatically supplies a default name and a unique default ID. To name your Tool, click on the Name: field and enter a description of your Tool.

{{Note|text=Changing the ID is optional.}}

==== Painting The Macro Tool Icon ====

On the left side of the Create-A-Tool window is a box with an enlarged icon in it. Since a Tool can have two icons, both are displayed at their normal size to the left of this box. To choose which icon is enlarged, click on one of the two.

Below the box is a Palette of eight colors. To paint the icon, select the paint color by clicking on it in the Palette and draw your icon in the box. Like any other paint program, you draw by clicking down with the mouse and dragging it. The MacroTool window displays the selected color in the tall box to the left of the Palette.

From the Paint menu, you can choose from the following commands:

; Clear
: Clear sets the entire icon to the color currently selected in the Palette.

; Copy
: Copy duplicates your MacroTool icon. Bars&Pipes Professional needs the extra icon for MacroTools that branch off to Tools above or below. Alter the duplicate so that the placement of the output Pipe inverts. If you've created a branching MacroTool, draw your main icon, then duplicate it with the Copy command and edit the position of the outgoing Pipe to go up.

; Flip...
: Flip... turns your icon around an axis. To flip from top to bottom, choose Flip Vertically. To flip from left to right, choose Flip Horizontally.

; Start With...
: Start With... provides a choice of four pre-defined icons. To select a pre-defined icon (a time-saver), drag the mouse over your icon of choice and lift up. That icon now appears in the Paint Box.

; Flood Fill
: Flood Fill paints an entire area of the icon with the selected color. To use the Flood Fill command, first select the fill color and the Flood Fill command. Then, with the mouse, touch the area to be painted and click the mouse. For instance, if you have a red shape you'd like to make yellow, select yellow from the Palette, select Flood Fill from the menu, then click on the center of the shape. It's now filled with yellow.

; Undo
: Undo reverts the icon to the state that existed prior to your most recent action.

==== Adding And Connecting Tools ====

Once you've set up your MacroTool icon, you're ready to build your MacroTools using existing Tools.

; Adding
: In the large box on the right half of the Create-A-Tool window sit six PipeLines. To construct your MacroTool, drag your Tools of choice from the ToolBox and place them on any one of the PipeLines. Determine which PipeLine is the input line and place the first Tool there. Continue by placing the Tools that follow it to the right of the input Tool on the PipeLine. To reposition the placement of a Tool in the PipeLine, select it by clicking on it once. A red box appears around it. Then press either the Left or Right Arrow keys to move it.

; Duplicating
: To duplicate a Tool already in the Create-A-Tool window, drag the Tool to a new location. Bars&Pipes Professional creates an exact copy of the Tool, including its parameter settings.

; Removing
: To remove a Tool, select it, then press the Delete key.

; Connecting
: If a Tool has a branching output, place a Merge In Tool on another PipeLine. (The Merge In icon looks like a Pipe with another Pipe feeding into it above from the left.) This second PipeLine is now active and Tools can be placed in it as well. When you first place the Merge In Tool in the second PipeLine, it may not line up with the source Tool because they have not yet been connected. To connect a Merge In Tool with another Tool, click on the source Tool (the Branching Tool,) select Connect (Right Amiga - K) from the PipeTool menu, then click on the target Tool (the Merge In Tool). The two icons are now connected and the display is redrawn with everything positioned appropriately.

: If your PipeLine is long and you start running out of room, scroll it forward by using the slider and arrows at the bottom of the display. Your MacroTool can be as long as you need.

==== Determining The Input And Output(s) ====

To the right of the PipeLine grid are three arrow-shaped icons. Drag these onto your Tool layout to specify the input and output(s).

; Input
: The top icon, the In arrow, is a blue arrow that selects the input. Drag and place it to the left of the first Tool in your MacroTool lineup. All notes coming into the MacroTool pass through here first. You cannot delete the input arrow. If you want to send the input to a different PipeLine, drag another blue arrow to it; the arrow to your previously selected PipeLine automatically disappears.

; Normal Output
: The middle icon the Out arrow, is a red arrow that represents the Normal Output. Drag it to the right of the last Tool in your Macro sequence. Whatever comes out of that last Tool comes out of the MacroTool as a whole. Unlike the Input arrow, you can have more than one Normal Output per MacroTool because you can use several PipeLines in your design. The MacroTool merges notes coming out of all Normal Output icons. If you want to remove a Normal Output icon, select it, then hit the Delete key.

; Branching Output
: The bottom icon, the Branch arrow, is a purple arrow that represents the Branching Output. This arrow is optional. Whereas every MacroTool requires an Input and an Output, a MacroTool requires a Branching Output only when the MacroTool needs to send events off to a second PipeLine. Install the Branching arrow in the same way that you install the Output arrow.

: Once you have a Branching Output, the alternate icon, on the left of the Paint Box, comes into play. This alternate icon behaves identically to the original, except that it branches off in the opposite direction. In this way, you can have a MacroTool that connects to a Tool above and to a Tool below.

==== Setting The Tool's Controls ====

Many of the Tools that constitute your MacroTool have parameters that you can preset. For example, the Triad Tool uses two Transpose Tools to shift the input note up a third and up a fifth. It is an example of a MacroTool. If you load the Triad Tool into the ToolBox and then double-click on it, Create-A-Tool shows the structure of the MacroTool. You can then open the Control window of each Transpose Tool to see its parameter settings.

As an example, you can edit the parameters to create a chord inversion by changing the second Transpose Tool from shifting up a fifth to down a fourth.

==== Making Macro Tools Out Of Macro Tools ====

Like any other Tool, you can place a MacroTool in any other MacroTool you build; however, you cannot place it inside itself. Nor can you place it within another MacroTool that is contained within it. The Create-A-Tool Editor makes sure this doesn't happen. If you drag a MacroTool into the definition of itself, it won't stay there.

=== Installing, Removing, Using, Altering, and Testing ===

==== Installing ====

Once you have created a MacroTool, you must save it to disk. If you fail to do so, the MacroTool will be deleted when you exit Bars&Pipes Professional.

To save a MacroTool, click once on the MacroTool in the ToolBox, then select the Save option from the ToolBox menu. Bars&Pipes Professional opens its file requester. Create a new file name for your Tool.

{{Note|text=If you use the name of an existing Tool, Bars&Pipes ProfessIonal overwrites the older Tool.}}

Bars&Pipes Professional saves your MacroTool to that file. From now on, when Bars&Pipes Professional runs, it automatically loads your MacroTool.

==== Removing ====

If you don't like what you've created, you can remove your MacroTool by clicking on it in the ToolBox and selecting the Remove option from the ToolBox menu. Bars&Pipes Professional removes the MacroTool from the ToolBox, removes all copies of it from your composition, and no longer loads this MacroTool. The MacroTool, however, is still on your disk; you can leave it there or delete it by using the Workbench or CLI (Command Line Interface.)

==== Using ====

Use your MacroTool just as you would a normal Tool. You can place it in a PipeLine to process notes in real-time, or in a ToolPad, to process notes in a section, or on a note-by-note basis.

==== Altering ====

You can always go back and edit your MacroTool. To do so, double-click on the MacroTool's icon in the ToolBox. The Create-A-Tool Window opens with your MacroTool, and you can edit it in any way you'd like. If you have already used this MacroTool, versions that are in use are not affected by editing the master. Once you are satisfied with the changes you have made, you must once again save the MacroTool to disk.

==== Testing ====

To audition a MacroTool before saving it to disk, drag the Test Tool at the bottom right of the Create-A-Tool window into a PipeLine in the Sequencer window. If you don't like the results, you can continue editing the MacroTool. The Test Tool automatically incorporates the changes, so that you can quickly edit, test, and re-edit until you're satisfied with the MacroTool.

==Tool Trays==

Chapter 25

=== ToolTrays ===

ToolTrays offer a convenient method for organizing your Tools. Bars&Pipes Professional includes eight ToolTrays, each of which can hold up to sixteen Tools. You can define a Tools parameters by double-clicking on the Tool in the ToolTray, and give each instance of a Tool an original name.

Bars&Pipes Professional integrates ToolTrays into your Song. When you save a Song, Bars&Pipes Professional saves your ToolTrays along with it.

To set up a default environment with ToolTrays, select New from the Song menu, arrange your ToolTrays, and then select Save As Default from the Song menu. Please see the chapter, Customizing Your Environment, for more information.

=== The ToolTray Windows ===

Open a ToolTray from the ToolTray menu in the ToolBox or the Tool menu in the Main screen. Choose the menu option corresponding to the particular ToolTray that you'd like to open. By default, ToolTrays are named numerically, however, you can rename a ToolTray however you'd like.

The ToolTray window is divided into two areas by a horizontal grey line. Above the grey line is space for the names of Tools. Below the grey line is room for up to sixteen instances of Tools.

==== Placing A Tool In A ToolTray ====

To install a Tool in a ToolTray, grab a Tool from the ToolBox, PipeLine, or other ToolTray, and drag it to a space beneath the gray line. When you release the mouse button to drop the Tool into the ToolTray, the name of the Tool appears in the space above the grey line.

{{Note|text=By dropping a Tool into a ToolTray, you create a unique instance, or copy, of the Tool,just as you do when you drop a Tool Into a PipeLine.}}

==== Editing A Tool ====

If the Tool has a Control window, double-click on the Tool's icon to open it. Then edit the Tool's parameters as you desire. Once you've changed a Tool, the changes stay with the Tool when you copy it into a PipeLine, ToolPad, MacroTool, or another ToolTray.

==== Naming A Tool ====

Once you've edited a Tool, you can rename it for easy reference. Click once on the Tool to select it, then enter the new name above the gray line.

{{Note|text=When you click on a Tool in a PipeLine, the name of the Tool is displayed in the Title bar of the Tracks window. Even though you can rename Tools in the ToolTrays, Tools in the PipeLine are still displayed as their original names in the Tracks Title bar. This is because only the ToolTray knows about the names that you've given the instances of the Tools within it. The Tracks window has no access to this information.}}

==== Using The ToolTray Tools ====

You can work with ToolTrays as you do the ToolBox. Copy Tools from ToolTrays into PipeLines, MacroTools, and ToolPads by clicking and dragging them to their appropriate destination. Unlike Tools from the ToolBox, the Tool copies retain the settings that you provided in the ToolTray.

==== Copying Tools In ToolTrays ====

Copy a Tool by grabbing it and dropping it in an empty space in the ToolTray. This is similar to copying a Tool in a PipeLine by picking it up and dropping it in another PipeLine. Because you can have several copies of Tools in ToolTrays, renaming Tools help you avoid confusion. For instance, you can have a ToolTray that you call "Quantize Tools.", In this ToolTray, you might have one Quantize Tool that you call "Sixteenth Notes," that quantizes to sixteenth notes, and one called "Eight Notes" that quantizes to eight notes.

If you drag a Tool and place it on top of an existing Tool in the ToolTray, it replaces the Tool beneath it.

==== Loading ToolTrays ====

The Load ToolTray option in the ToolTray menu allows you to load in previously saved ToolTrays. If there are any Tools in the ToolTray that are not in the ToolBox, Bars&Pipes Professional automatically loads them into the ToolBox. If the Bars&Pipes Professional is unable to find a Tool, it asks you to load it manually.

==== Saving Tool Trays ====

The Save ToolTray command in the ToolTray menu allows you to save your ToolTrays to disk. The Load ToolTray command allows you to load ToolTrays from disk.

==== Renaming ToolTrays ====

The Rename ToolTray menu command in the ToolTray menu allows you to rename the ToolTray. When you select this option, a requester appears, displaying the ToolTray name.

Enter the new name and click okay. The new name displays not only in the ToolTray window, but in all menus that refer to the ToolTray as well, such as the menu options in the Main menu's Tool menu.

==== Loading Instances Of Tools Into ToolTrays ====

The Load Tool command in the ToolTray menu allows you to load a Tool into the ToolTray that was previously saved with the Save Tool command from a ToolTray. Each Tool loads with its parameters set to the values they had when it was saved.

==== Saving Instances Of Tools From ToolTrays ====

Use the Save Tool command in the ToolTray menu to save the Tool. Doing so saves the Tool, along with the parameters you've set.

==== Removing Tools From ToolTrays ====

Use the Remove Tool command to remove a Tool from a ToolTray. Do to so, activate the Tool by clicking on it, then select the Remove Tool command in the ToolTray menu.

If you drag a Tool from any source and drop it on a Tool in a ToolTray, it replaces the Tool beneath it, effectively removing that Tool.

==Scales, Chords, Rythms and Patches==

Chapter 30

=== Overview ===

This chapter focuses on defining Scales, Chords, Rhythms, and Patch Lists in their respective Define windows. Many Tools and Sequencer functions use these items to produce customized results. For instance, the Quick Patch Tool and the Program Change area use Patch Lists, so that you can choose program changes by name. The CounterPoint Tool uses Scales to compose and the Accompany B Tool uses Chords and Rhythms to create auto-accompaniments.

Bars&Pipes Professional stores Scale, Chord, and Rhythm information in each Track's Song Parameters. To choose a particular Scale, Chord,or Rhythm, use the Pencil in either the Master Parameters or a specific Track's Song Parameters.

Bars&Pipes Professional saves your Scales, Chords, Rhythms, and Patch Lists with each Song. When Bars&Pipes Professional loads the Song, these additional items load with it.

{{Note|title=Tip|text=To include new Scales, Chords, Rhythms and Patch Lists in your New environment, select New from the Song menu, add the new items, then select Save As Default in the Song menu.}}

The Define windows can be reached from either the Define... option in the Main menu set's Windows menu, or the Edit window's Define menu.

=== Define Scales Window ===

To create your own Key & Scale/Modes, use the Define Scales window.

The Define Scales window has a keyboard area, a name area, three buttons, and two menu options.

==== Adding And Subtracting Notes From Scales ====

On the right side of the Define Scales window is a one-octave keyboard. Active notes are highlighted in blue, while inactive notes are white. To include a note in the scales, click on a white note, thereby turning it blue. Click on a blue note to exclude it from the Scale, thereby turning it white.

==== Creating A New Scale ====

Click on the Add button to create a new Scale. Then, enter a name after the Name: prompt. Click and highlight the notes you want include in your Scale. Once you've defined your scale, you must save your Song. If you do not save your Song, you will lose your Scale upon exiting Bars&Pipes Professional. You can also use the Save Scale... menu option to save your Scale (please see below).

==== Selecting From Existing Scales ====

To bring up a pop-up list of existing Scales, click on the Select button. Once you've chosen from the list, you can rename it or add and subtract notes from it.

==== Removing An Existing Scale ====

To remove the selected Scale from your list, click on the Remove button . A requester asks you to confirm your decision. Once you Remove a Scale, you cannot retrieve it, unless you load a previously saved version of the Scale from disk.

==== Changing The Name Of A Scale ====

After the Name: prompt, you'll find the name of the selected Scale. Click in this area to modify the name or enter a new one. Use the backspace and delete keys if necessary.

==== Loading A Previously Saved Scale ====

To load a previously saved Scale from disk, choose Load Scale from the Define Scales window menu.

==== Saving A Scale ====

To save a Scale to disk, select the Save Scale option.

=== Define Chords Window ===

Use the Define Chords window to create your own Chords.

The Define Chords window has a two octave keyboard area, control buttons, a name area, and menu options.

==== Adding And Subtracting Notes From Chords ====

On the lower right side of the Define Chords window, you'll find a two- octave keyboard. Active notes are highlighted in blue, while inactive notes are white. When you click on a white note, it turns blue. This indicates that the note is included in the Chord. When you click on a blue note, it turns white again, thus indicating that the note is no longer a member of the Chord.

==== Creating A New Chord ====

Click on the Add button to create a new Chord. Then, enter a name after the Name: prompt. Click and highlight the notes you want include in your Chord.

Once you've defined your Chord, you must save your Song. If you do not save your Song, you will lose your Chord upon exiting Bars&Pipes Professional. You can also use the Save Chord... menu option to save your Chord (please see below).

==== Selecting From Existing Chords ====

To bring up a pop-up list of existing Chords, click on the Select button. Once you've chosen from the list, you can rename it or add and subtract notes from it.

==== Removing An Existing Chord ====

To remove the selected Chord from your list, click on the Remove button. A requester asks you to confirm your decision. Once you Remove a Chord, you cannot retrieve it, unless you load a previously saved version of the Chord from disk.

==== Changing The Name Of A Chord ====

After the Name: prompt, you'll find the name of the selected Chord. Click in this area to modify the name or enter a new one. Use the backspace and delete keys if necessary.

==== Loading A Previously Saved Chord ====

To load a previously saved Chord from disk, choose Load Chord from the Define Chords window menu.

==== Saving A Chord ====

To save a Chord to disk, select the Save Chord option.

=== Define Rhythms ===

Use the Define Rhythms window to create your own Rhythms.

By definition a Rhythm includes three elements:

# A sequence of notes which defines the timing, emphasis, and length of each rhythmic event;
# A loop length that determines the length of the pattern; and
# A name for the Rhythm.

==== Creating A New Rhythm ====

To create your own Rhythms, open the Define Rhythms Window from the Define... Rhythms option of the Windows menu. Or, from the Graphic Editor window, use the Define menu.

{{Note|text=If you want to import a Rhythm from the Main Screen, open the Define Rhythms window from the Main Screen. If you want to import a Rhythm from the ClipBoard, or if you are currently in a Track's Sequence Editor window, open the Define Rhythms window from the Sequence Editor window.}}

To create your own rhythm from scratch, first record a sequence of notes that the rhythm uses to define its timing, emphasis, and length. To do so, tap out any notes on your instrument keyboard, as if you were playing the drums. The actual notes you play don't matter, since the rhythm just uses only the start time, velocity, and duration of the notes to define the rhythm pattern.

==== Adding A New Rhythm ====

To add a new Rhythm to the list, click on the Add button. This creates a blank Rhythm with no pattern and a loop length of zero.

==== Selecting An Existing Rhythm ====

To access a scrolling list of all available Rhythms, click and hold on the Select button. Then drag the mouse to the desired Rhythm. If you cannot see the Rhythm you want, use the arrows above and below the list to scroll the menu up or down. You can change the name, length, and patterns of any existing Rhythm.

==== Removing A Rhythm ====

To remove a Rhythm from the list, select it and press the Remove button.

==== Grabbing Clips As Rhythms ====

Because the Rhythm Pattern consists of a sequence of notes, you can record it the same way you would a Track Sequence. For example, you can record your Rhythm in real-time, step-enter it, or draw each note with the Pencil.

{{Note|title=Tip|text=Often, sections of previously recorded Songs make great Rhythm templates.}}

Once you've created a pattern of notes and activated the Add button, you're ready to pull the pattern into the Define Rhythm window. Do so by clicking on one of two command buttons: Grab Clip from ClipBoard or Grab Clip from Track.

The Grab Clip from ClipBoard button copies the currently selected Clip from the ClipBoard window to the Define Rhythm window. Use this command if you have saved your rhythm template to the ClipBoard. By default, the loop length is the length of the Clip, however, you can edit the loop length as needed.

The Grab Clip from Track button copies the notes from the section bounded by the Edit Flags of the selected Track and copies these notes into the Rhythm. This button provides the mechanism for tapping a Rhythm into a Track and quickly transferring it into a Rhythm.

==== Replacing A Rhythm ====

If a Rhythm has an existing pattern of notes, you can change it by replacing the existing pattern with a new one. Do this by executing either of the Grab commands.

==== Setting The Loop Length ====

Once a pattern has been transferred to the Define Rhythms window, the length of the loop appears after the Loop Length: requester. To change this value, assign the Rhythm a loop length in measures, beats, and clocks.

For example, a two measure loop would be entered as "2.0.0", two measures, zero beats and zero clocks.

==== Changing The Rhythm Name ====

Give your Rhythm a name by entering it after the Name: prompt.

==== Loading A Previously Saved Rhythm ====

To load a Rhythm from disk, use the Load Rhythm... command in the Define Rhythms menu.

==== Saving A Rhythm ====

To save individual Rhythms to disk, use the Save.., command in the Define Rhythms menu. Selecting this command opens the file requester from which you can create or select a file name.

=== Define Patch List ===

The Define Patch List window allows you to create Patch Lists for your synths. A Patch List contains the name and its associated Program Change number (between 0 and 127) for each of your synth's instrument sounds.

In addition to using the Define Patch List window to create Patch Lists, you can use it to access Patch Lists from disk.

{{Note|title=Tip|text=You can also load lists created with The PatchMeister and SuperJAM!}}

==== The Define Patch Lists Window ====

The Define Patch List window contains three buttons: the Add, Select, and Remove buttons. These button allow you to create a new Patch List, choose a Patch List from the ones which are loaded, and remove a Patch List, respectively. Above the Add button is the Synth: prompt and Patch List name area. To the right of the Add button is the number prompt and the program change name area. To the right of the Select and Remove buttons is the scrolling Patch List. Use the scroll bar and scroll arrows to scroll through the list.

==== Creating A New Patch List ====

To create a new Patch List, click on the Add button. Then, enter a Patch List name by clicking in the space to the right of the Synth: prompt, and entering the name. To enter the actual Patch List, click after the number prompt and enter the Program Change's name. When you press the return key on your Amiga keyboard, the number prompt automatically increments to the next Program Change.

==== Choosing A Patch List ====

To choose a Patch List, click and hold the Select button. A pop-up list appears where you can select the Patch List you want to use.

{{Note|text=If there are no Patch Lists loaded, the pop-up list does not appear.}}

==== Editing A Patch List ====

To edit an existing Patch List, choose it with the Select button. Change the name of the Patch List after the Synth: prompt; change the names of the individual program changes by clicking on the name in the scrolling list, then changing the name after the number prompt.

==== Removing A Patch List ====

To remove unused Patch Lists, click on the Remove button. This removes the selected Patch List from the loaded list of Patch Lists. A requester asks you to verify this operation.

==== Loading A Patch List ====

To load Patch Lists previously saved with Bars&Pipes Professional, SuperJAM! or The PatchMeister, use the Load Patch List... command found in the Define Patch Lists menu.

{{Note|title=Tip|text=You'll find the SuperJAM! Patch Lists in the SuperJAM!/Bands directory.}}

==== Saving A Patch List ====

Choose the Save Patch List... option in the Define Patch Lists menu to save the selected Patch List.

{{Note|title=Tip|text=You can use Patch Lists created in Bars&Pipes Professional for your Super JAM! Bands.}}

You can find out more about Patch Lists in the chapter on Customizing Your Environment.

==Customizing your Environment==
Chapter 31

=== Overview ===

In this chapter, we'll learn how to customize your Bars&Pipes Professional environment, so that it automatically sets up the system to your liking. We'll also discuss the disk files that Bars&Pipes Professional uses to keep track of your preferences.

=== The Environment Preferences ===

In the Main menu, the Environment.., option in the Preferences menu opens the Environment Preferences requester. This requester controls various aspects of Bars&Pipes Professional's appearance as well as some memory-saving options:

; Interlace Screen
: Select the Interlace Screen option to double the vertical resolution of the Bars&Pipes Professional environment.

; Use Workbench Pointer
: If you'd rather use the Workbench mouse pointer instead of the Bars&Pipes Professional saxophone, enable Use Workbench Pointer.

; Exploding Windows
: The Exploding Windows option causes windows to open with an expanding rectangle and close with a contracting rectangle.

; Windows To Front
: Normally, use the standard Window To Front/Back button on the top right of each window to bring a window to the front If you'd like any window to come immediately to the front no matter where you click in it, select Windows To Front.

; Save Icons
: Bars&Pipes Professional will only create an icon for a song file if the Save Icons option is enabled.

; WB 2.0 File Requester
: If you're running Bars&Pipes Professional under Workbench 2.0 or later, you may optionally use the Workbench file requester for selecting files.

; Double Width Screen/Double Height Screen
: Under Workbench 2.0, Bars&Pipes Professional can display its screen at double width and/or double height, providing much more room to drag and place windows. When in this mode, certain hotkeys make navigating this huge screen easier:

: The Alt key, in conjunction with the arrow keys moves the screen by one screenful. The window icons always appear in the current screen for easy access.

: Holding the Shift key causes the currently active window to move into the new view area. Hold down both the Shift and Alt keys while pressing the arrow keys.

: These features can make it seem like Bars&Pipes Professional is four screen instead of one! For instance, you could open Mix Maestro in one quadrant, the Track window in another, and still have two full screens for other windows. Keep in mind, however, that open windows consume CPU and memory resources

; 68000 Optimization
: If you are running Bars&Pipes on an Amiga using a 68000 processor, such as the A500 or A2000, setting this option will enable Bars&Pipes to run slightly more efficiently.

; Workbench Screen Mode
: Also under Workbench 2.0, Bars&Pipes Professional can adopt the current screen mode used by Workbench. This is particularly useful with the new AGA chipset machines (the Amiga 4000 and 1200) because it provides an automatic method for supporting the new graphic modes.

; Close Workbench
: To save memory, Bars&Pipes Professional can attempt to close Workbench. This only succeeds if no programs have windows open in Workbench.

; Disable Undo Buffer
: When the Bars&Pipes Professional sequencer records a Track, it automatically backs up the entire performance in an Undo buffer. Although this provides an easy way to recover from a poor recording, it doubles the memory provided for MIDI events. Disable the Undo buffer to double the number of notes you can record in low memory situations.

; Use Grey Scale
: Bars&Pipes Professional normally displays in eight colors. Use Grey Scale halves the color count to only four, saving graphics memory.

; Disable Fast Refresh
: Bars&Pipes Professional's windows keep their images intact, even when behind other windows. This results in very fast refresh, but eats memory. Disable Fast Refresh saves memory because it no longer stores hidden imagery, but the drawing time can become painfully slow.

; Save
: Select the Save button to implement the changes and permanently save your choices in the "Bars&Pipes Professional.info" file. Whether run Bars&Pipes Professional from its icon or the Shell, the program still looks at the "Bars&Pipes Professional.info" file for these preferences. If the .info does not exist, Bars&Pipes Professional chooses its default preferences.

; Use
: To use the changes without making them permanent, select Use.

=== The Support Drawer and Support Files ===

Bars&Pipes Professional must keep its control files in a support directory: If a drawer named "Support" exists within the same directory as the Bars&Pipes Professional drawer, Bars&Pipes Professional places its support files there.

If there is no drawer named "Support" located within the same directory, Bars&Pipes Professional places the support files in the S: directory. This is the same directory that contains your startup-sequence.)

* TIP * If you are using Bars&Pipes Professional without a hard drive and want to boot with a Workbench disk, create a Support drawer on your Bars&Pipes Professional program disk Then move the files, Tools, Accessories, and BPPDirs from the & directory on your WorkBench disk to the Support drawer created on your program disk.

==== The Tools File ====

Bars&Pipes Professional uses the Tools file when customizing your environment. This text file contains the names and path names of the Tools currently loaded in the ToolBox. Bars&Pipes Professional updates the Tools file whenever you Install or Remove a Tool in the ToolBox.

==== The Accessories File ====

Bars&Pipes Professional also uses the Accessories file when customizing your environment. This text file contains the names and path names of the Accessories loaded in the Accessories window.

Bars&Pipes Professional updates the Accessories file whenever you Install or Remove an Accessory

==== BPPDirs ====

The BPPDirs file, another environment file, is a binary file that contains the path names of files that you load and save, such as Song files, Patch Lists, and Chords.

Whenever you load or save a file, Bars&Pipes Professional refers to the Bppdirs file to determine the last place you loaded or saved a similar type of file. Bars& Pipes Professional then directs the file requester to this location.

When you change directories with the file requester and select Load or Save, Bars&Pipes Professional looks to the new directory. Bars&Pipes Professional updates the BPPDirs file whenever you exit Bars&Pipes Professional.

=== Settings in Song Files ===

Bars&Pipes Professional saves many settings in each individual Song file, including which windows are open and closed, the color palette as defined by the True Colors Accessory, the position of window icons, Patch Lists, Chords, Scales, Rhythms, Metronome settings, Tool Trays, the ToolPad, Tools in PipeLines, the status of Thru faucets, MIDI channel selectors, the status of Edit windows and all other musical information.

=== Creating a Preset Environment With New.song ===

If you prefer a particular configuration of Tools, Tracks, Tempos, etc., you can set your preferences, then save them as a Song,. This way, you'll have a preset environment each time you begin a new Song.

To do so, first set up your Tracks, MIDI channels, Tool placements, etc., and then use the Save As Default command found in the Song menu. This saves your settings to a file called "New.song." Each time you run Bars&Pipes Professional or select New from the Song menu, Bars&Pipes Professional automatically loads this file.

{{Note|title=Tip|text=When you load another Song, Bars&Pipes Professional overrides your "New" settings with those in the currently loaded file. To impose your new environment on old Song files, load your old Song. Then make a Group out of all of the Tracks contained in the old Song file. Next, save the Group to disk and select New from the Song menu. After you delete all the Tracks in the New Song, load in the Group!}}

Bars and Pipes Professional

2013-08-12T23:25:25Z

Lyle Hazelwood: /* The Flags Area */ added FILE:Flags.png

== Author and Copyright ==

This documentation is based on the original copyrighted manual. 
'''Copyright (c) 1993 The Blue Ribbon SoundWorks, Ltd.'''

The original documentation has been modified and enhanced where needed to reflect the changes made to the AmigaOS 4 specific port.

All changes and modifications are 
'''Copyright (c) 2013 Lyle Hazelwood and Steven Solie.'''

Explicit written permission to copy and edit the original manuals has been secured.

== Welcome Aboard! ==

These documents are for the AmigaOS 4 port of Bars&Pipes Professional. A few notes may be useful:
The original program will be referred to as Bars&Pipes, the AmigaOS specific port will be called BarsnPipes instead.

This port is based on Bars&Pipes Professional version 2.5c. The AmigaOS 4 version was provided by Alfred von Faust, and he worked for many years to keep it alive. Lyle Hazelwood has recently taken the port over and is continuing to keep the program current.

Thank you for downloading BarsnPipes Professional. In the pages to come, you will understand why you've made an important choice. With BarsnPipes Professional, you're truly bound only by the limits of your own creativity. We encourage you to read this manual, since it contains thorough explanations of BarsnPipes Professional's wide array of features. BarsnPipes Professional is a high-end MIDI sequencing and composition package. In order to use it, you must have a MIDI sound module or keyboard connected to your Amiga via a CAMD supported MIDI interface.

{{Note|text=If you would like to use the Amiga's Internal sounds instead of MIDI, we suggest [http://www.os4depot.net/index.php?function=showfile&file=audio/play/softsyn.lha SoftSyn] available at [http://www.os4depot.net OS4Depot].}}

Everyone at The Blue Ribbon SoundWorks is dedicated to producing the highest quality software and software support in the industry. We have invested thousands of hours of research and development in our products. Much of that time is spent in listening to and learning from people like you. Blue Ribbon products are designed to be affordable, ongoing investments that are improved and expanded over time. We've provided expansion through program updates and add-on software, such as the Creativity Kit and the Pro Studio Kit. If you are a C programmer, with the Rules For Tools add-on, you can even create your own enhancements to BarsnPipes Professional!

==Installation==

Quick Installation

BarsnPipes Professional is easy to install on your AmigaOS computer.

To install Bars&Pipes Professional :

Make sure that you have at least two megabytes of space left on your hard disk.

Unarc BarsnPipes Professional archive to wherever you'd like to keep the program.

You'll also need camd.library which is already included with AmigaOS.

Run Bars&Pipes Professional from the BarsnPipes Professional drawer on your hard disk.

On the first run, BarsnPipes will ask you to select a screen mode. Please select an ARGB mode for best results.
Once the program is open, under the "preferences" menu, select "environment" and then "save" to save your screen choice.

== Touring the MIDI setup ==

=== Overview ===

BarsnPipes Professional works with any CAMD-compatible synthesizer, sound module or application. Let's look at some standard ways to connect MIDI instruments to your Amiga computer.

=== The MIDI Interface ===

In order to use BarsnPipes Professional, you must first own a MIDI interface. The MIDI interface serves as a translator between your MIDI instrument(s) and your Amiga.

Before using BarsnPipes Professional, first connect your MIDI interface to your Amiga. It may connect to a sound board joystick port, or to USB.

=== MIDI Interface Ports ===

Most MIDI interfaces feature one MIDI in, one MIDI out, and possibly one MIDI thru port. The MIDI in and MIDI out ports are the most important aspects of a MIDI interface.

=== Multiple MIDI In Ports ===

CAMD supports any number of MIDI Inputs and Outputs. While it is possible to set the input and output individually for each track, you can (and should) set a default input and output that will be used as defaults for every track that does not have an input or output specified. These are set and saved from the Preferences/Environment window.

{{Note|title=Connecting MIDI Devices|text=
Connect the MIDI OUT from your interface to the MIDI IN on your synth or sound module. 
Connect the MIDI OUT from your keyboard or other instrument to MIDI IN on your interface.}}

If your MIDI gear has a USB port, CAMD may be able to access it directly by using the [http://os4depot.net/share/driver/misc/usbmidi.lha USB Driver]

(is the usb MIDI driver part of the OS??)

==A Quick Tour==

=== Introduction ===

Bars&Pipes Professional is an innovative composition environment with an extensive arsenal of features and options. Before exploring it in depth, let's take a quick tour!

{{Note|text=If you need help connecting your MIDI equipment to your Amiga, please read the previous chapter, Touring The MIDI Setup.}}

=== Running Bars&Pipes Professional ===

Before you run Bars&Pipes Professional, you must first install it. If you have not yet done so, please see Chapter 2, Installation.

==== Running From The Workbench Icon ====

You can run Bars&Pipes Professional from Workbench by double-clicking on its program icon.

Doing so opens Bars&Pipes Professional with an empty Song. Alternatively, you can double-click on a Bars&Pipes Song icon. Doing this opens Bars&Pipes Professional with the selected Song already loaded.

==== Running From A Shell ====

You can also run Bars&Pipes Professional from a shell. Make sure your stack size is at least 100,000 bytes when running the program this way.

=== The Default Screen Setup ===

When Bars&Pipes Professional first starts up, you'll see the Tracks window and a group of icons along the right side of the screen. These icons represent various unopened windows.

Double-click on any icon to open its associated window. Click on the close button in the top left corner of an open window to revert it to its associated icon.

=== The Tracks Window ===
[[File:Tracks.png]]

The Tracks window represents the heart and soul of Bars&Pipes Professional. It is where multi-track recording takes place. It is also the primary place for organizing the PipeLines and Tools which give Bars&Pipes Professional so much of its power and flexibility. Let's take a brief look:

=== The PipeLine ===
[[File:PipeLine.png]]

The Tracks window contains individual Tracks, into which you will record your music. These Tracks run from left to right in rows, with measure and beat lines drawn from top to bottom.

Starting from left to right, each Track contains the following components:

*The Track Name, which identifies a particular Track;
*The Input Selector box, or Input Arrow, which selects which Track(s) are to receive incoming music;
*The Input PipeLine, which holds Tools that process the music as it flows into the Sequencer;

{{Note|text=When first running Bars&Pipes Professional, you will most likely see a MIDI In Tool in the Input PipeLine. This acts as the source for the Track's PipeLine, and, hence, the Track. This is further explained in Chapter 6, Basic Recording.}}

*The Play/Merge/Record Selector, which displays a blue letter P while the Track is in Play mode, a red letter M while the Track is in Merge mode, and a red letter R while the Track is in Record Mode;
*The Sequencer area, which holds and displays the MIDI events, or Sequence, that make up the recording;
*The Thru/Play Only/Mute Selector, or faucet, which switches the Track between Thru, Play Only, and Mute modes;
*The Output PipeLine, which holds Tools such as the MIDI Out Tool that process the music as it flows out of the Sequencer; and
*The MIDI Channel Selector, or Output channel, which displays the MIDI channel over which the final MIDI Out Tool sends.

{{Note|text=This selector is used by the standard MIDI Out Tool. Non MIDI-specific output Tools, such as most Multi-Media Tools, do not need MIDI channels.}}

=== The Flags Area ===
[[File:Flags.png]]

Above the Tracks area is the Flags area.

Bars&Pipes Professional uses these flags to mark specific points in music time for certain operations, such as punch in and auto-locate. It also displays the current time signature and measure numbers in this area.

Bars&Pipes Professional displays twelve Flag icons across the top of the Tracks. You can grab these with the mouse and drag them from left to right. Use the Flags to set positions in your music for editing, recording, looping, and more.

A Flag appearing during the displayed section has an attached vertical stem intersecting all of the Tracks. If you've placed the Flag in a measure which precedes the displayed section, it appears on the left side of the Sequencer. If you've placed it in a measure that follows the displayed section, it appears on the right.

To relocate a Flag, first scroll the Sequencer so that the desired location shows in the Sequencer. Then drag the Flag to its position. To move a Flag to the beginning of the Song, drag it all the way to the left side of the screen. To move it to the end of the Song, drag it all the way to the right. Flags snap to the alignment specified in the Align with... option in the Preferences menu.

The following Flags are found in the Flags area:

* The Position Marker Flag or Song Position Flag (the red triangle with the blue border) which shows the current position in your Song;

{{Note|text=If you press the Play button, your Song starts at this point.}}

* The two Edit Flags (solid purple triangles), which determine the part of your Song that is affected by Cut, Paste, and other editing operations;
The Auto-Locate Flags (blue rectangles marked M1 through M4), which mark important points in your composition;

{{Note|text=You can immediately move to these points by using the corresponding M1 through M4 buttons in the Transport Controls window.}}

* The Punch In and Punch Out flags (yellow rectangles marked IN and OUT), which allow you to record over a restricted part of your Song;
* The Loop Flags (red rectangles containing curved lines with arrows), which mark sections for use with Loop-Mode editing and the Loop Tool; and
* The Stop Sign (the red hexagon with the white border), which marks the point at which Bars&Pipes Professional is to stop playback.

{{Note|text=This feature is useful when you want to sit back and listen to part of a Song while you're away from the keyboard, or if you're performing live or recording a sequence to tape and want the Song to stop upon completion.}}

=== Control Buttons ===

The Tracks Window's control buttons are above the Flags area.

From left to right are the following buttons:

* The Solo button, which both chooses and displays whether the highlighted Track is soloed, muted, or neither;
* The ToolPad, which holds up to sixteen Tools to be used with the Toolize feature;
* The Group selector buttons, which identify combinations of Tracks;
* The Group button, which determines if clicking on a Track adds to a group or not;
* The Up/Down arrows, which move the highlighted Track up or down in the list of Tracks;
* The Tempo button, which chooses and displays the current tempo;
* The Start button, which starts the Sequencer from the beginning of your composition;
* The Play button, which starts the Sequencer from the current Song position, denoted by the red and blue triangular Song Position Flag, found in the Flags Area;
* The Rewind button, which moves the Song Position Flag to the left, toward the beginning of the piece;
* The Fast Forward button, which moves the Song Position Flag to the right, toward the end;
* The Measure display, which shows the measure number in which the Song Position Flag currently resides; and
* The Record button, which chooses and displays whether the Sequencer is in record or playback mode.
* Sizing And Scrolling The Tracks

Use the scroll bar and arrows on the right side of the Tracks window to scroll through the Tracks, in order to view those which don't fit in the display.

At the bottom of the Tracks window, you'll find a set of scroll bars, single arrows, and double arrows. Use the scroll bar and single arrows to search forward and backward. For example, to scroll the Track names from left to right, use the scroll bar and single arrows below the list of Track names.

Use the double arrows to resize sections of the display by dragging the arrows from left to right. With the double arrows, you can resize your display to show only what you want to view.

{{Note|text=You can control how much space is available by using different screen resolutions. Lower resolutions like 800X600 will make everything large and easy to read, while higher resolutions will provides plenty of room for additional Tracks.}}

=== The Main Menu ===

As you may know, in the Amiga's windowing environment each window can have a different menu. Some of the windows in Bars&Pipes Professional do have their own menus, however, most share one menu, the Main menu.

To access the Main menu, click on the Tracks window or the background with the left mouse button. Then, to select one of the Main menu options, click and hold the right mouse button, while moving the mouse pointer to your desired selection.

=== Window Icons and the Windows Menu ===

Several windows in Bars&Pipes Professional are accessible from both icons, located at the right side of the screen, and menu commands, located in the Windows menu found in the Main menu set.

==== Window Icons ====

To the right of the Tracks window, you'll see a column of icons. These icons represent various windows. Double-clicking on an icon opens the window, while clicking on the close gadget of a window turns it back into an icon.

{{Note|text=The Tracks window itself can be closed and turned into an icon. To do so, click on the close gadget in the upper left hand corner of the Tracks window. The close gadget looks like a square with a smaller square inside of it. Notice that the Tracks window turns into an icon of railroad Tracks. Double-click on the Tracks icon to reopen the window.}}

==== The Windows Menu ====

Each window can also be accessed from the Windows menu in the Main menu. This includes many additional windows that do not have icons. Let's take a quick tour of all the windows in the Windows menu. As we do this, we'll get a quick glimpse of the various capabilities of Bars&Pipes Professional. Open each window by selecting it in the Windows menu. If a window has an Icon, notice that the icon disappears. Close the window by clicking on its close button (top left.) You might also experiment with double-clicking on the window icons to become familiar with each.

; Accessories
: Accessories are separate modules that add new features to Bars&Pipes Professional. Use the Accessories window to install, use and remove your Accessories. The Accessory window may also be opened by double-clicking on its icon.

; ClipBoard
: When the ClipBoard window is open, cut copy and paste editing operations store and retrieve from it. Use this to move music around between different parts of the program. The ClipBoard window may also be opened by double-clicking on its icon.

; Define...
: You can define your own Scales, Chords, Rhythms, and Patch Lists using the four Define windows opened from the submenu.

; Edit PadTool Controls
: If you have a Tool in the ToolPad, the Edit PadTool Controls command opens the Control window for that Tool.

; Icons
: The Icons window allows you to keep all of the window icons in their own separate window. Opening the Icons window automatically collects the window icons and places them inside the Icons window. Closing the Icons window causes the window Icons to return to their previous positions.

; Information
: The Information window provides useful information about the state of your project and computer. The Information window may also be opened by double-clicking on its icon.

; Master Parameters
: The Master Parameters window accesses a special master Track where you may set up global Time Signature, Lyrics, Scales, Chords, Dynamics, and Rhythm changes. The Master Parameters window may also be opened by double-clicking on its icon.

; Media Madness
: The Media Madness window brings multi-media production to Bars&Pipes Professional. With this window, you can place Multi-Media Tools in each Track, and edit a complete Multi-Media presentation. The Media Madness window can also be opened by double-clicking on its icon.

; Metronome
: Use the Metronome window to set up your metronome click - internal Amiga audio, MIDI or visual. The Metronome can also be opened by double-clicking on its icon.

; Mini Transport
: The Mini Transport window provides a subset of the main Transport Controls window (see below.) It's designed to be small and innocuous. You can open it from anywhere simply by pressing the 'M' key on your keyboard.

; Mix Maestro
: Use Mix Maestro to do a complete automated mixdown of your performance. Mix Maestro provides a volume slider and pan pot for each Track. As the Song plays, drag the slider to lower or raise the volume and turn the knob to rotate the sound left or right. Mix Maestro memorizes your moves and plays them back faithfully. The Mix Maestro window can also be opened by double-clicking on its icon.

; Record Activation
: By default, when Bars&Pipes Professional's Sequencer records into a Track, it erases all MIDI event types (note, pitch bend, etc.) and replaces them with the new. However, with the Record Activation window you can tell the Sequencer to ignore specific MIDI types. For example, you can set it to record over pitch bend while leaving notes intact. The Record Activation window may also be opened by double-clicking on its icon.

; Set Flags
: The Set Flags window allows you to position any Flag in the Track's window by typing in the location you want for the Flag, either in music or SMPTE time. Open the Set Flags window by choosing Set Flags from the Main menu's Windows menu, or double-click on the Set Flags icon.

: To determine music time or SMPTE time, click on the SMPTE/Music Time button. To change the Flag, click on the numbers to the right of the Flag representation.

; Song Construction
: Edit your music at the highest level with the Song Construction window. Create, drag, duplicate and erase everything from individual measures to entire sections. The Song Construction window can also be opened by double-clicking on its icon.

; Tempo Map
: Use the Tempo Map window to create a graphical Tempo Map for your performance. With a Tempo Map, you can tell Bars&Pipes Professional when to speed up and slow down as it plays your music. The Tempo Map window can also be opened by double-clicking on its icon.

; Tempo Palette
: You may set four preset Tempos in the Tempo Palette window, and then switch instantly to anyone at any time. The Tempo Palette can also be opened by double-clicking on its icon.

; Time Line Scoring
: Connect several Songs into one performance on a SMPTE time line using the Time Line Scoring window. This is useful for laying out an extended piece where different Songs occur at different times. The Time Line Scoring window can also be opened by double-clicking on its icon.

; ToolBox
: The ToolBox window displays several rows of square icons. These represent Tools. Each Tool can be placed in a Track's PipeLine where it performs a specific task to the MIDI music as it flows through the pipe. To place a Tool in a PipeLine, click on the Tool with the left mouse button, and, while holding the button down, drag the Tool to the destination Track's PipeLine. Although the ToolBox displays a palette of available Tools, you may install more Tools, create your own Tools, as well as remove Tools from Bars&Pipes Professional, thereby changing the collection of available Tools in the ToolBox. The ToolBox can also be opened by double-clicking on its icon.

; Tracks
: This command opens the main Tracks window, which is also accessed by double-clicking on its icon.

; Transport
: This window provides the complete set of commands to control the movement of Bars&Pipes Professional's Sequencer. Notice that the Transport window duplicates many of the commands found in the top of the Tracks window as well as all the commands in the Mini Transport. You may click on identical buttons to achieve identical results. The Transport Controls window displays the current time in music time (Measures, Beats and Clocks) as well as SMPTE time (Hours, Minutes, Seconds and Frames.) It also adds additional buttons for using the Punch and Loop Flags as well as setting and using all of the Flags. The Transport window can also be opened by double-clicking on its icon.

==Playing a Demo Song File==

Chapter 5

=== Getting Ready to Play ===

In this chapter, we'll play one of the demo Songs provided on your Bars&Pipes Professional disk. Before we play the Songfile, however, let's make sure that Bars&Pipes Professional is set up properly.

{{Note|text=Make sure that your MIDI equipment is setup properly.}}

==== The MIDI Out And Quick Patch Tools ====

The MIDI Out Tool must be loaded in order for Bars&Pipes Professional to play music via a standard MIDI interface. The MIDI Out Tool's job is to send notes out of the Sequencer to your MIDI instrument.

When you first run Bars&Pipes Professional, you should see a MIDI Out Tool at the end of each and every PipeLine, unless you've set up your environment differently (more on this later).

{{Note|text=You'll probably also see the MIDI In Tool at the beginning of each PipeLine. We won't need the MIDI In Tool until we're ready to record MIDI In the next chapter. It doesn't hurt to have it in the PipeLine, though.}}

We also recommend using the Quick Patch Tool when playing a Songfile.

The Quick Patch Tool allows you to easily change patches, or sounds, on your MIDI instrument.

The demo Songfiles provided with Bars&Pipes Professional already contain this Tool in their PipeLines. Please refer to the Tools chapter of this manual for more information on the Quick Patch Tool.

==== Installing The MIDI Out And Quick Patch Tools ====

If you don't see the MIDI Out Tool at the end of every PipeLine, open your ToolBox by either double-clicking on the ToolBox icon, or choosing ToolBox from the Windows menu.

Do you see the MIDI Out Tool in the ToolBox? You can click down on the Question Mark button to bring up a pop-up list of Tool names. Is the MIDI Out Tool listed?

If not, you need to install the MIDI Out Tool. Follow these steps to load the MIDI Out Tool:

# If the ToolBox window isn't open, open the ToolBox.
# With the ToolBox window still active, use the right mouse button to access the ToolBox menu and select Install Tool....
#A file requester will appear. You should see a list of Tool names. If not, there should be a Tools directory in the Bars&Pipes Professional directory. Direct the file requester to this directory to find all of the Tools.
#Once inside the Tools directory, find the MIDI Out Tool. Click on MIDI Out once and select Load, or just double-click on MIDI Out.

The MIDI Out Tool will appear in your ToolBox. From now on each time you run Bars&Pipes Professional, it will automatically load the MIDI Out Tool into the ToolBox. You won't have to perform these steps again unless you Remove the Tool from your ToolBox.

{{Note|text=Bars&Pipes Professional keeps Track of which Tools are in the ToolBox by a text file called Tools. This file resides in either your S: directory on your WorkBench disk or System partition, or, if the directory "Support" exists in your Bars&Pipes Professional directory, in the Support directory.}}

As you did with the MIDI Out Tool, look in the ToolBox for the Quick Patch Tool. If it isn't in your ToolBox, install it as you did the MIDI Out Tool.

=== The Song Menu ===

The Song menu is the first menu in the Main menu set. Activate the Tracks window by clicking within it to access the Main menu set.

Although we won't be using most its commands right away, now is a good time to introduce the Song. The Song menu contains commands that create, load, and save entire compositions, as well as exit Bars&Pipes Professional. The Song menu commands are:

; New
: The New command begins a new composition. If you have made any changes to the current composition, Bars&Pipes Professional will ask if you'd like to save them before closing. Choosing Yes saves the current Song, while choosing No disregards any changes you have made since the last save. Choosing Cancel cancels the New operation and returns you to the current Song.

: If a 'New.Song' files exists, Bars&Pipes Professional loads it. Otherwise, Bars&Pipes Professional create its own default blank Song.

{{Note|text=Use the Save As Default command {see below) to create and update the 'New.Song' file.}}

; Load...
: The Load... command loads a previously saved Song. If the Song's Tracks, ToolTrays, or ToolPad contain Tools that aren't loaded in the ToolBox, Bars&Pipes Professional attempts to load the missing Tools. If Bars&Pipes Professional can't find a Tool, a requester appears to give you the opportunity to load the Tool manually.

; Revert
: The Revert command returns the Song to its condition at the most recent save, by loading the last Song saved to disk. Think of Revert as a powerful Undo command. At regular intervals during the composition process, save your Song with the Save command. Then, if you make a mistake, you can use the Revert command to return to an earlier version of your Song.

; Save As...
: The Save As... command either saves your Song for the first time or saves it as a different file name. When you select this command, a file requester opens, which enables you to create a new file or to select an old one to overwrite. Once you save a Song with the Save As... command, Bars&Pipes Professional recognizes the file name. From then on, you can use the Save command instead.

; Save
: The Save command saves your Song to disk. This command works only if a file has been previously saved or loaded from disk. Once you load a Song or save it with the Save As... command, you can use the Save command without bothering with the file requester.

; Save As Default
: The Save as Default command saves the current Song as the default Song. Whenever you run Bars&Pipes Professional, this Song automatically loads as your initial blank Song. Also, whenever you choose New from the Song menu, this Song loads as the initial template.

; Print
: The Print command prints your Song. When you select Print, Bars&Pipes Professional opens the Print requester that allows you to print the entire score. (Please refer to Chapter 11, Printing Notation)

; Title/Author
: The Title/ Author command opens a requester into which you can enter the Song's title and author.

; Length...
: The Length... command sets the overall length of your Song. Bars&Pipes Professional sets all of its scroll bars to accommodate the new length.

; Disable/Enable MIDI
: When MIDI is enabled, the Disable/Enable command displays as "Disable MIDI" in the Song menu. When you select Disable MIDI, Bars&Pipes Professional disconnects the MIDI In Tool from the Amiga's internal serial port, so that another program can access the port. When MIDI is disabled, this command displays as "Enable MIDI" in the Song menu. Choose Enable MIDI to reconnect the MIDI In Tool.

; Propagate
: The Propagate command, in conjunction with the Song Construction window's A-B-A feature, copies changes made to the first instance of each section to all other instances of those sections. The Propagate command is ghosted if the A-B-A feature has not been utilized.

; About
: The About command brings up a requester with version and copyright information.

; Quit
: The Quit command exits Bars&Pipes Professional and returns to Workbench. Bars&Pipes Professional will ask you if you'd like to save your file before exiting.

=== Loading an Example Song ===

Let's load the Brandenburg Demo and play it.

# Select Load... from the Song menu. The file requester appears.
# Find the Song titled "Brandenburg Demo". It's in the Example Songs directory.
# Load the Song by either double-clicking on its file name, or clicking once on its file name and selecting Load. Bars&Pipes Professional loads the Song.
# Notice that the Tracks window displays seven Tracks. The Track names correspond to the name of the instrument that each Track plays.

{{Note|text=If you can't find the Song menu, it is probably because another window's menus are active. Click on the Tracks window to activate the Main menu set.}}

Look at the Output PipeLine of each Track:

You'll see the Quick Patch Tool, followed by the MIDI Out Tool, followed by the MIDI Channel number.

=== Setting Your MIDI Channel Numbers ===

On the far right of each Track, notice a blue number denoting the MIDI Channel number for the Track. This number tells Bars&Pipes Professional though which MIDI Channel to play the Track.

The Brandenburg Demo performs on MIDI Channels one through seven; each Track is associate with a different MIDI channel. The result is a multi-timbral performance, since each Track plays with a different sound, or timbre.

{{Note|text=Please check your synthesizer manual to make sure that it is capable of playing multi-timbrally and receiving on these seven MIDI channels simultaneously. Also, please refer to the chapter "Touring the MIDI Setup" for more information on MIDI channels and MIDI synthesizers.}}

If your synthesizer isn't able to play multi-timbrally, all seven Tracks will sound like the same instrument. If your synthesizer can play multi-timbrally, but can't receive on MIDI channels one through seven simultaneously, you'll need to change the MIDI channel number for each Track:

To change a Track's MIDI channel, click on the MIDI channel number. A pop-up grid appears. Highlight the MIDI channel on which you want the Track to output MIDI, and then lift the mouse button.

=== Selecting Your Patch Changes ===

The Quick Patch Tools at the end of each Track send out Program Changes, or patches, to your MIDI instrument. These patches set up your synthesizer to play the correct sound on each MIDI channel. Each Quick Patch Tool in the Brandenburg Demo ia configured to send patch changes that will sound correct on General MIDI instruments.

If your synthesizer or sound modules supports the General MIDI patch list, then skip to the next section, Playing the Songfile.

If your synthesizer isn't set up to play General MIDI patches, the Brandenburg Demo might sound funny. To make it sound better, you'll need to change the patch numbers in the Quick Patch Tool. To do so, double-click on the Quick Patch Tool in one of the Tracks.

The Control window for the Quick Patch Tool opens:

As with all Tools, each Quick Patch Tool has its own Control window, so that you can set up different patches for each one. Drag the slider to change instruments and Quick Patch plays test notes so you can hear how each instrument sounds.

Above the slider, Quick Patch displays the name of the currently selected patch. This name is only valid for a General MIDI synthesizer. If you have a different configuration, you can change the names in the Patch List by using the Define Patch List window.

{{Note|text=We'll learn about defining Patch Lists later. For now, don't worry, just drag the slider until you get an appropriate sound.}}

Once you've selected the instrument of your choice, close the Control window to get it out of the way, or leave it open in case you'd like to continue trying different instruments while the music plays.

At this point, you may have a few questions:

* What if more than one Track is set to the same MIDI channel? If that's the case, will both Tracks play?
* And, if there is a Quick Patch Tool on every Track, which patch will be selected for that MIDI channel?
Good questions!

First of all, Bars&Pipes Professional plays both Tracks. They'll be performed by the same instrument, since they share the same MIDI Channel.

Second, only one Quick Patch Tool can determine what instrument your synthesizer will use. Since Bars&Pipes Professional performs the Tracks in order from top to bottom, the Quick Patch on Track 2 will override the Quick Patch one Track 1.

{{Note|text=Remember, we're referring to two Tracks that share the same MIDI channel number. Quick Patch will not override any other Tracks.}}

=== Playing the Songfile ===

If you've followed along from the beginning of this chapter, loaded the Brandenburg Demo, and set channel numbers and the Quick Patch Tool for each Track, then it's time to hear the Brandenburg Demo!

To start the sequence from the beginning, click on the Start button (blue square followed by a triangle) at the top of the Tracks window or in the Transport Control window:

Another way to start the sequence from the beginning is to press the 0 (zero) key on your numeric keypad.

You should hear your synthesizer playing the music. Notice a blue vertical line scrolling across the Tracks in the Tracks window. This is the Song Position Line.

NOTE-> As the Song Position line passes over the beginning of a note, that note sounds. As it passes over the end of a note, that note becomes silent.

If your synthesizer does not play, check your cables, amplifier, and MIDI interface. Refer to Chapter 3, Touring The MIDI Setup if you need more help. Also, review the beginning of this chapter to make sure that you didn't miss a crucial step.

=== Saving Your Changes ===

If you've made any changes to the Brandenburg Demo, for example the MIDI channel numbers or the Quick Patch settings, you should save the Brandenburg Demo so that it will play the same way next time.

Select the Save command from the Song menu. This tells Bars&Pipes Professional to update the Brandenburg Demo with your new changes.

==Recording==
Chapter 6

Recording Checklist

Before we begin recording, let's make sure that everything is ready to go.

Select The New Song Command

Select New from the Song menu. This command clears the Tracks and PipeLines of all data and Tools, except the MIDI In and MIDI Out Tools.

NOTE-> You can set Bars&Pipes Professional to load a custom environment whenever you select the New menu option. Simply set the Tracks and Tools the way you'd like them to be when you need a fresh slate, then select the Save As Default menu command from the Song menu.

Verify The MIDI In Tool

The MIDI In Tool absolutely must be installed in order to record from a MIDI source. The MIDI In Tool can only be placed at the beginning of the Input PipeLine:

It's the MIDI In Tool's job to listen to the MIDI In port, and send the MIDI data down the PipeLine to be processed by other Tools and recorded in the Sequencer. If you don't see a MIDI In Tool at the input of each Track, load it in just like you did with the MIDI Out Tool in the last chapter.

Configure The Metronome

The Metronome provides a solid reference click to help you keep time while recording. It can also give you a count-down click for a few measures before recording, so that you have time to prepare. If you'd like, the Metronome can also click during playback.

You can set Bars&Pipes Professional's Metronome to play out of the Amiga's internal sounds, flash the screen, and/or play out of your MIDI instrument.

To open the Metronome window, double-click on the Metronome icon or select Metronome from the Windows menu. Like all Bars&Pipes Professional windows, you may leave this window open and change its parameters as the music plays.

Please refer to Chapter 15, The Metronome, for further details.

Set Your Keyboard's Local On/Off Switch

If you have a single keyboard connected to your computer, so that MIDI Out of the keyboard is connected to the MIDI In on the computer and MIDI Out on the computer is connected to the MIDI in on the keyboard, you may want to use the keyboard's "local off" feature.

Many keyboards support a local on/off switch. Here's why:

When the local setting is switched on, the sound producing hardware of your keyboard performs as soon as you press a piano key. Meanwhile, the keyboard also sends a MIDI note command down the MIDI cable. This can create a problem when the keyboard is connected to a computer. The computer receives the MIDI note, then sends it back to the keyboard via the second MIDI cable. Unfortunately, this tells the keyboard to play the same note a second time, stacked on top of the first.

When local is switched off, the sound producing hardware in your keyboard only responds to MIDI notes coming from the computer. It doesn't make a sound when you press a key. However, it still sends the note via MIDI to your computer which sends the note back via the second MIDI cable into the sound producing hardware which can now respond.

Test Run

Click on the Input Selector of Track 2.

The Input Selector is the grey box to the right of the Track name. A red arrow should appear in the box. This indicates that all MIDI input should flow down Track 2.

NOTE-> If the red arrow doesn't appear, you probably don't have the MIDI In Tool Installed in Track 2.

With your keyboard's local setting on, play a key. If your keyboard is multi-timbral, and is set up to receive on MIDI channe1 2, and MIDI channel 2 is set up to play a different patch than MIDI channel 1, you should hear two distinct sounds simultaneously.

This is because your keyboard's sound producing hardware is receiving the command to play from two sources. One, pressing a key on your keyboard tells your sound hardware to play on MIDI channel 1. Two, the MIDI information sent out of the MIDI out, goes through Bars&Pipes Professional's Track 2, and returns to the sound producing hardware on MIDI channel 2.

Now, turn your keyboard's local off and play a key. You'll only hear the MIDI channel 2 patch. This is because the sound producing hardware is only receiving the command to play from MIDI, and not directly from the key press itself.

When recording or overdubbing multi-timbrally, it is best to set your keyboard's local off.

Recording Two Tracks

Although Bars&Pipes Professional is a sophisticated music environment, you'll find that you can accomplish wondrous things simply by recording a few Tracks. Let's walk through the steps of the recording process:

Step One: Turn On The Metronome

If you haven't already done so, turn on the Metronome from the Metronome window. If you record with the Metronome, you'll find it much easier to edit your music later on, because the notes will line up properly with the measures and beats.

Test the Metronome by clicking on the Play button.

You should hear the metronome's click. If not, please refer to the Metronome chapter to learn how to set up Bars&Pipes Professional's metronome.

Step Two: Set The Tempo

While testing the Metronome, click on the Tempo display in the Tracks or Transport window and drag it with the mouse.

Drag up to increase the tempo, drag down to decrease the tempo. You can also click once in the top half of the tempo button to increase the tempo by one or click once in the bottom half of the button to decrease by one. Once you've settled on a comfortable tempo, click on the Stop button.

* TIP * You may also set the tempo with the Tempo Tap Tool. Please refer to the Music Tools chapter for more Information.

Step Three: Activate The Input Selector

Click on the Input Selector for the Track you want to record. The Input Selectors are the gray boxes in front of the MIDI In Tools.

When you click on the Input Selector, a red arrow appears.

If the red arrow doesn't appear, you'll need to load in the MIDI In Tool and select New from the Song menu.

Step Four: Set The Track's Record/Play/Merge Selector

Click on the Track's Record/Play /Merge Select button until it displays a red "R", to put the Track in Record mode.

A red "R" indicates that it is in Record mode. A blue "P" indicates Play mode, while a red "M" indicates merge mode.

Step Five: Place The Track In Thru Mode

By default, Bars&Pipes Professional places each Track in Thru Mode. To switch among Thru, Mute, and Play Only, click on the faucet to the right of the Sequencer display.

When a Track is in Thru mode (depicted by a faucet with two connections on the left) you can hear notes played via your MIDI sound module or keyboard as you play them into the Sequencer.

When a Track is in Play Only mode, notes input from the keyboard can't be heard.

* TIP * If you are using only one keyboard and it does not support Local Off, you might want to record with the faucets in Play Only instead of Thru mode.

Step Six: Select The Output Channel

Depending on which MIDI instrument you use, set the Output Channel so that the synthesizer or device responds with the proper instrument.

The Output Channel selector is to the right of the Output PipeLine:

To select the Output Channel, click down with the mouse and drag it to the desired channel number in the pop-up menu.

NOTE-> The MIDI Out Tool must be the last Tool in the PipeLine; otherwise, the notes wont be sent out the MIDI cable.

Test your selection by playing a note on your MIDI keyboard. Notes enter the MIDI Tool on the left side of the PipeLine, pass through the Sequencer, and exit the MIDI Out Tool direct to the instrument indicated by the selected Output Channel.

* TIP * Make sure that you're thoroughly familiar with how to operate your MIDI synthesizer in particular, how to set the MIDI channels for receiving.

Step Seven: Put The Sequencer In Record

Click on the Record button in the Transport Controls window or at the top of the Tracks window to activate the Sequencer Record mechanism.

* TIP * You can use the "R" key on your Amlga keyboard to toggle in and out of Sequencer Record mode.

In Sequencer Record mode, all Tracks that have their Record Select buttons set to "R" record the MIDI music flowing in their Input PipeLines, replacing whatever was there previously. Tracks set to P continue to perform, without recording. Tracks set to M play while recording, merging the new performance with the previous material already in the Track.

It is important to understand the distinction between the Sequencer Record and Track Record modes: When you click on the Record button at the top of the Tracks window, Bars&Pipes Professional enters Sequencer Record mode. Only then can a Track in Track Record mode be overwritten. Otherwise, it simply acts as if it were in Play mode.

When you start Bars&Pipes Professional with either the Start or Play buttons after activating Record mode, Bars&Pipes Professional records MIDI data into the Tracks in Track Record or Merge modes.

This two-step operation is analogous to pressing the Record and Play buttons simultaneously on a hardware multi-track recorder.

NOTE-> Track Record mode allows you to determine which Tracks actually record MIDI data. Only tracks with their R/P/M selectors set to Record or Merge modes actually record when Bars&Pipes Professional Is put Into sequencer record mode. This feature allows you to determine which Tracks actually record MIDI data and which Tracks only play back.

Understanding the relationship between the Track Record mode and the Input Selector is important. Please keep in mind the following points:

The Input Selector indicates which Track is currently selected for keyboard input.
The Input Selector must be set to the same Track on which you want to record, and that Track must be placed in Track Record mode.
If you first set the Input Selector for a given Track, and then set that same Track to Track Record mode, changing the Input Selector to another Track also changes the new Track to Track Record mode, and cancels Track Record mode in the previous Track.
It's a good idea to get into the habit of selecting your options in the Tracks Window from left to right, since Bars&Pipes Professional was designed from the ground up to present you with all information logically as it would be encountered if you were viewing a flow chart.
Step Eight: Start Recording

To begin recording, click on the Start button.

* TIP * You can also use the Insert key on the numeric keypad on your Amlga keyboard. The Insert key is the same as the zero (0) key.

When you are finished recording, click on the Stop button or press the Enter key on the numeric keypad on your Amiga keyboard.

NOTE-> Notice that the Sequencer Record button turns off, but the Track Record button stays on. This is a safety feature. It enables you to Immediately review your recording without fear of erasing it.

Step Nine: View The Recording

When you stop recording, Bars&Pipes Professional redraws the Sequencer display with the current measure in the center and the Song Position Flag over it. It displays notes as blue lines in selected Tracks and as yellow lines in unselected Tracks.

To view an earlier section, drag the scroll bar below the Sequence section of the Tracks to the left, or to scroll one measure at a time, click on the left arrow.

To view a later section, drag the scroll bar to the right or click on the right arrow.

Step Ten: Play The Recording

Because the Sequencer Record button is no longer activated, you can safely play back your recording even though the Track is still in Record mode. Tracks in Record mode will not record or be erased if the Sequencer is in Sequencer Play mode.

NOTE-> If you have trouble with playback, refer to the previous chapter, Playing A Demo Songfile.

To play from the beginning, click on the Start button or press the Insert key on the numeric keypad on your Amiga keyboard.

To play from the current Song position, click on the Play button or use the Enter key on the numeric keypad on your Amiga keyboard.

You can also use the Start and Play buttons in a similar fashion when Bars&Pipes Professional is in Sequencer Record mode, in order to record from the beginning of the composition or from the current Song position, respectively.

If you are dissatisfied with what you hear, you can record a second time by clicking on Sequencer Record, then clicking on Start.

Step Eleven: Record A Second Track

Once you are finished with your first Track, click on the Input Selector of another Track to record. The "R" in the first Track should change to a "P" to indicate Play mode, while the "P" in the new Track should change to "R" to indicate Record mode.

{{Note|text=This may not happen if the first Track's Input Selector was not selected. You can change the "R" to a "P" In the first Track and the "P" to an "R" In the second Track manually in this case. Just click on the button.}}

Click on the Record button in the Transport Controls, then click on Start. Your first Track starts to play. Play along with it as the Sequencer records your performance on the second Track.

When you are finished recording, click on the Stop button and take the second Track out of Track Record mode. Next, click on the Start button to play both Tracks from the beginning.

You have now accomplished basic multi-track recording.

Step Twelve: Save Your Song

Now that you've composed some music, let's save it to disk.

Select Save As from the Song menu. Point the File Requester to the appropriate directory where you want to save your Song. Then enter a name for your Song and hit return, or click on the Save button.

Advanced Recording Topics

The rest of this chapter covers more sophisticated aspects of recording that you may not need initially but will appreciate as time goes by. Feel free to skim these topics and check back when the need warrants.

Multiple In Recording

There are times that you need to record multiple MIDI channels simultaneously. For instance, you might want to simultaneously record yourself on one Track and someone else on another Track. Or, you might want to transfer several Tracks from another MIDI Sequencer into Bars&Pipes Professional.

In either case, choose Multiple In from the Main menu's Preference menu. This turns the Input Selectors on each Track into MIDI channel selectors. Click on these selectors to choose which MIDI channel should enter into each Track. Now all Tracks act as inputs but each Track only receives MIDI events set for its particular channel.

When Multiple In isn't selected, all events, regardless of MIDI channel, are sent to the Track with the active Input Selector.

Manual Punching In And Out

Suppose you record a Track and discover one section that needs to be fixed. It would be a waste to record the entire Track just to get one phrase right. Bars&Pipes Professional solves this by letting you enter and leave record mode on the fly. This is called "punching in" and "punching out". Punch In switches Bars&Pipes Professional from playback to recording, Punch Out switches back to playback.

To switch from playback to record (punch in) at any point while the Song is playing, click on the Record button in the Transport controls. At this point, the music playing on all Tracks that are currently in record mode stops and the Tracks start recording. Switch back to playback (punch out) by clicking again on the Record button and the Tracks resume playing. You can continue to punch in and out as many times as is necessary. When you finally stop the performance and play it again from the top, all of the "punched" sections are erased and replaced with the new recording.

Automatic Punching In And Out

Manual punching in and out has its limitations. If you are working alone, you'd need two arms to play and a third to punch in and out. Bars&Pipes Professional provides that third arm with the Punch In and Punch Out Flags.

Bars&Pipes Professional's Punch In and Out Flags automatically switch the Sequencer in and out of Record mode at preset locations.

To use the Punch In and Out Flags, move them to the boundaries of the section you'd like to record.

To move a Flag, first drag the scroll bar at the bottom to display the desired section, then drag the flag itself to the desired location.

* TIP * You can also set flags directly with the Set Flags window, accessed from the Windows menu.

When you drag flags, Bars&Pipes Professional aligns them with time boundaries. Set the alignment with the Alignment option in the Preferences menu.

Once you've positioned the Flags, click on the Punch In/Out button in the Transport Controls window. (Open the Transport Controls window by double-clicking on its icon, or choosing Transport from the Windows menu.)

Doing so activates the Punch In and Out and sets the Sequencer to start four measures before the Punch In point.

If you'd rather start elsewhere, use the Rewind, Fast Forward, or Auto-Locate buttons to relocate the Position Marker after clicking on the Punch In/Out button.

After you've positioned the Flags, start the Sequencer. At the Punch In point; the Sequencer Record button automatically depresses and all Tracks in Track Record mode switch from playback to recording. At the Punch Out point, these same Track revert to playback.

* TIP * Double-clicking on the Punch In/Out button both moves the Song Position marker back four measures and starts the Sequencer automatically.

To Punch In only, drag the Punch Out flag to the far right, which places it at the end of the Song. To Punch Out only, drag the Punch In Flag all the way to the left, which places it the beginning of the Song's first measure.

If you select the Clean Cuts command in the Preferences menu, Bars&Pipes Professional will start recording at the Punch In flag. Any notes that were started in the measure prior to the Punch In flag will be truncated. Notes that end after the Punch Out flag will be truncated, as well.

If you do not select the Clean Cuts command in the Preferences menu, notes that you play before the Punch In flag will not be truncated or recorded at all in the Punch area. Notes that you hold past the Punch Out flag will not be cut off at the Punch Out flag.

Merge Recording

When you place a Track into Merge mode instead of Record mode, newly recorded events will be merged with the current contents of the Track.

Merge mode is designated by a red "M" in the Track.

Unlike Record mode, Merge mode does not erase the MIDI events that are already in the Track. Instead, it mixes the existing notes with the newly recorded MIDI events. Merge mode may also be used with the Punch In/Out function.

Loop Recording

The Loop button in the Transport Controls activates the Loop Mode recording function.

With Loop Mode, you can record one section of your Track over and over. Use the Loop Mode button in conjunction with the Loop Flags.

Position the Loop Flags on the boundaries of the section you'd like to loop. Then click on the Loop button, which in turn opens the Loop Record requester. Bars&Pipes Professional automatically places the Song Position Marker at the start of the looped section and activates the Sequencer Record button.

To begin recording, click on the Play button in the Loop Record requester. Bars&Pipes Professional plays the section marked by the Loop Flags eight times. This gives you eight opportunities to record in the looped section.

When the eighth loop finishes playing, or when you've clicked on the Stop button in the Loop Record Requester, another requester opens. This, the Loop Choice or Select A Section requester, allows you to choose which of the eight repetitions to keep. If you change your mind, select Cancel to abort the Loop Recording process.

The Loop Choice requester represents the eight versions recorded during Loop Mode by buttons numbered one through eight. Click on each number to hear its particular version. When you settle on a choice, click Okay to accept it. Bars&Pipes Professional retains only the selected version, discarding the other seven versions. If you are unhappy with all eight versions, select Cancel to discard all of them.

* TIP * For a different kind of loop recording, please read about the Pattern Tool in Chapter 27.

The Record Activation Window

The Record Activation window allows you to globally filter MIDI events when recording with MIDI In Tools. Furthermore, prerecorded MIDI events can be selectively left alone while others are recorded on top of them.

Open the Record Activation window by choosing the Record Activation option in the Main menu's Windows menu. A window similar to a MIDI In Tool's Control window opens.

Highlight the MIDI Events you want to record, and deactivate the MIDI Events you want to ignore. Events appearing in red are recorded, while unhighlighted events appearing in blue are filtered out.

Bars&Pipes Professional will remove filtered events before they enter the Sequencer. It will not, however, remove existing events of the same type that have previously been recorded into the Track.

Here's a quick example: Let's assume that you have recorded a sequence on Track 4 that includes pitch bends and control changes. If you want to rerecord the notes on the Track, but leave the pitch bends and control changes intact, choose to ignore (deactivate) Pitch Bend and Control Change in the Record Activation window. When you rerecord Track 4, the new notes will be recorded, while the pitch bends and control changes will be left alone.

Stuck Notes

If you experience stuck, or "hung", notes, click on the Stop button in the Transport Controls window. This sends the MIDI All Notes Off command through all Tracks to each Track output. As a result, most MIDI instruments turn off their voices.

Clogged Pipeline

It is possible to create a "logjam" in the PipeLines. For example, if MIDI enters and exits the same PipeLine, and the MIDI synthesizer returns the notes it receives to Bars&Pipes Professional, a feedback loop results.

At this point, none of the Transport Controls are operable. If this "logjam" occurs, press the Escape key on your Amiga keyboard. You may need to press Escape several times to completely clear the PipeLine.

==Tools==
Chapter 7

Overview

If you've read the previous chapter, you know how to record and overdub Tracks. Now it's time to move to one of the most important aspects of Bars&Pipes Professional: Using Tools.

What is a Bars&Pipes Professional Tool? Technically, a Tool is device that sits in a Track's PipeLine and performs an operation on the MIDI events flowing through it. Some Tools are musical in nature and perform operations that are standard operations, like delay and quantize. But Tools can also organize the flow of the music by interconnecting PipeLines, help compose music by creating or changing notes, and even translate music events into other media, such as displayed pictures.

Tool Modules

Tools are special additions to Bars&Pipes Professional's main program. Each Tool is actually a separate module that Bars&Pipes Professional loads. This is a very important concept.

You can expand the capability of Bars&Pipes Professional by adding more Tools without upgrading Bars&Pipes Professional itself. And, you can remove unneeded Tools to save memory.

Once you've loaded a Tool, Bars&Pipes Professional automatically installs it each time. When you remove a Tool, Bars&Pipes Professional will no longer install it.

{{Note|text=Sometimes, you might create a Song with a particular Tool in its PipeLines, save it, then remove the Tool at a later date. Great news! If Bars&Pipes Professional senses the Tool is missing, it reinstalls it automatically.}}

Multiple Usage Of Tools Once you've installed a Tool in Bars&Pipes Professional, you can use it in several different places at a time. Each time you drag a Tool out of the ToolBox, Bars&Pipes Professional makes a unique copy of the Tool. This way, you can setup each copy to behave differently.

Example:
Set one instance of an Echo Tool to create four echoes in Track 1, while setting a second Echo Tool in Track 2 to create only two echoes. Each Echo Tool is a unique copy of the original Echo Tool that Bars&Pipes Professional loaded when you installed it.

Tool Types

Tools fall into two primary categories: Music Tools and Multi-Media Tools. Within these categories, Tools are further classified as Input, Output, and Branching Tools. Input and Output Tools serve as the inputs and outputs of each Track's PipeLine, i.e., the MIDI In and MIDI Out Tools. Branching Tools connect PipeLines between Tracks. Combinations of Tools are called MacroTools.

Music Tools

Music Tools perform musical functions. The Quantize Tool (tightens the note timing,) CounterPoint Tool (creates a counter melody,) and Quick Patch Tool (sets up the MIDI instrument) are examples of Music Tools.

Multi-Media Tools

Multi-Media Tools, in conjunction with Bars&Pipes Professional's Media Madness window, control non-musical aspects of sequencing, including other hardware and software. The ANIMal Tool (plays animations,) Toasty Tool (controls the Video Toaster,) and Command Performance Tool (sends ARexx commands to other programs) are examples of Multi-Media Tools. Most of the Multi-Media Tools are also Output Tools. The Media Madness window controls Multi-Media Tools that are also Output Tools.

Macro Tools

MacroTools are a special category of Tools. MacroTools are combinations of regular Tools. Use MacroTools to create your own Tools by putting together individual Tools with the Create-A-Tool feature. MacroTools have icons, may be placed in PipeLines, and are loaded separately from disk, just like all other Tools.

The ToolBox

Bars&Pipes Professional organizes the installation, usage, and removal of Tools all from one window, the ToolBox.

Open the ToolBox by double-clicking on its icon, or choosing the ToolBox command from the Windows menu. The ToolBox window displays all currently installed Tools.

Tool Icons

Tools appear in the ToolBox as icons. Select a Tool by clicking once on its icon. To place a copy of the Tool in a Track or ToolPad, hold down on the mouse and drag the Tool to the desired destination. This makes a copy of the Tool and places it.

{{Note|text=If there are no Tools in the ToolBox, Bars&Pipes Professional can't find the Tools to load. Often this occurs with improper installation. You will need to load in the Tools one by one. Please see the section below, Installing Tools.}}

The Question Mark Button

The first icon in the ToolBox window, the grey box with the "?" (question mark), is not a Tool. If you click and hold the mouse button over the question mark, a pop-up menu opens containing the names of all the Tools in the ToolBox.

To select a Tool with the pop-up menu, drag the mouse pointer until the desired Tool name highlights; then release the mouse button. A copy of the Tool icon "sticks" to the mouse. You can then drag the Tool to a PipeLine or ToolPad to drop the selected Tool in it, or click anywhere else to eliminate the copy.

Tool Names

You can optionally display the Tool names to the right of each icon by selecting the Show Tool Names option in the Preferences menu of the ToolBox.

Installing Tools

The first time you run Bars&Pipes Professional, it loads a preset collection of Tools. This preset collection is a mere subset of the dozens of Tools that come with Bars&Pipes Professional. In order to access the additional Tools included with the program, you must install them.

To install a Tool, use the Install Tool command in the ToolBox menu. This command loads the Tool from disk, places it in the ToolBox and makes the Tool a permanent part of your environment. Once you've installed a Tool, Bars&Pipes Professional automatically loads the Tool every time it runs until you remove the Tool with the Remove Tool command.

Example:

Open the ToolBox window, if it is not already open.
Activate the ToolBox window by clicking on it.
Access the ToolBox menu by holding down the right mouse button and dragging the mouse pointer to the top of the Bars&Pipes Professional screen, over the words "ToolBox". The ToolBox menu opens.
Drag the mouse down over the words "Install Tool..." and then release the right mouse button. The file requester opens.
If the file requester is not already in the Tools directory, find the directory where you keep your Tools.
Find the Loop Tool in the Tools directory. Double-click on Loop to open it.

{{Note|text=A text file called Tools is kept in the Support directory to keep Track of which Tools have been installed. Although we don't recommend it, you can edit this file in a text editor. Please see Chapter 31, Customizing Your Environment, for more information on the Support directory.}}

You might load a Song or MacroTool that includes Tools that are no longer installed. Bars&Pipes senses this and tries to automatically install the missing Tools. If it can't find them, it prompts with the file requester and the missing Tool name. Then, Bars&Pipes Professional actually installs the missing Tool. As a result, the process of loading a Song can actually install one or more Tools permanently in the ToolBox!

Removing Tools

If you have a Tool in your ToolBox that you never use, consider removing it. Too many Tools eat up precious memory, take extra time when loading Bars&Pipes Professional, as well as create a jungle of icons.

To remove a Tool, first select it in the ToolBox. Then, select the Remove Tool command in the ToolBox menu. This removes the Tool and tells Bars&Pipes Professional not to automatically load the Tool every time it runs.

{{Note|text=If the Tool is in a Track, ToolPad, or ToolTray, Bars&Pipes Professional alerts you that the Tool is in use, and asks you to verify the operation.}}

The Remove Tool option does not erase the Tool from your disk. It only removes the Tool's name out of the active Tool list, stored in the file "Tools" in the Support directory.

Creating, Editing & Saving MacroTools

Three additional commands in the ToolBox menu control the design and updating of MacroTools.

To create a new, empty MacroTool, select the command Create MacroTool. This creates a blank MacroTool and opens the Create-A- Tool window to edit it. Please see Chapter 24, Create-A-Tool, for more information.

{{Note|text=You can Install and remove Macro Tools as you would any Tool.}}

If you'd like to make changes to an existing MacroTool, click once on the MacroTool to select it, then choose the Edit MacroTool command in the ToolBox menu, or double-click on the MacroTool. The Edit MacroTool command opens the Create-A-Tool window, so that you can make design changes.

Although the Create-A-Tool window automatically prompts you to save the MacroTool, you can also do so directly by selecting the Save MacroTool command found in the ToolBox menu. This opens the file requester, where you may choose a destination file.

{{Note|text=Saving a Macro Tool to a new location updates the Installation information in the Tools file. Bars&Pipes Professional will always load the Macro Tool from the new file location instead of the old.}}

Using Tools in the PipeLine

Tools are most often used in the PipeLine and ToolPad. In the PipeLine, a Tool processes music flowing through it. In the ToolPad, a Tool modifies entire segments of music all at once, using the Toolize command found in the Edit and Tracks menus.

A Tool in a particular Track's PipeLine modifies the MIDI data that flows through it. Most Tools may be placed in either the Input PipeLine or the Output PipeLine. Some Tools are Input Tools, and only place themselves as the first Tool on the Input PipeLine. Other Tools are Output Tools, and only place themselves as the last Tool on the Output PipeLine.

Bars&Pipes Professional displays the complete PipeLines with all Tools only in the Tracks window, although it does display the final Output Tools in the Media Madness window as well.

Placing A Tool In A Pipeline

To place a Tool in a PipeLine, drag a copy of the Tool from the ToolBox, another PipeLine, or a ToolTray (more on that later,) and drop it into the PipeLine.

Opening The Tool's Control Window

Double-click on a Tool in a PipeLine to open its Control window. Alternatively, highlight the Tool by single-clicking on it, and choose Edit from the Tool menu. You can edit the Tool's Control window while Bars&Pipes Professional plays and MIDI events flow through the Tool. As a result, you hear instant feedback as you make changes in the Control window. You can also open multiple Control windows at once.

Duplicating A Tool

You can duplicate an existing Tool in the PipeLine by clicking on the Tool and dragging it to a new location. Copying a Tool in this manner is useful because you can edit one Tool's Control window, then place duplicates in several other Tracks.

Moving A Tool In The PipeLine

To move a Tool in the PipeLine, click on the Tool once to highlight it, then choose the Move Left and Move Right commands in the Tools menu. Alternatively, you can use the left and right arrow keys on the Amiga keyboard to move the highlighted Tool. You can even make a Tool jump across from the Input PipeLine to the Output PipeLine and vice versa. You cannot, however, move Input and Output Tools.

{{Note|text=Remember, clicking on and dragging a Tool duplicates it, rather than moving it. Also, moving a Tool from the Input PipeLine to the Output PipeLine or vice versa breaks its connections with other Tools.}}

Connecting With Vertical Pipes

You can actually connect a Tool in one Track to Tool in another via vertical pipes. To do so, you need two types of Tools: The first type, the branching Tool, uses preset criteria to send MIDI events to another Track. There are many branching Tools. For example, the Keyboard Splitter Tool sends all notes below its split point to a second Track and the CounterPoint Tool can send the countermelody to a second Track.

The second type of Tool, the merging Tool, sits in the second Track's PipeLine and receives incoming MIDI events. Unlike the branching Tools, there is only one merging Tool included with Bars&Pipes Professional, the Merge In Tool.

{{Note|text=The Pro Studio and Creativity Add-On Kits include merging Tools that use MIDI events coming down the vertical pipes to control events in the second Track's PipeLine.}}

To connect a branching (sending) Tool to the merging (receiving) Tool, click on the branching Tool. Then select the Connect command in the Tools menu and click once on the merging Tool. A vertical pipe will be drawn between the two Tools, indicating that they are connected.

Removing A Tool

To remove a Tool from the PipeLine, highlight that Tool by clicking on it. Then select Remove from the Tool menu to remove the Tool. Alternatively, you can use the Del key on the Amiga keyboard.

Using Tools in the ToolPad

The ToolPad provides a means to permanently change your music. Whereas Tools in PipeLines process events as the events flow through them, Tools in the ToolPad do nothing until you use the Toolize command. Using the Toolize command causes the entire Song, individual Tracks, or parts thereof, to change permanently.

You'll find ToolPads in the Tracks window, the Edit and List Edit windows, the Media Madness window, and the Song Construction window. These buttons all represent the same ToolPad, regardless of which window they appear in.

Unlike Tools in the PipeLine, Tools placed in the ToolPad do not process notes as they are played. Instead, they process all of the notes in a Song, sequence, or section. For example, if you place the Quantize Tool in the ToolPad, you can use it to Quantize all of the notes in a selected Track. The ToolPad holds up to sixteen Tools at once.

Placing A Tool In The Toolpad

To place a Tool in the ToolPad, click and drag it from the ToolBox, a ToolTray, or even a Track's PipeLine, and drop it onto the ToolPad. If the ToolPad is not full, the new Tool takes the next empty slot. However, if the ToolPad is full, the new Tool replaces the currently displayed Tool in the ToolPad.

{{Note|text=You can put more than one of the same type of Tool in the ToolPad.}}

Selecting A Tool From The Toolpad

To select a Tool from the ToolPad, click down on the pad with the mouse and hold it. Under the mouse, a pop-up menu appears with sixteen Tools displayed. (The unfilled slots are displayed as empty pipes.) Move the mouse pointer to the Tool you need and lift up. The ToolPad now displays that Tool.

Editing A Tool In The ToolPad

To edit a Tool in the ToolPad, called a PadTool, first select it, then use the Edit PadTool Controls command in the Windows menu.

* TIP * You can also hold down the Shift key on your Amiga keyboard while dlcklng on the ToolPad.

This opens the Control window for the Tool, if one exists. Some Tools do not have parameters to change and therefore no Control window. You can keep the Control window open for the Tool as you use it to process your Song. You can even have several Tools' Control windows open at the same time.

Removing A Tool From The ToolPad

There is no need to remove a Tool from the ToolPad. Once the ToolPad is full, placing a Tool in the ToolPad replaces the currently showing Tool.

Toolizing With The ToolPad

Tools placed in the ToolPad can process all of the notes in an area of your Song. To do so, use the Toolize command, found in both the Edit and Track/Group menus.

The Toolize command in the Edit menu processes all notes on all Tracks between the Edit Flags. Set the Edit Flags (the two purple triangles) either by dragging them in the Tracks window or typing in positions in the Set Flags window.

For more information on editing with the Edit Flags, please see Chapter 20, Multi-Track Editing.

The Toolize command in the Track/Group menu processes all notes in the currently selected Track or a Group of Tracks.

* TIP * Use the Output PipeLine to test a Tool while changing its controls. Once you're pleased with the results, drag the Tool into the ToolPad and Toollze the entire Track to make the changes permanent. Then, delete the Tool from the PipeLine since it no longer is needed.

Replacing A Tool In The ToolPad

To replace a Tool in the ToolPad with another Tool, select the Tool to discard by choosing it from the pop-up menu so that it appears in the ToolPad on the screen. Then drag the new Tool from the ToolBox onto the ToolPad. The new Tool replaces the displayed one.

ToolTrays

The ToolBox organizes the original copies of each Tool. Every time you drag a Tool from the ToolBox and place it in a PipeLine, you must double-click on the Tool and edit its Control window. In other words, while a Tool resides in the ToolBox, it cannot be edited.

On the other hand, ToolTrays provide a place to keep preset versions of Tools. Just drag a Tool from the ToolBox into a ToolTray and then edit the Tool's Control window by double-clicking on the Tool in the ToolTray.

From then on, drag the Tool from the ToolTray instead of from the ToolBox, and the changes you made remain intact. You can organize up to sixteen individual copies of Tools in each of eight ToolTray windows.

To access a ToolTray, choose one of the ToolTrays in the Tool menu. If the ToolBox window is active, you can also select a ToolTray from the ToolTrays menu. The ToolTray window opens.

Drag a Tool from the ToolBox or from a PipeLine and drop it into the ToolTray beneath the horizontal gray line. The name of the Tool appears above the gray line.

Modify the name of the Tool by clicking on its name and using the Amiga keyboard.

{{Note|text=Changing the name of the Tool in the ToolTray does not change the name of the Tool in the PipeLine or ToolBox. This feature allows you to keep several copies of the same Tool in a ToolTray, and be able to distinguish between them when you dick on them.}}

For example, you might prepare two versions of the Quantize Tool with different resolutions and give each a name that describes its resolution.

Double-click on a Tool in a ToolTray to open that Tool's Control window. Set the parameters to whatever you want. When you drag this Tool into a PipeLine or ToolPad, it retains these parameters.

{{Note|text=The ToolTrays load and save with your composition.}}

For a complete explanation on using ToolTrays, please see Chapter 25, ToolTrays.

Examples

In the following sections, we present some step by step examples of using specific Tools. This will help you to understand the Tool concept, and how to use Tools in your own compositions.

Let's look first at a very simple Tool called the CounterPoint Tool. Open your ToolBox. If you do not see the CounterPoint Tool, install it.

{{Note|text=There are several ways to view Tools by name: You can dick on the ? button to access a scrolling list of Tools, You can dick on a Tool and view its name in the ToolBox window's Title bar. You can also select the Display Tool Names option in the ToolBox window's Preferences menu to display the Tools by name as well as Icon.}}

The CounterPoint Tool does not have a Control window.

Using CounterPoint On The Input Pipeline

Grab the CounterPoint Tool from the ToolBox by clicking on it with the left mouse button. Drag the Tool until it is over the Input PipeLine of Track 1, just to the right of the MIDI In Tool. Release the mouse button. Activate the Input Selector for Track 1.

Play a few notes on your keyboard. You'll hear an accompaniment to the notes you play

Here's how it works: The notes you play on your keyboard come into the active MIDI In Tool. Then, the notes flow into the CounterPoint Tool. The CounterPoint Tool creates a countermelody note for each note that enters it.

The original note and the countermelody note flow down the rest of the Input PipeLine and into the Sequencer. Even if Track 1 is in record mode, since we haven't activated the Sequencer Record mode, the notes just travel right on through the Sequencer .

When the notes reach the Thru/Mute/Play faucet, they continue through if it is in Thru mode. Thru mode is represented by a blue faucet with two inputs on the left side.

{{Note|text=If the faucet is red, without an Input on the left side, it is in Mute mode. Nothing will play out of the Track when the faucet is in Mute mode. If the faucet is yellow, with one Input on the left side, it is in Play Only mode. In Play Only mode, only notes previously recorded into the Track go through.}}

The notes flow down the Output PipeLine until they reach the MIDI Out Tool. The MIDI Out Tool sends the notes out the MIDI out port on your interface, on the MIDI channel selected by the MIDI channel selector. The MIDI channel selector is the blue number on the right of each Track.

Sending The Countermelody To Another Track

Now, lets record the original melody on Track 1, and the countermelody created by the CounterPoint Tool on Track 3. We can do this because the CounterPoint Tool is a Branching Tool. To use any branching Tool, you'll need the Merge Tool.

Select the Merge Tool from the ToolBox. Its icon is a horizontal length of pipe with an angled pipe entering it from the top left. If you don't see the Merge Tool, load it in. Place the Merge Tool on the Input PipeLine of Track 3.

Click on the CounterPoint Tool with the mouse. A red box surrounds it to show that it is the active Tool. Select Connect from the Tool menu, then click on the Merge Tool. Bars&Pipes Professional connects the CounterPoint Tool to the Merge Tool with a vertical piece of pipe. Now the countermelody flows down the vertical pipe and into the second Track.

With the Input Arrow on Track 1 still active, click on the blue 'P' in Track 3 until it turns into a red 'R'. The red 'R' should already be showing in Track 1.

Now, record another melody. When you stop the Transport, notes in Track 1 and in Track 3 are displayed. Track 1 contains the original melody, while Track 3 contains the counter melody.

Using CounterPoint On The Output Pipeline

Now that you have two Tracks containing a melody and a countermelody, let's see what happens when we place a CounterPoint Tool on the Output PipeLine of both Tracks.

You don't need to open the ToolBox to get another copy of the CounterPoint Tool. Just grab the one that is on the Input PipeLine of Track 1. Place copies of the CounterPoint Tool on the Output PipeLines of Tracks 1 and 3.

Press Start on the Transport Controls to listen to the effects of these Tools. You should hear four notes simultaneously: two out MIDI channel 1 and two out MIDI channel 3.

Toolizing With CounterPoint

Pick up another copy of the CounterPoint Tool and drop it into the ToolPad. The ToolPad is the box in the upper left corner of the Tracks window, to the right of the Solo button, and to the left of the Group buttons numbered 1 through 8.

Click on Track 1, then select Toolize from the Track menu. Notice that it instantly doubles all of the notes in Track 1, adding the countermelody to the recorded music. Press Start on the Transport to hear the results.

Other Examples

You'll find more Tool examples in the Tools chapter. Learning how to use Tools can be a daunting task. Take it slow and learn one Tool at a time. Try every Tool that you can in as many ways as possible. Experience is the best teacher.

Have fun and experiment! Remember, you can always leave a Tool's Control window open while you experiment with it. In particular, this is very useful for setting up a Tool while music flows through it in the PipeLine.

Once you've learned all of the Tools that come with the basic Bars&Pipes Professional package, remember that we continue to release new Add-On Tool Kits. Call or write to us for more information.
==Note Editing==Chapter 8

Overview

Bars&Pipes Professional's Graphic Editor lets fine-tune your composition. All of its buttons, menu options and features eliminate guess work. In fact, the Graphic Editor has so many features that we've divided our discussion of it into several chapters. This chapter covers specifically note entry and editing.

Sequenced Notes

Before we delve into editing notes with Bars&Pipes Professional, let's look at how Bars&Pipes Professional actually represents those notes.

Sequenced notes are comprised of MIDI note on and note off events that you've input. The MIDI standard allows for a total of 128 different note values, beginning with the note C0 (C, octave 0) denoted by the byte 0, and ending with the note Gl0 (G, octave 10,) denoted by the byte 127.

{{Note|text=Some synthesizers refer to the range as C-2 through G8.}}

Bars&Pipes Professional stores a note as a MIDI note pitch number, a starting time, and a duration. To reproduce a stored note, the Sequencer sends out the MIDI note on event at the starting time, waits for the duration, and then sends out the MIDI note off event for that note.

{{Note|text=In the Multi-Media portions of this manual, you will see references to items called hit lists. A member of a hit list is actually a note in disguise. While using hit lists, instead of note number representing a note, the note number represents a command. When a Multi-Media Tool receives this command, it performs whatever task you've programmed it to perform. You'll learn more about this in Chapter 28, Media Madness.}}

Opening The Graphic Editor

To Open the Graphic Editor, double-click on the Track you'd like to edit, or select the desired Track and press Return. The Graphic Editor window opens, and displays the Track.

{{Note|text=The Graphic Editor window is also referred to as the Edit window.}}

The Sequence Display

The Sequence Display occupies most of the Edit window. It shows your Sequence from left to right.

Vertical lines, indicating the beats and measures, provide you with a view of the exact time and place of each note.

SMPTE Time

Click on the SMPTE button, located on the far right end of the Graphic Editor's command button to view the Sequence Display in SMPTE time rather than in measures and beats. This option is very useful if you're working on a project where you need to know when particular events happen in absolute minutes and seconds instead of music time.

Sizing The Display

The Sizing... option in the Display Options menu gives you five choices for displaying data: Very Large, Large, Normal, Small and Very Small. If you choose Very Large, you can do very fine work with the timing of your notes. On the other hand, the lowest resolution, Very Small, is the same as the resolution in the Main Screen. At this resolution, you gain a much better feel for how your Song progresses.

You can also use the Zoom In and Zoom Out buttons to enlarge or reduce the display size. Click the Zoom In button to select the next larger size, up to Very Large. Click the Zoom Out button to select the next smaller size, down to Very Small.

{{Note|text=The sizing of a Track determines how many measures across will be printed when printing notation.}}

The Show Menu

From the Edit window, use the Show menu to determine what options Bars&Pipes Professional draws in the Sequence Display. By default, Bars&Pipes Professional displays the Hybrid Staff, Piano Roll and Velocity Curve, the options most frequently used. You can toggle as many options as you want at once by holding down the right mouse button and clicking the left mouse button over the items you want to toggle.

The Staff - Hybrid

Displaying The Hybrid Staff

When you select Staff-Hybrid from the Show menu, Bars&Pipes Professional displays notes as horizontal bars on a traditional treble and bass clef. The length of the bar reflects the length of each note. Bars&Pipes Professional marks accidentals with sharps and flats. If you haven't defined a key, the Staff defaults to the key of C MAJOR.

If you select the Hit List option in the Display menu, all notes that have hit translations assigned to them display the name of the hit (for example, "Dog Bark" or "Door Slam") instead of the note rectangle. Hit List Translations are used primarily by the Media Madness Tools and the List Editor. We'll talk about Hit Lists extensively in later chapters.

Centering The Hybrid Staff

The center of the Staff - Hybrid defaults to middle C, octave five on the MIDI keyboard. To change to another octave, use the Note Range... Staff Center command in the Display Options menu. The Staff Center requester opens.

In the box to the right of "Center", the requester displays the note currently at the center of the Staff. By default, the Staff centers around C5, the note C of the fifth octave.

To change the octave, click on the center note and hold the mouse down. Under the mouse, a pop-up menu appears with a choice of octaves. Move the mouse to the one you want and lift up. The center note changes to C of the octave you choose.

The Auto Center button automatically calculates the center note and accommodates the range of notes displayed.

When you finish, press Okay, to accept the new Staff Center, or Cancel, to leave it as it was.

The Piano Roll

Displaying The Piano Roll

When you select the Piano Roll, Bars&Pipes Professional displays your MIDI note events as horizontal bars on a graph which extends from a column of piano keys on the left. Like the Hybrid Staff, notes are blue.

If you select the Background... Key option in the Display Options menu, the spaces on the graph that make up the current key are displayed behind the notes in a faded purple color. To learn how to set the key, please see the chapter on Song Parameters.

Like the Hybrid Staff, you can also display notes as Hits by selecting the Hit List option in the Display menu.

Changing The Piano Roll Bounds

At times, the Piano Roll may display too much or too little of your composition. A Note Event can span a range of 128 notes, just over ten octaves. The Piano Roll can show all or any section of that ten-octave keyboard. Since an individual Sequence rarely ranges more than two octaves, Bars&Pipes Professional shows two octaves by default.

To change the range of notes displayed, select the Piano Roll Bounds command, which opens the Piano Range requester.

You can set two variables: the Upper Range and the Lower Range. Respectively, these denote the highest and lowest keys displayed on the Piano Roll. The Piano Roll will not display notes above the Upper Range nor below the Lower Range.

Define each boundary by the specific note and octave. To select the note, click on the note letter, in this example, C. A pop-up menu of a piano keyboard appears under the mouse. Drag the mouse to the note of choice and lift up. To set the octave, click on the octave number, in this case, 4, and a pop-up menu of octave choices appears under the mouse. Select the octave and lift up on the mouse.

The Auto Range button automatically sets the upper and lower boundaries of your sequence. To accept the new Piano Roll bounds, click on Okay. To return to the Graphic Editor window without any changes, select Cancel.

The Velocity Curve

When you select the Velocity Curve, Bars&Pipes Professional draws the velocity of each note as a vertical line. The greater the velocity, the higher the line. Since most synthesizers translate velocity directly to loudness, consider the velocity curve as a volume curve.

If your keyboard supports velocity, then the harder you strike the keys, the louder the instrument plays.

{{Note|text=A number of drum machines and synthesizers that don't respond to velocity when you play them directly nevertheless respond to velocity when they receive the notes from Bars&Pipes Professional.}}

Staff - Notation

When you select Staff-Notation from the Show menu, Bars&Pipes Professional displays the notes on a traditional treble and bass clef in standard musical format. Please refer to the section on Notation later in this chapter for more information about transcribing music to standard notation.

Tablature

When you select Tablature from the Show menu, Bars&Pipes Professional displays note pitches as fret numbers on guitar strings. The open string note value of each string, which can be changed, is shown on the left. For more information about transcribing to tablature, please refer to the Tablature section later in this chapter.

Editing Notes with the Mouse

Across the top of the Graphic Editor window sits a row of buttons. Think of these as a palette of options. By clicking on these, you select the manner in which you use the mouse to draw, erase, drag, and alter your music.

The buttons belong to three groups: the first nine buttons from the left, the Command buttons, determine how you use the mouse. The middle four buttons, the Default Note buttons, define the current note resolution for entering and editing. On the right lie the Zoom and Speaker buttons. Use the Zoom buttons to change the range of the display. Click on the Speaker button to hear the displayed section of music.

The Command Buttons

The first nine buttons from the left are the Command Buttons. As you click each one with the mouse, the mouse's icon changes. Most of these buttons have keyboard equivalents as well. Set the Command Buttons to determine how you use the mouse. The following list describes each button briefly.

From left to right, the buttons are as follows:

The Magnifying Glass displays information about notes you touch with the mouse.
The Pencil enters notes into either Staff, Tablature, or the Piano Roll.
The Magic Wand alters the length and velocity of notes in the Staves or Piano Roll; it alters the fret number of a note in Tablature.
The Hand grabs and drags notes.
The Duplicator makes an exact copy of the selected note and drags the copy to a new position.
The Eraser deletes notes.
The ToolPad contains selected Tools and processes notes with the currently-displayed Tool.
The Bounding Box, working in conjunction with the Drag, Duplicator, Erase, and ToolPad buttons, enables you to draw a rectangle around a set of notes and then Drag, Duplicate, Erase, or Toolize them. The Bounding Box, working in conjunction with the Magic Wand, allows you to tie notes together.
The Step Entry Button enables step entry of notes from a MIDI keyboard. This button enables you to enter notes and their durations at your own pace, without having to play your instrument keyboard in real-time.
Setting The Default Note

Before drawing, dragging, or step-entering notes, you must set the Default Note. The Default Note consists of a note value (eighth, quarter, etc.), a modifier (triplet, dotted, normal), an articulation (staccato, legato, etc.), and a dynamic level (pp through ff).

The middle group of four buttons sets these values. Upon being pressed with the mouse, each button reveals a pop-up menu with the options displayed. Drag the mouse to the desired option and lift up to select it. Bars&Pipes Professional displays your choice on the appropriate button.

From left to right, the buttons are as follows:

The Default Note Value and Default Note Modifier buttons determine the type of note to be entered by the Pencil or Step entry. It also determines the interval for dragging a note left or right, in conjunction with the Lock to Default Note option in the Prefs menu.
The Default Articulation button determines the length of the newly entered note.
The Default Velocity button determines the emphasis, or loudness, of the newly entered note.

{{Note|text=You can use the F7 through F10 keys to change these values. Use the shift key In conjunction with the function key to change them in the opposite direction.}}

Entering Notes With The Pencil

Activate the Pencil by clicking on the Pencil Button or pressing function key "F1". Then, click the Pencil on the display to enter notes in the sequence.

{{Note|text=Remember, the articulation (length) and dynamics (velocity) of the note you enter are defined by the Default Note.}}

Once you click down in the display, the way that the Pencil operates is determined by the following options in the Prefs menu:

Drag With Pencil: When you hold down the mouse after entering a note, the Pencil becomes the Hand so that you can drag the note. Lift up on the mouse button when you are satisfied with the note's position.
Lengthen With Pencil: When you hold down the mouse after entering a note, the Pencil becomes the Magic Wand so that you can shorten and lengthen the note. This option is most usable in the Hybrid Staff.
Lock to Default Note Entered notes align to the Default Note interval. For instance, if your Default Note is an eighth note, then all notes you enter align with eighth note increments in each measure.
Lock to Resolution: The Pencil works as it does with the Lock to Default Notes option, except that it uses the Resolution value defined in the Notation menu (please see the Notation section, later in this chapter, for more information.)
Lock to Key: The Pencil automatically places the notes in key (see Chapter 10, Editing Song Parameters.)
Lock to Rhythm: The Pencil behaves as it does with the Lock to Default Note option, except that it conforms all notes to the current rhythm template boundaries (please see Chapter 10, Editing Song Parameters.)
Entering Notes In Staves

To enter a note in a stave, click with the Pencil. To add a sharp or flat, press once on the up or down arrow keys.

{{Note|text=Whether the note displays as a sharp of flat is determined by the Key Signature. Please see Chapter 10, Editing Song Parameters, to learn how to set the Key Signature.}}

Entering Notes In The Piano Roll

Use the Pencil to enter notes within the range of the Piano Roll. To change the range, go to the Note Range... command in the Display Options menu.

Entering Notes In Tablature

Choose a string and click down on it with the mouse. A fret number appears corresponding to the current position defined in the Position option in the Tablature menu. Slide the mouse up and down to change the fret number, and therefore, the pitch. Please see the Tablature section, later in this chapter, for more information.

Entering Notes with Step Entry

Use the Step Entry option to enter notes directly into the Graphic Editor from your MIDI keyboard. With Step Entry, you can record at your own pace without having to play your MIDI keyboard in real-time.

Activating Step Entry

To activate Step Entry, click on the Step Entry button. The mouse icon becomes a picture of a person's leg on a step. Then, position the left Edit Flag (the leftmost purple triangle above the display) in the location that you would like to begin step entry.

Important Points

Before Step-Entering, remember the following:

Notes entering the Editor must first pass through the Tools in the Input PipeLine of the Track.
* TIP * To temporarily disable a Tool, move it to the right side of the Track. Do this by selecting them and pressing the right arrow key on your Amlga keyboard. Remember to return them to the Input PipeLine when you're finished Step-Entering.
Step Entry starts at the left Edit Flag. Click with the mouse at the point where you want Step Entry to begin. The left Edit Flag automatically snaps into place, marking the starting point for Step Entry.
Step-Entered notes use the Default Note and Articulation.
Step-Entering A Note

To Step-Enter single notes, play them one by one. After you lift up on each one, the cursor moves forward. To enter a chord, hold down each member note, lifting them all up at once. When you release all notes, the left Edit Flag moves to the right, allowing you to immediately enter another note or chord.

Step-Entering A Rest

To enter a rest, press the Space Bar. The rest will be the same duration as a note.

Backing Up And Erasing Mistakes

To back up a step, and erase a mistake, press the Backspace key.

Refreshing the Display

To refresh the display at any time while editing, press the Return key on your Amiga keyboard. If you have selected "Auto Redraw" from the Prefs menu, the display refreshes automatically and you do not have to press the Return key.

Boxing Notes

Several of the Command buttons can be selected in conjunction with the Bounding Box button (F6 key). The Bounding Box lets you draw a box around a group of notes, then edit them all at once.

To draw the box, click down where you'd like one corner of the box to be and drag the mouse to the opposite corner. A box grows as your mouse travels. The box never crosses the boundary between two display strips, for example the Piano Roll and either Staff.

Once you have enclosed what you want in the box, lift up on the mouse.

The beginning of a note must be within the box to be counted as being a member. If only the later half of a note is in the box, it will not be one of the boxed notes.

The Bounding Box works in conjunction with the Magic Wand, the Eraser, the Duplicator, and the Toolizer. As we discuss each of these in the pages to follow, we'll describe how to use the Bounding Box in each case.

Altering Note Lengths and Velocities

Once you enter Notes, you may need to edit them by changing their lengths and velocities. To the right of the Pencil sits the Magic Wand. Select this button to alter the data with the mouse, either by clicking on it or by pressing function key "F2".

{{Note|text=The Magic Wand, in conjunctlon with the bounding box, allows you to tie notes of the same pitch together. Please see Tying Notes, below.}}

Altering Notes In The Hybrid Staff And Piano Roll

Use the Magic Wand to alter the length of individual notes. Click down with the mouse over a note; the Editor highlights the note in red. Drag to the left to make the note shorter or to the right to make the note longer .

If the Lock Wand to Note option in the Prefs menu is enabled, the Wand sticks to the first note you select. No matter where you drag the mouse, it continually lengthens or shortens the note length. This is great if you want to edit just one note because the mouse never slips off the note.

If you want to change the lengths of more than one note at a time, deselect the Lock Wand to Note option in the Prefs menu. Edit the first note in the "stack", then drag the mouse vertically through the remaining notes. All remaining notes conform to the size of the first one you edited.

* TIP * You can also use the Left and Right Arrow keys to decrease and increase, respectively, a note's length.

Altering Notes In The Notation Staff

Use the Magic Wand to conform notes to the current Default Note. Click on any note; the Editor automatically changes the note length to that of the Default Note.

Altering Notes In Tablature

You cannot use the Magic Wand to alter the length of a note in Tablature. Instead, use one of the Staves or Piano Roll, or utilize the Magnifying Glass.

Rather than altering the length of a note, the Magic Wand alters the fret number of a selected note in Tablature. Click on the note with the Wand, and slide the mouse up and down to the desired fret number.

Altering The Velocity Curve

Drag the Magic Wand over the Velocity lines to change them. This way, you can change their individual volume levels. As an option, use the Up and Down Arrow keys to increase and decrease a note's velocity.

Tying Notes

You can tie notes of equal pitch together by using the Magic Wand in conjunction with the Bounding Box. Activate the Magic Wand and Bounding Box buttons. Surround the notes you want to tie with the Bounding Box. This ties all notes inside the bounding box that are of equal pitch together and leaves all other notes alone.

Dragging Notes

When you select the Hand button, either with the mouse or function key "F3", the mouse icon becomes a hand with one finger extending. Use this to drag and reposition notes.

Dragged notes are affected by the following options in the Prefs menu:

Lock to Default Note: The note you grab moves left and right on a grid defined by the Default Note. For instance, if the Default Note is a quarter note, every note you drag moves left or right at quarter note intervals.
Lock to Resolution: The note you grab moves left and right on a grid defined by the Notation Resolution defined in the Notation menu.
Lock to Key: The note you grab moves up and down, skipping notes that are not in the current key. Otherwise, the note moves up and down chromatically.
Lock to Rhythm: The note you grab moves left and right on a grid defined by the current rhythm template.
Dragging Notes In A Staff Or The Piano Roll

Dragging notes right and left moves them forward and back in time. Dragging them up and down changes their position on either Staff or the Piano Roll, thereby changing their pitch.

If you have the Play Notes option in the Prefs menu selected, Bars&Pipes Professional plays each note as you drag it.

If you hold down the shift key prior to clicking on the note, the hand only moves vertically or horizontally, but not both, depending on your first move. In other words, if you hold the shift key down, click on the note, and start to drag it up in pitch, the note locks in time and only lets you change its pitch no matter how far to the left or right you drag the mouse. Likewise, if you start by dragging left or right, the note only moves in time, it does not let you change its pitch.

Dragging Notes In Tablature

Dragging notes up and down in Tablature, across strings, causes the note to jump from one string to another. The pitch of the note remains the same, while the fret number changes.

To change the note pitch, use the Magic Wand. This changes the fret number on the string, thereby increasing or decreasing the pitch.

Using Hot Keys For Dragging

You may also use the arrow keys on the Amiga keyboard to move a note. First, highlight the note that you want to change. Then, use the left and right arrow keys to shift the note backward and forward in time by the default note amount. Or, use the up and down arrows on the Amiga keyboard to change note pitch chromatically. The up arrow increases the pitch by one half step. The down arrow decreases the pitch by one half step. This is a great way to add sharps or flats to notes.

{{Note|text=In the key of C Major, and all key signatures that have sharps in the key signature, notes may only be sharpened. For instance, the note F# may not be displayed as a Gb. In key signatures that have flats, notes may only be flatted. For instance, the note Gb may not be displayed as F#. Double sharps and flats are not supported.}}

When you use the Shift key in conjunction with the up and down arrow keys, the note shifts its pitch by an additional octave.

Dragging With The Bounding Box

You can use the Hand and Bounding Box together to move a group of notes simultaneously. First, use the mouse to draw a box around the group of notes you want to move. Then, click down in the box and drag it.

Duplicating Notes

To duplicate notes, click on the Duplicator button or press function key "F4". When you click and drag a note, Bars&Pipes Professional creates a new note of the same type, which you may then drag to a new destination. Once it is dragging the note, the Duplicator behaves identically to the Hand as described above.

You can use the Duplicator in conjunction with the Bounding Box to duplicate a group of notes simultaneously and drag them to a new location.

Erasing Notes

To use the mouse to erase Notes, choose the Erase button, either by clicking on this button or pressing "F5". In selecting this button, the mouse icon becomes a Pencil with the Eraser end pointing down and to the left. To delete notes, click down and drag the Eraser over the Notes. You do not need to click down on each note individually. Instead, click down and drag the mouse through the notes, erasing them all at once, much like an Eraser on a chalkboard.

* TIP * Use the Eraser and the Bounding Box to erase a group of notes simultaneously.

Toolizing Notes

The Graphic Editor Window contains a ToolPad. In it, you place Tools, which then can process, or Toolize, your music. The ToolPad holds up to sixteen Tools. This ToolPad contains a set of Tools identical to that in the Tracks window ToolPad. In fact, all of Bars&Pipes Professional's ToolPads, including those in other Graphic Editor Windows, share the same Tools

Placing A Tool In The ToolPad

To place a Tool in the ToolPad, dragit from the ToolBox, a ToolTray, or even a PipeLine, to the ToolPad. You can place Branching, Merge, and other pipe routing Tools in the ToolPad, but they have no effect on your music. If sixteen Tools occupy the ToolPad already, the new Tool replaces the currently displayed one.

Selecting A Tool From The ToolPad

Select the Toolize button by clicking on it once. The mouse becomes a wrench with a note in its mouth.

To select a Tool in the ToolPad, click on the ToolPad a second time, while holding the mouse down. A menu of sixteen Tools appears under the mouse. Select the one you want by moving the pointer to it and lifting up.

Editing A Tool In The ToolPad

To edit the parameters of the Tool currently displayed in the ToolPad, select Edit PadTool Controls... from the Display Options Window or press down the SHIFT key and click on the ToolPad.

The Control window for the selected Tool opens, if such a window exists. There you can set the variables determining the Tool's behavior. It isn't necessary to close a Control window before using the Tool. You can continue to make adjustments while you use the Tool.

Using The Tool

Tools work in three ways in the Graphic Editor. They process all notes between the Edit Flags; they process all notes within the Bounding Box; or they effect individual notes.

Once you select the ToolPad, the Tool processes any notes you touch with the wrench. Just drag the wrench through the notes to affect them immediately.

Although Toolizing individual notes may appear somewhat peculiar at first, it's an extremely useful feature. Tools can quantize, transpose, modulate, filter, echo, invert, and do much more on a note-by-note basis.

To process all notes between the Edit Flags, first drag them to border the range of notes you'd like to Toolize. Then, select the Toolize or Selectively Toolize commands from the Edit menu. We'll discuss Toolizing with the Edit Flags in depth later in this chapter.

You may also use the Bounding Box to Toolize or Selectively Toolize a group of notes. Click down with the mouse and draw a box around the notes you'd like to Toolize.

Magnifying Notes

Use the Magnifying Glass to analyze and modify notes. The Magnifying Glass allows you to operate on a note's values by typing them in specifically.

When you select the Magnify button the Magnify window opens.

The Magnify window displays all of the properties of any note that you touch with the mouse and lets you edit them. Use the left and right arrow keys to move from note to note. Use the up and down arrow keys to move through all of the MIDI events in chronological order.

{{Note|text=The Graphic Editor window must be activated in order to use the arrow keys, not the Magnification window.}}

The Time Field

The first field in the Magnify Window, "Time", indicates the time in measures, beats, and clocks of the note. The second field, "HMSF", indicates the time in SMPTE format (Hours, Minutes, Seconds, Frames). To change the time, click on either line with the mouse and enter a new time. Press the Return key to indicate that you've finished and the note jumps to the new time.

The Note Information Fields

Three information fields, "Note", "Velo", and "Leng", follow. The first indicates the note value as a key and octave, e.g., "A3", for A in the third octave. The second indicates the velocity , how hard you played the note. Often, this translates to note volume. The last field, "Leng", denotes the length of the note in measures, beats, and clocks.

{{Note|text=Press the Return or Enter keys on your Amlga keyboard after you change a line to confirm the change.}}

Undoing, Updating, and Aborting

Any changes that you make while in the Graphic Editor do not take effect until you either choose the Update command from the Edit menu or close the Graphic Editor.

{{Note|text=If you haven't updated the Track but you'd like to hear your edits along with the other Tracks, enable the Perform All Tracks option in the Prefs menu and dick on the Speaker button.}}

Of course, if you don't like your edits, you can close the Editor with no changes made to the Track by selecting the Abort command in the Edit menu.

Finally, if you make a single mistake while editing you don't necessarily want to Abort the entire editing session. Select the Undo command from the Edit menu to undo your last edit.

Here's a rundown of the Edit menu commands:

Undo (Right Amiga - U)
Use Undo in the Edit menu to return your Sequence to its state prior to the last edit operation. In addition to undoing any of the commands in the Edit menu, Undo works on all of the mouse-based editing operations, such as inserting, dragging, and altering Events.

Update (Right Amiga - Z)
Use Update in the Edit menu to update the Tracks window. In this manner, your changes are integrated into the Song without closing the window.

Abort (Right Amiga - Q)
Use Abort in the Edit menu to abort the editing process and revert your Track to its condition at the last Update (or before opening its Graphic Editor). The Graphic Editor window closes without updating the Track.

Auditioning Your Edit

In the Edit window, you have the option of hearing notes as you enter or drag them. Also, you can listen to the visible portion of your music, or listen to the portion from one Edit Flag to the other. You can hear these portions by themselves, or in context with the other Tracks you've recorded.

Hearing Notes As They Are Entered Or Dragged

If you set the Play Notes flag in the Prefs menu, every time you enter, drag, or Toolize a note, you will hear it. Bars&Pipes Professional sends the note from the Graphic Editor out through the Output side of the Track's PipeLine. If this option is not selected, the editing process is silent.

Listening To The Displayed Section

To listen to the portion of your Song displayed in the editor window, click the Speaker button. You can use the Sizing option or the Zoom In/Zoom Out buttons to control how much of your Song Bars&Pipes Professional plays.

Listening To The Portion Between The Edit Flags

Choose the Listen option in the Edit menu to play the music from the left Edit flag to the right Edit flag.

Hearing Edits In Context With Other Tracks

Choose the Perform All Tracks option in the Prefs menu. When you click on the Speaker or choose the Listen option, the Editor plays all of the Tracks along with the music in the Graphic Editor. Otherwise, if you do not select this option, the Editor plays only the notes in its window.

Performing With The Transport Controls

You can also listen to your edits in context by clicking on the Start button in the Transport Controls, starting the Sequencer. However, this plays from the Track, not the Edit buffer.

{{Note|text=This provides a valuable way to compare your edits before and after. Play from the Transport Controls to hear the muslc prior to opening the Ed,t window. Enable Perform All Tracks and dick on the Speaker button to hear the music with the new edits in place.}}

Scrolling With The Sequencer Performance

Performance Select Scroll With Performance from the Display menu if you'd like the Sequence Display to scroll along when you play from the Transport Controls.

Viewing Your Edit With Other Tracks In The Background

You can view other Tracks in the background of the Graphic Editor's Hybrid Staff and Piano Roll displays. To do so, go to the Tracks window and create a Group composed of the Track you are editing and the Tracks you'd like to see in the background. Once the Group is active, the extra Tracks display in grey in the background of the Graphic Editor. This feature allows you to compare notes in one Track with notes in others.

{{Note|text=Please see Chapter 19, Advanced Sequencing, for information on creating and using Groups.}}

Notation

Displaying Notation

When you select Staff-Notation from the Show menu, Bars&Pipes Professional displays the notes on a traditional treble and bass clef in standard musical format.

Bars&Pipes Professional marks accidentals, those notes which fall outside of the selected key, with sharps or flats. If you haven't defined a key, the Staff defaults to the key of C MAJOR (no standard notes sharped or flatted).

{{Note|text=The Edit window refreshes after each editing operation whenever Staff-Notatlon is activated.}}

The Notation Resolution

When you select Staff - Notation, Bars&Pipes Professional creates rests and ties on the fly. Bars&Pipes Professional uses the duration of each note and the notation resolution to determine what the music looks like. The notation resolution is the smallest note value (eighth, sixteenth, etc.) that Bars&Pipes Professional displays.

You can control the resolution of the notation by selecting Resolution from the Notation menu.

By default, Bars&Pipes Professional selects a sixteenth note resolution. Always choose a resolution that corresponds to the shortest note in the Track. Otherwise, Bars&Pipes Professional displays the note at the selected resolution, which means that shorter notes may run together. On the other hand, if you set the resolution too small, Bars&Pipes Professional can add unnecessary fractions of notes that muddle the page.

{{Note|text=Bars&Pipes Professional plays the notes as you have composed them, even if the selected Resolution causes them to display improperly.}}

Notation Transposition

Bars&Pipes Professional supports two different key types: Concert Key and Transposed Key. Transposed Key applies to those instruments that require transposition, e.g., Eb Alto Sax or Bb Clarinet. If you select a Transposed Key for a particular Track, you have the option of displaying it either in Concert Key or Transposed Key.

To assign a Transposed Key to a Track, select Transposition... from the Notation menu. This opens the Transposition requester.

Most of the time, you'll be using the Transposition Type button. When you click down on this button, Bars&Pipes Professional opens a pop-up menu containing a list of all popular instruments.

If you are writing for an instrument that is not in the list (e.g., piccolo trumpet), select Custom from the list. Then adjust the Octave and Interval sliders to the desired transposition. The Octave slider steps the transposition by octaves; the Interval slider controls the interval within an octave, e.g., a major third or minor sixth. You can also alter any of the instrument presets in the list.

To switch the display of a Track to Concert or Transposition Key, select Notation... from the Display Options menu.

Updating The Notation Display

In certain situations, typically after a lot of editing, the Notation display may contain a few errors. To refresh the Notation display, use the Update Transcription command found in the Notation menu. Bars&Pipes Professional recalculates where to place ties and rests, then redisplays the Track's Notation Staff.

Transcribing Notation

The Transcribe option in the Notation menu goes one step further than the Update command. It commands Bars&Pipes Professional to recalculate the notation values of the notes themselves. It uses the value chosen in the Resolution... option to determine the smallest note that may be displayed. It also uses the options in the Transcription Options requester to determine how it addresses various transcription issues.

You can transcribe the entire Track, or just the portion of the Track between the Edit window's Edit Flags by choosing All or Between Flags respectively. Bars&Pipes Professional then calculates the notation value for each note, and insert rests appropriately.

Transcription Options...

The Transcription Option requester controls the way Bars&Pipes Professional transcribes music. Open it by selecting the Transcription Options command in the Notation menu.

The Transcription Options requester contains three categories of buttons: Note length options, Note stem options, and Chord options.

The Note length buttons help Bars&Pipes Professional decide how to represent a note's length. The following lists each Note length option in detail:

Overlap Notes
When you select Overlap Notes, the Transcribe command handles overlapping notes by creating tied notes. Otherwise, the Transcribe command truncates the first note before starting the second. By default, Overlap Notes is off for a cleaner, though slightly less accurate, representation.

Extend Notes
When you select the Extend Notes option, the Transcribe command extends each note to the next note or beat, whichever comes first. This option makes the display cleaner because it minimizes the use of rests.

Insert Rests
When you select the Insert Rests option, the Transcribe command displays rests. Otherwise, rests will not be transcribed. By default, this option is on.

The Chord Options also control the way Bars&Pipes Professional transcribes music. Bars&Pipes Professional considers notes that begin at the same time, within the selected Resolution, to be members of the same chord. These options control how it decides to display notes in one chord.

The following Chord Options are mutually exclusive:

Shorten Notes
When you select the Insert Notes option, the Transcribe command causes all notes in a chord to be displayed as the smallest note in the chord.

Lengthen Notes
When you select the Lengthen Notes option, the Transcribe command causes all notes in a chord to be displayed as the longest note in the chord.

Keep Note Lengths
When you select the Keep Note Lengths option, the Transcribe command transcribes the notes in a chord to different lengths. It splits longer notes into tied notes.

The Note Stems options controls how Bars&Pipes Professional transcribes stem directions:

Auto Stem
The Auto Stem option lets Bars&Pipes Professional decide which directions to place the note stems.

Stem Up
The Stem Up option sets all note stems up.

Stem Down
The Stem Down option sets all notes stems down.

Oppose Rhythm
With the Oppose Rhythm option selected, Bars&Pipes Professional analyzes the music for two different rhythms in each measure. If there are two different rhythms, it sets the stems up on the first rhythm and the stems down on the second. This option is useful in conjunction with printing notation.

Printing Notation

Choose the Print... command from the Notation menu to open the Print Requester for the Track. Please see chapter 11, Printing Notation, for more information.

Centering The Notation Staff

The center of the Notation Staff defaults to middle C, octave five on the MIDI keyboard. To change to another octave, use the Note Range... Staff Center command in the Display Options menu. The Staff Center requester opens.

In the box to the right of the Center: prompt, the requester displays the note currently at the center of the Staff. By default, the Staff centers around C5, the note C of the fifth octave.

To change the octave, click on the center note and hold the mouse down. Under the mouse, a pop-up menu appears with a choice of octaves. Move the mouse to the one that you want and lift up. The center note changes to C of the octave you choose.

The Auto Center button automatically calculates the center note and accommodates the range of notes displayed.

When you finish, press Okay to accept the new Staff Center, or Cancel, to leave it as it was.

Tablature

Displaying Tablature

When you select Tablature from the Show menu, Bars&Pipes Professional displays note pitches as fret numbers on guitar strings. The open string note value of each string, which can be changed, is shown on the left. To the left of that is either an ON or an OFF. This value is used by the Tabulate... menu option in the Tablature menu. If a string is ON, it may have notes assigned to it. Otherwise, notes are not be assigned to it.

Setting The Tablature Resolution

Use the Set Tablature Resolution command to control how Bars&Pipes Professional spreads notes across the strings. This opens the Tablature Resolution requester.

Since tablature is not concerned with durations of notes, every note could potentially be transcribed to the same string (provided that the pitch of the note exists on the string).

Notes which sound simultaneously obviously need to be transcribed to different strings in order to be played simultaneously. Notes which do not sound simultaneously can be played on the same string, one after another.

The larger the Tablature Resolution, the more notes Bars&Pipes Professional attempts to transcribe simultaneously. This value is measured in clocks. When Bars&Pipes Professional transcribes one note, it goes on to the next note and the next note, filling up each of the six guitar strings.

Once Bars&Pipes Professional has looked ahead of the first note by the number of clocks set by the Tablature Resolution, Bars&Pipes Professional starts over from scratch, filling each string with a note, one by one.

You can set the Tablature Resolution from one clock to 768 clocks.

Setting The Tablature Position

Use the Set Tablature Position requester to control which position, or fret, Bars&Pipes Professional uses during transcription. This value can be set to auto, or from one to 23.

With auto position chosen, Bars&Pipes Professional attempts to find the most comfortable position for the notes to be played in.

When a specific position is chosen, Bars&Pipes Professional attempts to place all notes within one fret below and four frets above the selected position.

Transcribing Tablature

Use the Tabulate... command to transcribe your music to tablature. Choose All or Between Flags to transcribe all of the Track or just the portion between the Edit Flags.

Changing String Octaves

Open the Change String Octaves requester to change the octaves of all strings up or down.

This allows easier access to some transcriptions.

Enabling And Disabling Strings

Sometimes, you may want to transcribe a piece of music only to certain strings. Use the ON/OFF toggle to do so. Click with the Magic Wand on the ON/OFF to toggle between the two.

{{Note|text=Even though a string may be disabled for transcription, you can still drag or Input a note by hand onto that string.}}

{{Note|title=Tip|text=MIDI guitarists can use this feature to get an accurate transcription of what to play. (Please see below.)}}

Changing Open String Notes

Click with the Magic Wand on the open string note value, and drag the mouse up and down to change the open string note value.

Creating A Note In Tablature

To create a note in tablature, click in the tab area with the Pencil. A number appears, indicating the fret number. To set the pitch to the desired note, continue by dragging the mouse up or down to change the number to the correct fret. The duration of the note created is equal to the default note value.

Editing A Note In Tablature

Only the pitch of a note can be changed in Tablature, not the duration. Use the Magic Wand to change the note pitch of existing notes. Click on the note's fret number with the Wand; then drag the mouse up and down to change the fret number. To change the duration, use the Wand in the Piano Roll or Hybrid Notation displays. To change the note velocity, use the Wand in the Velocity display.

Creating An Accurate Transcription

If you record from a MIDI guitar, Bars&Pipes Professional can create an accurate transcription of what you play. Set up Bars&Pipes Professional to record each string on a separate Track, using the multiple-in preferences option, and have your MIDI guitar output each string on a different MIDI channel.

After recording, go into each Track's Edit window. Display Tablature, and set the ON/OFF toggles for each string so that only the correct string is ON, and all others are OFF. Choose the Tabulate... option from the Tablature menu to transcribe the music to the string. This sets each Track to tabulate all of its notes on only the chosen string.

Once you've finished with all six strings, close each Edit window. Create a Group out of the six Tracks, and use the Merge option in the Group menu to merge all six Tracks into one Track. Each note retains its string identity. When you look at the Tablature for the merged Track, you will see an accurate transcription of what you've played.

{{Note|text=Please see Chapter 19, Advanced Sequencing, for Information on creating and using Groups.}}

Cut and Paste Editing

The first menu on the left in the Graphic Editor window is the Edit menu. Most operations in this menu work on the section between the Edit flags. The Edit flags are the purple triangles above the Sequence Display.

We'll refer to the section between the Flags as the Clip. A Clip includes all Events and Parameters which occur between the two Flags. You can drag the Edit flags to any location, and then cut, copy, paste and place Clips into the Clip buffer or, if it is open, the ClipBoard.

{{Note|text=The ClipBoard is explained in the Multi-Track Editing chapter.}}

To set an Edit Flag, click down on it and drag. If you drag beyond the edge of the display, it scrolls. The Edit Flags follow the same rules for alignment as the Flags in the Tracks window; when you lift up on the Flag, it jumps to the leftmost alignment boundary. By default, alignment is set to every measure. Change the alignment by selecting from the Align With... option in the Prefs menu. Alternatively, set the alignment with the alignment buttons in the Set Flags window.

Let's look at each edit command in the Edit menu:

Cut (Right Amiga - X)
Use the Cut command to cut a Clip from your Sequence. Doing so removes the section between the Edit Flags. Everything to the right of the section shifts to the left Edit Flag. You can then use the Paste command to insert the Clip elsewhere in your Track. If the ClipBoard window is open, the Clip displays in it. Use this if you'd like to Cut and Paste between multiple Edit windows. When the ClipBoard window is closed, the Clip remains hidden for use within the same Track.

Copy (Right Amiga - C)
Use the Copy command to copy a Clip without actually removing it. Nothing visibly happens, but the section between the Edit Flags becomes a Clip, available for Pasting. If the ClipBoard window is open, the Clip appears in it.

Paste (Right Amiga - P)
Use the Paste command to insert a Clip after the placement of the left Edit flag. If the ClipBoard window is open, the Paste command uses the currently selected Clip in the ClipBoard. Otherwise, it uses the result of the last Cut or Copy operation from the same Edit window.

You may do multiple Paste operations with the same Clip. The Clip remains the same until the next Cut or Copy command.

Mix (Right Amiga - M)
Use Mix to merge a Clip on top of a section. Starting at the left Edit Flag, Bars&Pipes Professional mixes in Events such as notes, pitch bends, and after-touches, but ignores Parameters such as Chords, Rhythms, etc. Once again, if the ClipBoard window is open, the Mix command uses the currently selected Clip in the ClipBoard. Otherwise, it uses the result of the last Cut or Copy operation from the same Edit window.

Erase (Right Amiga - E)
Use Erase to clear the section between the left and right Edit Flags. All Events disappear, which leaves your Sequence silent during this section. Erase is different from the Cut command, in that the section to the right of the Clip is not shifted over to the left Edit Flag and nothing is placed in the ClipBoard for later Paste or Mix operations.

Insert (Right Amiga - I)
Use Insert to insert a blank space in your music between the Edit Flags. This command comes in handy when adding a section somewhere in the middle of the Sequence. Insert the section, then use whatever methods you prefer to fill the gap with music.

Delete (Right Amiga - D)
To delete a section between the right and left Edit flags, use the Delete command. This command operates identically to the Cut command, but does not place the deleted section into the Clip buffer or ClipBoard.

Toolize (Right Amiga - T)
Use Toolize to process the Clip with the currently selected Tool in the ToolPad.

Selective Toolize
Use the Selective Toolize command to selectively Toolize only certain events and note ranges between the two Edit Flags. When you select this option, a requester appears.

Highlight in red the MIDI event types you want to Toolize. If you select Note On/Off, you may select a note range with the two sliders.

Once you've set the parameters, select the Toolize button. The Tool in the ToolPad processes all activated event types and, if Note On/Off is activated, all notes between the upper and lower limits inclusive.

Repeat... (Right Amiga - R)
Use Repeat to duplicate a section of your Sequence. This command makes multiple copies of the section between the Edit Flags and inserts them into the Sequence.

When you select the Repeat command from the Edit menu, the Repeat requester opens. enter the number of repeats, then select Okay or Cancel.

Listen (Right Amiga - L)
Use Listen to preview everything in the section between the Edit Flags. Bars&Pipes Professional plays all MIDI Events in the section at the current tempo. Because the Events travel down the PipeLine, any Tools you have selected to process the Output PipeLine will process the section as it plays.

* TIP * The Listen command is different from the Speaker button because the Listen command plays back everything between the Edit Flags. The Speaker button plays back everything that is visible in the Edit window.

If the Perform All Tracks option in the Prefs menu is selected, the Listen command plays all other Tracks in the sequence as well.

Boundaries... (Right Amiga - B)
Use Boundaries to enter the numerical values for the Edit Flags. Doing so opens a requester into which you can type positions for the two Flags.
==MIDI Event Editing==

Chapter 9

Overview

Notes aren't the only MIDI events you can record, edit and play. Bars&Pipes Professional lets you work with all MIDI channelized events, including Pitch Bend, Program Change, Control Change, and more.

Entering and editing other MIDI events is similar to entering and editing notes. In this chapter, we'll show you specifically how to enter and edit these special MIDI events.

Types of MIDI Events

When musical information travels through a MIDI cable, it's broken into individual commands that describe specific actions. These commands are commonly called "MIDI messages", or "MIDI events."

With Bars&Pipes Professional, you can record, play and edit all of the MIDI-channeled voice events. These events encompass all the commands that control how your synthesizer(s) can play: what notes to play, how loud to play them, how much pitch bend to include, etc. The MIDI channeled voice events embody the actual performance. Let's look at each:

Note On And Note Off Events

Note On and Note Off are by far the most important MIDI events. They describe when a note starts to play and when it ceases to do so.

From a MIDI perspective, Note On and Note Off are separate entities. When you press a key on your MIDI keyboard, it immediately sends a MIDI Note On event which states that the note is playing. Your MIDI keyboard has no way of knowing however, how long you'll sustain that note. Not until you lift your finger off the keyboard does it send a MIDI Note Off event. As you see, the performance of a note is described by MIDI as two separate occurrences.

In traditional music, a note is considered one event, not two. Bars&Pipes Professional's Sequencer combines Note On and Note Off to create one note event that describes when the note starts, as well as its duration. Even so, it's useful to remember that a note is broken into two parts when it leaves your keyboard, zings across MIDI to your Amiga, flows down a PipeLine, enters the Sequencer and combines into one.

Upon playback, a note is once again broken into two parts, which flow down the right side of the PipeLine, out through MIDI, and into your synthesizer.

Note Velocity Data

In addition to the actual value of the note, the MIDI Note On event also stores the note's velocity, i.e., how hard you strike the key to produce the note. Note Velocity translates into note emphasis or volume. To view and edit MIDI Note events, please see the preceding chapter.

Pitch Bend Events

Pitch Bend allows the performer to bend the pitch of a note. Since bending a note is an extremely powerful form of musical expression, almost all MIDI instruments provide it. The MIDI Pitch Bend event states how far out of pitch all notes are shifted at a specified point in time.

The MIDI Pitch Bend event can be confusing. While it states how far between two extremes the pitch is shifted, it has no knowledge of the boundaries of those extremes. It does not explicitly state, "Shift all notes up a half step." Instead, it says, "Shift all notes up one-eighth of the maximum distance by which you shift." The synthesizer produces the shifting pitch that decides how to interpret the bend. You can set the range on most synthesizers between one half step and a full octave for the Pitch Bend extremes.

Bars&Pipes Professional draws each MIDI Pitch Bend event as a vertical line stemming from a central axis. If the pitch bend is positive, or sharp, the line extends up from the axis. If the pitch bend is negative, or flat, the line drops down. Although you can think of a pitch bend over time as a continuous curve, in MIDI terms it's a series of individual Pitch Bend events, which is why the resulting display looks more like a picket fence, the tops connected to describe the steps of the curve.

Mono After-Touch Events

Mono After-Touch measures how hard you press a key on a MIDI keyboard. The changing pressure is converted into numeric values which are constantly sent down the MIDI link. When these describe the overall pressure on the keyboard, as opposed to individual key pressure, they are Mono After-Touch events. Just how the key pressure is interpreted is completely up to the performing synthesizer. Two typical uses are vibrato and volume control.

Bars&Pipes Professional draws each MIDI Mono After-Touch event as a vertical line and connects the tops with a horizontal line. The greater the key pressure, the higher the line.

Poly After-Touch Events

Poly After-Touch transmits key pressure on an individual key basis. Poly After-Touch MIDI events specify both the key being pressed and its current pressure. Unfortunately, since the hardware to do this is expensive, not many keyboards feature it. For the machines that do support it, Poly After-Touch can be used to describe note emphasis on a continually changing basis.

Bars&Pipes Professional displays Poly After-Touch events in the same way that it displays Mono After-Touch events: with a vertical line denoting pressure, however, since these events also specify which note each After-Touch influences, you can specify the range of notes as well. Do this by setting the Piano Roll note range with the Note Range command in the Display Option menu. All notes displayed in the Piano Roll have their After-Touch values displayed; all others do not.

Control Change Events

Control Change handles many different continuous controllers. Continuous controllers are hardware devices such as volume pedals, breath controllers, and modulation wheels. Every time you alter the position of one of these devices, the device sends a MIDI event reflecting the new value. These events are called MIDI Control Change events. The receiving synthesizer interprets this information to generate vibrato change the timbre of a sound, or adjust the volume.

No limit exists on the scope of sound-producing parameters that can be controlled with these events. In order to support multiple controllers, the Control Change event carries two pieces of data, an identifier that specifies a controller, and the controller data itself.

The identifier, called the Control Change Number, can range from 0 to 127. For example, most synthesizers use Control Change #1 to set the Modulation Wheel and Control Change #7 to set the Volume. The data, the actual position of the wheel, pedal or other controller, is a number between 0 and 127.

Since 128 different Control Change numbers exist, you can't see them all at once. For example, if Bars&Pipes Professional were simultaneously to display a rising Volume Pedal event and a decreasing Modulation Wheel event, it would be impossible to make sense of the resulting mixture, much less edit it with the mouse. Bars&Pipes Professional shows, therefore, only one Control Change type at a time.

To select which Controller you'd like to view and edit, use the Control Change # option in the Display Options menu.

Program Change Events

Program Change tells your synthesizer what sound, or "patch," to use when playing notes. This event holds a number, from 0 to 127, which identifies which patch to use. For example, on your synthesizer, patch #2 could be a violin, patch #45, a marimba. If your synthesizer receives a Program Change event with patch #2, it plays the violin. Later, if it receives a Program Change with patch #45, it switches to a marimba.

Most synthesizers can switch between sounds instantly. It is possible, therefore, to embed Program Change events in your sequence that switch among several voices on the same synthesizer as it plays your piece of music. Embedding such Program Change events is a great way of squeezing more performance out of your available hardware.

Unfortunately, no correlation exists between Program Change patch IDs and specific sounds. Patch #2 may be a violin on one synthesizer and a dog bark on another. The General MIDI Standard is an attempt to remedy this problem. It standardizes the assignment of patches to instruments. For example, with all General MIDI instruments, Patch #0 is a Grand Piano.

Bars&Pipes Professional displays Program Change events as numbers, 0 through 127, or as Patch Names if they have been defined in the Define Patch Lists window. These numbers and names indicate to which patch the synthesizer switches when receiving the event.

System Exclusive Events

System Exclusive events are special commands unique to the instrument (or product line). Manufacturers use System Exclusive events, for example, to set pitch bend ranges, transpose keys, send new patch data to the instrument, and many other functions. The user's manual for your instrument can tell you whether your instrument supports System Exclusive events, and what they do.

Unlike the previous commands, System Exclusive events are not generally considered performance events and they do not obey the same system of MIDI channels as performance events. However, they can be useful to record and play, so Bars&Pipes Professional's recording, playback, and editing mechanisms support them.

Bars&Pipes Professional displays the first four bytes of a System Exclusive event in the strip. Entering new events (with the Pencil) or editing existing events (with the Wand) opens the System Exclusive requester, described in Chapter 13, System Exclusive.

Editing MIDI Events

Use the Graphic Editor to edit MIDI events. To open the Graphic Editor, double-click a specific Track. The Graphic Editor window opens, displaying your selected Track, starting with the measure you clicked on. Depending on which MIDI events you want to edit, it may or may not display all of the appropriate data. To select the events you'd like to edit, check them off in the Show menu of the Graphic Editor window.

You can toggle several Show menu options at once by holding down the right mouse button and pressing the left mouse button over each option you want to toggle. This feature can be a big timesaver, especially if you're changing five or six options.

The Command Buttons in the Graphic Editor

The first eight buttons from the left of the Graphic Editor are the Command Buttons. The Command buttons determine how you use the mouse: for dragging events, erasing events, or whatever. As you click each button with the mouse, the mouse's icon changes. Most of these buttons have keyboard equivalents as well. The following list describes each button briefly:

The Magnifying Glass displays information about events you touch with the mouse.

The Pencil, or function key "F1", draws new events.

The Magic Wand, or function key "F2", alters events.

The Hand, or function key "F3", grabs and drags events.

The Duplicator, or function key "F4", creates an exact duplicate of the selected MIDI event.

The Eraser, or function key "F5", deletes events.

The ToolPad allows you to process MIDI events with certain Tools

The Bounding Box, or function key "F6", working in conjunction with the Hand, Duplicate, Erase, and ToolPad buttons, enables you to draw a rectangle around a set of events and then move, duplicate, delete, or Toolize them.

Setting the Lock Grid

In the last chapter, Note Editing, we needed to set the Default Note before drawing notes. This is because notes have definite durations and volumes. Other types of MIDI events do not have this information. However, it may still be desirable to set some type of quantization for entering and dragging MIDI events.

Before drawing or dragging events, set the Lock grid. The Lock grid determines on what boundaries events fall when dragged or entered. Set the Lock options with the Lock to Default Note and Lock to Notation Resolution options in the Prefs menu.

No Lock Selected

If no Lock grid is selected, events can be dragged and entered at the resolution of the display, which is typically about 4 clock cycles (with 192 clocks per quarter note). In order to tweak the event time even further, use the Magnifying Glass or List Editor.

Lock To Default Note

Selecting Lock to Default Note in the Prefs menu causes events to lock to a grid with intervals corresponding to the Default Note value. The Default Note consists of a note value (eighth, quarter, etc.), and a modifier (triplet, dotted, or normal). Please see the previous chapter, Note Editing, for more information about setting the Default Note.

{{Note|text=The Default Note also contains an articulation (staccato, legato, etc.), and a dynamic level (pp through ff). However, these are only used with Note events, discussed in the previous chapter.}}

Lock To Notation Resolution

Selecting Lock to Notation Resolution in the Prefs menu cause events to lock to a grid with intervals corresponding to the Resolution value assigned in the Notation menu.

Lock To Rhythm

Selecting Lock to Rhythm in the Prefs menu causes events to lock to a grid corresponding to the current Rhythm template. Please see the next chapter, Song Parameters to learn more about Rhythm parameters.

Entering MIDI Events

Use the Pencil to enter MIDI events. To do so, click on the Pencil button, which highlights it. Notice that the mouse resembles a Pencil. Enter events by clicking down with the mouse where you want the first Event. Then drag it across the display to enter a trail of events. Here is what happens when you draw in each MIDI Event type:

Note On And Note Off Events

Please refer to Chapter 8, Note Editing, for more information.

Pitch Bend Events

To enter a Pitch Bend curve, click down with the Pencil where you'd like it to start and drag it to the right. Set the height of each Pitch Bend Event by the vertical position of the mouse. The current Default Note determines the distance between each Pitch Bend Event. If you'd like many events close together for high resolution, select a small Note Value. Sixty-fourth note resolution works very well.

Mono After-Touch Events

To enter a Mono After-Touch curve, click down with the Pencil and drag it to the right. Remember that the Default Note determines the distance between each Event.

Poly After-Touch Events

Drawing in the Poly After-Touch curve is a bit complex because each Poly After-Touch Event corresponds to a particular note. In other words, Bars&Pipes Professional organized Poly After-touch event according to its Poly After-Touch information and its pitch, denoted as a letter and an octave number, such as C5.

As you draw the curve with the Pencil, two factors govern which note corresponds with which Event. First, Bars&Pipes Professional includes only notes within the range of the Piano Roll. Second, Bars&Pipes Professional chooses the current or most recent note in the sequence. As a result, if the Piano Roll displays a C in octave 5, Poly After-Touch events drawn under that note have C5 integrated into them.

Control Change Events

To enter a Control Change curve, you must select the right Control Change number. Then click down with the Pencil and draw in the Control Change events.

To avoid confusion, Bars&Pipes Professional displays only one Controller at a time. Use the Control Change # command from the Display Options menu to open the Control Change Number requester.

After the Controller #: prompt enter the Controller number that you want Bars&Pipes Professional to display or click on the Next Controller button to cycle through all the Control Change numbers in your Sequence. This way, you can quickly jump from one Control Change number to the next. Cycling is also useful for discovering what types of Control Change events are embedded in your Sequence.

Program Change Events

To enter each Program Change, select the Pencil and click in the Program Change region.

You can select a Program (or "Patch") by number, and, if a Patch List is installed, by name as well. To select by name, click the button after the Patch: prompt and hold. A scrolling list of available patch names appears under the mouse. Drag the mouse and click on your choice. To select by number, drag the slider under the Patch name.

The button after the Synth: prompt displays the currently selected Patch List. If you'd like to change it, click on the button and select a different Patch List from the scrolling list.

Create and install Patch Lists from the Patch List window, accessed from the Define menu.

{{Note|text=Each Track references one Patch List. Not only does this list define the names displayed in the Program Change requester and Program Change display, it also defines the Patch List used by the Quick Patch Tool.}}

System Exclusive Events

To enter a System Exclusive event, select the Pencil and click in the System Exclusive region. This opens the System Exclusive requester, described in detail in Chapter 13, System Exclusive.

Altering MIDI Events

Once you enter events, you can alter them. To the right of the Pencil sits the Magic Wand. Once you select the Magic Wand, you can alter the events with the mouse. Click down and pass it over the events you want to change and their heights magically conform to the path of the mouse. Notice that the Magic Wand draws a line as the events change shape.

This holds true for all MIDI Event types except for the Program Change and System Exclusive events. To alter one of these events, touch the event line with the Magic Wand. The Program Change requester or System Exclusive requester appears, which allows you to alter the event data.

Dragging MIDI Events

If you select the Hand button, you can use it to drag events forward and backward in time. Because Bars&Pipes Professional displays most MIDI events as thin vertical lines, you're not required to position the mouse exactly over an Event before you click on it. Instead click down the mouse and sweep it through the Event. The Event sticks to the mouse,. which you can then drag to its destination.

All of the "Lock to" options in the Prefs menu operate on other MIDI events, just like note events. If you set the Lock to Default Note option in the Preferences menu, the item moves to a grid defined by the Default Note. For example, if the Default Note is a quarter note, everything you drag moves left or right at quarter note intervals. Select Lock to Resolution to lock to the Resolution assigned in the Notation menu. Select Lock to Rhythm to lock to the current Rhythm template.

You can also use the Right and Left Arrow keys to move events forward or backward in Song time.

Duplicating MIDI Events

To duplicate events, click on the Duplicator button or press function key "F5." When you click and drag an event, Bars&Pipes Professional creates a new event of the same type, with the same data, and places it at the destination.

Erasing MIDI Events

To erase events, choose the Erase button, which, when selected, causes the mouse to resemble an Eraser. Click down and drag the Eraser through MIDI events to delete them.

Toolizing MIDI Events

You can Toolize all MIDI events, although most Tools concentrate specifically on Note events. Exceptions to this rule are the Delay and Echo Tools, which work on all Event types, and the Modulation, Flip, and Inverter Tools, which do their work on both Poly After-Touch and Note events.

Toolizing other MIDI events is similar to Toolizing Note events. Please see the previous chapter, Note Editing, for more information on Toolizing.

Boxing MIDI Events

You can select some of the Command buttons in conjunction with the Bounding Box. When you use the Bounding Box, you affect everything within it.

To draw the box, click down where you'd like one comer of the box to be and drag the mouse to the opposite corner. A box grows as your mouse travels. The box does not cross boundaries between data displays. Thus, you can't draw a box that encompasses Pitch Bend events as well as Mono After-Touch events.

The Bounding Box works with the following four Command buttons:

The Hand Button
The Hand drags everything in the box with the mouse. Once you create the box, click down on it a second time and drag it. All MIDI events in the box move with the mouse.

The Duplicate Button
The Duplicator duplicates everything in the box. Once you create the box, click down on it and drag it. A copy of the selected MIDI events moves with the mouse.

The Erase Button
The Eraser erases every MIDI Event within the box, once you lift up on the mouse.

The ToolPad
The ToolPad Toolizes all events within the box with the currently selected Tool.

Magnifying MIDI Events

When you select the Magnify button, the Magnify window opens and the mouse resembles a magnifying glass. The Magnify window displays data which can be edited, about each MIDI Event currently being touched with the mouse. Use the Right and Left Arrow keys on your Amiga keyboard to move through the selected event types one by one. Use the Up and Down Arrow keys to move to the event which occurs next chronologically. Bars&Pipes Professional displays the type of event in the Title bar of the Magnify window.

The first field in the Magnify window, labelled "Time," lists the time in measures, beats, and clocks. The second field, labelled "HMSF," lists the time in SMPTE format. If you click in either line with the mouse, you can change the time by entering a new one. Press the Return key when you complete the line. This causes the Event to jump to the new time.

All of the other lines differ depending on the type of MIDI Event. Remember, after you edit any of these lines, you just press the Return key to register the change. Here's a listing of what each Event's Magnify window displays:

Pitch Bend Events

Pitch Bend has one line, "Bend," which displays a numeric value for the bend.

The maximum positive pitch bend is 8191. The maximum negative bend is -8192. A positive bend makes the music play up in pitch, while a negative bend makes it flat.

Mono After-Touch Events

Mono After-Touch has one line, "Pres," which represents the key pressure.

The numbers range from 0, for no pressure, to 127, for extreme pressure.

Poly After-Touch Events

Poly After-Touch has two fields, "Note" and "Pres."

Poly After-Touch has two fields, "Note" and "Pres." "Note" identifies the key being pressed, while "Pres" shows the pressure as a number between 0 and 127.

Control Change Events

Control Change has two fields, "CC #" and "Data."

122 different Control Change numbers exist. The first line specifies which controller this Event addresses. The second provides the data, a number between 0 and 127.

Program Change Events

Program Change has one field, "Ptch," which is a patch selection number between 0 and 127.

System Exclusive Events

System Exclusive has three fields, "Time," "HMSF," and "Data." Clicking in the Data field opens the System Exclusive requester.

==Editing Song Parameters==
Chapter 10

Overview

Song Parameters describe your music in terms more sophisticated than MIDI events. They provide the foundation for your composition.

Song Parameters do not affect your composition directly. Instead, they are used by Tools, Accessories, and other functions to indirectly effect or further illuminate your composition. For instance, Time Signatures affect the display and printout of notation. Chords can be used in conjunction with the Chord Player Tool. Dynamics can be used with the Phrase Shaper Tool.

There are two different uses for Song Parameters: the Master Parameters, which characterize your Song as a whole, and the Track Parameters, which override the Master Parameters and work on a Track-by-Track basis.

Song Parameters are edited in the same Graphic Editor you've been using in the two previous chapters.

To edit the Master Song Parameters, open the Graphic Editor from the Windows menu by selecting Master Parameters. To edit the Song Parameters for any Track, double-click on the Track's sequence display in the Tracks window.

In the Graphic Editor window, Bars&Pipes Professional displays each Parameter in a band that runs from left to right. On the left side of each band is the name of the Parameter.

Select which Parameters you'd like to see from the Show menu.

Since the display can't possibly show all Notes, Parameters and Events at once, a scroll bar on the right enables you to scroll up and down.

An Explanation of Each Parameter

Six different Song Parameters exist. Before we discuss how to enter and edit them, let's consider how they relate to music in general:

Lyrics

Lyrics are words which accompany music. They exist in rock, blues, opera, pop, jazz, heavy metal, church music, and many other musical forms. Lyrics can reinforce a composition's tone or contradict it altogether. They, as well as the meter, rhyme scheme, and rhythm you choose, can complement the music and further its meaning.

Recognizing that not all music is purely instrumental, Bars&Pipes Professional allows you to enter lyrics directly above the measures in which they occur.

You can use the printing Accessory, "Follow the Leader," to print your Lyrics. Also, if you save your Song in MDI File Format with the "sMerFF" Accessory, sMerFF saves the lyrics so that notation programs that read MIDI File Format can display your lyrics with the music. The Graphic Editor displays each word positioned in its appropriate measure.

Chords

Chords consist of three or more notes played at once. Many types exist, but the most common in popular music are major and minor chords and derivations thereof. Basic chords can be formed by taking the first three of every other note in a scale and playing them simultaneously. Sound confusing? Let's look at an example:

A "C major" scale consists of the notes "C,D,E,F,G,A,B,C." To form a triad (a chord with only three notes) in this key, pick a root note (the bottom of the chord) and build up from it by choosing every other note in the scale. A D triad in the key of C consists of the notes D, F and A. An F triad in the key of C consists of the notes F, A, and C. By skipping every other note, you form basic triads within a key.

Every triad or chord conveys a certain emotional tone. Minor chords are often used to project sadness, anger, or seriousness, while major chords tend to sound happy and pure. Since a major scale contains seven distinct notes, seven basic triads exist within the scale. In other words, a triad can be constructed by using each note of the scale as the root note. CEG, DFA, EGB, and FAC are the first four triads in the key of C.

More specifically, rules govern the "flavor" of each triad as it relates to a key. In a major scale, for example, the triad built on the second note in the scale is always minor. The triad built on the third note is minor, too, but the triad built on the fourth note is major.

If you have a keyboard available, play the triads by moving note by note up the C major scale and you can hear the differences in tonal quality. Some triads are major; others, minor. (The triad built on the seventh note is "diminished" in quality, but since this manual has space limitations, we won't branch into aspects of music theory that would explain this.) Major triads are based on the interval formula, "root note + two whole steps + a whole step and a half". Minor triads are based on the formula "root note + a whole step and a half + two whole steps."

The Chords option presents an assortment of chord types including major, augmented, major7, major6, dominant7, minor, minor-6, minor+5, minor6, minor7, minorMA7, diminished, minor7-5, diminishedMA7, dominant 7-5, major9, dominant7-9, dominant9+5, dominant7 -9+5, and the list goes on. Should you fail to find one to your liking, create your own chords in the Define Chords window.

Although Bars&Pipes Professional doesn't play chords automatically, they provide valuable information that can be used by Tools to assist in the composing process. Once chords are entered into a Song, Tools come into play that make sophisticated musical decisions based upon your chord choices. As an illustration, the Accompany B Tool takes your chords and hammers out a rhythmic accompaniment. The "Follow the Leader" Accessory prints your chord changes.

Bars&Pipes Professional displays the root note followed by the chord type. For instance, the major chord CEG is shown as C MAJOR.

Key & Scale/Mode

Key & Scale/Mode indicates the key, or tonal center, of a composition. The tonal center is the single note around which your music revolves. In the key of "C major," it is the note "C;" in the key "Ab minor," "Ab." For nearly every piece of music, a key can be ascertained and assigned. The key, and hence the key signature, provides a framework for composition.

Directly related to keys and key signatures are scales. A scale, in its simplest definition, is a series of notes ascending from a specific note. Every type of scale is formulaic in nature; each is determined by half-step and whole-step relationships, which stem from the tonal center. (On a piano, C, a white key, is a half step from C#, a black key, and a whole step from D, another white key. Although not every white key is a whole-step from the white key next to it and a half-step from the black key next to it, for the most part, this is true.)

To illustrate, the formula for a major scale begins with the tonal center and progresses a whole-step (denoted by "W"), W, half-step (denoted by "H"), W, W, W, H. (All the white keys in succession from C to C on a keyboard.) Minor scales are a bit trickier as there are several types.

Although most American music fits into either the Major or Minor scales, many other scales exist. Some of these are the Whole Tone, in which every note is a whole-step beyond its predecessor; the Chromatic, where every note is a half-step beyond its predecessor; the Pentatonic, containing only notes 1,2,4,5,and 6 of the major scale; and the Gypsy, whose formula is W, H, W+H, H, H, W+H.

Not only is Key & Scale/Mode useful for editing, since the Graphic Editor can display the key signature and accidentals on the Staff, it is also quite useful for Tools that work with your music. For example, the CounterPoint Tool creates a countermelody accompaniment by knowing your chosen note system and calculating the proper intervals according to the rules of first species counterpoint. As with chords, Bars&Pipes Professional comes with a long list of preset scales and all of the classical modes. You are free, however, to design your own with the Define Scales window.

Bars&Pipes Professional displays the tonal center, or key, followed by the scale or mode name, e.g., C Major, Eb Minor, F# Blues. The Staff displays the key signatures for all major and minor scales as well as for all of the modes.

The Display Options menu provides the option of showing the Key & Scale/Mode on the Piano Roll. This command, Background... Key, shadows the current Key & Scale/Mode in a hazy purple. As a result, you can easily compose while staying within your chosen Key & Scale/Mode. Along the same lines, the Lock to Key option in the Preferences menu confines all notes you enter or edit into your chosen Key & Scale/Mode.

Rhythm

Rhythm, in its simplest form, conveys the motion of your music. Beats of varying lengths are organized into rhythmic patterns. Rhythms can be simple or complex, on the beat or off. Certain styles of music are noted first and foremost for their rhythmic form. For instance, Samba music is characterized by syncopated rhythmic patterns, where the beat is shifted to the upbeat, or second half of the beat, over a 2/4 meter, and Shuffle is known for its triplet-based feel in 4/4 time.

Armed with a particular rhythmic style along with the key and chord progressions, any capable musician can quickly construct a Song. Once again, some Tools can use rhythm to make intelligent decisions as they process your music. Accompany B is a good example. It combines the Rhythm and Chord parameters to play a chord pattern. No limit exists to the scope of conceivable rhythms, and although Bars&Pipes Professional does come with a set of pre-defined rhythms, you will almost certainly use the Define Rhythms window to create your own.

Bars&Pipes Professional displays each rhythm by name. If you select Background... Rhythm in the Display Options menu, Bars&Pipes Professional displays the Rhythm pattern in the background behind all the Parameters and MIDI Events. This pattern resembles a set of vertical bands. This gives you a visual cue for how the rhythm lines up with other events.

Use the Background... Rhythm option to analyze how your Rhythm relates to your Sequence. Keep this in mind: a Rhythm consists of Note events, which have durations. The durations determine the width of the bands, some of which may overlap.

Remember, Rhythms don't play anything by themselves. Used in conjunction with Chords and the Accompany B Tool, Rhythms can command Accompany B to play Chords at a defined pace and syncopation. The Groove Quantize Tool uses the Rhythm to lock a performance to the Rhythm's timing. Please refer to the Music Tools chapter for more information.

Dynamics

Dynamics indicate the volume at which each section of music is played. If you're familiar with classical notation, you will recognize these markings as the following lower case letters: "pp," "p," "mp," "mf," "f," and "ff." These abbreviations stand for pianissimo (very soft), piano (soft), mezzo piano (medium soft), mezzo forte (medium loud), forte (loud) and fortissimo (very loud), respectively.

A crescendo gradually increases the volume. The inverse is true of a decrescendo or diminuendo. Without dynamic road signs, music sounds stagnant and lifeless. Dynamics focus attention on or away from various segments of a piece. Ironically, sometimes a quiet section of music is easier to hear than a loud one.

You can define the overall volume of your Song with the Dynamics Parameter. With dynamics, you can draw crescendos and decrescendos.

Bars&Pipes Professional shows the Dynamic curve as a set of points with lines drawn between them. Each point represents a dynamic setting; for example, mezzo piano (mp) or fortissimo (ff). The connecting line conveys the dynamic change over time between the two points. To show a dramatic crescendo across one measure, you might start the measure with a dynamic point labeled "pp' and end with a second, labeled "ff." The Editor automatically draws a line between them.

{{Note|text=Like all Song Parameters, Dynamics do nothing unless they are used in conjunction with a Tool. The Phrase Shaper Tool is a very simple, but powerful implementatIon of Dynamics. It takes each note, places it against the Dynamics curve, and assigns it the proper velocity.}}

Time Signature

A Time Signature appears at the beginning of a piece as two numbers, one above the other. The lower indicates the type of note that is used to measure each beat, (half note, quarter note, etc.), while the upper indicates the number of such beats per measure. 4/4 is by far the most common time signature.

Time signatures provide the basic rhythmic framework of a piece. Though most popular music, such as rock-n-roll, rhythm and blues, and funk, tends to be in symmetrical meters (2/4, 4/4, or 6/8), uneven meters (3/4, 5/4) often lend a fresh feel and unpredictability to music.

Bars&Pipes Professional uses traditional time signature notation and permits a different time signature to be assigned for every measure that exists in a sequence. You can therefore experiment with a multiplicity of beat resolutions. Bars&Pipes Professional also permits different time signatures in different Tracks simultaneously.

Bars&Pipes Professional supports all standard time signatures; however, in keeping with the "one-size-fits-all principle," you can use time signatures as bizarre as 77/8 or 36/2. To enter a time signature, select one from the pre-determined palette or enter your own.

The Time Signature defined in the Master Parameters window is the main Time Signature displayed in the Tracks window. Please see the chapter, Advanced Sequencing, for more information. Individual Tracks can also contain their own Time Signatures that are different from the main Time Signature.

Two Important Considerations About Song Parameters

You do not have to use all the Parameters that Bars&Pipes Professional provides. Rarely would you use all six while composing a single piece of music. The organization of your Song, and more importantly, which Tools you use, dictate which Parameters are necessary and which are a waste of time.
Depending on how you use them, some Parameters may be more useful on a Track-by-Track basis, while others may be preferable in the Master Parameters window. Lyrics, Key, Rhythm and Time Signature usually belong to the entire composition. On the other hand, you may have different voices singing different lyrics or juxtapose different rhythms on individual Tracks.
* TIP * As you add and edit Parameters, think about the appropriateness of their placement. Fortunately, it's quite easy to move Parameters between the Track and the Master Parameters windows, should you want to change them.

Bars&Pipes Professional follows a simple rule with all Parameters: when a Tool uses a Parameter to process a Track, it first checks the Track Parameters. If the required Parameter type is not represented, it refers to the Master Parameters for the data.

Editing the Master and Track Parameters

Two scenarios exist for editing Parameters: editing the Master Parameters or editing the Track Parameters.

Master Parameters define the guidelines used in your Song as a whole. For example, if you add Key and Scale/Mode to your Song, you can place it in the Master Parameters window, since usually every Track shares the same key. On the other hand, you may want separate Dynamic curves for each Track. In this case, use the Track Parameters on an individual Track basis.

To access the Master Parameters, select the Master Parameters option in the windows menu. To access the Parameters for an individual Track, open the Graphic Editor by double-clicking on the Sequencer.

The Master and Track Parameters share the same user interface. By default, Bars&Pipes Professional displays all Parameters when you open the Master Parameters window and none of the Track parameters when you open the Graphic Editor. To display the Master or Track Parameters of choice, select them from the Show menu of the Graphic Editor or Master Parameters window. (You'll notice that the Show menu enables only the Parameters when opening the menu from the Master Parameters window.) This lets you hide the parameters in one window that you're using in another.

You can toggle-select more than one parameter at a time by holding the right mouse button while the Show menu is open, then clicking the left mouse button over the parameters you want to toggle. This can save you some time whenever you change the parameters to display.

The Master Parameter Window Buttons

The Master Parameters window is actually the Graphic Editor with only the Song Parameters available for editing. Please refer to the Note Editing chapter for a thorough guide to this window.

The Command Buttons

The first nine buttons from the left are the Command Buttons. When you press each, the mouse's icon changes. Set these to determine how you use the mouse.

The command buttons in the Master Parameter window are the same as the command buttons in an Edit window. Please refer to Chapter 8, Note Editing, for more information about each command button.

The Lock Grid

Just like other MIDI Events, Song Parameters respond to the "Lock to" menu items in the Prefs menu. Please see the previous chapter, MIDI Event Editing, for more information.

Entering Parameters

Parameters may be entered into either the Master Parameters window or an individual Edit window for a Track. Remember to activate the parameter you want to edit by selecting it in the Show menu.

To enter a parameter, click on the Pencil button or function key "F1." The mouse pointer becomes a Pencil. The way that the Pencil operates is determined by the following options in the Prefs menu.

If you choose the Drag With Pencil option, click down to enter a parameter and the Pencil becomes the Hand so that you can drag the parameter. Lift up on the mouse button when you are satisfied with the parameter's position.
If you choose the Lock to Default Note option, entered parameters align to the Default Note interval. For instance, if your Default Note is an eighth note, then all parameters you enter correspond to eighth note increments in each measure.
The Lock to Resolution option works just like the Lock to Default Notes option, except that it uses the Resolution value defined in the Notation menu.
The Lock to Rhythm option works the same as the Lock to Default Note option, except that it conforms all parameters to the current rhythm template boundaries.
Here is what happens when you draw in each Parameter type:

Lyrics

When you click the Pencil in the Lyrics region, the Lyrics Entry requester opens.

Lyrics must be entered in such a way that each word lines up at its proper position in the music.

If you arbitrarily place a complete sentence at the beginning of a line, the singer won t know on which beat to sing each word. However, opening the Lyrics Entry requester for every word would be time-consuming. So, the Lyric requester let's you enter a line of lyrics and then it breaks it up into individual lyric parameters.

To enter Lyrics in the Song Parameters, enter the entire sentence or phrase on the Lyrics: line. Then enter the number of measures over which this sentence or phrase occurs at the Measures: prompt.

When you press Okay, Bars&Pipes Professional breaks your sentence into its component words and spaces them equally across the number of measures you define. It places the first word at the point you clicked to open the requester.

You can also break words into syllables by placing a dash, followed by a space, between each syllable. Because each word or hyphenated syllable becomes a separate entity in your sequence, it can now be individually positioned to your taste.

When you close the requester, you may find that some of the Lyrics are not exactly where you want them. Follow with the Hand to drag them into position.

Chords

To enter a Chord, click the Pencil on the Chord region and hold the mouse button down. An octave of piano keys appears under the mouse. Choose the root note of the chord by dragging the mouse to the note and lifting up.

The Graphic Editor then tries to choose an appropriate chord, given the current Key & Scale/Mode. However, if you have not selected a Key & Scale/Mode, or the note you chose is not within the selected Key & Scale/Mode, a second menu opens under the mouse. This features a list of chords from which to choose. Since this scrolling menu contains more chords than it displays, it has two arrows, one each at the top and bottom. If you move the mouse over an arrow, the chords scroll by. Move the mouse to the one you want and click down.

Remember, the Graphic Editor only opens the chord menu if it cannot find a triad that fits your selected Key & Scale/Mode. If you don't like its choice, you can always edit the chord with the Wand.

* TIP * You can create your own Chords in the Define Chords window.

Key & Scale/Mode

Enter a Key and Scale or Mode as you would a Chord. Click the Pencil where the key change occurs and hold it down. Choose the key from the octave of piano keys and lift up.

A scrolling menu of Scales and Modes appears under the mouse. Move it to the scale or mode you desire and click down. Since the list of available scales is longer than the menu can show, move the mouse to the bottom arrow. It then scrolls the list up to reveal further choices.

If you selected a black key, a third menu with a sharp and a flat now appears under the mouse. This menu lets you choose whether sharps or flats are used to represent the note value. For example, if you choose the first black key to the right of a C, the sharp/flat menu appears. At this time, you must determine whether the selected note is a C# or a Db. Although these notes are identical in pitch, they are considered different notes and define different scales.

The Key & Scale/Mode Parameter always lines up on measure boundaries. If you place it anywhere else, it locks to the beginning of the measure. The first time you enter a Key & Scale/Mode, Bars&Pipes Professional places the entry at the first measure of the Song. Subsequent Key & Scale/Mode entries stay in the measure where you click the Pencil.

Rhythm

To enter a rhythm, click the Pencil on the Rhythm region and hold it down. A scrolling menu of available Rhythms appears under the mouse. Select the one you want and lift up. Choose from predefined rhythms or define your own in the Define Rhythms window.

Dynamics

Since Bars&Pipes Professional displays Dynamics as lines between points, you must enter both the beginning and end of the dynamic curve. To enter each point, click with the Pencil and hold it down. Depending on whether you've already entered a point, the following happens: If you've already entered a point, Bars&Pipes Professional displays the Dynamic Change pop-up menu. If you haven't yet entered a dynamic point, Bars&Pipes Professional places a point of identical value at the beginning of the Track or Song.

From this menu, choose whether the Dynamic change is Gradual or Immediate. If you choose Gradual, then the dynamic change happens gradually from the point which precedes the one you just entered. Notice that Bars&Pipes Professional draws a sloping line between the two dynamic levels. If you choose Immediate, the dynamic change is sudden. In this case, Bars&Pipes Professional draws a horizontal line that becomes vertical just before the volume change.

A point placed at the top of the Dynamics display indicates the loudest volume, while a point placed at the bottom, indicates the softest. For example, if you want a crescendo to occur within a four-measure time frame, set your original volume on the first of the four measures. Then set your destination volume at the end of the four measures. Bars&Pipes Professional automatically shows a line indicating a gradual increase in volume between the two points.

Time Signature

To enter a Time Signature change, click with the Pencil on its starting measure. The Time Signature requester then opens.

The Time Signature requester provides six standard Time Signatures and a method to define custom Time Signatures The six buttons across the top feature the pre defined Time Signatures Click on your preference to select it.

If you don't find one that meets your needs create your own by first typing the values for the Time Signature after the Other: prompt. Then click on Other to select it.

{{Note|text=It is important that you first enter the values, and then click on the Other button to activate it. Clicking the Other button first, and then typing in the values won't work.}}

By default, Bars&Pipes Professional displays the measure in which the Time Signature change occurs after the "Signature begins on measure:" prompt. This is the point where you clicked with the Pencil. Change the measure by editing this number.

You can also access the previous and next time signature changes. To go to the previous Time Signature change, click on the left arrow button in the Time Signature requester. The arrow finds the Time Signature prior to the one you are viewing and displays so that you can edit it. The right arrow button scans forward to the next Time Signature change.

If you create two adjacent, identical Time Signatures, Bars&Pipes Professional removes the second one. To illustrate, if you have 6/8 on measure 5, then place 6/8 on measure 4, Bars&Pipes Professional discards the 6/8 on measure 5.

Altering Parameters

After you enter a Parameter, you may want to edit it. To the right of the Pencil on the menu Buttons is the Magic Wand. When this button is highlighted (function key "F2"), the mouse takes the shape of a Magic Wand. Selecting this button allows you to touch a Parameter with the mouse and alter it. Wave the Wand through the Parameter to change it. In all cases, this opens a menu or requester. Here's a run-down on how the mouse works with each Parameter:

Lyrics

Touching a Lyric with the Magic Wand opens the Edit Lyric requester.

Edit the Lyric, then press the Okay button if you'd like to keep the change, or press Cancel to forget it.

Chords

Touching a Chord with the Magic Wand opens the piano keyboard under the mouse, which enables you to select a new root note for the chord. Hold the mouse down, roll it to your chord of choice and lift up. If you'd like to keep the current choice, just roll it off the keyboard to retain it.

The Chords list appears under the mouse. Unlike when you enter a Chord, this time Bars&Pipes Professional does not attempt to fit your choice into the selected Key & Scale/Mode. The scrolling menu of Chord choices always opens. Move the mouse to your choice and click on it. If you'd rather go with what you had before, roll the mouse off the menu and the chord reverts to its previous status.

Key & Scale/Mode

Edit a Key & Scale/Mode Parameter as you would a Chord. Touch it and a piano keyboard appears under the Magic Wand. Select the key by moving the mouse to the note and lifting up. Then select the Scale or Mode from the scrolling menu that appears under the mouse. Remember that, at any point, you can go with the original value by rolling the mouse off the menu. If you select a black key, the sharp/flat menu opens as is the case when defining a Key & Scale/Mode.

Rhythm

To change a Rhythm, touch the Rhythm's name. The scrolling list of available Rhythms appears under the mouse. Select your choice by moving the Magic Wand to it and lifting up on the button. To leave the Rhythm unchanged, roll the mouse off the menu.

Dynamic Marking

When you touch a Dynamic Marking with the Magic Wand, the Dynamic Change pop-up menu appears. From this menu, you can reselect the type of volume change, either Gradual or Immediate. If you choose Gradual, then the dynamic change happens gradually from the point which precedes the one you just selected.

Notice that Bars&Pipes Professional draws a sloping line between the two dynamic levels. If you choose Immediate, the dynamic change is sudden. In this case, Bars&Pipes Professional draws a horizontal line that becomes vertical just before the volume change. To move a Dynamic Marking, use the Hand button.

Time Signature

Touch a Time Signature with the Magic Wand and the Time Signature requester opens. Change the Time Signature as desired and click on Okay to keep the change, or on Cancel, to abort.

Dragging Parameters

Select the Hand button (function key "F3") to use the mouse to drag Parameters around and reposition them. Highlighting this button transforms the mouse into a hand. You don't have to position the mouse directly over a Parameter before clicking on it. Instead, click down the mouse and sweep it through the Parameter. The Parameter sticks to the mouse, which you can then drag to the Parameter's new destination.

All of the "Lock to" options in the Prefs menu operate on Song Parameters, just like note events. For instance, if you set the Lock to Default Note option, the Parameter moves only in steps along a grid defined by the Default Note. For example, if the Default Note is a quarter note, everything you drag moves left or right at quarter note intervals. Please refer to Chapter 8, Note Editing, for more information.

You can drag all of the Parameters to the left or right. In addition to these directions, you can drag the Dynamic points up and down. Unlike the case with all other Parameters, you cannot drag one Dynamic point past another, which would create a Dynamic curve that doubles back on itself. If you've dragged a Dynamic Marking and want to change its slope, use the Magic Wand to access the Dynamic Change pop-up menu.

You can also use the Left and Right Arrow keys on your Amiga keyboard to drag Parameters left or right according to the default note grid.

Duplicating Parameters

To duplicate parameters, click on the Duplicator button or press function key "F4." When you click and drag a parameter, Bars&Pipes Professional creates a new parameter of the same type, with the same data, and places it at the destination. While dragging the parameter, the Duplicator works just like the Hand. Please see the previous section, Dragging Parameters, for more information.

Erasing Parameters

To use the mouse to erase Parameters, choose the Erase button (function key "F5'). Highlighting this button turns the mouse into an Eraser. Click down and drag the Eraser over Parameters to delete them.

Toolizing Parameters

You cannot use Tools to process Parameters directly; however, many Tools use Parameters as part of their design. As an example, the CounterPoint Tool uses the Key & Scale/Mode to select the correct intervals. The Phrase-Shaper Tool uses the Dynamics Curve to set Note velocities.

Whenever a Tool looks for a Parameter, it first checks in the Track with which it is working. If it finds no Parameter there, it consults the Master Parameters. If you have a Dynamic curve defined for Track A, but not for Track B, the Phrase-Shaper Tool uses Track A's Dynamic Curve to phrase notes on Track A, but uses the Master Dynamic curve to phrase Track B.

Boxing Parameters

The Bounding Box allows you to operate on more than one parameter at a time by drawing a box around a group of parameters. To select the Bounding Box, click on the Box button (function key "F6").

You can select the Hand, Duplicate, or Erase Buttons in conjunction with the Box button. When you select the Bounding Box, instead of directly touching Parameters with the mouse, you can draw a box around them to affect everything within the box.

To draw the box, click down on one corner of the area and drag the mouse to the opposite corner. A box grows as your mouse travels. The box does not cross boundaries between different Parameters; therefore, you can't draw a box around Lyrics and Chords together. Once you have enclosed what you want in the box, lift up on the mouse.

Depending on which Command button you select in conjunction with the Bounding Box, the following happens:

The Hand Button
Everything in the box drags with the Hand. Once you create the box, click down on the box a second time and drag it. All Parameters in the box move with the mouse.

The Duplicate Button
The Duplicate button works just like the Hand button, but creates a copy of the parameters rather than moving the selection.

The Erase Button
Once you lift up on the mouse, every Parameter within the box disappears when using the Erase button.

Magnifying Parameters

When you select the Magnify button, the Magnify window opens and the mouse pointer changes to a Magnifying Glass. The Magnify window displays information about each Parameter that you select with the mouse. Click on each line to edit it. The Title bar of the Magnify window displays the Parameter's name. Use the Right and Left Arrow keys to move through the parameters one by one.

The first line in the Magnify window lists the time in measures, beats, and clocks. To change a time, click in this field with the mouse and enter a new one. Press the Return or Enter keys on your Amiga keyboard when you finish and the Parameter jumps to the new time.

The second line lists the time in SMPTE format. You can change a time by editing either field; Bars&Pipes Professional automatically updates the other field to display the equivalent time.

The remaining lines in this window change according to the specific Parameter. Remember that after you finish editing a field in the Magnify window, you must press the Return key to register the change.

Lyrics

The Lyric Magnify window contains one field, "Lyric."

Because the Magnify window stays open while you go from lyric to lyric, editing this way is actually quicker than using the Magic Wand to change lyrics.

Chords

The Chord Magnify window contains two fields, "Root" and "Chrd."

The first specifies the chord's root note; the second, the name of the chord. If you change the name of the chord, you must enter the new chord's exact name. The new chord must exist in the list of defined chords. If it does not, the original chord remains unchanged.

Key & Scale/Mode

The Key & Scale/Mode's Magnify window contains two fields, "Root" and "S/M."

The first lists the key; the second, the Scale or Mode associated with it. As with the Chord, the Scale or Mode name that you enter must exist, or Bars&Pipes Professional ignores it.

Rhythm

The Rhythm's Magnify window contains one field, "Name," which displays the name of the selected Rhythm.

If you want, enter a new one. Remember, the entered Rhythm must exist in the list of available Rhythms.

Dynamics

The Dynamics' Magnify window contains two fields, "Emph" and "=". "Emph" and "=" actually represent the same things. What differs is the way Bars&Pipes Professional describes them. "Emph" is the actual value of the Dynamic, or emphasis. This is a number from 0 to 127.

Below, "Emph," in the second box, is "=," the equivalent music notation, ranging from "pp' to "ff". Time Signature: The Time Signature's Magnify window contains two fields, "BPM" and "Beat." The first describes the number of beats per measure; the second, the value of the actual beat.

Time Signature

The Time Signature's Magnify window contains two fields, "BPM" and "Beat".

"BPM" stands for beats per measure. "Beat" stands for the note value that receives the beat.

Importing and Exporting Parameters

You can copy individual Parameter lists back and forth between the Master and Track Parameters. As an example, you may want to duplicate the Master Dynamic curve onto a Track, and then change it a bit to fit the character of the Track's part in the Song. Or, you may have a great set of Chord changes in a Track and want to make them available to the other Tracks by placing them in the Master Parameters.

To copy in either direction, use the Master Parameters menu. This menu can only be accessed from the Graphic Editor window of an individual Track; you cannot copy from the Master Parameters window. If you haven't already done so, open the Graphic Editor window of the Track from which you want to import or export Parameters.

Importing Parameters Into A Track

To import a Parameter list from the Master Parameters to an individual Track's Parameters, select the Import submenu from the Master Parameters menu. Notice that you have six options, one for each category in the Parameters list. Select your preferred Parameter option and Bars&Pipes Professional automatically copies it from the Master Parameters to your Track.

Exporting Parameters From A Track

To export a Parameter list from the Track Parameters to the Master Parameters, select the Export submenu from the Master Parameters menu. Again, you have six options, one for each category in the Parameters list. Select your Parameter of choice and Bars&Pipes Professional copies it from your Track to the Master Parameters.
==Printing Notation==
Chapter 11

Overview

Bars&Pipes Professional provides several options for printing your composition in standard notation. You can print a concert or transposed score from the Song menu, a Group of Tracks from the Groups menu, or one part from either the Tracks menu or a Track's Graphic Editor window's Notation menu.

You can also save your music printout in standard notation as a graphics file. This file can be loaded and modified by paint programs such as Deluxe Paint from Electronic Arts.

Preparing to Print

Before you print a Track, you must first arrange things so that Bars&Pipes Professional prints to your specifications.

Selecting The Printer Driver

You must choose the correct printer driver in your Workbench Printer Preferences program. Be sure to set the graphics preferences for the printer driver, too.

{{Note|text=Setting the graphics preferences may require some experimentation. Please refer to your Amiga Users Manual for more information.}}

Printing Memory Requirements

Printing requires large amounts of free and contiguous (i.e. non-fragmented) graphics memory. Bars&Pipes Professional Tools and Accessories, along with any other application running on your system, consume this precious resource.

For a common example of memory usage, let's say that you wish to print a page of four measures across and four full staves down at normal note spacing and normal resolution. This operation requires 64 Kilobytes of free graphics memory. At high note spacing, this memory requirement increases to 283 Kilobytes.

There are several things you can do to decrease the amount of graphics memory required for a print:

Decrease the number of measures across and staves down you wish to print.
Decrease the note spacing of your printout by sliding the Note Spacing: slider in the Page Print Options requester (please see the next section for information about this requester).
Print in Default Res or High Res rather than Extra Hi Res.
Also, make sure that no other applications are running, and that all unnecessary Bars&Pipes Professional Tools and Accessories are removed from your system.

* TIP * On many Amigas, you can see how much contiguous free memory you have by opening a Shell and typing "avail". The amount shown to the right of "chip" and beneath "largest" is the amount of contiguous free graphics memory.

Organizing Your Score

Before you Print, prepare your score to get the best results.

Fill In The Title And Composer

The printout includes the Song title and composer. Enter these in the Title/Author requester accessed by the Title/Author... command found in the Song menu. Bars&Pipes Professional centers the title on the top and places the author's name in the upper right-hand corner of the first page it prints.

Label The Tracks

Each Track label is the instrument name. Use the Track Name requester found in the Tracks window by double-clicking on the Track Name to the left of each Track. Bars&Pipes Professional prints the name of each part in the top left-hand corner of the first printed page. In a Concert or Transposed Score, Bars&Pipes Professional prints the name of each part above the first measure of each line.

Organize The Tracks

Bars&Pipes Professional prints the individual parts of Concert and Transposed Scores in the order in which the Tracks appear in the Tracks window. To rearrange the ordering of your Tracks, and thus the print order of your score, use the Track Up and Track Down buttons found on the top of the Tracks window.

Select a Track, then click on the up arrow to move it up one in the list or on the down arrow to move it down. Double-click to send a Track to the top or bottom of the Track list.

Size The Display

The sizing of the first Track's Graphic Editor display determines the number of measures per line printed. To change the Sizing of the Edit display, open the Edit window for the Track by double-clicking on the Track. Use the Zoom In and Zoom Out buttons, or the Sizing menu option, to choose the overall Sizing for the Edit display.

Select The Clefs

Each part may be printed on the Treble Clef, the Bass Clef, or both. For each Track, open the Graphic Editor and select the desired Clefs from the Print Options... submenu of the Notation menu.

By default, Bars&Pipes Professional prints both Treble and Bass Clef. You may choose either or both.

Set The Transpositions

You may need to print certain instrument parts in the appropriate transpositions. For example, an Alto Sax part can be displayed in Eb to be easily read by an Alto Sax player. If you need to set the Transposition for a Track, open the Transposition requester from the Notation menu of the Graphic Editor.

Determine the Transpose type by clicking after the Transpose: prompt and selecting from the scrolling list. If you'd like to define your own transposition, select Custom and drag the Octave and Interval sliders. Please read Chapter 8, Note Editing, for a thorough explanation.

Printing Ledger Lines

When printing a single staff, it is usually desirable to print several ledger lines above and below the staff.

The Graphic Editor's Notation/Print Options/Set Ledger Lines... menu command allows you to customize the way that each Track's staves are notated and printed.

Example: Print Treble Clef With As Many Ledger Lines As Possible.

Open the Graphic Editor for a Track by double-clicking on the Track in the main Tracks window (or, single-click and hit the Return key).
Make sure that the notation staff is showing. If it isn't, select the Show/Staff-Notation menu option.
Choose the Notation/Print Options/Set Ledger Lines... menu command. The Adjust Ledger Lines requester opens.

Click on the down arrow until the white arrow pointing to the staff is at the bottom. This arrow denotes the center position between the bassclef and the treble clef.

{{Note|text=If you want to print a bass clef with as many ledger lines above as possible, click the up arrow until the white arrow is as high as possible.}}

Click Okay. Bars&Pipes asks if you would like to renotate your entire Track.
Click Yes. Bars&Pipes renotates the Track with the new ledger line positions. Notice that most notes in the bass clef are now actually part of the treble clef.

{{Note|text=If you choose No, Bars&Pipes does not renotate, and your music prints the same way it always did. This allows you to renotate only the measures that you wish, using the Notation/Transcribe/Between Flags menu option.}}

Printing Tablature

To enable Tablature printing for a Track, open the Graphic Editor and choose the Notation/Print Options/Tablature menu option.

{{Note|text=Tablature can not print by itself. It requires that you also print at least one staff, or both staves along with it.}}

Make sure that you've tabulated your music before you print. If necessary, choose the Tablature/Tabulate menu option from the Graphic Editor.

Formatting The Printed Page

You can easily tell Bars&Pipes how many measures to print per line and how many grand staves to print per page.

You can set these options in one of two ways:

Choose Notation/Print Options/Page Options... from the Graphic Editor.
Choose Preferences/Page Print Options... from the main Tracks window.
The Adjust Page Print Options requester opens.

Slide the Measures/line: slider to the number of measures per line you would like to print.

Slide the Full Staves/Page: slider to the number of full staves you would like to print per page.

{{Note|text=If you open the requester from the Graphic Editor, and you've chosen to only print one staff, the second slider reads "Half Staves/Page" instead of "Full Staves/Page", and is double the number of full staves per page.}}

The Note Spacing: slider controls the overall resolution of the printout. The only real way to know the best note spacing on your particular system is to try a few sample printouts.

{{Note|title=Tip|text=Low note spacings tend to look chunkier and clutter the notes together. High note spacings make the notes thinner and more spaced apart. Normal note spacing is a compromise between the two.}}

The Print Requester

Once you have finalized your printing specifications, open the Print requester by selecting the Print... command. When you select the Print requester from the Song menu, Bars&Pipes Professional prints the entire score; when you select it from the Groups menu, Bars&Pipes Professional prints only the selected Group's member Tracks; and when you select the Print requester from the Track menu or an individual Track's Graphic Editor window's Notation menu, Bars&Pipes Professional prints the contents of the Track.

Additional Information

The top six buttons in the Print requester select additional information to print. To turn each option on or off click on its button.

Sections
If you choose to print Sections, Bars&Pipes Professional prints the A-B-A section names above the music.

Bar Numbers
If you choose Bar Numbers, Bars&Pipes Professional prints the measure number over each line's beginning measure in your music.

Tempo
If you choose Tempo. Bars&Pipes Professional prints the tempo at the beginning of your music.

Chords
If you choose Chords, Bars&Pipes Professional prints chord changes, entered in the Song Parameters, above each Track, or part. In either a Concert or Transposed Score, Bars&Pipes Professional prints chords which were entered in the Master Parameters above the first Track.

Lyrics
If you choose Lyrics, Bars&Pipes Professional prints lyrics, entered in the Song Parameters, above each Track, or part. In either a Concert or Transposed Score, Bars&Pipes Professional prints lyrics which were entered in the Master Parameters above the first Track.

Dynamics
If you choose Dynamics, Bars&Pipes Professional prints dynamic markings, entered in the Song Parameters, within a Track, or part.

Transposed Or Concert Score

If you choose Transposed Score, Bars&Pipes Professional prints each Track transposed by the key established in the Transposition requester (see above.) Choosing this option tums off the Concert Score option.

If you choose Concert Score, Bars&Pipes Professional prints each Track without transposition. Choosing this option tums off the Transposed Score option.

Selecting Measures To Print

To specify which measures Bars&Pipes Professional prints, enter the starting and ending measure numbers after the From Bar: and To Bar: prompts.

If you want to print all measures, click on the All button, which sets the fields to cover the entire range of the piece.

Print Resolution

You may choose from three different print resolutions.

Default Res
Select Default Res for printing in the default resolution. You may determine the resolution from the graphics preferences in your WorkBench printer Preferences. Typically, you might set the WorkBench preferences to the minimum acceptable resolution, for fastest printout. Use this option to get quick trial printouts.

High Res
High Res automatically chooses the highest resolution available in your Workbench preferences. This option gives the best quality available under Workbench 1.3.

Extra Hi Res
Workbench 2.0 users with at least 1 megabyte of chip memory can select Extra Hi Res for much sharper printing. This mode creates much cleaner lines but requires extra time to print.

Previewing

To view the final output without actually sending it to the printer, click on the Preview button found in the Print requester. This opens a small screen with the notation displayed.

{{Note|text=If you're previewing an Extra Hi Res printout, you can scroll to view the entire screen by clicking down with the mouse and dragging.}}

It also opens a small requester with three buttons: Next, Print and Cancel.

Next
To view the next line of notation, click on Next. Bars&Pipes Professional shows you each line of notation until it has displayed all of the selected measures.

Print
Click on the Print button to leave preview mode and start printing immediately.

Cancel
Click on the Cancel button to access the Print Requester again. (If you want to exit the Print Requester, click on its Cancel button.)

Printing
Bars&Pipes Professional prints notation by sending an image of the music to the Preferences printer driver. Remember, in order to print properly, you must set Preferences from Workbench to accommodate your printer.

To begin printing, click on the Print button. Bars&Pipes Professional opens a display screen, paints the notation in it, and sends this out to the printer. Above, it opens a requester with a Cancel button. Printing can take a while, so be patient. Click on the Cancel button to abort printing.

Saving as an ILBM File

Click on the Save button in the Print Requester if you would like to save your music as an IFF/ILBM file. The file requester opens. enter a unique file name for each page of printout. The IFF/ILBM file(s) may then be loaded into a graphics program such as Deluxe Paint, and imported into word processors, etc.

==The List Editor==
Chapter 12

Overview

While Bars&Pipes Professional's Graphic Editor provides a powerful graphics-based environment for editing music, certain editing operations require finer detail. For low-level, numeric editing of MIDI events, Bars&Pipes Professional provides the List Editor.

Accessing the List Editor

To open the List Editor, you must first open the Graphic Editor for the Track you want to edit, then select List Editing from the Prefs menu. Open the Graphic Editor for a Track by either double-clicking on a Track in the Tracks window, using the Magic Wand in the Song Construction window, or double-clicking a Track in the Media Madness Window.

Once you select List Editing, Bars&Pipes Professional closes the Graphic Editor window, then opens the List Editor window for that Track. The List Editor displays a list of all MIDI events in the Track.

{{Note|text=Double-clicking on a Track in the Media Madness Window automatically opens the List Editor, if the Graphic Editor for that Track has not been previously opened.}}

The List Display

The List Editor window contains most of the Command and Default Note Buttons of the Graphic Editor window. The List Editor, however, does not have the Magnifying Glass, Hand, Bounding Box, Duplicator, or Zoom buttons. Below the buttons is a slider, used for modifying events or data (more on this later). Finally, the bulk of the window consists of MIDI events of various types, one event per line. Use the scroll bar to the right of the events to move through the event list.

Use the Show menu to select which MIDI events to display.

{{Note|text=The List Editor does not display Song Parameters.}}

To display Note events, select any of the following options from the Show Menu: Staff-Notation, Tablature, Staff-Hybrid, Piano Roll, or Velocity.

The List Editor displays an event as a start time, followed by the type of event (please see the event types below), followed by event data.

The start time displays in either SMPTE time (hours, minutes, seconds, frames) or music time (measures, beats, clocks.) Use the SMPTE/Music button to select which time format is used.

When the button displays a film strip, the List Editor draws events in SMPTE time. Otherwise, the button displays musical notes and the List Editor draws events in music time.

The MIDI Events Display

The second field denotes the type of MIDI event. A listing of the different MIDI events and an explanation of their data fields follows. The name in parenthesis is the abbreviation the List Editor uses to display the MIDI event type.

Note (Nt)
The Note MIDI event contains the pitch, both as a note/octave (from C0 to G10) and as a numeric MIDI value (from 0 to 127), the velocity of the note (from 0 to 127), and the duration of the note (in Song-time).

With the Hit List option selected in the Display menu, the Hit List name of the Note event displays instead of the Note duration. This is particularly useful when used in conjunction with the Media Madness feature (please see Chapter 28, Media Madness).

Pitch Bend (PB)
The Pitch Bend MIDI event contains the amount of shift, from +8192 (maximum shift down) to 8191 (maximum shift up). Remember, the value given to Pitch Bend determines the proportion of the shift to the maximum. For example, a value of -4096 shifts the current note downward by half the maximum. The MIDI specification uses this scheme because different instruments have different Pitch Bend ranges; full range on one synth may be an octave while only a whole step on another.

Mono After-Touch (MT)
The Mono After-Touch MIDI event contains the overall keyboard pressure, from 0 to 127.

Poly After-Touch (PT)
The Poly After-Touch MIDI event contains the note value for the key being pressed (like Mono After-touch) and the pressure on that key (from 0 to 127). Poly After-Touch is featured only on the most expensive keyboards, since the hardware must sense pressure on each individual key.

Control Change (CC)
The Control Change MIDI event contains the Control Change type (0 to 127) and the Control Change data (0 to 127). Control Change governs continuous controllers such as volume pedals and breath controllers.

Program Change (PC)
The Program Change MIDI event contains the patch number (0 to 127). Program Change controls the sound used by your MIDI device to play subsequent notes.

System Exclusive (SX)
The System Exclusive MIDI event contains no visible data. When you edit a System Exclusive event, Bars&Pipes Professional opens the System Exclusive requester. Please see the System Exclusive chapter for more on this requester.

System Exclusive events are special commands unique to the instrument (or product line). Manufacturers use System Exclusive events, for example, to set pitch bend ranges, transpose keys, send new patch data to the instrument, and to execute many other functions.

{{Note|text=The user's manual for your MIDI instrument can tell you whether your instrument supports System Exclusive events, and what the commands do.}}

The Edit Flags

To the left of the event list are the Edit Flags. Use these to set the boundaries of a Clip section for editing with Clips, just like in the Graphic Editor. The "begin Clip" Flag is a triangle pointing upward; the "end Clip" Flag is a triangle pointing downward.

Use the Flags in conjunction with the options in the Edit menu. Please refer back to the Note Editing chapter for a complete description of these commands.

Except for being turned sideways, the Edit Flags in the List Editor work just as they do in the Graphic Editor. As you probably know, the Edit Flags align with boundaries assigned by the Align with... Preferences option.

* TIP * When you try to place an Edit Flag right after an event in the List Editor, don't be surprised if the flag jumps behind a number of events because you have "Align with... Measures" selected. Change it to "Align with...Anywhere" to able to place an Edit Flag after any event. Even then, if several events have the exact same time, the Flag jumps to just before all of the events. because the position of the Flag is actually the time it occurs, not its position in the list.

Remember: in the List Editor, one event may be at one time, and the next event in the list could be a beat later, a measure later, or several measures later. Because of this, be careful when cutting and pasting.

Command Buttons

The first five buttons from the left are the Command Buttons. As you click each one with the mouse, the mouse's icon changes. All of these buttons have keyboard equivalents as well. Set the Command Buttons to determine how you use the mouse. The following list describes each button briefly. Later in this chapter, we'll delve into greater detail.

The Pencil:
The Pencil, or function key "Fl" enters MIDI events. Clicking with the Pencil on a specific event creates a duplicate of the event, substituting the chosen default note parameters.

The Magic Wand
The Magic Wand, or function key "F2" alters the MIDI events type and data.

The Eraser
The Eraser, or function key "F5" deletes events.

The ToolPad
The ToolPad contains selected Tools and processes notes with the currently-displayed Tool. The mouse pointer turns into a Wrench when the ToolPad is selected.

The Step Entry
The Step Entry button enables step entry of events from a MIDI keyboard.

Default Note Buttons

Before drawing or step-entering events, set the Default Note. The Default Note consists of a note value (eighth, quarter, etc.), a modifier (triplet, dotted, normal), an articulation (staccato, legato, etc.), and a dynamic level (pp through ff). Four separate buttons set these standards.

Upon pressing them with the mouse, each button reveals a pop-up menu with the options displayed. Drag the mouse to the desired option and lift up to select it. Bars&Pipes Professional displays your choice on the appropriate button.

Note Value
The first button determines the currently selected note division. Your choices range from a whole note to a sixty-fourth note. Select your choice from the menu by dragging the mouse to the desired choice. You can also press function key "F7" to decrease the note value without using the mouse, or press SHIFT and function key "F7" to increase the note value.

Note Modifier
The second button modifies your selected note value. The first item in this menu, a triplet, shrinks the size of the note to two-thirds its note value. The second menu item, a "normal" note, leaves the selected note value as is. The third item, the dotted note, adds half of the note to the selected note's length. In other words, Bars&Pipes Professional multiplies the note value by one and one-half. Select your choice by dragging the mouse to the desired choice. You can also press function key "F8" to decrease the note length without using the mouse, or press SHIFT and function key "F8" to increase the note length.

Articulation
The third button determines the relative length of the selected note. The menu range extends from staccato (short) to legato (slurred). Staccato, signified traditionally as a dot above a note, usually indicates a duration of 1/4 its full length value; Portato, signified traditionally by the absence of a marking above the note, indicates a note duration of 1/2 its full length value; Leggiero, traditionally signified as a horizontal line above a note, indicates a note duration of 3/4 its full note value; and Legato, traditionally signified with an arched line above a series of notes, indicates a note duration equal to its full value, with no perceptible space between each note. Make your selection by dragging the mouse to the desired choice and lifting up. You can also press function key "F9" to make the articulation longer in duration without using the mouse, or press SHIFT and function key "F9" to make the duration shorter.

Velocity
The final button, the farthest to the right, determines the velocity of the note. You have six choices ranging from very soft (pp) to very loud (ff). Make your selection by dragging the mouse to the desired choice and lifting up. You can also press function key "F10" to increase the note volume without using the mouse, or press SHIFT and function key "F10" to decrease its volume.

Editing Events

Use the Command buttons described earlier to edit events in the List Editor.

Entering Events

To enter new MIDI events, activate the Pencil by clicking on the Pencil button or by pressing function key "F1". Then, click the Pencil on the MIDI event located just after the point where you want to insert the new event. If you want to enter a new event at the very bottom of the list, click in the blank area below the last event.

The type of event you enter is the same as the one you clicked on. If you clicked on a note, the note also has the same pitch of the note you clicked on, and the volume, duration, and articulation set by the Default Note. Other MIDI events use data from the events you clicked on.

Altering MIDI Events

With the List Editor, you can edit MIDI Events directly by changing the data associated with the Events, or even by changing the Events themselves. To edit Events, activate the Magic Wand by clicking on the Magic Wand button or pressing function key "F2".

When editing Events, the slider above the event list becomes active. To edit an Event, click on any part of the event. Bars&Pipes Professional highlights the selected data in red. Now, you can drag the slider to the desired value (or use the arrow buttons to the right of the slider).

You can also directly edit the text to the right of the slider.

{{Note|text=If the Hit List option is enabled in the Display menu, the textual translation of note value to Hit List name displays here, Use this field to enter new Hit List translations. Remember, each note can have only one Hit List equivalent. If you set C4 to be "dog bark", all C4 notes display as "dog bark."}}

Erasing Events

To erase events, select the Eraser by clicking the Erase button or by pressing function key "F5" then click on each event you want to erase. If you make a mistake, you can select Undo (Right Amiga-U) from the Edit menu to restore the last event you erased.

Toolizing Events

The List Editor window contains the same ToolPad as the Graphic Editor and Song window. You can place, select, and edit Tools from the List Editor in the same manner as for other windows in Bars&Pipes Professional. Toolizing events in the List Editor can be both powerful and confusing. Powerful, since you can edit the results exactly to your liking. Confusing, since Tools can remove an event, reposition it in time, or add additional ones. For example, if you use the Echo Tool on a note, the echoes get mixed in with other notes and events down the line.

* TIP * Another powerful way to use the ToolPad in the List Editor is to explore how Tools affect specific MIDI events. When you Toolize an event in the List Editor, you see the results accurately in numerical form. You can use this knowledge to edit Tool parameters to your liking, with less guesswork and better results.

Step Entering Events

To enter MIDI events into the List Editor from any MIDI instrument, click on the Step Entry button. Then, set the "begin editing" flag (the flag with the arrow pointing upward) to the point where you want to enter new events.

Like the Graphic Editor, any notes you step-enter from your MIDI keyboard automatically conform to the length, articulation, and velocity set by the Default Note parameters. To move forward one note length without entering an event, press the Space bar. To delete the previous event, press the Backspace key. Please see Chapter 8, Note Editing for a thorough explanation of Step Entering.
==System Exclusive==
Chapter 13

Overview

Use the System Exclusive requester to enter and edit System Exclusive MIDI messages. Normally, you'll access it from the Graphic and List Editors, but you'll also use it from the Big Sys Accessory.

Unlike other MIDI events, System Exclusive MIDI events are system specific - one MIDI device's System Exclusive implementation may not be the same as another's. Examples of System Exclusive data are patch banks, system memory dumps, system specific filters, etc.

{{Note|text=Certainly the most frequent use of System Exclusive packets is in patch organization. The PatchMeister, which integrates directly into Bars&Pipes Professional, covers this aspect extremely well. As a result you don't need to become versed in the underlying technology of System Exclusive protocols to effectively use them to your advantage.}}

Recording System Exclusive Events

Bars&Pipes Professional can record System Exclusive events just like other events. By default, the MIDI In and MIDI Out Tools are set up to filter out System Exclusive data. You may decide to record a System Exclusive dump from your keyboard, for instance.

To do so:

Highlight the System Exclusive button in the MIDI In and MIDI Out Tools of the target Track.
Make sure that the Track is in Record mode, and put the Sequencer in Record mode as well.
Start the Sequencer.
Command your MIDI unit to dump System Exclusive. Make certain that there is no handshaking needed.
Stop the Sequencer when your MIDI device is finished.
Do the opposite when you want to send the System Exclusive data back to your MIDI device: set your device to receive, and start the Sequencer.

{{Note|text=This process does no handshaking. Handshaking protocols require communication in both directions. The PatchMeister universal patch librarian takes full advantage of the handshaking ability of many brands of MIDI devices.}}

Accessing the System Exclusive Requester

Access the System Exclusive requester by clicking with the Pencil or Magic Wand in the System Exclusive region of the Graphic Editor. Please see Chapter 9, MIDI Event Editing, for more information

Creating A System Exclusive Event

To create a System Exclusive event, select the Pencil, then click in the System Exclusive region of the Graphic Editor. Bars&Pipes Professional opens the System Exclusive requester.

Editing A System Exclusive Event

To edit an existing System Exclusive event, select the Magic Wand, then click on a System Exclusive event. Bars&Pipes Professional again opens the System Exclusive requester.

Big Sys

The Big Sys Accessory also accesses the System Exclusive Requester. Please see the Big Sys Accessory in the Accessories chapter.

Editing System Exclusive Data

Use the three Command buttons to edit System Exclusive data in the System Exclusive requester.

Entering System Exclusive Data

To enter data into the System Exclusive requester, select the Pencil by clicking on it or pressing function key "F1". Click on any byte in the display to introduce a new byte. The requester creates a new data byte with the same value as the byte you clicked on. If you click to the right of the last byte, Bars&Pipes Professional creates a new byte just before the ending F7 byte.

{{Note|text=The System Exclusive Requester displays all bytes in Hexadecimal notation. Hexadecimal represents numbers in base 16. instead of base 10. The digits are 0 through 9 followed by A through F (for 10 through 15). As odd as it may sound. this is much more natural for binary data, because two hexadecimal characters always make up a byte (0 through 255 becomes 0 through FF).}}

Altering System Exclusive Data

To change the value of a data byte in the display window, select the Magic Wand by clicking on it or pressing the "F2" function key.

Click on the byte you want to change. The requester displays the byte in the slider above the display window. You may now drag the slider to change to the desired value.

Deleting System Exclusive Data

To delete a data byte, select the Eraser by clicking on it or pressing the "F5" function key.

Click on the byte you'd like to erase.

Sending The System Exclusive Command

Click on the Speaker button to the System Exclusive event down the Track's PipeLine and out the MIDI cable. Since the system ID and channel number are embedded in the event data, only the intended instrument receives the event.

Bars&Pipes Professional does not support messages that require a dialog with the synthesizer. And, since the channel number is embedded in the event data, if you want to send this command to more than one instrument, you must edit the channel number and send the command again.

If you are satisfied with your entry, click Okay to accept the changes, or click Cancel to abort the changes.

About System Exclusive Data

Please keep in mind the following points about System Exclusive Data:

Real-Time Recording And Playback

During real-time recording and playback, Bars&Pipes Professional does not support System Exclusive messages that require responses or handshaking, from the synthesizer. Usually, such messages involve downloading large sound patches to the synthesizer. You should do this in advance rather than during the Song's performance. The amount of data involved usually clogs the MIDI network, which results in the pausing of all music until the computer finishes sending the patch.

Instead, set up your System Exclusive information first by using Big Sys or, for patch organization, The PatchMeister. You can also keep System Exclusive packets recorded in one Track. After loading the Song, solo the Track and have it send its stuff. Then, mute the Track and activate all others.

Format Constraints

The first and last bytes of the System Exclusive data always have the hexadecimal values of FO and F7. You cannot change or delete these bytes, as they signal the beginning and ending of the event.

The next byte specifies the manufacturer's ID and channel number of the instrument. This manufacturer's ID (obviously) varies from machine to machine, and is used by the instrument to verify that the event makes sense to that instrument.

The third byte and onward (to the next to last byte) specify the System Exclusive command plus any data needed by that command.

From this, we can see that all System Exclusive events must be at least three bytes long, including the start and stop bytes. The System Exclusive requester, however, does not force a minimum message length beyond the start and stop bytes.
==Accessories==
Accessories can be loaded by openeing the accessories window and selecting "load" from the menu.
At this time SmerFF is the only accessory available. It allows loading and saving MIDI files.
==The Metronome==
Chapter 15

=== Overview ===

Bars&Pipes Professional's Metronome provides a standard metronome click. Use this as a timing reference when recording your performances.

The Metronome creates a click by sounding the Amiga's internal circuitry, sending a MIDI event, or flashing the screen. It can click at rates varying from 1/64 note to a whole note. If you want, it can also provide a lead-in countdown before recording.

Access the Metronome window by double-clicking on the Metronome icon, or choosing the Metronome option in the Windows menu.

=== The Metronome Window ===

The following describes the functionality of the Metronome window:

==== Choosing The Metronome ====

There are three metronome sources:

; Internal
: Select the Internal button to send a tone to the Amiga's speakers for each metronome click.

; Visual
: Select the Visual button to flash the Amiga's screen on every click. The first beat of any measure flashes red, followed by a series of other colors.

; MIDI
: Select the MIDI button to send a MIDI note through the MIDI cable.

==== Setting Up The MIDI Metronome ====

The MIDI metronome option requires a few additional parameters:

; MIDI Note
: Select the pitch of the MIDI note by sliding the MIDI Note: slider to the appropriate note value. By default, this is set to the General MIDI note for a metronome sound (if a drum kit is being played.)

; MIDI Channel
: Select the MIDI channel by clicking on the button after the Channel: prompt and selecting from the pop-up menu. By default, this is set to the General MIDI drum channel, channel 10.

; MIDI Tool
: Drop an Output Tool onto the button after the Tool: prompt. This determines which Tool transmits MIDI metronome clicks. Usually, this is the MIDI Out Tool.

{{Note|text=Triple Play Plus users can use the Triple Play MIDI Out I, 2, or 3 Tools. One-Stop Music Shop users can use the One-Stop MIDI Out or SoundEngine Tools.}}

You can also use other Output Tools with varying results. For example, many of the Media Madness Tools can be used with interesting results!

; Loudness
: The Loudness (volume) of the metronome can be set by moving the slider after the Loudness: prompt. The default is 84.

==== Selecting The Beat Resolution ====

By default, the metronome sounds at each quarter note beat. you can change this rate by clicking on the button after the Resolution: prompt. Choose a rate from 1/64 to a whole (1/1) note.

If you select a 1/4 resolution in 4/4 time, the Metronome clicks on every beat. If you select 1/2 resolution, the Metronome clicks on every other beat, starting with the first beat in the measure. If you choose 1/8, the Metronome clicks twice per beat.

Depress the Triplet button if you want the Metronome to play in triplet time.

==== The Lead In Option ====

Often, it helps to have a countdown before you start recording. To set up a countdown, set the Lead In slider. The slider lets you set the number of measures to count down before recording actually starts.

To disable Lead In, set the number of measures for Lead In to zero.

You may find that you do not want to use the Metronome, except for the Lead In time. In this case, select the Metronome On Lead In Only button. You can also disable all three metronome options; this provides a silent Lead In.

==== Extra features ====

The metronome also responds to hotkeys to control its function. These can be used in any of the the main Bars&Pipes windows (Tracks, Transport etc.).

{| class="wikitable"
|+ The keys are:
| I || toggles the Internal Amiga sound metronome on and off.
|-
| V || toggles the Visual metronome on and off
|-
| O || toggles the Output (e.g. MIDI) metronome on and off
|-
| L || toggles the Lead In funtcion on and off.
|}

==The Transport Controls==
Chapter 16

Overview

The Transport Controls govern the Sequencer's recording, playback, and Song positioning functions. These functions are accessible from the Transport Controls window, the Mini-Transport, and the Tracks window. They are also accessible from hot keys on the Amiga keyboard and, if defined, as MIDI remote controls. The Transport Controls contain familiar tape deck commands, such as Play, Record, Rewind, and Stop, to control recording and playback.

You can reposition the Transport Controls window or shrink it down to an icon. If you close the Transport Controls window, you can reopen it by double-clicking on the icon or by selecting Transport Controls from the Windows menu.

You can bring up the Mini-Transport by choosing its menu option in the Windows menu, or by typing the letter M on the Amiga's keyboard.

The Transport Controls Window

The Transport Controls window contains all of the Transport Controls. The Transport Controls in the Mini Transport and the Tracks window are subsets of the Transport Controls window.

The Transport Controls window contains four groups of controls: the Transport buttons, the Tempo controls, the Song Position controls, and the Flag controls.

Transport Controls

Across the top of the Transport Controls window are nine buttons, which control recording and playback. They are similar in function to the controls on a tape recorder.

Briefly, the Transport buttons are:

Stop (Enter Key on numeric keypad)
The Stop button halts recording and playback. It also sets the Position Marker to the current Stop time so the next Play command will pick up at the same point. Click to activate the Stop button.

Start (Insert Key)
The Start button begins recording and playback from the beginning of the Song.

Play (Enter Key on numeric keypad)
The Play button begins recording and playback from the Position Marker. Use this control when you want to start from a specific point in the Song. Pressing the Play button a second time stops the performance.

Rewind
Rewind quickly shuttles the Song backward to access a specific point in the Song. If the Song is playing when you press the Rewind button, it stops, then resumes when you lift up on the new location.

Fast Forward
Fast Forward shuttles the Song forward in time. If the Song is playing when you press the Fast Forward button, it stops, then resumes when you lift up on the new location.

Record ("R" Key)
The Record button enables Sequencer recording. To activate, click on it. Doing so activates recording only in Tracks placed in Record mode. All others continue to play back.

Loop
The Loop button activates the Loop Mode recording function. With Loop mode, you can record one section of your Track over and over. For more information on Loop Mode recording, please see the Loop Recording Mode section in the Recording chapter.

Punch In/Out ("P" key)
Punch In/Out automatically switches the Sequencer in and out of Sequencer Record mode at preset locations. Although you can manually activate and deactivate the Record button while your Song plays, if you're also playing an instrument, you'll need a third hand, which the Punch In and Out Flags provide.

Set
Use the Set button in conjunction with the Flag buttons, described below, to set Flag positions.

Tempo Controls

The Tempo Controls are on the left side of the Transport Controls window, beneath the Stop button. Use these to set the initial tempo.

{{Note|text=If you'd like to work with a Tempo Map and place tempo changes at specific times in your composition, you must enter them in the Tempo Map window.}}

Tempo
The Tempo button shows the tempo of the Song in beats per minute. Set the tempo, or speed, by clicking on the numbers and, while holding down the mouse button, dragging the mouse up to increase and down to decrease. You can change the tempo in single increments by single-clicking in the top or bottom half of the numbers.

1/2 and 3/4
If, temporarily, you need to slow down the Song (for example, when recording a difficult passage), click on the 1/2 or 3/4 buttons to slow the tempo to one-half or three-quarters of the original speed. Clicking on the same button a second time restores the tempo to its original speed.

* TIP * These functions do not work in conjunction with a Tempo Map, except at the beginning of your Song, before there are any tempo changes in the Tempo Map. Disable the Synchronize to Tempo Map option in the Timing window to disable the Tempo Map. Enable this option to reinstate the Tempo Map.

Song Position Display

Just as a tape deck marks time with a counter that measures the tape's length, Bars&Pipes Professional keeps Track with the Song Position Display.

The top number in the Song Position Display keeps Track of the Song time in Measures, Beats, and Clocks. The bottom display shows Song time in the SMPTE format of Hours, Minutes, Seconds, and Frames.

To reposition your Song to an exact time, click on the top or bottom half of the numbers in the desired display to increase or decrease their values. Note that the second display adjusts itself to the new position as well.

The Position Marker Flag

Bars&Pipes Professional also provides the Position Marker Flag, a red triangle with a blue border, which shows the location of the Song Position in the Sequencer. When you click the numbers in the Song Position Display as described above, the Position Marker moves to the new position as well. You can also adjust the Song position by using the mouse to drag this Flag to a new location.

Flag Position Controls

Use the Flag Position Control buttons to set and use the positions of each of the twelve Flags Bars&Pipes Professional supports.

To set a Flag to a particular point in your music, use the Set button directly above the Flag Position Controls. First, click on the Set button. With the Set button highlighted, adjust the Song Position Display by clicking on the Rewind or Fast Forward buttons or by clicking directly on the Song Position Display as described above. Then, click on the button corresponding to the Flag you want to move. This installs the Song Position into the Flag and disables the Set button.

* TIP * You can also set Flags numerically in the Set Flags window.

To instantly jump to a Flag position, click on the Flag's button without first selecting the Set button. This automatically sets the Song Position to the value in the Flag.

* TIP * Pressing the 1, 2, 3, and 4 keys on the numeric keypad also jumps to the four Auto-Locate Flags.

To instantly jump to a Flag position and start playing immediately, double-click on a Flag.

The Mini-Transport Window

The Mini-Transport window provides the most important Transport Controls in a small convenient window. Access it by choosing the Mini-Transport menu option in the Windows menu, or by typing the letter "M" on the Amiga keyboard.

Most of the buttons are the same as in the Transport Controls window, with a few exceptions:

You cannot change the Song Position by clicking on the Song Position display.
There is an additional button, the SMPTE/Music Time button, that controls whether the Song Position display shows the current Song Position in measure time or SMPTE time. Click on this button to toggle between the two modes.
Remote Control

With the Remote Control option, you can use your MIDI keyboard to control the Sequencer. Remote controls let you Start, Stop, Record, Play, Punch In, Punch Out, and move to the Auto-Locate Flags (Ml through M4) in your composition.

To set up the Remote Controls, select Remote Control from the Preferences menu. In response, Bars&Pipes Professional opens the Remote Control requester.

Click on the Control you want to set up, then press the desired key on your MIDI keyboard. Use the keys located at the very top or bottom of your MIDI keyboard to prevent pressing one accidentally while recording.

Clicking on each control in the requester toggles it on and off. Only the highlighted controls are active. Each active control behaves identically to the button it represents in the Transport Control window. When you're done, close the requester.
==Timing, Syncing, and Tempo==
Chapter 17

Overview

Bars&Pipes Professional contains sophisticated timing controls. It can run on its own or synchronize with external devices. It can synchronize to external MIDI Clock messages that vary the Tempo or synchronize to external SMPTE time and control the timing with the Tempo Map option.

Bars&Pipes Professional plays with a musical timing resolution of 192 PPQN (Parts Per Quarter Note). Its internal resolution is up to one millisecond at higher tempos.

Changing Tempo

Use the Tempo controls in the Tracks window, the Mini Transport window, or the Transport Controls window to change the initial Tempo. Also, you can use the Tempo Palette window to quickly change the Tempo.

Use the Tempo Map window to create changing Tempos over the course of your music. Real-Time Tracks allow you to create Tracks that ignore Tempo Maps.

Tempo

There are tempo buttons in the Transport Controls window, the Mini-Transport Window, and the Tracks window. They all represent the same Tempo.

Set the tempo, or speed, by clicking on the button and, while holding down the mouse button, dragging the mouse up to increase and down to decrease. You can change the tempo in single increments by single-clicking in the top or bottom half of the numbers.

The Tempo Palette Window

Quickly change the Tempo with the Tempo Palette window. To open the Tempo Palette, select Tempo Palette from the main menu's Windows menu, or double-click on the Tempo Palette icon.

The Tempo Palette lists four preset Tempos: A, B, C, and D. To set the Tempo, click on the preset letter, e.g., A, and the Tempo assumes that value. To change a preset tempo, click on the number and enter the desired tempo.

* TIP * You may find it useful to place the Tempo Palette window directly above the Tempo controls (obscuring the Transport Control buttons), and use the "window to back" buttons on the windows to expose or hide the Tempo Palette as needed. This way, you can quickly change tempos while youre working.

The Tempo Map Window

If you are synchronizing with either the internal timer or SMPTE, you can use the Tempo Map window to create a series of tempo change commands to alter the pace of your music. Open the Tempo Map window by selecting Tempo Map from the Windows menu or clicking on the Tempo Map icon.

The Tempo Map window consists of seven control buttons and a graphic display of the Song s tempo over time The graph shows constant tempo in blue tempo changes in red and the tempo at the end of each tempo change in blue The top of the graph displays the measure numbers. Use this window to create and place multiple tempo changes throughout your composition.

Please refer to the next chapter, Chapter 18, Tempo Mapping, for more information on creating and editing Tempo Maps.

Disabling Tempo Changes

Sometimes, you might want to temporarily disable a tempo map.

To do so, turn off the Use Tempo Map selection in the Timing menu. Bars&Pipes Professional then uses the tempo you have set in the Transport Controls window to determine the Song tempo.

To return to your tempo map, deselect the Use Tempo Map option in the Timing menu.

Real-Time Tracks

By default, Tracks operate in Song-time mode. In Song-time mode, increasing the Song's tempo causes notes to play faster. Each note plays on a particular measure, beat and clock, not at an absolute hour, minute and second.

Real-time Tracks do not follow Tempo conventions. Instead, they contain events that occur at specific SMPTE times. This is useful when you are scoring for video or Media Madness and need to have certain notes or events occur at specific times.

To change a Track to a real-time Track, double-click on the Track's name in the Tracks window, or click on the Track name with the Magic Wand in the Song Construction or Media Madness windows. This opens the Track name requester.

Click on the real-time button to convert the Track into a real-time Track. Thereafter, each note plays at an absolute hour, minute, and second, independent of the selected tempo. Deselect the button to convert the Track back into a regular Track. Once a Track is in real-time mode, every time you change the Tempo, the Track stretches or shrinks to make sure the events all still occur at the correct SMPTE times.

Real-time Track names appear purple instead of blue when not highlighted, and red when highlighted.

MIDI Clock Synchronization

The simplest, most affordable method to synchronize Bars&Pipes Professional with external sources involves using MIDI Clocks (sometimes called Song Position Pointer).

MIDI Clocks work in the following manner: The MIDI standard includes a set of commands designed to synchronize multiple devices via the MIDI cable. These commands include instructions to start, stop, and reposition playback, as well as Clock tick instructions that Bars&Pipes Professional uses to maintain accurate synchronization.

Designed with music in mind, MIDI Clock ticks correlate directly with Measures, Beats, and Clocks. As each Clock tick comes in via MIDI, Bars&Pipes Professional increments its position in Song time. In this manner, the MIDI Clocks control both the tempo and the position of the piece as it performs.

Sending MIDI Clocks

To synchronize an extemal MIDI device with Bars&Pipes Professional, first set the MIDI device to which you would like MIDI Clocks sent. For instance, if you have the Triple Play Plus MIDI interface, you can choose to have MIDI Clocks sent out of the Triple Play MIDI Out 1, 2, or 3. To select the MIDI device, choose Set MIDI Clock Tool... from the Timing menu. A requester opens.

Click on the Tool displayed after the MIDI Tool: prompt to cycle through the available Tools. Select the appropriate Tool and click on Okay.

{{Note|text=Only Tools that send out of a MIDI port are accessible from the Set MIDI Clock Tool requester. If there is no MIDI Out Tool loaded, you need to install a MIDI Out Tool to continue.}}

Then, select Send MIDI Clocks from the Timing menu. This command instructs Bars&Pipes Professional to send MIDI Clock events as well as Start, Stop, Continue, and Song Position events.

Recording A MIDI Clocks Synchronization Track

If you are synchronizing Bars&Pipes Professional to a device such as a drum machine that creates its own tempo map, you can skip over this section. However, if you plan to synchronize Bars&Pipes Professional to an audio or video recorder with MIDI Clocks, you'll need to lay down a MIDI Clocks sync Track on tape first.

To lay down a sync Track, do the following:

If you need a Tempo Map for your Song, create it. This will be used to record the timing.

{{Note|text=Instant tempo changes do not work well with MIDI Clocks. Always slope your tempo changes somewhat to improve precision while syncing to MIDI Clocks.}}

Activate Send MIDI Clocks in the Timing menu.
Prepare your tape deck and/or your MIDI Clock interface.
Start recording with your tape deck as you start the Bars&Pipes Professional Sequencer.
When you finish, you should have a MIDI Clock stripe on your tape. All the timing information, include the Tempo Map is embedded in the strip. You can now use the tape to slave Bars&Pipes Professional to your audio or video production.

Synchronizing To MIDI Clocks

To synchronize with an external MIDI device that transmits MIDI Clock events, select the option Synchronize to MIDI Clocks in the Timing menu.

The Synchronize to MIDI Clocks command disables Bars&Pipes Professional's internal timer and slaves it to MIDI Clocks coming in the MIDI interface attached to your Amiga. The incoming MIDI messages determine both the Tempo and Song Position.

* TIP * To help the synchronization happen quickly and effortlessly, set the Tempo to a value reasonably close to intended Incoming Tempo prior to starting.

If you have more than one MIDI input device, you don't have to set MIDI Clocks to enter the device of your choice. All MIDI Input Tools automatically route MIDI Clock messages to Bars&Pipes Professional's timing mechanism.

However, be careful not to have MIDI Clocks coming in at the same time on multiple MIDI inputs. For instance, you would not want to receive MIDI Clocks on the One-Stop Music Shop's MIDI In at the same time as on the standard serial MIDI interface's MIDI In.

Start from your MIDI Clock source, e.g. a drum machine or tape deck. Bars&Pipes Professional automatically jumps to the proper location and plays. You can even record while synchronized. Just put the Transport Controls into Record mode, then start from the MIDI Clock source.

When Bars&Pipes Professional synchronizes with MIDI Clocks, it disables the Lead-In feature (no countdown before starting).

* TIP * Use MIDI Clock synchronization to dump a performance from another Sequencer into Bars&Pipes Professional. First, enable Bars&Pipes Professional's Multiple Ins Preference. This activates input on all Tracks on a channel by channel basis. Then, enable the Synchronize to MIDI Clocks option. Place all Tracks as well as the Transport Controls in Record Mode. Start the external Sequencer. Bars&Pipes Professional locks to the external Sequencer and records the entire performance on up to sixteen individual Tracks. Sometimes, for extra accuracy, it helps to record the transfer at a slow tempo.

SMPTE (MIDI Time Code)

If you require synchronization to an external device in real-time instead of music time, a second option, SMPTE time code, comes into play. SMPTE time code specifies the time in hours, minutes, seconds and frames, with no correlation to music time or tempo.

MIDI Time Code is a protocol for communicating SMPTE time via MIDI. MIDI Time Code events specify the time in hours, minutes, seconds, and frames. By listening to MIDI Time Code, Bars&Pipes Professional can ascertain where in the sequenced piece it currently is. Use MIDI Time Code to synchronize with video hardware, as well as audio and video tape recorders.

To use Time Code with music, create a Tempo Map within Bars&Pipes Professional to specify the music tempo at different points in time. Then assign the desired SMPTE Offset in hours, minutes, seconds, and frames. In this manner, Bars&Pipes Professional's Tempo Map and SMPTE Offset combine to translate real-time into music time.

Bars&Pipes Professional supports SMPTE in two ways: through menu options and Accessories. In the Main menu, the Timing menu options SMPTE Format.., and SMPTE Offset.., allow you to set these two aspects of SMPTE (more on these below.)

The MTC Accessory allows synchronization to most SMPTE boxes. The SyncPro Accessory interfaces directly with Blue Ribbon's SyncPro sync box. (Please see the Accessories chapter for more details)

SMPTE Sync Options

The following SMPTE synchronization options can be found in the Timing menu:

SMPTE Format...
When using MIDI Time Code, set the SMPTE format in the SMPTE Format... option. This option determines how many frames per second (FPS) Bars&Pipes Professional displays in SMPTE time.

{{Note|text=If you are synchronizing to an external SMPTE source, it automatically sets the SMPTE format. Under such circumstances there is no need to set the format.}}

Four SMPTE frame rates are available:

24 FPS - This is the standard frame rate used with motion picture film.
25 FPS - This is the standard frame rate used with European television, video, and film.
30 FPS (Drop Frame) - This is the standard frame rate for American color video today. The frame rate for color video is actually 29.97 FPS. If you use Non-Drop Frame, at the end of one hour, there will be 108 frames less than expected. Drop Frame corrects this deficiency by systematically dropping 108 frames per hour, so that at the end of an hour, the total number of frames will still be 108 frames short, but the frame numbers will be correct. However, Drop Frame should only be used when necessary because of the inaccuracies caused by the dropped frame.
30 FPS (Non-Drop Frame) - This is the standard frame rate for black and white television.
SMPTE Offset...
If you synchronize your music to SMPTE, your music rarely begins at the time 0:0:0.0. Instead, the beginning is most likely between a few seconds to several hours later. If you are scoring a film or video, each composition certainly starts at a different point in SMPTE time.

To adjust the SMPTE Offset, open the SMPTE Offset requester by selecting SMPTE Offset... in the Timing menu. Enter the Song's starting time in SMPTE format; Hours, Minutes, Seconds, and Frames. Bars&Pipes Professional plays your music when the SMPTE source, perhaps a video recorder or multi-track recorder, reaches this point in SMPTE time. Click on Okay to accept your settings and Cancel, to abort them.

If you start the SMPTE source at a point after the SMPTE Offset, Bars&Pipes Professional automatically calculates the Song position based on the current SMPTE time, starting the Song somewhere in the middle.

Display SMPTE Offset
By default, Bars&Pipes Professional adds the SMPTE Offset to the Song time to display the SMPTE time; however, if you'd rather see the Song time without the SMPTE offset added, deselect Display SMPTE Offset in the Timing menu.

Syncing To SMPTE

In order to synchronize Bars&Pipes Professional to SMPTE, you'll need a SMPTE to MIDI Time Code converter such as SyncPro.

{{Note|text=Because we've designed synchronization in as an Accessory, Bars&Pipes Professional easily supports third party SMPTE synchronization boxes. In addition, the Accessory mechanism provides for synchronization with other software. Programs like Real 3D and Imagine currently control Bars&Pipes Professional as if they were SMPTE sources. Please see the Accessories drawer on your Bars&Pipes Professional distribution disks for more on these and other options.}}

Either the SyncPro or MTC Accessory should be loaded in the Accessory window. Please refer to the Accessories chapter for more information.

* TIP * Sometimes, Bars&Pipes Professional may not start exactly when the SMPTE time coming from your SMPTE Interface reaches the SMPTE Offset. As a result, the very first MIDI events may not play. To avoid this, place a blank measure at the beginning of each Song. An easy way to do this is set the Edit Flags in the Tracks window to encompass the first measure and select Insert from the Edit menu.
==Tempo Mapping==
Chapter 18

The Tempo Map Window

Use the Tempo Map window to create a series of tempo change commands to alter the pace of your music over time. Open the Tempo Map window by selecting Tempo Map from the Windows menu or click on the Tempo Map icon.

The Tempo Map window consists of eight control buttons and a graphic display of the Song tempo over time.

The Tempo Map Display

Most of the Tempo Map window features the Tempo Map graph. This graph displays the tempo on the vertical axis and the time in measures or SMPTE on the horizontal axis.

The graph shows constant tempo in blue, tempo changes in red, and the tempo at the end of each tempo change in blue.

Adjusting The Display

To display in SMPTE time, click on the SMPTE/Music Time button until it shows a film strip. The Tempo Map window redraws the tempo changes against a background of vertical lines at every one second interval.

{{Note|text=Once you've entered tempo changes, the spacing between the second markers stretch and shrink as the tempo slows and increases.}}

To display in music time, click until notes appear on the SMPTE/Music Time button. The Tempo Map window redraws the tempo changes against a background of vertical lines at every measure interval.

Click on the two Zoom buttons to change the range of the display. The Zoom In button with the large note magnifies the view for a detailed look, while the Zoom Out button pulls back for a better overview of your the tempo map.

Editing the Tempo Map

Creating A New Tempo Map

Select New from the Tempo Map menu to erase the current Tempo Map and create a new one. The starting tempo for the new Tempo Map is the same as the old one.

* TIP * The starting tempo Is the same tempo entered In any of the Transport Controls.

Entering A Tempo Change

Before entering a tempo change, decide what kind of tempo change you'd like from by clicking on the Curve button. It provides four choices:

Instant, a sudden tempo change
Linear, a change that progresses at a constant rate;
Exponential, a change that starts slowly, then accelerates.
Logarithmic, a change that starts quickly, then eases into the final tempo.
The Pencil, or function key "F1" inserts new tempo changes. Press and hold the mouse button down over the measure where you want the tempo change to begin. Drag up or down to the set the new tempo and to the right to determine the length of the change. Instant tempo changes have no length.

As you drag the mouse, the Tempo Map window displays a straight "rubber band" connecting the beginning and ending points of the tempo change. The Title bar of the Tempo Map window shows the endpoint of the tempo change in Song-time and the ending tempo.

When you reach the desired endpoint, release the mouse button.

Altering A Tempo Change

To numerically alter a tempo change, select the Magic Wand or press function key "F2". Then, click on the tempo change you'd like to edit. This opens the Edit tempo change requester.

The Edit tempo change requester displays seven parameters that describe the tempo change. The parameters are:

Starting Tempo
Enter the Starting Tempo in beats per minute. Each tempo change starts at one tempo, then accelerates or decelerates to a second tempo, the Ending Tempo. The Starting Tempo of each tempo change is the Ending Tempo of the previous tempo change. As a result, you need only edit one of these Tempos, not both.

Starting Time (M.B.C)
Each tempo change begins at a specific point in the Song. To edit this position in Song-time (Measures, Beats, and Clocks), click on the Starting Time (M.B.C) line and edit it.

Starting Time (H:M:S.F)
The second Starting Time parameter displays the Starting Time in Hours, Minutes, Seconds, and Frames. You can edit this parameter, but take note: if you edit a tempo change which precedes this tempo change, the Starting Time for this tempo change changes, because the amount of time in hours, minutes, seconds and frames required to reach this point has changed.

Accel/Rall Curve
The Accelerando/Rallentando Curve lets you change the tempo change Curve type from the four options described above: Instant, Linear, Logarithmic and Exponential.

Select a curve by clicking on the appropriate button.

Ending Time (M.R.C)
Unless a tempo change has an Instant curve, you must specify the duration of the tempo change curve. Enter the time in Song-time after the Ending Time (M.B.C): prompt. B&P Pro calculates a tempo change which occurs gradually between the starting and ending times.

Ending Time (H:M:S.F)
The second Ending Time parameter displays the tempo change ending time in Hours, Minutes, Seconds, and Frames. Edit this field to set the tempo curve ending in SMPTE time.

Ending Tempo
Enter the final Tempo in the Ending Tempo: field. The Song continues at this Tempo until the next tempo change occurs.

When you have finished editing the tempo change, click on Okay, to accept the changes, or Cancel, to leave the previous settings intact.

Moving A Tempo Change

The Hand (function key "F3") drags either the start or the end of the tempo change. To drag the start point, click with the mouse just after the start of the tempo change and drag. To drag the end point, click just after the end point and drag. Move the mouse up or down to change the tempo, and across to change the duration.

The Title bar of the Tempo Map window displays the end time and tempo of the tempo change as you drag it with the mouse.

Erasing A Tempo Change

The Eraser (function key "F5") deletes tempo changes. Click on any part of the red tempo change curve to delete it.

Deleting a tempo change also affects the next tempo change. For instance, the slope of the next tempo change is altered when the starting tempo changes.

Conforming A Section

Sometimes, you may need to create a tempo change that forces a section of music to fit exactly within a specific span of time. Do so with the Conform command in the Tempo Map menu.

When you select the Conform command, the Conform requester opens.

Fill in the following fields:

Starting Time
Enter the Starting Time of the portion you want to conform, in Song Time (M.B.C.) The requester automatically adjusts the starting SMPTE time.

Ending Time
Then, enter the Ending Time of the portion. This time you must enter both Music time in Measures, Beats, and Clocks, as well as SMPTE time, in Hours, Minutes, Seconds, and Frames.

Resulting Tempo
The requester then calculates the appropriate tempo change and places it in the Resulting Tempo field.

Conform
If you approve of the Resulting Tempo, click the Conform button to insert the tempo change into the Tempo Map.

Cancel
Otherwise, click Cancel to return to the Tempo Map or enter new Ending Time values to create a different Resulting Tempo.

* TIP * The Conform option is very useful for scoring to video.

Undoing A Mistake

The Undo option (right-Amiga U) in the Tempo Map menu cancels the last change to the Tempo Map.

Aborting All Changes

The Abort command in the Tempo Map menu restores the Tempo Map to the condition it was in before you opened the Tempo Map window.

Loading & Saving Tempo Maps

To load a Tempo Map from disk, select the Load command in the Tempo Map menu.

Select Save from the Tempo Map menu to save a Tempo Map to disk. Saving a Tempo Map makes it available for use with other Songs, or allows you to try out different Tempo Maps with the same Song.

Disabling Tempo Changes

If you need to disable tempo changes, open the Timing menu from the Tracks window and turn off the Synchronize to Tempo Map selection. Bars&Pipes Professional then uses the tempo you have set in the Transport Controls window to determine the Song tempo for the entire Song.

For more information, please refer to the previous chapter, Timing, Syncing, and Tempo.

==Advanced Sequencing==

Chapter 19

Overview

In Chapters 3 through 7, we learned the basics of multi-track recording and composition with Bars&Pipes Professional. Now it's time to jump back in and complete our exploration with some more advanced concepts.

Most of this chapter pertains to the Tracks window. The Tracks window is the central focus of multi-track sequencing in Bars&Pipes Professional. If it's not open now, open the Tracks window by double-clicking on its icon and close all other windows.

Groups

Sometimes it's nice to be able to grab a collection of Tracks at once and perform an operation on them as a whole. For example, you might want to isolate all of your string Tracks and Toolize them together. Or, you might want to mute everything but the percussion Tracks so you can hear them out of context.

Use Bars&Pipes Professionals Groups mechanism to organize the Tracks that comprise your Song into Groups. A Group is a collection of Tracks that can be accessed as a unit. When a Track belongs to a Group, it's called a member Track. With Groups, you can Mute or Solo several Tracks on playback, which helps you isolate parts of your Song, or Toolize several Tracks at once, or execute many of the operations found in the Edit menu. You can create as many as eight Groups.

The Group buttons at the top of the Tracks window organize and control access to the Groups.

The numbered buttons, the Group Selectors, represent each of the eight Groups. Click on a Group Selector to activate its Group. Click again to deactivate. Use the Group button, to the right, when creating or changing the members of a Group.

Creating Groups

To create a Group, enter into Group Edit mode by clicking on the Group Button. Then click on one of the Group Selectors.

Click on all of the Tracks that you want to belong to the Group. Notice that each Member Track is drawn highlighted. Click a second time on a Track to remove it from the Group. Click on the Group Button again to deactivate Group Edit mode.

From now on, whenever you activate the particular Group Selector, your defined Group is selected.

Editing A Group

You can reorganize a Group at any time.

To enter into Group Edit mode, depress the Group button and the Group Selector button for the Group you'd like to change. While the Group button remains active, you may toggle Tracks in and out of the Group by clicking on them. When you're done, click on the Group button to deactivate Group Edit mode.

* TIP * You can place a Track in several Groups at once. This can be very useful.

Creating A Temporary Group

Often, it's useful to quickly create a temporary Group, especially when used in conjunction with the Group menu (discussed later in this chapter.) To create a temporary Group, hold down a shift key on the Amiga keyboard and click on several Tracks. Each Track that you click on becomes a member of the temporary Group.

Once you finish working with the temporary Group, deselect it by clicking once on any Track.

Group Mode

Clicking on one of the Group selector buttons places you in Group mode. In Group mode, the Track menu becomes the Group menu, and operates on every Track in the Group (see the Track and Group menus later in this chapter.)

Group Mode And The Graphic Editor

Groups allow you to view a Track of music in the Graphic Editor's Hybrid Staff and Piano Roll with other Tracks in the background. This useful feature allows you to compare the timing of notes on one Track with the timing of notes on another.

First, create or select a Group. Once in Group mode, open the Graphic Editor for a member Track of the Group. The notes of the other Tracks in the Group display as grey background notes. You cannot directly edit these notes.

When you open more than one Graphic Edit window simultaneously and both Tracks are members of the same Group, the notes in the foreground of one Edit window appear in the background of the second Edit window, and vice versa.

{{Note|text=Editing notes in one of these windows does not automatically update the background of the other window. The background notes of the other window updates only after the first window closes or updates the Track with the Update command Then, the second window's background notes update upon the next window refresh of the second window.}}

Soloing and Muting

The Solo button is the leftmost button at the top of the Tracks window. The Solo button controls the Solo and Mute state of the currently selected Track or Group. Click on Solo once to solo the highlighted Track or Group. Click again to mute the Track or Group. Click one more time to return the Track or Group to its normal state.

Soloing A Track Or Group

Sometimes, you may want to hear only one Track or Group at a time. Click on the Solo button to isolate the selected Track or Group. This command mutes all remaining Tracks. Notice that their Mute/Thru/Play Only faucets switch to the Mute settings.

Muting A Track Or Group

It can also be useful to mute the selected Track or Group. Click a second time on the Solo button and the selected Track or Group becomes mute, while all other Tracks turn on. The selected Track or Group's Mute/Thru/Play Only faucets switch to the Mute setting while the remaining Tracks' faucets return to their normal states.

Click on the Solo button a third time to return the Track or Group to Normal mode.

The Track Name Requester

Open the Track Name requester by double-clicking on its name in the far left of the Tracks window.

* TIP * You can also open the Track Name requester by selecting the Wand in the Song Construction or Media Madness windows and clicking on the Track name.

Use the Track Name requester to change the name, enter notes, and set the Real-Time property of each Track. The following features are found in the Track Name requester:

Name
Change the Track Name by editing the Name: field.

Notes
You may also enter a brief note about the Track in the Notes: field.

Real-time
The real-time button determines whether or not the Track is in real-time or Song-time mode. By default, Tracks operate in Song-time mode. In Song-time mode, increasing the Song's tempo causes notes to play faster. Each note plays on a particular measure, beat and clock, not at an absolute hour, minute and second.

In some cases, however, certain events must happen at times independent of the Song's tempo, such as sound effects in a film score. The sound effects must synchronize with their real-time screen counterparts. Such a situation calls for real-time mode. To lock a Track into real-time mode, click on the real-time button. Thereafter, each note plays at an absolute hour, minute, and second, independent of the selected tempo.

Since tempo changes cannot affect the timing of events in real-time Tracks, they change the position of the events in the Tracks instead. For example, if an event occurs at measure 2 in a real-time Track, doubling up the tempo should make that event play twice as soon. To avoid that, the event shifts further down to measure 3, to effectively play at the exact same time in seconds and frames.

Real-time Track names appear purple instead of blue in the Tracks window. They still highlight as a red color.

Okay & Cancel
Click on the Okay button to accept the changes, or click on Cancel to ignore them.

Rearranging Tracks

You can rearrange the list of Tracks any way you like. To do so, use the two arrow buttons that are to the right of the Group button.

The Track Up button, on top, moves the highlighted Track up one in the list. The Track Down button, on bottom, moves it down one.

Double-click on the Track Up or Track Down button to jump the selected Track to the top or bottom of the display, respectively.

The Track Menu

The Track menu, accessed from the Tracks, Song Construction, and Media Madness windows, contains operations that primarily apply to the currently selected Track in the Tracks display.

If a Group is currently selected, the Track menu becomes the Group menu. Many of the commands in the Track menu change to accommodate multiple Tracks instead of one. Notice that when an individual Track is highlighted, the menu items Load Group, Share Input, and Gather Group are disabled in the Track menu. These options exist purely for the Group menu.

Before using the Track menu, be sure to select the Track of your choice by clicking on it. The following commands are found in the Track menu:

New
The New command creates a new Track. If a Track is highlighted, the New command creates a new Track directly underneath the highlighted Track. Otherwise, it places the new Track at the bottom of all of the Tracks.

The new Track has, by default, standard MIDI In and MIDI Out Tools (if they are in the ToolBox.)

Alternatively, if you've prepared a default Track and saved it with the Save As Default command, New loads the default Track and installs it.

The new Track is automatically highlighted and its Input Arrow activated.

Copy
The Copy command creates a duplicate of the selected Track and places it directly beneath the selected Track.

Merge...
The Merge command mixes the contents of two Tracks together, placing the results in the second Track.

To use the Merge command, select the first Track, then pick the Merge command.

Notice that the Title bar of the Tracks window displays the command, Select the Merge Track:. Click on the second Track to merge the Tracks, or click on the background of the screen to abort the Merge operation.

Bars&Pipes Professional adds the events from the first Track into the second Track, leaving the first Track as it was originally.

Delete
The Delete command removes the selected Track. A requester verifies the operation. Use Delete with care. Once you delete a Track, you cannot bring it back.

Load Track...
The Load Track... command loads a Track from disk. When you select this command, the file requester opens. Use it to select a Track for loading. Of course, in order to use the Load Track command, you must have a previously saved Track to load.

Load Group...
The Load Group... command is only available when in Group mode. To enter into Group mode, select one of the Group buttons, or hold down a shift key while clicking on multiple Tracks. Please see the Load Group command in the next section, The Group menu, below.

Save Track...
The Save Track... command saves the selected Track to disk. The file requester opens. Use it to select or create a file in which to save your Track.

Save As Default
The Save As Default command saves the selected Track to disk as "New.Track" in the Bars&Pipes Professional directory. Once you've saved a default Track, the New command loads this Track instead of creating a standard blank Track with standard MIDI In and Out Tools.

* TIP * If you're working with MIDI connectors other than the standard MIDI In and Out, create a blank Track, install the MIDI Tools of your choice (for example, the One-Stop Music Shop's,) place any additional Tools that you'd usually add to your PipeLines (Quantize, General MIDI, etch) and save the Track with the Save As Default command. From then on, when you select the New command, the previously prepared Track loads.

Erase
The Erase command erases the Track, emptying it of its contents. The Track itself is not deleted, just erased. The Erase command leave Tools in the PipeLines unharmed.

Toolize
The Toolize command processes all notes in the currently selected Track with the currently selected Tool in the ToolPad. Please see Chapter 7, Tools, for more information.

{{Note|text=This command is ghosted if there is no active Tool in the ToolPad.}}

Time-Shift...
The Time-Shift... command moves everything in the selected Track forward or backward in time. When you select the command, Bars&Pipes Professional opens the Time Shift requester.

Enter the shift distance in measures, beats and clocks after the Shift: prompt. For example, "0.01.0" moves the time by zero measures, one beat, and no clocks. Click on the Forward button to move the music forward in time. Click on the Backward button to move the music backward in time.

{{Note|text=Be careful time-shifting backwards. Notes at the beginning of the Track collect at the very beginning because they can't have negative performance times.}}

Click Okay to confirm or Cancel to leave the Track unchanged.

Propagate
The Propagate command in conjunction with the A-B-A feature of the Song Construction window, copies changes made to the first instance of each section to all other instances of those sections (for the selected Track only).

{{Note|text=This command is ghosted if the A-B-A feature has not been utilized.}}

Please see Chapter 21, Song Construction, for more information.

Print...
The Print command opens the print requester to print the Track. (Please see Chapter 11, Printing Notation.)

{{Note|text=Before Printing a Track, you should set up the Notation parameters by first opening the Graphic Editor for the Track.}}

The Group Menu

The Group menu is active when the Tracks window is in Group mode. To enter Group mode, click on one of the Group buttons or hold down a shift key while clicking on multiple Tracks.

Notice that the menu items Copy and Merge are disabled in the Group menu. They are only active in the Track menu.

Although you can only create Groups from the Tracks window, the Group menu is also available from the Song Construction and Media Madness windows, in case you need to use the Group editing features.

The following commands are found in the Group menu:

New
The New command creates a new Track and places it in the Group. The new Track receives standard MIDI In and Out Tools.

Delete
The Delete command removes the Group as a whole. Use this command with care! A requester asks you to verify the command.

Load Track...
The Load Track... command loads a Track from disk and places it in the Group.

Load Group...
The Load Group... command loads a Group from disk and adds it to the currently selected Group.

Save Group...
The Save Group... command saves the member Tracks of a Group to disk.

{{Note|text=You can reload the Group into a different Group number with the Load Group command.}}

Erase
The Erase command deletes all events in the Group. The Erase command does note delete the Tracks in the Group, just their contents.

Toolize
The Toolize command takes the currently selected Tool in the ToolPad and applies it to every event in each Track member of the Group.

{{Note|text=This command is ghosted if there is no Tool selected in the ToolPad.}}

Time-Shift...
The Time-Shift command offsets the timing of the Group by a specified amount. Please see the Time-Shift command in the Track menu for more information.

Propagate
In conjunction with the Song Construction window's A-B-A feature, the Propagate command copies changes to the first instance of each section to all other instances of those sections for the entire Group. This command is ghosted if the A-B-A feature has not been utilized.

Share Input
The Share Input command connects the PipeLines of all Tracks in the Group so that any input to the top Track goes to the other Tracks as well. The Share Input command uses the Merge In and Branch Out Tools to accomplish this, so make sure they are installed in the ToolBox for this command to function.

Gather Group
The Gather Group command reorganizes the Tracks window display so that all the Tracks in the selected Group are adjacent to each other.

Print...
The Print command prints only the Tracks in the selected Group. (Please see Chapter 11, Printing Notation). Before Printing, be sure to set up the notation in each Track by opening each Track's Graphic Editor first.

The Master Time Signature

The Tracks window displays measure numbers and Time Signature Changes in the Flag Strip, directly above the Sequence display in the Tracks window.

The Tracks window displays each measure number unless a Time Signature Change occurs, in which case it displays the new Time Signature instead. These Time Signature Changes are the same Time Signature Changes accessed in the Master Parameters window.

Since each Track can have its own Time Signature, it is possible that some Tracks in your Song do not line up exactly with the Global Time Signatures.

{{Note|text=From within the Graphic Edit windows of these Tracks, you can use the Export and Import commands from the Master Parameters menu to exchange Time Signatures between Tracks and the Master Parameters Time Signatures.}}

To insert, remove, or change a Time Signature, double-click on the measure with which you want to work. The Time Signature requester opens.

Selecting A Time Signature

Bars&Pipes Professional provides six standard Time Signatures, as well as a method to define custom Time Signatures The six buttons across the top of this requester feature the pre-defined Time Signatures. Click on your preference to select it.

If you don't find one that meets your needs, create your own by first typing the values for the Time Signature after the Other: prompt. Then click on Other to select it.

{{Note|text=It is important that you first enter the values, and then click on the Other button to activate it. Clicking the Other button first, and then typing in the values won't work.}}

Placing The Time Signature On A Specific Measure

By default, Bars&Pipes Professional displays the measure in which the Time Signature change occurs after the "Signature begins on measure:" prompt. Change the measure by editing this number.

Adding A Time Signature

Adding: To add a Time Signature change, select the Time Signature and click on Okay to accept it.

Removing A Time Signature

Removing: To remove a Time Signature change, enter the Time Signature requester by double-clicking on the Time Signature you'd like to remove; click on the No Signature Change button; then select Okay.

Changing A Time Signature

Changing: To alter an existing Time Signature change, double-click on the Time Signature displayed above the Sequencer; then select a new Time Signature.

You can alter when a Time Signature change occurs by editing the measure number after the Signature Begins on Measure: prompt. Once you change the Time Signature to your liking, click on Okay to accept the change, or Cancel, to disregard it.

Selecting The Previous Or Next Time Signature Change

To go to the previous Time Signature change, click on the left arrow button in the Time Signature requester. The arrow finds the Time Signature prior to the one you are viewing and displays it, so that you can edit it. The right arrow button scans forward to the next Time Signature change.

Automatic Removal Of Identical Time Signatures

If you create two adjacent, identical Time Signatures, Bars&Pipes Professional removes the second one. To illustrate, if you have 6/8 on measure 5, then place 6/8 on measure 4, Bars&Pipes Professional discards the 6/8 on measure 5.
==Multi-Track Editing==
Chapter 20

Introduction

Although Bars&Pipes Professional includes sophisticated Graphic and List Editors, you can also perform many editing functions from the Tracks window. In particular, you can Cut, Copy, and Paste individual Tracks, or perform these functions globally on all Tracks. These operations involve the Edit Flags, Edit menu, and ClipBoard.

In addition to the Tracks window, you can also perform multi-track edits from the Song Construction and Media Madness windows. For our examples, however, we will concentrate on the Tracks window.

Clip Editing

All Edit menu operations use "Clips", which store and retrieve edited information. A Clip stores a section of music containing one or more Tracks. A Clip Buffer is a place in your computer's memory that stores a Clip.

The Track Clip Buffers

Each Track has its own Clip Buffer that stores a single Clip. The Cut and Copy commands replace the previous contents of the Track's Clip Buffer with the new Clip; the Paste and Mix commands copy the contents of the Clip Buffer to the Track.

The ClipBoard

Unlike an individual Tracks Clip Buffer, the ClipBoard allows you to work with multiple Cliresents you with filtering options. The Cut and Copy commands add a new Clip to the ClipBoard; the Paste and Mix commands copy the selected Clip to the Tracks. To use the ClipBoard instead of the Clip Buffer, open the ClipBoard by selecting the Windows menu or double-clicking on the Clip Board icon. While the ClipBoard is open, Clips are sent to it instead of the Track's Clip Buffers.

The Edit Window Clip Buffers

Although you don't use the Graphic and List Editor windows when editing multiple Tracks, it's important to understand their usage of Clip buffers:

Like a Track, each Edit window maintains its own Clip Buffer. All Cut and Paste commands in the Editor's Edit menu use this Clip Buffer when the ClipBoard window is not open. When the ClipBoard window is open, the Edit window uses the ClipBoard, just as the multi-track editing operations do. This means that you can Cut and Paste between the Edit windows and individual Tracks in the Tracks, Media Madness, and Song Construction windows.

The Edit Flags

Use the Edit Flags to mark a section of music for editing. The Flags look like purple slanted triangles, and sit directly above the Track displays in the Tracks, Media Madness, and Song Construction windows.

Position these Flags to indicate where you want your edits to occur. The left Edit Flag, designated by a triangular flag with the mast on the right, identifies where an edit operation starts, while the right Edit Flag, designated by a triangular flag with the mast on the left, identifies where an edit operation ends.

Positioning The Edit Flags

To position a Flag, drag it with the mouse. If the desired position is not visible in the display, first scroll the display so that the desired position is visible, then drag the Flag into position.

Dragging a Flag all the way to the left tells Bars&Pipes Professional to place it at the very beginning of your Song or Track. Dragging it all the way to the right indicates that you want it placed at the end of the Song or Track.

* TIP * Notice that as you drag the Flag its position is shown in the LED displays in the Transport Controls Mini Transport and Tracks windows.

You can also position the Flags by entering exact values with the Set Flags Window. To enter exact values open the Set Flags Window from the Windows menu.

Enter the values in Measures, Beats, and Clocks, or, if the SMPTE/Music Time button is set to SMPTE, set the time in Hours, Minutes, Seconds, and Frames. Once you have entered a number, remember to press the Return key, which enters the new value and moves the Flag to its new position.

Flag Alignment

You can specify whether the Flag automatically aligns with Measures, Beats, Seconds, Frames, or Anywhere, by selecting the desired option from the Align with... command in the Preferences menu. If you select Align with Measures, the Edit Flag always sticks to the measure boundary just to the left of, or under, the place where you drag it. If you select Align with Beats, it sticks to the beat boundary. Seconds stick to seconds boundaries, Frames stick to SMPTE frame boundaries, and if you select Align with Anywhere, it stays exactly where you place it.

Alternatively, you can set the Alignment with the four Alignment buttons located in the Set Flags window. "->M<-" sets the alignment to Measures, "->B<-" sets the alignment to Beats, "->S<-" sets the alignment to Seconds, and "->F<-" sets the alignment to Frames. If no button is selected, the alignment is set to Anywhere.

{{Note|text=If you align the Edit Flags on measure boundaries, the Time Signature and Key & Scale/Mode Parameters will be incorporated in the edit. Otherwise, they will not.}}

Selecting Tracks to Edit

You can edit one Track, a Group of Tracks, or the entire Track list at once.

Editing One Track Only

To edit one Track only, select the Track, activate the Solo mode and choose the appropriate edit command. This is the only option available in the Graphic and List Editors.

Editing A Group Of Tracks

To edit an entire Group of Tracks, select that group with the Group Number button or make a temporary Group by shift-clicking several Tracks. Then solo the Group with the Solo button and choose the appropriate Edit command.

Editing All Tracks

To edit all Tracks, make sure the Normal/Solo/Mute button is in Normal mode, then mark off the desired area and use the appropriate edit command.

The Edit Operations

The Edit menu operations work in conjunction with the Edit Flags and the Normal/Solo/Mute button.

Once you have aligned the Edit Flags and set the Normal/Solo/Mute button, select the desired operation from the Edit menu. Once they've been executed, all of the Edit menu commands automatically turn off the Solo button (if selected), so that you can quickly listen to your changes.

The following shows the menu command followed by the hotkey in parenthesis.

Cut (Right Amiga - X)
The Cut command cuts a section from your Song or selected Track. Cut removes the section between the Edit Flags and shifts everything to the right of the section to the left Edit Flag. This is analogous to cutting out a section of tape physically and splicing the remaining ends together.

Use the Paste command to insert the Clip elsewhere in your Track, or the Mix command to merge the Clip with existing notes. Notice that the Solo button is automatically turned off, after the cut is made. If you plan to Paste into just one Track, you must reactivate the Solo button.

Copy (Right Amiga - C)
The Copy command copies a section, without actually removing it, for use with the Paste or Mix commands. Nothing visibly happens, but the section between the Edit Flags is now available for Pasting.

Paste (Right Amiga - P)
The Paste command inserts a cut or copied section into the Song or Track. It's not necessary to set the right Edit Flag, since the length of the inserted section is determined at the time it is cut or copied. For example, if you cut a four-measure section, the Paste command inserts those same four measures and moves everything to the right of the insertion by four measures.

You can do multiple Paste operations with the same Clip it does not change until you cut or coy another section of the Track.

{{Note|text=Remember to activate the Solo button before you Paste, if you intend to Paste into just one Track or Group.}}

Mix
The Mix commands merge a copied or cut section with the existing Song or Track. As with Paste, you need only set the Left Edit flag, unless you explicity wish to limit the pasted size with the Mix To Right Edit flag command. Unlike the Paste command, Mix does not increase the legth of the Track; rather it adds the notes to the notes already in the section.

Erase (Right Amiga - E)
The Erase command clears the section between the left and right Edit Flags. Erase removes all events and your Sequence is silent during this section. This is analogous to erasing a section of tape.

Insert (Right Amiga - I)
The Insert command inserts a blank space in your music. This command is useful when you want to add a section to your Song somewhere in the middle of it. Insert the section, then use whatever methods you prefer to fill the gap with music.

In other words, the section contained between the Edit Flags shifts to the right of the right Edit Flag, and the section between the edit flags is becomes empty.

Delete
To delete a section between the right and left Edit flags, use the Delete command. This command operates identically to the Cut command, but does not place the deleted section into the Clip buffer or ClipBoard.

{{Note|text=You can still use the Undo command.}}

Toolize (Right Amiga - T)
The Toolize command uses the currently selected Tool in the ToolPad to process the section marked off by the Edit Flags. This command is ghosted if there is no Tool in the ToolPad

Repeat (Right Amiga - R)
The Repeat command repeats a section of your Song one or more times. Repeat makes multiple copies of the section designated by the Edit Flags and inserts them in the Song.

When you select the Repeat command, a requester opens and asks you to specify the number of times to repeat.

{{Note|text=This is NOT the number of times that the section plays, but the number of times it repeats. Hence, selecting "1" repeats the section one time.}}

The repeated section appears immediately following the source section. Enter a number and select Okay to repeat, or Cancel, to abort.

Propagate (Right Amiga - A)
The Propagate command is the only Edit command used in association with the A-B-A feature of the Song Construction window. (Please see the Song Construction chapter.)

If you make a change to an A-B-A section and you'd like the change to be reflected in all other copies of that specific section, use the Propagate command in conjunction with the left Edit Flag.

To do so, place the left Edit Flag on or within the boundaries of the section to be propagated. Bars&Pipes Professional then rewrites all occurrences of that section to include the change.

For example, if you change some notes in the first instance of your "A" section, place the left Edit Flag within or on that section's boundaries and the Propagate command changes all other instances of your "A" section.

The Propagate command always uses the first instance of each section to make its changes; therefore, in order to use Propagate successfully, you must always edit the first section.

Undo (Right Amiga - U)
The Undo command returns your Song to its state prior to the last operation. In addition to undoing all of the commands in the Edit menu, it undoes other actions, including the last time you recorded.

Merging Groups Of Tracks Together

You can merge several Tracks into one Track in a single operation. This is useful for merging several Tracks of drums into a single drum track, or merging several Tracks recorded from different MIDI channels from a guitar controller into a single Track for tablature printing.

* TIP * In the latter case, where each guitar string is recorded on a separate Track, open the Graphic Editor for each track separately, and tabulate on the correct string for each track. Then, merge the Tracks together. The notes retain their original string assignments for accurate tablature transcriptions.

Example: Merging Several Tracks

Open the main Tracks window. Choose a blank, unused track to merge the tracks into. If you do not have a blank track, select New from the Track menu to create a new blank track.
Activate one of the Group button numbers (1-8) in the upper left corner of the Tracks window. This places Bars&Pipes in Group mode. If any tracks turn white, they are already members of this group, and you should choose a different number.
Activate the Group button (the button that says "Group" on it). This places you in Group Edit mode. Any Track you click on becomes a member of this new group.
Click on the tracks to merge together. Each track turns white to indicate it is a member of the group.
Deactivate the Group button, but leave the Group Number button active. This takes you out of Group edit mode and back into Group mode.
Choose the Group/Merge... menu command. "Select the Merge Track:" appears in the Track window's title bar.
Click on an empty Track. The Track fills with the merged contents of the group of tracks. The original group is left intact.
If desired, choose the Group/Remove menu command to remove all the original tracks from the song. Alternatively, you may wish to click on the solo/mute button until the group of tracks is muted, in case you ever wish to reuse the original group of tracks.
Deactivate the Group Number button to return to normal track editing mode.
* TIP * Optionally, use multiple selection to create a temporary group. To do so, hold down on the Shift key and click one by one on the Tracks that you would like to merge

Splitting A Drum Track Into Several Parts

There are times when you might wish to split a single track of multiple drum sounds into several tracks of single drum sounds. For instance, this might be useful if you wish to set an echo on the snare drum, but not the bass drum.

The Track/Split menu command provides the ability to split a Track into component parts in a single move.

* TIP * You can also accomplish similar and sometimes more intriguing results using different Tools from the variety of Tool Kits available.

Example: Splitting a drum track into component drum parts

Open the main Tracks window.
Click on the track that you wish to split.
Choose the Track/Split menu command. A requester will appear that tells you how many Tracks will be created if you choose to continue.
Choose Yes to split the track. The track splits into several Tracks, all having the same name and MIDI channel as the original track.

{{Note|text=You can reconstruct the original track by merging all split tracks back together. See above.}}

Clean Cuts

The Clean Cuts option in the Preferences menu controls how Bars&Pipes Professional treats notes that extend over Clip boundaries.

Without Clean Cuts, when Bars&Pipes Professional creates a Clip, it extracts all notes up to the right Edit Flag and leaves the note durations untouched. If a note near the end of the Clip has a duration that hangs over beyond the right edit Flag, it overlaps when pasted in elsewhere.

With Clean Cuts enabled, Bars&Pipes Professional chops notes that overlap the start and end of the Clip into two notes apiece. And, when pasting, if two identical notes butt up to each other on the Clip boundary, it merges them into one.

{{Note|text=The Clean Cuts option also controls how notes cut and merge when Punching in and Out during recording.}}

The ClipBoard

The ClipBoard provides a convenient way to move music Clips from one Track or Group of Tracks to another. It also allows you to filter out events and Song parameters while you cut and paste. And, it provides a convenient storage spot to post Clips that you'd like to use later. You can even load and save Clips to disk.

Accessing The Clipboard

Use the ClipBoard with the Track, Song Construction, Media Madness, and any Edit window. To open the ClipBoard, double-click on its icon along the right side of the screen (the icon that looks like a Clipboard), or select ClipBoard from the Windows menu.

The ClipBoard window controls the use of the ClipBoard. Whenever the window is open, Clips are automatically sent to it, rather than the associated Clip Buffer. As long as the ClipBoard window remains open, all Clip edit operations in all windows pass their Clips through the ClipBoard.

The ClipBoard window displays the list of Clips, with the currently selected Clip highlighted. Each Clip in the list displays its name, the number of Tracks in the Clip, and the length of the Clip in Song-time.

{{Note|text=If the number of Tracks is denoted as a capital S, this means that the Clip is for a single Track only.}}

The ClipBoard Commands

To select a Clip, click on its name in the list. The Clip highlights and its name displays after the Clip Name: prompt. Use the scroll bar and arrows to scroll the Clip list up or down.

The following features are found in the ClipBoard window:

Clip Name
To change the name of the selected Clip, enter the new name after the Clip Name: prompt.

{{Note|text=By default, Bars&Pipes Professional assigns names in the form "Clip #<number>".}}

Clear
To remove a Clip, select the Clip, and then select the Clear button.

Load Clip
To load a previously saved Clip, use the Load Clip command from the File menu.

Save Clip
To save the selected Clip to disk, use the Save Clip command from the File menu. Once the file requester opens, select or enter a file name and click on Save.

Clear all Clips
To delete the entire list of Clips, select the Clear All Clips command from the File menu.

Editing with the ClipBoard

When you enable the ClipBoard, the four Edit menu commands, Cut, Copy, Paste, and Mix pass Clips to and from the ClipBoard. To Cut, Copy, Paste, or Mix an individual Track or Group of Tracks instead of all Tracks, click on the Solo button before selecting the specific edit command.

{{Note|text=When you Cut or Copy all Tracks into the ClipBoard, it displays a Clip size one greater than the number of Tracks. This happens because it also includes the hidden Master Parameters Track.}}

Edit Menu Commands And The Clipboard

Here is how each edit command behaves in conjunction with the ClipBoard:

Cut (Right Amiga - X)
The Cut command removes the section between the Edit Flags and places it in the ClipBoard. Notice that the new Clip is highlighted.

Copy (Right Amiga - C)
The Copy command duplicates the section between the Edit Flags and places it, highlighted, in the ClipBoard. The source Track(s) remains unchanged.

Paste (Right Amiga- P)
The Paste command inserts the selected (highlighted) Clip at the point marked by the left Edit Flag. The Clip remains in the ClipBoard, so that you can make multiple pastes.

You can control which Parameters and Event types you paste with the Include menu. (See below.) You can also control which Tracks receive pasted Clips. (See below.)

Mix
The Mix commands merge the selected Clip into the target Track(s). This command excludes Parameters from the mix. You can, however, choose which MIDI Events to mix with the Include menu.

There are times when you may cut or copy a clip from one Track and wish to mix (e.g. Merge) its contents into another Track.

{{Note|text=When you past a clip into a Track, it actually inserts the clip into the Track, moving the contents of the Track to the right to make room for the clip. If you mix the clip into the Track instead, it does not move the Track's original contents to the right.}}

Example: Mixing the contents of measures 5-8 of one track into measures 10-13 of another:

Open the Main Track window.
Click on the Track to copy the clip from. The Track highlights in white.
Set the Left Edit flag at the beginning of measure 5.
Set the Right Edit flag at the beginning of measure 9.
Click on the Solo button in the upper left hand corner of the Tracks window. All Tracks except the highlighted one become muted.

{{Note|text=This causes the next Edit operation to work only on the soloed Track.}}

Choose the Edit/Copy menu command. If it is not already open, the Clipboard window opens and displays the new clip. It highlight the new clip in red, and it displays the name after the Clip Name: prompt. The name in the list appears with an "S", signifying a single Track, and "0003.00.00", signifying a length of 3 measures, no beats, and no clocks.
Click on the destination Track. It highlights in white.
Once again, click on the solo button to solo the Track.
Move the Left Efit flag to the beginning of measure 10. It does not matter where the Right Edit flag is.
Choose the Edit/Mix To End Of Clip menu command. The entire contents of the clip are mixed into the track.
The menu option Edit/Mix To Right Edit Flag work similarly to the Mix To End Of Clip command, except that it stops mixing the clip when it reaches the Right Edit flag.

For instance, if the Right Edit flag had been set at the beginning of measure 11 in the above example, only the first measure of the clip would have been mixed into the Track.

Cutting From One Track And Pasting Into Another

If you want to Cut and Paste from one Track to another, you must use the Solo button before each command. When the Solo button is used in conjunction with an editing command, the ClipBoard automatically opens if it is not already open.

To Cut from one Track and paste into another:

Highlight the Track you want to Cut (or Copy) from.
Set the Edit flags around the area you want to Cut (or Copy).
Click on the Solo button.
Select the Cut (or Copy) command from the Edit menu.
Highlight the Track you want to Paste (or Mix) into.
Set the left Edit flag to the position you would like to Paste (or Mix).
Click on the Solo button.
Make certain that the correct Clip is highlighted in the ClipBoard.
Select the Paste (or Mix) command from the Edit menu.
* TIP * Another easy way to Cut and Paste from one Track to another is to use the Song Construction window. Please refer to that chapter for more information.

Filtering Clips With The Clipboard

The Include menu is available only when you have selected the ClipBoard window. This menu allows you to select specific Song Parameters and MIDI Events which will be included in the pasting or mixing.

By default, the Include menu includes everything but System Exclusive events. Omit those you don't want by clicking on the particular items in the menu.

{{Note|text=During a Mix operation, only MIDI Events are included, and not Parameters.}}

Multi-Track Clip Alignment

Clips can contain portions of several Tracks. Depending upon whether you're working with one Song or several, you may want to paste multiple Tracks differently. The Align Clips... selection in the Preferences menu gives you two ways to paste multi-track Clips.

When you select By Name, Bars&Pipes Professional pastes multi-track Clips into Tracks with the same names as the Tracks from which the Clips were cut or copied. This method is very useful for moving Clips between Songs, since you do not need to enforce a particular Track order for all of your Songs. Bars&Pipes Professional pastes only the Tracks that have matching names in the Song; other Tracks are not pasted, but do remain in the Clip.

When you select By Position, Bars&Pipes Professional pastes multi-track Clips into the selected Track, and Tracks below, until all Tracks are pasted. This method is useful for moving Clips between Tracks in the same Song, or between Songs without regard to Track names. Pasting "wraps around" from bottom to top, if necessary. For example, if you paste starting three Tracks from the bottom and five Tracks are in the Clip, Bars&Pipes Professional pastes the last two Clip Tracks in the top two Tracks of the Song.
==Song Construction==
Chapter 21

Overview

The Song Construction window provides powerful arrangement functions. You can insert, delete, or move any block of measures, as well as create and edit selected measures.

The Song Construction window also supports powerful A-B-A lists, which give you the option of locking measures to sections and rearranging your Song by rearranging the sections. The A-B-A sections also allow you to loop, or repeat, several measures in several tracks over and over a specified number of times.

Access the Song Construction window by choosing the Song Construction option in the Main menu's Windows menu, or double-click on the Song Construction window's icon.

The Song Construction Window

There are four major parts to the Song Construction window:

The Track Display, the Track Names, the Edit Flags, the A-B-A Strip, and the Command Buttons.

The Track Display

Most of the Song Construction Window features the Track Display. The Track Display shows your Tracks as a series of small measure boxes. Each box represents a measure in a Track. White boxes contain at least one note. Grey boxes contain none. Boxes may change color during moves, deletions, or editing operations.

{{Note|text=If a note spans more than one measure, the second measure's box also displays white, indicating musical activity in that measure.}}

Above the Tracks are the measure numbers; these numbers give you an idea of where you are in your Song. If you have time signature changes in your music, the measure boxes can be different sizes. Track names display to the left.

In conjunction with the Control Buttons (see below) you can perform the following operations in the Tracks Display:

Insert a measure with the Pencil.
Open the Edit window for a measure with the Magic Wand.
Move a measure from left to right within a Track, or even up and down across Tracks, with the Hand.
Duplicate a measure with the Duplicator.
Erase a measure with the Eraser.
Toolize a measure with the ToolPad. The mouse icon tums into a Wrench when this button is selected.
The Right Mouse button cancels dragging, copying, and wanding operations. For example, if you are dragging a group of measures that you surrounded with the bounding box, clicking the Right Mouse Button returns them to their original location.

The Track Names

The Track Names on the left also respond to several of the editing modes. You can:

Create and insert a new Track by clicking in the Track Name area with the Pencil.
Modify a Track name by clicking on it with the Magic Wand, or double-clicking with the Saxophone/Default pointer.
Move a Track up and down relative to the other Tracks with the Hand.
Duplicate a Track by clicking on its Track name with the Duplicator.
Erase a Track by clicking on its Track name with the Eraser.
The Edit Flags

The Song Construction window displays just the two Edit Flags. These are in fact the same as the Edit Flags in the Tracks window. Drag these to set edit boundaries and the same flags in the Tracks window and Media Madness windows follow to the new positions.

The A-B-A Strip

The narrow strip located between the Command Buttons and the Edit Flags contains the current A-B-A sections. This area is called the A-B-A Strip. When you open the Song Construction window for the first time, the A-B-A Strip is completely blank.

A-B-A sections can be named "A", "B", "C", etc. You can also assign more specific names such as "Verse", "Chorus", "Refrain", "Bridge", and "Finale".

Bars&Pipes Professional automatically numbers each section in the order it appears in the A-B-A strip, and assigns different colors to each type of section so that, at a glance, you can see transitions between sections.

You can perform the following editing operations in the A-B-A Strip:

Create and insert a new A-B-A section with the Pencil.
Modify an existing A-B-A section's name, length or number of repeats with the Magic Wand.
Move an A-B-A section with the hand.
Duplicate an A-B-A section with the Duplicator.
Erase an A-B-A section with the Eraser.
Toolize an A-B-A section with the Wrench. Click on the ToolPad in the Song Construction window to access the Wrench

{{Note|text=The actual measures beneath the A-B-A sections are not changed in any way by modifying the A-B-A sections, until the Lock to A-B-A button is selected (please see below).}}

The Control Buttons

The Pencil

Use the Pencil (Fl key) to:

Create and insert a new Track by clicking in the Track Names area.
Insert a blank measure by clicking in the Track Display area.
Create and insert a new A-B-A section by clicking in the A-B-A Strip.
The Magic Wand

Use the Magic Wand (F2 key) to:

Rename a Track name by clicking on the Track name in the Track Names area.
Open the Edit window for a Track at a selected measure by clicking on the measure in the Track Display area.
Modify the name and length of an A-B-A section by clicking on the A-B-A section in the A-B-A Strip.
The Hand

Use the Hand (F3 key) to:

Move a Track up and down relative to other Tracks by clicking and dragging a Track's name in the Track Names area.
Move a measure in the same Track, or across Tracks, by clicking and dragging in the Track Display area. Use the Hand in conjunction with the Bounding Box to move a group of measures
Move an A-B-A section forward or backward by clicking and dragging. The measures beneath the A-B-A section are moved only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker moves.
The Duplicator

Use the Duplicator (F4 key) to:

Duplicate a Track by clicking on the Track's name in the Track Names area.
Duplicate a measure by clicking and dragging the measure in the Track Display area. Use the Duplicator in conjunction with the Bounding Box to duplicate a group of measures
Duplicate an A-B-A section by clicking and dragging in the A-B-A Strip. The measures beneath the A-B-A section are duplicated only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker is duplicated.
The Eraser

Use the Eraser (F5 key) to:

Erase a Track by clicking on the Track's name. A requester asks you to confirm your decision.

{{Note|text=You cannot unerase once you've used the Eraser.}}

Erase a measure by clicking on the measure in the Track Display area. Use the Eraser in conjunction with the Bounding Box to erase a group of measures.
Erase an A-B-A section by clicking on the section in the A-B-A Strip. The measures beneath the A-B-A section are erased only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker is erased.
The ToolPad

Clicking on the ToolPad causes the mouse pointer to turn into a Wrench. Use the Wrench to:

Toolize a measure by clicking on the measure in the Track Display area. Use the Wrench in conjunction with the Bounding Box to Toolize a group of measures
Toolize an A-B-A section by clicking on the section in the A-B-A Strip. This only works if the Lock to A-B-A button is depressed
The Bounding Box

Use the Bounding Box (F6 key) to edit groups of measures in the Track Display area in conjunction with the Hand, Duplicator, Eraser, and ToolPad.

The Lock To A-B-A Button

Activate the Lock to A-B-A button when you want to have changes made to the A-B-A sections in the A-B-A Strip to also affect the measures beneath the Strip

Deactivate the Lock to A-B-A button when you just want to affect the A-B-A sections themselves without affecting the measures beneath.

The Zoom In And Zoom Out Buttons

The Zoom In button is the large note button. Click on it to enlarge the display by one step. This gives you finer control, but shows fewer measures.

The Zoom Out button is the small note button. Click on it to reduce the display by one step. This allows more measures to be displayed, at the loss of fine editing control.

A-B-A Section Editing

Not only are A-B-A sections useful for labeling your music, they can also be used to physically rearrange your music, or repeat sectons.

By using the Lock to A-B-A button. you can reposition, copy, add and/or delete labeled sections of music. You can also make changes to the first occurrence of each labeled section and propagate those changes throughout your Song.

{{Note|text=Propagate, in this context, means to copy the changes made in the first occurrence of a section to all other occurrences of that particular section within your Song.}}

Arranging Your Composition

When setting up your A-B-A layout, remember to deselect the Lock to A-B-A button in the Song Construction window. This ensures that Bars&Pipes Professional will not rearrange your music as you rearrange the section labels. Use the Pencil to create new sections, the Duplicator to copy them, and the Wand and hand to change and move them.

Once you've set up the A-B-A sections, enable the "Lock to A-B-A" button. Then, rearrange your Song by simply dragging, duplicating, erasing, and inserting sections. As you do so, the music undemeath follows the lead of the section markers.

Propagating Changes

Bars&Pipes Professional automatically copies changes made to a section to all other identically named sections with the Propagate command. For example, if you edit section "A" and then execute the Propagate command, Bars&Pipes Professional inserts the changes in all other sections named "A."

The Propagate command appears in three separate menus: the Song menu, the Track (or Group) menu, and the Edit menu, all of which can be accessed from the Tracks and Song Construction window. The Propagate command behaves differently in each menu.

In the Song menu, the Propagate command copies changes made to the first instance of each section to all other instances of those sections throughout your Song.
In the Track menu, the Propagate command copies the first instance of each section to all other instances of those sections, for the selected Track only.

{{Note|text=When you have a Group selected, the Track menu becomes the Group menu. In this case, the Propagate command, working on the Group as a whole, copies changes made to the first instance of each section to all other instances of those sections within the Group.}}

In the Edit menu, the Propagate command copies changes made to the first instance of a specific section to all other instances of that section. Mark the section by dragging the left Edit Flag on or within its boundaries. The Propagate command works on the section that contains the left Edit Flag; don't forget to set it.
In all cases, the Propagate command copies to all other instances of that section, only the changes made to the first occurrence of each section. You must make your changes to the first of each section in order to use Propagate.

{{Note|title=Remember|text=For Propagate to work, identical sections must retain identical names. If you rename a section, it automatically becomes independent of all sections with its previous label.}}

An A-B-A Example

Let's use the Song Construction window and the A-B-A feature in an example. First, starting with a new Song, create eight measures of music on Track 1 in any way you see fit. We will split this eight-measure section up into five measures plus three measures. Therefore, make certain that there are no notes dangling from measure five into measure six.

Once you've created your eight measures, open the Song Construction window. Bars&Pipes Professional lists your Tracks with the eight measures you've created highlighted in white. All other measures are grey.

Copying Measures From One Track To Another

Just for the fun of it, let's copy the eight measures in Track 1 over to Track 2. Click on the Duplicator button and the Bounding Box button. Then click on the white square representing measure 1 in Track 1, and drag the mouse until it is over the white square representing measure 8 in Track 1. A rubber banding box shape stretches over the eight measures.

Lift the mouse button, and then click on the area you just put the box in. Slide the mouse downward until the eight measures in Track 2 highlight in blue Release the mouse button to copy the measures.

Erasing A Measure

Erase measure four in Track 2. To do so, click on the Eraser, then click on the white square representing measure four in Track 2. The white square disappears and is replaced by a grey square. If it remains white, this means that there is a note in measure three that extends into measure four. In this case, select Clean Cuts from the Preferences menu, and erase measure four again. The note will be cleanly cut so that measure four is clear of all notes.

{{Note|text=Our purpose for erasing measure four in Track 2 is to provide an asymmetrical grid so that we can see our editing operations reflected in the Tracks area.}}

Creating Two A-B-A Sections

Now that we have two Tracks of music, let's create the A-B-A sections. Choose the Pencil. The Duplicator and Bounding Box buttons will automatically deselect. Click with the Pencil after the A-B-A: prompt, and above the Edit flag area above measure 1. A requester will appear.

The section label, by default, will be "A". Change the label to "First". Set the Measures: slider to 5 measures. Click on the Okay button. You'll see a colored bar with your label appear in the A-B-A: area.

Click with the Pencil again, this time to the right of the colored bar. The requester will appear again. enter the name "Second" in the Section Name: area. Set the Measures: slider to 3 measures. Click on the Okay button. You'll see another colored bar appear after the first.

Arranging The A-B-A Sections

To arrange your A-B-A sections, first make sure that the Lock to A-B-A button is tumed off. Then click on the Hand button to enter Drag mode.

Grab the First colored bar, and drag it to the right of the Second bar. The two bars exchange position. The music below does nothing, because the lock to A-B-A button is deselected. Now, grab the Second bar and drag it to the right of the First. The two bars return to their original position.

Now, click on the Lock to A-B-A button to activate it. Repeats the steps in the paragraph above. Notice anything different? When the Lock to A-B-A button is on, the actual measures beneath each A-B-A strip exchange positions along with the Section Names.

You can use any of the mouse modes to operate on the A-B-A sections. While the Lock to A-B-A button is on, any operation you do to an A-B-A section will also be done to that section's measures. Erasing a section will erase the measures, duplicating a section will duplicate the measures, etc. Experiment.

Duplicating A-B-A Changes

Now, activate the Lock to A-B-A button (if it is not still activated). Use the Duplicator to duplicate the Section Names above your music by clicking on the Duplicator, and then clicking and dragging the Section Names. Make a few copies of the A-B-A section, "First." Arrange these sections in any way you like. The music underneath will be copied along with the sections.

Propagating A-B-A Changes

Let's assume that measure 1 is the beginning of the A-B-A section, "First" and Tracks 1 and 2 have musical information on them Now, let's create some music on Track 3 on measure 1. Normally, we would probably record new music into measure 1, but for the sake of brevity let's just select the Duplicator (without the Bounding Box) and copy measure 1 of Track 2 into measure 1 of Track 3. You'll notice that only the first instance of the "First" A-B-A section has Track 3's music in it. This is where the Propagate command comes in.

Choose the Propagate command in the Song menu. The information contained under the first "First" will be copied so that it is under each "First" section, while the information contained under the first "Second" will be copied so that it is under each "Second" section. Notice that the music in Track 3 is now undemeath every instance of the "First" section.

You can use the Propagate command in the Edit menu if you'd like to propagate changes from the section marked by the Left Edit Flag, or use the Propagate command in the Track menu if you'd like to propagate changes on one Track only.

Looping

Looping, also known as repeating is the ability to play several measures in several Tracks over and over a specified number of times.

You can set each song section to play through once or repeat any number of times.

Creating a Looping Section

The easiest way is to learn by example:

Example: Looping measures 1-4, 4 times

Open the Song Construction window.
Activate the Pencil button.
Make sure that there are no A-B-A sections.

{{Note|text=If you don't see any colored bars to the right of the A-B-A prompt above the measure numbers, there are no A-B-A sections. If necessary, activater button and erase any existing A-B-A sections, and then reactivate the Pencil.}}

Click in the A-B-A area with the Pencil. The A-B-A section requester open with the default values. The Section Name: should be "A", the Measures: should be "4", and the Repeats: should be "0".

Slide the Repeats: slider to "4".
Select Okay. The A-B-A section appears to the right of the A-B-A: prompt, showing the name of the A-B-A section, followed by "R: 4".

{{Note|text=The "R:4" denotes "repeats this section 4 times.}}

That's it! Play your song from the beginning, and measures 1 through 4 will repeat 4 times.

Example: Looping measures 12-20, 4 Times

Clear all sections with the eraser, then use the pencil to enter a new section. Again, this opens the A-B-A section requester.
Slide the Measures: slider to "11", and leave the Repeats: slider at "0".
Select Okay. The A-B-A section appears to the right of the A-B-A: prompt, showing only the name of the section.
Click in the A-B-A area again with the Pencil, to the right of the first section you just created. The A-B-A section requester open again.
Slide the Measures: slider to "8" and the Repeats: slider to "4".
Select Okay. Another A-B-A section appears to the right of the first, showing the name of the section followed by "R:4", denoting "repeat 4 times".
That's all there is to it.

Example: General Looping Procedure

If you want a loop beginning with measure 1, then follow Example 1 and adjust the Measures: and Repeats: sliders in the section requester according to how many measures you want to loop and how many times to loop them.

If you want to loop beginning with a measure other than 1, then you must first enter a section long enough to cover measures 1 through the measure before you want to begin the loop. Then, you must create another section of the appropriate length and repeat count, as in example 2.

Changing The Number Of Times A Looping Section Repeats

To change the number of times an existing Section repeats.

Example: Changing section repeat count

Open the Song Construction window.
Activate the Magic Wand.
Click with the Wand on looping Section. The A-B-A section requester opens.
Adjusts the Repeats: slider accordingly
Select Okay. The A-B-A section appears after the A-B-A: prompt. It shows the name of the section, followed by an R:#, where # denotes the repeat count.
Changing The Length Of A Looping Section

Example: To change the length (number of measures) of an existing looping section:

Open the Song Construction window.
Activate the Magic Wand.
Click with the Wand on the looping Section. The A-B-A section requester opens.
Adjust the measures slider accordingly.
Select Okay. The A-B-A section appears after the A-B-A prompt, showing the name of the section followed by an R:#, where # denotes the repeat count. The length of the A-B-A section changes to reflect your new choice.
Changing The Position Of A Looping Section

Change the position of a looping section either by dragging it with the hand or changing the length of sections that precede it.

For instance, if you want to move an existing looping section to the right by 3 measures, you increase the length of one or more sections to the left of the looping section by a total of 3 measures.

Recording Over A Looping Section

Of course, there will be times when you record a Track of music over other looping Tracks. Here's how:

Example: Overwriting a Looped Section

Create a looping section of music.
Set up a Track on which to record. Make sure the Input Arrow or MIDI Channel (in multi-in mode) are correct, and the red R indicates that the Track is in record mode.
Activate sequencer record mode by highlighting R in the Transport.
Click on Start to begin recording.
Record music. You should hear the other Tracks looping as you overdub on top of them. You do not hear what you record looping. You are, in essence, recording a linear Track on top of the looping Tracks.
Click on Stop. A requester appears.
Choose Create. A new, special linear Track is created. This Track does not loop like the others. This way, you hear your music as you recorded it.
Click on Play in the Transport to hear the results.
You should notice that the new Linear Track looks slightly different than the other Tracks. Its colors are light grey when non-highlighted, and the notes are purple when highlighted, instead of yellow. It is very similar to a RealTime Track.

Double click on the Linear Track's name (it's named the same as the Track from which it was created).

Notice that the Linear button is highlighted. This indicates that this Track is linear in nature, and does not loop like other Tracks.

Excluding A Track From Looping

RealTime Tracks do not loop. The difference between a RealTime Track and a Linear Track is that RealTime Tracks do not follow Tempo changes, while Linear Tracks do.

Linear Tracks are explained in the previous section, while RealTime Tracks are explained elsewhere in the manual.

To change an existing Track into a Linear Track, double click on the Track's name. The Track Name requester opens. Highlight either the RealTime or the Linear button and choose OK.
==Mix Maestro==
Chapter 22

Overview

In traditional recording, mixing a Song means combining the recorded Tracks down to a final form. Mixing includes, among other things, setting relative volume levels of each Track and setting stereo positioning of each Track.

Mix Maestro brings mixing capabilities to your Bars&Pipes Professional compositions, giving you real-time control over the mixing process.

Use Mix Maestro to control volume and panning of individual Tracks in your Songs. Mix Maestro does this by entering Control Changes into each Track. Most MIDI instruments respond to Control Change #10 as panning and Control Change #7 as volume. However, Mix Maestro can send out any Control Change that you specify.

Mix Maestro actually records these Control Changes directly into each Track. Once you've created a mix with Mix Maestro, you can view and edit the mix by looking at the Control Changes in each Track with the Sequence or List Editor.

During playback, Mix Maestro's volume sliders and panning knobs follow along with the Control Change information in each Track. They also follow along with real-time Control Change information if you are using a real-time controller during recording.

The Mix Maestro Window

To start Mix Maestro, select the Mix Maestro command from the Windows menu or double-click on the Mix Maestro icon along the right side of Bars&Pipes Professional's screen.

The Mix Maestro window displays three sets of controls for each Track in your composition. Note that the Track names displayed at the top of the window match the Track names in the Tracks window.

The Mix Maestro Controls

Mix Maestro has three sets of controls for each Track: the Lock/Mute buttons, the Panning knob, and the Volume slider.

When you run your Song with Mix Maestro open, the Panning knobs and Volume sliders move with whatever panning and volume information (actually the values of Control Change parameters #10 and #7) you've already recorded in your Song.

The Panning Knob
The Panning knob usually alters the Control Change #10 parameter. This controls the balance, or "pan" of the instrument between the left and right speakers.

To use the Panning knob, press and hold the left mouse button over the knob and drag the mouse left and right. Notice the thin pointer move, and the numeric counter above the knob change, as you drag the mouse.

With the knob in the 9 o'clock position (counter showing -64), the Track position is full left (no power at the right channel for this Track). With the knob at the 3 o'clock position (counter showing 63), the Track position is full right. Intermediate settings yield intermediate positions; when the counter shows 0, you have a perfect balance between the left and right channels.

While dragging the knob, you can move the mouse outside the knob itself; as long as you hold down the mouse button, the pointer follows your moves.

* TIP * You can move the mouse out toward the edges of the screen to get finer control over the knob position.

The Volume Slider
The Volume slider usually alters the Control Change #7 parameter. On most synthesizers, this parameter controls Volume.

To use the Volume slider, drag the small square up and down in its Track. Watch the numeric counter at the bottom of the Mix Maestro window; as you move the Volume slider, this number changes to show you the exact volume level.

The numbers range from 0 (silence) to 127 (full volume).

The Mute Button
There are four buttons below each Track name. The button in the upper left corner is the Mute Button. This button corresponds with the Thru/Play/Mute selector in the Tracks window.

To mute a Track, activate the Mute Button. To unmute a Track, deactivate the Mute Button. Notice that the Thru/Play/Mute faucet in the Tracks window and Media Madness window follows along with this button, and vice versa.

The Lock Buttons
The remaining three buttons are the Lock buttons. In Lock mode, the Volume sliders of several Tracks can be tied together. When moving the slider in a Track that is Locked, the other Locked Tracks follow along, keeping their positions relative to each other.

There are three lock buttons, each with a different color. Tracks that have the same color activated are locked together.

For instance, let's say that Track 1 and Track 2 are locked together. Track 1 is at a volume of 127, and Track 2 is at a volume of 64. If we move Track l's volume slider halfway down to 64, Track 2's volume slider moves halfway down to 32.

{{Note|text=To save CPU processing time, the other Tracks' sliders don't actually move, but the numbers underneath the sliders are continuously updated. When you let go of the slider, the other sliders move to their new positions.}}

Locking is very useful when dealing with groups of related instruments, such as drum effects or a horn section, which tend to be grouped in a live performance.

Without locking Tracks, it would be impossible to change more than one Track at a time, or to fade all Tracks at once at the end of the Song.

If you want to lock all the Tracks in your Song together, select Lock All from the Mix Maestro menu. This sets the Lock button on all Tracks that are not already locked. Conversely, you can select Unlock All from the Mix Maestro menu to unlock all Tracks.

The Mix Maestro Menu

The MixMaestro window has its own menu, the Mix Maestro menu. These commands can be accessed only from the MixMaestro window. The following lists each option contained in the Mix Maestro menu:

ByPass Mix
The ByPass Mix option disables Mix Maestro. This option filters out the Control Changes selected with the Set Controllers menu option during playback.

{{Note|text=These Control Change values are normally 10 for panning and 7 for volume. Use the Set Controllers menu option to change them.}}

Copy Mix to ClipBoard
The Copy Mix to ClipBoard option copies the Control Changes selected in Set Controllers into a Clip in the ClipBoard. This operation works even if the ClipBoard is not open.

* TIP * This command, in conjunction with the Paste Mix and Clear Mix commands, provides a method for saving and auditioning different mixes.

Paste Mix From ClipBoard
The Paste Mix From ClipBoard option replaces the current Mix with the one highlighted in the ClipBoard.

{{Note|text=Use the Copy Mix to ClipBoard command to create the Clip.}}

Clear Mix
The Clear Mix command erases from all Tracks the Control Changes selected in Set Controllers.

Clear Locked Pans
The Clear Locked Pans command erases the Control Change selected as panning in Set Controllers from each locked Track. This command operates independently on Tracks locked with either the yellow, blue, or purple locks. Select the appropriate color from the Clear Locked Pans submenu.

Clear Locked Volumes
The Clear Locked Volumes command erases the Control Change selected as volume in Set Controllers from each locked Track. This command operates independently on Tracks locked with either the yellow, blue, or purple locks. Select the appropriate color from the Clear Locked Volumes submenu.

Lock All
The Lock All command sets one of the three colored locks on all Tracks. Choose the color from the Lock All submenu.

UnLock All
The UnLock All command deselects one of the colored locks on all Tracks. Choose which color of lock to deselect from the UnLock All submenu.

Mute All
The Mute All command mutes all Tracks.

UnMute All
The UnMute All command unmutes all Tracks.

Set Controllers
The Set Controllers command opens the Mix Maestro requester, allowing you to set which Control Change corresponds to panning or volume Slide the appropriate slider to the value you would like to use for each effect.

SnapShot
The SnapShot command enters the current volume and panning information into each Track at the current Song Position. Use the SnapShot command to set initial values, and to create jumps from one value to another.

Select Yellow, Blue, Purple, or All from the SnapShot submenu to enter the Control Changes into locked Tracks or all Tracks respectively.

Recording with Mix Maestro

To use Mix Maestro, open the Mix Maestro window and click the Start or Play buttons in the Transport Controls window. If you already have Control Change #10 or #7 events in your Song, the knobs and sliders for each Track move with the set values as the Song plays. Dragging the Volume slider or Panning knob for any Track overrides the Control Change information in your Song, and replaces it with the values you set. If you have several Tracks locked together, all the locked Tracks immediately reflect the changes you make to any of them.

Setting The Initial Mix

Before you begin your mix, set each Track's pan and volume positions so that your Song begins with these values. To do so, first set all your panning knobs and volume sliders to the desired positions for each Track and your Song Position marker to the first measure of your Song.

Next, select the Snapshot command from the Mix Maestro menu. This command grabs the position of your knobs and sliders and places their respective Control Change values at the current Song Position in each Track.

Recording The Mix

To record the mix, click on the Start button in the Transport Controls. As the music plays, click on a volume or pan pot and drag it as appropriate. When you've recorded one Track's mix, click on Stop in the Transport Controls, then click on Start to mix another Track. Continue in this manner until you've mixed all Tracks.

{{Note|text=You don't have to place your Track in record mode to record a mix in the Mix Maestro window.}}

As you mix your music, Mix Maestro's knobs and sliders move in real-time, automating your mix.

Undoing Or Bypassing Your Mix

If you are unsatisfied with your mix, you can undo your efforts. To clear the volume or pan information from one or more Tracks, select Clear Locked Volumes and Clear Locked Pans respectively from the Mix Maestro menu. Doing so affects all Tracks locked with a Lock button. If you are unhappy with your mix as a whole, use the Clear Mix command from the Mix Maestro menu to clear all pan and volume information. If you pleased with your mix, but want to disregard it temporarily, use the Bypass Mix command.

Saving And Restoring Your Mix

Once you're satisfied with your mix, you can save it in the ClipBoard and retrieve it at a later time. From the Mix Maestro menu, use the Copy Mix to ClipBoard command to save your mix as a Clip. Once you've copied a mix into the ClipBoard, use the ClipBoard's File menu to Load and Save your mix to disk. When you want to retrieve a mix from the ClipBoard, use the Paste Mix from ClipBoard command.
==Time Line Scoring==

Chapter 23

Overview

When you create a soundtrack for a movie, video, or multimedia production, you often need to synchronize several disjointed sections of music with specific points in the movie.

Bars&Pipes Professional's Time Line Scoring feature gives you a high-level view of your soundtrack, and allows you easily to position any number of music sections in SMPTE time. Each of the music sections is actually a full-fledged Bars&Pipes Professional Song, complete with multiple Tracks and its own Tempo Map.

Use the Time Line Scoring window to load multiple Songs and position them relative to each other. Time Line Scoring adds each Song's Tracks to the Track list and recomputes the master Tempo Map to include the time period of each Song.

* TIP * You can access other Songs' Tracks by scrolling the Track display down below the current Song's Tracks.

Before you use Time Line Scoring, you must first create, edit, and save each section as a separate Song. Once you add a Song to the Time Line Scoring window, you can still perform all the standard Bars&Pipes Professional editing operations on the Song.

Accessing

Open the Time Line Scoring window by double-clicking on the Time Line Scoring icon, or using the menu option in the Windows menu.

The Scoring Grid

The Scoring Grid occupies most of the Time Line Scoring window. Rectangular colored areas with Song titles display in the Scoring Grid. These represent the Songs in memory.

The numbers above the scoring grid represent the time in minutes and seconds. By looking at the position of the Song rectangles, you can see at what time a Song begins and ends. For more exact information, click on the Song rectangle with the Magic Wand (please see below).

{{Note|text=Only the horizontal (side-to-side) placement affects the Songs' start time.}}

Adjusting The Zoom

The Zoom In button is the large note. Click on it to enlarge the display by one step. This gives you finer control, but shows fewer measures. The Zoom Out button is the small note. Click on it to reduce the display by one step. This allows more measures to be displayed, at the loss of fine editing control.

Using Time Line Scoring

Adding A Song

To add a Song to the Time Line Scoring window, select the Pencil (or F1 key) and click in the Time Line window. Bars&Pipes Professional opens the File Requester.

When you select the Song you want to include in the soundtrack, Bars&Pipes Professional loads the Song and inserts a colored bar in the Time Line window with the Song title inside. The Song starts at the point at which you clicked with the Pencil. Each Song has a different color, so that you can easily see where one Song ends and another begins.

When you add a Song with Time Line Scoring, the Tracks of the Song are appended to the Tracks that already exist in the Tracks window.

Adjusting The Song's Start Time

One way to adjust the Song's start time is to drag the Song rectangle with the Hand. To do so, click on the Hand button (or choose the F3 key). Then click and drag the Song forward or backward in time.

You can also adjust the Songs start time by entering a start time. Click with the Magic Wand (F2 key) on a Song rectangle to bring up the Song Start Time requester.

The Song Start Time requester shows you the current start time of the Song, in SMPTE time and Song time. Click in either field to enter a new starting time for the Song.

{{Note|text=Tempo changes, Time Signatures, and the SMPTE Global Offset affect the SMPTE starting lime of the selected Song.}}

You can use the Lock to Measure button when you want to move the start time of the Song to the nearest measure boundary when inserting a tempo change. This is handy since the Song Time rarely lands on the beginning of a measure.

To use align your Song with a measure boundary, click on the Lock to Measure button. Bars&Pipes Professional calculates a tempo change and inserts it into the measure immediately before the selected Song. The measure number designated by the Starting Time: prompt equals the sum of all measures in the soundtrack up to this point.

* TIP * When you first create a Song, notes are generally lined up with measures. However, when you connect multiple Songs in the Time Line Scoring window, note can be shifted in time, relative to their original measure positions. If you need to edit a Track, use the Lock to Measure button, then deselect Lock to Measure when you're finished editing.

Combine TimeLine Options

Each Song maintains its own A-B-A section list, Tempo Map, and Song Parameters. Every time you reposition a Song in the TimeLine, Bars&Pipes Professional must recalculate the complete performance's A-B-A section list, Tempo Map, and Song Parameters from the component parts. As such, it's desirable to control which portions get recomputed and which are left alone.

Use the Combine TimeLine... options in the Preferences menu to control how Bars&Pipes Professional recomputes each of the following parameters:

Sections
If the Sections option is enabled, Bars&Pipes Professional computes a new A-B-A section list out of the component parts. Otherwise, it uses the A-B-A section list that existed before the repositioning of a Song portion required recalculating the A-B-A section list.

Tempo Maps
If the Tempo Maps option is enabled, Bars&Pipes Professional computes a new tempo map out of the component parts. Otherwise, it uses the tempo map that existed before.

Song Parameters
If the Song Parameters option is enabled, Bars&Pipes Professional computes a new set of Song Parameters out of the component parts. Otherwise, it uses the Song Parameters that existed before. Remember, the Song Parameters include Lyrics, Time Signature, Chord Changes, Dynamics, Rhythms, and Key Signature.

Removing A Song

Use the Eraser (F5 key) to delete a Song from the soundtrack. Click on the Song you want to delete. A requester asks you to confirm your decision.
==Create-a-Tool==
Chapter 24

=== Overview ===

You can create and edit your own MacroTools in the Create-A-Tool window. A MacroTool is a Tool created by combining several Tools into one. Like the Tools provided with this program, a MacroTool has one input, one output, and an icon representing it. Not only is the use of MacroTools a convenient way to keep your PipeLines from overcrowding (you can take a string of commonly used Tools and create a MacroTool to replace them), but it's a very potent method for making specialized Tools of your own design.

=== The Create-A-Tool Window ===

The Create-A-Tool window enables you to design your own MacroTools. Access the Create-A-Tool window from the ToolBox by choosing the Create MacroTool... option from the ToolBox window.

If you'd like to edit an existing MacroTool, choose the Edit MacroTool... option after you've highlighted an existing MacroTool in the ToolBox. Alternatively, you can double-click on an existing MacroTool in the ToolBox to open its Create-A-Tool window.

=== MacroTools: A List of Ingredients ===

Each MacroTool contains several important parameters:

==== A Unique Name ====

Each MacroTool has a unique name and a four-letter identifier.

For example, a Tool that creates random harmonies could be called "Split-Quant-Counterpoint" and the identifier could be "SQCP." You use the full name, "Split-Quant-Counterpoint," to describe the Tool for your reference. Bars&Pipes Professional uses the identifier, in this case "SQCP," for internal operations that require speed and compact size.

If you choose not to give an identifier a name, Bars&Pipes Professional automatically assigns one.

==== An Icon ====

Each Tool must have an icon to display in the ToolBox, PipeLine and/or ToolPad. In addition, if the Tool has a branching output and can send data two places at once, it requires two icons: one for when the Tool is above the receiving Tool (the connector is on the bottom of the Tool) and one for when the Tool is below the receiving Tool. (The connector is on the top of the Tool.)

==== Tools ====

A MacroTool consists of a collection of interconnected Tools. You arrange these Tools on a grid of PipeLines, much like the PipeLines in the Main Screen.

For example, our Split-Quant-Counterpoint MacroTool feeds notes to a Keyboard Split Tool, which sends notes below the split point to an Echo Tool. The notes at or above the split point enter the Quantize Tool, then, the CounterPoint Tool.

==== Input And Output ====

A MacroTool can have only one input; therefore, you must identify the Tool that accepts incoming notes as the input of the MacroTool. Also you must label the last Tool in the MacroTool as the output. In addition, if this MacroTool is capable of sending a branched output, you must identify the Tool that sends notes down the branch.

==== Tool Parameters ====

Some of the Tools in the MacroTool may have parameters that can be preset.

For example, you might, in your MacroTool, use a Transpose Tool that always shifts a note by a predetermined interval. This requires presetting that component Tool in your MacroTool.

=== Constructing Your MacroTool ===

To construct a MacroTool, open the Create-A-Tool window by selecting Create MacroTool from the ToolBox menu. This menu is only available from the ToolBox window. The Create-A-Tool window opens with a new, blank MacroTool, ready to assemble.

==== Naming Your Macro Tool ====

Across the top of the window are two text entry fields, Tool Name: and Tool ID:. Bars&Pipes Professional automatically supplies a default name and a unique default ID. To name your Tool, click on the Name: field and enter a description of your Tool.

{{Note|text=Changing the ID is optional.}}

==== Painting The Macro Tool Icon ====

On the left side of the Create-A-Tool window is a box with an enlarged icon in it. Since a Tool can have two icons, both are displayed at their normal size to the left of this box. To choose which icon is enlarged, click on one of the two.

Below the box is a Palette of eight colors. To paint the icon, select the paint color by clicking on it in the Palette and draw your icon in the box. Like any other paint program, you draw by clicking down with the mouse and dragging it. The MacroTool window displays the selected color in the tall box to the left of the Palette.

From the Paint menu, you can choose from the following commands:

; Clear
: Clear sets the entire icon to the color currently selected in the Palette.

; Copy
: Copy duplicates your MacroTool icon. Bars&Pipes Professional needs the extra icon for MacroTools that branch off to Tools above or below. Alter the duplicate so that the placement of the output Pipe inverts. If you've created a branching MacroTool, draw your main icon, then duplicate it with the Copy command and edit the position of the outgoing Pipe to go up.

; Flip...
: Flip... turns your icon around an axis. To flip from top to bottom, choose Flip Vertically. To flip from left to right, choose Flip Horizontally.

; Start With...
: Start With... provides a choice of four pre-defined icons. To select a pre-defined icon (a time-saver), drag the mouse over your icon of choice and lift up. That icon now appears in the Paint Box.

; Flood Fill
: Flood Fill paints an entire area of the icon with the selected color. To use the Flood Fill command, first select the fill color and the Flood Fill command. Then, with the mouse, touch the area to be painted and click the mouse. For instance, if you have a red shape you'd like to make yellow, select yellow from the Palette, select Flood Fill from the menu, then click on the center of the shape. It's now filled with yellow.

; Undo
: Undo reverts the icon to the state that existed prior to your most recent action.

==== Adding And Connecting Tools ====

Once you've set up your MacroTool icon, you're ready to build your MacroTools using existing Tools.

; Adding
: In the large box on the right half of the Create-A-Tool window sit six PipeLines. To construct your MacroTool, drag your Tools of choice from the ToolBox and place them on any one of the PipeLines. Determine which PipeLine is the input line and place the first Tool there. Continue by placing the Tools that follow it to the right of the input Tool on the PipeLine. To reposition the placement of a Tool in the PipeLine, select it by clicking on it once. A red box appears around it. Then press either the Left or Right Arrow keys to move it.

; Duplicating
: To duplicate a Tool already in the Create-A-Tool window, drag the Tool to a new location. Bars&Pipes Professional creates an exact copy of the Tool, including its parameter settings.

; Removing
: To remove a Tool, select it, then press the Delete key.

; Connecting
: If a Tool has a branching output, place a Merge In Tool on another PipeLine. (The Merge In icon looks like a Pipe with another Pipe feeding into it above from the left.) This second PipeLine is now active and Tools can be placed in it as well. When you first place the Merge In Tool in the second PipeLine, it may not line up with the source Tool because they have not yet been connected. To connect a Merge In Tool with another Tool, click on the source Tool (the Branching Tool,) select Connect (Right Amiga - K) from the PipeTool menu, then click on the target Tool (the Merge In Tool). The two icons are now connected and the display is redrawn with everything positioned appropriately.

: If your PipeLine is long and you start running out of room, scroll it forward by using the slider and arrows at the bottom of the display. Your MacroTool can be as long as you need.

==== Determining The Input And Output(s) ====

To the right of the PipeLine grid are three arrow-shaped icons. Drag these onto your Tool layout to specify the input and output(s).

; Input
: The top icon, the In arrow, is a blue arrow that selects the input. Drag and place it to the left of the first Tool in your MacroTool lineup. All notes coming into the MacroTool pass through here first. You cannot delete the input arrow. If you want to send the input to a different PipeLine, drag another blue arrow to it; the arrow to your previously selected PipeLine automatically disappears.

; Normal Output
: The middle icon the Out arrow, is a red arrow that represents the Normal Output. Drag it to the right of the last Tool in your Macro sequence. Whatever comes out of that last Tool comes out of the MacroTool as a whole. Unlike the Input arrow, you can have more than one Normal Output per MacroTool because you can use several PipeLines in your design. The MacroTool merges notes coming out of all Normal Output icons. If you want to remove a Normal Output icon, select it, then hit the Delete key.

; Branching Output
: The bottom icon, the Branch arrow, is a purple arrow that represents the Branching Output. This arrow is optional. Whereas every MacroTool requires an Input and an Output, a MacroTool requires a Branching Output only when the MacroTool needs to send events off to a second PipeLine. Install the Branching arrow in the same way that you install the Output arrow.

: Once you have a Branching Output, the alternate icon, on the left of the Paint Box, comes into play. This alternate icon behaves identically to the original, except that it branches off in the opposite direction. In this way, you can have a MacroTool that connects to a Tool above and to a Tool below.

==== Setting The Tool's Controls ====

Many of the Tools that constitute your MacroTool have parameters that you can preset. For example, the Triad Tool uses two Transpose Tools to shift the input note up a third and up a fifth. It is an example of a MacroTool. If you load the Triad Tool into the ToolBox and then double-click on it, Create-A-Tool shows the structure of the MacroTool. You can then open the Control window of each Transpose Tool to see its parameter settings.

As an example, you can edit the parameters to create a chord inversion by changing the second Transpose Tool from shifting up a fifth to down a fourth.

==== Making Macro Tools Out Of Macro Tools ====

Like any other Tool, you can place a MacroTool in any other MacroTool you build; however, you cannot place it inside itself. Nor can you place it within another MacroTool that is contained within it. The Create-A-Tool Editor makes sure this doesn't happen. If you drag a MacroTool into the definition of itself, it won't stay there.

=== Installing, Removing, Using, Altering, and Testing ===

==== Installing ====

Once you have created a MacroTool, you must save it to disk. If you fail to do so, the MacroTool will be deleted when you exit Bars&Pipes Professional.

To save a MacroTool, click once on the MacroTool in the ToolBox, then select the Save option from the ToolBox menu. Bars&Pipes Professional opens its file requester. Create a new file name for your Tool.

{{Note|text=If you use the name of an existing Tool, Bars&Pipes ProfessIonal overwrites the older Tool.}}

Bars&Pipes Professional saves your MacroTool to that file. From now on, when Bars&Pipes Professional runs, it automatically loads your MacroTool.

==== Removing ====

If you don't like what you've created, you can remove your MacroTool by clicking on it in the ToolBox and selecting the Remove option from the ToolBox menu. Bars&Pipes Professional removes the MacroTool from the ToolBox, removes all copies of it from your composition, and no longer loads this MacroTool. The MacroTool, however, is still on your disk; you can leave it there or delete it by using the Workbench or CLI (Command Line Interface.)

==== Using ====

Use your MacroTool just as you would a normal Tool. You can place it in a PipeLine to process notes in real-time, or in a ToolPad, to process notes in a section, or on a note-by-note basis.

==== Altering ====

You can always go back and edit your MacroTool. To do so, double-click on the MacroTool's icon in the ToolBox. The Create-A-Tool Window opens with your MacroTool, and you can edit it in any way you'd like. If you have already used this MacroTool, versions that are in use are not affected by editing the master. Once you are satisfied with the changes you have made, you must once again save the MacroTool to disk.

==== Testing ====

To audition a MacroTool before saving it to disk, drag the Test Tool at the bottom right of the Create-A-Tool window into a PipeLine in the Sequencer window. If you don't like the results, you can continue editing the MacroTool. The Test Tool automatically incorporates the changes, so that you can quickly edit, test, and re-edit until you're satisfied with the MacroTool.

==Tool Trays==

Chapter 25

=== ToolTrays ===

ToolTrays offer a convenient method for organizing your Tools. Bars&Pipes Professional includes eight ToolTrays, each of which can hold up to sixteen Tools. You can define a Tools parameters by double-clicking on the Tool in the ToolTray, and give each instance of a Tool an original name.

Bars&Pipes Professional integrates ToolTrays into your Song. When you save a Song, Bars&Pipes Professional saves your ToolTrays along with it.

To set up a default environment with ToolTrays, select New from the Song menu, arrange your ToolTrays, and then select Save As Default from the Song menu. Please see the chapter, Customizing Your Environment, for more information.

=== The ToolTray Windows ===

Open a ToolTray from the ToolTray menu in the ToolBox or the Tool menu in the Main screen. Choose the menu option corresponding to the particular ToolTray that you'd like to open. By default, ToolTrays are named numerically, however, you can rename a ToolTray however you'd like.

The ToolTray window is divided into two areas by a horizontal grey line. Above the grey line is space for the names of Tools. Below the grey line is room for up to sixteen instances of Tools.

==== Placing A Tool In A ToolTray ====

To install a Tool in a ToolTray, grab a Tool from the ToolBox, PipeLine, or other ToolTray, and drag it to a space beneath the gray line. When you release the mouse button to drop the Tool into the ToolTray, the name of the Tool appears in the space above the grey line.

{{Note|text=By dropping a Tool into a ToolTray, you create a unique instance, or copy, of the Tool,just as you do when you drop a Tool Into a PipeLine.}}

==== Editing A Tool ====

If the Tool has a Control window, double-click on the Tool's icon to open it. Then edit the Tool's parameters as you desire. Once you've changed a Tool, the changes stay with the Tool when you copy it into a PipeLine, ToolPad, MacroTool, or another ToolTray.

==== Naming A Tool ====

Once you've edited a Tool, you can rename it for easy reference. Click once on the Tool to select it, then enter the new name above the gray line.

{{Note|text=When you click on a Tool in a PipeLine, the name of the Tool is displayed in the Title bar of the Tracks window. Even though you can rename Tools in the ToolTrays, Tools in the PipeLine are still displayed as their original names in the Tracks Title bar. This is because only the ToolTray knows about the names that you've given the instances of the Tools within it. The Tracks window has no access to this information.}}

==== Using The ToolTray Tools ====

You can work with ToolTrays as you do the ToolBox. Copy Tools from ToolTrays into PipeLines, MacroTools, and ToolPads by clicking and dragging them to their appropriate destination. Unlike Tools from the ToolBox, the Tool copies retain the settings that you provided in the ToolTray.

==== Copying Tools In ToolTrays ====

Copy a Tool by grabbing it and dropping it in an empty space in the ToolTray. This is similar to copying a Tool in a PipeLine by picking it up and dropping it in another PipeLine. Because you can have several copies of Tools in ToolTrays, renaming Tools help you avoid confusion. For instance, you can have a ToolTray that you call "Quantize Tools.", In this ToolTray, you might have one Quantize Tool that you call "Sixteenth Notes," that quantizes to sixteenth notes, and one called "Eight Notes" that quantizes to eight notes.

If you drag a Tool and place it on top of an existing Tool in the ToolTray, it replaces the Tool beneath it.

==== Loading ToolTrays ====

The Load ToolTray option in the ToolTray menu allows you to load in previously saved ToolTrays. If there are any Tools in the ToolTray that are not in the ToolBox, Bars&Pipes Professional automatically loads them into the ToolBox. If the Bars&Pipes Professional is unable to find a Tool, it asks you to load it manually.

==== Saving Tool Trays ====

The Save ToolTray command in the ToolTray menu allows you to save your ToolTrays to disk. The Load ToolTray command allows you to load ToolTrays from disk.

==== Renaming ToolTrays ====

The Rename ToolTray menu command in the ToolTray menu allows you to rename the ToolTray. When you select this option, a requester appears, displaying the ToolTray name.

Enter the new name and click okay. The new name displays not only in the ToolTray window, but in all menus that refer to the ToolTray as well, such as the menu options in the Main menu's Tool menu.

==== Loading Instances Of Tools Into ToolTrays ====

The Load Tool command in the ToolTray menu allows you to load a Tool into the ToolTray that was previously saved with the Save Tool command from a ToolTray. Each Tool loads with its parameters set to the values they had when it was saved.

==== Saving Instances Of Tools From ToolTrays ====

Use the Save Tool command in the ToolTray menu to save the Tool. Doing so saves the Tool, along with the parameters you've set.

==== Removing Tools From ToolTrays ====

Use the Remove Tool command to remove a Tool from a ToolTray. Do to so, activate the Tool by clicking on it, then select the Remove Tool command in the ToolTray menu.

If you drag a Tool from any source and drop it on a Tool in a ToolTray, it replaces the Tool beneath it, effectively removing that Tool.

==Scales, Chords, Rythms and Patches==

Chapter 30

=== Overview ===

This chapter focuses on defining Scales, Chords, Rhythms, and Patch Lists in their respective Define windows. Many Tools and Sequencer functions use these items to produce customized results. For instance, the Quick Patch Tool and the Program Change area use Patch Lists, so that you can choose program changes by name. The CounterPoint Tool uses Scales to compose and the Accompany B Tool uses Chords and Rhythms to create auto-accompaniments.

Bars&Pipes Professional stores Scale, Chord, and Rhythm information in each Track's Song Parameters. To choose a particular Scale, Chord,or Rhythm, use the Pencil in either the Master Parameters or a specific Track's Song Parameters.

Bars&Pipes Professional saves your Scales, Chords, Rhythms, and Patch Lists with each Song. When Bars&Pipes Professional loads the Song, these additional items load with it.

{{Note|title=Tip|text=To include new Scales, Chords, Rhythms and Patch Lists in your New environment, select New from the Song menu, add the new items, then select Save As Default in the Song menu.}}

The Define windows can be reached from either the Define... option in the Main menu set's Windows menu, or the Edit window's Define menu.

=== Define Scales Window ===

To create your own Key & Scale/Modes, use the Define Scales window.

The Define Scales window has a keyboard area, a name area, three buttons, and two menu options.

==== Adding And Subtracting Notes From Scales ====

On the right side of the Define Scales window is a one-octave keyboard. Active notes are highlighted in blue, while inactive notes are white. To include a note in the scales, click on a white note, thereby turning it blue. Click on a blue note to exclude it from the Scale, thereby turning it white.

==== Creating A New Scale ====

Click on the Add button to create a new Scale. Then, enter a name after the Name: prompt. Click and highlight the notes you want include in your Scale. Once you've defined your scale, you must save your Song. If you do not save your Song, you will lose your Scale upon exiting Bars&Pipes Professional. You can also use the Save Scale... menu option to save your Scale (please see below).

==== Selecting From Existing Scales ====

To bring up a pop-up list of existing Scales, click on the Select button. Once you've chosen from the list, you can rename it or add and subtract notes from it.

==== Removing An Existing Scale ====

To remove the selected Scale from your list, click on the Remove button . A requester asks you to confirm your decision. Once you Remove a Scale, you cannot retrieve it, unless you load a previously saved version of the Scale from disk.

==== Changing The Name Of A Scale ====

After the Name: prompt, you'll find the name of the selected Scale. Click in this area to modify the name or enter a new one. Use the backspace and delete keys if necessary.

==== Loading A Previously Saved Scale ====

To load a previously saved Scale from disk, choose Load Scale from the Define Scales window menu.

==== Saving A Scale ====

To save a Scale to disk, select the Save Scale option.

=== Define Chords Window ===

Use the Define Chords window to create your own Chords.

The Define Chords window has a two octave keyboard area, control buttons, a name area, and menu options.

==== Adding And Subtracting Notes From Chords ====

On the lower right side of the Define Chords window, you'll find a two- octave keyboard. Active notes are highlighted in blue, while inactive notes are white. When you click on a white note, it turns blue. This indicates that the note is included in the Chord. When you click on a blue note, it turns white again, thus indicating that the note is no longer a member of the Chord.

==== Creating A New Chord ====

Click on the Add button to create a new Chord. Then, enter a name after the Name: prompt. Click and highlight the notes you want include in your Chord.

Once you've defined your Chord, you must save your Song. If you do not save your Song, you will lose your Chord upon exiting Bars&Pipes Professional. You can also use the Save Chord... menu option to save your Chord (please see below).

==== Selecting From Existing Chords ====

To bring up a pop-up list of existing Chords, click on the Select button. Once you've chosen from the list, you can rename it or add and subtract notes from it.

==== Removing An Existing Chord ====

To remove the selected Chord from your list, click on the Remove button. A requester asks you to confirm your decision. Once you Remove a Chord, you cannot retrieve it, unless you load a previously saved version of the Chord from disk.

==== Changing The Name Of A Chord ====

After the Name: prompt, you'll find the name of the selected Chord. Click in this area to modify the name or enter a new one. Use the backspace and delete keys if necessary.

==== Loading A Previously Saved Chord ====

To load a previously saved Chord from disk, choose Load Chord from the Define Chords window menu.

==== Saving A Chord ====

To save a Chord to disk, select the Save Chord option.

=== Define Rhythms ===

Use the Define Rhythms window to create your own Rhythms.

By definition a Rhythm includes three elements:

# A sequence of notes which defines the timing, emphasis, and length of each rhythmic event;
# A loop length that determines the length of the pattern; and
# A name for the Rhythm.

==== Creating A New Rhythm ====

To create your own Rhythms, open the Define Rhythms Window from the Define... Rhythms option of the Windows menu. Or, from the Graphic Editor window, use the Define menu.

{{Note|text=If you want to import a Rhythm from the Main Screen, open the Define Rhythms window from the Main Screen. If you want to import a Rhythm from the ClipBoard, or if you are currently in a Track's Sequence Editor window, open the Define Rhythms window from the Sequence Editor window.}}

To create your own rhythm from scratch, first record a sequence of notes that the rhythm uses to define its timing, emphasis, and length. To do so, tap out any notes on your instrument keyboard, as if you were playing the drums. The actual notes you play don't matter, since the rhythm just uses only the start time, velocity, and duration of the notes to define the rhythm pattern.

==== Adding A New Rhythm ====

To add a new Rhythm to the list, click on the Add button. This creates a blank Rhythm with no pattern and a loop length of zero.

==== Selecting An Existing Rhythm ====

To access a scrolling list of all available Rhythms, click and hold on the Select button. Then drag the mouse to the desired Rhythm. If you cannot see the Rhythm you want, use the arrows above and below the list to scroll the menu up or down. You can change the name, length, and patterns of any existing Rhythm.

==== Removing A Rhythm ====

To remove a Rhythm from the list, select it and press the Remove button.

==== Grabbing Clips As Rhythms ====

Because the Rhythm Pattern consists of a sequence of notes, you can record it the same way you would a Track Sequence. For example, you can record your Rhythm in real-time, step-enter it, or draw each note with the Pencil.

{{Note|title=Tip|text=Often, sections of previously recorded Songs make great Rhythm templates.}}

Once you've created a pattern of notes and activated the Add button, you're ready to pull the pattern into the Define Rhythm window. Do so by clicking on one of two command buttons: Grab Clip from ClipBoard or Grab Clip from Track.

The Grab Clip from ClipBoard button copies the currently selected Clip from the ClipBoard window to the Define Rhythm window. Use this command if you have saved your rhythm template to the ClipBoard. By default, the loop length is the length of the Clip, however, you can edit the loop length as needed.

The Grab Clip from Track button copies the notes from the section bounded by the Edit Flags of the selected Track and copies these notes into the Rhythm. This button provides the mechanism for tapping a Rhythm into a Track and quickly transferring it into a Rhythm.

==== Replacing A Rhythm ====

If a Rhythm has an existing pattern of notes, you can change it by replacing the existing pattern with a new one. Do this by executing either of the Grab commands.

==== Setting The Loop Length ====

Once a pattern has been transferred to the Define Rhythms window, the length of the loop appears after the Loop Length: requester. To change this value, assign the Rhythm a loop length in measures, beats, and clocks.

For example, a two measure loop would be entered as "2.0.0", two measures, zero beats and zero clocks.

==== Changing The Rhythm Name ====

Give your Rhythm a name by entering it after the Name: prompt.

==== Loading A Previously Saved Rhythm ====

To load a Rhythm from disk, use the Load Rhythm... command in the Define Rhythms menu.

==== Saving A Rhythm ====

To save individual Rhythms to disk, use the Save.., command in the Define Rhythms menu. Selecting this command opens the file requester from which you can create or select a file name.

=== Define Patch List ===

The Define Patch List window allows you to create Patch Lists for your synths. A Patch List contains the name and its associated Program Change number (between 0 and 127) for each of your synth's instrument sounds.

In addition to using the Define Patch List window to create Patch Lists, you can use it to access Patch Lists from disk.

{{Note|title=Tip|text=You can also load lists created with The PatchMeister and SuperJAM!}}

==== The Define Patch Lists Window ====

The Define Patch List window contains three buttons: the Add, Select, and Remove buttons. These button allow you to create a new Patch List, choose a Patch List from the ones which are loaded, and remove a Patch List, respectively. Above the Add button is the Synth: prompt and Patch List name area. To the right of the Add button is the number prompt and the program change name area. To the right of the Select and Remove buttons is the scrolling Patch List. Use the scroll bar and scroll arrows to scroll through the list.

==== Creating A New Patch List ====

To create a new Patch List, click on the Add button. Then, enter a Patch List name by clicking in the space to the right of the Synth: prompt, and entering the name. To enter the actual Patch List, click after the number prompt and enter the Program Change's name. When you press the return key on your Amiga keyboard, the number prompt automatically increments to the next Program Change.

==== Choosing A Patch List ====

To choose a Patch List, click and hold the Select button. A pop-up list appears where you can select the Patch List you want to use.

{{Note|text=If there are no Patch Lists loaded, the pop-up list does not appear.}}

==== Editing A Patch List ====

To edit an existing Patch List, choose it with the Select button. Change the name of the Patch List after the Synth: prompt; change the names of the individual program changes by clicking on the name in the scrolling list, then changing the name after the number prompt.

==== Removing A Patch List ====

To remove unused Patch Lists, click on the Remove button. This removes the selected Patch List from the loaded list of Patch Lists. A requester asks you to verify this operation.

==== Loading A Patch List ====

To load Patch Lists previously saved with Bars&Pipes Professional, SuperJAM! or The PatchMeister, use the Load Patch List... command found in the Define Patch Lists menu.

{{Note|title=Tip|text=You'll find the SuperJAM! Patch Lists in the SuperJAM!/Bands directory.}}

==== Saving A Patch List ====

Choose the Save Patch List... option in the Define Patch Lists menu to save the selected Patch List.

{{Note|title=Tip|text=You can use Patch Lists created in Bars&Pipes Professional for your Super JAM! Bands.}}

You can find out more about Patch Lists in the chapter on Customizing Your Environment.

==Customizing your Environment==
Chapter 31

=== Overview ===

In this chapter, we'll learn how to customize your Bars&Pipes Professional environment, so that it automatically sets up the system to your liking. We'll also discuss the disk files that Bars&Pipes Professional uses to keep track of your preferences.

=== The Environment Preferences ===

In the Main menu, the Environment.., option in the Preferences menu opens the Environment Preferences requester. This requester controls various aspects of Bars&Pipes Professional's appearance as well as some memory-saving options:

; Interlace Screen
: Select the Interlace Screen option to double the vertical resolution of the Bars&Pipes Professional environment.

; Use Workbench Pointer
: If you'd rather use the Workbench mouse pointer instead of the Bars&Pipes Professional saxophone, enable Use Workbench Pointer.

; Exploding Windows
: The Exploding Windows option causes windows to open with an expanding rectangle and close with a contracting rectangle.

; Windows To Front
: Normally, use the standard Window To Front/Back button on the top right of each window to bring a window to the front If you'd like any window to come immediately to the front no matter where you click in it, select Windows To Front.

; Save Icons
: Bars&Pipes Professional will only create an icon for a song file if the Save Icons option is enabled.

; WB 2.0 File Requester
: If you're running Bars&Pipes Professional under Workbench 2.0 or later, you may optionally use the Workbench file requester for selecting files.

; Double Width Screen/Double Height Screen
: Under Workbench 2.0, Bars&Pipes Professional can display its screen at double width and/or double height, providing much more room to drag and place windows. When in this mode, certain hotkeys make navigating this huge screen easier:

: The Alt key, in conjunction with the arrow keys moves the screen by one screenful. The window icons always appear in the current screen for easy access.

: Holding the Shift key causes the currently active window to move into the new view area. Hold down both the Shift and Alt keys while pressing the arrow keys.

: These features can make it seem like Bars&Pipes Professional is four screen instead of one! For instance, you could open Mix Maestro in one quadrant, the Track window in another, and still have two full screens for other windows. Keep in mind, however, that open windows consume CPU and memory resources

; 68000 Optimization
: If you are running Bars&Pipes on an Amiga using a 68000 processor, such as the A500 or A2000, setting this option will enable Bars&Pipes to run slightly more efficiently.

; Workbench Screen Mode
: Also under Workbench 2.0, Bars&Pipes Professional can adopt the current screen mode used by Workbench. This is particularly useful with the new AGA chipset machines (the Amiga 4000 and 1200) because it provides an automatic method for supporting the new graphic modes.

; Close Workbench
: To save memory, Bars&Pipes Professional can attempt to close Workbench. This only succeeds if no programs have windows open in Workbench.

; Disable Undo Buffer
: When the Bars&Pipes Professional sequencer records a Track, it automatically backs up the entire performance in an Undo buffer. Although this provides an easy way to recover from a poor recording, it doubles the memory provided for MIDI events. Disable the Undo buffer to double the number of notes you can record in low memory situations.

; Use Grey Scale
: Bars&Pipes Professional normally displays in eight colors. Use Grey Scale halves the color count to only four, saving graphics memory.

; Disable Fast Refresh
: Bars&Pipes Professional's windows keep their images intact, even when behind other windows. This results in very fast refresh, but eats memory. Disable Fast Refresh saves memory because it no longer stores hidden imagery, but the drawing time can become painfully slow.

; Save
: Select the Save button to implement the changes and permanently save your choices in the "Bars&Pipes Professional.info" file. Whether run Bars&Pipes Professional from its icon or the Shell, the program still looks at the "Bars&Pipes Professional.info" file for these preferences. If the .info does not exist, Bars&Pipes Professional chooses its default preferences.

; Use
: To use the changes without making them permanent, select Use.

=== The Support Drawer and Support Files ===

Bars&Pipes Professional must keep its control files in a support directory: If a drawer named "Support" exists within the same directory as the Bars&Pipes Professional drawer, Bars&Pipes Professional places its support files there.

If there is no drawer named "Support" located within the same directory, Bars&Pipes Professional places the support files in the S: directory. This is the same directory that contains your startup-sequence.)

* TIP * If you are using Bars&Pipes Professional without a hard drive and want to boot with a Workbench disk, create a Support drawer on your Bars&Pipes Professional program disk Then move the files, Tools, Accessories, and BPPDirs from the & directory on your WorkBench disk to the Support drawer created on your program disk.

==== The Tools File ====

Bars&Pipes Professional uses the Tools file when customizing your environment. This text file contains the names and path names of the Tools currently loaded in the ToolBox. Bars&Pipes Professional updates the Tools file whenever you Install or Remove a Tool in the ToolBox.

==== The Accessories File ====

Bars&Pipes Professional also uses the Accessories file when customizing your environment. This text file contains the names and path names of the Accessories loaded in the Accessories window.

Bars&Pipes Professional updates the Accessories file whenever you Install or Remove an Accessory

==== BPPDirs ====

The BPPDirs file, another environment file, is a binary file that contains the path names of files that you load and save, such as Song files, Patch Lists, and Chords.

Whenever you load or save a file, Bars&Pipes Professional refers to the Bppdirs file to determine the last place you loaded or saved a similar type of file. Bars& Pipes Professional then directs the file requester to this location.

When you change directories with the file requester and select Load or Save, Bars&Pipes Professional looks to the new directory. Bars&Pipes Professional updates the BPPDirs file whenever you exit Bars&Pipes Professional.

=== Settings in Song Files ===

Bars&Pipes Professional saves many settings in each individual Song file, including which windows are open and closed, the color palette as defined by the True Colors Accessory, the position of window icons, Patch Lists, Chords, Scales, Rhythms, Metronome settings, Tool Trays, the ToolPad, Tools in PipeLines, the status of Thru faucets, MIDI channel selectors, the status of Edit windows and all other musical information.

=== Creating a Preset Environment With New.song ===

If you prefer a particular configuration of Tools, Tracks, Tempos, etc., you can set your preferences, then save them as a Song,. This way, you'll have a preset environment each time you begin a new Song.

To do so, first set up your Tracks, MIDI channels, Tool placements, etc., and then use the Save As Default command found in the Song menu. This saves your settings to a file called "New.song." Each time you run Bars&Pipes Professional or select New from the Song menu, Bars&Pipes Professional automatically loads this file.

{{Note|title=Tip|text=When you load another Song, Bars&Pipes Professional overrides your "New" settings with those in the currently loaded file. To impose your new environment on old Song files, load your old Song. Then make a Group out of all of the Tracks contained in the old Song file. Next, save the Group to disk and select New from the Song menu. After you delete all the Tracks in the New Song, load in the Group!}}

Bars and Pipes Professional

2013-08-12T23:24:06Z

Lyle Hazelwood: /* The PipeLine */ Added PipeLine.png

== Author and Copyright ==

This documentation is based on the original copyrighted manual. 
'''Copyright (c) 1993 The Blue Ribbon SoundWorks, Ltd.'''

The original documentation has been modified and enhanced where needed to reflect the changes made to the AmigaOS 4 specific port.

All changes and modifications are 
'''Copyright (c) 2013 Lyle Hazelwood and Steven Solie.'''

Explicit written permission to copy and edit the original manuals has been secured.

== Welcome Aboard! ==

These documents are for the AmigaOS 4 port of Bars&Pipes Professional. A few notes may be useful:
The original program will be referred to as Bars&Pipes, the AmigaOS specific port will be called BarsnPipes instead.

This port is based on Bars&Pipes Professional version 2.5c. The AmigaOS 4 version was provided by Alfred von Faust, and he worked for many years to keep it alive. Lyle Hazelwood has recently taken the port over and is continuing to keep the program current.

Thank you for downloading BarsnPipes Professional. In the pages to come, you will understand why you've made an important choice. With BarsnPipes Professional, you're truly bound only by the limits of your own creativity. We encourage you to read this manual, since it contains thorough explanations of BarsnPipes Professional's wide array of features. BarsnPipes Professional is a high-end MIDI sequencing and composition package. In order to use it, you must have a MIDI sound module or keyboard connected to your Amiga via a CAMD supported MIDI interface.

{{Note|text=If you would like to use the Amiga's Internal sounds instead of MIDI, we suggest [http://www.os4depot.net/index.php?function=showfile&file=audio/play/softsyn.lha SoftSyn] available at [http://www.os4depot.net OS4Depot].}}

Everyone at The Blue Ribbon SoundWorks is dedicated to producing the highest quality software and software support in the industry. We have invested thousands of hours of research and development in our products. Much of that time is spent in listening to and learning from people like you. Blue Ribbon products are designed to be affordable, ongoing investments that are improved and expanded over time. We've provided expansion through program updates and add-on software, such as the Creativity Kit and the Pro Studio Kit. If you are a C programmer, with the Rules For Tools add-on, you can even create your own enhancements to BarsnPipes Professional!

==Installation==

Quick Installation

BarsnPipes Professional is easy to install on your AmigaOS computer.

To install Bars&Pipes Professional :

Make sure that you have at least two megabytes of space left on your hard disk.

Unarc BarsnPipes Professional archive to wherever you'd like to keep the program.

You'll also need camd.library which is already included with AmigaOS.

Run Bars&Pipes Professional from the BarsnPipes Professional drawer on your hard disk.

On the first run, BarsnPipes will ask you to select a screen mode. Please select an ARGB mode for best results.
Once the program is open, under the "preferences" menu, select "environment" and then "save" to save your screen choice.

== Touring the MIDI setup ==

=== Overview ===

BarsnPipes Professional works with any CAMD-compatible synthesizer, sound module or application. Let's look at some standard ways to connect MIDI instruments to your Amiga computer.

=== The MIDI Interface ===

In order to use BarsnPipes Professional, you must first own a MIDI interface. The MIDI interface serves as a translator between your MIDI instrument(s) and your Amiga.

Before using BarsnPipes Professional, first connect your MIDI interface to your Amiga. It may connect to a sound board joystick port, or to USB.

=== MIDI Interface Ports ===

Most MIDI interfaces feature one MIDI in, one MIDI out, and possibly one MIDI thru port. The MIDI in and MIDI out ports are the most important aspects of a MIDI interface.

=== Multiple MIDI In Ports ===

CAMD supports any number of MIDI Inputs and Outputs. While it is possible to set the input and output individually for each track, you can (and should) set a default input and output that will be used as defaults for every track that does not have an input or output specified. These are set and saved from the Preferences/Environment window.

{{Note|title=Connecting MIDI Devices|text=
Connect the MIDI OUT from your interface to the MIDI IN on your synth or sound module. 
Connect the MIDI OUT from your keyboard or other instrument to MIDI IN on your interface.}}

If your MIDI gear has a USB port, CAMD may be able to access it directly by using the [http://os4depot.net/share/driver/misc/usbmidi.lha USB Driver]

(is the usb MIDI driver part of the OS??)

==A Quick Tour==

=== Introduction ===

Bars&Pipes Professional is an innovative composition environment with an extensive arsenal of features and options. Before exploring it in depth, let's take a quick tour!

{{Note|text=If you need help connecting your MIDI equipment to your Amiga, please read the previous chapter, Touring The MIDI Setup.}}

=== Running Bars&Pipes Professional ===

Before you run Bars&Pipes Professional, you must first install it. If you have not yet done so, please see Chapter 2, Installation.

==== Running From The Workbench Icon ====

You can run Bars&Pipes Professional from Workbench by double-clicking on its program icon.

Doing so opens Bars&Pipes Professional with an empty Song. Alternatively, you can double-click on a Bars&Pipes Song icon. Doing this opens Bars&Pipes Professional with the selected Song already loaded.

==== Running From A Shell ====

You can also run Bars&Pipes Professional from a shell. Make sure your stack size is at least 100,000 bytes when running the program this way.

=== The Default Screen Setup ===

When Bars&Pipes Professional first starts up, you'll see the Tracks window and a group of icons along the right side of the screen. These icons represent various unopened windows.

Double-click on any icon to open its associated window. Click on the close button in the top left corner of an open window to revert it to its associated icon.

=== The Tracks Window ===
[[File:Tracks.png]]

The Tracks window represents the heart and soul of Bars&Pipes Professional. It is where multi-track recording takes place. It is also the primary place for organizing the PipeLines and Tools which give Bars&Pipes Professional so much of its power and flexibility. Let's take a brief look:

=== The PipeLine ===
[[File:PipeLine.png]]

The Tracks window contains individual Tracks, into which you will record your music. These Tracks run from left to right in rows, with measure and beat lines drawn from top to bottom.

Starting from left to right, each Track contains the following components:

*The Track Name, which identifies a particular Track;
*The Input Selector box, or Input Arrow, which selects which Track(s) are to receive incoming music;
*The Input PipeLine, which holds Tools that process the music as it flows into the Sequencer;

{{Note|text=When first running Bars&Pipes Professional, you will most likely see a MIDI In Tool in the Input PipeLine. This acts as the source for the Track's PipeLine, and, hence, the Track. This is further explained in Chapter 6, Basic Recording.}}

*The Play/Merge/Record Selector, which displays a blue letter P while the Track is in Play mode, a red letter M while the Track is in Merge mode, and a red letter R while the Track is in Record Mode;
*The Sequencer area, which holds and displays the MIDI events, or Sequence, that make up the recording;
*The Thru/Play Only/Mute Selector, or faucet, which switches the Track between Thru, Play Only, and Mute modes;
*The Output PipeLine, which holds Tools such as the MIDI Out Tool that process the music as it flows out of the Sequencer; and
*The MIDI Channel Selector, or Output channel, which displays the MIDI channel over which the final MIDI Out Tool sends.

{{Note|text=This selector is used by the standard MIDI Out Tool. Non MIDI-specific output Tools, such as most Multi-Media Tools, do not need MIDI channels.}}

=== The Flags Area ===

Above the Tracks area is the Flags area.

Bars&Pipes Professional uses these flags to mark specific points in music time for certain operations, such as punch in and auto-locate. It also displays the current time signature and measure numbers in this area.

Bars&Pipes Professional displays twelve Flag icons across the top of the Tracks. You can grab these with the mouse and drag them from left to right. Use the Flags to set positions in your music for editing, recording, looping, and more.

A Flag appearing during the displayed section has an attached vertical stem intersecting all of the Tracks. If you've placed the Flag in a measure which precedes the displayed section, it appears on the left side of the Sequencer. If you've placed it in a measure that follows the displayed section, it appears on the right.

To relocate a Flag, first scroll the Sequencer so that the desired location shows in the Sequencer. Then drag the Flag to its position. To move a Flag to the beginning of the Song, drag it all the way to the left side of the screen. To move it to the end of the Song, drag it all the way to the right. Flags snap to the alignment specified in the Align with... option in the Preferences menu.

The following Flags are found in the Flags area:

* The Position Marker Flag or Song Position Flag (the red triangle with the blue border) which shows the current position in your Song;

{{Note|text=If you press the Play button, your Song starts at this point.}}

* The two Edit Flags (solid purple triangles), which determine the part of your Song that is affected by Cut, Paste, and other editing operations;
The Auto-Locate Flags (blue rectangles marked M1 through M4), which mark important points in your composition;

{{Note|text=You can immediately move to these points by using the corresponding M1 through M4 buttons in the Transport Controls window.}}

* The Punch In and Punch Out flags (yellow rectangles marked IN and OUT), which allow you to record over a restricted part of your Song;
* The Loop Flags (red rectangles containing curved lines with arrows), which mark sections for use with Loop-Mode editing and the Loop Tool; and
* The Stop Sign (the red hexagon with the white border), which marks the point at which Bars&Pipes Professional is to stop playback.

{{Note|text=This feature is useful when you want to sit back and listen to part of a Song while you're away from the keyboard, or if you're performing live or recording a sequence to tape and want the Song to stop upon completion.}}

=== Control Buttons ===

The Tracks Window's control buttons are above the Flags area.

From left to right are the following buttons:

* The Solo button, which both chooses and displays whether the highlighted Track is soloed, muted, or neither;
* The ToolPad, which holds up to sixteen Tools to be used with the Toolize feature;
* The Group selector buttons, which identify combinations of Tracks;
* The Group button, which determines if clicking on a Track adds to a group or not;
* The Up/Down arrows, which move the highlighted Track up or down in the list of Tracks;
* The Tempo button, which chooses and displays the current tempo;
* The Start button, which starts the Sequencer from the beginning of your composition;
* The Play button, which starts the Sequencer from the current Song position, denoted by the red and blue triangular Song Position Flag, found in the Flags Area;
* The Rewind button, which moves the Song Position Flag to the left, toward the beginning of the piece;
* The Fast Forward button, which moves the Song Position Flag to the right, toward the end;
* The Measure display, which shows the measure number in which the Song Position Flag currently resides; and
* The Record button, which chooses and displays whether the Sequencer is in record or playback mode.
* Sizing And Scrolling The Tracks

Use the scroll bar and arrows on the right side of the Tracks window to scroll through the Tracks, in order to view those which don't fit in the display.

At the bottom of the Tracks window, you'll find a set of scroll bars, single arrows, and double arrows. Use the scroll bar and single arrows to search forward and backward. For example, to scroll the Track names from left to right, use the scroll bar and single arrows below the list of Track names.

Use the double arrows to resize sections of the display by dragging the arrows from left to right. With the double arrows, you can resize your display to show only what you want to view.

{{Note|text=You can control how much space is available by using different screen resolutions. Lower resolutions like 800X600 will make everything large and easy to read, while higher resolutions will provides plenty of room for additional Tracks.}}

=== The Main Menu ===

As you may know, in the Amiga's windowing environment each window can have a different menu. Some of the windows in Bars&Pipes Professional do have their own menus, however, most share one menu, the Main menu.

To access the Main menu, click on the Tracks window or the background with the left mouse button. Then, to select one of the Main menu options, click and hold the right mouse button, while moving the mouse pointer to your desired selection.

=== Window Icons and the Windows Menu ===

Several windows in Bars&Pipes Professional are accessible from both icons, located at the right side of the screen, and menu commands, located in the Windows menu found in the Main menu set.

==== Window Icons ====

To the right of the Tracks window, you'll see a column of icons. These icons represent various windows. Double-clicking on an icon opens the window, while clicking on the close gadget of a window turns it back into an icon.

{{Note|text=The Tracks window itself can be closed and turned into an icon. To do so, click on the close gadget in the upper left hand corner of the Tracks window. The close gadget looks like a square with a smaller square inside of it. Notice that the Tracks window turns into an icon of railroad Tracks. Double-click on the Tracks icon to reopen the window.}}

==== The Windows Menu ====

Each window can also be accessed from the Windows menu in the Main menu. This includes many additional windows that do not have icons. Let's take a quick tour of all the windows in the Windows menu. As we do this, we'll get a quick glimpse of the various capabilities of Bars&Pipes Professional. Open each window by selecting it in the Windows menu. If a window has an Icon, notice that the icon disappears. Close the window by clicking on its close button (top left.) You might also experiment with double-clicking on the window icons to become familiar with each.

; Accessories
: Accessories are separate modules that add new features to Bars&Pipes Professional. Use the Accessories window to install, use and remove your Accessories. The Accessory window may also be opened by double-clicking on its icon.

; ClipBoard
: When the ClipBoard window is open, cut copy and paste editing operations store and retrieve from it. Use this to move music around between different parts of the program. The ClipBoard window may also be opened by double-clicking on its icon.

; Define...
: You can define your own Scales, Chords, Rhythms, and Patch Lists using the four Define windows opened from the submenu.

; Edit PadTool Controls
: If you have a Tool in the ToolPad, the Edit PadTool Controls command opens the Control window for that Tool.

; Icons
: The Icons window allows you to keep all of the window icons in their own separate window. Opening the Icons window automatically collects the window icons and places them inside the Icons window. Closing the Icons window causes the window Icons to return to their previous positions.

; Information
: The Information window provides useful information about the state of your project and computer. The Information window may also be opened by double-clicking on its icon.

; Master Parameters
: The Master Parameters window accesses a special master Track where you may set up global Time Signature, Lyrics, Scales, Chords, Dynamics, and Rhythm changes. The Master Parameters window may also be opened by double-clicking on its icon.

; Media Madness
: The Media Madness window brings multi-media production to Bars&Pipes Professional. With this window, you can place Multi-Media Tools in each Track, and edit a complete Multi-Media presentation. The Media Madness window can also be opened by double-clicking on its icon.

; Metronome
: Use the Metronome window to set up your metronome click - internal Amiga audio, MIDI or visual. The Metronome can also be opened by double-clicking on its icon.

; Mini Transport
: The Mini Transport window provides a subset of the main Transport Controls window (see below.) It's designed to be small and innocuous. You can open it from anywhere simply by pressing the 'M' key on your keyboard.

; Mix Maestro
: Use Mix Maestro to do a complete automated mixdown of your performance. Mix Maestro provides a volume slider and pan pot for each Track. As the Song plays, drag the slider to lower or raise the volume and turn the knob to rotate the sound left or right. Mix Maestro memorizes your moves and plays them back faithfully. The Mix Maestro window can also be opened by double-clicking on its icon.

; Record Activation
: By default, when Bars&Pipes Professional's Sequencer records into a Track, it erases all MIDI event types (note, pitch bend, etc.) and replaces them with the new. However, with the Record Activation window you can tell the Sequencer to ignore specific MIDI types. For example, you can set it to record over pitch bend while leaving notes intact. The Record Activation window may also be opened by double-clicking on its icon.

; Set Flags
: The Set Flags window allows you to position any Flag in the Track's window by typing in the location you want for the Flag, either in music or SMPTE time. Open the Set Flags window by choosing Set Flags from the Main menu's Windows menu, or double-click on the Set Flags icon.

: To determine music time or SMPTE time, click on the SMPTE/Music Time button. To change the Flag, click on the numbers to the right of the Flag representation.

; Song Construction
: Edit your music at the highest level with the Song Construction window. Create, drag, duplicate and erase everything from individual measures to entire sections. The Song Construction window can also be opened by double-clicking on its icon.

; Tempo Map
: Use the Tempo Map window to create a graphical Tempo Map for your performance. With a Tempo Map, you can tell Bars&Pipes Professional when to speed up and slow down as it plays your music. The Tempo Map window can also be opened by double-clicking on its icon.

; Tempo Palette
: You may set four preset Tempos in the Tempo Palette window, and then switch instantly to anyone at any time. The Tempo Palette can also be opened by double-clicking on its icon.

; Time Line Scoring
: Connect several Songs into one performance on a SMPTE time line using the Time Line Scoring window. This is useful for laying out an extended piece where different Songs occur at different times. The Time Line Scoring window can also be opened by double-clicking on its icon.

; ToolBox
: The ToolBox window displays several rows of square icons. These represent Tools. Each Tool can be placed in a Track's PipeLine where it performs a specific task to the MIDI music as it flows through the pipe. To place a Tool in a PipeLine, click on the Tool with the left mouse button, and, while holding the button down, drag the Tool to the destination Track's PipeLine. Although the ToolBox displays a palette of available Tools, you may install more Tools, create your own Tools, as well as remove Tools from Bars&Pipes Professional, thereby changing the collection of available Tools in the ToolBox. The ToolBox can also be opened by double-clicking on its icon.

; Tracks
: This command opens the main Tracks window, which is also accessed by double-clicking on its icon.

; Transport
: This window provides the complete set of commands to control the movement of Bars&Pipes Professional's Sequencer. Notice that the Transport window duplicates many of the commands found in the top of the Tracks window as well as all the commands in the Mini Transport. You may click on identical buttons to achieve identical results. The Transport Controls window displays the current time in music time (Measures, Beats and Clocks) as well as SMPTE time (Hours, Minutes, Seconds and Frames.) It also adds additional buttons for using the Punch and Loop Flags as well as setting and using all of the Flags. The Transport window can also be opened by double-clicking on its icon.

==Playing a Demo Song File==

Chapter 5

=== Getting Ready to Play ===

In this chapter, we'll play one of the demo Songs provided on your Bars&Pipes Professional disk. Before we play the Songfile, however, let's make sure that Bars&Pipes Professional is set up properly.

{{Note|text=Make sure that your MIDI equipment is setup properly.}}

==== The MIDI Out And Quick Patch Tools ====

The MIDI Out Tool must be loaded in order for Bars&Pipes Professional to play music via a standard MIDI interface. The MIDI Out Tool's job is to send notes out of the Sequencer to your MIDI instrument.

When you first run Bars&Pipes Professional, you should see a MIDI Out Tool at the end of each and every PipeLine, unless you've set up your environment differently (more on this later).

{{Note|text=You'll probably also see the MIDI In Tool at the beginning of each PipeLine. We won't need the MIDI In Tool until we're ready to record MIDI In the next chapter. It doesn't hurt to have it in the PipeLine, though.}}

We also recommend using the Quick Patch Tool when playing a Songfile.

The Quick Patch Tool allows you to easily change patches, or sounds, on your MIDI instrument.

The demo Songfiles provided with Bars&Pipes Professional already contain this Tool in their PipeLines. Please refer to the Tools chapter of this manual for more information on the Quick Patch Tool.

==== Installing The MIDI Out And Quick Patch Tools ====

If you don't see the MIDI Out Tool at the end of every PipeLine, open your ToolBox by either double-clicking on the ToolBox icon, or choosing ToolBox from the Windows menu.

Do you see the MIDI Out Tool in the ToolBox? You can click down on the Question Mark button to bring up a pop-up list of Tool names. Is the MIDI Out Tool listed?

If not, you need to install the MIDI Out Tool. Follow these steps to load the MIDI Out Tool:

# If the ToolBox window isn't open, open the ToolBox.
# With the ToolBox window still active, use the right mouse button to access the ToolBox menu and select Install Tool....
#A file requester will appear. You should see a list of Tool names. If not, there should be a Tools directory in the Bars&Pipes Professional directory. Direct the file requester to this directory to find all of the Tools.
#Once inside the Tools directory, find the MIDI Out Tool. Click on MIDI Out once and select Load, or just double-click on MIDI Out.

The MIDI Out Tool will appear in your ToolBox. From now on each time you run Bars&Pipes Professional, it will automatically load the MIDI Out Tool into the ToolBox. You won't have to perform these steps again unless you Remove the Tool from your ToolBox.

{{Note|text=Bars&Pipes Professional keeps Track of which Tools are in the ToolBox by a text file called Tools. This file resides in either your S: directory on your WorkBench disk or System partition, or, if the directory "Support" exists in your Bars&Pipes Professional directory, in the Support directory.}}

As you did with the MIDI Out Tool, look in the ToolBox for the Quick Patch Tool. If it isn't in your ToolBox, install it as you did the MIDI Out Tool.

=== The Song Menu ===

The Song menu is the first menu in the Main menu set. Activate the Tracks window by clicking within it to access the Main menu set.

Although we won't be using most its commands right away, now is a good time to introduce the Song. The Song menu contains commands that create, load, and save entire compositions, as well as exit Bars&Pipes Professional. The Song menu commands are:

; New
: The New command begins a new composition. If you have made any changes to the current composition, Bars&Pipes Professional will ask if you'd like to save them before closing. Choosing Yes saves the current Song, while choosing No disregards any changes you have made since the last save. Choosing Cancel cancels the New operation and returns you to the current Song.

: If a 'New.Song' files exists, Bars&Pipes Professional loads it. Otherwise, Bars&Pipes Professional create its own default blank Song.

{{Note|text=Use the Save As Default command {see below) to create and update the 'New.Song' file.}}

; Load...
: The Load... command loads a previously saved Song. If the Song's Tracks, ToolTrays, or ToolPad contain Tools that aren't loaded in the ToolBox, Bars&Pipes Professional attempts to load the missing Tools. If Bars&Pipes Professional can't find a Tool, a requester appears to give you the opportunity to load the Tool manually.

; Revert
: The Revert command returns the Song to its condition at the most recent save, by loading the last Song saved to disk. Think of Revert as a powerful Undo command. At regular intervals during the composition process, save your Song with the Save command. Then, if you make a mistake, you can use the Revert command to return to an earlier version of your Song.

; Save As...
: The Save As... command either saves your Song for the first time or saves it as a different file name. When you select this command, a file requester opens, which enables you to create a new file or to select an old one to overwrite. Once you save a Song with the Save As... command, Bars&Pipes Professional recognizes the file name. From then on, you can use the Save command instead.

; Save
: The Save command saves your Song to disk. This command works only if a file has been previously saved or loaded from disk. Once you load a Song or save it with the Save As... command, you can use the Save command without bothering with the file requester.

; Save As Default
: The Save as Default command saves the current Song as the default Song. Whenever you run Bars&Pipes Professional, this Song automatically loads as your initial blank Song. Also, whenever you choose New from the Song menu, this Song loads as the initial template.

; Print
: The Print command prints your Song. When you select Print, Bars&Pipes Professional opens the Print requester that allows you to print the entire score. (Please refer to Chapter 11, Printing Notation)

; Title/Author
: The Title/ Author command opens a requester into which you can enter the Song's title and author.

; Length...
: The Length... command sets the overall length of your Song. Bars&Pipes Professional sets all of its scroll bars to accommodate the new length.

; Disable/Enable MIDI
: When MIDI is enabled, the Disable/Enable command displays as "Disable MIDI" in the Song menu. When you select Disable MIDI, Bars&Pipes Professional disconnects the MIDI In Tool from the Amiga's internal serial port, so that another program can access the port. When MIDI is disabled, this command displays as "Enable MIDI" in the Song menu. Choose Enable MIDI to reconnect the MIDI In Tool.

; Propagate
: The Propagate command, in conjunction with the Song Construction window's A-B-A feature, copies changes made to the first instance of each section to all other instances of those sections. The Propagate command is ghosted if the A-B-A feature has not been utilized.

; About
: The About command brings up a requester with version and copyright information.

; Quit
: The Quit command exits Bars&Pipes Professional and returns to Workbench. Bars&Pipes Professional will ask you if you'd like to save your file before exiting.

=== Loading an Example Song ===

Let's load the Brandenburg Demo and play it.

# Select Load... from the Song menu. The file requester appears.
# Find the Song titled "Brandenburg Demo". It's in the Example Songs directory.
# Load the Song by either double-clicking on its file name, or clicking once on its file name and selecting Load. Bars&Pipes Professional loads the Song.
# Notice that the Tracks window displays seven Tracks. The Track names correspond to the name of the instrument that each Track plays.

{{Note|text=If you can't find the Song menu, it is probably because another window's menus are active. Click on the Tracks window to activate the Main menu set.}}

Look at the Output PipeLine of each Track:

You'll see the Quick Patch Tool, followed by the MIDI Out Tool, followed by the MIDI Channel number.

=== Setting Your MIDI Channel Numbers ===

On the far right of each Track, notice a blue number denoting the MIDI Channel number for the Track. This number tells Bars&Pipes Professional though which MIDI Channel to play the Track.

The Brandenburg Demo performs on MIDI Channels one through seven; each Track is associate with a different MIDI channel. The result is a multi-timbral performance, since each Track plays with a different sound, or timbre.

{{Note|text=Please check your synthesizer manual to make sure that it is capable of playing multi-timbrally and receiving on these seven MIDI channels simultaneously. Also, please refer to the chapter "Touring the MIDI Setup" for more information on MIDI channels and MIDI synthesizers.}}

If your synthesizer isn't able to play multi-timbrally, all seven Tracks will sound like the same instrument. If your synthesizer can play multi-timbrally, but can't receive on MIDI channels one through seven simultaneously, you'll need to change the MIDI channel number for each Track:

To change a Track's MIDI channel, click on the MIDI channel number. A pop-up grid appears. Highlight the MIDI channel on which you want the Track to output MIDI, and then lift the mouse button.

=== Selecting Your Patch Changes ===

The Quick Patch Tools at the end of each Track send out Program Changes, or patches, to your MIDI instrument. These patches set up your synthesizer to play the correct sound on each MIDI channel. Each Quick Patch Tool in the Brandenburg Demo ia configured to send patch changes that will sound correct on General MIDI instruments.

If your synthesizer or sound modules supports the General MIDI patch list, then skip to the next section, Playing the Songfile.

If your synthesizer isn't set up to play General MIDI patches, the Brandenburg Demo might sound funny. To make it sound better, you'll need to change the patch numbers in the Quick Patch Tool. To do so, double-click on the Quick Patch Tool in one of the Tracks.

The Control window for the Quick Patch Tool opens:

As with all Tools, each Quick Patch Tool has its own Control window, so that you can set up different patches for each one. Drag the slider to change instruments and Quick Patch plays test notes so you can hear how each instrument sounds.

Above the slider, Quick Patch displays the name of the currently selected patch. This name is only valid for a General MIDI synthesizer. If you have a different configuration, you can change the names in the Patch List by using the Define Patch List window.

{{Note|text=We'll learn about defining Patch Lists later. For now, don't worry, just drag the slider until you get an appropriate sound.}}

Once you've selected the instrument of your choice, close the Control window to get it out of the way, or leave it open in case you'd like to continue trying different instruments while the music plays.

At this point, you may have a few questions:

* What if more than one Track is set to the same MIDI channel? If that's the case, will both Tracks play?
* And, if there is a Quick Patch Tool on every Track, which patch will be selected for that MIDI channel?
Good questions!

First of all, Bars&Pipes Professional plays both Tracks. They'll be performed by the same instrument, since they share the same MIDI Channel.

Second, only one Quick Patch Tool can determine what instrument your synthesizer will use. Since Bars&Pipes Professional performs the Tracks in order from top to bottom, the Quick Patch on Track 2 will override the Quick Patch one Track 1.

{{Note|text=Remember, we're referring to two Tracks that share the same MIDI channel number. Quick Patch will not override any other Tracks.}}

=== Playing the Songfile ===

If you've followed along from the beginning of this chapter, loaded the Brandenburg Demo, and set channel numbers and the Quick Patch Tool for each Track, then it's time to hear the Brandenburg Demo!

To start the sequence from the beginning, click on the Start button (blue square followed by a triangle) at the top of the Tracks window or in the Transport Control window:

Another way to start the sequence from the beginning is to press the 0 (zero) key on your numeric keypad.

You should hear your synthesizer playing the music. Notice a blue vertical line scrolling across the Tracks in the Tracks window. This is the Song Position Line.

NOTE-> As the Song Position line passes over the beginning of a note, that note sounds. As it passes over the end of a note, that note becomes silent.

If your synthesizer does not play, check your cables, amplifier, and MIDI interface. Refer to Chapter 3, Touring The MIDI Setup if you need more help. Also, review the beginning of this chapter to make sure that you didn't miss a crucial step.

=== Saving Your Changes ===

If you've made any changes to the Brandenburg Demo, for example the MIDI channel numbers or the Quick Patch settings, you should save the Brandenburg Demo so that it will play the same way next time.

Select the Save command from the Song menu. This tells Bars&Pipes Professional to update the Brandenburg Demo with your new changes.

==Recording==
Chapter 6

Recording Checklist

Before we begin recording, let's make sure that everything is ready to go.

Select The New Song Command

Select New from the Song menu. This command clears the Tracks and PipeLines of all data and Tools, except the MIDI In and MIDI Out Tools.

NOTE-> You can set Bars&Pipes Professional to load a custom environment whenever you select the New menu option. Simply set the Tracks and Tools the way you'd like them to be when you need a fresh slate, then select the Save As Default menu command from the Song menu.

Verify The MIDI In Tool

The MIDI In Tool absolutely must be installed in order to record from a MIDI source. The MIDI In Tool can only be placed at the beginning of the Input PipeLine:

It's the MIDI In Tool's job to listen to the MIDI In port, and send the MIDI data down the PipeLine to be processed by other Tools and recorded in the Sequencer. If you don't see a MIDI In Tool at the input of each Track, load it in just like you did with the MIDI Out Tool in the last chapter.

Configure The Metronome

The Metronome provides a solid reference click to help you keep time while recording. It can also give you a count-down click for a few measures before recording, so that you have time to prepare. If you'd like, the Metronome can also click during playback.

You can set Bars&Pipes Professional's Metronome to play out of the Amiga's internal sounds, flash the screen, and/or play out of your MIDI instrument.

To open the Metronome window, double-click on the Metronome icon or select Metronome from the Windows menu. Like all Bars&Pipes Professional windows, you may leave this window open and change its parameters as the music plays.

Please refer to Chapter 15, The Metronome, for further details.

Set Your Keyboard's Local On/Off Switch

If you have a single keyboard connected to your computer, so that MIDI Out of the keyboard is connected to the MIDI In on the computer and MIDI Out on the computer is connected to the MIDI in on the keyboard, you may want to use the keyboard's "local off" feature.

Many keyboards support a local on/off switch. Here's why:

When the local setting is switched on, the sound producing hardware of your keyboard performs as soon as you press a piano key. Meanwhile, the keyboard also sends a MIDI note command down the MIDI cable. This can create a problem when the keyboard is connected to a computer. The computer receives the MIDI note, then sends it back to the keyboard via the second MIDI cable. Unfortunately, this tells the keyboard to play the same note a second time, stacked on top of the first.

When local is switched off, the sound producing hardware in your keyboard only responds to MIDI notes coming from the computer. It doesn't make a sound when you press a key. However, it still sends the note via MIDI to your computer which sends the note back via the second MIDI cable into the sound producing hardware which can now respond.

Test Run

Click on the Input Selector of Track 2.

The Input Selector is the grey box to the right of the Track name. A red arrow should appear in the box. This indicates that all MIDI input should flow down Track 2.

NOTE-> If the red arrow doesn't appear, you probably don't have the MIDI In Tool Installed in Track 2.

With your keyboard's local setting on, play a key. If your keyboard is multi-timbral, and is set up to receive on MIDI channe1 2, and MIDI channel 2 is set up to play a different patch than MIDI channel 1, you should hear two distinct sounds simultaneously.

This is because your keyboard's sound producing hardware is receiving the command to play from two sources. One, pressing a key on your keyboard tells your sound hardware to play on MIDI channel 1. Two, the MIDI information sent out of the MIDI out, goes through Bars&Pipes Professional's Track 2, and returns to the sound producing hardware on MIDI channel 2.

Now, turn your keyboard's local off and play a key. You'll only hear the MIDI channel 2 patch. This is because the sound producing hardware is only receiving the command to play from MIDI, and not directly from the key press itself.

When recording or overdubbing multi-timbrally, it is best to set your keyboard's local off.

Recording Two Tracks

Although Bars&Pipes Professional is a sophisticated music environment, you'll find that you can accomplish wondrous things simply by recording a few Tracks. Let's walk through the steps of the recording process:

Step One: Turn On The Metronome

If you haven't already done so, turn on the Metronome from the Metronome window. If you record with the Metronome, you'll find it much easier to edit your music later on, because the notes will line up properly with the measures and beats.

Test the Metronome by clicking on the Play button.

You should hear the metronome's click. If not, please refer to the Metronome chapter to learn how to set up Bars&Pipes Professional's metronome.

Step Two: Set The Tempo

While testing the Metronome, click on the Tempo display in the Tracks or Transport window and drag it with the mouse.

Drag up to increase the tempo, drag down to decrease the tempo. You can also click once in the top half of the tempo button to increase the tempo by one or click once in the bottom half of the button to decrease by one. Once you've settled on a comfortable tempo, click on the Stop button.

* TIP * You may also set the tempo with the Tempo Tap Tool. Please refer to the Music Tools chapter for more Information.

Step Three: Activate The Input Selector

Click on the Input Selector for the Track you want to record. The Input Selectors are the gray boxes in front of the MIDI In Tools.

When you click on the Input Selector, a red arrow appears.

If the red arrow doesn't appear, you'll need to load in the MIDI In Tool and select New from the Song menu.

Step Four: Set The Track's Record/Play/Merge Selector

Click on the Track's Record/Play /Merge Select button until it displays a red "R", to put the Track in Record mode.

A red "R" indicates that it is in Record mode. A blue "P" indicates Play mode, while a red "M" indicates merge mode.

Step Five: Place The Track In Thru Mode

By default, Bars&Pipes Professional places each Track in Thru Mode. To switch among Thru, Mute, and Play Only, click on the faucet to the right of the Sequencer display.

When a Track is in Thru mode (depicted by a faucet with two connections on the left) you can hear notes played via your MIDI sound module or keyboard as you play them into the Sequencer.

When a Track is in Play Only mode, notes input from the keyboard can't be heard.

* TIP * If you are using only one keyboard and it does not support Local Off, you might want to record with the faucets in Play Only instead of Thru mode.

Step Six: Select The Output Channel

Depending on which MIDI instrument you use, set the Output Channel so that the synthesizer or device responds with the proper instrument.

The Output Channel selector is to the right of the Output PipeLine:

To select the Output Channel, click down with the mouse and drag it to the desired channel number in the pop-up menu.

NOTE-> The MIDI Out Tool must be the last Tool in the PipeLine; otherwise, the notes wont be sent out the MIDI cable.

Test your selection by playing a note on your MIDI keyboard. Notes enter the MIDI Tool on the left side of the PipeLine, pass through the Sequencer, and exit the MIDI Out Tool direct to the instrument indicated by the selected Output Channel.

* TIP * Make sure that you're thoroughly familiar with how to operate your MIDI synthesizer in particular, how to set the MIDI channels for receiving.

Step Seven: Put The Sequencer In Record

Click on the Record button in the Transport Controls window or at the top of the Tracks window to activate the Sequencer Record mechanism.

* TIP * You can use the "R" key on your Amlga keyboard to toggle in and out of Sequencer Record mode.

In Sequencer Record mode, all Tracks that have their Record Select buttons set to "R" record the MIDI music flowing in their Input PipeLines, replacing whatever was there previously. Tracks set to P continue to perform, without recording. Tracks set to M play while recording, merging the new performance with the previous material already in the Track.

It is important to understand the distinction between the Sequencer Record and Track Record modes: When you click on the Record button at the top of the Tracks window, Bars&Pipes Professional enters Sequencer Record mode. Only then can a Track in Track Record mode be overwritten. Otherwise, it simply acts as if it were in Play mode.

When you start Bars&Pipes Professional with either the Start or Play buttons after activating Record mode, Bars&Pipes Professional records MIDI data into the Tracks in Track Record or Merge modes.

This two-step operation is analogous to pressing the Record and Play buttons simultaneously on a hardware multi-track recorder.

NOTE-> Track Record mode allows you to determine which Tracks actually record MIDI data. Only tracks with their R/P/M selectors set to Record or Merge modes actually record when Bars&Pipes Professional Is put Into sequencer record mode. This feature allows you to determine which Tracks actually record MIDI data and which Tracks only play back.

Understanding the relationship between the Track Record mode and the Input Selector is important. Please keep in mind the following points:

The Input Selector indicates which Track is currently selected for keyboard input.
The Input Selector must be set to the same Track on which you want to record, and that Track must be placed in Track Record mode.
If you first set the Input Selector for a given Track, and then set that same Track to Track Record mode, changing the Input Selector to another Track also changes the new Track to Track Record mode, and cancels Track Record mode in the previous Track.
It's a good idea to get into the habit of selecting your options in the Tracks Window from left to right, since Bars&Pipes Professional was designed from the ground up to present you with all information logically as it would be encountered if you were viewing a flow chart.
Step Eight: Start Recording

To begin recording, click on the Start button.

* TIP * You can also use the Insert key on the numeric keypad on your Amlga keyboard. The Insert key is the same as the zero (0) key.

When you are finished recording, click on the Stop button or press the Enter key on the numeric keypad on your Amiga keyboard.

NOTE-> Notice that the Sequencer Record button turns off, but the Track Record button stays on. This is a safety feature. It enables you to Immediately review your recording without fear of erasing it.

Step Nine: View The Recording

When you stop recording, Bars&Pipes Professional redraws the Sequencer display with the current measure in the center and the Song Position Flag over it. It displays notes as blue lines in selected Tracks and as yellow lines in unselected Tracks.

To view an earlier section, drag the scroll bar below the Sequence section of the Tracks to the left, or to scroll one measure at a time, click on the left arrow.

To view a later section, drag the scroll bar to the right or click on the right arrow.

Step Ten: Play The Recording

Because the Sequencer Record button is no longer activated, you can safely play back your recording even though the Track is still in Record mode. Tracks in Record mode will not record or be erased if the Sequencer is in Sequencer Play mode.

NOTE-> If you have trouble with playback, refer to the previous chapter, Playing A Demo Songfile.

To play from the beginning, click on the Start button or press the Insert key on the numeric keypad on your Amiga keyboard.

To play from the current Song position, click on the Play button or use the Enter key on the numeric keypad on your Amiga keyboard.

You can also use the Start and Play buttons in a similar fashion when Bars&Pipes Professional is in Sequencer Record mode, in order to record from the beginning of the composition or from the current Song position, respectively.

If you are dissatisfied with what you hear, you can record a second time by clicking on Sequencer Record, then clicking on Start.

Step Eleven: Record A Second Track

Once you are finished with your first Track, click on the Input Selector of another Track to record. The "R" in the first Track should change to a "P" to indicate Play mode, while the "P" in the new Track should change to "R" to indicate Record mode.

{{Note|text=This may not happen if the first Track's Input Selector was not selected. You can change the "R" to a "P" In the first Track and the "P" to an "R" In the second Track manually in this case. Just click on the button.}}

Click on the Record button in the Transport Controls, then click on Start. Your first Track starts to play. Play along with it as the Sequencer records your performance on the second Track.

When you are finished recording, click on the Stop button and take the second Track out of Track Record mode. Next, click on the Start button to play both Tracks from the beginning.

You have now accomplished basic multi-track recording.

Step Twelve: Save Your Song

Now that you've composed some music, let's save it to disk.

Select Save As from the Song menu. Point the File Requester to the appropriate directory where you want to save your Song. Then enter a name for your Song and hit return, or click on the Save button.

Advanced Recording Topics

The rest of this chapter covers more sophisticated aspects of recording that you may not need initially but will appreciate as time goes by. Feel free to skim these topics and check back when the need warrants.

Multiple In Recording

There are times that you need to record multiple MIDI channels simultaneously. For instance, you might want to simultaneously record yourself on one Track and someone else on another Track. Or, you might want to transfer several Tracks from another MIDI Sequencer into Bars&Pipes Professional.

In either case, choose Multiple In from the Main menu's Preference menu. This turns the Input Selectors on each Track into MIDI channel selectors. Click on these selectors to choose which MIDI channel should enter into each Track. Now all Tracks act as inputs but each Track only receives MIDI events set for its particular channel.

When Multiple In isn't selected, all events, regardless of MIDI channel, are sent to the Track with the active Input Selector.

Manual Punching In And Out

Suppose you record a Track and discover one section that needs to be fixed. It would be a waste to record the entire Track just to get one phrase right. Bars&Pipes Professional solves this by letting you enter and leave record mode on the fly. This is called "punching in" and "punching out". Punch In switches Bars&Pipes Professional from playback to recording, Punch Out switches back to playback.

To switch from playback to record (punch in) at any point while the Song is playing, click on the Record button in the Transport controls. At this point, the music playing on all Tracks that are currently in record mode stops and the Tracks start recording. Switch back to playback (punch out) by clicking again on the Record button and the Tracks resume playing. You can continue to punch in and out as many times as is necessary. When you finally stop the performance and play it again from the top, all of the "punched" sections are erased and replaced with the new recording.

Automatic Punching In And Out

Manual punching in and out has its limitations. If you are working alone, you'd need two arms to play and a third to punch in and out. Bars&Pipes Professional provides that third arm with the Punch In and Punch Out Flags.

Bars&Pipes Professional's Punch In and Out Flags automatically switch the Sequencer in and out of Record mode at preset locations.

To use the Punch In and Out Flags, move them to the boundaries of the section you'd like to record.

To move a Flag, first drag the scroll bar at the bottom to display the desired section, then drag the flag itself to the desired location.

* TIP * You can also set flags directly with the Set Flags window, accessed from the Windows menu.

When you drag flags, Bars&Pipes Professional aligns them with time boundaries. Set the alignment with the Alignment option in the Preferences menu.

Once you've positioned the Flags, click on the Punch In/Out button in the Transport Controls window. (Open the Transport Controls window by double-clicking on its icon, or choosing Transport from the Windows menu.)

Doing so activates the Punch In and Out and sets the Sequencer to start four measures before the Punch In point.

If you'd rather start elsewhere, use the Rewind, Fast Forward, or Auto-Locate buttons to relocate the Position Marker after clicking on the Punch In/Out button.

After you've positioned the Flags, start the Sequencer. At the Punch In point; the Sequencer Record button automatically depresses and all Tracks in Track Record mode switch from playback to recording. At the Punch Out point, these same Track revert to playback.

* TIP * Double-clicking on the Punch In/Out button both moves the Song Position marker back four measures and starts the Sequencer automatically.

To Punch In only, drag the Punch Out flag to the far right, which places it at the end of the Song. To Punch Out only, drag the Punch In Flag all the way to the left, which places it the beginning of the Song's first measure.

If you select the Clean Cuts command in the Preferences menu, Bars&Pipes Professional will start recording at the Punch In flag. Any notes that were started in the measure prior to the Punch In flag will be truncated. Notes that end after the Punch Out flag will be truncated, as well.

If you do not select the Clean Cuts command in the Preferences menu, notes that you play before the Punch In flag will not be truncated or recorded at all in the Punch area. Notes that you hold past the Punch Out flag will not be cut off at the Punch Out flag.

Merge Recording

When you place a Track into Merge mode instead of Record mode, newly recorded events will be merged with the current contents of the Track.

Merge mode is designated by a red "M" in the Track.

Unlike Record mode, Merge mode does not erase the MIDI events that are already in the Track. Instead, it mixes the existing notes with the newly recorded MIDI events. Merge mode may also be used with the Punch In/Out function.

Loop Recording

The Loop button in the Transport Controls activates the Loop Mode recording function.

With Loop Mode, you can record one section of your Track over and over. Use the Loop Mode button in conjunction with the Loop Flags.

Position the Loop Flags on the boundaries of the section you'd like to loop. Then click on the Loop button, which in turn opens the Loop Record requester. Bars&Pipes Professional automatically places the Song Position Marker at the start of the looped section and activates the Sequencer Record button.

To begin recording, click on the Play button in the Loop Record requester. Bars&Pipes Professional plays the section marked by the Loop Flags eight times. This gives you eight opportunities to record in the looped section.

When the eighth loop finishes playing, or when you've clicked on the Stop button in the Loop Record Requester, another requester opens. This, the Loop Choice or Select A Section requester, allows you to choose which of the eight repetitions to keep. If you change your mind, select Cancel to abort the Loop Recording process.

The Loop Choice requester represents the eight versions recorded during Loop Mode by buttons numbered one through eight. Click on each number to hear its particular version. When you settle on a choice, click Okay to accept it. Bars&Pipes Professional retains only the selected version, discarding the other seven versions. If you are unhappy with all eight versions, select Cancel to discard all of them.

* TIP * For a different kind of loop recording, please read about the Pattern Tool in Chapter 27.

The Record Activation Window

The Record Activation window allows you to globally filter MIDI events when recording with MIDI In Tools. Furthermore, prerecorded MIDI events can be selectively left alone while others are recorded on top of them.

Open the Record Activation window by choosing the Record Activation option in the Main menu's Windows menu. A window similar to a MIDI In Tool's Control window opens.

Highlight the MIDI Events you want to record, and deactivate the MIDI Events you want to ignore. Events appearing in red are recorded, while unhighlighted events appearing in blue are filtered out.

Bars&Pipes Professional will remove filtered events before they enter the Sequencer. It will not, however, remove existing events of the same type that have previously been recorded into the Track.

Here's a quick example: Let's assume that you have recorded a sequence on Track 4 that includes pitch bends and control changes. If you want to rerecord the notes on the Track, but leave the pitch bends and control changes intact, choose to ignore (deactivate) Pitch Bend and Control Change in the Record Activation window. When you rerecord Track 4, the new notes will be recorded, while the pitch bends and control changes will be left alone.

Stuck Notes

If you experience stuck, or "hung", notes, click on the Stop button in the Transport Controls window. This sends the MIDI All Notes Off command through all Tracks to each Track output. As a result, most MIDI instruments turn off their voices.

Clogged Pipeline

It is possible to create a "logjam" in the PipeLines. For example, if MIDI enters and exits the same PipeLine, and the MIDI synthesizer returns the notes it receives to Bars&Pipes Professional, a feedback loop results.

At this point, none of the Transport Controls are operable. If this "logjam" occurs, press the Escape key on your Amiga keyboard. You may need to press Escape several times to completely clear the PipeLine.

==Tools==
Chapter 7

Overview

If you've read the previous chapter, you know how to record and overdub Tracks. Now it's time to move to one of the most important aspects of Bars&Pipes Professional: Using Tools.

What is a Bars&Pipes Professional Tool? Technically, a Tool is device that sits in a Track's PipeLine and performs an operation on the MIDI events flowing through it. Some Tools are musical in nature and perform operations that are standard operations, like delay and quantize. But Tools can also organize the flow of the music by interconnecting PipeLines, help compose music by creating or changing notes, and even translate music events into other media, such as displayed pictures.

Tool Modules

Tools are special additions to Bars&Pipes Professional's main program. Each Tool is actually a separate module that Bars&Pipes Professional loads. This is a very important concept.

You can expand the capability of Bars&Pipes Professional by adding more Tools without upgrading Bars&Pipes Professional itself. And, you can remove unneeded Tools to save memory.

Once you've loaded a Tool, Bars&Pipes Professional automatically installs it each time. When you remove a Tool, Bars&Pipes Professional will no longer install it.

{{Note|text=Sometimes, you might create a Song with a particular Tool in its PipeLines, save it, then remove the Tool at a later date. Great news! If Bars&Pipes Professional senses the Tool is missing, it reinstalls it automatically.}}

Multiple Usage Of Tools Once you've installed a Tool in Bars&Pipes Professional, you can use it in several different places at a time. Each time you drag a Tool out of the ToolBox, Bars&Pipes Professional makes a unique copy of the Tool. This way, you can setup each copy to behave differently.

Example:
Set one instance of an Echo Tool to create four echoes in Track 1, while setting a second Echo Tool in Track 2 to create only two echoes. Each Echo Tool is a unique copy of the original Echo Tool that Bars&Pipes Professional loaded when you installed it.

Tool Types

Tools fall into two primary categories: Music Tools and Multi-Media Tools. Within these categories, Tools are further classified as Input, Output, and Branching Tools. Input and Output Tools serve as the inputs and outputs of each Track's PipeLine, i.e., the MIDI In and MIDI Out Tools. Branching Tools connect PipeLines between Tracks. Combinations of Tools are called MacroTools.

Music Tools

Music Tools perform musical functions. The Quantize Tool (tightens the note timing,) CounterPoint Tool (creates a counter melody,) and Quick Patch Tool (sets up the MIDI instrument) are examples of Music Tools.

Multi-Media Tools

Multi-Media Tools, in conjunction with Bars&Pipes Professional's Media Madness window, control non-musical aspects of sequencing, including other hardware and software. The ANIMal Tool (plays animations,) Toasty Tool (controls the Video Toaster,) and Command Performance Tool (sends ARexx commands to other programs) are examples of Multi-Media Tools. Most of the Multi-Media Tools are also Output Tools. The Media Madness window controls Multi-Media Tools that are also Output Tools.

Macro Tools

MacroTools are a special category of Tools. MacroTools are combinations of regular Tools. Use MacroTools to create your own Tools by putting together individual Tools with the Create-A-Tool feature. MacroTools have icons, may be placed in PipeLines, and are loaded separately from disk, just like all other Tools.

The ToolBox

Bars&Pipes Professional organizes the installation, usage, and removal of Tools all from one window, the ToolBox.

Open the ToolBox by double-clicking on its icon, or choosing the ToolBox command from the Windows menu. The ToolBox window displays all currently installed Tools.

Tool Icons

Tools appear in the ToolBox as icons. Select a Tool by clicking once on its icon. To place a copy of the Tool in a Track or ToolPad, hold down on the mouse and drag the Tool to the desired destination. This makes a copy of the Tool and places it.

{{Note|text=If there are no Tools in the ToolBox, Bars&Pipes Professional can't find the Tools to load. Often this occurs with improper installation. You will need to load in the Tools one by one. Please see the section below, Installing Tools.}}

The Question Mark Button

The first icon in the ToolBox window, the grey box with the "?" (question mark), is not a Tool. If you click and hold the mouse button over the question mark, a pop-up menu opens containing the names of all the Tools in the ToolBox.

To select a Tool with the pop-up menu, drag the mouse pointer until the desired Tool name highlights; then release the mouse button. A copy of the Tool icon "sticks" to the mouse. You can then drag the Tool to a PipeLine or ToolPad to drop the selected Tool in it, or click anywhere else to eliminate the copy.

Tool Names

You can optionally display the Tool names to the right of each icon by selecting the Show Tool Names option in the Preferences menu of the ToolBox.

Installing Tools

The first time you run Bars&Pipes Professional, it loads a preset collection of Tools. This preset collection is a mere subset of the dozens of Tools that come with Bars&Pipes Professional. In order to access the additional Tools included with the program, you must install them.

To install a Tool, use the Install Tool command in the ToolBox menu. This command loads the Tool from disk, places it in the ToolBox and makes the Tool a permanent part of your environment. Once you've installed a Tool, Bars&Pipes Professional automatically loads the Tool every time it runs until you remove the Tool with the Remove Tool command.

Example:

Open the ToolBox window, if it is not already open.
Activate the ToolBox window by clicking on it.
Access the ToolBox menu by holding down the right mouse button and dragging the mouse pointer to the top of the Bars&Pipes Professional screen, over the words "ToolBox". The ToolBox menu opens.
Drag the mouse down over the words "Install Tool..." and then release the right mouse button. The file requester opens.
If the file requester is not already in the Tools directory, find the directory where you keep your Tools.
Find the Loop Tool in the Tools directory. Double-click on Loop to open it.

{{Note|text=A text file called Tools is kept in the Support directory to keep Track of which Tools have been installed. Although we don't recommend it, you can edit this file in a text editor. Please see Chapter 31, Customizing Your Environment, for more information on the Support directory.}}

You might load a Song or MacroTool that includes Tools that are no longer installed. Bars&Pipes senses this and tries to automatically install the missing Tools. If it can't find them, it prompts with the file requester and the missing Tool name. Then, Bars&Pipes Professional actually installs the missing Tool. As a result, the process of loading a Song can actually install one or more Tools permanently in the ToolBox!

Removing Tools

If you have a Tool in your ToolBox that you never use, consider removing it. Too many Tools eat up precious memory, take extra time when loading Bars&Pipes Professional, as well as create a jungle of icons.

To remove a Tool, first select it in the ToolBox. Then, select the Remove Tool command in the ToolBox menu. This removes the Tool and tells Bars&Pipes Professional not to automatically load the Tool every time it runs.

{{Note|text=If the Tool is in a Track, ToolPad, or ToolTray, Bars&Pipes Professional alerts you that the Tool is in use, and asks you to verify the operation.}}

The Remove Tool option does not erase the Tool from your disk. It only removes the Tool's name out of the active Tool list, stored in the file "Tools" in the Support directory.

Creating, Editing & Saving MacroTools

Three additional commands in the ToolBox menu control the design and updating of MacroTools.

To create a new, empty MacroTool, select the command Create MacroTool. This creates a blank MacroTool and opens the Create-A- Tool window to edit it. Please see Chapter 24, Create-A-Tool, for more information.

{{Note|text=You can Install and remove Macro Tools as you would any Tool.}}

If you'd like to make changes to an existing MacroTool, click once on the MacroTool to select it, then choose the Edit MacroTool command in the ToolBox menu, or double-click on the MacroTool. The Edit MacroTool command opens the Create-A-Tool window, so that you can make design changes.

Although the Create-A-Tool window automatically prompts you to save the MacroTool, you can also do so directly by selecting the Save MacroTool command found in the ToolBox menu. This opens the file requester, where you may choose a destination file.

{{Note|text=Saving a Macro Tool to a new location updates the Installation information in the Tools file. Bars&Pipes Professional will always load the Macro Tool from the new file location instead of the old.}}

Using Tools in the PipeLine

Tools are most often used in the PipeLine and ToolPad. In the PipeLine, a Tool processes music flowing through it. In the ToolPad, a Tool modifies entire segments of music all at once, using the Toolize command found in the Edit and Tracks menus.

A Tool in a particular Track's PipeLine modifies the MIDI data that flows through it. Most Tools may be placed in either the Input PipeLine or the Output PipeLine. Some Tools are Input Tools, and only place themselves as the first Tool on the Input PipeLine. Other Tools are Output Tools, and only place themselves as the last Tool on the Output PipeLine.

Bars&Pipes Professional displays the complete PipeLines with all Tools only in the Tracks window, although it does display the final Output Tools in the Media Madness window as well.

Placing A Tool In A Pipeline

To place a Tool in a PipeLine, drag a copy of the Tool from the ToolBox, another PipeLine, or a ToolTray (more on that later,) and drop it into the PipeLine.

Opening The Tool's Control Window

Double-click on a Tool in a PipeLine to open its Control window. Alternatively, highlight the Tool by single-clicking on it, and choose Edit from the Tool menu. You can edit the Tool's Control window while Bars&Pipes Professional plays and MIDI events flow through the Tool. As a result, you hear instant feedback as you make changes in the Control window. You can also open multiple Control windows at once.

Duplicating A Tool

You can duplicate an existing Tool in the PipeLine by clicking on the Tool and dragging it to a new location. Copying a Tool in this manner is useful because you can edit one Tool's Control window, then place duplicates in several other Tracks.

Moving A Tool In The PipeLine

To move a Tool in the PipeLine, click on the Tool once to highlight it, then choose the Move Left and Move Right commands in the Tools menu. Alternatively, you can use the left and right arrow keys on the Amiga keyboard to move the highlighted Tool. You can even make a Tool jump across from the Input PipeLine to the Output PipeLine and vice versa. You cannot, however, move Input and Output Tools.

{{Note|text=Remember, clicking on and dragging a Tool duplicates it, rather than moving it. Also, moving a Tool from the Input PipeLine to the Output PipeLine or vice versa breaks its connections with other Tools.}}

Connecting With Vertical Pipes

You can actually connect a Tool in one Track to Tool in another via vertical pipes. To do so, you need two types of Tools: The first type, the branching Tool, uses preset criteria to send MIDI events to another Track. There are many branching Tools. For example, the Keyboard Splitter Tool sends all notes below its split point to a second Track and the CounterPoint Tool can send the countermelody to a second Track.

The second type of Tool, the merging Tool, sits in the second Track's PipeLine and receives incoming MIDI events. Unlike the branching Tools, there is only one merging Tool included with Bars&Pipes Professional, the Merge In Tool.

{{Note|text=The Pro Studio and Creativity Add-On Kits include merging Tools that use MIDI events coming down the vertical pipes to control events in the second Track's PipeLine.}}

To connect a branching (sending) Tool to the merging (receiving) Tool, click on the branching Tool. Then select the Connect command in the Tools menu and click once on the merging Tool. A vertical pipe will be drawn between the two Tools, indicating that they are connected.

Removing A Tool

To remove a Tool from the PipeLine, highlight that Tool by clicking on it. Then select Remove from the Tool menu to remove the Tool. Alternatively, you can use the Del key on the Amiga keyboard.

Using Tools in the ToolPad

The ToolPad provides a means to permanently change your music. Whereas Tools in PipeLines process events as the events flow through them, Tools in the ToolPad do nothing until you use the Toolize command. Using the Toolize command causes the entire Song, individual Tracks, or parts thereof, to change permanently.

You'll find ToolPads in the Tracks window, the Edit and List Edit windows, the Media Madness window, and the Song Construction window. These buttons all represent the same ToolPad, regardless of which window they appear in.

Unlike Tools in the PipeLine, Tools placed in the ToolPad do not process notes as they are played. Instead, they process all of the notes in a Song, sequence, or section. For example, if you place the Quantize Tool in the ToolPad, you can use it to Quantize all of the notes in a selected Track. The ToolPad holds up to sixteen Tools at once.

Placing A Tool In The Toolpad

To place a Tool in the ToolPad, click and drag it from the ToolBox, a ToolTray, or even a Track's PipeLine, and drop it onto the ToolPad. If the ToolPad is not full, the new Tool takes the next empty slot. However, if the ToolPad is full, the new Tool replaces the currently displayed Tool in the ToolPad.

{{Note|text=You can put more than one of the same type of Tool in the ToolPad.}}

Selecting A Tool From The Toolpad

To select a Tool from the ToolPad, click down on the pad with the mouse and hold it. Under the mouse, a pop-up menu appears with sixteen Tools displayed. (The unfilled slots are displayed as empty pipes.) Move the mouse pointer to the Tool you need and lift up. The ToolPad now displays that Tool.

Editing A Tool In The ToolPad

To edit a Tool in the ToolPad, called a PadTool, first select it, then use the Edit PadTool Controls command in the Windows menu.

* TIP * You can also hold down the Shift key on your Amiga keyboard while dlcklng on the ToolPad.

This opens the Control window for the Tool, if one exists. Some Tools do not have parameters to change and therefore no Control window. You can keep the Control window open for the Tool as you use it to process your Song. You can even have several Tools' Control windows open at the same time.

Removing A Tool From The ToolPad

There is no need to remove a Tool from the ToolPad. Once the ToolPad is full, placing a Tool in the ToolPad replaces the currently showing Tool.

Toolizing With The ToolPad

Tools placed in the ToolPad can process all of the notes in an area of your Song. To do so, use the Toolize command, found in both the Edit and Track/Group menus.

The Toolize command in the Edit menu processes all notes on all Tracks between the Edit Flags. Set the Edit Flags (the two purple triangles) either by dragging them in the Tracks window or typing in positions in the Set Flags window.

For more information on editing with the Edit Flags, please see Chapter 20, Multi-Track Editing.

The Toolize command in the Track/Group menu processes all notes in the currently selected Track or a Group of Tracks.

* TIP * Use the Output PipeLine to test a Tool while changing its controls. Once you're pleased with the results, drag the Tool into the ToolPad and Toollze the entire Track to make the changes permanent. Then, delete the Tool from the PipeLine since it no longer is needed.

Replacing A Tool In The ToolPad

To replace a Tool in the ToolPad with another Tool, select the Tool to discard by choosing it from the pop-up menu so that it appears in the ToolPad on the screen. Then drag the new Tool from the ToolBox onto the ToolPad. The new Tool replaces the displayed one.

ToolTrays

The ToolBox organizes the original copies of each Tool. Every time you drag a Tool from the ToolBox and place it in a PipeLine, you must double-click on the Tool and edit its Control window. In other words, while a Tool resides in the ToolBox, it cannot be edited.

On the other hand, ToolTrays provide a place to keep preset versions of Tools. Just drag a Tool from the ToolBox into a ToolTray and then edit the Tool's Control window by double-clicking on the Tool in the ToolTray.

From then on, drag the Tool from the ToolTray instead of from the ToolBox, and the changes you made remain intact. You can organize up to sixteen individual copies of Tools in each of eight ToolTray windows.

To access a ToolTray, choose one of the ToolTrays in the Tool menu. If the ToolBox window is active, you can also select a ToolTray from the ToolTrays menu. The ToolTray window opens.

Drag a Tool from the ToolBox or from a PipeLine and drop it into the ToolTray beneath the horizontal gray line. The name of the Tool appears above the gray line.

Modify the name of the Tool by clicking on its name and using the Amiga keyboard.

{{Note|text=Changing the name of the Tool in the ToolTray does not change the name of the Tool in the PipeLine or ToolBox. This feature allows you to keep several copies of the same Tool in a ToolTray, and be able to distinguish between them when you dick on them.}}

For example, you might prepare two versions of the Quantize Tool with different resolutions and give each a name that describes its resolution.

Double-click on a Tool in a ToolTray to open that Tool's Control window. Set the parameters to whatever you want. When you drag this Tool into a PipeLine or ToolPad, it retains these parameters.

{{Note|text=The ToolTrays load and save with your composition.}}

For a complete explanation on using ToolTrays, please see Chapter 25, ToolTrays.

Examples

In the following sections, we present some step by step examples of using specific Tools. This will help you to understand the Tool concept, and how to use Tools in your own compositions.

Let's look first at a very simple Tool called the CounterPoint Tool. Open your ToolBox. If you do not see the CounterPoint Tool, install it.

{{Note|text=There are several ways to view Tools by name: You can dick on the ? button to access a scrolling list of Tools, You can dick on a Tool and view its name in the ToolBox window's Title bar. You can also select the Display Tool Names option in the ToolBox window's Preferences menu to display the Tools by name as well as Icon.}}

The CounterPoint Tool does not have a Control window.

Using CounterPoint On The Input Pipeline

Grab the CounterPoint Tool from the ToolBox by clicking on it with the left mouse button. Drag the Tool until it is over the Input PipeLine of Track 1, just to the right of the MIDI In Tool. Release the mouse button. Activate the Input Selector for Track 1.

Play a few notes on your keyboard. You'll hear an accompaniment to the notes you play

Here's how it works: The notes you play on your keyboard come into the active MIDI In Tool. Then, the notes flow into the CounterPoint Tool. The CounterPoint Tool creates a countermelody note for each note that enters it.

The original note and the countermelody note flow down the rest of the Input PipeLine and into the Sequencer. Even if Track 1 is in record mode, since we haven't activated the Sequencer Record mode, the notes just travel right on through the Sequencer .

When the notes reach the Thru/Mute/Play faucet, they continue through if it is in Thru mode. Thru mode is represented by a blue faucet with two inputs on the left side.

{{Note|text=If the faucet is red, without an Input on the left side, it is in Mute mode. Nothing will play out of the Track when the faucet is in Mute mode. If the faucet is yellow, with one Input on the left side, it is in Play Only mode. In Play Only mode, only notes previously recorded into the Track go through.}}

The notes flow down the Output PipeLine until they reach the MIDI Out Tool. The MIDI Out Tool sends the notes out the MIDI out port on your interface, on the MIDI channel selected by the MIDI channel selector. The MIDI channel selector is the blue number on the right of each Track.

Sending The Countermelody To Another Track

Now, lets record the original melody on Track 1, and the countermelody created by the CounterPoint Tool on Track 3. We can do this because the CounterPoint Tool is a Branching Tool. To use any branching Tool, you'll need the Merge Tool.

Select the Merge Tool from the ToolBox. Its icon is a horizontal length of pipe with an angled pipe entering it from the top left. If you don't see the Merge Tool, load it in. Place the Merge Tool on the Input PipeLine of Track 3.

Click on the CounterPoint Tool with the mouse. A red box surrounds it to show that it is the active Tool. Select Connect from the Tool menu, then click on the Merge Tool. Bars&Pipes Professional connects the CounterPoint Tool to the Merge Tool with a vertical piece of pipe. Now the countermelody flows down the vertical pipe and into the second Track.

With the Input Arrow on Track 1 still active, click on the blue 'P' in Track 3 until it turns into a red 'R'. The red 'R' should already be showing in Track 1.

Now, record another melody. When you stop the Transport, notes in Track 1 and in Track 3 are displayed. Track 1 contains the original melody, while Track 3 contains the counter melody.

Using CounterPoint On The Output Pipeline

Now that you have two Tracks containing a melody and a countermelody, let's see what happens when we place a CounterPoint Tool on the Output PipeLine of both Tracks.

You don't need to open the ToolBox to get another copy of the CounterPoint Tool. Just grab the one that is on the Input PipeLine of Track 1. Place copies of the CounterPoint Tool on the Output PipeLines of Tracks 1 and 3.

Press Start on the Transport Controls to listen to the effects of these Tools. You should hear four notes simultaneously: two out MIDI channel 1 and two out MIDI channel 3.

Toolizing With CounterPoint

Pick up another copy of the CounterPoint Tool and drop it into the ToolPad. The ToolPad is the box in the upper left corner of the Tracks window, to the right of the Solo button, and to the left of the Group buttons numbered 1 through 8.

Click on Track 1, then select Toolize from the Track menu. Notice that it instantly doubles all of the notes in Track 1, adding the countermelody to the recorded music. Press Start on the Transport to hear the results.

Other Examples

You'll find more Tool examples in the Tools chapter. Learning how to use Tools can be a daunting task. Take it slow and learn one Tool at a time. Try every Tool that you can in as many ways as possible. Experience is the best teacher.

Have fun and experiment! Remember, you can always leave a Tool's Control window open while you experiment with it. In particular, this is very useful for setting up a Tool while music flows through it in the PipeLine.

Once you've learned all of the Tools that come with the basic Bars&Pipes Professional package, remember that we continue to release new Add-On Tool Kits. Call or write to us for more information.
==Note Editing==Chapter 8

Overview

Bars&Pipes Professional's Graphic Editor lets fine-tune your composition. All of its buttons, menu options and features eliminate guess work. In fact, the Graphic Editor has so many features that we've divided our discussion of it into several chapters. This chapter covers specifically note entry and editing.

Sequenced Notes

Before we delve into editing notes with Bars&Pipes Professional, let's look at how Bars&Pipes Professional actually represents those notes.

Sequenced notes are comprised of MIDI note on and note off events that you've input. The MIDI standard allows for a total of 128 different note values, beginning with the note C0 (C, octave 0) denoted by the byte 0, and ending with the note Gl0 (G, octave 10,) denoted by the byte 127.

{{Note|text=Some synthesizers refer to the range as C-2 through G8.}}

Bars&Pipes Professional stores a note as a MIDI note pitch number, a starting time, and a duration. To reproduce a stored note, the Sequencer sends out the MIDI note on event at the starting time, waits for the duration, and then sends out the MIDI note off event for that note.

{{Note|text=In the Multi-Media portions of this manual, you will see references to items called hit lists. A member of a hit list is actually a note in disguise. While using hit lists, instead of note number representing a note, the note number represents a command. When a Multi-Media Tool receives this command, it performs whatever task you've programmed it to perform. You'll learn more about this in Chapter 28, Media Madness.}}

Opening The Graphic Editor

To Open the Graphic Editor, double-click on the Track you'd like to edit, or select the desired Track and press Return. The Graphic Editor window opens, and displays the Track.

{{Note|text=The Graphic Editor window is also referred to as the Edit window.}}

The Sequence Display

The Sequence Display occupies most of the Edit window. It shows your Sequence from left to right.

Vertical lines, indicating the beats and measures, provide you with a view of the exact time and place of each note.

SMPTE Time

Click on the SMPTE button, located on the far right end of the Graphic Editor's command button to view the Sequence Display in SMPTE time rather than in measures and beats. This option is very useful if you're working on a project where you need to know when particular events happen in absolute minutes and seconds instead of music time.

Sizing The Display

The Sizing... option in the Display Options menu gives you five choices for displaying data: Very Large, Large, Normal, Small and Very Small. If you choose Very Large, you can do very fine work with the timing of your notes. On the other hand, the lowest resolution, Very Small, is the same as the resolution in the Main Screen. At this resolution, you gain a much better feel for how your Song progresses.

You can also use the Zoom In and Zoom Out buttons to enlarge or reduce the display size. Click the Zoom In button to select the next larger size, up to Very Large. Click the Zoom Out button to select the next smaller size, down to Very Small.

{{Note|text=The sizing of a Track determines how many measures across will be printed when printing notation.}}

The Show Menu

From the Edit window, use the Show menu to determine what options Bars&Pipes Professional draws in the Sequence Display. By default, Bars&Pipes Professional displays the Hybrid Staff, Piano Roll and Velocity Curve, the options most frequently used. You can toggle as many options as you want at once by holding down the right mouse button and clicking the left mouse button over the items you want to toggle.

The Staff - Hybrid

Displaying The Hybrid Staff

When you select Staff-Hybrid from the Show menu, Bars&Pipes Professional displays notes as horizontal bars on a traditional treble and bass clef. The length of the bar reflects the length of each note. Bars&Pipes Professional marks accidentals with sharps and flats. If you haven't defined a key, the Staff defaults to the key of C MAJOR.

If you select the Hit List option in the Display menu, all notes that have hit translations assigned to them display the name of the hit (for example, "Dog Bark" or "Door Slam") instead of the note rectangle. Hit List Translations are used primarily by the Media Madness Tools and the List Editor. We'll talk about Hit Lists extensively in later chapters.

Centering The Hybrid Staff

The center of the Staff - Hybrid defaults to middle C, octave five on the MIDI keyboard. To change to another octave, use the Note Range... Staff Center command in the Display Options menu. The Staff Center requester opens.

In the box to the right of "Center", the requester displays the note currently at the center of the Staff. By default, the Staff centers around C5, the note C of the fifth octave.

To change the octave, click on the center note and hold the mouse down. Under the mouse, a pop-up menu appears with a choice of octaves. Move the mouse to the one you want and lift up. The center note changes to C of the octave you choose.

The Auto Center button automatically calculates the center note and accommodates the range of notes displayed.

When you finish, press Okay, to accept the new Staff Center, or Cancel, to leave it as it was.

The Piano Roll

Displaying The Piano Roll

When you select the Piano Roll, Bars&Pipes Professional displays your MIDI note events as horizontal bars on a graph which extends from a column of piano keys on the left. Like the Hybrid Staff, notes are blue.

If you select the Background... Key option in the Display Options menu, the spaces on the graph that make up the current key are displayed behind the notes in a faded purple color. To learn how to set the key, please see the chapter on Song Parameters.

Like the Hybrid Staff, you can also display notes as Hits by selecting the Hit List option in the Display menu.

Changing The Piano Roll Bounds

At times, the Piano Roll may display too much or too little of your composition. A Note Event can span a range of 128 notes, just over ten octaves. The Piano Roll can show all or any section of that ten-octave keyboard. Since an individual Sequence rarely ranges more than two octaves, Bars&Pipes Professional shows two octaves by default.

To change the range of notes displayed, select the Piano Roll Bounds command, which opens the Piano Range requester.

You can set two variables: the Upper Range and the Lower Range. Respectively, these denote the highest and lowest keys displayed on the Piano Roll. The Piano Roll will not display notes above the Upper Range nor below the Lower Range.

Define each boundary by the specific note and octave. To select the note, click on the note letter, in this example, C. A pop-up menu of a piano keyboard appears under the mouse. Drag the mouse to the note of choice and lift up. To set the octave, click on the octave number, in this case, 4, and a pop-up menu of octave choices appears under the mouse. Select the octave and lift up on the mouse.

The Auto Range button automatically sets the upper and lower boundaries of your sequence. To accept the new Piano Roll bounds, click on Okay. To return to the Graphic Editor window without any changes, select Cancel.

The Velocity Curve

When you select the Velocity Curve, Bars&Pipes Professional draws the velocity of each note as a vertical line. The greater the velocity, the higher the line. Since most synthesizers translate velocity directly to loudness, consider the velocity curve as a volume curve.

If your keyboard supports velocity, then the harder you strike the keys, the louder the instrument plays.

{{Note|text=A number of drum machines and synthesizers that don't respond to velocity when you play them directly nevertheless respond to velocity when they receive the notes from Bars&Pipes Professional.}}

Staff - Notation

When you select Staff-Notation from the Show menu, Bars&Pipes Professional displays the notes on a traditional treble and bass clef in standard musical format. Please refer to the section on Notation later in this chapter for more information about transcribing music to standard notation.

Tablature

When you select Tablature from the Show menu, Bars&Pipes Professional displays note pitches as fret numbers on guitar strings. The open string note value of each string, which can be changed, is shown on the left. For more information about transcribing to tablature, please refer to the Tablature section later in this chapter.

Editing Notes with the Mouse

Across the top of the Graphic Editor window sits a row of buttons. Think of these as a palette of options. By clicking on these, you select the manner in which you use the mouse to draw, erase, drag, and alter your music.

The buttons belong to three groups: the first nine buttons from the left, the Command buttons, determine how you use the mouse. The middle four buttons, the Default Note buttons, define the current note resolution for entering and editing. On the right lie the Zoom and Speaker buttons. Use the Zoom buttons to change the range of the display. Click on the Speaker button to hear the displayed section of music.

The Command Buttons

The first nine buttons from the left are the Command Buttons. As you click each one with the mouse, the mouse's icon changes. Most of these buttons have keyboard equivalents as well. Set the Command Buttons to determine how you use the mouse. The following list describes each button briefly.

From left to right, the buttons are as follows:

The Magnifying Glass displays information about notes you touch with the mouse.
The Pencil enters notes into either Staff, Tablature, or the Piano Roll.
The Magic Wand alters the length and velocity of notes in the Staves or Piano Roll; it alters the fret number of a note in Tablature.
The Hand grabs and drags notes.
The Duplicator makes an exact copy of the selected note and drags the copy to a new position.
The Eraser deletes notes.
The ToolPad contains selected Tools and processes notes with the currently-displayed Tool.
The Bounding Box, working in conjunction with the Drag, Duplicator, Erase, and ToolPad buttons, enables you to draw a rectangle around a set of notes and then Drag, Duplicate, Erase, or Toolize them. The Bounding Box, working in conjunction with the Magic Wand, allows you to tie notes together.
The Step Entry Button enables step entry of notes from a MIDI keyboard. This button enables you to enter notes and their durations at your own pace, without having to play your instrument keyboard in real-time.
Setting The Default Note

Before drawing, dragging, or step-entering notes, you must set the Default Note. The Default Note consists of a note value (eighth, quarter, etc.), a modifier (triplet, dotted, normal), an articulation (staccato, legato, etc.), and a dynamic level (pp through ff).

The middle group of four buttons sets these values. Upon being pressed with the mouse, each button reveals a pop-up menu with the options displayed. Drag the mouse to the desired option and lift up to select it. Bars&Pipes Professional displays your choice on the appropriate button.

From left to right, the buttons are as follows:

The Default Note Value and Default Note Modifier buttons determine the type of note to be entered by the Pencil or Step entry. It also determines the interval for dragging a note left or right, in conjunction with the Lock to Default Note option in the Prefs menu.
The Default Articulation button determines the length of the newly entered note.
The Default Velocity button determines the emphasis, or loudness, of the newly entered note.

{{Note|text=You can use the F7 through F10 keys to change these values. Use the shift key In conjunction with the function key to change them in the opposite direction.}}

Entering Notes With The Pencil

Activate the Pencil by clicking on the Pencil Button or pressing function key "F1". Then, click the Pencil on the display to enter notes in the sequence.

{{Note|text=Remember, the articulation (length) and dynamics (velocity) of the note you enter are defined by the Default Note.}}

Once you click down in the display, the way that the Pencil operates is determined by the following options in the Prefs menu:

Drag With Pencil: When you hold down the mouse after entering a note, the Pencil becomes the Hand so that you can drag the note. Lift up on the mouse button when you are satisfied with the note's position.
Lengthen With Pencil: When you hold down the mouse after entering a note, the Pencil becomes the Magic Wand so that you can shorten and lengthen the note. This option is most usable in the Hybrid Staff.
Lock to Default Note Entered notes align to the Default Note interval. For instance, if your Default Note is an eighth note, then all notes you enter align with eighth note increments in each measure.
Lock to Resolution: The Pencil works as it does with the Lock to Default Notes option, except that it uses the Resolution value defined in the Notation menu (please see the Notation section, later in this chapter, for more information.)
Lock to Key: The Pencil automatically places the notes in key (see Chapter 10, Editing Song Parameters.)
Lock to Rhythm: The Pencil behaves as it does with the Lock to Default Note option, except that it conforms all notes to the current rhythm template boundaries (please see Chapter 10, Editing Song Parameters.)
Entering Notes In Staves

To enter a note in a stave, click with the Pencil. To add a sharp or flat, press once on the up or down arrow keys.

{{Note|text=Whether the note displays as a sharp of flat is determined by the Key Signature. Please see Chapter 10, Editing Song Parameters, to learn how to set the Key Signature.}}

Entering Notes In The Piano Roll

Use the Pencil to enter notes within the range of the Piano Roll. To change the range, go to the Note Range... command in the Display Options menu.

Entering Notes In Tablature

Choose a string and click down on it with the mouse. A fret number appears corresponding to the current position defined in the Position option in the Tablature menu. Slide the mouse up and down to change the fret number, and therefore, the pitch. Please see the Tablature section, later in this chapter, for more information.

Entering Notes with Step Entry

Use the Step Entry option to enter notes directly into the Graphic Editor from your MIDI keyboard. With Step Entry, you can record at your own pace without having to play your MIDI keyboard in real-time.

Activating Step Entry

To activate Step Entry, click on the Step Entry button. The mouse icon becomes a picture of a person's leg on a step. Then, position the left Edit Flag (the leftmost purple triangle above the display) in the location that you would like to begin step entry.

Important Points

Before Step-Entering, remember the following:

Notes entering the Editor must first pass through the Tools in the Input PipeLine of the Track.
* TIP * To temporarily disable a Tool, move it to the right side of the Track. Do this by selecting them and pressing the right arrow key on your Amlga keyboard. Remember to return them to the Input PipeLine when you're finished Step-Entering.
Step Entry starts at the left Edit Flag. Click with the mouse at the point where you want Step Entry to begin. The left Edit Flag automatically snaps into place, marking the starting point for Step Entry.
Step-Entered notes use the Default Note and Articulation.
Step-Entering A Note

To Step-Enter single notes, play them one by one. After you lift up on each one, the cursor moves forward. To enter a chord, hold down each member note, lifting them all up at once. When you release all notes, the left Edit Flag moves to the right, allowing you to immediately enter another note or chord.

Step-Entering A Rest

To enter a rest, press the Space Bar. The rest will be the same duration as a note.

Backing Up And Erasing Mistakes

To back up a step, and erase a mistake, press the Backspace key.

Refreshing the Display

To refresh the display at any time while editing, press the Return key on your Amiga keyboard. If you have selected "Auto Redraw" from the Prefs menu, the display refreshes automatically and you do not have to press the Return key.

Boxing Notes

Several of the Command buttons can be selected in conjunction with the Bounding Box button (F6 key). The Bounding Box lets you draw a box around a group of notes, then edit them all at once.

To draw the box, click down where you'd like one corner of the box to be and drag the mouse to the opposite corner. A box grows as your mouse travels. The box never crosses the boundary between two display strips, for example the Piano Roll and either Staff.

Once you have enclosed what you want in the box, lift up on the mouse.

The beginning of a note must be within the box to be counted as being a member. If only the later half of a note is in the box, it will not be one of the boxed notes.

The Bounding Box works in conjunction with the Magic Wand, the Eraser, the Duplicator, and the Toolizer. As we discuss each of these in the pages to follow, we'll describe how to use the Bounding Box in each case.

Altering Note Lengths and Velocities

Once you enter Notes, you may need to edit them by changing their lengths and velocities. To the right of the Pencil sits the Magic Wand. Select this button to alter the data with the mouse, either by clicking on it or by pressing function key "F2".

{{Note|text=The Magic Wand, in conjunctlon with the bounding box, allows you to tie notes of the same pitch together. Please see Tying Notes, below.}}

Altering Notes In The Hybrid Staff And Piano Roll

Use the Magic Wand to alter the length of individual notes. Click down with the mouse over a note; the Editor highlights the note in red. Drag to the left to make the note shorter or to the right to make the note longer .

If the Lock Wand to Note option in the Prefs menu is enabled, the Wand sticks to the first note you select. No matter where you drag the mouse, it continually lengthens or shortens the note length. This is great if you want to edit just one note because the mouse never slips off the note.

If you want to change the lengths of more than one note at a time, deselect the Lock Wand to Note option in the Prefs menu. Edit the first note in the "stack", then drag the mouse vertically through the remaining notes. All remaining notes conform to the size of the first one you edited.

* TIP * You can also use the Left and Right Arrow keys to decrease and increase, respectively, a note's length.

Altering Notes In The Notation Staff

Use the Magic Wand to conform notes to the current Default Note. Click on any note; the Editor automatically changes the note length to that of the Default Note.

Altering Notes In Tablature

You cannot use the Magic Wand to alter the length of a note in Tablature. Instead, use one of the Staves or Piano Roll, or utilize the Magnifying Glass.

Rather than altering the length of a note, the Magic Wand alters the fret number of a selected note in Tablature. Click on the note with the Wand, and slide the mouse up and down to the desired fret number.

Altering The Velocity Curve

Drag the Magic Wand over the Velocity lines to change them. This way, you can change their individual volume levels. As an option, use the Up and Down Arrow keys to increase and decrease a note's velocity.

Tying Notes

You can tie notes of equal pitch together by using the Magic Wand in conjunction with the Bounding Box. Activate the Magic Wand and Bounding Box buttons. Surround the notes you want to tie with the Bounding Box. This ties all notes inside the bounding box that are of equal pitch together and leaves all other notes alone.

Dragging Notes

When you select the Hand button, either with the mouse or function key "F3", the mouse icon becomes a hand with one finger extending. Use this to drag and reposition notes.

Dragged notes are affected by the following options in the Prefs menu:

Lock to Default Note: The note you grab moves left and right on a grid defined by the Default Note. For instance, if the Default Note is a quarter note, every note you drag moves left or right at quarter note intervals.
Lock to Resolution: The note you grab moves left and right on a grid defined by the Notation Resolution defined in the Notation menu.
Lock to Key: The note you grab moves up and down, skipping notes that are not in the current key. Otherwise, the note moves up and down chromatically.
Lock to Rhythm: The note you grab moves left and right on a grid defined by the current rhythm template.
Dragging Notes In A Staff Or The Piano Roll

Dragging notes right and left moves them forward and back in time. Dragging them up and down changes their position on either Staff or the Piano Roll, thereby changing their pitch.

If you have the Play Notes option in the Prefs menu selected, Bars&Pipes Professional plays each note as you drag it.

If you hold down the shift key prior to clicking on the note, the hand only moves vertically or horizontally, but not both, depending on your first move. In other words, if you hold the shift key down, click on the note, and start to drag it up in pitch, the note locks in time and only lets you change its pitch no matter how far to the left or right you drag the mouse. Likewise, if you start by dragging left or right, the note only moves in time, it does not let you change its pitch.

Dragging Notes In Tablature

Dragging notes up and down in Tablature, across strings, causes the note to jump from one string to another. The pitch of the note remains the same, while the fret number changes.

To change the note pitch, use the Magic Wand. This changes the fret number on the string, thereby increasing or decreasing the pitch.

Using Hot Keys For Dragging

You may also use the arrow keys on the Amiga keyboard to move a note. First, highlight the note that you want to change. Then, use the left and right arrow keys to shift the note backward and forward in time by the default note amount. Or, use the up and down arrows on the Amiga keyboard to change note pitch chromatically. The up arrow increases the pitch by one half step. The down arrow decreases the pitch by one half step. This is a great way to add sharps or flats to notes.

{{Note|text=In the key of C Major, and all key signatures that have sharps in the key signature, notes may only be sharpened. For instance, the note F# may not be displayed as a Gb. In key signatures that have flats, notes may only be flatted. For instance, the note Gb may not be displayed as F#. Double sharps and flats are not supported.}}

When you use the Shift key in conjunction with the up and down arrow keys, the note shifts its pitch by an additional octave.

Dragging With The Bounding Box

You can use the Hand and Bounding Box together to move a group of notes simultaneously. First, use the mouse to draw a box around the group of notes you want to move. Then, click down in the box and drag it.

Duplicating Notes

To duplicate notes, click on the Duplicator button or press function key "F4". When you click and drag a note, Bars&Pipes Professional creates a new note of the same type, which you may then drag to a new destination. Once it is dragging the note, the Duplicator behaves identically to the Hand as described above.

You can use the Duplicator in conjunction with the Bounding Box to duplicate a group of notes simultaneously and drag them to a new location.

Erasing Notes

To use the mouse to erase Notes, choose the Erase button, either by clicking on this button or pressing "F5". In selecting this button, the mouse icon becomes a Pencil with the Eraser end pointing down and to the left. To delete notes, click down and drag the Eraser over the Notes. You do not need to click down on each note individually. Instead, click down and drag the mouse through the notes, erasing them all at once, much like an Eraser on a chalkboard.

* TIP * Use the Eraser and the Bounding Box to erase a group of notes simultaneously.

Toolizing Notes

The Graphic Editor Window contains a ToolPad. In it, you place Tools, which then can process, or Toolize, your music. The ToolPad holds up to sixteen Tools. This ToolPad contains a set of Tools identical to that in the Tracks window ToolPad. In fact, all of Bars&Pipes Professional's ToolPads, including those in other Graphic Editor Windows, share the same Tools

Placing A Tool In The ToolPad

To place a Tool in the ToolPad, dragit from the ToolBox, a ToolTray, or even a PipeLine, to the ToolPad. You can place Branching, Merge, and other pipe routing Tools in the ToolPad, but they have no effect on your music. If sixteen Tools occupy the ToolPad already, the new Tool replaces the currently displayed one.

Selecting A Tool From The ToolPad

Select the Toolize button by clicking on it once. The mouse becomes a wrench with a note in its mouth.

To select a Tool in the ToolPad, click on the ToolPad a second time, while holding the mouse down. A menu of sixteen Tools appears under the mouse. Select the one you want by moving the pointer to it and lifting up.

Editing A Tool In The ToolPad

To edit the parameters of the Tool currently displayed in the ToolPad, select Edit PadTool Controls... from the Display Options Window or press down the SHIFT key and click on the ToolPad.

The Control window for the selected Tool opens, if such a window exists. There you can set the variables determining the Tool's behavior. It isn't necessary to close a Control window before using the Tool. You can continue to make adjustments while you use the Tool.

Using The Tool

Tools work in three ways in the Graphic Editor. They process all notes between the Edit Flags; they process all notes within the Bounding Box; or they effect individual notes.

Once you select the ToolPad, the Tool processes any notes you touch with the wrench. Just drag the wrench through the notes to affect them immediately.

Although Toolizing individual notes may appear somewhat peculiar at first, it's an extremely useful feature. Tools can quantize, transpose, modulate, filter, echo, invert, and do much more on a note-by-note basis.

To process all notes between the Edit Flags, first drag them to border the range of notes you'd like to Toolize. Then, select the Toolize or Selectively Toolize commands from the Edit menu. We'll discuss Toolizing with the Edit Flags in depth later in this chapter.

You may also use the Bounding Box to Toolize or Selectively Toolize a group of notes. Click down with the mouse and draw a box around the notes you'd like to Toolize.

Magnifying Notes

Use the Magnifying Glass to analyze and modify notes. The Magnifying Glass allows you to operate on a note's values by typing them in specifically.

When you select the Magnify button the Magnify window opens.

The Magnify window displays all of the properties of any note that you touch with the mouse and lets you edit them. Use the left and right arrow keys to move from note to note. Use the up and down arrow keys to move through all of the MIDI events in chronological order.

{{Note|text=The Graphic Editor window must be activated in order to use the arrow keys, not the Magnification window.}}

The Time Field

The first field in the Magnify Window, "Time", indicates the time in measures, beats, and clocks of the note. The second field, "HMSF", indicates the time in SMPTE format (Hours, Minutes, Seconds, Frames). To change the time, click on either line with the mouse and enter a new time. Press the Return key to indicate that you've finished and the note jumps to the new time.

The Note Information Fields

Three information fields, "Note", "Velo", and "Leng", follow. The first indicates the note value as a key and octave, e.g., "A3", for A in the third octave. The second indicates the velocity , how hard you played the note. Often, this translates to note volume. The last field, "Leng", denotes the length of the note in measures, beats, and clocks.

{{Note|text=Press the Return or Enter keys on your Amlga keyboard after you change a line to confirm the change.}}

Undoing, Updating, and Aborting

Any changes that you make while in the Graphic Editor do not take effect until you either choose the Update command from the Edit menu or close the Graphic Editor.

{{Note|text=If you haven't updated the Track but you'd like to hear your edits along with the other Tracks, enable the Perform All Tracks option in the Prefs menu and dick on the Speaker button.}}

Of course, if you don't like your edits, you can close the Editor with no changes made to the Track by selecting the Abort command in the Edit menu.

Finally, if you make a single mistake while editing you don't necessarily want to Abort the entire editing session. Select the Undo command from the Edit menu to undo your last edit.

Here's a rundown of the Edit menu commands:

Undo (Right Amiga - U)
Use Undo in the Edit menu to return your Sequence to its state prior to the last edit operation. In addition to undoing any of the commands in the Edit menu, Undo works on all of the mouse-based editing operations, such as inserting, dragging, and altering Events.

Update (Right Amiga - Z)
Use Update in the Edit menu to update the Tracks window. In this manner, your changes are integrated into the Song without closing the window.

Abort (Right Amiga - Q)
Use Abort in the Edit menu to abort the editing process and revert your Track to its condition at the last Update (or before opening its Graphic Editor). The Graphic Editor window closes without updating the Track.

Auditioning Your Edit

In the Edit window, you have the option of hearing notes as you enter or drag them. Also, you can listen to the visible portion of your music, or listen to the portion from one Edit Flag to the other. You can hear these portions by themselves, or in context with the other Tracks you've recorded.

Hearing Notes As They Are Entered Or Dragged

If you set the Play Notes flag in the Prefs menu, every time you enter, drag, or Toolize a note, you will hear it. Bars&Pipes Professional sends the note from the Graphic Editor out through the Output side of the Track's PipeLine. If this option is not selected, the editing process is silent.

Listening To The Displayed Section

To listen to the portion of your Song displayed in the editor window, click the Speaker button. You can use the Sizing option or the Zoom In/Zoom Out buttons to control how much of your Song Bars&Pipes Professional plays.

Listening To The Portion Between The Edit Flags

Choose the Listen option in the Edit menu to play the music from the left Edit flag to the right Edit flag.

Hearing Edits In Context With Other Tracks

Choose the Perform All Tracks option in the Prefs menu. When you click on the Speaker or choose the Listen option, the Editor plays all of the Tracks along with the music in the Graphic Editor. Otherwise, if you do not select this option, the Editor plays only the notes in its window.

Performing With The Transport Controls

You can also listen to your edits in context by clicking on the Start button in the Transport Controls, starting the Sequencer. However, this plays from the Track, not the Edit buffer.

{{Note|text=This provides a valuable way to compare your edits before and after. Play from the Transport Controls to hear the muslc prior to opening the Ed,t window. Enable Perform All Tracks and dick on the Speaker button to hear the music with the new edits in place.}}

Scrolling With The Sequencer Performance

Performance Select Scroll With Performance from the Display menu if you'd like the Sequence Display to scroll along when you play from the Transport Controls.

Viewing Your Edit With Other Tracks In The Background

You can view other Tracks in the background of the Graphic Editor's Hybrid Staff and Piano Roll displays. To do so, go to the Tracks window and create a Group composed of the Track you are editing and the Tracks you'd like to see in the background. Once the Group is active, the extra Tracks display in grey in the background of the Graphic Editor. This feature allows you to compare notes in one Track with notes in others.

{{Note|text=Please see Chapter 19, Advanced Sequencing, for information on creating and using Groups.}}

Notation

Displaying Notation

When you select Staff-Notation from the Show menu, Bars&Pipes Professional displays the notes on a traditional treble and bass clef in standard musical format.

Bars&Pipes Professional marks accidentals, those notes which fall outside of the selected key, with sharps or flats. If you haven't defined a key, the Staff defaults to the key of C MAJOR (no standard notes sharped or flatted).

{{Note|text=The Edit window refreshes after each editing operation whenever Staff-Notatlon is activated.}}

The Notation Resolution

When you select Staff - Notation, Bars&Pipes Professional creates rests and ties on the fly. Bars&Pipes Professional uses the duration of each note and the notation resolution to determine what the music looks like. The notation resolution is the smallest note value (eighth, sixteenth, etc.) that Bars&Pipes Professional displays.

You can control the resolution of the notation by selecting Resolution from the Notation menu.

By default, Bars&Pipes Professional selects a sixteenth note resolution. Always choose a resolution that corresponds to the shortest note in the Track. Otherwise, Bars&Pipes Professional displays the note at the selected resolution, which means that shorter notes may run together. On the other hand, if you set the resolution too small, Bars&Pipes Professional can add unnecessary fractions of notes that muddle the page.

{{Note|text=Bars&Pipes Professional plays the notes as you have composed them, even if the selected Resolution causes them to display improperly.}}

Notation Transposition

Bars&Pipes Professional supports two different key types: Concert Key and Transposed Key. Transposed Key applies to those instruments that require transposition, e.g., Eb Alto Sax or Bb Clarinet. If you select a Transposed Key for a particular Track, you have the option of displaying it either in Concert Key or Transposed Key.

To assign a Transposed Key to a Track, select Transposition... from the Notation menu. This opens the Transposition requester.

Most of the time, you'll be using the Transposition Type button. When you click down on this button, Bars&Pipes Professional opens a pop-up menu containing a list of all popular instruments.

If you are writing for an instrument that is not in the list (e.g., piccolo trumpet), select Custom from the list. Then adjust the Octave and Interval sliders to the desired transposition. The Octave slider steps the transposition by octaves; the Interval slider controls the interval within an octave, e.g., a major third or minor sixth. You can also alter any of the instrument presets in the list.

To switch the display of a Track to Concert or Transposition Key, select Notation... from the Display Options menu.

Updating The Notation Display

In certain situations, typically after a lot of editing, the Notation display may contain a few errors. To refresh the Notation display, use the Update Transcription command found in the Notation menu. Bars&Pipes Professional recalculates where to place ties and rests, then redisplays the Track's Notation Staff.

Transcribing Notation

The Transcribe option in the Notation menu goes one step further than the Update command. It commands Bars&Pipes Professional to recalculate the notation values of the notes themselves. It uses the value chosen in the Resolution... option to determine the smallest note that may be displayed. It also uses the options in the Transcription Options requester to determine how it addresses various transcription issues.

You can transcribe the entire Track, or just the portion of the Track between the Edit window's Edit Flags by choosing All or Between Flags respectively. Bars&Pipes Professional then calculates the notation value for each note, and insert rests appropriately.

Transcription Options...

The Transcription Option requester controls the way Bars&Pipes Professional transcribes music. Open it by selecting the Transcription Options command in the Notation menu.

The Transcription Options requester contains three categories of buttons: Note length options, Note stem options, and Chord options.

The Note length buttons help Bars&Pipes Professional decide how to represent a note's length. The following lists each Note length option in detail:

Overlap Notes
When you select Overlap Notes, the Transcribe command handles overlapping notes by creating tied notes. Otherwise, the Transcribe command truncates the first note before starting the second. By default, Overlap Notes is off for a cleaner, though slightly less accurate, representation.

Extend Notes
When you select the Extend Notes option, the Transcribe command extends each note to the next note or beat, whichever comes first. This option makes the display cleaner because it minimizes the use of rests.

Insert Rests
When you select the Insert Rests option, the Transcribe command displays rests. Otherwise, rests will not be transcribed. By default, this option is on.

The Chord Options also control the way Bars&Pipes Professional transcribes music. Bars&Pipes Professional considers notes that begin at the same time, within the selected Resolution, to be members of the same chord. These options control how it decides to display notes in one chord.

The following Chord Options are mutually exclusive:

Shorten Notes
When you select the Insert Notes option, the Transcribe command causes all notes in a chord to be displayed as the smallest note in the chord.

Lengthen Notes
When you select the Lengthen Notes option, the Transcribe command causes all notes in a chord to be displayed as the longest note in the chord.

Keep Note Lengths
When you select the Keep Note Lengths option, the Transcribe command transcribes the notes in a chord to different lengths. It splits longer notes into tied notes.

The Note Stems options controls how Bars&Pipes Professional transcribes stem directions:

Auto Stem
The Auto Stem option lets Bars&Pipes Professional decide which directions to place the note stems.

Stem Up
The Stem Up option sets all note stems up.

Stem Down
The Stem Down option sets all notes stems down.

Oppose Rhythm
With the Oppose Rhythm option selected, Bars&Pipes Professional analyzes the music for two different rhythms in each measure. If there are two different rhythms, it sets the stems up on the first rhythm and the stems down on the second. This option is useful in conjunction with printing notation.

Printing Notation

Choose the Print... command from the Notation menu to open the Print Requester for the Track. Please see chapter 11, Printing Notation, for more information.

Centering The Notation Staff

The center of the Notation Staff defaults to middle C, octave five on the MIDI keyboard. To change to another octave, use the Note Range... Staff Center command in the Display Options menu. The Staff Center requester opens.

In the box to the right of the Center: prompt, the requester displays the note currently at the center of the Staff. By default, the Staff centers around C5, the note C of the fifth octave.

To change the octave, click on the center note and hold the mouse down. Under the mouse, a pop-up menu appears with a choice of octaves. Move the mouse to the one that you want and lift up. The center note changes to C of the octave you choose.

The Auto Center button automatically calculates the center note and accommodates the range of notes displayed.

When you finish, press Okay to accept the new Staff Center, or Cancel, to leave it as it was.

Tablature

Displaying Tablature

When you select Tablature from the Show menu, Bars&Pipes Professional displays note pitches as fret numbers on guitar strings. The open string note value of each string, which can be changed, is shown on the left. To the left of that is either an ON or an OFF. This value is used by the Tabulate... menu option in the Tablature menu. If a string is ON, it may have notes assigned to it. Otherwise, notes are not be assigned to it.

Setting The Tablature Resolution

Use the Set Tablature Resolution command to control how Bars&Pipes Professional spreads notes across the strings. This opens the Tablature Resolution requester.

Since tablature is not concerned with durations of notes, every note could potentially be transcribed to the same string (provided that the pitch of the note exists on the string).

Notes which sound simultaneously obviously need to be transcribed to different strings in order to be played simultaneously. Notes which do not sound simultaneously can be played on the same string, one after another.

The larger the Tablature Resolution, the more notes Bars&Pipes Professional attempts to transcribe simultaneously. This value is measured in clocks. When Bars&Pipes Professional transcribes one note, it goes on to the next note and the next note, filling up each of the six guitar strings.

Once Bars&Pipes Professional has looked ahead of the first note by the number of clocks set by the Tablature Resolution, Bars&Pipes Professional starts over from scratch, filling each string with a note, one by one.

You can set the Tablature Resolution from one clock to 768 clocks.

Setting The Tablature Position

Use the Set Tablature Position requester to control which position, or fret, Bars&Pipes Professional uses during transcription. This value can be set to auto, or from one to 23.

With auto position chosen, Bars&Pipes Professional attempts to find the most comfortable position for the notes to be played in.

When a specific position is chosen, Bars&Pipes Professional attempts to place all notes within one fret below and four frets above the selected position.

Transcribing Tablature

Use the Tabulate... command to transcribe your music to tablature. Choose All or Between Flags to transcribe all of the Track or just the portion between the Edit Flags.

Changing String Octaves

Open the Change String Octaves requester to change the octaves of all strings up or down.

This allows easier access to some transcriptions.

Enabling And Disabling Strings

Sometimes, you may want to transcribe a piece of music only to certain strings. Use the ON/OFF toggle to do so. Click with the Magic Wand on the ON/OFF to toggle between the two.

{{Note|text=Even though a string may be disabled for transcription, you can still drag or Input a note by hand onto that string.}}

{{Note|title=Tip|text=MIDI guitarists can use this feature to get an accurate transcription of what to play. (Please see below.)}}

Changing Open String Notes

Click with the Magic Wand on the open string note value, and drag the mouse up and down to change the open string note value.

Creating A Note In Tablature

To create a note in tablature, click in the tab area with the Pencil. A number appears, indicating the fret number. To set the pitch to the desired note, continue by dragging the mouse up or down to change the number to the correct fret. The duration of the note created is equal to the default note value.

Editing A Note In Tablature

Only the pitch of a note can be changed in Tablature, not the duration. Use the Magic Wand to change the note pitch of existing notes. Click on the note's fret number with the Wand; then drag the mouse up and down to change the fret number. To change the duration, use the Wand in the Piano Roll or Hybrid Notation displays. To change the note velocity, use the Wand in the Velocity display.

Creating An Accurate Transcription

If you record from a MIDI guitar, Bars&Pipes Professional can create an accurate transcription of what you play. Set up Bars&Pipes Professional to record each string on a separate Track, using the multiple-in preferences option, and have your MIDI guitar output each string on a different MIDI channel.

After recording, go into each Track's Edit window. Display Tablature, and set the ON/OFF toggles for each string so that only the correct string is ON, and all others are OFF. Choose the Tabulate... option from the Tablature menu to transcribe the music to the string. This sets each Track to tabulate all of its notes on only the chosen string.

Once you've finished with all six strings, close each Edit window. Create a Group out of the six Tracks, and use the Merge option in the Group menu to merge all six Tracks into one Track. Each note retains its string identity. When you look at the Tablature for the merged Track, you will see an accurate transcription of what you've played.

{{Note|text=Please see Chapter 19, Advanced Sequencing, for Information on creating and using Groups.}}

Cut and Paste Editing

The first menu on the left in the Graphic Editor window is the Edit menu. Most operations in this menu work on the section between the Edit flags. The Edit flags are the purple triangles above the Sequence Display.

We'll refer to the section between the Flags as the Clip. A Clip includes all Events and Parameters which occur between the two Flags. You can drag the Edit flags to any location, and then cut, copy, paste and place Clips into the Clip buffer or, if it is open, the ClipBoard.

{{Note|text=The ClipBoard is explained in the Multi-Track Editing chapter.}}

To set an Edit Flag, click down on it and drag. If you drag beyond the edge of the display, it scrolls. The Edit Flags follow the same rules for alignment as the Flags in the Tracks window; when you lift up on the Flag, it jumps to the leftmost alignment boundary. By default, alignment is set to every measure. Change the alignment by selecting from the Align With... option in the Prefs menu. Alternatively, set the alignment with the alignment buttons in the Set Flags window.

Let's look at each edit command in the Edit menu:

Cut (Right Amiga - X)
Use the Cut command to cut a Clip from your Sequence. Doing so removes the section between the Edit Flags. Everything to the right of the section shifts to the left Edit Flag. You can then use the Paste command to insert the Clip elsewhere in your Track. If the ClipBoard window is open, the Clip displays in it. Use this if you'd like to Cut and Paste between multiple Edit windows. When the ClipBoard window is closed, the Clip remains hidden for use within the same Track.

Copy (Right Amiga - C)
Use the Copy command to copy a Clip without actually removing it. Nothing visibly happens, but the section between the Edit Flags becomes a Clip, available for Pasting. If the ClipBoard window is open, the Clip appears in it.

Paste (Right Amiga - P)
Use the Paste command to insert a Clip after the placement of the left Edit flag. If the ClipBoard window is open, the Paste command uses the currently selected Clip in the ClipBoard. Otherwise, it uses the result of the last Cut or Copy operation from the same Edit window.

You may do multiple Paste operations with the same Clip. The Clip remains the same until the next Cut or Copy command.

Mix (Right Amiga - M)
Use Mix to merge a Clip on top of a section. Starting at the left Edit Flag, Bars&Pipes Professional mixes in Events such as notes, pitch bends, and after-touches, but ignores Parameters such as Chords, Rhythms, etc. Once again, if the ClipBoard window is open, the Mix command uses the currently selected Clip in the ClipBoard. Otherwise, it uses the result of the last Cut or Copy operation from the same Edit window.

Erase (Right Amiga - E)
Use Erase to clear the section between the left and right Edit Flags. All Events disappear, which leaves your Sequence silent during this section. Erase is different from the Cut command, in that the section to the right of the Clip is not shifted over to the left Edit Flag and nothing is placed in the ClipBoard for later Paste or Mix operations.

Insert (Right Amiga - I)
Use Insert to insert a blank space in your music between the Edit Flags. This command comes in handy when adding a section somewhere in the middle of the Sequence. Insert the section, then use whatever methods you prefer to fill the gap with music.

Delete (Right Amiga - D)
To delete a section between the right and left Edit flags, use the Delete command. This command operates identically to the Cut command, but does not place the deleted section into the Clip buffer or ClipBoard.

Toolize (Right Amiga - T)
Use Toolize to process the Clip with the currently selected Tool in the ToolPad.

Selective Toolize
Use the Selective Toolize command to selectively Toolize only certain events and note ranges between the two Edit Flags. When you select this option, a requester appears.

Highlight in red the MIDI event types you want to Toolize. If you select Note On/Off, you may select a note range with the two sliders.

Once you've set the parameters, select the Toolize button. The Tool in the ToolPad processes all activated event types and, if Note On/Off is activated, all notes between the upper and lower limits inclusive.

Repeat... (Right Amiga - R)
Use Repeat to duplicate a section of your Sequence. This command makes multiple copies of the section between the Edit Flags and inserts them into the Sequence.

When you select the Repeat command from the Edit menu, the Repeat requester opens. enter the number of repeats, then select Okay or Cancel.

Listen (Right Amiga - L)
Use Listen to preview everything in the section between the Edit Flags. Bars&Pipes Professional plays all MIDI Events in the section at the current tempo. Because the Events travel down the PipeLine, any Tools you have selected to process the Output PipeLine will process the section as it plays.

* TIP * The Listen command is different from the Speaker button because the Listen command plays back everything between the Edit Flags. The Speaker button plays back everything that is visible in the Edit window.

If the Perform All Tracks option in the Prefs menu is selected, the Listen command plays all other Tracks in the sequence as well.

Boundaries... (Right Amiga - B)
Use Boundaries to enter the numerical values for the Edit Flags. Doing so opens a requester into which you can type positions for the two Flags.
==MIDI Event Editing==

Chapter 9

Overview

Notes aren't the only MIDI events you can record, edit and play. Bars&Pipes Professional lets you work with all MIDI channelized events, including Pitch Bend, Program Change, Control Change, and more.

Entering and editing other MIDI events is similar to entering and editing notes. In this chapter, we'll show you specifically how to enter and edit these special MIDI events.

Types of MIDI Events

When musical information travels through a MIDI cable, it's broken into individual commands that describe specific actions. These commands are commonly called "MIDI messages", or "MIDI events."

With Bars&Pipes Professional, you can record, play and edit all of the MIDI-channeled voice events. These events encompass all the commands that control how your synthesizer(s) can play: what notes to play, how loud to play them, how much pitch bend to include, etc. The MIDI channeled voice events embody the actual performance. Let's look at each:

Note On And Note Off Events

Note On and Note Off are by far the most important MIDI events. They describe when a note starts to play and when it ceases to do so.

From a MIDI perspective, Note On and Note Off are separate entities. When you press a key on your MIDI keyboard, it immediately sends a MIDI Note On event which states that the note is playing. Your MIDI keyboard has no way of knowing however, how long you'll sustain that note. Not until you lift your finger off the keyboard does it send a MIDI Note Off event. As you see, the performance of a note is described by MIDI as two separate occurrences.

In traditional music, a note is considered one event, not two. Bars&Pipes Professional's Sequencer combines Note On and Note Off to create one note event that describes when the note starts, as well as its duration. Even so, it's useful to remember that a note is broken into two parts when it leaves your keyboard, zings across MIDI to your Amiga, flows down a PipeLine, enters the Sequencer and combines into one.

Upon playback, a note is once again broken into two parts, which flow down the right side of the PipeLine, out through MIDI, and into your synthesizer.

Note Velocity Data

In addition to the actual value of the note, the MIDI Note On event also stores the note's velocity, i.e., how hard you strike the key to produce the note. Note Velocity translates into note emphasis or volume. To view and edit MIDI Note events, please see the preceding chapter.

Pitch Bend Events

Pitch Bend allows the performer to bend the pitch of a note. Since bending a note is an extremely powerful form of musical expression, almost all MIDI instruments provide it. The MIDI Pitch Bend event states how far out of pitch all notes are shifted at a specified point in time.

The MIDI Pitch Bend event can be confusing. While it states how far between two extremes the pitch is shifted, it has no knowledge of the boundaries of those extremes. It does not explicitly state, "Shift all notes up a half step." Instead, it says, "Shift all notes up one-eighth of the maximum distance by which you shift." The synthesizer produces the shifting pitch that decides how to interpret the bend. You can set the range on most synthesizers between one half step and a full octave for the Pitch Bend extremes.

Bars&Pipes Professional draws each MIDI Pitch Bend event as a vertical line stemming from a central axis. If the pitch bend is positive, or sharp, the line extends up from the axis. If the pitch bend is negative, or flat, the line drops down. Although you can think of a pitch bend over time as a continuous curve, in MIDI terms it's a series of individual Pitch Bend events, which is why the resulting display looks more like a picket fence, the tops connected to describe the steps of the curve.

Mono After-Touch Events

Mono After-Touch measures how hard you press a key on a MIDI keyboard. The changing pressure is converted into numeric values which are constantly sent down the MIDI link. When these describe the overall pressure on the keyboard, as opposed to individual key pressure, they are Mono After-Touch events. Just how the key pressure is interpreted is completely up to the performing synthesizer. Two typical uses are vibrato and volume control.

Bars&Pipes Professional draws each MIDI Mono After-Touch event as a vertical line and connects the tops with a horizontal line. The greater the key pressure, the higher the line.

Poly After-Touch Events

Poly After-Touch transmits key pressure on an individual key basis. Poly After-Touch MIDI events specify both the key being pressed and its current pressure. Unfortunately, since the hardware to do this is expensive, not many keyboards feature it. For the machines that do support it, Poly After-Touch can be used to describe note emphasis on a continually changing basis.

Bars&Pipes Professional displays Poly After-Touch events in the same way that it displays Mono After-Touch events: with a vertical line denoting pressure, however, since these events also specify which note each After-Touch influences, you can specify the range of notes as well. Do this by setting the Piano Roll note range with the Note Range command in the Display Option menu. All notes displayed in the Piano Roll have their After-Touch values displayed; all others do not.

Control Change Events

Control Change handles many different continuous controllers. Continuous controllers are hardware devices such as volume pedals, breath controllers, and modulation wheels. Every time you alter the position of one of these devices, the device sends a MIDI event reflecting the new value. These events are called MIDI Control Change events. The receiving synthesizer interprets this information to generate vibrato change the timbre of a sound, or adjust the volume.

No limit exists on the scope of sound-producing parameters that can be controlled with these events. In order to support multiple controllers, the Control Change event carries two pieces of data, an identifier that specifies a controller, and the controller data itself.

The identifier, called the Control Change Number, can range from 0 to 127. For example, most synthesizers use Control Change #1 to set the Modulation Wheel and Control Change #7 to set the Volume. The data, the actual position of the wheel, pedal or other controller, is a number between 0 and 127.

Since 128 different Control Change numbers exist, you can't see them all at once. For example, if Bars&Pipes Professional were simultaneously to display a rising Volume Pedal event and a decreasing Modulation Wheel event, it would be impossible to make sense of the resulting mixture, much less edit it with the mouse. Bars&Pipes Professional shows, therefore, only one Control Change type at a time.

To select which Controller you'd like to view and edit, use the Control Change # option in the Display Options menu.

Program Change Events

Program Change tells your synthesizer what sound, or "patch," to use when playing notes. This event holds a number, from 0 to 127, which identifies which patch to use. For example, on your synthesizer, patch #2 could be a violin, patch #45, a marimba. If your synthesizer receives a Program Change event with patch #2, it plays the violin. Later, if it receives a Program Change with patch #45, it switches to a marimba.

Most synthesizers can switch between sounds instantly. It is possible, therefore, to embed Program Change events in your sequence that switch among several voices on the same synthesizer as it plays your piece of music. Embedding such Program Change events is a great way of squeezing more performance out of your available hardware.

Unfortunately, no correlation exists between Program Change patch IDs and specific sounds. Patch #2 may be a violin on one synthesizer and a dog bark on another. The General MIDI Standard is an attempt to remedy this problem. It standardizes the assignment of patches to instruments. For example, with all General MIDI instruments, Patch #0 is a Grand Piano.

Bars&Pipes Professional displays Program Change events as numbers, 0 through 127, or as Patch Names if they have been defined in the Define Patch Lists window. These numbers and names indicate to which patch the synthesizer switches when receiving the event.

System Exclusive Events

System Exclusive events are special commands unique to the instrument (or product line). Manufacturers use System Exclusive events, for example, to set pitch bend ranges, transpose keys, send new patch data to the instrument, and many other functions. The user's manual for your instrument can tell you whether your instrument supports System Exclusive events, and what they do.

Unlike the previous commands, System Exclusive events are not generally considered performance events and they do not obey the same system of MIDI channels as performance events. However, they can be useful to record and play, so Bars&Pipes Professional's recording, playback, and editing mechanisms support them.

Bars&Pipes Professional displays the first four bytes of a System Exclusive event in the strip. Entering new events (with the Pencil) or editing existing events (with the Wand) opens the System Exclusive requester, described in Chapter 13, System Exclusive.

Editing MIDI Events

Use the Graphic Editor to edit MIDI events. To open the Graphic Editor, double-click a specific Track. The Graphic Editor window opens, displaying your selected Track, starting with the measure you clicked on. Depending on which MIDI events you want to edit, it may or may not display all of the appropriate data. To select the events you'd like to edit, check them off in the Show menu of the Graphic Editor window.

You can toggle several Show menu options at once by holding down the right mouse button and pressing the left mouse button over each option you want to toggle. This feature can be a big timesaver, especially if you're changing five or six options.

The Command Buttons in the Graphic Editor

The first eight buttons from the left of the Graphic Editor are the Command Buttons. The Command buttons determine how you use the mouse: for dragging events, erasing events, or whatever. As you click each button with the mouse, the mouse's icon changes. Most of these buttons have keyboard equivalents as well. The following list describes each button briefly:

The Magnifying Glass displays information about events you touch with the mouse.

The Pencil, or function key "F1", draws new events.

The Magic Wand, or function key "F2", alters events.

The Hand, or function key "F3", grabs and drags events.

The Duplicator, or function key "F4", creates an exact duplicate of the selected MIDI event.

The Eraser, or function key "F5", deletes events.

The ToolPad allows you to process MIDI events with certain Tools

The Bounding Box, or function key "F6", working in conjunction with the Hand, Duplicate, Erase, and ToolPad buttons, enables you to draw a rectangle around a set of events and then move, duplicate, delete, or Toolize them.

Setting the Lock Grid

In the last chapter, Note Editing, we needed to set the Default Note before drawing notes. This is because notes have definite durations and volumes. Other types of MIDI events do not have this information. However, it may still be desirable to set some type of quantization for entering and dragging MIDI events.

Before drawing or dragging events, set the Lock grid. The Lock grid determines on what boundaries events fall when dragged or entered. Set the Lock options with the Lock to Default Note and Lock to Notation Resolution options in the Prefs menu.

No Lock Selected

If no Lock grid is selected, events can be dragged and entered at the resolution of the display, which is typically about 4 clock cycles (with 192 clocks per quarter note). In order to tweak the event time even further, use the Magnifying Glass or List Editor.

Lock To Default Note

Selecting Lock to Default Note in the Prefs menu causes events to lock to a grid with intervals corresponding to the Default Note value. The Default Note consists of a note value (eighth, quarter, etc.), and a modifier (triplet, dotted, or normal). Please see the previous chapter, Note Editing, for more information about setting the Default Note.

{{Note|text=The Default Note also contains an articulation (staccato, legato, etc.), and a dynamic level (pp through ff). However, these are only used with Note events, discussed in the previous chapter.}}

Lock To Notation Resolution

Selecting Lock to Notation Resolution in the Prefs menu cause events to lock to a grid with intervals corresponding to the Resolution value assigned in the Notation menu.

Lock To Rhythm

Selecting Lock to Rhythm in the Prefs menu causes events to lock to a grid corresponding to the current Rhythm template. Please see the next chapter, Song Parameters to learn more about Rhythm parameters.

Entering MIDI Events

Use the Pencil to enter MIDI events. To do so, click on the Pencil button, which highlights it. Notice that the mouse resembles a Pencil. Enter events by clicking down with the mouse where you want the first Event. Then drag it across the display to enter a trail of events. Here is what happens when you draw in each MIDI Event type:

Note On And Note Off Events

Please refer to Chapter 8, Note Editing, for more information.

Pitch Bend Events

To enter a Pitch Bend curve, click down with the Pencil where you'd like it to start and drag it to the right. Set the height of each Pitch Bend Event by the vertical position of the mouse. The current Default Note determines the distance between each Pitch Bend Event. If you'd like many events close together for high resolution, select a small Note Value. Sixty-fourth note resolution works very well.

Mono After-Touch Events

To enter a Mono After-Touch curve, click down with the Pencil and drag it to the right. Remember that the Default Note determines the distance between each Event.

Poly After-Touch Events

Drawing in the Poly After-Touch curve is a bit complex because each Poly After-Touch Event corresponds to a particular note. In other words, Bars&Pipes Professional organized Poly After-touch event according to its Poly After-Touch information and its pitch, denoted as a letter and an octave number, such as C5.

As you draw the curve with the Pencil, two factors govern which note corresponds with which Event. First, Bars&Pipes Professional includes only notes within the range of the Piano Roll. Second, Bars&Pipes Professional chooses the current or most recent note in the sequence. As a result, if the Piano Roll displays a C in octave 5, Poly After-Touch events drawn under that note have C5 integrated into them.

Control Change Events

To enter a Control Change curve, you must select the right Control Change number. Then click down with the Pencil and draw in the Control Change events.

To avoid confusion, Bars&Pipes Professional displays only one Controller at a time. Use the Control Change # command from the Display Options menu to open the Control Change Number requester.

After the Controller #: prompt enter the Controller number that you want Bars&Pipes Professional to display or click on the Next Controller button to cycle through all the Control Change numbers in your Sequence. This way, you can quickly jump from one Control Change number to the next. Cycling is also useful for discovering what types of Control Change events are embedded in your Sequence.

Program Change Events

To enter each Program Change, select the Pencil and click in the Program Change region.

You can select a Program (or "Patch") by number, and, if a Patch List is installed, by name as well. To select by name, click the button after the Patch: prompt and hold. A scrolling list of available patch names appears under the mouse. Drag the mouse and click on your choice. To select by number, drag the slider under the Patch name.

The button after the Synth: prompt displays the currently selected Patch List. If you'd like to change it, click on the button and select a different Patch List from the scrolling list.

Create and install Patch Lists from the Patch List window, accessed from the Define menu.

{{Note|text=Each Track references one Patch List. Not only does this list define the names displayed in the Program Change requester and Program Change display, it also defines the Patch List used by the Quick Patch Tool.}}

System Exclusive Events

To enter a System Exclusive event, select the Pencil and click in the System Exclusive region. This opens the System Exclusive requester, described in detail in Chapter 13, System Exclusive.

Altering MIDI Events

Once you enter events, you can alter them. To the right of the Pencil sits the Magic Wand. Once you select the Magic Wand, you can alter the events with the mouse. Click down and pass it over the events you want to change and their heights magically conform to the path of the mouse. Notice that the Magic Wand draws a line as the events change shape.

This holds true for all MIDI Event types except for the Program Change and System Exclusive events. To alter one of these events, touch the event line with the Magic Wand. The Program Change requester or System Exclusive requester appears, which allows you to alter the event data.

Dragging MIDI Events

If you select the Hand button, you can use it to drag events forward and backward in time. Because Bars&Pipes Professional displays most MIDI events as thin vertical lines, you're not required to position the mouse exactly over an Event before you click on it. Instead click down the mouse and sweep it through the Event. The Event sticks to the mouse,. which you can then drag to its destination.

All of the "Lock to" options in the Prefs menu operate on other MIDI events, just like note events. If you set the Lock to Default Note option in the Preferences menu, the item moves to a grid defined by the Default Note. For example, if the Default Note is a quarter note, everything you drag moves left or right at quarter note intervals. Select Lock to Resolution to lock to the Resolution assigned in the Notation menu. Select Lock to Rhythm to lock to the current Rhythm template.

You can also use the Right and Left Arrow keys to move events forward or backward in Song time.

Duplicating MIDI Events

To duplicate events, click on the Duplicator button or press function key "F5." When you click and drag an event, Bars&Pipes Professional creates a new event of the same type, with the same data, and places it at the destination.

Erasing MIDI Events

To erase events, choose the Erase button, which, when selected, causes the mouse to resemble an Eraser. Click down and drag the Eraser through MIDI events to delete them.

Toolizing MIDI Events

You can Toolize all MIDI events, although most Tools concentrate specifically on Note events. Exceptions to this rule are the Delay and Echo Tools, which work on all Event types, and the Modulation, Flip, and Inverter Tools, which do their work on both Poly After-Touch and Note events.

Toolizing other MIDI events is similar to Toolizing Note events. Please see the previous chapter, Note Editing, for more information on Toolizing.

Boxing MIDI Events

You can select some of the Command buttons in conjunction with the Bounding Box. When you use the Bounding Box, you affect everything within it.

To draw the box, click down where you'd like one comer of the box to be and drag the mouse to the opposite corner. A box grows as your mouse travels. The box does not cross boundaries between data displays. Thus, you can't draw a box that encompasses Pitch Bend events as well as Mono After-Touch events.

The Bounding Box works with the following four Command buttons:

The Hand Button
The Hand drags everything in the box with the mouse. Once you create the box, click down on it a second time and drag it. All MIDI events in the box move with the mouse.

The Duplicate Button
The Duplicator duplicates everything in the box. Once you create the box, click down on it and drag it. A copy of the selected MIDI events moves with the mouse.

The Erase Button
The Eraser erases every MIDI Event within the box, once you lift up on the mouse.

The ToolPad
The ToolPad Toolizes all events within the box with the currently selected Tool.

Magnifying MIDI Events

When you select the Magnify button, the Magnify window opens and the mouse resembles a magnifying glass. The Magnify window displays data which can be edited, about each MIDI Event currently being touched with the mouse. Use the Right and Left Arrow keys on your Amiga keyboard to move through the selected event types one by one. Use the Up and Down Arrow keys to move to the event which occurs next chronologically. Bars&Pipes Professional displays the type of event in the Title bar of the Magnify window.

The first field in the Magnify window, labelled "Time," lists the time in measures, beats, and clocks. The second field, labelled "HMSF," lists the time in SMPTE format. If you click in either line with the mouse, you can change the time by entering a new one. Press the Return key when you complete the line. This causes the Event to jump to the new time.

All of the other lines differ depending on the type of MIDI Event. Remember, after you edit any of these lines, you just press the Return key to register the change. Here's a listing of what each Event's Magnify window displays:

Pitch Bend Events

Pitch Bend has one line, "Bend," which displays a numeric value for the bend.

The maximum positive pitch bend is 8191. The maximum negative bend is -8192. A positive bend makes the music play up in pitch, while a negative bend makes it flat.

Mono After-Touch Events

Mono After-Touch has one line, "Pres," which represents the key pressure.

The numbers range from 0, for no pressure, to 127, for extreme pressure.

Poly After-Touch Events

Poly After-Touch has two fields, "Note" and "Pres."

Poly After-Touch has two fields, "Note" and "Pres." "Note" identifies the key being pressed, while "Pres" shows the pressure as a number between 0 and 127.

Control Change Events

Control Change has two fields, "CC #" and "Data."

122 different Control Change numbers exist. The first line specifies which controller this Event addresses. The second provides the data, a number between 0 and 127.

Program Change Events

Program Change has one field, "Ptch," which is a patch selection number between 0 and 127.

System Exclusive Events

System Exclusive has three fields, "Time," "HMSF," and "Data." Clicking in the Data field opens the System Exclusive requester.

==Editing Song Parameters==
Chapter 10

Overview

Song Parameters describe your music in terms more sophisticated than MIDI events. They provide the foundation for your composition.

Song Parameters do not affect your composition directly. Instead, they are used by Tools, Accessories, and other functions to indirectly effect or further illuminate your composition. For instance, Time Signatures affect the display and printout of notation. Chords can be used in conjunction with the Chord Player Tool. Dynamics can be used with the Phrase Shaper Tool.

There are two different uses for Song Parameters: the Master Parameters, which characterize your Song as a whole, and the Track Parameters, which override the Master Parameters and work on a Track-by-Track basis.

Song Parameters are edited in the same Graphic Editor you've been using in the two previous chapters.

To edit the Master Song Parameters, open the Graphic Editor from the Windows menu by selecting Master Parameters. To edit the Song Parameters for any Track, double-click on the Track's sequence display in the Tracks window.

In the Graphic Editor window, Bars&Pipes Professional displays each Parameter in a band that runs from left to right. On the left side of each band is the name of the Parameter.

Select which Parameters you'd like to see from the Show menu.

Since the display can't possibly show all Notes, Parameters and Events at once, a scroll bar on the right enables you to scroll up and down.

An Explanation of Each Parameter

Six different Song Parameters exist. Before we discuss how to enter and edit them, let's consider how they relate to music in general:

Lyrics

Lyrics are words which accompany music. They exist in rock, blues, opera, pop, jazz, heavy metal, church music, and many other musical forms. Lyrics can reinforce a composition's tone or contradict it altogether. They, as well as the meter, rhyme scheme, and rhythm you choose, can complement the music and further its meaning.

Recognizing that not all music is purely instrumental, Bars&Pipes Professional allows you to enter lyrics directly above the measures in which they occur.

You can use the printing Accessory, "Follow the Leader," to print your Lyrics. Also, if you save your Song in MDI File Format with the "sMerFF" Accessory, sMerFF saves the lyrics so that notation programs that read MIDI File Format can display your lyrics with the music. The Graphic Editor displays each word positioned in its appropriate measure.

Chords

Chords consist of three or more notes played at once. Many types exist, but the most common in popular music are major and minor chords and derivations thereof. Basic chords can be formed by taking the first three of every other note in a scale and playing them simultaneously. Sound confusing? Let's look at an example:

A "C major" scale consists of the notes "C,D,E,F,G,A,B,C." To form a triad (a chord with only three notes) in this key, pick a root note (the bottom of the chord) and build up from it by choosing every other note in the scale. A D triad in the key of C consists of the notes D, F and A. An F triad in the key of C consists of the notes F, A, and C. By skipping every other note, you form basic triads within a key.

Every triad or chord conveys a certain emotional tone. Minor chords are often used to project sadness, anger, or seriousness, while major chords tend to sound happy and pure. Since a major scale contains seven distinct notes, seven basic triads exist within the scale. In other words, a triad can be constructed by using each note of the scale as the root note. CEG, DFA, EGB, and FAC are the first four triads in the key of C.

More specifically, rules govern the "flavor" of each triad as it relates to a key. In a major scale, for example, the triad built on the second note in the scale is always minor. The triad built on the third note is minor, too, but the triad built on the fourth note is major.

If you have a keyboard available, play the triads by moving note by note up the C major scale and you can hear the differences in tonal quality. Some triads are major; others, minor. (The triad built on the seventh note is "diminished" in quality, but since this manual has space limitations, we won't branch into aspects of music theory that would explain this.) Major triads are based on the interval formula, "root note + two whole steps + a whole step and a half". Minor triads are based on the formula "root note + a whole step and a half + two whole steps."

The Chords option presents an assortment of chord types including major, augmented, major7, major6, dominant7, minor, minor-6, minor+5, minor6, minor7, minorMA7, diminished, minor7-5, diminishedMA7, dominant 7-5, major9, dominant7-9, dominant9+5, dominant7 -9+5, and the list goes on. Should you fail to find one to your liking, create your own chords in the Define Chords window.

Although Bars&Pipes Professional doesn't play chords automatically, they provide valuable information that can be used by Tools to assist in the composing process. Once chords are entered into a Song, Tools come into play that make sophisticated musical decisions based upon your chord choices. As an illustration, the Accompany B Tool takes your chords and hammers out a rhythmic accompaniment. The "Follow the Leader" Accessory prints your chord changes.

Bars&Pipes Professional displays the root note followed by the chord type. For instance, the major chord CEG is shown as C MAJOR.

Key & Scale/Mode

Key & Scale/Mode indicates the key, or tonal center, of a composition. The tonal center is the single note around which your music revolves. In the key of "C major," it is the note "C;" in the key "Ab minor," "Ab." For nearly every piece of music, a key can be ascertained and assigned. The key, and hence the key signature, provides a framework for composition.

Directly related to keys and key signatures are scales. A scale, in its simplest definition, is a series of notes ascending from a specific note. Every type of scale is formulaic in nature; each is determined by half-step and whole-step relationships, which stem from the tonal center. (On a piano, C, a white key, is a half step from C#, a black key, and a whole step from D, another white key. Although not every white key is a whole-step from the white key next to it and a half-step from the black key next to it, for the most part, this is true.)

To illustrate, the formula for a major scale begins with the tonal center and progresses a whole-step (denoted by "W"), W, half-step (denoted by "H"), W, W, W, H. (All the white keys in succession from C to C on a keyboard.) Minor scales are a bit trickier as there are several types.

Although most American music fits into either the Major or Minor scales, many other scales exist. Some of these are the Whole Tone, in which every note is a whole-step beyond its predecessor; the Chromatic, where every note is a half-step beyond its predecessor; the Pentatonic, containing only notes 1,2,4,5,and 6 of the major scale; and the Gypsy, whose formula is W, H, W+H, H, H, W+H.

Not only is Key & Scale/Mode useful for editing, since the Graphic Editor can display the key signature and accidentals on the Staff, it is also quite useful for Tools that work with your music. For example, the CounterPoint Tool creates a countermelody accompaniment by knowing your chosen note system and calculating the proper intervals according to the rules of first species counterpoint. As with chords, Bars&Pipes Professional comes with a long list of preset scales and all of the classical modes. You are free, however, to design your own with the Define Scales window.

Bars&Pipes Professional displays the tonal center, or key, followed by the scale or mode name, e.g., C Major, Eb Minor, F# Blues. The Staff displays the key signatures for all major and minor scales as well as for all of the modes.

The Display Options menu provides the option of showing the Key & Scale/Mode on the Piano Roll. This command, Background... Key, shadows the current Key & Scale/Mode in a hazy purple. As a result, you can easily compose while staying within your chosen Key & Scale/Mode. Along the same lines, the Lock to Key option in the Preferences menu confines all notes you enter or edit into your chosen Key & Scale/Mode.

Rhythm

Rhythm, in its simplest form, conveys the motion of your music. Beats of varying lengths are organized into rhythmic patterns. Rhythms can be simple or complex, on the beat or off. Certain styles of music are noted first and foremost for their rhythmic form. For instance, Samba music is characterized by syncopated rhythmic patterns, where the beat is shifted to the upbeat, or second half of the beat, over a 2/4 meter, and Shuffle is known for its triplet-based feel in 4/4 time.

Armed with a particular rhythmic style along with the key and chord progressions, any capable musician can quickly construct a Song. Once again, some Tools can use rhythm to make intelligent decisions as they process your music. Accompany B is a good example. It combines the Rhythm and Chord parameters to play a chord pattern. No limit exists to the scope of conceivable rhythms, and although Bars&Pipes Professional does come with a set of pre-defined rhythms, you will almost certainly use the Define Rhythms window to create your own.

Bars&Pipes Professional displays each rhythm by name. If you select Background... Rhythm in the Display Options menu, Bars&Pipes Professional displays the Rhythm pattern in the background behind all the Parameters and MIDI Events. This pattern resembles a set of vertical bands. This gives you a visual cue for how the rhythm lines up with other events.

Use the Background... Rhythm option to analyze how your Rhythm relates to your Sequence. Keep this in mind: a Rhythm consists of Note events, which have durations. The durations determine the width of the bands, some of which may overlap.

Remember, Rhythms don't play anything by themselves. Used in conjunction with Chords and the Accompany B Tool, Rhythms can command Accompany B to play Chords at a defined pace and syncopation. The Groove Quantize Tool uses the Rhythm to lock a performance to the Rhythm's timing. Please refer to the Music Tools chapter for more information.

Dynamics

Dynamics indicate the volume at which each section of music is played. If you're familiar with classical notation, you will recognize these markings as the following lower case letters: "pp," "p," "mp," "mf," "f," and "ff." These abbreviations stand for pianissimo (very soft), piano (soft), mezzo piano (medium soft), mezzo forte (medium loud), forte (loud) and fortissimo (very loud), respectively.

A crescendo gradually increases the volume. The inverse is true of a decrescendo or diminuendo. Without dynamic road signs, music sounds stagnant and lifeless. Dynamics focus attention on or away from various segments of a piece. Ironically, sometimes a quiet section of music is easier to hear than a loud one.

You can define the overall volume of your Song with the Dynamics Parameter. With dynamics, you can draw crescendos and decrescendos.

Bars&Pipes Professional shows the Dynamic curve as a set of points with lines drawn between them. Each point represents a dynamic setting; for example, mezzo piano (mp) or fortissimo (ff). The connecting line conveys the dynamic change over time between the two points. To show a dramatic crescendo across one measure, you might start the measure with a dynamic point labeled "pp' and end with a second, labeled "ff." The Editor automatically draws a line between them.

{{Note|text=Like all Song Parameters, Dynamics do nothing unless they are used in conjunction with a Tool. The Phrase Shaper Tool is a very simple, but powerful implementatIon of Dynamics. It takes each note, places it against the Dynamics curve, and assigns it the proper velocity.}}

Time Signature

A Time Signature appears at the beginning of a piece as two numbers, one above the other. The lower indicates the type of note that is used to measure each beat, (half note, quarter note, etc.), while the upper indicates the number of such beats per measure. 4/4 is by far the most common time signature.

Time signatures provide the basic rhythmic framework of a piece. Though most popular music, such as rock-n-roll, rhythm and blues, and funk, tends to be in symmetrical meters (2/4, 4/4, or 6/8), uneven meters (3/4, 5/4) often lend a fresh feel and unpredictability to music.

Bars&Pipes Professional uses traditional time signature notation and permits a different time signature to be assigned for every measure that exists in a sequence. You can therefore experiment with a multiplicity of beat resolutions. Bars&Pipes Professional also permits different time signatures in different Tracks simultaneously.

Bars&Pipes Professional supports all standard time signatures; however, in keeping with the "one-size-fits-all principle," you can use time signatures as bizarre as 77/8 or 36/2. To enter a time signature, select one from the pre-determined palette or enter your own.

The Time Signature defined in the Master Parameters window is the main Time Signature displayed in the Tracks window. Please see the chapter, Advanced Sequencing, for more information. Individual Tracks can also contain their own Time Signatures that are different from the main Time Signature.

Two Important Considerations About Song Parameters

You do not have to use all the Parameters that Bars&Pipes Professional provides. Rarely would you use all six while composing a single piece of music. The organization of your Song, and more importantly, which Tools you use, dictate which Parameters are necessary and which are a waste of time.
Depending on how you use them, some Parameters may be more useful on a Track-by-Track basis, while others may be preferable in the Master Parameters window. Lyrics, Key, Rhythm and Time Signature usually belong to the entire composition. On the other hand, you may have different voices singing different lyrics or juxtapose different rhythms on individual Tracks.
* TIP * As you add and edit Parameters, think about the appropriateness of their placement. Fortunately, it's quite easy to move Parameters between the Track and the Master Parameters windows, should you want to change them.

Bars&Pipes Professional follows a simple rule with all Parameters: when a Tool uses a Parameter to process a Track, it first checks the Track Parameters. If the required Parameter type is not represented, it refers to the Master Parameters for the data.

Editing the Master and Track Parameters

Two scenarios exist for editing Parameters: editing the Master Parameters or editing the Track Parameters.

Master Parameters define the guidelines used in your Song as a whole. For example, if you add Key and Scale/Mode to your Song, you can place it in the Master Parameters window, since usually every Track shares the same key. On the other hand, you may want separate Dynamic curves for each Track. In this case, use the Track Parameters on an individual Track basis.

To access the Master Parameters, select the Master Parameters option in the windows menu. To access the Parameters for an individual Track, open the Graphic Editor by double-clicking on the Sequencer.

The Master and Track Parameters share the same user interface. By default, Bars&Pipes Professional displays all Parameters when you open the Master Parameters window and none of the Track parameters when you open the Graphic Editor. To display the Master or Track Parameters of choice, select them from the Show menu of the Graphic Editor or Master Parameters window. (You'll notice that the Show menu enables only the Parameters when opening the menu from the Master Parameters window.) This lets you hide the parameters in one window that you're using in another.

You can toggle-select more than one parameter at a time by holding the right mouse button while the Show menu is open, then clicking the left mouse button over the parameters you want to toggle. This can save you some time whenever you change the parameters to display.

The Master Parameter Window Buttons

The Master Parameters window is actually the Graphic Editor with only the Song Parameters available for editing. Please refer to the Note Editing chapter for a thorough guide to this window.

The Command Buttons

The first nine buttons from the left are the Command Buttons. When you press each, the mouse's icon changes. Set these to determine how you use the mouse.

The command buttons in the Master Parameter window are the same as the command buttons in an Edit window. Please refer to Chapter 8, Note Editing, for more information about each command button.

The Lock Grid

Just like other MIDI Events, Song Parameters respond to the "Lock to" menu items in the Prefs menu. Please see the previous chapter, MIDI Event Editing, for more information.

Entering Parameters

Parameters may be entered into either the Master Parameters window or an individual Edit window for a Track. Remember to activate the parameter you want to edit by selecting it in the Show menu.

To enter a parameter, click on the Pencil button or function key "F1." The mouse pointer becomes a Pencil. The way that the Pencil operates is determined by the following options in the Prefs menu.

If you choose the Drag With Pencil option, click down to enter a parameter and the Pencil becomes the Hand so that you can drag the parameter. Lift up on the mouse button when you are satisfied with the parameter's position.
If you choose the Lock to Default Note option, entered parameters align to the Default Note interval. For instance, if your Default Note is an eighth note, then all parameters you enter correspond to eighth note increments in each measure.
The Lock to Resolution option works just like the Lock to Default Notes option, except that it uses the Resolution value defined in the Notation menu.
The Lock to Rhythm option works the same as the Lock to Default Note option, except that it conforms all parameters to the current rhythm template boundaries.
Here is what happens when you draw in each Parameter type:

Lyrics

When you click the Pencil in the Lyrics region, the Lyrics Entry requester opens.

Lyrics must be entered in such a way that each word lines up at its proper position in the music.

If you arbitrarily place a complete sentence at the beginning of a line, the singer won t know on which beat to sing each word. However, opening the Lyrics Entry requester for every word would be time-consuming. So, the Lyric requester let's you enter a line of lyrics and then it breaks it up into individual lyric parameters.

To enter Lyrics in the Song Parameters, enter the entire sentence or phrase on the Lyrics: line. Then enter the number of measures over which this sentence or phrase occurs at the Measures: prompt.

When you press Okay, Bars&Pipes Professional breaks your sentence into its component words and spaces them equally across the number of measures you define. It places the first word at the point you clicked to open the requester.

You can also break words into syllables by placing a dash, followed by a space, between each syllable. Because each word or hyphenated syllable becomes a separate entity in your sequence, it can now be individually positioned to your taste.

When you close the requester, you may find that some of the Lyrics are not exactly where you want them. Follow with the Hand to drag them into position.

Chords

To enter a Chord, click the Pencil on the Chord region and hold the mouse button down. An octave of piano keys appears under the mouse. Choose the root note of the chord by dragging the mouse to the note and lifting up.

The Graphic Editor then tries to choose an appropriate chord, given the current Key & Scale/Mode. However, if you have not selected a Key & Scale/Mode, or the note you chose is not within the selected Key & Scale/Mode, a second menu opens under the mouse. This features a list of chords from which to choose. Since this scrolling menu contains more chords than it displays, it has two arrows, one each at the top and bottom. If you move the mouse over an arrow, the chords scroll by. Move the mouse to the one you want and click down.

Remember, the Graphic Editor only opens the chord menu if it cannot find a triad that fits your selected Key & Scale/Mode. If you don't like its choice, you can always edit the chord with the Wand.

* TIP * You can create your own Chords in the Define Chords window.

Key & Scale/Mode

Enter a Key and Scale or Mode as you would a Chord. Click the Pencil where the key change occurs and hold it down. Choose the key from the octave of piano keys and lift up.

A scrolling menu of Scales and Modes appears under the mouse. Move it to the scale or mode you desire and click down. Since the list of available scales is longer than the menu can show, move the mouse to the bottom arrow. It then scrolls the list up to reveal further choices.

If you selected a black key, a third menu with a sharp and a flat now appears under the mouse. This menu lets you choose whether sharps or flats are used to represent the note value. For example, if you choose the first black key to the right of a C, the sharp/flat menu appears. At this time, you must determine whether the selected note is a C# or a Db. Although these notes are identical in pitch, they are considered different notes and define different scales.

The Key & Scale/Mode Parameter always lines up on measure boundaries. If you place it anywhere else, it locks to the beginning of the measure. The first time you enter a Key & Scale/Mode, Bars&Pipes Professional places the entry at the first measure of the Song. Subsequent Key & Scale/Mode entries stay in the measure where you click the Pencil.

Rhythm

To enter a rhythm, click the Pencil on the Rhythm region and hold it down. A scrolling menu of available Rhythms appears under the mouse. Select the one you want and lift up. Choose from predefined rhythms or define your own in the Define Rhythms window.

Dynamics

Since Bars&Pipes Professional displays Dynamics as lines between points, you must enter both the beginning and end of the dynamic curve. To enter each point, click with the Pencil and hold it down. Depending on whether you've already entered a point, the following happens: If you've already entered a point, Bars&Pipes Professional displays the Dynamic Change pop-up menu. If you haven't yet entered a dynamic point, Bars&Pipes Professional places a point of identical value at the beginning of the Track or Song.

From this menu, choose whether the Dynamic change is Gradual or Immediate. If you choose Gradual, then the dynamic change happens gradually from the point which precedes the one you just entered. Notice that Bars&Pipes Professional draws a sloping line between the two dynamic levels. If you choose Immediate, the dynamic change is sudden. In this case, Bars&Pipes Professional draws a horizontal line that becomes vertical just before the volume change.

A point placed at the top of the Dynamics display indicates the loudest volume, while a point placed at the bottom, indicates the softest. For example, if you want a crescendo to occur within a four-measure time frame, set your original volume on the first of the four measures. Then set your destination volume at the end of the four measures. Bars&Pipes Professional automatically shows a line indicating a gradual increase in volume between the two points.

Time Signature

To enter a Time Signature change, click with the Pencil on its starting measure. The Time Signature requester then opens.

The Time Signature requester provides six standard Time Signatures and a method to define custom Time Signatures The six buttons across the top feature the pre defined Time Signatures Click on your preference to select it.

If you don't find one that meets your needs create your own by first typing the values for the Time Signature after the Other: prompt. Then click on Other to select it.

{{Note|text=It is important that you first enter the values, and then click on the Other button to activate it. Clicking the Other button first, and then typing in the values won't work.}}

By default, Bars&Pipes Professional displays the measure in which the Time Signature change occurs after the "Signature begins on measure:" prompt. This is the point where you clicked with the Pencil. Change the measure by editing this number.

You can also access the previous and next time signature changes. To go to the previous Time Signature change, click on the left arrow button in the Time Signature requester. The arrow finds the Time Signature prior to the one you are viewing and displays so that you can edit it. The right arrow button scans forward to the next Time Signature change.

If you create two adjacent, identical Time Signatures, Bars&Pipes Professional removes the second one. To illustrate, if you have 6/8 on measure 5, then place 6/8 on measure 4, Bars&Pipes Professional discards the 6/8 on measure 5.

Altering Parameters

After you enter a Parameter, you may want to edit it. To the right of the Pencil on the menu Buttons is the Magic Wand. When this button is highlighted (function key "F2"), the mouse takes the shape of a Magic Wand. Selecting this button allows you to touch a Parameter with the mouse and alter it. Wave the Wand through the Parameter to change it. In all cases, this opens a menu or requester. Here's a run-down on how the mouse works with each Parameter:

Lyrics

Touching a Lyric with the Magic Wand opens the Edit Lyric requester.

Edit the Lyric, then press the Okay button if you'd like to keep the change, or press Cancel to forget it.

Chords

Touching a Chord with the Magic Wand opens the piano keyboard under the mouse, which enables you to select a new root note for the chord. Hold the mouse down, roll it to your chord of choice and lift up. If you'd like to keep the current choice, just roll it off the keyboard to retain it.

The Chords list appears under the mouse. Unlike when you enter a Chord, this time Bars&Pipes Professional does not attempt to fit your choice into the selected Key & Scale/Mode. The scrolling menu of Chord choices always opens. Move the mouse to your choice and click on it. If you'd rather go with what you had before, roll the mouse off the menu and the chord reverts to its previous status.

Key & Scale/Mode

Edit a Key & Scale/Mode Parameter as you would a Chord. Touch it and a piano keyboard appears under the Magic Wand. Select the key by moving the mouse to the note and lifting up. Then select the Scale or Mode from the scrolling menu that appears under the mouse. Remember that, at any point, you can go with the original value by rolling the mouse off the menu. If you select a black key, the sharp/flat menu opens as is the case when defining a Key & Scale/Mode.

Rhythm

To change a Rhythm, touch the Rhythm's name. The scrolling list of available Rhythms appears under the mouse. Select your choice by moving the Magic Wand to it and lifting up on the button. To leave the Rhythm unchanged, roll the mouse off the menu.

Dynamic Marking

When you touch a Dynamic Marking with the Magic Wand, the Dynamic Change pop-up menu appears. From this menu, you can reselect the type of volume change, either Gradual or Immediate. If you choose Gradual, then the dynamic change happens gradually from the point which precedes the one you just selected.

Notice that Bars&Pipes Professional draws a sloping line between the two dynamic levels. If you choose Immediate, the dynamic change is sudden. In this case, Bars&Pipes Professional draws a horizontal line that becomes vertical just before the volume change. To move a Dynamic Marking, use the Hand button.

Time Signature

Touch a Time Signature with the Magic Wand and the Time Signature requester opens. Change the Time Signature as desired and click on Okay to keep the change, or on Cancel, to abort.

Dragging Parameters

Select the Hand button (function key "F3") to use the mouse to drag Parameters around and reposition them. Highlighting this button transforms the mouse into a hand. You don't have to position the mouse directly over a Parameter before clicking on it. Instead, click down the mouse and sweep it through the Parameter. The Parameter sticks to the mouse, which you can then drag to the Parameter's new destination.

All of the "Lock to" options in the Prefs menu operate on Song Parameters, just like note events. For instance, if you set the Lock to Default Note option, the Parameter moves only in steps along a grid defined by the Default Note. For example, if the Default Note is a quarter note, everything you drag moves left or right at quarter note intervals. Please refer to Chapter 8, Note Editing, for more information.

You can drag all of the Parameters to the left or right. In addition to these directions, you can drag the Dynamic points up and down. Unlike the case with all other Parameters, you cannot drag one Dynamic point past another, which would create a Dynamic curve that doubles back on itself. If you've dragged a Dynamic Marking and want to change its slope, use the Magic Wand to access the Dynamic Change pop-up menu.

You can also use the Left and Right Arrow keys on your Amiga keyboard to drag Parameters left or right according to the default note grid.

Duplicating Parameters

To duplicate parameters, click on the Duplicator button or press function key "F4." When you click and drag a parameter, Bars&Pipes Professional creates a new parameter of the same type, with the same data, and places it at the destination. While dragging the parameter, the Duplicator works just like the Hand. Please see the previous section, Dragging Parameters, for more information.

Erasing Parameters

To use the mouse to erase Parameters, choose the Erase button (function key "F5'). Highlighting this button turns the mouse into an Eraser. Click down and drag the Eraser over Parameters to delete them.

Toolizing Parameters

You cannot use Tools to process Parameters directly; however, many Tools use Parameters as part of their design. As an example, the CounterPoint Tool uses the Key & Scale/Mode to select the correct intervals. The Phrase-Shaper Tool uses the Dynamics Curve to set Note velocities.

Whenever a Tool looks for a Parameter, it first checks in the Track with which it is working. If it finds no Parameter there, it consults the Master Parameters. If you have a Dynamic curve defined for Track A, but not for Track B, the Phrase-Shaper Tool uses Track A's Dynamic Curve to phrase notes on Track A, but uses the Master Dynamic curve to phrase Track B.

Boxing Parameters

The Bounding Box allows you to operate on more than one parameter at a time by drawing a box around a group of parameters. To select the Bounding Box, click on the Box button (function key "F6").

You can select the Hand, Duplicate, or Erase Buttons in conjunction with the Box button. When you select the Bounding Box, instead of directly touching Parameters with the mouse, you can draw a box around them to affect everything within the box.

To draw the box, click down on one corner of the area and drag the mouse to the opposite corner. A box grows as your mouse travels. The box does not cross boundaries between different Parameters; therefore, you can't draw a box around Lyrics and Chords together. Once you have enclosed what you want in the box, lift up on the mouse.

Depending on which Command button you select in conjunction with the Bounding Box, the following happens:

The Hand Button
Everything in the box drags with the Hand. Once you create the box, click down on the box a second time and drag it. All Parameters in the box move with the mouse.

The Duplicate Button
The Duplicate button works just like the Hand button, but creates a copy of the parameters rather than moving the selection.

The Erase Button
Once you lift up on the mouse, every Parameter within the box disappears when using the Erase button.

Magnifying Parameters

When you select the Magnify button, the Magnify window opens and the mouse pointer changes to a Magnifying Glass. The Magnify window displays information about each Parameter that you select with the mouse. Click on each line to edit it. The Title bar of the Magnify window displays the Parameter's name. Use the Right and Left Arrow keys to move through the parameters one by one.

The first line in the Magnify window lists the time in measures, beats, and clocks. To change a time, click in this field with the mouse and enter a new one. Press the Return or Enter keys on your Amiga keyboard when you finish and the Parameter jumps to the new time.

The second line lists the time in SMPTE format. You can change a time by editing either field; Bars&Pipes Professional automatically updates the other field to display the equivalent time.

The remaining lines in this window change according to the specific Parameter. Remember that after you finish editing a field in the Magnify window, you must press the Return key to register the change.

Lyrics

The Lyric Magnify window contains one field, "Lyric."

Because the Magnify window stays open while you go from lyric to lyric, editing this way is actually quicker than using the Magic Wand to change lyrics.

Chords

The Chord Magnify window contains two fields, "Root" and "Chrd."

The first specifies the chord's root note; the second, the name of the chord. If you change the name of the chord, you must enter the new chord's exact name. The new chord must exist in the list of defined chords. If it does not, the original chord remains unchanged.

Key & Scale/Mode

The Key & Scale/Mode's Magnify window contains two fields, "Root" and "S/M."

The first lists the key; the second, the Scale or Mode associated with it. As with the Chord, the Scale or Mode name that you enter must exist, or Bars&Pipes Professional ignores it.

Rhythm

The Rhythm's Magnify window contains one field, "Name," which displays the name of the selected Rhythm.

If you want, enter a new one. Remember, the entered Rhythm must exist in the list of available Rhythms.

Dynamics

The Dynamics' Magnify window contains two fields, "Emph" and "=". "Emph" and "=" actually represent the same things. What differs is the way Bars&Pipes Professional describes them. "Emph" is the actual value of the Dynamic, or emphasis. This is a number from 0 to 127.

Below, "Emph," in the second box, is "=," the equivalent music notation, ranging from "pp' to "ff". Time Signature: The Time Signature's Magnify window contains two fields, "BPM" and "Beat." The first describes the number of beats per measure; the second, the value of the actual beat.

Time Signature

The Time Signature's Magnify window contains two fields, "BPM" and "Beat".

"BPM" stands for beats per measure. "Beat" stands for the note value that receives the beat.

Importing and Exporting Parameters

You can copy individual Parameter lists back and forth between the Master and Track Parameters. As an example, you may want to duplicate the Master Dynamic curve onto a Track, and then change it a bit to fit the character of the Track's part in the Song. Or, you may have a great set of Chord changes in a Track and want to make them available to the other Tracks by placing them in the Master Parameters.

To copy in either direction, use the Master Parameters menu. This menu can only be accessed from the Graphic Editor window of an individual Track; you cannot copy from the Master Parameters window. If you haven't already done so, open the Graphic Editor window of the Track from which you want to import or export Parameters.

Importing Parameters Into A Track

To import a Parameter list from the Master Parameters to an individual Track's Parameters, select the Import submenu from the Master Parameters menu. Notice that you have six options, one for each category in the Parameters list. Select your preferred Parameter option and Bars&Pipes Professional automatically copies it from the Master Parameters to your Track.

Exporting Parameters From A Track

To export a Parameter list from the Track Parameters to the Master Parameters, select the Export submenu from the Master Parameters menu. Again, you have six options, one for each category in the Parameters list. Select your Parameter of choice and Bars&Pipes Professional copies it from your Track to the Master Parameters.
==Printing Notation==
Chapter 11

Overview

Bars&Pipes Professional provides several options for printing your composition in standard notation. You can print a concert or transposed score from the Song menu, a Group of Tracks from the Groups menu, or one part from either the Tracks menu or a Track's Graphic Editor window's Notation menu.

You can also save your music printout in standard notation as a graphics file. This file can be loaded and modified by paint programs such as Deluxe Paint from Electronic Arts.

Preparing to Print

Before you print a Track, you must first arrange things so that Bars&Pipes Professional prints to your specifications.

Selecting The Printer Driver

You must choose the correct printer driver in your Workbench Printer Preferences program. Be sure to set the graphics preferences for the printer driver, too.

{{Note|text=Setting the graphics preferences may require some experimentation. Please refer to your Amiga Users Manual for more information.}}

Printing Memory Requirements

Printing requires large amounts of free and contiguous (i.e. non-fragmented) graphics memory. Bars&Pipes Professional Tools and Accessories, along with any other application running on your system, consume this precious resource.

For a common example of memory usage, let's say that you wish to print a page of four measures across and four full staves down at normal note spacing and normal resolution. This operation requires 64 Kilobytes of free graphics memory. At high note spacing, this memory requirement increases to 283 Kilobytes.

There are several things you can do to decrease the amount of graphics memory required for a print:

Decrease the number of measures across and staves down you wish to print.
Decrease the note spacing of your printout by sliding the Note Spacing: slider in the Page Print Options requester (please see the next section for information about this requester).
Print in Default Res or High Res rather than Extra Hi Res.
Also, make sure that no other applications are running, and that all unnecessary Bars&Pipes Professional Tools and Accessories are removed from your system.

* TIP * On many Amigas, you can see how much contiguous free memory you have by opening a Shell and typing "avail". The amount shown to the right of "chip" and beneath "largest" is the amount of contiguous free graphics memory.

Organizing Your Score

Before you Print, prepare your score to get the best results.

Fill In The Title And Composer

The printout includes the Song title and composer. Enter these in the Title/Author requester accessed by the Title/Author... command found in the Song menu. Bars&Pipes Professional centers the title on the top and places the author's name in the upper right-hand corner of the first page it prints.

Label The Tracks

Each Track label is the instrument name. Use the Track Name requester found in the Tracks window by double-clicking on the Track Name to the left of each Track. Bars&Pipes Professional prints the name of each part in the top left-hand corner of the first printed page. In a Concert or Transposed Score, Bars&Pipes Professional prints the name of each part above the first measure of each line.

Organize The Tracks

Bars&Pipes Professional prints the individual parts of Concert and Transposed Scores in the order in which the Tracks appear in the Tracks window. To rearrange the ordering of your Tracks, and thus the print order of your score, use the Track Up and Track Down buttons found on the top of the Tracks window.

Select a Track, then click on the up arrow to move it up one in the list or on the down arrow to move it down. Double-click to send a Track to the top or bottom of the Track list.

Size The Display

The sizing of the first Track's Graphic Editor display determines the number of measures per line printed. To change the Sizing of the Edit display, open the Edit window for the Track by double-clicking on the Track. Use the Zoom In and Zoom Out buttons, or the Sizing menu option, to choose the overall Sizing for the Edit display.

Select The Clefs

Each part may be printed on the Treble Clef, the Bass Clef, or both. For each Track, open the Graphic Editor and select the desired Clefs from the Print Options... submenu of the Notation menu.

By default, Bars&Pipes Professional prints both Treble and Bass Clef. You may choose either or both.

Set The Transpositions

You may need to print certain instrument parts in the appropriate transpositions. For example, an Alto Sax part can be displayed in Eb to be easily read by an Alto Sax player. If you need to set the Transposition for a Track, open the Transposition requester from the Notation menu of the Graphic Editor.

Determine the Transpose type by clicking after the Transpose: prompt and selecting from the scrolling list. If you'd like to define your own transposition, select Custom and drag the Octave and Interval sliders. Please read Chapter 8, Note Editing, for a thorough explanation.

Printing Ledger Lines

When printing a single staff, it is usually desirable to print several ledger lines above and below the staff.

The Graphic Editor's Notation/Print Options/Set Ledger Lines... menu command allows you to customize the way that each Track's staves are notated and printed.

Example: Print Treble Clef With As Many Ledger Lines As Possible.

Open the Graphic Editor for a Track by double-clicking on the Track in the main Tracks window (or, single-click and hit the Return key).
Make sure that the notation staff is showing. If it isn't, select the Show/Staff-Notation menu option.
Choose the Notation/Print Options/Set Ledger Lines... menu command. The Adjust Ledger Lines requester opens.

Click on the down arrow until the white arrow pointing to the staff is at the bottom. This arrow denotes the center position between the bassclef and the treble clef.

{{Note|text=If you want to print a bass clef with as many ledger lines above as possible, click the up arrow until the white arrow is as high as possible.}}

Click Okay. Bars&Pipes asks if you would like to renotate your entire Track.
Click Yes. Bars&Pipes renotates the Track with the new ledger line positions. Notice that most notes in the bass clef are now actually part of the treble clef.

{{Note|text=If you choose No, Bars&Pipes does not renotate, and your music prints the same way it always did. This allows you to renotate only the measures that you wish, using the Notation/Transcribe/Between Flags menu option.}}

Printing Tablature

To enable Tablature printing for a Track, open the Graphic Editor and choose the Notation/Print Options/Tablature menu option.

{{Note|text=Tablature can not print by itself. It requires that you also print at least one staff, or both staves along with it.}}

Make sure that you've tabulated your music before you print. If necessary, choose the Tablature/Tabulate menu option from the Graphic Editor.

Formatting The Printed Page

You can easily tell Bars&Pipes how many measures to print per line and how many grand staves to print per page.

You can set these options in one of two ways:

Choose Notation/Print Options/Page Options... from the Graphic Editor.
Choose Preferences/Page Print Options... from the main Tracks window.
The Adjust Page Print Options requester opens.

Slide the Measures/line: slider to the number of measures per line you would like to print.

Slide the Full Staves/Page: slider to the number of full staves you would like to print per page.

{{Note|text=If you open the requester from the Graphic Editor, and you've chosen to only print one staff, the second slider reads "Half Staves/Page" instead of "Full Staves/Page", and is double the number of full staves per page.}}

The Note Spacing: slider controls the overall resolution of the printout. The only real way to know the best note spacing on your particular system is to try a few sample printouts.

{{Note|title=Tip|text=Low note spacings tend to look chunkier and clutter the notes together. High note spacings make the notes thinner and more spaced apart. Normal note spacing is a compromise between the two.}}

The Print Requester

Once you have finalized your printing specifications, open the Print requester by selecting the Print... command. When you select the Print requester from the Song menu, Bars&Pipes Professional prints the entire score; when you select it from the Groups menu, Bars&Pipes Professional prints only the selected Group's member Tracks; and when you select the Print requester from the Track menu or an individual Track's Graphic Editor window's Notation menu, Bars&Pipes Professional prints the contents of the Track.

Additional Information

The top six buttons in the Print requester select additional information to print. To turn each option on or off click on its button.

Sections
If you choose to print Sections, Bars&Pipes Professional prints the A-B-A section names above the music.

Bar Numbers
If you choose Bar Numbers, Bars&Pipes Professional prints the measure number over each line's beginning measure in your music.

Tempo
If you choose Tempo. Bars&Pipes Professional prints the tempo at the beginning of your music.

Chords
If you choose Chords, Bars&Pipes Professional prints chord changes, entered in the Song Parameters, above each Track, or part. In either a Concert or Transposed Score, Bars&Pipes Professional prints chords which were entered in the Master Parameters above the first Track.

Lyrics
If you choose Lyrics, Bars&Pipes Professional prints lyrics, entered in the Song Parameters, above each Track, or part. In either a Concert or Transposed Score, Bars&Pipes Professional prints lyrics which were entered in the Master Parameters above the first Track.

Dynamics
If you choose Dynamics, Bars&Pipes Professional prints dynamic markings, entered in the Song Parameters, within a Track, or part.

Transposed Or Concert Score

If you choose Transposed Score, Bars&Pipes Professional prints each Track transposed by the key established in the Transposition requester (see above.) Choosing this option tums off the Concert Score option.

If you choose Concert Score, Bars&Pipes Professional prints each Track without transposition. Choosing this option tums off the Transposed Score option.

Selecting Measures To Print

To specify which measures Bars&Pipes Professional prints, enter the starting and ending measure numbers after the From Bar: and To Bar: prompts.

If you want to print all measures, click on the All button, which sets the fields to cover the entire range of the piece.

Print Resolution

You may choose from three different print resolutions.

Default Res
Select Default Res for printing in the default resolution. You may determine the resolution from the graphics preferences in your WorkBench printer Preferences. Typically, you might set the WorkBench preferences to the minimum acceptable resolution, for fastest printout. Use this option to get quick trial printouts.

High Res
High Res automatically chooses the highest resolution available in your Workbench preferences. This option gives the best quality available under Workbench 1.3.

Extra Hi Res
Workbench 2.0 users with at least 1 megabyte of chip memory can select Extra Hi Res for much sharper printing. This mode creates much cleaner lines but requires extra time to print.

Previewing

To view the final output without actually sending it to the printer, click on the Preview button found in the Print requester. This opens a small screen with the notation displayed.

{{Note|text=If you're previewing an Extra Hi Res printout, you can scroll to view the entire screen by clicking down with the mouse and dragging.}}

It also opens a small requester with three buttons: Next, Print and Cancel.

Next
To view the next line of notation, click on Next. Bars&Pipes Professional shows you each line of notation until it has displayed all of the selected measures.

Print
Click on the Print button to leave preview mode and start printing immediately.

Cancel
Click on the Cancel button to access the Print Requester again. (If you want to exit the Print Requester, click on its Cancel button.)

Printing
Bars&Pipes Professional prints notation by sending an image of the music to the Preferences printer driver. Remember, in order to print properly, you must set Preferences from Workbench to accommodate your printer.

To begin printing, click on the Print button. Bars&Pipes Professional opens a display screen, paints the notation in it, and sends this out to the printer. Above, it opens a requester with a Cancel button. Printing can take a while, so be patient. Click on the Cancel button to abort printing.

Saving as an ILBM File

Click on the Save button in the Print Requester if you would like to save your music as an IFF/ILBM file. The file requester opens. enter a unique file name for each page of printout. The IFF/ILBM file(s) may then be loaded into a graphics program such as Deluxe Paint, and imported into word processors, etc.

==The List Editor==
Chapter 12

Overview

While Bars&Pipes Professional's Graphic Editor provides a powerful graphics-based environment for editing music, certain editing operations require finer detail. For low-level, numeric editing of MIDI events, Bars&Pipes Professional provides the List Editor.

Accessing the List Editor

To open the List Editor, you must first open the Graphic Editor for the Track you want to edit, then select List Editing from the Prefs menu. Open the Graphic Editor for a Track by either double-clicking on a Track in the Tracks window, using the Magic Wand in the Song Construction window, or double-clicking a Track in the Media Madness Window.

Once you select List Editing, Bars&Pipes Professional closes the Graphic Editor window, then opens the List Editor window for that Track. The List Editor displays a list of all MIDI events in the Track.

{{Note|text=Double-clicking on a Track in the Media Madness Window automatically opens the List Editor, if the Graphic Editor for that Track has not been previously opened.}}

The List Display

The List Editor window contains most of the Command and Default Note Buttons of the Graphic Editor window. The List Editor, however, does not have the Magnifying Glass, Hand, Bounding Box, Duplicator, or Zoom buttons. Below the buttons is a slider, used for modifying events or data (more on this later). Finally, the bulk of the window consists of MIDI events of various types, one event per line. Use the scroll bar to the right of the events to move through the event list.

Use the Show menu to select which MIDI events to display.

{{Note|text=The List Editor does not display Song Parameters.}}

To display Note events, select any of the following options from the Show Menu: Staff-Notation, Tablature, Staff-Hybrid, Piano Roll, or Velocity.

The List Editor displays an event as a start time, followed by the type of event (please see the event types below), followed by event data.

The start time displays in either SMPTE time (hours, minutes, seconds, frames) or music time (measures, beats, clocks.) Use the SMPTE/Music button to select which time format is used.

When the button displays a film strip, the List Editor draws events in SMPTE time. Otherwise, the button displays musical notes and the List Editor draws events in music time.

The MIDI Events Display

The second field denotes the type of MIDI event. A listing of the different MIDI events and an explanation of their data fields follows. The name in parenthesis is the abbreviation the List Editor uses to display the MIDI event type.

Note (Nt)
The Note MIDI event contains the pitch, both as a note/octave (from C0 to G10) and as a numeric MIDI value (from 0 to 127), the velocity of the note (from 0 to 127), and the duration of the note (in Song-time).

With the Hit List option selected in the Display menu, the Hit List name of the Note event displays instead of the Note duration. This is particularly useful when used in conjunction with the Media Madness feature (please see Chapter 28, Media Madness).

Pitch Bend (PB)
The Pitch Bend MIDI event contains the amount of shift, from +8192 (maximum shift down) to 8191 (maximum shift up). Remember, the value given to Pitch Bend determines the proportion of the shift to the maximum. For example, a value of -4096 shifts the current note downward by half the maximum. The MIDI specification uses this scheme because different instruments have different Pitch Bend ranges; full range on one synth may be an octave while only a whole step on another.

Mono After-Touch (MT)
The Mono After-Touch MIDI event contains the overall keyboard pressure, from 0 to 127.

Poly After-Touch (PT)
The Poly After-Touch MIDI event contains the note value for the key being pressed (like Mono After-touch) and the pressure on that key (from 0 to 127). Poly After-Touch is featured only on the most expensive keyboards, since the hardware must sense pressure on each individual key.

Control Change (CC)
The Control Change MIDI event contains the Control Change type (0 to 127) and the Control Change data (0 to 127). Control Change governs continuous controllers such as volume pedals and breath controllers.

Program Change (PC)
The Program Change MIDI event contains the patch number (0 to 127). Program Change controls the sound used by your MIDI device to play subsequent notes.

System Exclusive (SX)
The System Exclusive MIDI event contains no visible data. When you edit a System Exclusive event, Bars&Pipes Professional opens the System Exclusive requester. Please see the System Exclusive chapter for more on this requester.

System Exclusive events are special commands unique to the instrument (or product line). Manufacturers use System Exclusive events, for example, to set pitch bend ranges, transpose keys, send new patch data to the instrument, and to execute many other functions.

{{Note|text=The user's manual for your MIDI instrument can tell you whether your instrument supports System Exclusive events, and what the commands do.}}

The Edit Flags

To the left of the event list are the Edit Flags. Use these to set the boundaries of a Clip section for editing with Clips, just like in the Graphic Editor. The "begin Clip" Flag is a triangle pointing upward; the "end Clip" Flag is a triangle pointing downward.

Use the Flags in conjunction with the options in the Edit menu. Please refer back to the Note Editing chapter for a complete description of these commands.

Except for being turned sideways, the Edit Flags in the List Editor work just as they do in the Graphic Editor. As you probably know, the Edit Flags align with boundaries assigned by the Align with... Preferences option.

* TIP * When you try to place an Edit Flag right after an event in the List Editor, don't be surprised if the flag jumps behind a number of events because you have "Align with... Measures" selected. Change it to "Align with...Anywhere" to able to place an Edit Flag after any event. Even then, if several events have the exact same time, the Flag jumps to just before all of the events. because the position of the Flag is actually the time it occurs, not its position in the list.

Remember: in the List Editor, one event may be at one time, and the next event in the list could be a beat later, a measure later, or several measures later. Because of this, be careful when cutting and pasting.

Command Buttons

The first five buttons from the left are the Command Buttons. As you click each one with the mouse, the mouse's icon changes. All of these buttons have keyboard equivalents as well. Set the Command Buttons to determine how you use the mouse. The following list describes each button briefly. Later in this chapter, we'll delve into greater detail.

The Pencil:
The Pencil, or function key "Fl" enters MIDI events. Clicking with the Pencil on a specific event creates a duplicate of the event, substituting the chosen default note parameters.

The Magic Wand
The Magic Wand, or function key "F2" alters the MIDI events type and data.

The Eraser
The Eraser, or function key "F5" deletes events.

The ToolPad
The ToolPad contains selected Tools and processes notes with the currently-displayed Tool. The mouse pointer turns into a Wrench when the ToolPad is selected.

The Step Entry
The Step Entry button enables step entry of events from a MIDI keyboard.

Default Note Buttons

Before drawing or step-entering events, set the Default Note. The Default Note consists of a note value (eighth, quarter, etc.), a modifier (triplet, dotted, normal), an articulation (staccato, legato, etc.), and a dynamic level (pp through ff). Four separate buttons set these standards.

Upon pressing them with the mouse, each button reveals a pop-up menu with the options displayed. Drag the mouse to the desired option and lift up to select it. Bars&Pipes Professional displays your choice on the appropriate button.

Note Value
The first button determines the currently selected note division. Your choices range from a whole note to a sixty-fourth note. Select your choice from the menu by dragging the mouse to the desired choice. You can also press function key "F7" to decrease the note value without using the mouse, or press SHIFT and function key "F7" to increase the note value.

Note Modifier
The second button modifies your selected note value. The first item in this menu, a triplet, shrinks the size of the note to two-thirds its note value. The second menu item, a "normal" note, leaves the selected note value as is. The third item, the dotted note, adds half of the note to the selected note's length. In other words, Bars&Pipes Professional multiplies the note value by one and one-half. Select your choice by dragging the mouse to the desired choice. You can also press function key "F8" to decrease the note length without using the mouse, or press SHIFT and function key "F8" to increase the note length.

Articulation
The third button determines the relative length of the selected note. The menu range extends from staccato (short) to legato (slurred). Staccato, signified traditionally as a dot above a note, usually indicates a duration of 1/4 its full length value; Portato, signified traditionally by the absence of a marking above the note, indicates a note duration of 1/2 its full length value; Leggiero, traditionally signified as a horizontal line above a note, indicates a note duration of 3/4 its full note value; and Legato, traditionally signified with an arched line above a series of notes, indicates a note duration equal to its full value, with no perceptible space between each note. Make your selection by dragging the mouse to the desired choice and lifting up. You can also press function key "F9" to make the articulation longer in duration without using the mouse, or press SHIFT and function key "F9" to make the duration shorter.

Velocity
The final button, the farthest to the right, determines the velocity of the note. You have six choices ranging from very soft (pp) to very loud (ff). Make your selection by dragging the mouse to the desired choice and lifting up. You can also press function key "F10" to increase the note volume without using the mouse, or press SHIFT and function key "F10" to decrease its volume.

Editing Events

Use the Command buttons described earlier to edit events in the List Editor.

Entering Events

To enter new MIDI events, activate the Pencil by clicking on the Pencil button or by pressing function key "F1". Then, click the Pencil on the MIDI event located just after the point where you want to insert the new event. If you want to enter a new event at the very bottom of the list, click in the blank area below the last event.

The type of event you enter is the same as the one you clicked on. If you clicked on a note, the note also has the same pitch of the note you clicked on, and the volume, duration, and articulation set by the Default Note. Other MIDI events use data from the events you clicked on.

Altering MIDI Events

With the List Editor, you can edit MIDI Events directly by changing the data associated with the Events, or even by changing the Events themselves. To edit Events, activate the Magic Wand by clicking on the Magic Wand button or pressing function key "F2".

When editing Events, the slider above the event list becomes active. To edit an Event, click on any part of the event. Bars&Pipes Professional highlights the selected data in red. Now, you can drag the slider to the desired value (or use the arrow buttons to the right of the slider).

You can also directly edit the text to the right of the slider.

{{Note|text=If the Hit List option is enabled in the Display menu, the textual translation of note value to Hit List name displays here, Use this field to enter new Hit List translations. Remember, each note can have only one Hit List equivalent. If you set C4 to be "dog bark", all C4 notes display as "dog bark."}}

Erasing Events

To erase events, select the Eraser by clicking the Erase button or by pressing function key "F5" then click on each event you want to erase. If you make a mistake, you can select Undo (Right Amiga-U) from the Edit menu to restore the last event you erased.

Toolizing Events

The List Editor window contains the same ToolPad as the Graphic Editor and Song window. You can place, select, and edit Tools from the List Editor in the same manner as for other windows in Bars&Pipes Professional. Toolizing events in the List Editor can be both powerful and confusing. Powerful, since you can edit the results exactly to your liking. Confusing, since Tools can remove an event, reposition it in time, or add additional ones. For example, if you use the Echo Tool on a note, the echoes get mixed in with other notes and events down the line.

* TIP * Another powerful way to use the ToolPad in the List Editor is to explore how Tools affect specific MIDI events. When you Toolize an event in the List Editor, you see the results accurately in numerical form. You can use this knowledge to edit Tool parameters to your liking, with less guesswork and better results.

Step Entering Events

To enter MIDI events into the List Editor from any MIDI instrument, click on the Step Entry button. Then, set the "begin editing" flag (the flag with the arrow pointing upward) to the point where you want to enter new events.

Like the Graphic Editor, any notes you step-enter from your MIDI keyboard automatically conform to the length, articulation, and velocity set by the Default Note parameters. To move forward one note length without entering an event, press the Space bar. To delete the previous event, press the Backspace key. Please see Chapter 8, Note Editing for a thorough explanation of Step Entering.
==System Exclusive==
Chapter 13

Overview

Use the System Exclusive requester to enter and edit System Exclusive MIDI messages. Normally, you'll access it from the Graphic and List Editors, but you'll also use it from the Big Sys Accessory.

Unlike other MIDI events, System Exclusive MIDI events are system specific - one MIDI device's System Exclusive implementation may not be the same as another's. Examples of System Exclusive data are patch banks, system memory dumps, system specific filters, etc.

{{Note|text=Certainly the most frequent use of System Exclusive packets is in patch organization. The PatchMeister, which integrates directly into Bars&Pipes Professional, covers this aspect extremely well. As a result you don't need to become versed in the underlying technology of System Exclusive protocols to effectively use them to your advantage.}}

Recording System Exclusive Events

Bars&Pipes Professional can record System Exclusive events just like other events. By default, the MIDI In and MIDI Out Tools are set up to filter out System Exclusive data. You may decide to record a System Exclusive dump from your keyboard, for instance.

To do so:

Highlight the System Exclusive button in the MIDI In and MIDI Out Tools of the target Track.
Make sure that the Track is in Record mode, and put the Sequencer in Record mode as well.
Start the Sequencer.
Command your MIDI unit to dump System Exclusive. Make certain that there is no handshaking needed.
Stop the Sequencer when your MIDI device is finished.
Do the opposite when you want to send the System Exclusive data back to your MIDI device: set your device to receive, and start the Sequencer.

{{Note|text=This process does no handshaking. Handshaking protocols require communication in both directions. The PatchMeister universal patch librarian takes full advantage of the handshaking ability of many brands of MIDI devices.}}

Accessing the System Exclusive Requester

Access the System Exclusive requester by clicking with the Pencil or Magic Wand in the System Exclusive region of the Graphic Editor. Please see Chapter 9, MIDI Event Editing, for more information

Creating A System Exclusive Event

To create a System Exclusive event, select the Pencil, then click in the System Exclusive region of the Graphic Editor. Bars&Pipes Professional opens the System Exclusive requester.

Editing A System Exclusive Event

To edit an existing System Exclusive event, select the Magic Wand, then click on a System Exclusive event. Bars&Pipes Professional again opens the System Exclusive requester.

Big Sys

The Big Sys Accessory also accesses the System Exclusive Requester. Please see the Big Sys Accessory in the Accessories chapter.

Editing System Exclusive Data

Use the three Command buttons to edit System Exclusive data in the System Exclusive requester.

Entering System Exclusive Data

To enter data into the System Exclusive requester, select the Pencil by clicking on it or pressing function key "F1". Click on any byte in the display to introduce a new byte. The requester creates a new data byte with the same value as the byte you clicked on. If you click to the right of the last byte, Bars&Pipes Professional creates a new byte just before the ending F7 byte.

{{Note|text=The System Exclusive Requester displays all bytes in Hexadecimal notation. Hexadecimal represents numbers in base 16. instead of base 10. The digits are 0 through 9 followed by A through F (for 10 through 15). As odd as it may sound. this is much more natural for binary data, because two hexadecimal characters always make up a byte (0 through 255 becomes 0 through FF).}}

Altering System Exclusive Data

To change the value of a data byte in the display window, select the Magic Wand by clicking on it or pressing the "F2" function key.

Click on the byte you want to change. The requester displays the byte in the slider above the display window. You may now drag the slider to change to the desired value.

Deleting System Exclusive Data

To delete a data byte, select the Eraser by clicking on it or pressing the "F5" function key.

Click on the byte you'd like to erase.

Sending The System Exclusive Command

Click on the Speaker button to the System Exclusive event down the Track's PipeLine and out the MIDI cable. Since the system ID and channel number are embedded in the event data, only the intended instrument receives the event.

Bars&Pipes Professional does not support messages that require a dialog with the synthesizer. And, since the channel number is embedded in the event data, if you want to send this command to more than one instrument, you must edit the channel number and send the command again.

If you are satisfied with your entry, click Okay to accept the changes, or click Cancel to abort the changes.

About System Exclusive Data

Please keep in mind the following points about System Exclusive Data:

Real-Time Recording And Playback

During real-time recording and playback, Bars&Pipes Professional does not support System Exclusive messages that require responses or handshaking, from the synthesizer. Usually, such messages involve downloading large sound patches to the synthesizer. You should do this in advance rather than during the Song's performance. The amount of data involved usually clogs the MIDI network, which results in the pausing of all music until the computer finishes sending the patch.

Instead, set up your System Exclusive information first by using Big Sys or, for patch organization, The PatchMeister. You can also keep System Exclusive packets recorded in one Track. After loading the Song, solo the Track and have it send its stuff. Then, mute the Track and activate all others.

Format Constraints

The first and last bytes of the System Exclusive data always have the hexadecimal values of FO and F7. You cannot change or delete these bytes, as they signal the beginning and ending of the event.

The next byte specifies the manufacturer's ID and channel number of the instrument. This manufacturer's ID (obviously) varies from machine to machine, and is used by the instrument to verify that the event makes sense to that instrument.

The third byte and onward (to the next to last byte) specify the System Exclusive command plus any data needed by that command.

From this, we can see that all System Exclusive events must be at least three bytes long, including the start and stop bytes. The System Exclusive requester, however, does not force a minimum message length beyond the start and stop bytes.
==Accessories==
Accessories can be loaded by openeing the accessories window and selecting "load" from the menu.
At this time SmerFF is the only accessory available. It allows loading and saving MIDI files.
==The Metronome==
Chapter 15

=== Overview ===

Bars&Pipes Professional's Metronome provides a standard metronome click. Use this as a timing reference when recording your performances.

The Metronome creates a click by sounding the Amiga's internal circuitry, sending a MIDI event, or flashing the screen. It can click at rates varying from 1/64 note to a whole note. If you want, it can also provide a lead-in countdown before recording.

Access the Metronome window by double-clicking on the Metronome icon, or choosing the Metronome option in the Windows menu.

=== The Metronome Window ===

The following describes the functionality of the Metronome window:

==== Choosing The Metronome ====

There are three metronome sources:

; Internal
: Select the Internal button to send a tone to the Amiga's speakers for each metronome click.

; Visual
: Select the Visual button to flash the Amiga's screen on every click. The first beat of any measure flashes red, followed by a series of other colors.

; MIDI
: Select the MIDI button to send a MIDI note through the MIDI cable.

==== Setting Up The MIDI Metronome ====

The MIDI metronome option requires a few additional parameters:

; MIDI Note
: Select the pitch of the MIDI note by sliding the MIDI Note: slider to the appropriate note value. By default, this is set to the General MIDI note for a metronome sound (if a drum kit is being played.)

; MIDI Channel
: Select the MIDI channel by clicking on the button after the Channel: prompt and selecting from the pop-up menu. By default, this is set to the General MIDI drum channel, channel 10.

; MIDI Tool
: Drop an Output Tool onto the button after the Tool: prompt. This determines which Tool transmits MIDI metronome clicks. Usually, this is the MIDI Out Tool.

{{Note|text=Triple Play Plus users can use the Triple Play MIDI Out I, 2, or 3 Tools. One-Stop Music Shop users can use the One-Stop MIDI Out or SoundEngine Tools.}}

You can also use other Output Tools with varying results. For example, many of the Media Madness Tools can be used with interesting results!

; Loudness
: The Loudness (volume) of the metronome can be set by moving the slider after the Loudness: prompt. The default is 84.

==== Selecting The Beat Resolution ====

By default, the metronome sounds at each quarter note beat. you can change this rate by clicking on the button after the Resolution: prompt. Choose a rate from 1/64 to a whole (1/1) note.

If you select a 1/4 resolution in 4/4 time, the Metronome clicks on every beat. If you select 1/2 resolution, the Metronome clicks on every other beat, starting with the first beat in the measure. If you choose 1/8, the Metronome clicks twice per beat.

Depress the Triplet button if you want the Metronome to play in triplet time.

==== The Lead In Option ====

Often, it helps to have a countdown before you start recording. To set up a countdown, set the Lead In slider. The slider lets you set the number of measures to count down before recording actually starts.

To disable Lead In, set the number of measures for Lead In to zero.

You may find that you do not want to use the Metronome, except for the Lead In time. In this case, select the Metronome On Lead In Only button. You can also disable all three metronome options; this provides a silent Lead In.

==== Extra features ====

The metronome also responds to hotkeys to control its function. These can be used in any of the the main Bars&Pipes windows (Tracks, Transport etc.).

{| class="wikitable"
|+ The keys are:
| I || toggles the Internal Amiga sound metronome on and off.
|-
| V || toggles the Visual metronome on and off
|-
| O || toggles the Output (e.g. MIDI) metronome on and off
|-
| L || toggles the Lead In funtcion on and off.
|}

==The Transport Controls==
Chapter 16

Overview

The Transport Controls govern the Sequencer's recording, playback, and Song positioning functions. These functions are accessible from the Transport Controls window, the Mini-Transport, and the Tracks window. They are also accessible from hot keys on the Amiga keyboard and, if defined, as MIDI remote controls. The Transport Controls contain familiar tape deck commands, such as Play, Record, Rewind, and Stop, to control recording and playback.

You can reposition the Transport Controls window or shrink it down to an icon. If you close the Transport Controls window, you can reopen it by double-clicking on the icon or by selecting Transport Controls from the Windows menu.

You can bring up the Mini-Transport by choosing its menu option in the Windows menu, or by typing the letter M on the Amiga's keyboard.

The Transport Controls Window

The Transport Controls window contains all of the Transport Controls. The Transport Controls in the Mini Transport and the Tracks window are subsets of the Transport Controls window.

The Transport Controls window contains four groups of controls: the Transport buttons, the Tempo controls, the Song Position controls, and the Flag controls.

Transport Controls

Across the top of the Transport Controls window are nine buttons, which control recording and playback. They are similar in function to the controls on a tape recorder.

Briefly, the Transport buttons are:

Stop (Enter Key on numeric keypad)
The Stop button halts recording and playback. It also sets the Position Marker to the current Stop time so the next Play command will pick up at the same point. Click to activate the Stop button.

Start (Insert Key)
The Start button begins recording and playback from the beginning of the Song.

Play (Enter Key on numeric keypad)
The Play button begins recording and playback from the Position Marker. Use this control when you want to start from a specific point in the Song. Pressing the Play button a second time stops the performance.

Rewind
Rewind quickly shuttles the Song backward to access a specific point in the Song. If the Song is playing when you press the Rewind button, it stops, then resumes when you lift up on the new location.

Fast Forward
Fast Forward shuttles the Song forward in time. If the Song is playing when you press the Fast Forward button, it stops, then resumes when you lift up on the new location.

Record ("R" Key)
The Record button enables Sequencer recording. To activate, click on it. Doing so activates recording only in Tracks placed in Record mode. All others continue to play back.

Loop
The Loop button activates the Loop Mode recording function. With Loop mode, you can record one section of your Track over and over. For more information on Loop Mode recording, please see the Loop Recording Mode section in the Recording chapter.

Punch In/Out ("P" key)
Punch In/Out automatically switches the Sequencer in and out of Sequencer Record mode at preset locations. Although you can manually activate and deactivate the Record button while your Song plays, if you're also playing an instrument, you'll need a third hand, which the Punch In and Out Flags provide.

Set
Use the Set button in conjunction with the Flag buttons, described below, to set Flag positions.

Tempo Controls

The Tempo Controls are on the left side of the Transport Controls window, beneath the Stop button. Use these to set the initial tempo.

{{Note|text=If you'd like to work with a Tempo Map and place tempo changes at specific times in your composition, you must enter them in the Tempo Map window.}}

Tempo
The Tempo button shows the tempo of the Song in beats per minute. Set the tempo, or speed, by clicking on the numbers and, while holding down the mouse button, dragging the mouse up to increase and down to decrease. You can change the tempo in single increments by single-clicking in the top or bottom half of the numbers.

1/2 and 3/4
If, temporarily, you need to slow down the Song (for example, when recording a difficult passage), click on the 1/2 or 3/4 buttons to slow the tempo to one-half or three-quarters of the original speed. Clicking on the same button a second time restores the tempo to its original speed.

* TIP * These functions do not work in conjunction with a Tempo Map, except at the beginning of your Song, before there are any tempo changes in the Tempo Map. Disable the Synchronize to Tempo Map option in the Timing window to disable the Tempo Map. Enable this option to reinstate the Tempo Map.

Song Position Display

Just as a tape deck marks time with a counter that measures the tape's length, Bars&Pipes Professional keeps Track with the Song Position Display.

The top number in the Song Position Display keeps Track of the Song time in Measures, Beats, and Clocks. The bottom display shows Song time in the SMPTE format of Hours, Minutes, Seconds, and Frames.

To reposition your Song to an exact time, click on the top or bottom half of the numbers in the desired display to increase or decrease their values. Note that the second display adjusts itself to the new position as well.

The Position Marker Flag

Bars&Pipes Professional also provides the Position Marker Flag, a red triangle with a blue border, which shows the location of the Song Position in the Sequencer. When you click the numbers in the Song Position Display as described above, the Position Marker moves to the new position as well. You can also adjust the Song position by using the mouse to drag this Flag to a new location.

Flag Position Controls

Use the Flag Position Control buttons to set and use the positions of each of the twelve Flags Bars&Pipes Professional supports.

To set a Flag to a particular point in your music, use the Set button directly above the Flag Position Controls. First, click on the Set button. With the Set button highlighted, adjust the Song Position Display by clicking on the Rewind or Fast Forward buttons or by clicking directly on the Song Position Display as described above. Then, click on the button corresponding to the Flag you want to move. This installs the Song Position into the Flag and disables the Set button.

* TIP * You can also set Flags numerically in the Set Flags window.

To instantly jump to a Flag position, click on the Flag's button without first selecting the Set button. This automatically sets the Song Position to the value in the Flag.

* TIP * Pressing the 1, 2, 3, and 4 keys on the numeric keypad also jumps to the four Auto-Locate Flags.

To instantly jump to a Flag position and start playing immediately, double-click on a Flag.

The Mini-Transport Window

The Mini-Transport window provides the most important Transport Controls in a small convenient window. Access it by choosing the Mini-Transport menu option in the Windows menu, or by typing the letter "M" on the Amiga keyboard.

Most of the buttons are the same as in the Transport Controls window, with a few exceptions:

You cannot change the Song Position by clicking on the Song Position display.
There is an additional button, the SMPTE/Music Time button, that controls whether the Song Position display shows the current Song Position in measure time or SMPTE time. Click on this button to toggle between the two modes.
Remote Control

With the Remote Control option, you can use your MIDI keyboard to control the Sequencer. Remote controls let you Start, Stop, Record, Play, Punch In, Punch Out, and move to the Auto-Locate Flags (Ml through M4) in your composition.

To set up the Remote Controls, select Remote Control from the Preferences menu. In response, Bars&Pipes Professional opens the Remote Control requester.

Click on the Control you want to set up, then press the desired key on your MIDI keyboard. Use the keys located at the very top or bottom of your MIDI keyboard to prevent pressing one accidentally while recording.

Clicking on each control in the requester toggles it on and off. Only the highlighted controls are active. Each active control behaves identically to the button it represents in the Transport Control window. When you're done, close the requester.
==Timing, Syncing, and Tempo==
Chapter 17

Overview

Bars&Pipes Professional contains sophisticated timing controls. It can run on its own or synchronize with external devices. It can synchronize to external MIDI Clock messages that vary the Tempo or synchronize to external SMPTE time and control the timing with the Tempo Map option.

Bars&Pipes Professional plays with a musical timing resolution of 192 PPQN (Parts Per Quarter Note). Its internal resolution is up to one millisecond at higher tempos.

Changing Tempo

Use the Tempo controls in the Tracks window, the Mini Transport window, or the Transport Controls window to change the initial Tempo. Also, you can use the Tempo Palette window to quickly change the Tempo.

Use the Tempo Map window to create changing Tempos over the course of your music. Real-Time Tracks allow you to create Tracks that ignore Tempo Maps.

Tempo

There are tempo buttons in the Transport Controls window, the Mini-Transport Window, and the Tracks window. They all represent the same Tempo.

Set the tempo, or speed, by clicking on the button and, while holding down the mouse button, dragging the mouse up to increase and down to decrease. You can change the tempo in single increments by single-clicking in the top or bottom half of the numbers.

The Tempo Palette Window

Quickly change the Tempo with the Tempo Palette window. To open the Tempo Palette, select Tempo Palette from the main menu's Windows menu, or double-click on the Tempo Palette icon.

The Tempo Palette lists four preset Tempos: A, B, C, and D. To set the Tempo, click on the preset letter, e.g., A, and the Tempo assumes that value. To change a preset tempo, click on the number and enter the desired tempo.

* TIP * You may find it useful to place the Tempo Palette window directly above the Tempo controls (obscuring the Transport Control buttons), and use the "window to back" buttons on the windows to expose or hide the Tempo Palette as needed. This way, you can quickly change tempos while youre working.

The Tempo Map Window

If you are synchronizing with either the internal timer or SMPTE, you can use the Tempo Map window to create a series of tempo change commands to alter the pace of your music. Open the Tempo Map window by selecting Tempo Map from the Windows menu or clicking on the Tempo Map icon.

The Tempo Map window consists of seven control buttons and a graphic display of the Song s tempo over time The graph shows constant tempo in blue tempo changes in red and the tempo at the end of each tempo change in blue The top of the graph displays the measure numbers. Use this window to create and place multiple tempo changes throughout your composition.

Please refer to the next chapter, Chapter 18, Tempo Mapping, for more information on creating and editing Tempo Maps.

Disabling Tempo Changes

Sometimes, you might want to temporarily disable a tempo map.

To do so, turn off the Use Tempo Map selection in the Timing menu. Bars&Pipes Professional then uses the tempo you have set in the Transport Controls window to determine the Song tempo.

To return to your tempo map, deselect the Use Tempo Map option in the Timing menu.

Real-Time Tracks

By default, Tracks operate in Song-time mode. In Song-time mode, increasing the Song's tempo causes notes to play faster. Each note plays on a particular measure, beat and clock, not at an absolute hour, minute and second.

Real-time Tracks do not follow Tempo conventions. Instead, they contain events that occur at specific SMPTE times. This is useful when you are scoring for video or Media Madness and need to have certain notes or events occur at specific times.

To change a Track to a real-time Track, double-click on the Track's name in the Tracks window, or click on the Track name with the Magic Wand in the Song Construction or Media Madness windows. This opens the Track name requester.

Click on the real-time button to convert the Track into a real-time Track. Thereafter, each note plays at an absolute hour, minute, and second, independent of the selected tempo. Deselect the button to convert the Track back into a regular Track. Once a Track is in real-time mode, every time you change the Tempo, the Track stretches or shrinks to make sure the events all still occur at the correct SMPTE times.

Real-time Track names appear purple instead of blue when not highlighted, and red when highlighted.

MIDI Clock Synchronization

The simplest, most affordable method to synchronize Bars&Pipes Professional with external sources involves using MIDI Clocks (sometimes called Song Position Pointer).

MIDI Clocks work in the following manner: The MIDI standard includes a set of commands designed to synchronize multiple devices via the MIDI cable. These commands include instructions to start, stop, and reposition playback, as well as Clock tick instructions that Bars&Pipes Professional uses to maintain accurate synchronization.

Designed with music in mind, MIDI Clock ticks correlate directly with Measures, Beats, and Clocks. As each Clock tick comes in via MIDI, Bars&Pipes Professional increments its position in Song time. In this manner, the MIDI Clocks control both the tempo and the position of the piece as it performs.

Sending MIDI Clocks

To synchronize an extemal MIDI device with Bars&Pipes Professional, first set the MIDI device to which you would like MIDI Clocks sent. For instance, if you have the Triple Play Plus MIDI interface, you can choose to have MIDI Clocks sent out of the Triple Play MIDI Out 1, 2, or 3. To select the MIDI device, choose Set MIDI Clock Tool... from the Timing menu. A requester opens.

Click on the Tool displayed after the MIDI Tool: prompt to cycle through the available Tools. Select the appropriate Tool and click on Okay.

{{Note|text=Only Tools that send out of a MIDI port are accessible from the Set MIDI Clock Tool requester. If there is no MIDI Out Tool loaded, you need to install a MIDI Out Tool to continue.}}

Then, select Send MIDI Clocks from the Timing menu. This command instructs Bars&Pipes Professional to send MIDI Clock events as well as Start, Stop, Continue, and Song Position events.

Recording A MIDI Clocks Synchronization Track

If you are synchronizing Bars&Pipes Professional to a device such as a drum machine that creates its own tempo map, you can skip over this section. However, if you plan to synchronize Bars&Pipes Professional to an audio or video recorder with MIDI Clocks, you'll need to lay down a MIDI Clocks sync Track on tape first.

To lay down a sync Track, do the following:

If you need a Tempo Map for your Song, create it. This will be used to record the timing.

{{Note|text=Instant tempo changes do not work well with MIDI Clocks. Always slope your tempo changes somewhat to improve precision while syncing to MIDI Clocks.}}

Activate Send MIDI Clocks in the Timing menu.
Prepare your tape deck and/or your MIDI Clock interface.
Start recording with your tape deck as you start the Bars&Pipes Professional Sequencer.
When you finish, you should have a MIDI Clock stripe on your tape. All the timing information, include the Tempo Map is embedded in the strip. You can now use the tape to slave Bars&Pipes Professional to your audio or video production.

Synchronizing To MIDI Clocks

To synchronize with an external MIDI device that transmits MIDI Clock events, select the option Synchronize to MIDI Clocks in the Timing menu.

The Synchronize to MIDI Clocks command disables Bars&Pipes Professional's internal timer and slaves it to MIDI Clocks coming in the MIDI interface attached to your Amiga. The incoming MIDI messages determine both the Tempo and Song Position.

* TIP * To help the synchronization happen quickly and effortlessly, set the Tempo to a value reasonably close to intended Incoming Tempo prior to starting.

If you have more than one MIDI input device, you don't have to set MIDI Clocks to enter the device of your choice. All MIDI Input Tools automatically route MIDI Clock messages to Bars&Pipes Professional's timing mechanism.

However, be careful not to have MIDI Clocks coming in at the same time on multiple MIDI inputs. For instance, you would not want to receive MIDI Clocks on the One-Stop Music Shop's MIDI In at the same time as on the standard serial MIDI interface's MIDI In.

Start from your MIDI Clock source, e.g. a drum machine or tape deck. Bars&Pipes Professional automatically jumps to the proper location and plays. You can even record while synchronized. Just put the Transport Controls into Record mode, then start from the MIDI Clock source.

When Bars&Pipes Professional synchronizes with MIDI Clocks, it disables the Lead-In feature (no countdown before starting).

* TIP * Use MIDI Clock synchronization to dump a performance from another Sequencer into Bars&Pipes Professional. First, enable Bars&Pipes Professional's Multiple Ins Preference. This activates input on all Tracks on a channel by channel basis. Then, enable the Synchronize to MIDI Clocks option. Place all Tracks as well as the Transport Controls in Record Mode. Start the external Sequencer. Bars&Pipes Professional locks to the external Sequencer and records the entire performance on up to sixteen individual Tracks. Sometimes, for extra accuracy, it helps to record the transfer at a slow tempo.

SMPTE (MIDI Time Code)

If you require synchronization to an external device in real-time instead of music time, a second option, SMPTE time code, comes into play. SMPTE time code specifies the time in hours, minutes, seconds and frames, with no correlation to music time or tempo.

MIDI Time Code is a protocol for communicating SMPTE time via MIDI. MIDI Time Code events specify the time in hours, minutes, seconds, and frames. By listening to MIDI Time Code, Bars&Pipes Professional can ascertain where in the sequenced piece it currently is. Use MIDI Time Code to synchronize with video hardware, as well as audio and video tape recorders.

To use Time Code with music, create a Tempo Map within Bars&Pipes Professional to specify the music tempo at different points in time. Then assign the desired SMPTE Offset in hours, minutes, seconds, and frames. In this manner, Bars&Pipes Professional's Tempo Map and SMPTE Offset combine to translate real-time into music time.

Bars&Pipes Professional supports SMPTE in two ways: through menu options and Accessories. In the Main menu, the Timing menu options SMPTE Format.., and SMPTE Offset.., allow you to set these two aspects of SMPTE (more on these below.)

The MTC Accessory allows synchronization to most SMPTE boxes. The SyncPro Accessory interfaces directly with Blue Ribbon's SyncPro sync box. (Please see the Accessories chapter for more details)

SMPTE Sync Options

The following SMPTE synchronization options can be found in the Timing menu:

SMPTE Format...
When using MIDI Time Code, set the SMPTE format in the SMPTE Format... option. This option determines how many frames per second (FPS) Bars&Pipes Professional displays in SMPTE time.

{{Note|text=If you are synchronizing to an external SMPTE source, it automatically sets the SMPTE format. Under such circumstances there is no need to set the format.}}

Four SMPTE frame rates are available:

24 FPS - This is the standard frame rate used with motion picture film.
25 FPS - This is the standard frame rate used with European television, video, and film.
30 FPS (Drop Frame) - This is the standard frame rate for American color video today. The frame rate for color video is actually 29.97 FPS. If you use Non-Drop Frame, at the end of one hour, there will be 108 frames less than expected. Drop Frame corrects this deficiency by systematically dropping 108 frames per hour, so that at the end of an hour, the total number of frames will still be 108 frames short, but the frame numbers will be correct. However, Drop Frame should only be used when necessary because of the inaccuracies caused by the dropped frame.
30 FPS (Non-Drop Frame) - This is the standard frame rate for black and white television.
SMPTE Offset...
If you synchronize your music to SMPTE, your music rarely begins at the time 0:0:0.0. Instead, the beginning is most likely between a few seconds to several hours later. If you are scoring a film or video, each composition certainly starts at a different point in SMPTE time.

To adjust the SMPTE Offset, open the SMPTE Offset requester by selecting SMPTE Offset... in the Timing menu. Enter the Song's starting time in SMPTE format; Hours, Minutes, Seconds, and Frames. Bars&Pipes Professional plays your music when the SMPTE source, perhaps a video recorder or multi-track recorder, reaches this point in SMPTE time. Click on Okay to accept your settings and Cancel, to abort them.

If you start the SMPTE source at a point after the SMPTE Offset, Bars&Pipes Professional automatically calculates the Song position based on the current SMPTE time, starting the Song somewhere in the middle.

Display SMPTE Offset
By default, Bars&Pipes Professional adds the SMPTE Offset to the Song time to display the SMPTE time; however, if you'd rather see the Song time without the SMPTE offset added, deselect Display SMPTE Offset in the Timing menu.

Syncing To SMPTE

In order to synchronize Bars&Pipes Professional to SMPTE, you'll need a SMPTE to MIDI Time Code converter such as SyncPro.

{{Note|text=Because we've designed synchronization in as an Accessory, Bars&Pipes Professional easily supports third party SMPTE synchronization boxes. In addition, the Accessory mechanism provides for synchronization with other software. Programs like Real 3D and Imagine currently control Bars&Pipes Professional as if they were SMPTE sources. Please see the Accessories drawer on your Bars&Pipes Professional distribution disks for more on these and other options.}}

Either the SyncPro or MTC Accessory should be loaded in the Accessory window. Please refer to the Accessories chapter for more information.

* TIP * Sometimes, Bars&Pipes Professional may not start exactly when the SMPTE time coming from your SMPTE Interface reaches the SMPTE Offset. As a result, the very first MIDI events may not play. To avoid this, place a blank measure at the beginning of each Song. An easy way to do this is set the Edit Flags in the Tracks window to encompass the first measure and select Insert from the Edit menu.
==Tempo Mapping==
Chapter 18

The Tempo Map Window

Use the Tempo Map window to create a series of tempo change commands to alter the pace of your music over time. Open the Tempo Map window by selecting Tempo Map from the Windows menu or click on the Tempo Map icon.

The Tempo Map window consists of eight control buttons and a graphic display of the Song tempo over time.

The Tempo Map Display

Most of the Tempo Map window features the Tempo Map graph. This graph displays the tempo on the vertical axis and the time in measures or SMPTE on the horizontal axis.

The graph shows constant tempo in blue, tempo changes in red, and the tempo at the end of each tempo change in blue.

Adjusting The Display

To display in SMPTE time, click on the SMPTE/Music Time button until it shows a film strip. The Tempo Map window redraws the tempo changes against a background of vertical lines at every one second interval.

{{Note|text=Once you've entered tempo changes, the spacing between the second markers stretch and shrink as the tempo slows and increases.}}

To display in music time, click until notes appear on the SMPTE/Music Time button. The Tempo Map window redraws the tempo changes against a background of vertical lines at every measure interval.

Click on the two Zoom buttons to change the range of the display. The Zoom In button with the large note magnifies the view for a detailed look, while the Zoom Out button pulls back for a better overview of your the tempo map.

Editing the Tempo Map

Creating A New Tempo Map

Select New from the Tempo Map menu to erase the current Tempo Map and create a new one. The starting tempo for the new Tempo Map is the same as the old one.

* TIP * The starting tempo Is the same tempo entered In any of the Transport Controls.

Entering A Tempo Change

Before entering a tempo change, decide what kind of tempo change you'd like from by clicking on the Curve button. It provides four choices:

Instant, a sudden tempo change
Linear, a change that progresses at a constant rate;
Exponential, a change that starts slowly, then accelerates.
Logarithmic, a change that starts quickly, then eases into the final tempo.
The Pencil, or function key "F1" inserts new tempo changes. Press and hold the mouse button down over the measure where you want the tempo change to begin. Drag up or down to the set the new tempo and to the right to determine the length of the change. Instant tempo changes have no length.

As you drag the mouse, the Tempo Map window displays a straight "rubber band" connecting the beginning and ending points of the tempo change. The Title bar of the Tempo Map window shows the endpoint of the tempo change in Song-time and the ending tempo.

When you reach the desired endpoint, release the mouse button.

Altering A Tempo Change

To numerically alter a tempo change, select the Magic Wand or press function key "F2". Then, click on the tempo change you'd like to edit. This opens the Edit tempo change requester.

The Edit tempo change requester displays seven parameters that describe the tempo change. The parameters are:

Starting Tempo
Enter the Starting Tempo in beats per minute. Each tempo change starts at one tempo, then accelerates or decelerates to a second tempo, the Ending Tempo. The Starting Tempo of each tempo change is the Ending Tempo of the previous tempo change. As a result, you need only edit one of these Tempos, not both.

Starting Time (M.B.C)
Each tempo change begins at a specific point in the Song. To edit this position in Song-time (Measures, Beats, and Clocks), click on the Starting Time (M.B.C) line and edit it.

Starting Time (H:M:S.F)
The second Starting Time parameter displays the Starting Time in Hours, Minutes, Seconds, and Frames. You can edit this parameter, but take note: if you edit a tempo change which precedes this tempo change, the Starting Time for this tempo change changes, because the amount of time in hours, minutes, seconds and frames required to reach this point has changed.

Accel/Rall Curve
The Accelerando/Rallentando Curve lets you change the tempo change Curve type from the four options described above: Instant, Linear, Logarithmic and Exponential.

Select a curve by clicking on the appropriate button.

Ending Time (M.R.C)
Unless a tempo change has an Instant curve, you must specify the duration of the tempo change curve. Enter the time in Song-time after the Ending Time (M.B.C): prompt. B&P Pro calculates a tempo change which occurs gradually between the starting and ending times.

Ending Time (H:M:S.F)
The second Ending Time parameter displays the tempo change ending time in Hours, Minutes, Seconds, and Frames. Edit this field to set the tempo curve ending in SMPTE time.

Ending Tempo
Enter the final Tempo in the Ending Tempo: field. The Song continues at this Tempo until the next tempo change occurs.

When you have finished editing the tempo change, click on Okay, to accept the changes, or Cancel, to leave the previous settings intact.

Moving A Tempo Change

The Hand (function key "F3") drags either the start or the end of the tempo change. To drag the start point, click with the mouse just after the start of the tempo change and drag. To drag the end point, click just after the end point and drag. Move the mouse up or down to change the tempo, and across to change the duration.

The Title bar of the Tempo Map window displays the end time and tempo of the tempo change as you drag it with the mouse.

Erasing A Tempo Change

The Eraser (function key "F5") deletes tempo changes. Click on any part of the red tempo change curve to delete it.

Deleting a tempo change also affects the next tempo change. For instance, the slope of the next tempo change is altered when the starting tempo changes.

Conforming A Section

Sometimes, you may need to create a tempo change that forces a section of music to fit exactly within a specific span of time. Do so with the Conform command in the Tempo Map menu.

When you select the Conform command, the Conform requester opens.

Fill in the following fields:

Starting Time
Enter the Starting Time of the portion you want to conform, in Song Time (M.B.C.) The requester automatically adjusts the starting SMPTE time.

Ending Time
Then, enter the Ending Time of the portion. This time you must enter both Music time in Measures, Beats, and Clocks, as well as SMPTE time, in Hours, Minutes, Seconds, and Frames.

Resulting Tempo
The requester then calculates the appropriate tempo change and places it in the Resulting Tempo field.

Conform
If you approve of the Resulting Tempo, click the Conform button to insert the tempo change into the Tempo Map.

Cancel
Otherwise, click Cancel to return to the Tempo Map or enter new Ending Time values to create a different Resulting Tempo.

* TIP * The Conform option is very useful for scoring to video.

Undoing A Mistake

The Undo option (right-Amiga U) in the Tempo Map menu cancels the last change to the Tempo Map.

Aborting All Changes

The Abort command in the Tempo Map menu restores the Tempo Map to the condition it was in before you opened the Tempo Map window.

Loading & Saving Tempo Maps

To load a Tempo Map from disk, select the Load command in the Tempo Map menu.

Select Save from the Tempo Map menu to save a Tempo Map to disk. Saving a Tempo Map makes it available for use with other Songs, or allows you to try out different Tempo Maps with the same Song.

Disabling Tempo Changes

If you need to disable tempo changes, open the Timing menu from the Tracks window and turn off the Synchronize to Tempo Map selection. Bars&Pipes Professional then uses the tempo you have set in the Transport Controls window to determine the Song tempo for the entire Song.

For more information, please refer to the previous chapter, Timing, Syncing, and Tempo.

==Advanced Sequencing==

Chapter 19

Overview

In Chapters 3 through 7, we learned the basics of multi-track recording and composition with Bars&Pipes Professional. Now it's time to jump back in and complete our exploration with some more advanced concepts.

Most of this chapter pertains to the Tracks window. The Tracks window is the central focus of multi-track sequencing in Bars&Pipes Professional. If it's not open now, open the Tracks window by double-clicking on its icon and close all other windows.

Groups

Sometimes it's nice to be able to grab a collection of Tracks at once and perform an operation on them as a whole. For example, you might want to isolate all of your string Tracks and Toolize them together. Or, you might want to mute everything but the percussion Tracks so you can hear them out of context.

Use Bars&Pipes Professionals Groups mechanism to organize the Tracks that comprise your Song into Groups. A Group is a collection of Tracks that can be accessed as a unit. When a Track belongs to a Group, it's called a member Track. With Groups, you can Mute or Solo several Tracks on playback, which helps you isolate parts of your Song, or Toolize several Tracks at once, or execute many of the operations found in the Edit menu. You can create as many as eight Groups.

The Group buttons at the top of the Tracks window organize and control access to the Groups.

The numbered buttons, the Group Selectors, represent each of the eight Groups. Click on a Group Selector to activate its Group. Click again to deactivate. Use the Group button, to the right, when creating or changing the members of a Group.

Creating Groups

To create a Group, enter into Group Edit mode by clicking on the Group Button. Then click on one of the Group Selectors.

Click on all of the Tracks that you want to belong to the Group. Notice that each Member Track is drawn highlighted. Click a second time on a Track to remove it from the Group. Click on the Group Button again to deactivate Group Edit mode.

From now on, whenever you activate the particular Group Selector, your defined Group is selected.

Editing A Group

You can reorganize a Group at any time.

To enter into Group Edit mode, depress the Group button and the Group Selector button for the Group you'd like to change. While the Group button remains active, you may toggle Tracks in and out of the Group by clicking on them. When you're done, click on the Group button to deactivate Group Edit mode.

* TIP * You can place a Track in several Groups at once. This can be very useful.

Creating A Temporary Group

Often, it's useful to quickly create a temporary Group, especially when used in conjunction with the Group menu (discussed later in this chapter.) To create a temporary Group, hold down a shift key on the Amiga keyboard and click on several Tracks. Each Track that you click on becomes a member of the temporary Group.

Once you finish working with the temporary Group, deselect it by clicking once on any Track.

Group Mode

Clicking on one of the Group selector buttons places you in Group mode. In Group mode, the Track menu becomes the Group menu, and operates on every Track in the Group (see the Track and Group menus later in this chapter.)

Group Mode And The Graphic Editor

Groups allow you to view a Track of music in the Graphic Editor's Hybrid Staff and Piano Roll with other Tracks in the background. This useful feature allows you to compare the timing of notes on one Track with the timing of notes on another.

First, create or select a Group. Once in Group mode, open the Graphic Editor for a member Track of the Group. The notes of the other Tracks in the Group display as grey background notes. You cannot directly edit these notes.

When you open more than one Graphic Edit window simultaneously and both Tracks are members of the same Group, the notes in the foreground of one Edit window appear in the background of the second Edit window, and vice versa.

{{Note|text=Editing notes in one of these windows does not automatically update the background of the other window. The background notes of the other window updates only after the first window closes or updates the Track with the Update command Then, the second window's background notes update upon the next window refresh of the second window.}}

Soloing and Muting

The Solo button is the leftmost button at the top of the Tracks window. The Solo button controls the Solo and Mute state of the currently selected Track or Group. Click on Solo once to solo the highlighted Track or Group. Click again to mute the Track or Group. Click one more time to return the Track or Group to its normal state.

Soloing A Track Or Group

Sometimes, you may want to hear only one Track or Group at a time. Click on the Solo button to isolate the selected Track or Group. This command mutes all remaining Tracks. Notice that their Mute/Thru/Play Only faucets switch to the Mute settings.

Muting A Track Or Group

It can also be useful to mute the selected Track or Group. Click a second time on the Solo button and the selected Track or Group becomes mute, while all other Tracks turn on. The selected Track or Group's Mute/Thru/Play Only faucets switch to the Mute setting while the remaining Tracks' faucets return to their normal states.

Click on the Solo button a third time to return the Track or Group to Normal mode.

The Track Name Requester

Open the Track Name requester by double-clicking on its name in the far left of the Tracks window.

* TIP * You can also open the Track Name requester by selecting the Wand in the Song Construction or Media Madness windows and clicking on the Track name.

Use the Track Name requester to change the name, enter notes, and set the Real-Time property of each Track. The following features are found in the Track Name requester:

Name
Change the Track Name by editing the Name: field.

Notes
You may also enter a brief note about the Track in the Notes: field.

Real-time
The real-time button determines whether or not the Track is in real-time or Song-time mode. By default, Tracks operate in Song-time mode. In Song-time mode, increasing the Song's tempo causes notes to play faster. Each note plays on a particular measure, beat and clock, not at an absolute hour, minute and second.

In some cases, however, certain events must happen at times independent of the Song's tempo, such as sound effects in a film score. The sound effects must synchronize with their real-time screen counterparts. Such a situation calls for real-time mode. To lock a Track into real-time mode, click on the real-time button. Thereafter, each note plays at an absolute hour, minute, and second, independent of the selected tempo.

Since tempo changes cannot affect the timing of events in real-time Tracks, they change the position of the events in the Tracks instead. For example, if an event occurs at measure 2 in a real-time Track, doubling up the tempo should make that event play twice as soon. To avoid that, the event shifts further down to measure 3, to effectively play at the exact same time in seconds and frames.

Real-time Track names appear purple instead of blue in the Tracks window. They still highlight as a red color.

Okay & Cancel
Click on the Okay button to accept the changes, or click on Cancel to ignore them.

Rearranging Tracks

You can rearrange the list of Tracks any way you like. To do so, use the two arrow buttons that are to the right of the Group button.

The Track Up button, on top, moves the highlighted Track up one in the list. The Track Down button, on bottom, moves it down one.

Double-click on the Track Up or Track Down button to jump the selected Track to the top or bottom of the display, respectively.

The Track Menu

The Track menu, accessed from the Tracks, Song Construction, and Media Madness windows, contains operations that primarily apply to the currently selected Track in the Tracks display.

If a Group is currently selected, the Track menu becomes the Group menu. Many of the commands in the Track menu change to accommodate multiple Tracks instead of one. Notice that when an individual Track is highlighted, the menu items Load Group, Share Input, and Gather Group are disabled in the Track menu. These options exist purely for the Group menu.

Before using the Track menu, be sure to select the Track of your choice by clicking on it. The following commands are found in the Track menu:

New
The New command creates a new Track. If a Track is highlighted, the New command creates a new Track directly underneath the highlighted Track. Otherwise, it places the new Track at the bottom of all of the Tracks.

The new Track has, by default, standard MIDI In and MIDI Out Tools (if they are in the ToolBox.)

Alternatively, if you've prepared a default Track and saved it with the Save As Default command, New loads the default Track and installs it.

The new Track is automatically highlighted and its Input Arrow activated.

Copy
The Copy command creates a duplicate of the selected Track and places it directly beneath the selected Track.

Merge...
The Merge command mixes the contents of two Tracks together, placing the results in the second Track.

To use the Merge command, select the first Track, then pick the Merge command.

Notice that the Title bar of the Tracks window displays the command, Select the Merge Track:. Click on the second Track to merge the Tracks, or click on the background of the screen to abort the Merge operation.

Bars&Pipes Professional adds the events from the first Track into the second Track, leaving the first Track as it was originally.

Delete
The Delete command removes the selected Track. A requester verifies the operation. Use Delete with care. Once you delete a Track, you cannot bring it back.

Load Track...
The Load Track... command loads a Track from disk. When you select this command, the file requester opens. Use it to select a Track for loading. Of course, in order to use the Load Track command, you must have a previously saved Track to load.

Load Group...
The Load Group... command is only available when in Group mode. To enter into Group mode, select one of the Group buttons, or hold down a shift key while clicking on multiple Tracks. Please see the Load Group command in the next section, The Group menu, below.

Save Track...
The Save Track... command saves the selected Track to disk. The file requester opens. Use it to select or create a file in which to save your Track.

Save As Default
The Save As Default command saves the selected Track to disk as "New.Track" in the Bars&Pipes Professional directory. Once you've saved a default Track, the New command loads this Track instead of creating a standard blank Track with standard MIDI In and Out Tools.

* TIP * If you're working with MIDI connectors other than the standard MIDI In and Out, create a blank Track, install the MIDI Tools of your choice (for example, the One-Stop Music Shop's,) place any additional Tools that you'd usually add to your PipeLines (Quantize, General MIDI, etch) and save the Track with the Save As Default command. From then on, when you select the New command, the previously prepared Track loads.

Erase
The Erase command erases the Track, emptying it of its contents. The Track itself is not deleted, just erased. The Erase command leave Tools in the PipeLines unharmed.

Toolize
The Toolize command processes all notes in the currently selected Track with the currently selected Tool in the ToolPad. Please see Chapter 7, Tools, for more information.

{{Note|text=This command is ghosted if there is no active Tool in the ToolPad.}}

Time-Shift...
The Time-Shift... command moves everything in the selected Track forward or backward in time. When you select the command, Bars&Pipes Professional opens the Time Shift requester.

Enter the shift distance in measures, beats and clocks after the Shift: prompt. For example, "0.01.0" moves the time by zero measures, one beat, and no clocks. Click on the Forward button to move the music forward in time. Click on the Backward button to move the music backward in time.

{{Note|text=Be careful time-shifting backwards. Notes at the beginning of the Track collect at the very beginning because they can't have negative performance times.}}

Click Okay to confirm or Cancel to leave the Track unchanged.

Propagate
The Propagate command in conjunction with the A-B-A feature of the Song Construction window, copies changes made to the first instance of each section to all other instances of those sections (for the selected Track only).

{{Note|text=This command is ghosted if the A-B-A feature has not been utilized.}}

Please see Chapter 21, Song Construction, for more information.

Print...
The Print command opens the print requester to print the Track. (Please see Chapter 11, Printing Notation.)

{{Note|text=Before Printing a Track, you should set up the Notation parameters by first opening the Graphic Editor for the Track.}}

The Group Menu

The Group menu is active when the Tracks window is in Group mode. To enter Group mode, click on one of the Group buttons or hold down a shift key while clicking on multiple Tracks.

Notice that the menu items Copy and Merge are disabled in the Group menu. They are only active in the Track menu.

Although you can only create Groups from the Tracks window, the Group menu is also available from the Song Construction and Media Madness windows, in case you need to use the Group editing features.

The following commands are found in the Group menu:

New
The New command creates a new Track and places it in the Group. The new Track receives standard MIDI In and Out Tools.

Delete
The Delete command removes the Group as a whole. Use this command with care! A requester asks you to verify the command.

Load Track...
The Load Track... command loads a Track from disk and places it in the Group.

Load Group...
The Load Group... command loads a Group from disk and adds it to the currently selected Group.

Save Group...
The Save Group... command saves the member Tracks of a Group to disk.

{{Note|text=You can reload the Group into a different Group number with the Load Group command.}}

Erase
The Erase command deletes all events in the Group. The Erase command does note delete the Tracks in the Group, just their contents.

Toolize
The Toolize command takes the currently selected Tool in the ToolPad and applies it to every event in each Track member of the Group.

{{Note|text=This command is ghosted if there is no Tool selected in the ToolPad.}}

Time-Shift...
The Time-Shift command offsets the timing of the Group by a specified amount. Please see the Time-Shift command in the Track menu for more information.

Propagate
In conjunction with the Song Construction window's A-B-A feature, the Propagate command copies changes to the first instance of each section to all other instances of those sections for the entire Group. This command is ghosted if the A-B-A feature has not been utilized.

Share Input
The Share Input command connects the PipeLines of all Tracks in the Group so that any input to the top Track goes to the other Tracks as well. The Share Input command uses the Merge In and Branch Out Tools to accomplish this, so make sure they are installed in the ToolBox for this command to function.

Gather Group
The Gather Group command reorganizes the Tracks window display so that all the Tracks in the selected Group are adjacent to each other.

Print...
The Print command prints only the Tracks in the selected Group. (Please see Chapter 11, Printing Notation). Before Printing, be sure to set up the notation in each Track by opening each Track's Graphic Editor first.

The Master Time Signature

The Tracks window displays measure numbers and Time Signature Changes in the Flag Strip, directly above the Sequence display in the Tracks window.

The Tracks window displays each measure number unless a Time Signature Change occurs, in which case it displays the new Time Signature instead. These Time Signature Changes are the same Time Signature Changes accessed in the Master Parameters window.

Since each Track can have its own Time Signature, it is possible that some Tracks in your Song do not line up exactly with the Global Time Signatures.

{{Note|text=From within the Graphic Edit windows of these Tracks, you can use the Export and Import commands from the Master Parameters menu to exchange Time Signatures between Tracks and the Master Parameters Time Signatures.}}

To insert, remove, or change a Time Signature, double-click on the measure with which you want to work. The Time Signature requester opens.

Selecting A Time Signature

Bars&Pipes Professional provides six standard Time Signatures, as well as a method to define custom Time Signatures The six buttons across the top of this requester feature the pre-defined Time Signatures. Click on your preference to select it.

If you don't find one that meets your needs, create your own by first typing the values for the Time Signature after the Other: prompt. Then click on Other to select it.

{{Note|text=It is important that you first enter the values, and then click on the Other button to activate it. Clicking the Other button first, and then typing in the values won't work.}}

Placing The Time Signature On A Specific Measure

By default, Bars&Pipes Professional displays the measure in which the Time Signature change occurs after the "Signature begins on measure:" prompt. Change the measure by editing this number.

Adding A Time Signature

Adding: To add a Time Signature change, select the Time Signature and click on Okay to accept it.

Removing A Time Signature

Removing: To remove a Time Signature change, enter the Time Signature requester by double-clicking on the Time Signature you'd like to remove; click on the No Signature Change button; then select Okay.

Changing A Time Signature

Changing: To alter an existing Time Signature change, double-click on the Time Signature displayed above the Sequencer; then select a new Time Signature.

You can alter when a Time Signature change occurs by editing the measure number after the Signature Begins on Measure: prompt. Once you change the Time Signature to your liking, click on Okay to accept the change, or Cancel, to disregard it.

Selecting The Previous Or Next Time Signature Change

To go to the previous Time Signature change, click on the left arrow button in the Time Signature requester. The arrow finds the Time Signature prior to the one you are viewing and displays it, so that you can edit it. The right arrow button scans forward to the next Time Signature change.

Automatic Removal Of Identical Time Signatures

If you create two adjacent, identical Time Signatures, Bars&Pipes Professional removes the second one. To illustrate, if you have 6/8 on measure 5, then place 6/8 on measure 4, Bars&Pipes Professional discards the 6/8 on measure 5.
==Multi-Track Editing==
Chapter 20

Introduction

Although Bars&Pipes Professional includes sophisticated Graphic and List Editors, you can also perform many editing functions from the Tracks window. In particular, you can Cut, Copy, and Paste individual Tracks, or perform these functions globally on all Tracks. These operations involve the Edit Flags, Edit menu, and ClipBoard.

In addition to the Tracks window, you can also perform multi-track edits from the Song Construction and Media Madness windows. For our examples, however, we will concentrate on the Tracks window.

Clip Editing

All Edit menu operations use "Clips", which store and retrieve edited information. A Clip stores a section of music containing one or more Tracks. A Clip Buffer is a place in your computer's memory that stores a Clip.

The Track Clip Buffers

Each Track has its own Clip Buffer that stores a single Clip. The Cut and Copy commands replace the previous contents of the Track's Clip Buffer with the new Clip; the Paste and Mix commands copy the contents of the Clip Buffer to the Track.

The ClipBoard

Unlike an individual Tracks Clip Buffer, the ClipBoard allows you to work with multiple Cliresents you with filtering options. The Cut and Copy commands add a new Clip to the ClipBoard; the Paste and Mix commands copy the selected Clip to the Tracks. To use the ClipBoard instead of the Clip Buffer, open the ClipBoard by selecting the Windows menu or double-clicking on the Clip Board icon. While the ClipBoard is open, Clips are sent to it instead of the Track's Clip Buffers.

The Edit Window Clip Buffers

Although you don't use the Graphic and List Editor windows when editing multiple Tracks, it's important to understand their usage of Clip buffers:

Like a Track, each Edit window maintains its own Clip Buffer. All Cut and Paste commands in the Editor's Edit menu use this Clip Buffer when the ClipBoard window is not open. When the ClipBoard window is open, the Edit window uses the ClipBoard, just as the multi-track editing operations do. This means that you can Cut and Paste between the Edit windows and individual Tracks in the Tracks, Media Madness, and Song Construction windows.

The Edit Flags

Use the Edit Flags to mark a section of music for editing. The Flags look like purple slanted triangles, and sit directly above the Track displays in the Tracks, Media Madness, and Song Construction windows.

Position these Flags to indicate where you want your edits to occur. The left Edit Flag, designated by a triangular flag with the mast on the right, identifies where an edit operation starts, while the right Edit Flag, designated by a triangular flag with the mast on the left, identifies where an edit operation ends.

Positioning The Edit Flags

To position a Flag, drag it with the mouse. If the desired position is not visible in the display, first scroll the display so that the desired position is visible, then drag the Flag into position.

Dragging a Flag all the way to the left tells Bars&Pipes Professional to place it at the very beginning of your Song or Track. Dragging it all the way to the right indicates that you want it placed at the end of the Song or Track.

* TIP * Notice that as you drag the Flag its position is shown in the LED displays in the Transport Controls Mini Transport and Tracks windows.

You can also position the Flags by entering exact values with the Set Flags Window. To enter exact values open the Set Flags Window from the Windows menu.

Enter the values in Measures, Beats, and Clocks, or, if the SMPTE/Music Time button is set to SMPTE, set the time in Hours, Minutes, Seconds, and Frames. Once you have entered a number, remember to press the Return key, which enters the new value and moves the Flag to its new position.

Flag Alignment

You can specify whether the Flag automatically aligns with Measures, Beats, Seconds, Frames, or Anywhere, by selecting the desired option from the Align with... command in the Preferences menu. If you select Align with Measures, the Edit Flag always sticks to the measure boundary just to the left of, or under, the place where you drag it. If you select Align with Beats, it sticks to the beat boundary. Seconds stick to seconds boundaries, Frames stick to SMPTE frame boundaries, and if you select Align with Anywhere, it stays exactly where you place it.

Alternatively, you can set the Alignment with the four Alignment buttons located in the Set Flags window. "->M<-" sets the alignment to Measures, "->B<-" sets the alignment to Beats, "->S<-" sets the alignment to Seconds, and "->F<-" sets the alignment to Frames. If no button is selected, the alignment is set to Anywhere.

{{Note|text=If you align the Edit Flags on measure boundaries, the Time Signature and Key & Scale/Mode Parameters will be incorporated in the edit. Otherwise, they will not.}}

Selecting Tracks to Edit

You can edit one Track, a Group of Tracks, or the entire Track list at once.

Editing One Track Only

To edit one Track only, select the Track, activate the Solo mode and choose the appropriate edit command. This is the only option available in the Graphic and List Editors.

Editing A Group Of Tracks

To edit an entire Group of Tracks, select that group with the Group Number button or make a temporary Group by shift-clicking several Tracks. Then solo the Group with the Solo button and choose the appropriate Edit command.

Editing All Tracks

To edit all Tracks, make sure the Normal/Solo/Mute button is in Normal mode, then mark off the desired area and use the appropriate edit command.

The Edit Operations

The Edit menu operations work in conjunction with the Edit Flags and the Normal/Solo/Mute button.

Once you have aligned the Edit Flags and set the Normal/Solo/Mute button, select the desired operation from the Edit menu. Once they've been executed, all of the Edit menu commands automatically turn off the Solo button (if selected), so that you can quickly listen to your changes.

The following shows the menu command followed by the hotkey in parenthesis.

Cut (Right Amiga - X)
The Cut command cuts a section from your Song or selected Track. Cut removes the section between the Edit Flags and shifts everything to the right of the section to the left Edit Flag. This is analogous to cutting out a section of tape physically and splicing the remaining ends together.

Use the Paste command to insert the Clip elsewhere in your Track, or the Mix command to merge the Clip with existing notes. Notice that the Solo button is automatically turned off, after the cut is made. If you plan to Paste into just one Track, you must reactivate the Solo button.

Copy (Right Amiga - C)
The Copy command copies a section, without actually removing it, for use with the Paste or Mix commands. Nothing visibly happens, but the section between the Edit Flags is now available for Pasting.

Paste (Right Amiga - P)
The Paste command inserts a cut or copied section into the Song or Track. It's not necessary to set the right Edit Flag, since the length of the inserted section is determined at the time it is cut or copied. For example, if you cut a four-measure section, the Paste command inserts those same four measures and moves everything to the right of the insertion by four measures.

You can do multiple Paste operations with the same Clip it does not change until you cut or coy another section of the Track.

{{Note|text=Remember to activate the Solo button before you Paste, if you intend to Paste into just one Track or Group.}}

Mix
The Mix commands merge a copied or cut section with the existing Song or Track. As with Paste, you need only set the Left Edit flag, unless you explicity wish to limit the pasted size with the Mix To Right Edit flag command. Unlike the Paste command, Mix does not increase the legth of the Track; rather it adds the notes to the notes already in the section.

Erase (Right Amiga - E)
The Erase command clears the section between the left and right Edit Flags. Erase removes all events and your Sequence is silent during this section. This is analogous to erasing a section of tape.

Insert (Right Amiga - I)
The Insert command inserts a blank space in your music. This command is useful when you want to add a section to your Song somewhere in the middle of it. Insert the section, then use whatever methods you prefer to fill the gap with music.

In other words, the section contained between the Edit Flags shifts to the right of the right Edit Flag, and the section between the edit flags is becomes empty.

Delete
To delete a section between the right and left Edit flags, use the Delete command. This command operates identically to the Cut command, but does not place the deleted section into the Clip buffer or ClipBoard.

{{Note|text=You can still use the Undo command.}}

Toolize (Right Amiga - T)
The Toolize command uses the currently selected Tool in the ToolPad to process the section marked off by the Edit Flags. This command is ghosted if there is no Tool in the ToolPad

Repeat (Right Amiga - R)
The Repeat command repeats a section of your Song one or more times. Repeat makes multiple copies of the section designated by the Edit Flags and inserts them in the Song.

When you select the Repeat command, a requester opens and asks you to specify the number of times to repeat.

{{Note|text=This is NOT the number of times that the section plays, but the number of times it repeats. Hence, selecting "1" repeats the section one time.}}

The repeated section appears immediately following the source section. Enter a number and select Okay to repeat, or Cancel, to abort.

Propagate (Right Amiga - A)
The Propagate command is the only Edit command used in association with the A-B-A feature of the Song Construction window. (Please see the Song Construction chapter.)

If you make a change to an A-B-A section and you'd like the change to be reflected in all other copies of that specific section, use the Propagate command in conjunction with the left Edit Flag.

To do so, place the left Edit Flag on or within the boundaries of the section to be propagated. Bars&Pipes Professional then rewrites all occurrences of that section to include the change.

For example, if you change some notes in the first instance of your "A" section, place the left Edit Flag within or on that section's boundaries and the Propagate command changes all other instances of your "A" section.

The Propagate command always uses the first instance of each section to make its changes; therefore, in order to use Propagate successfully, you must always edit the first section.

Undo (Right Amiga - U)
The Undo command returns your Song to its state prior to the last operation. In addition to undoing all of the commands in the Edit menu, it undoes other actions, including the last time you recorded.

Merging Groups Of Tracks Together

You can merge several Tracks into one Track in a single operation. This is useful for merging several Tracks of drums into a single drum track, or merging several Tracks recorded from different MIDI channels from a guitar controller into a single Track for tablature printing.

* TIP * In the latter case, where each guitar string is recorded on a separate Track, open the Graphic Editor for each track separately, and tabulate on the correct string for each track. Then, merge the Tracks together. The notes retain their original string assignments for accurate tablature transcriptions.

Example: Merging Several Tracks

Open the main Tracks window. Choose a blank, unused track to merge the tracks into. If you do not have a blank track, select New from the Track menu to create a new blank track.
Activate one of the Group button numbers (1-8) in the upper left corner of the Tracks window. This places Bars&Pipes in Group mode. If any tracks turn white, they are already members of this group, and you should choose a different number.
Activate the Group button (the button that says "Group" on it). This places you in Group Edit mode. Any Track you click on becomes a member of this new group.
Click on the tracks to merge together. Each track turns white to indicate it is a member of the group.
Deactivate the Group button, but leave the Group Number button active. This takes you out of Group edit mode and back into Group mode.
Choose the Group/Merge... menu command. "Select the Merge Track:" appears in the Track window's title bar.
Click on an empty Track. The Track fills with the merged contents of the group of tracks. The original group is left intact.
If desired, choose the Group/Remove menu command to remove all the original tracks from the song. Alternatively, you may wish to click on the solo/mute button until the group of tracks is muted, in case you ever wish to reuse the original group of tracks.
Deactivate the Group Number button to return to normal track editing mode.
* TIP * Optionally, use multiple selection to create a temporary group. To do so, hold down on the Shift key and click one by one on the Tracks that you would like to merge

Splitting A Drum Track Into Several Parts

There are times when you might wish to split a single track of multiple drum sounds into several tracks of single drum sounds. For instance, this might be useful if you wish to set an echo on the snare drum, but not the bass drum.

The Track/Split menu command provides the ability to split a Track into component parts in a single move.

* TIP * You can also accomplish similar and sometimes more intriguing results using different Tools from the variety of Tool Kits available.

Example: Splitting a drum track into component drum parts

Open the main Tracks window.
Click on the track that you wish to split.
Choose the Track/Split menu command. A requester will appear that tells you how many Tracks will be created if you choose to continue.
Choose Yes to split the track. The track splits into several Tracks, all having the same name and MIDI channel as the original track.

{{Note|text=You can reconstruct the original track by merging all split tracks back together. See above.}}

Clean Cuts

The Clean Cuts option in the Preferences menu controls how Bars&Pipes Professional treats notes that extend over Clip boundaries.

Without Clean Cuts, when Bars&Pipes Professional creates a Clip, it extracts all notes up to the right Edit Flag and leaves the note durations untouched. If a note near the end of the Clip has a duration that hangs over beyond the right edit Flag, it overlaps when pasted in elsewhere.

With Clean Cuts enabled, Bars&Pipes Professional chops notes that overlap the start and end of the Clip into two notes apiece. And, when pasting, if two identical notes butt up to each other on the Clip boundary, it merges them into one.

{{Note|text=The Clean Cuts option also controls how notes cut and merge when Punching in and Out during recording.}}

The ClipBoard

The ClipBoard provides a convenient way to move music Clips from one Track or Group of Tracks to another. It also allows you to filter out events and Song parameters while you cut and paste. And, it provides a convenient storage spot to post Clips that you'd like to use later. You can even load and save Clips to disk.

Accessing The Clipboard

Use the ClipBoard with the Track, Song Construction, Media Madness, and any Edit window. To open the ClipBoard, double-click on its icon along the right side of the screen (the icon that looks like a Clipboard), or select ClipBoard from the Windows menu.

The ClipBoard window controls the use of the ClipBoard. Whenever the window is open, Clips are automatically sent to it, rather than the associated Clip Buffer. As long as the ClipBoard window remains open, all Clip edit operations in all windows pass their Clips through the ClipBoard.

The ClipBoard window displays the list of Clips, with the currently selected Clip highlighted. Each Clip in the list displays its name, the number of Tracks in the Clip, and the length of the Clip in Song-time.

{{Note|text=If the number of Tracks is denoted as a capital S, this means that the Clip is for a single Track only.}}

The ClipBoard Commands

To select a Clip, click on its name in the list. The Clip highlights and its name displays after the Clip Name: prompt. Use the scroll bar and arrows to scroll the Clip list up or down.

The following features are found in the ClipBoard window:

Clip Name
To change the name of the selected Clip, enter the new name after the Clip Name: prompt.

{{Note|text=By default, Bars&Pipes Professional assigns names in the form "Clip #<number>".}}

Clear
To remove a Clip, select the Clip, and then select the Clear button.

Load Clip
To load a previously saved Clip, use the Load Clip command from the File menu.

Save Clip
To save the selected Clip to disk, use the Save Clip command from the File menu. Once the file requester opens, select or enter a file name and click on Save.

Clear all Clips
To delete the entire list of Clips, select the Clear All Clips command from the File menu.

Editing with the ClipBoard

When you enable the ClipBoard, the four Edit menu commands, Cut, Copy, Paste, and Mix pass Clips to and from the ClipBoard. To Cut, Copy, Paste, or Mix an individual Track or Group of Tracks instead of all Tracks, click on the Solo button before selecting the specific edit command.

{{Note|text=When you Cut or Copy all Tracks into the ClipBoard, it displays a Clip size one greater than the number of Tracks. This happens because it also includes the hidden Master Parameters Track.}}

Edit Menu Commands And The Clipboard

Here is how each edit command behaves in conjunction with the ClipBoard:

Cut (Right Amiga - X)
The Cut command removes the section between the Edit Flags and places it in the ClipBoard. Notice that the new Clip is highlighted.

Copy (Right Amiga - C)
The Copy command duplicates the section between the Edit Flags and places it, highlighted, in the ClipBoard. The source Track(s) remains unchanged.

Paste (Right Amiga- P)
The Paste command inserts the selected (highlighted) Clip at the point marked by the left Edit Flag. The Clip remains in the ClipBoard, so that you can make multiple pastes.

You can control which Parameters and Event types you paste with the Include menu. (See below.) You can also control which Tracks receive pasted Clips. (See below.)

Mix
The Mix commands merge the selected Clip into the target Track(s). This command excludes Parameters from the mix. You can, however, choose which MIDI Events to mix with the Include menu.

There are times when you may cut or copy a clip from one Track and wish to mix (e.g. Merge) its contents into another Track.

{{Note|text=When you past a clip into a Track, it actually inserts the clip into the Track, moving the contents of the Track to the right to make room for the clip. If you mix the clip into the Track instead, it does not move the Track's original contents to the right.}}

Example: Mixing the contents of measures 5-8 of one track into measures 10-13 of another:

Open the Main Track window.
Click on the Track to copy the clip from. The Track highlights in white.
Set the Left Edit flag at the beginning of measure 5.
Set the Right Edit flag at the beginning of measure 9.
Click on the Solo button in the upper left hand corner of the Tracks window. All Tracks except the highlighted one become muted.

{{Note|text=This causes the next Edit operation to work only on the soloed Track.}}

Choose the Edit/Copy menu command. If it is not already open, the Clipboard window opens and displays the new clip. It highlight the new clip in red, and it displays the name after the Clip Name: prompt. The name in the list appears with an "S", signifying a single Track, and "0003.00.00", signifying a length of 3 measures, no beats, and no clocks.
Click on the destination Track. It highlights in white.
Once again, click on the solo button to solo the Track.
Move the Left Efit flag to the beginning of measure 10. It does not matter where the Right Edit flag is.
Choose the Edit/Mix To End Of Clip menu command. The entire contents of the clip are mixed into the track.
The menu option Edit/Mix To Right Edit Flag work similarly to the Mix To End Of Clip command, except that it stops mixing the clip when it reaches the Right Edit flag.

For instance, if the Right Edit flag had been set at the beginning of measure 11 in the above example, only the first measure of the clip would have been mixed into the Track.

Cutting From One Track And Pasting Into Another

If you want to Cut and Paste from one Track to another, you must use the Solo button before each command. When the Solo button is used in conjunction with an editing command, the ClipBoard automatically opens if it is not already open.

To Cut from one Track and paste into another:

Highlight the Track you want to Cut (or Copy) from.
Set the Edit flags around the area you want to Cut (or Copy).
Click on the Solo button.
Select the Cut (or Copy) command from the Edit menu.
Highlight the Track you want to Paste (or Mix) into.
Set the left Edit flag to the position you would like to Paste (or Mix).
Click on the Solo button.
Make certain that the correct Clip is highlighted in the ClipBoard.
Select the Paste (or Mix) command from the Edit menu.
* TIP * Another easy way to Cut and Paste from one Track to another is to use the Song Construction window. Please refer to that chapter for more information.

Filtering Clips With The Clipboard

The Include menu is available only when you have selected the ClipBoard window. This menu allows you to select specific Song Parameters and MIDI Events which will be included in the pasting or mixing.

By default, the Include menu includes everything but System Exclusive events. Omit those you don't want by clicking on the particular items in the menu.

{{Note|text=During a Mix operation, only MIDI Events are included, and not Parameters.}}

Multi-Track Clip Alignment

Clips can contain portions of several Tracks. Depending upon whether you're working with one Song or several, you may want to paste multiple Tracks differently. The Align Clips... selection in the Preferences menu gives you two ways to paste multi-track Clips.

When you select By Name, Bars&Pipes Professional pastes multi-track Clips into Tracks with the same names as the Tracks from which the Clips were cut or copied. This method is very useful for moving Clips between Songs, since you do not need to enforce a particular Track order for all of your Songs. Bars&Pipes Professional pastes only the Tracks that have matching names in the Song; other Tracks are not pasted, but do remain in the Clip.

When you select By Position, Bars&Pipes Professional pastes multi-track Clips into the selected Track, and Tracks below, until all Tracks are pasted. This method is useful for moving Clips between Tracks in the same Song, or between Songs without regard to Track names. Pasting "wraps around" from bottom to top, if necessary. For example, if you paste starting three Tracks from the bottom and five Tracks are in the Clip, Bars&Pipes Professional pastes the last two Clip Tracks in the top two Tracks of the Song.
==Song Construction==
Chapter 21

Overview

The Song Construction window provides powerful arrangement functions. You can insert, delete, or move any block of measures, as well as create and edit selected measures.

The Song Construction window also supports powerful A-B-A lists, which give you the option of locking measures to sections and rearranging your Song by rearranging the sections. The A-B-A sections also allow you to loop, or repeat, several measures in several tracks over and over a specified number of times.

Access the Song Construction window by choosing the Song Construction option in the Main menu's Windows menu, or double-click on the Song Construction window's icon.

The Song Construction Window

There are four major parts to the Song Construction window:

The Track Display, the Track Names, the Edit Flags, the A-B-A Strip, and the Command Buttons.

The Track Display

Most of the Song Construction Window features the Track Display. The Track Display shows your Tracks as a series of small measure boxes. Each box represents a measure in a Track. White boxes contain at least one note. Grey boxes contain none. Boxes may change color during moves, deletions, or editing operations.

{{Note|text=If a note spans more than one measure, the second measure's box also displays white, indicating musical activity in that measure.}}

Above the Tracks are the measure numbers; these numbers give you an idea of where you are in your Song. If you have time signature changes in your music, the measure boxes can be different sizes. Track names display to the left.

In conjunction with the Control Buttons (see below) you can perform the following operations in the Tracks Display:

Insert a measure with the Pencil.
Open the Edit window for a measure with the Magic Wand.
Move a measure from left to right within a Track, or even up and down across Tracks, with the Hand.
Duplicate a measure with the Duplicator.
Erase a measure with the Eraser.
Toolize a measure with the ToolPad. The mouse icon tums into a Wrench when this button is selected.
The Right Mouse button cancels dragging, copying, and wanding operations. For example, if you are dragging a group of measures that you surrounded with the bounding box, clicking the Right Mouse Button returns them to their original location.

The Track Names

The Track Names on the left also respond to several of the editing modes. You can:

Create and insert a new Track by clicking in the Track Name area with the Pencil.
Modify a Track name by clicking on it with the Magic Wand, or double-clicking with the Saxophone/Default pointer.
Move a Track up and down relative to the other Tracks with the Hand.
Duplicate a Track by clicking on its Track name with the Duplicator.
Erase a Track by clicking on its Track name with the Eraser.
The Edit Flags

The Song Construction window displays just the two Edit Flags. These are in fact the same as the Edit Flags in the Tracks window. Drag these to set edit boundaries and the same flags in the Tracks window and Media Madness windows follow to the new positions.

The A-B-A Strip

The narrow strip located between the Command Buttons and the Edit Flags contains the current A-B-A sections. This area is called the A-B-A Strip. When you open the Song Construction window for the first time, the A-B-A Strip is completely blank.

A-B-A sections can be named "A", "B", "C", etc. You can also assign more specific names such as "Verse", "Chorus", "Refrain", "Bridge", and "Finale".

Bars&Pipes Professional automatically numbers each section in the order it appears in the A-B-A strip, and assigns different colors to each type of section so that, at a glance, you can see transitions between sections.

You can perform the following editing operations in the A-B-A Strip:

Create and insert a new A-B-A section with the Pencil.
Modify an existing A-B-A section's name, length or number of repeats with the Magic Wand.
Move an A-B-A section with the hand.
Duplicate an A-B-A section with the Duplicator.
Erase an A-B-A section with the Eraser.
Toolize an A-B-A section with the Wrench. Click on the ToolPad in the Song Construction window to access the Wrench

{{Note|text=The actual measures beneath the A-B-A sections are not changed in any way by modifying the A-B-A sections, until the Lock to A-B-A button is selected (please see below).}}

The Control Buttons

The Pencil

Use the Pencil (Fl key) to:

Create and insert a new Track by clicking in the Track Names area.
Insert a blank measure by clicking in the Track Display area.
Create and insert a new A-B-A section by clicking in the A-B-A Strip.
The Magic Wand

Use the Magic Wand (F2 key) to:

Rename a Track name by clicking on the Track name in the Track Names area.
Open the Edit window for a Track at a selected measure by clicking on the measure in the Track Display area.
Modify the name and length of an A-B-A section by clicking on the A-B-A section in the A-B-A Strip.
The Hand

Use the Hand (F3 key) to:

Move a Track up and down relative to other Tracks by clicking and dragging a Track's name in the Track Names area.
Move a measure in the same Track, or across Tracks, by clicking and dragging in the Track Display area. Use the Hand in conjunction with the Bounding Box to move a group of measures
Move an A-B-A section forward or backward by clicking and dragging. The measures beneath the A-B-A section are moved only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker moves.
The Duplicator

Use the Duplicator (F4 key) to:

Duplicate a Track by clicking on the Track's name in the Track Names area.
Duplicate a measure by clicking and dragging the measure in the Track Display area. Use the Duplicator in conjunction with the Bounding Box to duplicate a group of measures
Duplicate an A-B-A section by clicking and dragging in the A-B-A Strip. The measures beneath the A-B-A section are duplicated only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker is duplicated.
The Eraser

Use the Eraser (F5 key) to:

Erase a Track by clicking on the Track's name. A requester asks you to confirm your decision.

{{Note|text=You cannot unerase once you've used the Eraser.}}

Erase a measure by clicking on the measure in the Track Display area. Use the Eraser in conjunction with the Bounding Box to erase a group of measures.
Erase an A-B-A section by clicking on the section in the A-B-A Strip. The measures beneath the A-B-A section are erased only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker is erased.
The ToolPad

Clicking on the ToolPad causes the mouse pointer to turn into a Wrench. Use the Wrench to:

Toolize a measure by clicking on the measure in the Track Display area. Use the Wrench in conjunction with the Bounding Box to Toolize a group of measures
Toolize an A-B-A section by clicking on the section in the A-B-A Strip. This only works if the Lock to A-B-A button is depressed
The Bounding Box

Use the Bounding Box (F6 key) to edit groups of measures in the Track Display area in conjunction with the Hand, Duplicator, Eraser, and ToolPad.

The Lock To A-B-A Button

Activate the Lock to A-B-A button when you want to have changes made to the A-B-A sections in the A-B-A Strip to also affect the measures beneath the Strip

Deactivate the Lock to A-B-A button when you just want to affect the A-B-A sections themselves without affecting the measures beneath.

The Zoom In And Zoom Out Buttons

The Zoom In button is the large note button. Click on it to enlarge the display by one step. This gives you finer control, but shows fewer measures.

The Zoom Out button is the small note button. Click on it to reduce the display by one step. This allows more measures to be displayed, at the loss of fine editing control.

A-B-A Section Editing

Not only are A-B-A sections useful for labeling your music, they can also be used to physically rearrange your music, or repeat sectons.

By using the Lock to A-B-A button. you can reposition, copy, add and/or delete labeled sections of music. You can also make changes to the first occurrence of each labeled section and propagate those changes throughout your Song.

{{Note|text=Propagate, in this context, means to copy the changes made in the first occurrence of a section to all other occurrences of that particular section within your Song.}}

Arranging Your Composition

When setting up your A-B-A layout, remember to deselect the Lock to A-B-A button in the Song Construction window. This ensures that Bars&Pipes Professional will not rearrange your music as you rearrange the section labels. Use the Pencil to create new sections, the Duplicator to copy them, and the Wand and hand to change and move them.

Once you've set up the A-B-A sections, enable the "Lock to A-B-A" button. Then, rearrange your Song by simply dragging, duplicating, erasing, and inserting sections. As you do so, the music undemeath follows the lead of the section markers.

Propagating Changes

Bars&Pipes Professional automatically copies changes made to a section to all other identically named sections with the Propagate command. For example, if you edit section "A" and then execute the Propagate command, Bars&Pipes Professional inserts the changes in all other sections named "A."

The Propagate command appears in three separate menus: the Song menu, the Track (or Group) menu, and the Edit menu, all of which can be accessed from the Tracks and Song Construction window. The Propagate command behaves differently in each menu.

In the Song menu, the Propagate command copies changes made to the first instance of each section to all other instances of those sections throughout your Song.
In the Track menu, the Propagate command copies the first instance of each section to all other instances of those sections, for the selected Track only.

{{Note|text=When you have a Group selected, the Track menu becomes the Group menu. In this case, the Propagate command, working on the Group as a whole, copies changes made to the first instance of each section to all other instances of those sections within the Group.}}

In the Edit menu, the Propagate command copies changes made to the first instance of a specific section to all other instances of that section. Mark the section by dragging the left Edit Flag on or within its boundaries. The Propagate command works on the section that contains the left Edit Flag; don't forget to set it.
In all cases, the Propagate command copies to all other instances of that section, only the changes made to the first occurrence of each section. You must make your changes to the first of each section in order to use Propagate.

{{Note|title=Remember|text=For Propagate to work, identical sections must retain identical names. If you rename a section, it automatically becomes independent of all sections with its previous label.}}

An A-B-A Example

Let's use the Song Construction window and the A-B-A feature in an example. First, starting with a new Song, create eight measures of music on Track 1 in any way you see fit. We will split this eight-measure section up into five measures plus three measures. Therefore, make certain that there are no notes dangling from measure five into measure six.

Once you've created your eight measures, open the Song Construction window. Bars&Pipes Professional lists your Tracks with the eight measures you've created highlighted in white. All other measures are grey.

Copying Measures From One Track To Another

Just for the fun of it, let's copy the eight measures in Track 1 over to Track 2. Click on the Duplicator button and the Bounding Box button. Then click on the white square representing measure 1 in Track 1, and drag the mouse until it is over the white square representing measure 8 in Track 1. A rubber banding box shape stretches over the eight measures.

Lift the mouse button, and then click on the area you just put the box in. Slide the mouse downward until the eight measures in Track 2 highlight in blue Release the mouse button to copy the measures.

Erasing A Measure

Erase measure four in Track 2. To do so, click on the Eraser, then click on the white square representing measure four in Track 2. The white square disappears and is replaced by a grey square. If it remains white, this means that there is a note in measure three that extends into measure four. In this case, select Clean Cuts from the Preferences menu, and erase measure four again. The note will be cleanly cut so that measure four is clear of all notes.

{{Note|text=Our purpose for erasing measure four in Track 2 is to provide an asymmetrical grid so that we can see our editing operations reflected in the Tracks area.}}

Creating Two A-B-A Sections

Now that we have two Tracks of music, let's create the A-B-A sections. Choose the Pencil. The Duplicator and Bounding Box buttons will automatically deselect. Click with the Pencil after the A-B-A: prompt, and above the Edit flag area above measure 1. A requester will appear.

The section label, by default, will be "A". Change the label to "First". Set the Measures: slider to 5 measures. Click on the Okay button. You'll see a colored bar with your label appear in the A-B-A: area.

Click with the Pencil again, this time to the right of the colored bar. The requester will appear again. enter the name "Second" in the Section Name: area. Set the Measures: slider to 3 measures. Click on the Okay button. You'll see another colored bar appear after the first.

Arranging The A-B-A Sections

To arrange your A-B-A sections, first make sure that the Lock to A-B-A button is tumed off. Then click on the Hand button to enter Drag mode.

Grab the First colored bar, and drag it to the right of the Second bar. The two bars exchange position. The music below does nothing, because the lock to A-B-A button is deselected. Now, grab the Second bar and drag it to the right of the First. The two bars return to their original position.

Now, click on the Lock to A-B-A button to activate it. Repeats the steps in the paragraph above. Notice anything different? When the Lock to A-B-A button is on, the actual measures beneath each A-B-A strip exchange positions along with the Section Names.

You can use any of the mouse modes to operate on the A-B-A sections. While the Lock to A-B-A button is on, any operation you do to an A-B-A section will also be done to that section's measures. Erasing a section will erase the measures, duplicating a section will duplicate the measures, etc. Experiment.

Duplicating A-B-A Changes

Now, activate the Lock to A-B-A button (if it is not still activated). Use the Duplicator to duplicate the Section Names above your music by clicking on the Duplicator, and then clicking and dragging the Section Names. Make a few copies of the A-B-A section, "First." Arrange these sections in any way you like. The music underneath will be copied along with the sections.

Propagating A-B-A Changes

Let's assume that measure 1 is the beginning of the A-B-A section, "First" and Tracks 1 and 2 have musical information on them Now, let's create some music on Track 3 on measure 1. Normally, we would probably record new music into measure 1, but for the sake of brevity let's just select the Duplicator (without the Bounding Box) and copy measure 1 of Track 2 into measure 1 of Track 3. You'll notice that only the first instance of the "First" A-B-A section has Track 3's music in it. This is where the Propagate command comes in.

Choose the Propagate command in the Song menu. The information contained under the first "First" will be copied so that it is under each "First" section, while the information contained under the first "Second" will be copied so that it is under each "Second" section. Notice that the music in Track 3 is now undemeath every instance of the "First" section.

You can use the Propagate command in the Edit menu if you'd like to propagate changes from the section marked by the Left Edit Flag, or use the Propagate command in the Track menu if you'd like to propagate changes on one Track only.

Looping

Looping, also known as repeating is the ability to play several measures in several Tracks over and over a specified number of times.

You can set each song section to play through once or repeat any number of times.

Creating a Looping Section

The easiest way is to learn by example:

Example: Looping measures 1-4, 4 times

Open the Song Construction window.
Activate the Pencil button.
Make sure that there are no A-B-A sections.

{{Note|text=If you don't see any colored bars to the right of the A-B-A prompt above the measure numbers, there are no A-B-A sections. If necessary, activater button and erase any existing A-B-A sections, and then reactivate the Pencil.}}

Click in the A-B-A area with the Pencil. The A-B-A section requester open with the default values. The Section Name: should be "A", the Measures: should be "4", and the Repeats: should be "0".

Slide the Repeats: slider to "4".
Select Okay. The A-B-A section appears to the right of the A-B-A: prompt, showing the name of the A-B-A section, followed by "R: 4".

{{Note|text=The "R:4" denotes "repeats this section 4 times.}}

That's it! Play your song from the beginning, and measures 1 through 4 will repeat 4 times.

Example: Looping measures 12-20, 4 Times

Clear all sections with the eraser, then use the pencil to enter a new section. Again, this opens the A-B-A section requester.
Slide the Measures: slider to "11", and leave the Repeats: slider at "0".
Select Okay. The A-B-A section appears to the right of the A-B-A: prompt, showing only the name of the section.
Click in the A-B-A area again with the Pencil, to the right of the first section you just created. The A-B-A section requester open again.
Slide the Measures: slider to "8" and the Repeats: slider to "4".
Select Okay. Another A-B-A section appears to the right of the first, showing the name of the section followed by "R:4", denoting "repeat 4 times".
That's all there is to it.

Example: General Looping Procedure

If you want a loop beginning with measure 1, then follow Example 1 and adjust the Measures: and Repeats: sliders in the section requester according to how many measures you want to loop and how many times to loop them.

If you want to loop beginning with a measure other than 1, then you must first enter a section long enough to cover measures 1 through the measure before you want to begin the loop. Then, you must create another section of the appropriate length and repeat count, as in example 2.

Changing The Number Of Times A Looping Section Repeats

To change the number of times an existing Section repeats.

Example: Changing section repeat count

Open the Song Construction window.
Activate the Magic Wand.
Click with the Wand on looping Section. The A-B-A section requester opens.
Adjusts the Repeats: slider accordingly
Select Okay. The A-B-A section appears after the A-B-A: prompt. It shows the name of the section, followed by an R:#, where # denotes the repeat count.
Changing The Length Of A Looping Section

Example: To change the length (number of measures) of an existing looping section:

Open the Song Construction window.
Activate the Magic Wand.
Click with the Wand on the looping Section. The A-B-A section requester opens.
Adjust the measures slider accordingly.
Select Okay. The A-B-A section appears after the A-B-A prompt, showing the name of the section followed by an R:#, where # denotes the repeat count. The length of the A-B-A section changes to reflect your new choice.
Changing The Position Of A Looping Section

Change the position of a looping section either by dragging it with the hand or changing the length of sections that precede it.

For instance, if you want to move an existing looping section to the right by 3 measures, you increase the length of one or more sections to the left of the looping section by a total of 3 measures.

Recording Over A Looping Section

Of course, there will be times when you record a Track of music over other looping Tracks. Here's how:

Example: Overwriting a Looped Section

Create a looping section of music.
Set up a Track on which to record. Make sure the Input Arrow or MIDI Channel (in multi-in mode) are correct, and the red R indicates that the Track is in record mode.
Activate sequencer record mode by highlighting R in the Transport.
Click on Start to begin recording.
Record music. You should hear the other Tracks looping as you overdub on top of them. You do not hear what you record looping. You are, in essence, recording a linear Track on top of the looping Tracks.
Click on Stop. A requester appears.
Choose Create. A new, special linear Track is created. This Track does not loop like the others. This way, you hear your music as you recorded it.
Click on Play in the Transport to hear the results.
You should notice that the new Linear Track looks slightly different than the other Tracks. Its colors are light grey when non-highlighted, and the notes are purple when highlighted, instead of yellow. It is very similar to a RealTime Track.

Double click on the Linear Track's name (it's named the same as the Track from which it was created).

Notice that the Linear button is highlighted. This indicates that this Track is linear in nature, and does not loop like other Tracks.

Excluding A Track From Looping

RealTime Tracks do not loop. The difference between a RealTime Track and a Linear Track is that RealTime Tracks do not follow Tempo changes, while Linear Tracks do.

Linear Tracks are explained in the previous section, while RealTime Tracks are explained elsewhere in the manual.

To change an existing Track into a Linear Track, double click on the Track's name. The Track Name requester opens. Highlight either the RealTime or the Linear button and choose OK.
==Mix Maestro==
Chapter 22

Overview

In traditional recording, mixing a Song means combining the recorded Tracks down to a final form. Mixing includes, among other things, setting relative volume levels of each Track and setting stereo positioning of each Track.

Mix Maestro brings mixing capabilities to your Bars&Pipes Professional compositions, giving you real-time control over the mixing process.

Use Mix Maestro to control volume and panning of individual Tracks in your Songs. Mix Maestro does this by entering Control Changes into each Track. Most MIDI instruments respond to Control Change #10 as panning and Control Change #7 as volume. However, Mix Maestro can send out any Control Change that you specify.

Mix Maestro actually records these Control Changes directly into each Track. Once you've created a mix with Mix Maestro, you can view and edit the mix by looking at the Control Changes in each Track with the Sequence or List Editor.

During playback, Mix Maestro's volume sliders and panning knobs follow along with the Control Change information in each Track. They also follow along with real-time Control Change information if you are using a real-time controller during recording.

The Mix Maestro Window

To start Mix Maestro, select the Mix Maestro command from the Windows menu or double-click on the Mix Maestro icon along the right side of Bars&Pipes Professional's screen.

The Mix Maestro window displays three sets of controls for each Track in your composition. Note that the Track names displayed at the top of the window match the Track names in the Tracks window.

The Mix Maestro Controls

Mix Maestro has three sets of controls for each Track: the Lock/Mute buttons, the Panning knob, and the Volume slider.

When you run your Song with Mix Maestro open, the Panning knobs and Volume sliders move with whatever panning and volume information (actually the values of Control Change parameters #10 and #7) you've already recorded in your Song.

The Panning Knob
The Panning knob usually alters the Control Change #10 parameter. This controls the balance, or "pan" of the instrument between the left and right speakers.

To use the Panning knob, press and hold the left mouse button over the knob and drag the mouse left and right. Notice the thin pointer move, and the numeric counter above the knob change, as you drag the mouse.

With the knob in the 9 o'clock position (counter showing -64), the Track position is full left (no power at the right channel for this Track). With the knob at the 3 o'clock position (counter showing 63), the Track position is full right. Intermediate settings yield intermediate positions; when the counter shows 0, you have a perfect balance between the left and right channels.

While dragging the knob, you can move the mouse outside the knob itself; as long as you hold down the mouse button, the pointer follows your moves.

* TIP * You can move the mouse out toward the edges of the screen to get finer control over the knob position.

The Volume Slider
The Volume slider usually alters the Control Change #7 parameter. On most synthesizers, this parameter controls Volume.

To use the Volume slider, drag the small square up and down in its Track. Watch the numeric counter at the bottom of the Mix Maestro window; as you move the Volume slider, this number changes to show you the exact volume level.

The numbers range from 0 (silence) to 127 (full volume).

The Mute Button
There are four buttons below each Track name. The button in the upper left corner is the Mute Button. This button corresponds with the Thru/Play/Mute selector in the Tracks window.

To mute a Track, activate the Mute Button. To unmute a Track, deactivate the Mute Button. Notice that the Thru/Play/Mute faucet in the Tracks window and Media Madness window follows along with this button, and vice versa.

The Lock Buttons
The remaining three buttons are the Lock buttons. In Lock mode, the Volume sliders of several Tracks can be tied together. When moving the slider in a Track that is Locked, the other Locked Tracks follow along, keeping their positions relative to each other.

There are three lock buttons, each with a different color. Tracks that have the same color activated are locked together.

For instance, let's say that Track 1 and Track 2 are locked together. Track 1 is at a volume of 127, and Track 2 is at a volume of 64. If we move Track l's volume slider halfway down to 64, Track 2's volume slider moves halfway down to 32.

{{Note|text=To save CPU processing time, the other Tracks' sliders don't actually move, but the numbers underneath the sliders are continuously updated. When you let go of the slider, the other sliders move to their new positions.}}

Locking is very useful when dealing with groups of related instruments, such as drum effects or a horn section, which tend to be grouped in a live performance.

Without locking Tracks, it would be impossible to change more than one Track at a time, or to fade all Tracks at once at the end of the Song.

If you want to lock all the Tracks in your Song together, select Lock All from the Mix Maestro menu. This sets the Lock button on all Tracks that are not already locked. Conversely, you can select Unlock All from the Mix Maestro menu to unlock all Tracks.

The Mix Maestro Menu

The MixMaestro window has its own menu, the Mix Maestro menu. These commands can be accessed only from the MixMaestro window. The following lists each option contained in the Mix Maestro menu:

ByPass Mix
The ByPass Mix option disables Mix Maestro. This option filters out the Control Changes selected with the Set Controllers menu option during playback.

{{Note|text=These Control Change values are normally 10 for panning and 7 for volume. Use the Set Controllers menu option to change them.}}

Copy Mix to ClipBoard
The Copy Mix to ClipBoard option copies the Control Changes selected in Set Controllers into a Clip in the ClipBoard. This operation works even if the ClipBoard is not open.

* TIP * This command, in conjunction with the Paste Mix and Clear Mix commands, provides a method for saving and auditioning different mixes.

Paste Mix From ClipBoard
The Paste Mix From ClipBoard option replaces the current Mix with the one highlighted in the ClipBoard.

{{Note|text=Use the Copy Mix to ClipBoard command to create the Clip.}}

Clear Mix
The Clear Mix command erases from all Tracks the Control Changes selected in Set Controllers.

Clear Locked Pans
The Clear Locked Pans command erases the Control Change selected as panning in Set Controllers from each locked Track. This command operates independently on Tracks locked with either the yellow, blue, or purple locks. Select the appropriate color from the Clear Locked Pans submenu.

Clear Locked Volumes
The Clear Locked Volumes command erases the Control Change selected as volume in Set Controllers from each locked Track. This command operates independently on Tracks locked with either the yellow, blue, or purple locks. Select the appropriate color from the Clear Locked Volumes submenu.

Lock All
The Lock All command sets one of the three colored locks on all Tracks. Choose the color from the Lock All submenu.

UnLock All
The UnLock All command deselects one of the colored locks on all Tracks. Choose which color of lock to deselect from the UnLock All submenu.

Mute All
The Mute All command mutes all Tracks.

UnMute All
The UnMute All command unmutes all Tracks.

Set Controllers
The Set Controllers command opens the Mix Maestro requester, allowing you to set which Control Change corresponds to panning or volume Slide the appropriate slider to the value you would like to use for each effect.

SnapShot
The SnapShot command enters the current volume and panning information into each Track at the current Song Position. Use the SnapShot command to set initial values, and to create jumps from one value to another.

Select Yellow, Blue, Purple, or All from the SnapShot submenu to enter the Control Changes into locked Tracks or all Tracks respectively.

Recording with Mix Maestro

To use Mix Maestro, open the Mix Maestro window and click the Start or Play buttons in the Transport Controls window. If you already have Control Change #10 or #7 events in your Song, the knobs and sliders for each Track move with the set values as the Song plays. Dragging the Volume slider or Panning knob for any Track overrides the Control Change information in your Song, and replaces it with the values you set. If you have several Tracks locked together, all the locked Tracks immediately reflect the changes you make to any of them.

Setting The Initial Mix

Before you begin your mix, set each Track's pan and volume positions so that your Song begins with these values. To do so, first set all your panning knobs and volume sliders to the desired positions for each Track and your Song Position marker to the first measure of your Song.

Next, select the Snapshot command from the Mix Maestro menu. This command grabs the position of your knobs and sliders and places their respective Control Change values at the current Song Position in each Track.

Recording The Mix

To record the mix, click on the Start button in the Transport Controls. As the music plays, click on a volume or pan pot and drag it as appropriate. When you've recorded one Track's mix, click on Stop in the Transport Controls, then click on Start to mix another Track. Continue in this manner until you've mixed all Tracks.

{{Note|text=You don't have to place your Track in record mode to record a mix in the Mix Maestro window.}}

As you mix your music, Mix Maestro's knobs and sliders move in real-time, automating your mix.

Undoing Or Bypassing Your Mix

If you are unsatisfied with your mix, you can undo your efforts. To clear the volume or pan information from one or more Tracks, select Clear Locked Volumes and Clear Locked Pans respectively from the Mix Maestro menu. Doing so affects all Tracks locked with a Lock button. If you are unhappy with your mix as a whole, use the Clear Mix command from the Mix Maestro menu to clear all pan and volume information. If you pleased with your mix, but want to disregard it temporarily, use the Bypass Mix command.

Saving And Restoring Your Mix

Once you're satisfied with your mix, you can save it in the ClipBoard and retrieve it at a later time. From the Mix Maestro menu, use the Copy Mix to ClipBoard command to save your mix as a Clip. Once you've copied a mix into the ClipBoard, use the ClipBoard's File menu to Load and Save your mix to disk. When you want to retrieve a mix from the ClipBoard, use the Paste Mix from ClipBoard command.
==Time Line Scoring==

Chapter 23

Overview

When you create a soundtrack for a movie, video, or multimedia production, you often need to synchronize several disjointed sections of music with specific points in the movie.

Bars&Pipes Professional's Time Line Scoring feature gives you a high-level view of your soundtrack, and allows you easily to position any number of music sections in SMPTE time. Each of the music sections is actually a full-fledged Bars&Pipes Professional Song, complete with multiple Tracks and its own Tempo Map.

Use the Time Line Scoring window to load multiple Songs and position them relative to each other. Time Line Scoring adds each Song's Tracks to the Track list and recomputes the master Tempo Map to include the time period of each Song.

* TIP * You can access other Songs' Tracks by scrolling the Track display down below the current Song's Tracks.

Before you use Time Line Scoring, you must first create, edit, and save each section as a separate Song. Once you add a Song to the Time Line Scoring window, you can still perform all the standard Bars&Pipes Professional editing operations on the Song.

Accessing

Open the Time Line Scoring window by double-clicking on the Time Line Scoring icon, or using the menu option in the Windows menu.

The Scoring Grid

The Scoring Grid occupies most of the Time Line Scoring window. Rectangular colored areas with Song titles display in the Scoring Grid. These represent the Songs in memory.

The numbers above the scoring grid represent the time in minutes and seconds. By looking at the position of the Song rectangles, you can see at what time a Song begins and ends. For more exact information, click on the Song rectangle with the Magic Wand (please see below).

{{Note|text=Only the horizontal (side-to-side) placement affects the Songs' start time.}}

Adjusting The Zoom

The Zoom In button is the large note. Click on it to enlarge the display by one step. This gives you finer control, but shows fewer measures. The Zoom Out button is the small note. Click on it to reduce the display by one step. This allows more measures to be displayed, at the loss of fine editing control.

Using Time Line Scoring

Adding A Song

To add a Song to the Time Line Scoring window, select the Pencil (or F1 key) and click in the Time Line window. Bars&Pipes Professional opens the File Requester.

When you select the Song you want to include in the soundtrack, Bars&Pipes Professional loads the Song and inserts a colored bar in the Time Line window with the Song title inside. The Song starts at the point at which you clicked with the Pencil. Each Song has a different color, so that you can easily see where one Song ends and another begins.

When you add a Song with Time Line Scoring, the Tracks of the Song are appended to the Tracks that already exist in the Tracks window.

Adjusting The Song's Start Time

One way to adjust the Song's start time is to drag the Song rectangle with the Hand. To do so, click on the Hand button (or choose the F3 key). Then click and drag the Song forward or backward in time.

You can also adjust the Songs start time by entering a start time. Click with the Magic Wand (F2 key) on a Song rectangle to bring up the Song Start Time requester.

The Song Start Time requester shows you the current start time of the Song, in SMPTE time and Song time. Click in either field to enter a new starting time for the Song.

{{Note|text=Tempo changes, Time Signatures, and the SMPTE Global Offset affect the SMPTE starting lime of the selected Song.}}

You can use the Lock to Measure button when you want to move the start time of the Song to the nearest measure boundary when inserting a tempo change. This is handy since the Song Time rarely lands on the beginning of a measure.

To use align your Song with a measure boundary, click on the Lock to Measure button. Bars&Pipes Professional calculates a tempo change and inserts it into the measure immediately before the selected Song. The measure number designated by the Starting Time: prompt equals the sum of all measures in the soundtrack up to this point.

* TIP * When you first create a Song, notes are generally lined up with measures. However, when you connect multiple Songs in the Time Line Scoring window, note can be shifted in time, relative to their original measure positions. If you need to edit a Track, use the Lock to Measure button, then deselect Lock to Measure when you're finished editing.

Combine TimeLine Options

Each Song maintains its own A-B-A section list, Tempo Map, and Song Parameters. Every time you reposition a Song in the TimeLine, Bars&Pipes Professional must recalculate the complete performance's A-B-A section list, Tempo Map, and Song Parameters from the component parts. As such, it's desirable to control which portions get recomputed and which are left alone.

Use the Combine TimeLine... options in the Preferences menu to control how Bars&Pipes Professional recomputes each of the following parameters:

Sections
If the Sections option is enabled, Bars&Pipes Professional computes a new A-B-A section list out of the component parts. Otherwise, it uses the A-B-A section list that existed before the repositioning of a Song portion required recalculating the A-B-A section list.

Tempo Maps
If the Tempo Maps option is enabled, Bars&Pipes Professional computes a new tempo map out of the component parts. Otherwise, it uses the tempo map that existed before.

Song Parameters
If the Song Parameters option is enabled, Bars&Pipes Professional computes a new set of Song Parameters out of the component parts. Otherwise, it uses the Song Parameters that existed before. Remember, the Song Parameters include Lyrics, Time Signature, Chord Changes, Dynamics, Rhythms, and Key Signature.

Removing A Song

Use the Eraser (F5 key) to delete a Song from the soundtrack. Click on the Song you want to delete. A requester asks you to confirm your decision.
==Create-a-Tool==
Chapter 24

=== Overview ===

You can create and edit your own MacroTools in the Create-A-Tool window. A MacroTool is a Tool created by combining several Tools into one. Like the Tools provided with this program, a MacroTool has one input, one output, and an icon representing it. Not only is the use of MacroTools a convenient way to keep your PipeLines from overcrowding (you can take a string of commonly used Tools and create a MacroTool to replace them), but it's a very potent method for making specialized Tools of your own design.

=== The Create-A-Tool Window ===

The Create-A-Tool window enables you to design your own MacroTools. Access the Create-A-Tool window from the ToolBox by choosing the Create MacroTool... option from the ToolBox window.

If you'd like to edit an existing MacroTool, choose the Edit MacroTool... option after you've highlighted an existing MacroTool in the ToolBox. Alternatively, you can double-click on an existing MacroTool in the ToolBox to open its Create-A-Tool window.

=== MacroTools: A List of Ingredients ===

Each MacroTool contains several important parameters:

==== A Unique Name ====

Each MacroTool has a unique name and a four-letter identifier.

For example, a Tool that creates random harmonies could be called "Split-Quant-Counterpoint" and the identifier could be "SQCP." You use the full name, "Split-Quant-Counterpoint," to describe the Tool for your reference. Bars&Pipes Professional uses the identifier, in this case "SQCP," for internal operations that require speed and compact size.

If you choose not to give an identifier a name, Bars&Pipes Professional automatically assigns one.

==== An Icon ====

Each Tool must have an icon to display in the ToolBox, PipeLine and/or ToolPad. In addition, if the Tool has a branching output and can send data two places at once, it requires two icons: one for when the Tool is above the receiving Tool (the connector is on the bottom of the Tool) and one for when the Tool is below the receiving Tool. (The connector is on the top of the Tool.)

==== Tools ====

A MacroTool consists of a collection of interconnected Tools. You arrange these Tools on a grid of PipeLines, much like the PipeLines in the Main Screen.

For example, our Split-Quant-Counterpoint MacroTool feeds notes to a Keyboard Split Tool, which sends notes below the split point to an Echo Tool. The notes at or above the split point enter the Quantize Tool, then, the CounterPoint Tool.

==== Input And Output ====

A MacroTool can have only one input; therefore, you must identify the Tool that accepts incoming notes as the input of the MacroTool. Also you must label the last Tool in the MacroTool as the output. In addition, if this MacroTool is capable of sending a branched output, you must identify the Tool that sends notes down the branch.

==== Tool Parameters ====

Some of the Tools in the MacroTool may have parameters that can be preset.

For example, you might, in your MacroTool, use a Transpose Tool that always shifts a note by a predetermined interval. This requires presetting that component Tool in your MacroTool.

=== Constructing Your MacroTool ===

To construct a MacroTool, open the Create-A-Tool window by selecting Create MacroTool from the ToolBox menu. This menu is only available from the ToolBox window. The Create-A-Tool window opens with a new, blank MacroTool, ready to assemble.

==== Naming Your Macro Tool ====

Across the top of the window are two text entry fields, Tool Name: and Tool ID:. Bars&Pipes Professional automatically supplies a default name and a unique default ID. To name your Tool, click on the Name: field and enter a description of your Tool.

{{Note|text=Changing the ID is optional.}}

==== Painting The Macro Tool Icon ====

On the left side of the Create-A-Tool window is a box with an enlarged icon in it. Since a Tool can have two icons, both are displayed at their normal size to the left of this box. To choose which icon is enlarged, click on one of the two.

Below the box is a Palette of eight colors. To paint the icon, select the paint color by clicking on it in the Palette and draw your icon in the box. Like any other paint program, you draw by clicking down with the mouse and dragging it. The MacroTool window displays the selected color in the tall box to the left of the Palette.

From the Paint menu, you can choose from the following commands:

; Clear
: Clear sets the entire icon to the color currently selected in the Palette.

; Copy
: Copy duplicates your MacroTool icon. Bars&Pipes Professional needs the extra icon for MacroTools that branch off to Tools above or below. Alter the duplicate so that the placement of the output Pipe inverts. If you've created a branching MacroTool, draw your main icon, then duplicate it with the Copy command and edit the position of the outgoing Pipe to go up.

; Flip...
: Flip... turns your icon around an axis. To flip from top to bottom, choose Flip Vertically. To flip from left to right, choose Flip Horizontally.

; Start With...
: Start With... provides a choice of four pre-defined icons. To select a pre-defined icon (a time-saver), drag the mouse over your icon of choice and lift up. That icon now appears in the Paint Box.

; Flood Fill
: Flood Fill paints an entire area of the icon with the selected color. To use the Flood Fill command, first select the fill color and the Flood Fill command. Then, with the mouse, touch the area to be painted and click the mouse. For instance, if you have a red shape you'd like to make yellow, select yellow from the Palette, select Flood Fill from the menu, then click on the center of the shape. It's now filled with yellow.

; Undo
: Undo reverts the icon to the state that existed prior to your most recent action.

==== Adding And Connecting Tools ====

Once you've set up your MacroTool icon, you're ready to build your MacroTools using existing Tools.

; Adding
: In the large box on the right half of the Create-A-Tool window sit six PipeLines. To construct your MacroTool, drag your Tools of choice from the ToolBox and place them on any one of the PipeLines. Determine which PipeLine is the input line and place the first Tool there. Continue by placing the Tools that follow it to the right of the input Tool on the PipeLine. To reposition the placement of a Tool in the PipeLine, select it by clicking on it once. A red box appears around it. Then press either the Left or Right Arrow keys to move it.

; Duplicating
: To duplicate a Tool already in the Create-A-Tool window, drag the Tool to a new location. Bars&Pipes Professional creates an exact copy of the Tool, including its parameter settings.

; Removing
: To remove a Tool, select it, then press the Delete key.

; Connecting
: If a Tool has a branching output, place a Merge In Tool on another PipeLine. (The Merge In icon looks like a Pipe with another Pipe feeding into it above from the left.) This second PipeLine is now active and Tools can be placed in it as well. When you first place the Merge In Tool in the second PipeLine, it may not line up with the source Tool because they have not yet been connected. To connect a Merge In Tool with another Tool, click on the source Tool (the Branching Tool,) select Connect (Right Amiga - K) from the PipeTool menu, then click on the target Tool (the Merge In Tool). The two icons are now connected and the display is redrawn with everything positioned appropriately.

: If your PipeLine is long and you start running out of room, scroll it forward by using the slider and arrows at the bottom of the display. Your MacroTool can be as long as you need.

==== Determining The Input And Output(s) ====

To the right of the PipeLine grid are three arrow-shaped icons. Drag these onto your Tool layout to specify the input and output(s).

; Input
: The top icon, the In arrow, is a blue arrow that selects the input. Drag and place it to the left of the first Tool in your MacroTool lineup. All notes coming into the MacroTool pass through here first. You cannot delete the input arrow. If you want to send the input to a different PipeLine, drag another blue arrow to it; the arrow to your previously selected PipeLine automatically disappears.

; Normal Output
: The middle icon the Out arrow, is a red arrow that represents the Normal Output. Drag it to the right of the last Tool in your Macro sequence. Whatever comes out of that last Tool comes out of the MacroTool as a whole. Unlike the Input arrow, you can have more than one Normal Output per MacroTool because you can use several PipeLines in your design. The MacroTool merges notes coming out of all Normal Output icons. If you want to remove a Normal Output icon, select it, then hit the Delete key.

; Branching Output
: The bottom icon, the Branch arrow, is a purple arrow that represents the Branching Output. This arrow is optional. Whereas every MacroTool requires an Input and an Output, a MacroTool requires a Branching Output only when the MacroTool needs to send events off to a second PipeLine. Install the Branching arrow in the same way that you install the Output arrow.

: Once you have a Branching Output, the alternate icon, on the left of the Paint Box, comes into play. This alternate icon behaves identically to the original, except that it branches off in the opposite direction. In this way, you can have a MacroTool that connects to a Tool above and to a Tool below.

==== Setting The Tool's Controls ====

Many of the Tools that constitute your MacroTool have parameters that you can preset. For example, the Triad Tool uses two Transpose Tools to shift the input note up a third and up a fifth. It is an example of a MacroTool. If you load the Triad Tool into the ToolBox and then double-click on it, Create-A-Tool shows the structure of the MacroTool. You can then open the Control window of each Transpose Tool to see its parameter settings.

As an example, you can edit the parameters to create a chord inversion by changing the second Transpose Tool from shifting up a fifth to down a fourth.

==== Making Macro Tools Out Of Macro Tools ====

Like any other Tool, you can place a MacroTool in any other MacroTool you build; however, you cannot place it inside itself. Nor can you place it within another MacroTool that is contained within it. The Create-A-Tool Editor makes sure this doesn't happen. If you drag a MacroTool into the definition of itself, it won't stay there.

=== Installing, Removing, Using, Altering, and Testing ===

==== Installing ====

Once you have created a MacroTool, you must save it to disk. If you fail to do so, the MacroTool will be deleted when you exit Bars&Pipes Professional.

To save a MacroTool, click once on the MacroTool in the ToolBox, then select the Save option from the ToolBox menu. Bars&Pipes Professional opens its file requester. Create a new file name for your Tool.

{{Note|text=If you use the name of an existing Tool, Bars&Pipes ProfessIonal overwrites the older Tool.}}

Bars&Pipes Professional saves your MacroTool to that file. From now on, when Bars&Pipes Professional runs, it automatically loads your MacroTool.

==== Removing ====

If you don't like what you've created, you can remove your MacroTool by clicking on it in the ToolBox and selecting the Remove option from the ToolBox menu. Bars&Pipes Professional removes the MacroTool from the ToolBox, removes all copies of it from your composition, and no longer loads this MacroTool. The MacroTool, however, is still on your disk; you can leave it there or delete it by using the Workbench or CLI (Command Line Interface.)

==== Using ====

Use your MacroTool just as you would a normal Tool. You can place it in a PipeLine to process notes in real-time, or in a ToolPad, to process notes in a section, or on a note-by-note basis.

==== Altering ====

You can always go back and edit your MacroTool. To do so, double-click on the MacroTool's icon in the ToolBox. The Create-A-Tool Window opens with your MacroTool, and you can edit it in any way you'd like. If you have already used this MacroTool, versions that are in use are not affected by editing the master. Once you are satisfied with the changes you have made, you must once again save the MacroTool to disk.

==== Testing ====

To audition a MacroTool before saving it to disk, drag the Test Tool at the bottom right of the Create-A-Tool window into a PipeLine in the Sequencer window. If you don't like the results, you can continue editing the MacroTool. The Test Tool automatically incorporates the changes, so that you can quickly edit, test, and re-edit until you're satisfied with the MacroTool.

==Tool Trays==

Chapter 25

=== ToolTrays ===

ToolTrays offer a convenient method for organizing your Tools. Bars&Pipes Professional includes eight ToolTrays, each of which can hold up to sixteen Tools. You can define a Tools parameters by double-clicking on the Tool in the ToolTray, and give each instance of a Tool an original name.

Bars&Pipes Professional integrates ToolTrays into your Song. When you save a Song, Bars&Pipes Professional saves your ToolTrays along with it.

To set up a default environment with ToolTrays, select New from the Song menu, arrange your ToolTrays, and then select Save As Default from the Song menu. Please see the chapter, Customizing Your Environment, for more information.

=== The ToolTray Windows ===

Open a ToolTray from the ToolTray menu in the ToolBox or the Tool menu in the Main screen. Choose the menu option corresponding to the particular ToolTray that you'd like to open. By default, ToolTrays are named numerically, however, you can rename a ToolTray however you'd like.

The ToolTray window is divided into two areas by a horizontal grey line. Above the grey line is space for the names of Tools. Below the grey line is room for up to sixteen instances of Tools.

==== Placing A Tool In A ToolTray ====

To install a Tool in a ToolTray, grab a Tool from the ToolBox, PipeLine, or other ToolTray, and drag it to a space beneath the gray line. When you release the mouse button to drop the Tool into the ToolTray, the name of the Tool appears in the space above the grey line.

{{Note|text=By dropping a Tool into a ToolTray, you create a unique instance, or copy, of the Tool,just as you do when you drop a Tool Into a PipeLine.}}

==== Editing A Tool ====

If the Tool has a Control window, double-click on the Tool's icon to open it. Then edit the Tool's parameters as you desire. Once you've changed a Tool, the changes stay with the Tool when you copy it into a PipeLine, ToolPad, MacroTool, or another ToolTray.

==== Naming A Tool ====

Once you've edited a Tool, you can rename it for easy reference. Click once on the Tool to select it, then enter the new name above the gray line.

{{Note|text=When you click on a Tool in a PipeLine, the name of the Tool is displayed in the Title bar of the Tracks window. Even though you can rename Tools in the ToolTrays, Tools in the PipeLine are still displayed as their original names in the Tracks Title bar. This is because only the ToolTray knows about the names that you've given the instances of the Tools within it. The Tracks window has no access to this information.}}

==== Using The ToolTray Tools ====

You can work with ToolTrays as you do the ToolBox. Copy Tools from ToolTrays into PipeLines, MacroTools, and ToolPads by clicking and dragging them to their appropriate destination. Unlike Tools from the ToolBox, the Tool copies retain the settings that you provided in the ToolTray.

==== Copying Tools In ToolTrays ====

Copy a Tool by grabbing it and dropping it in an empty space in the ToolTray. This is similar to copying a Tool in a PipeLine by picking it up and dropping it in another PipeLine. Because you can have several copies of Tools in ToolTrays, renaming Tools help you avoid confusion. For instance, you can have a ToolTray that you call "Quantize Tools.", In this ToolTray, you might have one Quantize Tool that you call "Sixteenth Notes," that quantizes to sixteenth notes, and one called "Eight Notes" that quantizes to eight notes.

If you drag a Tool and place it on top of an existing Tool in the ToolTray, it replaces the Tool beneath it.

==== Loading ToolTrays ====

The Load ToolTray option in the ToolTray menu allows you to load in previously saved ToolTrays. If there are any Tools in the ToolTray that are not in the ToolBox, Bars&Pipes Professional automatically loads them into the ToolBox. If the Bars&Pipes Professional is unable to find a Tool, it asks you to load it manually.

==== Saving Tool Trays ====

The Save ToolTray command in the ToolTray menu allows you to save your ToolTrays to disk. The Load ToolTray command allows you to load ToolTrays from disk.

==== Renaming ToolTrays ====

The Rename ToolTray menu command in the ToolTray menu allows you to rename the ToolTray. When you select this option, a requester appears, displaying the ToolTray name.

Enter the new name and click okay. The new name displays not only in the ToolTray window, but in all menus that refer to the ToolTray as well, such as the menu options in the Main menu's Tool menu.

==== Loading Instances Of Tools Into ToolTrays ====

The Load Tool command in the ToolTray menu allows you to load a Tool into the ToolTray that was previously saved with the Save Tool command from a ToolTray. Each Tool loads with its parameters set to the values they had when it was saved.

==== Saving Instances Of Tools From ToolTrays ====

Use the Save Tool command in the ToolTray menu to save the Tool. Doing so saves the Tool, along with the parameters you've set.

==== Removing Tools From ToolTrays ====

Use the Remove Tool command to remove a Tool from a ToolTray. Do to so, activate the Tool by clicking on it, then select the Remove Tool command in the ToolTray menu.

If you drag a Tool from any source and drop it on a Tool in a ToolTray, it replaces the Tool beneath it, effectively removing that Tool.

==Scales, Chords, Rythms and Patches==

Chapter 30

=== Overview ===

This chapter focuses on defining Scales, Chords, Rhythms, and Patch Lists in their respective Define windows. Many Tools and Sequencer functions use these items to produce customized results. For instance, the Quick Patch Tool and the Program Change area use Patch Lists, so that you can choose program changes by name. The CounterPoint Tool uses Scales to compose and the Accompany B Tool uses Chords and Rhythms to create auto-accompaniments.

Bars&Pipes Professional stores Scale, Chord, and Rhythm information in each Track's Song Parameters. To choose a particular Scale, Chord,or Rhythm, use the Pencil in either the Master Parameters or a specific Track's Song Parameters.

Bars&Pipes Professional saves your Scales, Chords, Rhythms, and Patch Lists with each Song. When Bars&Pipes Professional loads the Song, these additional items load with it.

{{Note|title=Tip|text=To include new Scales, Chords, Rhythms and Patch Lists in your New environment, select New from the Song menu, add the new items, then select Save As Default in the Song menu.}}

The Define windows can be reached from either the Define... option in the Main menu set's Windows menu, or the Edit window's Define menu.

=== Define Scales Window ===

To create your own Key & Scale/Modes, use the Define Scales window.

The Define Scales window has a keyboard area, a name area, three buttons, and two menu options.

==== Adding And Subtracting Notes From Scales ====

On the right side of the Define Scales window is a one-octave keyboard. Active notes are highlighted in blue, while inactive notes are white. To include a note in the scales, click on a white note, thereby turning it blue. Click on a blue note to exclude it from the Scale, thereby turning it white.

==== Creating A New Scale ====

Click on the Add button to create a new Scale. Then, enter a name after the Name: prompt. Click and highlight the notes you want include in your Scale. Once you've defined your scale, you must save your Song. If you do not save your Song, you will lose your Scale upon exiting Bars&Pipes Professional. You can also use the Save Scale... menu option to save your Scale (please see below).

==== Selecting From Existing Scales ====

To bring up a pop-up list of existing Scales, click on the Select button. Once you've chosen from the list, you can rename it or add and subtract notes from it.

==== Removing An Existing Scale ====

To remove the selected Scale from your list, click on the Remove button . A requester asks you to confirm your decision. Once you Remove a Scale, you cannot retrieve it, unless you load a previously saved version of the Scale from disk.

==== Changing The Name Of A Scale ====

After the Name: prompt, you'll find the name of the selected Scale. Click in this area to modify the name or enter a new one. Use the backspace and delete keys if necessary.

==== Loading A Previously Saved Scale ====

To load a previously saved Scale from disk, choose Load Scale from the Define Scales window menu.

==== Saving A Scale ====

To save a Scale to disk, select the Save Scale option.

=== Define Chords Window ===

Use the Define Chords window to create your own Chords.

The Define Chords window has a two octave keyboard area, control buttons, a name area, and menu options.

==== Adding And Subtracting Notes From Chords ====

On the lower right side of the Define Chords window, you'll find a two- octave keyboard. Active notes are highlighted in blue, while inactive notes are white. When you click on a white note, it turns blue. This indicates that the note is included in the Chord. When you click on a blue note, it turns white again, thus indicating that the note is no longer a member of the Chord.

==== Creating A New Chord ====

Click on the Add button to create a new Chord. Then, enter a name after the Name: prompt. Click and highlight the notes you want include in your Chord.

Once you've defined your Chord, you must save your Song. If you do not save your Song, you will lose your Chord upon exiting Bars&Pipes Professional. You can also use the Save Chord... menu option to save your Chord (please see below).

==== Selecting From Existing Chords ====

To bring up a pop-up list of existing Chords, click on the Select button. Once you've chosen from the list, you can rename it or add and subtract notes from it.

==== Removing An Existing Chord ====

To remove the selected Chord from your list, click on the Remove button. A requester asks you to confirm your decision. Once you Remove a Chord, you cannot retrieve it, unless you load a previously saved version of the Chord from disk.

==== Changing The Name Of A Chord ====

After the Name: prompt, you'll find the name of the selected Chord. Click in this area to modify the name or enter a new one. Use the backspace and delete keys if necessary.

==== Loading A Previously Saved Chord ====

To load a previously saved Chord from disk, choose Load Chord from the Define Chords window menu.

==== Saving A Chord ====

To save a Chord to disk, select the Save Chord option.

=== Define Rhythms ===

Use the Define Rhythms window to create your own Rhythms.

By definition a Rhythm includes three elements:

# A sequence of notes which defines the timing, emphasis, and length of each rhythmic event;
# A loop length that determines the length of the pattern; and
# A name for the Rhythm.

==== Creating A New Rhythm ====

To create your own Rhythms, open the Define Rhythms Window from the Define... Rhythms option of the Windows menu. Or, from the Graphic Editor window, use the Define menu.

{{Note|text=If you want to import a Rhythm from the Main Screen, open the Define Rhythms window from the Main Screen. If you want to import a Rhythm from the ClipBoard, or if you are currently in a Track's Sequence Editor window, open the Define Rhythms window from the Sequence Editor window.}}

To create your own rhythm from scratch, first record a sequence of notes that the rhythm uses to define its timing, emphasis, and length. To do so, tap out any notes on your instrument keyboard, as if you were playing the drums. The actual notes you play don't matter, since the rhythm just uses only the start time, velocity, and duration of the notes to define the rhythm pattern.

==== Adding A New Rhythm ====

To add a new Rhythm to the list, click on the Add button. This creates a blank Rhythm with no pattern and a loop length of zero.

==== Selecting An Existing Rhythm ====

To access a scrolling list of all available Rhythms, click and hold on the Select button. Then drag the mouse to the desired Rhythm. If you cannot see the Rhythm you want, use the arrows above and below the list to scroll the menu up or down. You can change the name, length, and patterns of any existing Rhythm.

==== Removing A Rhythm ====

To remove a Rhythm from the list, select it and press the Remove button.

==== Grabbing Clips As Rhythms ====

Because the Rhythm Pattern consists of a sequence of notes, you can record it the same way you would a Track Sequence. For example, you can record your Rhythm in real-time, step-enter it, or draw each note with the Pencil.

{{Note|title=Tip|text=Often, sections of previously recorded Songs make great Rhythm templates.}}

Once you've created a pattern of notes and activated the Add button, you're ready to pull the pattern into the Define Rhythm window. Do so by clicking on one of two command buttons: Grab Clip from ClipBoard or Grab Clip from Track.

The Grab Clip from ClipBoard button copies the currently selected Clip from the ClipBoard window to the Define Rhythm window. Use this command if you have saved your rhythm template to the ClipBoard. By default, the loop length is the length of the Clip, however, you can edit the loop length as needed.

The Grab Clip from Track button copies the notes from the section bounded by the Edit Flags of the selected Track and copies these notes into the Rhythm. This button provides the mechanism for tapping a Rhythm into a Track and quickly transferring it into a Rhythm.

==== Replacing A Rhythm ====

If a Rhythm has an existing pattern of notes, you can change it by replacing the existing pattern with a new one. Do this by executing either of the Grab commands.

==== Setting The Loop Length ====

Once a pattern has been transferred to the Define Rhythms window, the length of the loop appears after the Loop Length: requester. To change this value, assign the Rhythm a loop length in measures, beats, and clocks.

For example, a two measure loop would be entered as "2.0.0", two measures, zero beats and zero clocks.

==== Changing The Rhythm Name ====

Give your Rhythm a name by entering it after the Name: prompt.

==== Loading A Previously Saved Rhythm ====

To load a Rhythm from disk, use the Load Rhythm... command in the Define Rhythms menu.

==== Saving A Rhythm ====

To save individual Rhythms to disk, use the Save.., command in the Define Rhythms menu. Selecting this command opens the file requester from which you can create or select a file name.

=== Define Patch List ===

The Define Patch List window allows you to create Patch Lists for your synths. A Patch List contains the name and its associated Program Change number (between 0 and 127) for each of your synth's instrument sounds.

In addition to using the Define Patch List window to create Patch Lists, you can use it to access Patch Lists from disk.

{{Note|title=Tip|text=You can also load lists created with The PatchMeister and SuperJAM!}}

==== The Define Patch Lists Window ====

The Define Patch List window contains three buttons: the Add, Select, and Remove buttons. These button allow you to create a new Patch List, choose a Patch List from the ones which are loaded, and remove a Patch List, respectively. Above the Add button is the Synth: prompt and Patch List name area. To the right of the Add button is the number prompt and the program change name area. To the right of the Select and Remove buttons is the scrolling Patch List. Use the scroll bar and scroll arrows to scroll through the list.

==== Creating A New Patch List ====

To create a new Patch List, click on the Add button. Then, enter a Patch List name by clicking in the space to the right of the Synth: prompt, and entering the name. To enter the actual Patch List, click after the number prompt and enter the Program Change's name. When you press the return key on your Amiga keyboard, the number prompt automatically increments to the next Program Change.

==== Choosing A Patch List ====

To choose a Patch List, click and hold the Select button. A pop-up list appears where you can select the Patch List you want to use.

{{Note|text=If there are no Patch Lists loaded, the pop-up list does not appear.}}

==== Editing A Patch List ====

To edit an existing Patch List, choose it with the Select button. Change the name of the Patch List after the Synth: prompt; change the names of the individual program changes by clicking on the name in the scrolling list, then changing the name after the number prompt.

==== Removing A Patch List ====

To remove unused Patch Lists, click on the Remove button. This removes the selected Patch List from the loaded list of Patch Lists. A requester asks you to verify this operation.

==== Loading A Patch List ====

To load Patch Lists previously saved with Bars&Pipes Professional, SuperJAM! or The PatchMeister, use the Load Patch List... command found in the Define Patch Lists menu.

{{Note|title=Tip|text=You'll find the SuperJAM! Patch Lists in the SuperJAM!/Bands directory.}}

==== Saving A Patch List ====

Choose the Save Patch List... option in the Define Patch Lists menu to save the selected Patch List.

{{Note|title=Tip|text=You can use Patch Lists created in Bars&Pipes Professional for your Super JAM! Bands.}}

You can find out more about Patch Lists in the chapter on Customizing Your Environment.

==Customizing your Environment==
Chapter 31

=== Overview ===

In this chapter, we'll learn how to customize your Bars&Pipes Professional environment, so that it automatically sets up the system to your liking. We'll also discuss the disk files that Bars&Pipes Professional uses to keep track of your preferences.

=== The Environment Preferences ===

In the Main menu, the Environment.., option in the Preferences menu opens the Environment Preferences requester. This requester controls various aspects of Bars&Pipes Professional's appearance as well as some memory-saving options:

; Interlace Screen
: Select the Interlace Screen option to double the vertical resolution of the Bars&Pipes Professional environment.

; Use Workbench Pointer
: If you'd rather use the Workbench mouse pointer instead of the Bars&Pipes Professional saxophone, enable Use Workbench Pointer.

; Exploding Windows
: The Exploding Windows option causes windows to open with an expanding rectangle and close with a contracting rectangle.

; Windows To Front
: Normally, use the standard Window To Front/Back button on the top right of each window to bring a window to the front If you'd like any window to come immediately to the front no matter where you click in it, select Windows To Front.

; Save Icons
: Bars&Pipes Professional will only create an icon for a song file if the Save Icons option is enabled.

; WB 2.0 File Requester
: If you're running Bars&Pipes Professional under Workbench 2.0 or later, you may optionally use the Workbench file requester for selecting files.

; Double Width Screen/Double Height Screen
: Under Workbench 2.0, Bars&Pipes Professional can display its screen at double width and/or double height, providing much more room to drag and place windows. When in this mode, certain hotkeys make navigating this huge screen easier:

: The Alt key, in conjunction with the arrow keys moves the screen by one screenful. The window icons always appear in the current screen for easy access.

: Holding the Shift key causes the currently active window to move into the new view area. Hold down both the Shift and Alt keys while pressing the arrow keys.

: These features can make it seem like Bars&Pipes Professional is four screen instead of one! For instance, you could open Mix Maestro in one quadrant, the Track window in another, and still have two full screens for other windows. Keep in mind, however, that open windows consume CPU and memory resources

; 68000 Optimization
: If you are running Bars&Pipes on an Amiga using a 68000 processor, such as the A500 or A2000, setting this option will enable Bars&Pipes to run slightly more efficiently.

; Workbench Screen Mode
: Also under Workbench 2.0, Bars&Pipes Professional can adopt the current screen mode used by Workbench. This is particularly useful with the new AGA chipset machines (the Amiga 4000 and 1200) because it provides an automatic method for supporting the new graphic modes.

; Close Workbench
: To save memory, Bars&Pipes Professional can attempt to close Workbench. This only succeeds if no programs have windows open in Workbench.

; Disable Undo Buffer
: When the Bars&Pipes Professional sequencer records a Track, it automatically backs up the entire performance in an Undo buffer. Although this provides an easy way to recover from a poor recording, it doubles the memory provided for MIDI events. Disable the Undo buffer to double the number of notes you can record in low memory situations.

; Use Grey Scale
: Bars&Pipes Professional normally displays in eight colors. Use Grey Scale halves the color count to only four, saving graphics memory.

; Disable Fast Refresh
: Bars&Pipes Professional's windows keep their images intact, even when behind other windows. This results in very fast refresh, but eats memory. Disable Fast Refresh saves memory because it no longer stores hidden imagery, but the drawing time can become painfully slow.

; Save
: Select the Save button to implement the changes and permanently save your choices in the "Bars&Pipes Professional.info" file. Whether run Bars&Pipes Professional from its icon or the Shell, the program still looks at the "Bars&Pipes Professional.info" file for these preferences. If the .info does not exist, Bars&Pipes Professional chooses its default preferences.

; Use
: To use the changes without making them permanent, select Use.

=== The Support Drawer and Support Files ===

Bars&Pipes Professional must keep its control files in a support directory: If a drawer named "Support" exists within the same directory as the Bars&Pipes Professional drawer, Bars&Pipes Professional places its support files there.

If there is no drawer named "Support" located within the same directory, Bars&Pipes Professional places the support files in the S: directory. This is the same directory that contains your startup-sequence.)

* TIP * If you are using Bars&Pipes Professional without a hard drive and want to boot with a Workbench disk, create a Support drawer on your Bars&Pipes Professional program disk Then move the files, Tools, Accessories, and BPPDirs from the & directory on your WorkBench disk to the Support drawer created on your program disk.

==== The Tools File ====

Bars&Pipes Professional uses the Tools file when customizing your environment. This text file contains the names and path names of the Tools currently loaded in the ToolBox. Bars&Pipes Professional updates the Tools file whenever you Install or Remove a Tool in the ToolBox.

==== The Accessories File ====

Bars&Pipes Professional also uses the Accessories file when customizing your environment. This text file contains the names and path names of the Accessories loaded in the Accessories window.

Bars&Pipes Professional updates the Accessories file whenever you Install or Remove an Accessory

==== BPPDirs ====

The BPPDirs file, another environment file, is a binary file that contains the path names of files that you load and save, such as Song files, Patch Lists, and Chords.

Whenever you load or save a file, Bars&Pipes Professional refers to the Bppdirs file to determine the last place you loaded or saved a similar type of file. Bars& Pipes Professional then directs the file requester to this location.

When you change directories with the file requester and select Load or Save, Bars&Pipes Professional looks to the new directory. Bars&Pipes Professional updates the BPPDirs file whenever you exit Bars&Pipes Professional.

=== Settings in Song Files ===

Bars&Pipes Professional saves many settings in each individual Song file, including which windows are open and closed, the color palette as defined by the True Colors Accessory, the position of window icons, Patch Lists, Chords, Scales, Rhythms, Metronome settings, Tool Trays, the ToolPad, Tools in PipeLines, the status of Thru faucets, MIDI channel selectors, the status of Edit windows and all other musical information.

=== Creating a Preset Environment With New.song ===

If you prefer a particular configuration of Tools, Tracks, Tempos, etc., you can set your preferences, then save them as a Song,. This way, you'll have a preset environment each time you begin a new Song.

To do so, first set up your Tracks, MIDI channels, Tool placements, etc., and then use the Save As Default command found in the Song menu. This saves your settings to a file called "New.song." Each time you run Bars&Pipes Professional or select New from the Song menu, Bars&Pipes Professional automatically loads this file.

{{Note|title=Tip|text=When you load another Song, Bars&Pipes Professional overrides your "New" settings with those in the currently loaded file. To impose your new environment on old Song files, load your old Song. Then make a Group out of all of the Tracks contained in the old Song file. Next, save the Group to disk and select New from the Song menu. After you delete all the Tracks in the New Song, load in the Group!}}

File:ControlButtons.png

2013-08-12T23:22:08Z

Lyle Hazelwood: BarsnPipes control buttons

BarsnPipes control buttons

File:Flags.png

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Lyle Hazelwood: BarsnPipes Flags

BarsnPipes Flags

File:PipeLine.png

2013-08-12T23:20:46Z

Lyle Hazelwood: BarsnPipes PipeLine

BarsnPipes PipeLine

Bars and Pipes Professional

2013-08-12T23:19:19Z

Lyle Hazelwood: /* The Tracks Window */ Added File:Tracks.png

== Author and Copyright ==

This documentation is based on the original copyrighted manual. 
'''Copyright (c) 1993 The Blue Ribbon SoundWorks, Ltd.'''

The original documentation has been modified and enhanced where needed to reflect the changes made to the AmigaOS 4 specific port.

All changes and modifications are 
'''Copyright (c) 2013 Lyle Hazelwood and Steven Solie.'''

Explicit written permission to copy and edit the original manuals has been secured.

== Welcome Aboard! ==

These documents are for the AmigaOS 4 port of Bars&Pipes Professional. A few notes may be useful:
The original program will be referred to as Bars&Pipes, the AmigaOS specific port will be called BarsnPipes instead.

This port is based on Bars&Pipes Professional version 2.5c. The AmigaOS 4 version was provided by Alfred von Faust, and he worked for many years to keep it alive. Lyle Hazelwood has recently taken the port over and is continuing to keep the program current.

Thank you for downloading BarsnPipes Professional. In the pages to come, you will understand why you've made an important choice. With BarsnPipes Professional, you're truly bound only by the limits of your own creativity. We encourage you to read this manual, since it contains thorough explanations of BarsnPipes Professional's wide array of features. BarsnPipes Professional is a high-end MIDI sequencing and composition package. In order to use it, you must have a MIDI sound module or keyboard connected to your Amiga via a CAMD supported MIDI interface.

{{Note|text=If you would like to use the Amiga's Internal sounds instead of MIDI, we suggest [http://www.os4depot.net/index.php?function=showfile&file=audio/play/softsyn.lha SoftSyn] available at [http://www.os4depot.net OS4Depot].}}

Everyone at The Blue Ribbon SoundWorks is dedicated to producing the highest quality software and software support in the industry. We have invested thousands of hours of research and development in our products. Much of that time is spent in listening to and learning from people like you. Blue Ribbon products are designed to be affordable, ongoing investments that are improved and expanded over time. We've provided expansion through program updates and add-on software, such as the Creativity Kit and the Pro Studio Kit. If you are a C programmer, with the Rules For Tools add-on, you can even create your own enhancements to BarsnPipes Professional!

==Installation==

Quick Installation

BarsnPipes Professional is easy to install on your AmigaOS computer.

To install Bars&Pipes Professional :

Make sure that you have at least two megabytes of space left on your hard disk.

Unarc BarsnPipes Professional archive to wherever you'd like to keep the program.

You'll also need camd.library which is already included with AmigaOS.

Run Bars&Pipes Professional from the BarsnPipes Professional drawer on your hard disk.

On the first run, BarsnPipes will ask you to select a screen mode. Please select an ARGB mode for best results.
Once the program is open, under the "preferences" menu, select "environment" and then "save" to save your screen choice.

== Touring the MIDI setup ==

=== Overview ===

BarsnPipes Professional works with any CAMD-compatible synthesizer, sound module or application. Let's look at some standard ways to connect MIDI instruments to your Amiga computer.

=== The MIDI Interface ===

In order to use BarsnPipes Professional, you must first own a MIDI interface. The MIDI interface serves as a translator between your MIDI instrument(s) and your Amiga.

Before using BarsnPipes Professional, first connect your MIDI interface to your Amiga. It may connect to a sound board joystick port, or to USB.

=== MIDI Interface Ports ===

Most MIDI interfaces feature one MIDI in, one MIDI out, and possibly one MIDI thru port. The MIDI in and MIDI out ports are the most important aspects of a MIDI interface.

=== Multiple MIDI In Ports ===

CAMD supports any number of MIDI Inputs and Outputs. While it is possible to set the input and output individually for each track, you can (and should) set a default input and output that will be used as defaults for every track that does not have an input or output specified. These are set and saved from the Preferences/Environment window.

{{Note|title=Connecting MIDI Devices|text=
Connect the MIDI OUT from your interface to the MIDI IN on your synth or sound module. 
Connect the MIDI OUT from your keyboard or other instrument to MIDI IN on your interface.}}

If your MIDI gear has a USB port, CAMD may be able to access it directly by using the [http://os4depot.net/share/driver/misc/usbmidi.lha USB Driver]

(is the usb MIDI driver part of the OS??)

==A Quick Tour==

=== Introduction ===

Bars&Pipes Professional is an innovative composition environment with an extensive arsenal of features and options. Before exploring it in depth, let's take a quick tour!

{{Note|text=If you need help connecting your MIDI equipment to your Amiga, please read the previous chapter, Touring The MIDI Setup.}}

=== Running Bars&Pipes Professional ===

Before you run Bars&Pipes Professional, you must first install it. If you have not yet done so, please see Chapter 2, Installation.

==== Running From The Workbench Icon ====

You can run Bars&Pipes Professional from Workbench by double-clicking on its program icon.

Doing so opens Bars&Pipes Professional with an empty Song. Alternatively, you can double-click on a Bars&Pipes Song icon. Doing this opens Bars&Pipes Professional with the selected Song already loaded.

==== Running From A Shell ====

You can also run Bars&Pipes Professional from a shell. Make sure your stack size is at least 100,000 bytes when running the program this way.

=== The Default Screen Setup ===

When Bars&Pipes Professional first starts up, you'll see the Tracks window and a group of icons along the right side of the screen. These icons represent various unopened windows.

Double-click on any icon to open its associated window. Click on the close button in the top left corner of an open window to revert it to its associated icon.

=== The Tracks Window ===
[[File:Tracks.png]]

The Tracks window represents the heart and soul of Bars&Pipes Professional. It is where multi-track recording takes place. It is also the primary place for organizing the PipeLines and Tools which give Bars&Pipes Professional so much of its power and flexibility. Let's take a brief look:

=== The PipeLine ===

The Tracks window contains individual Tracks, into which you will record your music. These Tracks run from left to right in rows, with measure and beat lines drawn from top to bottom.

Starting from left to right, each Track contains the following components:

*The Track Name, which identifies a particular Track;
*The Input Selector box, or Input Arrow, which selects which Track(s) are to receive incoming music;
*The Input PipeLine, which holds Tools that process the music as it flows into the Sequencer;

{{Note|text=When first running Bars&Pipes Professional, you will most likely see a MIDI In Tool in the Input PipeLine. This acts as the source for the Track's PipeLine, and, hence, the Track. This is further explained in Chapter 6, Basic Recording.}}

*The Play/Merge/Record Selector, which displays a blue letter P while the Track is in Play mode, a red letter M while the Track is in Merge mode, and a red letter R while the Track is in Record Mode;
*The Sequencer area, which holds and displays the MIDI events, or Sequence, that make up the recording;
*The Thru/Play Only/Mute Selector, or faucet, which switches the Track between Thru, Play Only, and Mute modes;
*The Output PipeLine, which holds Tools such as the MIDI Out Tool that process the music as it flows out of the Sequencer; and
*The MIDI Channel Selector, or Output channel, which displays the MIDI channel over which the final MIDI Out Tool sends.

{{Note|text=This selector is used by the standard MIDI Out Tool. Non MIDI-specific output Tools, such as most Multi-Media Tools, do not need MIDI channels.}}

=== The Flags Area ===

Above the Tracks area is the Flags area.

Bars&Pipes Professional uses these flags to mark specific points in music time for certain operations, such as punch in and auto-locate. It also displays the current time signature and measure numbers in this area.

Bars&Pipes Professional displays twelve Flag icons across the top of the Tracks. You can grab these with the mouse and drag them from left to right. Use the Flags to set positions in your music for editing, recording, looping, and more.

A Flag appearing during the displayed section has an attached vertical stem intersecting all of the Tracks. If you've placed the Flag in a measure which precedes the displayed section, it appears on the left side of the Sequencer. If you've placed it in a measure that follows the displayed section, it appears on the right.

To relocate a Flag, first scroll the Sequencer so that the desired location shows in the Sequencer. Then drag the Flag to its position. To move a Flag to the beginning of the Song, drag it all the way to the left side of the screen. To move it to the end of the Song, drag it all the way to the right. Flags snap to the alignment specified in the Align with... option in the Preferences menu.

The following Flags are found in the Flags area:

* The Position Marker Flag or Song Position Flag (the red triangle with the blue border) which shows the current position in your Song;

{{Note|text=If you press the Play button, your Song starts at this point.}}

* The two Edit Flags (solid purple triangles), which determine the part of your Song that is affected by Cut, Paste, and other editing operations;
The Auto-Locate Flags (blue rectangles marked M1 through M4), which mark important points in your composition;

{{Note|text=You can immediately move to these points by using the corresponding M1 through M4 buttons in the Transport Controls window.}}

* The Punch In and Punch Out flags (yellow rectangles marked IN and OUT), which allow you to record over a restricted part of your Song;
* The Loop Flags (red rectangles containing curved lines with arrows), which mark sections for use with Loop-Mode editing and the Loop Tool; and
* The Stop Sign (the red hexagon with the white border), which marks the point at which Bars&Pipes Professional is to stop playback.

{{Note|text=This feature is useful when you want to sit back and listen to part of a Song while you're away from the keyboard, or if you're performing live or recording a sequence to tape and want the Song to stop upon completion.}}

=== Control Buttons ===

The Tracks Window's control buttons are above the Flags area.

From left to right are the following buttons:

* The Solo button, which both chooses and displays whether the highlighted Track is soloed, muted, or neither;
* The ToolPad, which holds up to sixteen Tools to be used with the Toolize feature;
* The Group selector buttons, which identify combinations of Tracks;
* The Group button, which determines if clicking on a Track adds to a group or not;
* The Up/Down arrows, which move the highlighted Track up or down in the list of Tracks;
* The Tempo button, which chooses and displays the current tempo;
* The Start button, which starts the Sequencer from the beginning of your composition;
* The Play button, which starts the Sequencer from the current Song position, denoted by the red and blue triangular Song Position Flag, found in the Flags Area;
* The Rewind button, which moves the Song Position Flag to the left, toward the beginning of the piece;
* The Fast Forward button, which moves the Song Position Flag to the right, toward the end;
* The Measure display, which shows the measure number in which the Song Position Flag currently resides; and
* The Record button, which chooses and displays whether the Sequencer is in record or playback mode.
* Sizing And Scrolling The Tracks

Use the scroll bar and arrows on the right side of the Tracks window to scroll through the Tracks, in order to view those which don't fit in the display.

At the bottom of the Tracks window, you'll find a set of scroll bars, single arrows, and double arrows. Use the scroll bar and single arrows to search forward and backward. For example, to scroll the Track names from left to right, use the scroll bar and single arrows below the list of Track names.

Use the double arrows to resize sections of the display by dragging the arrows from left to right. With the double arrows, you can resize your display to show only what you want to view.

{{Note|text=You can control how much space is available by using different screen resolutions. Lower resolutions like 800X600 will make everything large and easy to read, while higher resolutions will provides plenty of room for additional Tracks.}}

=== The Main Menu ===

As you may know, in the Amiga's windowing environment each window can have a different menu. Some of the windows in Bars&Pipes Professional do have their own menus, however, most share one menu, the Main menu.

To access the Main menu, click on the Tracks window or the background with the left mouse button. Then, to select one of the Main menu options, click and hold the right mouse button, while moving the mouse pointer to your desired selection.

=== Window Icons and the Windows Menu ===

Several windows in Bars&Pipes Professional are accessible from both icons, located at the right side of the screen, and menu commands, located in the Windows menu found in the Main menu set.

==== Window Icons ====

To the right of the Tracks window, you'll see a column of icons. These icons represent various windows. Double-clicking on an icon opens the window, while clicking on the close gadget of a window turns it back into an icon.

{{Note|text=The Tracks window itself can be closed and turned into an icon. To do so, click on the close gadget in the upper left hand corner of the Tracks window. The close gadget looks like a square with a smaller square inside of it. Notice that the Tracks window turns into an icon of railroad Tracks. Double-click on the Tracks icon to reopen the window.}}

==== The Windows Menu ====

Each window can also be accessed from the Windows menu in the Main menu. This includes many additional windows that do not have icons. Let's take a quick tour of all the windows in the Windows menu. As we do this, we'll get a quick glimpse of the various capabilities of Bars&Pipes Professional. Open each window by selecting it in the Windows menu. If a window has an Icon, notice that the icon disappears. Close the window by clicking on its close button (top left.) You might also experiment with double-clicking on the window icons to become familiar with each.

; Accessories
: Accessories are separate modules that add new features to Bars&Pipes Professional. Use the Accessories window to install, use and remove your Accessories. The Accessory window may also be opened by double-clicking on its icon.

; ClipBoard
: When the ClipBoard window is open, cut copy and paste editing operations store and retrieve from it. Use this to move music around between different parts of the program. The ClipBoard window may also be opened by double-clicking on its icon.

; Define...
: You can define your own Scales, Chords, Rhythms, and Patch Lists using the four Define windows opened from the submenu.

; Edit PadTool Controls
: If you have a Tool in the ToolPad, the Edit PadTool Controls command opens the Control window for that Tool.

; Icons
: The Icons window allows you to keep all of the window icons in their own separate window. Opening the Icons window automatically collects the window icons and places them inside the Icons window. Closing the Icons window causes the window Icons to return to their previous positions.

; Information
: The Information window provides useful information about the state of your project and computer. The Information window may also be opened by double-clicking on its icon.

; Master Parameters
: The Master Parameters window accesses a special master Track where you may set up global Time Signature, Lyrics, Scales, Chords, Dynamics, and Rhythm changes. The Master Parameters window may also be opened by double-clicking on its icon.

; Media Madness
: The Media Madness window brings multi-media production to Bars&Pipes Professional. With this window, you can place Multi-Media Tools in each Track, and edit a complete Multi-Media presentation. The Media Madness window can also be opened by double-clicking on its icon.

; Metronome
: Use the Metronome window to set up your metronome click - internal Amiga audio, MIDI or visual. The Metronome can also be opened by double-clicking on its icon.

; Mini Transport
: The Mini Transport window provides a subset of the main Transport Controls window (see below.) It's designed to be small and innocuous. You can open it from anywhere simply by pressing the 'M' key on your keyboard.

; Mix Maestro
: Use Mix Maestro to do a complete automated mixdown of your performance. Mix Maestro provides a volume slider and pan pot for each Track. As the Song plays, drag the slider to lower or raise the volume and turn the knob to rotate the sound left or right. Mix Maestro memorizes your moves and plays them back faithfully. The Mix Maestro window can also be opened by double-clicking on its icon.

; Record Activation
: By default, when Bars&Pipes Professional's Sequencer records into a Track, it erases all MIDI event types (note, pitch bend, etc.) and replaces them with the new. However, with the Record Activation window you can tell the Sequencer to ignore specific MIDI types. For example, you can set it to record over pitch bend while leaving notes intact. The Record Activation window may also be opened by double-clicking on its icon.

; Set Flags
: The Set Flags window allows you to position any Flag in the Track's window by typing in the location you want for the Flag, either in music or SMPTE time. Open the Set Flags window by choosing Set Flags from the Main menu's Windows menu, or double-click on the Set Flags icon.

: To determine music time or SMPTE time, click on the SMPTE/Music Time button. To change the Flag, click on the numbers to the right of the Flag representation.

; Song Construction
: Edit your music at the highest level with the Song Construction window. Create, drag, duplicate and erase everything from individual measures to entire sections. The Song Construction window can also be opened by double-clicking on its icon.

; Tempo Map
: Use the Tempo Map window to create a graphical Tempo Map for your performance. With a Tempo Map, you can tell Bars&Pipes Professional when to speed up and slow down as it plays your music. The Tempo Map window can also be opened by double-clicking on its icon.

; Tempo Palette
: You may set four preset Tempos in the Tempo Palette window, and then switch instantly to anyone at any time. The Tempo Palette can also be opened by double-clicking on its icon.

; Time Line Scoring
: Connect several Songs into one performance on a SMPTE time line using the Time Line Scoring window. This is useful for laying out an extended piece where different Songs occur at different times. The Time Line Scoring window can also be opened by double-clicking on its icon.

; ToolBox
: The ToolBox window displays several rows of square icons. These represent Tools. Each Tool can be placed in a Track's PipeLine where it performs a specific task to the MIDI music as it flows through the pipe. To place a Tool in a PipeLine, click on the Tool with the left mouse button, and, while holding the button down, drag the Tool to the destination Track's PipeLine. Although the ToolBox displays a palette of available Tools, you may install more Tools, create your own Tools, as well as remove Tools from Bars&Pipes Professional, thereby changing the collection of available Tools in the ToolBox. The ToolBox can also be opened by double-clicking on its icon.

; Tracks
: This command opens the main Tracks window, which is also accessed by double-clicking on its icon.

; Transport
: This window provides the complete set of commands to control the movement of Bars&Pipes Professional's Sequencer. Notice that the Transport window duplicates many of the commands found in the top of the Tracks window as well as all the commands in the Mini Transport. You may click on identical buttons to achieve identical results. The Transport Controls window displays the current time in music time (Measures, Beats and Clocks) as well as SMPTE time (Hours, Minutes, Seconds and Frames.) It also adds additional buttons for using the Punch and Loop Flags as well as setting and using all of the Flags. The Transport window can also be opened by double-clicking on its icon.

==Playing a Demo Song File==

Chapter 5

=== Getting Ready to Play ===

In this chapter, we'll play one of the demo Songs provided on your Bars&Pipes Professional disk. Before we play the Songfile, however, let's make sure that Bars&Pipes Professional is set up properly.

{{Note|text=Make sure that your MIDI equipment is setup properly.}}

==== The MIDI Out And Quick Patch Tools ====

The MIDI Out Tool must be loaded in order for Bars&Pipes Professional to play music via a standard MIDI interface. The MIDI Out Tool's job is to send notes out of the Sequencer to your MIDI instrument.

When you first run Bars&Pipes Professional, you should see a MIDI Out Tool at the end of each and every PipeLine, unless you've set up your environment differently (more on this later).

{{Note|text=You'll probably also see the MIDI In Tool at the beginning of each PipeLine. We won't need the MIDI In Tool until we're ready to record MIDI In the next chapter. It doesn't hurt to have it in the PipeLine, though.}}

We also recommend using the Quick Patch Tool when playing a Songfile.

The Quick Patch Tool allows you to easily change patches, or sounds, on your MIDI instrument.

The demo Songfiles provided with Bars&Pipes Professional already contain this Tool in their PipeLines. Please refer to the Tools chapter of this manual for more information on the Quick Patch Tool.

==== Installing The MIDI Out And Quick Patch Tools ====

If you don't see the MIDI Out Tool at the end of every PipeLine, open your ToolBox by either double-clicking on the ToolBox icon, or choosing ToolBox from the Windows menu.

Do you see the MIDI Out Tool in the ToolBox? You can click down on the Question Mark button to bring up a pop-up list of Tool names. Is the MIDI Out Tool listed?

If not, you need to install the MIDI Out Tool. Follow these steps to load the MIDI Out Tool:

# If the ToolBox window isn't open, open the ToolBox.
# With the ToolBox window still active, use the right mouse button to access the ToolBox menu and select Install Tool....
#A file requester will appear. You should see a list of Tool names. If not, there should be a Tools directory in the Bars&Pipes Professional directory. Direct the file requester to this directory to find all of the Tools.
#Once inside the Tools directory, find the MIDI Out Tool. Click on MIDI Out once and select Load, or just double-click on MIDI Out.

The MIDI Out Tool will appear in your ToolBox. From now on each time you run Bars&Pipes Professional, it will automatically load the MIDI Out Tool into the ToolBox. You won't have to perform these steps again unless you Remove the Tool from your ToolBox.

{{Note|text=Bars&Pipes Professional keeps Track of which Tools are in the ToolBox by a text file called Tools. This file resides in either your S: directory on your WorkBench disk or System partition, or, if the directory "Support" exists in your Bars&Pipes Professional directory, in the Support directory.}}

As you did with the MIDI Out Tool, look in the ToolBox for the Quick Patch Tool. If it isn't in your ToolBox, install it as you did the MIDI Out Tool.

=== The Song Menu ===

The Song menu is the first menu in the Main menu set. Activate the Tracks window by clicking within it to access the Main menu set.

Although we won't be using most its commands right away, now is a good time to introduce the Song. The Song menu contains commands that create, load, and save entire compositions, as well as exit Bars&Pipes Professional. The Song menu commands are:

; New
: The New command begins a new composition. If you have made any changes to the current composition, Bars&Pipes Professional will ask if you'd like to save them before closing. Choosing Yes saves the current Song, while choosing No disregards any changes you have made since the last save. Choosing Cancel cancels the New operation and returns you to the current Song.

: If a 'New.Song' files exists, Bars&Pipes Professional loads it. Otherwise, Bars&Pipes Professional create its own default blank Song.

{{Note|text=Use the Save As Default command {see below) to create and update the 'New.Song' file.}}

; Load...
: The Load... command loads a previously saved Song. If the Song's Tracks, ToolTrays, or ToolPad contain Tools that aren't loaded in the ToolBox, Bars&Pipes Professional attempts to load the missing Tools. If Bars&Pipes Professional can't find a Tool, a requester appears to give you the opportunity to load the Tool manually.

; Revert
: The Revert command returns the Song to its condition at the most recent save, by loading the last Song saved to disk. Think of Revert as a powerful Undo command. At regular intervals during the composition process, save your Song with the Save command. Then, if you make a mistake, you can use the Revert command to return to an earlier version of your Song.

; Save As...
: The Save As... command either saves your Song for the first time or saves it as a different file name. When you select this command, a file requester opens, which enables you to create a new file or to select an old one to overwrite. Once you save a Song with the Save As... command, Bars&Pipes Professional recognizes the file name. From then on, you can use the Save command instead.

; Save
: The Save command saves your Song to disk. This command works only if a file has been previously saved or loaded from disk. Once you load a Song or save it with the Save As... command, you can use the Save command without bothering with the file requester.

; Save As Default
: The Save as Default command saves the current Song as the default Song. Whenever you run Bars&Pipes Professional, this Song automatically loads as your initial blank Song. Also, whenever you choose New from the Song menu, this Song loads as the initial template.

; Print
: The Print command prints your Song. When you select Print, Bars&Pipes Professional opens the Print requester that allows you to print the entire score. (Please refer to Chapter 11, Printing Notation)

; Title/Author
: The Title/ Author command opens a requester into which you can enter the Song's title and author.

; Length...
: The Length... command sets the overall length of your Song. Bars&Pipes Professional sets all of its scroll bars to accommodate the new length.

; Disable/Enable MIDI
: When MIDI is enabled, the Disable/Enable command displays as "Disable MIDI" in the Song menu. When you select Disable MIDI, Bars&Pipes Professional disconnects the MIDI In Tool from the Amiga's internal serial port, so that another program can access the port. When MIDI is disabled, this command displays as "Enable MIDI" in the Song menu. Choose Enable MIDI to reconnect the MIDI In Tool.

; Propagate
: The Propagate command, in conjunction with the Song Construction window's A-B-A feature, copies changes made to the first instance of each section to all other instances of those sections. The Propagate command is ghosted if the A-B-A feature has not been utilized.

; About
: The About command brings up a requester with version and copyright information.

; Quit
: The Quit command exits Bars&Pipes Professional and returns to Workbench. Bars&Pipes Professional will ask you if you'd like to save your file before exiting.

=== Loading an Example Song ===

Let's load the Brandenburg Demo and play it.

# Select Load... from the Song menu. The file requester appears.
# Find the Song titled "Brandenburg Demo". It's in the Example Songs directory.
# Load the Song by either double-clicking on its file name, or clicking once on its file name and selecting Load. Bars&Pipes Professional loads the Song.
# Notice that the Tracks window displays seven Tracks. The Track names correspond to the name of the instrument that each Track plays.

{{Note|text=If you can't find the Song menu, it is probably because another window's menus are active. Click on the Tracks window to activate the Main menu set.}}

Look at the Output PipeLine of each Track:

You'll see the Quick Patch Tool, followed by the MIDI Out Tool, followed by the MIDI Channel number.

=== Setting Your MIDI Channel Numbers ===

On the far right of each Track, notice a blue number denoting the MIDI Channel number for the Track. This number tells Bars&Pipes Professional though which MIDI Channel to play the Track.

The Brandenburg Demo performs on MIDI Channels one through seven; each Track is associate with a different MIDI channel. The result is a multi-timbral performance, since each Track plays with a different sound, or timbre.

{{Note|text=Please check your synthesizer manual to make sure that it is capable of playing multi-timbrally and receiving on these seven MIDI channels simultaneously. Also, please refer to the chapter "Touring the MIDI Setup" for more information on MIDI channels and MIDI synthesizers.}}

If your synthesizer isn't able to play multi-timbrally, all seven Tracks will sound like the same instrument. If your synthesizer can play multi-timbrally, but can't receive on MIDI channels one through seven simultaneously, you'll need to change the MIDI channel number for each Track:

To change a Track's MIDI channel, click on the MIDI channel number. A pop-up grid appears. Highlight the MIDI channel on which you want the Track to output MIDI, and then lift the mouse button.

=== Selecting Your Patch Changes ===

The Quick Patch Tools at the end of each Track send out Program Changes, or patches, to your MIDI instrument. These patches set up your synthesizer to play the correct sound on each MIDI channel. Each Quick Patch Tool in the Brandenburg Demo ia configured to send patch changes that will sound correct on General MIDI instruments.

If your synthesizer or sound modules supports the General MIDI patch list, then skip to the next section, Playing the Songfile.

If your synthesizer isn't set up to play General MIDI patches, the Brandenburg Demo might sound funny. To make it sound better, you'll need to change the patch numbers in the Quick Patch Tool. To do so, double-click on the Quick Patch Tool in one of the Tracks.

The Control window for the Quick Patch Tool opens:

As with all Tools, each Quick Patch Tool has its own Control window, so that you can set up different patches for each one. Drag the slider to change instruments and Quick Patch plays test notes so you can hear how each instrument sounds.

Above the slider, Quick Patch displays the name of the currently selected patch. This name is only valid for a General MIDI synthesizer. If you have a different configuration, you can change the names in the Patch List by using the Define Patch List window.

{{Note|text=We'll learn about defining Patch Lists later. For now, don't worry, just drag the slider until you get an appropriate sound.}}

Once you've selected the instrument of your choice, close the Control window to get it out of the way, or leave it open in case you'd like to continue trying different instruments while the music plays.

At this point, you may have a few questions:

* What if more than one Track is set to the same MIDI channel? If that's the case, will both Tracks play?
* And, if there is a Quick Patch Tool on every Track, which patch will be selected for that MIDI channel?
Good questions!

First of all, Bars&Pipes Professional plays both Tracks. They'll be performed by the same instrument, since they share the same MIDI Channel.

Second, only one Quick Patch Tool can determine what instrument your synthesizer will use. Since Bars&Pipes Professional performs the Tracks in order from top to bottom, the Quick Patch on Track 2 will override the Quick Patch one Track 1.

{{Note|text=Remember, we're referring to two Tracks that share the same MIDI channel number. Quick Patch will not override any other Tracks.}}

=== Playing the Songfile ===

If you've followed along from the beginning of this chapter, loaded the Brandenburg Demo, and set channel numbers and the Quick Patch Tool for each Track, then it's time to hear the Brandenburg Demo!

To start the sequence from the beginning, click on the Start button (blue square followed by a triangle) at the top of the Tracks window or in the Transport Control window:

Another way to start the sequence from the beginning is to press the 0 (zero) key on your numeric keypad.

You should hear your synthesizer playing the music. Notice a blue vertical line scrolling across the Tracks in the Tracks window. This is the Song Position Line.

NOTE-> As the Song Position line passes over the beginning of a note, that note sounds. As it passes over the end of a note, that note becomes silent.

If your synthesizer does not play, check your cables, amplifier, and MIDI interface. Refer to Chapter 3, Touring The MIDI Setup if you need more help. Also, review the beginning of this chapter to make sure that you didn't miss a crucial step.

=== Saving Your Changes ===

If you've made any changes to the Brandenburg Demo, for example the MIDI channel numbers or the Quick Patch settings, you should save the Brandenburg Demo so that it will play the same way next time.

Select the Save command from the Song menu. This tells Bars&Pipes Professional to update the Brandenburg Demo with your new changes.

==Recording==
Chapter 6

Recording Checklist

Before we begin recording, let's make sure that everything is ready to go.

Select The New Song Command

Select New from the Song menu. This command clears the Tracks and PipeLines of all data and Tools, except the MIDI In and MIDI Out Tools.

NOTE-> You can set Bars&Pipes Professional to load a custom environment whenever you select the New menu option. Simply set the Tracks and Tools the way you'd like them to be when you need a fresh slate, then select the Save As Default menu command from the Song menu.

Verify The MIDI In Tool

The MIDI In Tool absolutely must be installed in order to record from a MIDI source. The MIDI In Tool can only be placed at the beginning of the Input PipeLine:

It's the MIDI In Tool's job to listen to the MIDI In port, and send the MIDI data down the PipeLine to be processed by other Tools and recorded in the Sequencer. If you don't see a MIDI In Tool at the input of each Track, load it in just like you did with the MIDI Out Tool in the last chapter.

Configure The Metronome

The Metronome provides a solid reference click to help you keep time while recording. It can also give you a count-down click for a few measures before recording, so that you have time to prepare. If you'd like, the Metronome can also click during playback.

You can set Bars&Pipes Professional's Metronome to play out of the Amiga's internal sounds, flash the screen, and/or play out of your MIDI instrument.

To open the Metronome window, double-click on the Metronome icon or select Metronome from the Windows menu. Like all Bars&Pipes Professional windows, you may leave this window open and change its parameters as the music plays.

Please refer to Chapter 15, The Metronome, for further details.

Set Your Keyboard's Local On/Off Switch

If you have a single keyboard connected to your computer, so that MIDI Out of the keyboard is connected to the MIDI In on the computer and MIDI Out on the computer is connected to the MIDI in on the keyboard, you may want to use the keyboard's "local off" feature.

Many keyboards support a local on/off switch. Here's why:

When the local setting is switched on, the sound producing hardware of your keyboard performs as soon as you press a piano key. Meanwhile, the keyboard also sends a MIDI note command down the MIDI cable. This can create a problem when the keyboard is connected to a computer. The computer receives the MIDI note, then sends it back to the keyboard via the second MIDI cable. Unfortunately, this tells the keyboard to play the same note a second time, stacked on top of the first.

When local is switched off, the sound producing hardware in your keyboard only responds to MIDI notes coming from the computer. It doesn't make a sound when you press a key. However, it still sends the note via MIDI to your computer which sends the note back via the second MIDI cable into the sound producing hardware which can now respond.

Test Run

Click on the Input Selector of Track 2.

The Input Selector is the grey box to the right of the Track name. A red arrow should appear in the box. This indicates that all MIDI input should flow down Track 2.

NOTE-> If the red arrow doesn't appear, you probably don't have the MIDI In Tool Installed in Track 2.

With your keyboard's local setting on, play a key. If your keyboard is multi-timbral, and is set up to receive on MIDI channe1 2, and MIDI channel 2 is set up to play a different patch than MIDI channel 1, you should hear two distinct sounds simultaneously.

This is because your keyboard's sound producing hardware is receiving the command to play from two sources. One, pressing a key on your keyboard tells your sound hardware to play on MIDI channel 1. Two, the MIDI information sent out of the MIDI out, goes through Bars&Pipes Professional's Track 2, and returns to the sound producing hardware on MIDI channel 2.

Now, turn your keyboard's local off and play a key. You'll only hear the MIDI channel 2 patch. This is because the sound producing hardware is only receiving the command to play from MIDI, and not directly from the key press itself.

When recording or overdubbing multi-timbrally, it is best to set your keyboard's local off.

Recording Two Tracks

Although Bars&Pipes Professional is a sophisticated music environment, you'll find that you can accomplish wondrous things simply by recording a few Tracks. Let's walk through the steps of the recording process:

Step One: Turn On The Metronome

If you haven't already done so, turn on the Metronome from the Metronome window. If you record with the Metronome, you'll find it much easier to edit your music later on, because the notes will line up properly with the measures and beats.

Test the Metronome by clicking on the Play button.

You should hear the metronome's click. If not, please refer to the Metronome chapter to learn how to set up Bars&Pipes Professional's metronome.

Step Two: Set The Tempo

While testing the Metronome, click on the Tempo display in the Tracks or Transport window and drag it with the mouse.

Drag up to increase the tempo, drag down to decrease the tempo. You can also click once in the top half of the tempo button to increase the tempo by one or click once in the bottom half of the button to decrease by one. Once you've settled on a comfortable tempo, click on the Stop button.

* TIP * You may also set the tempo with the Tempo Tap Tool. Please refer to the Music Tools chapter for more Information.

Step Three: Activate The Input Selector

Click on the Input Selector for the Track you want to record. The Input Selectors are the gray boxes in front of the MIDI In Tools.

When you click on the Input Selector, a red arrow appears.

If the red arrow doesn't appear, you'll need to load in the MIDI In Tool and select New from the Song menu.

Step Four: Set The Track's Record/Play/Merge Selector

Click on the Track's Record/Play /Merge Select button until it displays a red "R", to put the Track in Record mode.

A red "R" indicates that it is in Record mode. A blue "P" indicates Play mode, while a red "M" indicates merge mode.

Step Five: Place The Track In Thru Mode

By default, Bars&Pipes Professional places each Track in Thru Mode. To switch among Thru, Mute, and Play Only, click on the faucet to the right of the Sequencer display.

When a Track is in Thru mode (depicted by a faucet with two connections on the left) you can hear notes played via your MIDI sound module or keyboard as you play them into the Sequencer.

When a Track is in Play Only mode, notes input from the keyboard can't be heard.

* TIP * If you are using only one keyboard and it does not support Local Off, you might want to record with the faucets in Play Only instead of Thru mode.

Step Six: Select The Output Channel

Depending on which MIDI instrument you use, set the Output Channel so that the synthesizer or device responds with the proper instrument.

The Output Channel selector is to the right of the Output PipeLine:

To select the Output Channel, click down with the mouse and drag it to the desired channel number in the pop-up menu.

NOTE-> The MIDI Out Tool must be the last Tool in the PipeLine; otherwise, the notes wont be sent out the MIDI cable.

Test your selection by playing a note on your MIDI keyboard. Notes enter the MIDI Tool on the left side of the PipeLine, pass through the Sequencer, and exit the MIDI Out Tool direct to the instrument indicated by the selected Output Channel.

* TIP * Make sure that you're thoroughly familiar with how to operate your MIDI synthesizer in particular, how to set the MIDI channels for receiving.

Step Seven: Put The Sequencer In Record

Click on the Record button in the Transport Controls window or at the top of the Tracks window to activate the Sequencer Record mechanism.

* TIP * You can use the "R" key on your Amlga keyboard to toggle in and out of Sequencer Record mode.

In Sequencer Record mode, all Tracks that have their Record Select buttons set to "R" record the MIDI music flowing in their Input PipeLines, replacing whatever was there previously. Tracks set to P continue to perform, without recording. Tracks set to M play while recording, merging the new performance with the previous material already in the Track.

It is important to understand the distinction between the Sequencer Record and Track Record modes: When you click on the Record button at the top of the Tracks window, Bars&Pipes Professional enters Sequencer Record mode. Only then can a Track in Track Record mode be overwritten. Otherwise, it simply acts as if it were in Play mode.

When you start Bars&Pipes Professional with either the Start or Play buttons after activating Record mode, Bars&Pipes Professional records MIDI data into the Tracks in Track Record or Merge modes.

This two-step operation is analogous to pressing the Record and Play buttons simultaneously on a hardware multi-track recorder.

NOTE-> Track Record mode allows you to determine which Tracks actually record MIDI data. Only tracks with their R/P/M selectors set to Record or Merge modes actually record when Bars&Pipes Professional Is put Into sequencer record mode. This feature allows you to determine which Tracks actually record MIDI data and which Tracks only play back.

Understanding the relationship between the Track Record mode and the Input Selector is important. Please keep in mind the following points:

The Input Selector indicates which Track is currently selected for keyboard input.
The Input Selector must be set to the same Track on which you want to record, and that Track must be placed in Track Record mode.
If you first set the Input Selector for a given Track, and then set that same Track to Track Record mode, changing the Input Selector to another Track also changes the new Track to Track Record mode, and cancels Track Record mode in the previous Track.
It's a good idea to get into the habit of selecting your options in the Tracks Window from left to right, since Bars&Pipes Professional was designed from the ground up to present you with all information logically as it would be encountered if you were viewing a flow chart.
Step Eight: Start Recording

To begin recording, click on the Start button.

* TIP * You can also use the Insert key on the numeric keypad on your Amlga keyboard. The Insert key is the same as the zero (0) key.

When you are finished recording, click on the Stop button or press the Enter key on the numeric keypad on your Amiga keyboard.

NOTE-> Notice that the Sequencer Record button turns off, but the Track Record button stays on. This is a safety feature. It enables you to Immediately review your recording without fear of erasing it.

Step Nine: View The Recording

When you stop recording, Bars&Pipes Professional redraws the Sequencer display with the current measure in the center and the Song Position Flag over it. It displays notes as blue lines in selected Tracks and as yellow lines in unselected Tracks.

To view an earlier section, drag the scroll bar below the Sequence section of the Tracks to the left, or to scroll one measure at a time, click on the left arrow.

To view a later section, drag the scroll bar to the right or click on the right arrow.

Step Ten: Play The Recording

Because the Sequencer Record button is no longer activated, you can safely play back your recording even though the Track is still in Record mode. Tracks in Record mode will not record or be erased if the Sequencer is in Sequencer Play mode.

NOTE-> If you have trouble with playback, refer to the previous chapter, Playing A Demo Songfile.

To play from the beginning, click on the Start button or press the Insert key on the numeric keypad on your Amiga keyboard.

To play from the current Song position, click on the Play button or use the Enter key on the numeric keypad on your Amiga keyboard.

You can also use the Start and Play buttons in a similar fashion when Bars&Pipes Professional is in Sequencer Record mode, in order to record from the beginning of the composition or from the current Song position, respectively.

If you are dissatisfied with what you hear, you can record a second time by clicking on Sequencer Record, then clicking on Start.

Step Eleven: Record A Second Track

Once you are finished with your first Track, click on the Input Selector of another Track to record. The "R" in the first Track should change to a "P" to indicate Play mode, while the "P" in the new Track should change to "R" to indicate Record mode.

{{Note|text=This may not happen if the first Track's Input Selector was not selected. You can change the "R" to a "P" In the first Track and the "P" to an "R" In the second Track manually in this case. Just click on the button.}}

Click on the Record button in the Transport Controls, then click on Start. Your first Track starts to play. Play along with it as the Sequencer records your performance on the second Track.

When you are finished recording, click on the Stop button and take the second Track out of Track Record mode. Next, click on the Start button to play both Tracks from the beginning.

You have now accomplished basic multi-track recording.

Step Twelve: Save Your Song

Now that you've composed some music, let's save it to disk.

Select Save As from the Song menu. Point the File Requester to the appropriate directory where you want to save your Song. Then enter a name for your Song and hit return, or click on the Save button.

Advanced Recording Topics

The rest of this chapter covers more sophisticated aspects of recording that you may not need initially but will appreciate as time goes by. Feel free to skim these topics and check back when the need warrants.

Multiple In Recording

There are times that you need to record multiple MIDI channels simultaneously. For instance, you might want to simultaneously record yourself on one Track and someone else on another Track. Or, you might want to transfer several Tracks from another MIDI Sequencer into Bars&Pipes Professional.

In either case, choose Multiple In from the Main menu's Preference menu. This turns the Input Selectors on each Track into MIDI channel selectors. Click on these selectors to choose which MIDI channel should enter into each Track. Now all Tracks act as inputs but each Track only receives MIDI events set for its particular channel.

When Multiple In isn't selected, all events, regardless of MIDI channel, are sent to the Track with the active Input Selector.

Manual Punching In And Out

Suppose you record a Track and discover one section that needs to be fixed. It would be a waste to record the entire Track just to get one phrase right. Bars&Pipes Professional solves this by letting you enter and leave record mode on the fly. This is called "punching in" and "punching out". Punch In switches Bars&Pipes Professional from playback to recording, Punch Out switches back to playback.

To switch from playback to record (punch in) at any point while the Song is playing, click on the Record button in the Transport controls. At this point, the music playing on all Tracks that are currently in record mode stops and the Tracks start recording. Switch back to playback (punch out) by clicking again on the Record button and the Tracks resume playing. You can continue to punch in and out as many times as is necessary. When you finally stop the performance and play it again from the top, all of the "punched" sections are erased and replaced with the new recording.

Automatic Punching In And Out

Manual punching in and out has its limitations. If you are working alone, you'd need two arms to play and a third to punch in and out. Bars&Pipes Professional provides that third arm with the Punch In and Punch Out Flags.

Bars&Pipes Professional's Punch In and Out Flags automatically switch the Sequencer in and out of Record mode at preset locations.

To use the Punch In and Out Flags, move them to the boundaries of the section you'd like to record.

To move a Flag, first drag the scroll bar at the bottom to display the desired section, then drag the flag itself to the desired location.

* TIP * You can also set flags directly with the Set Flags window, accessed from the Windows menu.

When you drag flags, Bars&Pipes Professional aligns them with time boundaries. Set the alignment with the Alignment option in the Preferences menu.

Once you've positioned the Flags, click on the Punch In/Out button in the Transport Controls window. (Open the Transport Controls window by double-clicking on its icon, or choosing Transport from the Windows menu.)

Doing so activates the Punch In and Out and sets the Sequencer to start four measures before the Punch In point.

If you'd rather start elsewhere, use the Rewind, Fast Forward, or Auto-Locate buttons to relocate the Position Marker after clicking on the Punch In/Out button.

After you've positioned the Flags, start the Sequencer. At the Punch In point; the Sequencer Record button automatically depresses and all Tracks in Track Record mode switch from playback to recording. At the Punch Out point, these same Track revert to playback.

* TIP * Double-clicking on the Punch In/Out button both moves the Song Position marker back four measures and starts the Sequencer automatically.

To Punch In only, drag the Punch Out flag to the far right, which places it at the end of the Song. To Punch Out only, drag the Punch In Flag all the way to the left, which places it the beginning of the Song's first measure.

If you select the Clean Cuts command in the Preferences menu, Bars&Pipes Professional will start recording at the Punch In flag. Any notes that were started in the measure prior to the Punch In flag will be truncated. Notes that end after the Punch Out flag will be truncated, as well.

If you do not select the Clean Cuts command in the Preferences menu, notes that you play before the Punch In flag will not be truncated or recorded at all in the Punch area. Notes that you hold past the Punch Out flag will not be cut off at the Punch Out flag.

Merge Recording

When you place a Track into Merge mode instead of Record mode, newly recorded events will be merged with the current contents of the Track.

Merge mode is designated by a red "M" in the Track.

Unlike Record mode, Merge mode does not erase the MIDI events that are already in the Track. Instead, it mixes the existing notes with the newly recorded MIDI events. Merge mode may also be used with the Punch In/Out function.

Loop Recording

The Loop button in the Transport Controls activates the Loop Mode recording function.

With Loop Mode, you can record one section of your Track over and over. Use the Loop Mode button in conjunction with the Loop Flags.

Position the Loop Flags on the boundaries of the section you'd like to loop. Then click on the Loop button, which in turn opens the Loop Record requester. Bars&Pipes Professional automatically places the Song Position Marker at the start of the looped section and activates the Sequencer Record button.

To begin recording, click on the Play button in the Loop Record requester. Bars&Pipes Professional plays the section marked by the Loop Flags eight times. This gives you eight opportunities to record in the looped section.

When the eighth loop finishes playing, or when you've clicked on the Stop button in the Loop Record Requester, another requester opens. This, the Loop Choice or Select A Section requester, allows you to choose which of the eight repetitions to keep. If you change your mind, select Cancel to abort the Loop Recording process.

The Loop Choice requester represents the eight versions recorded during Loop Mode by buttons numbered one through eight. Click on each number to hear its particular version. When you settle on a choice, click Okay to accept it. Bars&Pipes Professional retains only the selected version, discarding the other seven versions. If you are unhappy with all eight versions, select Cancel to discard all of them.

* TIP * For a different kind of loop recording, please read about the Pattern Tool in Chapter 27.

The Record Activation Window

The Record Activation window allows you to globally filter MIDI events when recording with MIDI In Tools. Furthermore, prerecorded MIDI events can be selectively left alone while others are recorded on top of them.

Open the Record Activation window by choosing the Record Activation option in the Main menu's Windows menu. A window similar to a MIDI In Tool's Control window opens.

Highlight the MIDI Events you want to record, and deactivate the MIDI Events you want to ignore. Events appearing in red are recorded, while unhighlighted events appearing in blue are filtered out.

Bars&Pipes Professional will remove filtered events before they enter the Sequencer. It will not, however, remove existing events of the same type that have previously been recorded into the Track.

Here's a quick example: Let's assume that you have recorded a sequence on Track 4 that includes pitch bends and control changes. If you want to rerecord the notes on the Track, but leave the pitch bends and control changes intact, choose to ignore (deactivate) Pitch Bend and Control Change in the Record Activation window. When you rerecord Track 4, the new notes will be recorded, while the pitch bends and control changes will be left alone.

Stuck Notes

If you experience stuck, or "hung", notes, click on the Stop button in the Transport Controls window. This sends the MIDI All Notes Off command through all Tracks to each Track output. As a result, most MIDI instruments turn off their voices.

Clogged Pipeline

It is possible to create a "logjam" in the PipeLines. For example, if MIDI enters and exits the same PipeLine, and the MIDI synthesizer returns the notes it receives to Bars&Pipes Professional, a feedback loop results.

At this point, none of the Transport Controls are operable. If this "logjam" occurs, press the Escape key on your Amiga keyboard. You may need to press Escape several times to completely clear the PipeLine.

==Tools==
Chapter 7

Overview

If you've read the previous chapter, you know how to record and overdub Tracks. Now it's time to move to one of the most important aspects of Bars&Pipes Professional: Using Tools.

What is a Bars&Pipes Professional Tool? Technically, a Tool is device that sits in a Track's PipeLine and performs an operation on the MIDI events flowing through it. Some Tools are musical in nature and perform operations that are standard operations, like delay and quantize. But Tools can also organize the flow of the music by interconnecting PipeLines, help compose music by creating or changing notes, and even translate music events into other media, such as displayed pictures.

Tool Modules

Tools are special additions to Bars&Pipes Professional's main program. Each Tool is actually a separate module that Bars&Pipes Professional loads. This is a very important concept.

You can expand the capability of Bars&Pipes Professional by adding more Tools without upgrading Bars&Pipes Professional itself. And, you can remove unneeded Tools to save memory.

Once you've loaded a Tool, Bars&Pipes Professional automatically installs it each time. When you remove a Tool, Bars&Pipes Professional will no longer install it.

{{Note|text=Sometimes, you might create a Song with a particular Tool in its PipeLines, save it, then remove the Tool at a later date. Great news! If Bars&Pipes Professional senses the Tool is missing, it reinstalls it automatically.}}

Multiple Usage Of Tools Once you've installed a Tool in Bars&Pipes Professional, you can use it in several different places at a time. Each time you drag a Tool out of the ToolBox, Bars&Pipes Professional makes a unique copy of the Tool. This way, you can setup each copy to behave differently.

Example:
Set one instance of an Echo Tool to create four echoes in Track 1, while setting a second Echo Tool in Track 2 to create only two echoes. Each Echo Tool is a unique copy of the original Echo Tool that Bars&Pipes Professional loaded when you installed it.

Tool Types

Tools fall into two primary categories: Music Tools and Multi-Media Tools. Within these categories, Tools are further classified as Input, Output, and Branching Tools. Input and Output Tools serve as the inputs and outputs of each Track's PipeLine, i.e., the MIDI In and MIDI Out Tools. Branching Tools connect PipeLines between Tracks. Combinations of Tools are called MacroTools.

Music Tools

Music Tools perform musical functions. The Quantize Tool (tightens the note timing,) CounterPoint Tool (creates a counter melody,) and Quick Patch Tool (sets up the MIDI instrument) are examples of Music Tools.

Multi-Media Tools

Multi-Media Tools, in conjunction with Bars&Pipes Professional's Media Madness window, control non-musical aspects of sequencing, including other hardware and software. The ANIMal Tool (plays animations,) Toasty Tool (controls the Video Toaster,) and Command Performance Tool (sends ARexx commands to other programs) are examples of Multi-Media Tools. Most of the Multi-Media Tools are also Output Tools. The Media Madness window controls Multi-Media Tools that are also Output Tools.

Macro Tools

MacroTools are a special category of Tools. MacroTools are combinations of regular Tools. Use MacroTools to create your own Tools by putting together individual Tools with the Create-A-Tool feature. MacroTools have icons, may be placed in PipeLines, and are loaded separately from disk, just like all other Tools.

The ToolBox

Bars&Pipes Professional organizes the installation, usage, and removal of Tools all from one window, the ToolBox.

Open the ToolBox by double-clicking on its icon, or choosing the ToolBox command from the Windows menu. The ToolBox window displays all currently installed Tools.

Tool Icons

Tools appear in the ToolBox as icons. Select a Tool by clicking once on its icon. To place a copy of the Tool in a Track or ToolPad, hold down on the mouse and drag the Tool to the desired destination. This makes a copy of the Tool and places it.

{{Note|text=If there are no Tools in the ToolBox, Bars&Pipes Professional can't find the Tools to load. Often this occurs with improper installation. You will need to load in the Tools one by one. Please see the section below, Installing Tools.}}

The Question Mark Button

The first icon in the ToolBox window, the grey box with the "?" (question mark), is not a Tool. If you click and hold the mouse button over the question mark, a pop-up menu opens containing the names of all the Tools in the ToolBox.

To select a Tool with the pop-up menu, drag the mouse pointer until the desired Tool name highlights; then release the mouse button. A copy of the Tool icon "sticks" to the mouse. You can then drag the Tool to a PipeLine or ToolPad to drop the selected Tool in it, or click anywhere else to eliminate the copy.

Tool Names

You can optionally display the Tool names to the right of each icon by selecting the Show Tool Names option in the Preferences menu of the ToolBox.

Installing Tools

The first time you run Bars&Pipes Professional, it loads a preset collection of Tools. This preset collection is a mere subset of the dozens of Tools that come with Bars&Pipes Professional. In order to access the additional Tools included with the program, you must install them.

To install a Tool, use the Install Tool command in the ToolBox menu. This command loads the Tool from disk, places it in the ToolBox and makes the Tool a permanent part of your environment. Once you've installed a Tool, Bars&Pipes Professional automatically loads the Tool every time it runs until you remove the Tool with the Remove Tool command.

Example:

Open the ToolBox window, if it is not already open.
Activate the ToolBox window by clicking on it.
Access the ToolBox menu by holding down the right mouse button and dragging the mouse pointer to the top of the Bars&Pipes Professional screen, over the words "ToolBox". The ToolBox menu opens.
Drag the mouse down over the words "Install Tool..." and then release the right mouse button. The file requester opens.
If the file requester is not already in the Tools directory, find the directory where you keep your Tools.
Find the Loop Tool in the Tools directory. Double-click on Loop to open it.

{{Note|text=A text file called Tools is kept in the Support directory to keep Track of which Tools have been installed. Although we don't recommend it, you can edit this file in a text editor. Please see Chapter 31, Customizing Your Environment, for more information on the Support directory.}}

You might load a Song or MacroTool that includes Tools that are no longer installed. Bars&Pipes senses this and tries to automatically install the missing Tools. If it can't find them, it prompts with the file requester and the missing Tool name. Then, Bars&Pipes Professional actually installs the missing Tool. As a result, the process of loading a Song can actually install one or more Tools permanently in the ToolBox!

Removing Tools

If you have a Tool in your ToolBox that you never use, consider removing it. Too many Tools eat up precious memory, take extra time when loading Bars&Pipes Professional, as well as create a jungle of icons.

To remove a Tool, first select it in the ToolBox. Then, select the Remove Tool command in the ToolBox menu. This removes the Tool and tells Bars&Pipes Professional not to automatically load the Tool every time it runs.

{{Note|text=If the Tool is in a Track, ToolPad, or ToolTray, Bars&Pipes Professional alerts you that the Tool is in use, and asks you to verify the operation.}}

The Remove Tool option does not erase the Tool from your disk. It only removes the Tool's name out of the active Tool list, stored in the file "Tools" in the Support directory.

Creating, Editing & Saving MacroTools

Three additional commands in the ToolBox menu control the design and updating of MacroTools.

To create a new, empty MacroTool, select the command Create MacroTool. This creates a blank MacroTool and opens the Create-A- Tool window to edit it. Please see Chapter 24, Create-A-Tool, for more information.

{{Note|text=You can Install and remove Macro Tools as you would any Tool.}}

If you'd like to make changes to an existing MacroTool, click once on the MacroTool to select it, then choose the Edit MacroTool command in the ToolBox menu, or double-click on the MacroTool. The Edit MacroTool command opens the Create-A-Tool window, so that you can make design changes.

Although the Create-A-Tool window automatically prompts you to save the MacroTool, you can also do so directly by selecting the Save MacroTool command found in the ToolBox menu. This opens the file requester, where you may choose a destination file.

{{Note|text=Saving a Macro Tool to a new location updates the Installation information in the Tools file. Bars&Pipes Professional will always load the Macro Tool from the new file location instead of the old.}}

Using Tools in the PipeLine

Tools are most often used in the PipeLine and ToolPad. In the PipeLine, a Tool processes music flowing through it. In the ToolPad, a Tool modifies entire segments of music all at once, using the Toolize command found in the Edit and Tracks menus.

A Tool in a particular Track's PipeLine modifies the MIDI data that flows through it. Most Tools may be placed in either the Input PipeLine or the Output PipeLine. Some Tools are Input Tools, and only place themselves as the first Tool on the Input PipeLine. Other Tools are Output Tools, and only place themselves as the last Tool on the Output PipeLine.

Bars&Pipes Professional displays the complete PipeLines with all Tools only in the Tracks window, although it does display the final Output Tools in the Media Madness window as well.

Placing A Tool In A Pipeline

To place a Tool in a PipeLine, drag a copy of the Tool from the ToolBox, another PipeLine, or a ToolTray (more on that later,) and drop it into the PipeLine.

Opening The Tool's Control Window

Double-click on a Tool in a PipeLine to open its Control window. Alternatively, highlight the Tool by single-clicking on it, and choose Edit from the Tool menu. You can edit the Tool's Control window while Bars&Pipes Professional plays and MIDI events flow through the Tool. As a result, you hear instant feedback as you make changes in the Control window. You can also open multiple Control windows at once.

Duplicating A Tool

You can duplicate an existing Tool in the PipeLine by clicking on the Tool and dragging it to a new location. Copying a Tool in this manner is useful because you can edit one Tool's Control window, then place duplicates in several other Tracks.

Moving A Tool In The PipeLine

To move a Tool in the PipeLine, click on the Tool once to highlight it, then choose the Move Left and Move Right commands in the Tools menu. Alternatively, you can use the left and right arrow keys on the Amiga keyboard to move the highlighted Tool. You can even make a Tool jump across from the Input PipeLine to the Output PipeLine and vice versa. You cannot, however, move Input and Output Tools.

{{Note|text=Remember, clicking on and dragging a Tool duplicates it, rather than moving it. Also, moving a Tool from the Input PipeLine to the Output PipeLine or vice versa breaks its connections with other Tools.}}

Connecting With Vertical Pipes

You can actually connect a Tool in one Track to Tool in another via vertical pipes. To do so, you need two types of Tools: The first type, the branching Tool, uses preset criteria to send MIDI events to another Track. There are many branching Tools. For example, the Keyboard Splitter Tool sends all notes below its split point to a second Track and the CounterPoint Tool can send the countermelody to a second Track.

The second type of Tool, the merging Tool, sits in the second Track's PipeLine and receives incoming MIDI events. Unlike the branching Tools, there is only one merging Tool included with Bars&Pipes Professional, the Merge In Tool.

{{Note|text=The Pro Studio and Creativity Add-On Kits include merging Tools that use MIDI events coming down the vertical pipes to control events in the second Track's PipeLine.}}

To connect a branching (sending) Tool to the merging (receiving) Tool, click on the branching Tool. Then select the Connect command in the Tools menu and click once on the merging Tool. A vertical pipe will be drawn between the two Tools, indicating that they are connected.

Removing A Tool

To remove a Tool from the PipeLine, highlight that Tool by clicking on it. Then select Remove from the Tool menu to remove the Tool. Alternatively, you can use the Del key on the Amiga keyboard.

Using Tools in the ToolPad

The ToolPad provides a means to permanently change your music. Whereas Tools in PipeLines process events as the events flow through them, Tools in the ToolPad do nothing until you use the Toolize command. Using the Toolize command causes the entire Song, individual Tracks, or parts thereof, to change permanently.

You'll find ToolPads in the Tracks window, the Edit and List Edit windows, the Media Madness window, and the Song Construction window. These buttons all represent the same ToolPad, regardless of which window they appear in.

Unlike Tools in the PipeLine, Tools placed in the ToolPad do not process notes as they are played. Instead, they process all of the notes in a Song, sequence, or section. For example, if you place the Quantize Tool in the ToolPad, you can use it to Quantize all of the notes in a selected Track. The ToolPad holds up to sixteen Tools at once.

Placing A Tool In The Toolpad

To place a Tool in the ToolPad, click and drag it from the ToolBox, a ToolTray, or even a Track's PipeLine, and drop it onto the ToolPad. If the ToolPad is not full, the new Tool takes the next empty slot. However, if the ToolPad is full, the new Tool replaces the currently displayed Tool in the ToolPad.

{{Note|text=You can put more than one of the same type of Tool in the ToolPad.}}

Selecting A Tool From The Toolpad

To select a Tool from the ToolPad, click down on the pad with the mouse and hold it. Under the mouse, a pop-up menu appears with sixteen Tools displayed. (The unfilled slots are displayed as empty pipes.) Move the mouse pointer to the Tool you need and lift up. The ToolPad now displays that Tool.

Editing A Tool In The ToolPad

To edit a Tool in the ToolPad, called a PadTool, first select it, then use the Edit PadTool Controls command in the Windows menu.

* TIP * You can also hold down the Shift key on your Amiga keyboard while dlcklng on the ToolPad.

This opens the Control window for the Tool, if one exists. Some Tools do not have parameters to change and therefore no Control window. You can keep the Control window open for the Tool as you use it to process your Song. You can even have several Tools' Control windows open at the same time.

Removing A Tool From The ToolPad

There is no need to remove a Tool from the ToolPad. Once the ToolPad is full, placing a Tool in the ToolPad replaces the currently showing Tool.

Toolizing With The ToolPad

Tools placed in the ToolPad can process all of the notes in an area of your Song. To do so, use the Toolize command, found in both the Edit and Track/Group menus.

The Toolize command in the Edit menu processes all notes on all Tracks between the Edit Flags. Set the Edit Flags (the two purple triangles) either by dragging them in the Tracks window or typing in positions in the Set Flags window.

For more information on editing with the Edit Flags, please see Chapter 20, Multi-Track Editing.

The Toolize command in the Track/Group menu processes all notes in the currently selected Track or a Group of Tracks.

* TIP * Use the Output PipeLine to test a Tool while changing its controls. Once you're pleased with the results, drag the Tool into the ToolPad and Toollze the entire Track to make the changes permanent. Then, delete the Tool from the PipeLine since it no longer is needed.

Replacing A Tool In The ToolPad

To replace a Tool in the ToolPad with another Tool, select the Tool to discard by choosing it from the pop-up menu so that it appears in the ToolPad on the screen. Then drag the new Tool from the ToolBox onto the ToolPad. The new Tool replaces the displayed one.

ToolTrays

The ToolBox organizes the original copies of each Tool. Every time you drag a Tool from the ToolBox and place it in a PipeLine, you must double-click on the Tool and edit its Control window. In other words, while a Tool resides in the ToolBox, it cannot be edited.

On the other hand, ToolTrays provide a place to keep preset versions of Tools. Just drag a Tool from the ToolBox into a ToolTray and then edit the Tool's Control window by double-clicking on the Tool in the ToolTray.

From then on, drag the Tool from the ToolTray instead of from the ToolBox, and the changes you made remain intact. You can organize up to sixteen individual copies of Tools in each of eight ToolTray windows.

To access a ToolTray, choose one of the ToolTrays in the Tool menu. If the ToolBox window is active, you can also select a ToolTray from the ToolTrays menu. The ToolTray window opens.

Drag a Tool from the ToolBox or from a PipeLine and drop it into the ToolTray beneath the horizontal gray line. The name of the Tool appears above the gray line.

Modify the name of the Tool by clicking on its name and using the Amiga keyboard.

{{Note|text=Changing the name of the Tool in the ToolTray does not change the name of the Tool in the PipeLine or ToolBox. This feature allows you to keep several copies of the same Tool in a ToolTray, and be able to distinguish between them when you dick on them.}}

For example, you might prepare two versions of the Quantize Tool with different resolutions and give each a name that describes its resolution.

Double-click on a Tool in a ToolTray to open that Tool's Control window. Set the parameters to whatever you want. When you drag this Tool into a PipeLine or ToolPad, it retains these parameters.

{{Note|text=The ToolTrays load and save with your composition.}}

For a complete explanation on using ToolTrays, please see Chapter 25, ToolTrays.

Examples

In the following sections, we present some step by step examples of using specific Tools. This will help you to understand the Tool concept, and how to use Tools in your own compositions.

Let's look first at a very simple Tool called the CounterPoint Tool. Open your ToolBox. If you do not see the CounterPoint Tool, install it.

{{Note|text=There are several ways to view Tools by name: You can dick on the ? button to access a scrolling list of Tools, You can dick on a Tool and view its name in the ToolBox window's Title bar. You can also select the Display Tool Names option in the ToolBox window's Preferences menu to display the Tools by name as well as Icon.}}

The CounterPoint Tool does not have a Control window.

Using CounterPoint On The Input Pipeline

Grab the CounterPoint Tool from the ToolBox by clicking on it with the left mouse button. Drag the Tool until it is over the Input PipeLine of Track 1, just to the right of the MIDI In Tool. Release the mouse button. Activate the Input Selector for Track 1.

Play a few notes on your keyboard. You'll hear an accompaniment to the notes you play

Here's how it works: The notes you play on your keyboard come into the active MIDI In Tool. Then, the notes flow into the CounterPoint Tool. The CounterPoint Tool creates a countermelody note for each note that enters it.

The original note and the countermelody note flow down the rest of the Input PipeLine and into the Sequencer. Even if Track 1 is in record mode, since we haven't activated the Sequencer Record mode, the notes just travel right on through the Sequencer .

When the notes reach the Thru/Mute/Play faucet, they continue through if it is in Thru mode. Thru mode is represented by a blue faucet with two inputs on the left side.

{{Note|text=If the faucet is red, without an Input on the left side, it is in Mute mode. Nothing will play out of the Track when the faucet is in Mute mode. If the faucet is yellow, with one Input on the left side, it is in Play Only mode. In Play Only mode, only notes previously recorded into the Track go through.}}

The notes flow down the Output PipeLine until they reach the MIDI Out Tool. The MIDI Out Tool sends the notes out the MIDI out port on your interface, on the MIDI channel selected by the MIDI channel selector. The MIDI channel selector is the blue number on the right of each Track.

Sending The Countermelody To Another Track

Now, lets record the original melody on Track 1, and the countermelody created by the CounterPoint Tool on Track 3. We can do this because the CounterPoint Tool is a Branching Tool. To use any branching Tool, you'll need the Merge Tool.

Select the Merge Tool from the ToolBox. Its icon is a horizontal length of pipe with an angled pipe entering it from the top left. If you don't see the Merge Tool, load it in. Place the Merge Tool on the Input PipeLine of Track 3.

Click on the CounterPoint Tool with the mouse. A red box surrounds it to show that it is the active Tool. Select Connect from the Tool menu, then click on the Merge Tool. Bars&Pipes Professional connects the CounterPoint Tool to the Merge Tool with a vertical piece of pipe. Now the countermelody flows down the vertical pipe and into the second Track.

With the Input Arrow on Track 1 still active, click on the blue 'P' in Track 3 until it turns into a red 'R'. The red 'R' should already be showing in Track 1.

Now, record another melody. When you stop the Transport, notes in Track 1 and in Track 3 are displayed. Track 1 contains the original melody, while Track 3 contains the counter melody.

Using CounterPoint On The Output Pipeline

Now that you have two Tracks containing a melody and a countermelody, let's see what happens when we place a CounterPoint Tool on the Output PipeLine of both Tracks.

You don't need to open the ToolBox to get another copy of the CounterPoint Tool. Just grab the one that is on the Input PipeLine of Track 1. Place copies of the CounterPoint Tool on the Output PipeLines of Tracks 1 and 3.

Press Start on the Transport Controls to listen to the effects of these Tools. You should hear four notes simultaneously: two out MIDI channel 1 and two out MIDI channel 3.

Toolizing With CounterPoint

Pick up another copy of the CounterPoint Tool and drop it into the ToolPad. The ToolPad is the box in the upper left corner of the Tracks window, to the right of the Solo button, and to the left of the Group buttons numbered 1 through 8.

Click on Track 1, then select Toolize from the Track menu. Notice that it instantly doubles all of the notes in Track 1, adding the countermelody to the recorded music. Press Start on the Transport to hear the results.

Other Examples

You'll find more Tool examples in the Tools chapter. Learning how to use Tools can be a daunting task. Take it slow and learn one Tool at a time. Try every Tool that you can in as many ways as possible. Experience is the best teacher.

Have fun and experiment! Remember, you can always leave a Tool's Control window open while you experiment with it. In particular, this is very useful for setting up a Tool while music flows through it in the PipeLine.

Once you've learned all of the Tools that come with the basic Bars&Pipes Professional package, remember that we continue to release new Add-On Tool Kits. Call or write to us for more information.
==Note Editing==Chapter 8

Overview

Bars&Pipes Professional's Graphic Editor lets fine-tune your composition. All of its buttons, menu options and features eliminate guess work. In fact, the Graphic Editor has so many features that we've divided our discussion of it into several chapters. This chapter covers specifically note entry and editing.

Sequenced Notes

Before we delve into editing notes with Bars&Pipes Professional, let's look at how Bars&Pipes Professional actually represents those notes.

Sequenced notes are comprised of MIDI note on and note off events that you've input. The MIDI standard allows for a total of 128 different note values, beginning with the note C0 (C, octave 0) denoted by the byte 0, and ending with the note Gl0 (G, octave 10,) denoted by the byte 127.

{{Note|text=Some synthesizers refer to the range as C-2 through G8.}}

Bars&Pipes Professional stores a note as a MIDI note pitch number, a starting time, and a duration. To reproduce a stored note, the Sequencer sends out the MIDI note on event at the starting time, waits for the duration, and then sends out the MIDI note off event for that note.

{{Note|text=In the Multi-Media portions of this manual, you will see references to items called hit lists. A member of a hit list is actually a note in disguise. While using hit lists, instead of note number representing a note, the note number represents a command. When a Multi-Media Tool receives this command, it performs whatever task you've programmed it to perform. You'll learn more about this in Chapter 28, Media Madness.}}

Opening The Graphic Editor

To Open the Graphic Editor, double-click on the Track you'd like to edit, or select the desired Track and press Return. The Graphic Editor window opens, and displays the Track.

{{Note|text=The Graphic Editor window is also referred to as the Edit window.}}

The Sequence Display

The Sequence Display occupies most of the Edit window. It shows your Sequence from left to right.

Vertical lines, indicating the beats and measures, provide you with a view of the exact time and place of each note.

SMPTE Time

Click on the SMPTE button, located on the far right end of the Graphic Editor's command button to view the Sequence Display in SMPTE time rather than in measures and beats. This option is very useful if you're working on a project where you need to know when particular events happen in absolute minutes and seconds instead of music time.

Sizing The Display

The Sizing... option in the Display Options menu gives you five choices for displaying data: Very Large, Large, Normal, Small and Very Small. If you choose Very Large, you can do very fine work with the timing of your notes. On the other hand, the lowest resolution, Very Small, is the same as the resolution in the Main Screen. At this resolution, you gain a much better feel for how your Song progresses.

You can also use the Zoom In and Zoom Out buttons to enlarge or reduce the display size. Click the Zoom In button to select the next larger size, up to Very Large. Click the Zoom Out button to select the next smaller size, down to Very Small.

{{Note|text=The sizing of a Track determines how many measures across will be printed when printing notation.}}

The Show Menu

From the Edit window, use the Show menu to determine what options Bars&Pipes Professional draws in the Sequence Display. By default, Bars&Pipes Professional displays the Hybrid Staff, Piano Roll and Velocity Curve, the options most frequently used. You can toggle as many options as you want at once by holding down the right mouse button and clicking the left mouse button over the items you want to toggle.

The Staff - Hybrid

Displaying The Hybrid Staff

When you select Staff-Hybrid from the Show menu, Bars&Pipes Professional displays notes as horizontal bars on a traditional treble and bass clef. The length of the bar reflects the length of each note. Bars&Pipes Professional marks accidentals with sharps and flats. If you haven't defined a key, the Staff defaults to the key of C MAJOR.

If you select the Hit List option in the Display menu, all notes that have hit translations assigned to them display the name of the hit (for example, "Dog Bark" or "Door Slam") instead of the note rectangle. Hit List Translations are used primarily by the Media Madness Tools and the List Editor. We'll talk about Hit Lists extensively in later chapters.

Centering The Hybrid Staff

The center of the Staff - Hybrid defaults to middle C, octave five on the MIDI keyboard. To change to another octave, use the Note Range... Staff Center command in the Display Options menu. The Staff Center requester opens.

In the box to the right of "Center", the requester displays the note currently at the center of the Staff. By default, the Staff centers around C5, the note C of the fifth octave.

To change the octave, click on the center note and hold the mouse down. Under the mouse, a pop-up menu appears with a choice of octaves. Move the mouse to the one you want and lift up. The center note changes to C of the octave you choose.

The Auto Center button automatically calculates the center note and accommodates the range of notes displayed.

When you finish, press Okay, to accept the new Staff Center, or Cancel, to leave it as it was.

The Piano Roll

Displaying The Piano Roll

When you select the Piano Roll, Bars&Pipes Professional displays your MIDI note events as horizontal bars on a graph which extends from a column of piano keys on the left. Like the Hybrid Staff, notes are blue.

If you select the Background... Key option in the Display Options menu, the spaces on the graph that make up the current key are displayed behind the notes in a faded purple color. To learn how to set the key, please see the chapter on Song Parameters.

Like the Hybrid Staff, you can also display notes as Hits by selecting the Hit List option in the Display menu.

Changing The Piano Roll Bounds

At times, the Piano Roll may display too much or too little of your composition. A Note Event can span a range of 128 notes, just over ten octaves. The Piano Roll can show all or any section of that ten-octave keyboard. Since an individual Sequence rarely ranges more than two octaves, Bars&Pipes Professional shows two octaves by default.

To change the range of notes displayed, select the Piano Roll Bounds command, which opens the Piano Range requester.

You can set two variables: the Upper Range and the Lower Range. Respectively, these denote the highest and lowest keys displayed on the Piano Roll. The Piano Roll will not display notes above the Upper Range nor below the Lower Range.

Define each boundary by the specific note and octave. To select the note, click on the note letter, in this example, C. A pop-up menu of a piano keyboard appears under the mouse. Drag the mouse to the note of choice and lift up. To set the octave, click on the octave number, in this case, 4, and a pop-up menu of octave choices appears under the mouse. Select the octave and lift up on the mouse.

The Auto Range button automatically sets the upper and lower boundaries of your sequence. To accept the new Piano Roll bounds, click on Okay. To return to the Graphic Editor window without any changes, select Cancel.

The Velocity Curve

When you select the Velocity Curve, Bars&Pipes Professional draws the velocity of each note as a vertical line. The greater the velocity, the higher the line. Since most synthesizers translate velocity directly to loudness, consider the velocity curve as a volume curve.

If your keyboard supports velocity, then the harder you strike the keys, the louder the instrument plays.

{{Note|text=A number of drum machines and synthesizers that don't respond to velocity when you play them directly nevertheless respond to velocity when they receive the notes from Bars&Pipes Professional.}}

Staff - Notation

When you select Staff-Notation from the Show menu, Bars&Pipes Professional displays the notes on a traditional treble and bass clef in standard musical format. Please refer to the section on Notation later in this chapter for more information about transcribing music to standard notation.

Tablature

When you select Tablature from the Show menu, Bars&Pipes Professional displays note pitches as fret numbers on guitar strings. The open string note value of each string, which can be changed, is shown on the left. For more information about transcribing to tablature, please refer to the Tablature section later in this chapter.

Editing Notes with the Mouse

Across the top of the Graphic Editor window sits a row of buttons. Think of these as a palette of options. By clicking on these, you select the manner in which you use the mouse to draw, erase, drag, and alter your music.

The buttons belong to three groups: the first nine buttons from the left, the Command buttons, determine how you use the mouse. The middle four buttons, the Default Note buttons, define the current note resolution for entering and editing. On the right lie the Zoom and Speaker buttons. Use the Zoom buttons to change the range of the display. Click on the Speaker button to hear the displayed section of music.

The Command Buttons

The first nine buttons from the left are the Command Buttons. As you click each one with the mouse, the mouse's icon changes. Most of these buttons have keyboard equivalents as well. Set the Command Buttons to determine how you use the mouse. The following list describes each button briefly.

From left to right, the buttons are as follows:

The Magnifying Glass displays information about notes you touch with the mouse.
The Pencil enters notes into either Staff, Tablature, or the Piano Roll.
The Magic Wand alters the length and velocity of notes in the Staves or Piano Roll; it alters the fret number of a note in Tablature.
The Hand grabs and drags notes.
The Duplicator makes an exact copy of the selected note and drags the copy to a new position.
The Eraser deletes notes.
The ToolPad contains selected Tools and processes notes with the currently-displayed Tool.
The Bounding Box, working in conjunction with the Drag, Duplicator, Erase, and ToolPad buttons, enables you to draw a rectangle around a set of notes and then Drag, Duplicate, Erase, or Toolize them. The Bounding Box, working in conjunction with the Magic Wand, allows you to tie notes together.
The Step Entry Button enables step entry of notes from a MIDI keyboard. This button enables you to enter notes and their durations at your own pace, without having to play your instrument keyboard in real-time.
Setting The Default Note

Before drawing, dragging, or step-entering notes, you must set the Default Note. The Default Note consists of a note value (eighth, quarter, etc.), a modifier (triplet, dotted, normal), an articulation (staccato, legato, etc.), and a dynamic level (pp through ff).

The middle group of four buttons sets these values. Upon being pressed with the mouse, each button reveals a pop-up menu with the options displayed. Drag the mouse to the desired option and lift up to select it. Bars&Pipes Professional displays your choice on the appropriate button.

From left to right, the buttons are as follows:

The Default Note Value and Default Note Modifier buttons determine the type of note to be entered by the Pencil or Step entry. It also determines the interval for dragging a note left or right, in conjunction with the Lock to Default Note option in the Prefs menu.
The Default Articulation button determines the length of the newly entered note.
The Default Velocity button determines the emphasis, or loudness, of the newly entered note.

{{Note|text=You can use the F7 through F10 keys to change these values. Use the shift key In conjunction with the function key to change them in the opposite direction.}}

Entering Notes With The Pencil

Activate the Pencil by clicking on the Pencil Button or pressing function key "F1". Then, click the Pencil on the display to enter notes in the sequence.

{{Note|text=Remember, the articulation (length) and dynamics (velocity) of the note you enter are defined by the Default Note.}}

Once you click down in the display, the way that the Pencil operates is determined by the following options in the Prefs menu:

Drag With Pencil: When you hold down the mouse after entering a note, the Pencil becomes the Hand so that you can drag the note. Lift up on the mouse button when you are satisfied with the note's position.
Lengthen With Pencil: When you hold down the mouse after entering a note, the Pencil becomes the Magic Wand so that you can shorten and lengthen the note. This option is most usable in the Hybrid Staff.
Lock to Default Note Entered notes align to the Default Note interval. For instance, if your Default Note is an eighth note, then all notes you enter align with eighth note increments in each measure.
Lock to Resolution: The Pencil works as it does with the Lock to Default Notes option, except that it uses the Resolution value defined in the Notation menu (please see the Notation section, later in this chapter, for more information.)
Lock to Key: The Pencil automatically places the notes in key (see Chapter 10, Editing Song Parameters.)
Lock to Rhythm: The Pencil behaves as it does with the Lock to Default Note option, except that it conforms all notes to the current rhythm template boundaries (please see Chapter 10, Editing Song Parameters.)
Entering Notes In Staves

To enter a note in a stave, click with the Pencil. To add a sharp or flat, press once on the up or down arrow keys.

{{Note|text=Whether the note displays as a sharp of flat is determined by the Key Signature. Please see Chapter 10, Editing Song Parameters, to learn how to set the Key Signature.}}

Entering Notes In The Piano Roll

Use the Pencil to enter notes within the range of the Piano Roll. To change the range, go to the Note Range... command in the Display Options menu.

Entering Notes In Tablature

Choose a string and click down on it with the mouse. A fret number appears corresponding to the current position defined in the Position option in the Tablature menu. Slide the mouse up and down to change the fret number, and therefore, the pitch. Please see the Tablature section, later in this chapter, for more information.

Entering Notes with Step Entry

Use the Step Entry option to enter notes directly into the Graphic Editor from your MIDI keyboard. With Step Entry, you can record at your own pace without having to play your MIDI keyboard in real-time.

Activating Step Entry

To activate Step Entry, click on the Step Entry button. The mouse icon becomes a picture of a person's leg on a step. Then, position the left Edit Flag (the leftmost purple triangle above the display) in the location that you would like to begin step entry.

Important Points

Before Step-Entering, remember the following:

Notes entering the Editor must first pass through the Tools in the Input PipeLine of the Track.
* TIP * To temporarily disable a Tool, move it to the right side of the Track. Do this by selecting them and pressing the right arrow key on your Amlga keyboard. Remember to return them to the Input PipeLine when you're finished Step-Entering.
Step Entry starts at the left Edit Flag. Click with the mouse at the point where you want Step Entry to begin. The left Edit Flag automatically snaps into place, marking the starting point for Step Entry.
Step-Entered notes use the Default Note and Articulation.
Step-Entering A Note

To Step-Enter single notes, play them one by one. After you lift up on each one, the cursor moves forward. To enter a chord, hold down each member note, lifting them all up at once. When you release all notes, the left Edit Flag moves to the right, allowing you to immediately enter another note or chord.

Step-Entering A Rest

To enter a rest, press the Space Bar. The rest will be the same duration as a note.

Backing Up And Erasing Mistakes

To back up a step, and erase a mistake, press the Backspace key.

Refreshing the Display

To refresh the display at any time while editing, press the Return key on your Amiga keyboard. If you have selected "Auto Redraw" from the Prefs menu, the display refreshes automatically and you do not have to press the Return key.

Boxing Notes

Several of the Command buttons can be selected in conjunction with the Bounding Box button (F6 key). The Bounding Box lets you draw a box around a group of notes, then edit them all at once.

To draw the box, click down where you'd like one corner of the box to be and drag the mouse to the opposite corner. A box grows as your mouse travels. The box never crosses the boundary between two display strips, for example the Piano Roll and either Staff.

Once you have enclosed what you want in the box, lift up on the mouse.

The beginning of a note must be within the box to be counted as being a member. If only the later half of a note is in the box, it will not be one of the boxed notes.

The Bounding Box works in conjunction with the Magic Wand, the Eraser, the Duplicator, and the Toolizer. As we discuss each of these in the pages to follow, we'll describe how to use the Bounding Box in each case.

Altering Note Lengths and Velocities

Once you enter Notes, you may need to edit them by changing their lengths and velocities. To the right of the Pencil sits the Magic Wand. Select this button to alter the data with the mouse, either by clicking on it or by pressing function key "F2".

{{Note|text=The Magic Wand, in conjunctlon with the bounding box, allows you to tie notes of the same pitch together. Please see Tying Notes, below.}}

Altering Notes In The Hybrid Staff And Piano Roll

Use the Magic Wand to alter the length of individual notes. Click down with the mouse over a note; the Editor highlights the note in red. Drag to the left to make the note shorter or to the right to make the note longer .

If the Lock Wand to Note option in the Prefs menu is enabled, the Wand sticks to the first note you select. No matter where you drag the mouse, it continually lengthens or shortens the note length. This is great if you want to edit just one note because the mouse never slips off the note.

If you want to change the lengths of more than one note at a time, deselect the Lock Wand to Note option in the Prefs menu. Edit the first note in the "stack", then drag the mouse vertically through the remaining notes. All remaining notes conform to the size of the first one you edited.

* TIP * You can also use the Left and Right Arrow keys to decrease and increase, respectively, a note's length.

Altering Notes In The Notation Staff

Use the Magic Wand to conform notes to the current Default Note. Click on any note; the Editor automatically changes the note length to that of the Default Note.

Altering Notes In Tablature

You cannot use the Magic Wand to alter the length of a note in Tablature. Instead, use one of the Staves or Piano Roll, or utilize the Magnifying Glass.

Rather than altering the length of a note, the Magic Wand alters the fret number of a selected note in Tablature. Click on the note with the Wand, and slide the mouse up and down to the desired fret number.

Altering The Velocity Curve

Drag the Magic Wand over the Velocity lines to change them. This way, you can change their individual volume levels. As an option, use the Up and Down Arrow keys to increase and decrease a note's velocity.

Tying Notes

You can tie notes of equal pitch together by using the Magic Wand in conjunction with the Bounding Box. Activate the Magic Wand and Bounding Box buttons. Surround the notes you want to tie with the Bounding Box. This ties all notes inside the bounding box that are of equal pitch together and leaves all other notes alone.

Dragging Notes

When you select the Hand button, either with the mouse or function key "F3", the mouse icon becomes a hand with one finger extending. Use this to drag and reposition notes.

Dragged notes are affected by the following options in the Prefs menu:

Lock to Default Note: The note you grab moves left and right on a grid defined by the Default Note. For instance, if the Default Note is a quarter note, every note you drag moves left or right at quarter note intervals.
Lock to Resolution: The note you grab moves left and right on a grid defined by the Notation Resolution defined in the Notation menu.
Lock to Key: The note you grab moves up and down, skipping notes that are not in the current key. Otherwise, the note moves up and down chromatically.
Lock to Rhythm: The note you grab moves left and right on a grid defined by the current rhythm template.
Dragging Notes In A Staff Or The Piano Roll

Dragging notes right and left moves them forward and back in time. Dragging them up and down changes their position on either Staff or the Piano Roll, thereby changing their pitch.

If you have the Play Notes option in the Prefs menu selected, Bars&Pipes Professional plays each note as you drag it.

If you hold down the shift key prior to clicking on the note, the hand only moves vertically or horizontally, but not both, depending on your first move. In other words, if you hold the shift key down, click on the note, and start to drag it up in pitch, the note locks in time and only lets you change its pitch no matter how far to the left or right you drag the mouse. Likewise, if you start by dragging left or right, the note only moves in time, it does not let you change its pitch.

Dragging Notes In Tablature

Dragging notes up and down in Tablature, across strings, causes the note to jump from one string to another. The pitch of the note remains the same, while the fret number changes.

To change the note pitch, use the Magic Wand. This changes the fret number on the string, thereby increasing or decreasing the pitch.

Using Hot Keys For Dragging

You may also use the arrow keys on the Amiga keyboard to move a note. First, highlight the note that you want to change. Then, use the left and right arrow keys to shift the note backward and forward in time by the default note amount. Or, use the up and down arrows on the Amiga keyboard to change note pitch chromatically. The up arrow increases the pitch by one half step. The down arrow decreases the pitch by one half step. This is a great way to add sharps or flats to notes.

{{Note|text=In the key of C Major, and all key signatures that have sharps in the key signature, notes may only be sharpened. For instance, the note F# may not be displayed as a Gb. In key signatures that have flats, notes may only be flatted. For instance, the note Gb may not be displayed as F#. Double sharps and flats are not supported.}}

When you use the Shift key in conjunction with the up and down arrow keys, the note shifts its pitch by an additional octave.

Dragging With The Bounding Box

You can use the Hand and Bounding Box together to move a group of notes simultaneously. First, use the mouse to draw a box around the group of notes you want to move. Then, click down in the box and drag it.

Duplicating Notes

To duplicate notes, click on the Duplicator button or press function key "F4". When you click and drag a note, Bars&Pipes Professional creates a new note of the same type, which you may then drag to a new destination. Once it is dragging the note, the Duplicator behaves identically to the Hand as described above.

You can use the Duplicator in conjunction with the Bounding Box to duplicate a group of notes simultaneously and drag them to a new location.

Erasing Notes

To use the mouse to erase Notes, choose the Erase button, either by clicking on this button or pressing "F5". In selecting this button, the mouse icon becomes a Pencil with the Eraser end pointing down and to the left. To delete notes, click down and drag the Eraser over the Notes. You do not need to click down on each note individually. Instead, click down and drag the mouse through the notes, erasing them all at once, much like an Eraser on a chalkboard.

* TIP * Use the Eraser and the Bounding Box to erase a group of notes simultaneously.

Toolizing Notes

The Graphic Editor Window contains a ToolPad. In it, you place Tools, which then can process, or Toolize, your music. The ToolPad holds up to sixteen Tools. This ToolPad contains a set of Tools identical to that in the Tracks window ToolPad. In fact, all of Bars&Pipes Professional's ToolPads, including those in other Graphic Editor Windows, share the same Tools

Placing A Tool In The ToolPad

To place a Tool in the ToolPad, dragit from the ToolBox, a ToolTray, or even a PipeLine, to the ToolPad. You can place Branching, Merge, and other pipe routing Tools in the ToolPad, but they have no effect on your music. If sixteen Tools occupy the ToolPad already, the new Tool replaces the currently displayed one.

Selecting A Tool From The ToolPad

Select the Toolize button by clicking on it once. The mouse becomes a wrench with a note in its mouth.

To select a Tool in the ToolPad, click on the ToolPad a second time, while holding the mouse down. A menu of sixteen Tools appears under the mouse. Select the one you want by moving the pointer to it and lifting up.

Editing A Tool In The ToolPad

To edit the parameters of the Tool currently displayed in the ToolPad, select Edit PadTool Controls... from the Display Options Window or press down the SHIFT key and click on the ToolPad.

The Control window for the selected Tool opens, if such a window exists. There you can set the variables determining the Tool's behavior. It isn't necessary to close a Control window before using the Tool. You can continue to make adjustments while you use the Tool.

Using The Tool

Tools work in three ways in the Graphic Editor. They process all notes between the Edit Flags; they process all notes within the Bounding Box; or they effect individual notes.

Once you select the ToolPad, the Tool processes any notes you touch with the wrench. Just drag the wrench through the notes to affect them immediately.

Although Toolizing individual notes may appear somewhat peculiar at first, it's an extremely useful feature. Tools can quantize, transpose, modulate, filter, echo, invert, and do much more on a note-by-note basis.

To process all notes between the Edit Flags, first drag them to border the range of notes you'd like to Toolize. Then, select the Toolize or Selectively Toolize commands from the Edit menu. We'll discuss Toolizing with the Edit Flags in depth later in this chapter.

You may also use the Bounding Box to Toolize or Selectively Toolize a group of notes. Click down with the mouse and draw a box around the notes you'd like to Toolize.

Magnifying Notes

Use the Magnifying Glass to analyze and modify notes. The Magnifying Glass allows you to operate on a note's values by typing them in specifically.

When you select the Magnify button the Magnify window opens.

The Magnify window displays all of the properties of any note that you touch with the mouse and lets you edit them. Use the left and right arrow keys to move from note to note. Use the up and down arrow keys to move through all of the MIDI events in chronological order.

{{Note|text=The Graphic Editor window must be activated in order to use the arrow keys, not the Magnification window.}}

The Time Field

The first field in the Magnify Window, "Time", indicates the time in measures, beats, and clocks of the note. The second field, "HMSF", indicates the time in SMPTE format (Hours, Minutes, Seconds, Frames). To change the time, click on either line with the mouse and enter a new time. Press the Return key to indicate that you've finished and the note jumps to the new time.

The Note Information Fields

Three information fields, "Note", "Velo", and "Leng", follow. The first indicates the note value as a key and octave, e.g., "A3", for A in the third octave. The second indicates the velocity , how hard you played the note. Often, this translates to note volume. The last field, "Leng", denotes the length of the note in measures, beats, and clocks.

{{Note|text=Press the Return or Enter keys on your Amlga keyboard after you change a line to confirm the change.}}

Undoing, Updating, and Aborting

Any changes that you make while in the Graphic Editor do not take effect until you either choose the Update command from the Edit menu or close the Graphic Editor.

{{Note|text=If you haven't updated the Track but you'd like to hear your edits along with the other Tracks, enable the Perform All Tracks option in the Prefs menu and dick on the Speaker button.}}

Of course, if you don't like your edits, you can close the Editor with no changes made to the Track by selecting the Abort command in the Edit menu.

Finally, if you make a single mistake while editing you don't necessarily want to Abort the entire editing session. Select the Undo command from the Edit menu to undo your last edit.

Here's a rundown of the Edit menu commands:

Undo (Right Amiga - U)
Use Undo in the Edit menu to return your Sequence to its state prior to the last edit operation. In addition to undoing any of the commands in the Edit menu, Undo works on all of the mouse-based editing operations, such as inserting, dragging, and altering Events.

Update (Right Amiga - Z)
Use Update in the Edit menu to update the Tracks window. In this manner, your changes are integrated into the Song without closing the window.

Abort (Right Amiga - Q)
Use Abort in the Edit menu to abort the editing process and revert your Track to its condition at the last Update (or before opening its Graphic Editor). The Graphic Editor window closes without updating the Track.

Auditioning Your Edit

In the Edit window, you have the option of hearing notes as you enter or drag them. Also, you can listen to the visible portion of your music, or listen to the portion from one Edit Flag to the other. You can hear these portions by themselves, or in context with the other Tracks you've recorded.

Hearing Notes As They Are Entered Or Dragged

If you set the Play Notes flag in the Prefs menu, every time you enter, drag, or Toolize a note, you will hear it. Bars&Pipes Professional sends the note from the Graphic Editor out through the Output side of the Track's PipeLine. If this option is not selected, the editing process is silent.

Listening To The Displayed Section

To listen to the portion of your Song displayed in the editor window, click the Speaker button. You can use the Sizing option or the Zoom In/Zoom Out buttons to control how much of your Song Bars&Pipes Professional plays.

Listening To The Portion Between The Edit Flags

Choose the Listen option in the Edit menu to play the music from the left Edit flag to the right Edit flag.

Hearing Edits In Context With Other Tracks

Choose the Perform All Tracks option in the Prefs menu. When you click on the Speaker or choose the Listen option, the Editor plays all of the Tracks along with the music in the Graphic Editor. Otherwise, if you do not select this option, the Editor plays only the notes in its window.

Performing With The Transport Controls

You can also listen to your edits in context by clicking on the Start button in the Transport Controls, starting the Sequencer. However, this plays from the Track, not the Edit buffer.

{{Note|text=This provides a valuable way to compare your edits before and after. Play from the Transport Controls to hear the muslc prior to opening the Ed,t window. Enable Perform All Tracks and dick on the Speaker button to hear the music with the new edits in place.}}

Scrolling With The Sequencer Performance

Performance Select Scroll With Performance from the Display menu if you'd like the Sequence Display to scroll along when you play from the Transport Controls.

Viewing Your Edit With Other Tracks In The Background

You can view other Tracks in the background of the Graphic Editor's Hybrid Staff and Piano Roll displays. To do so, go to the Tracks window and create a Group composed of the Track you are editing and the Tracks you'd like to see in the background. Once the Group is active, the extra Tracks display in grey in the background of the Graphic Editor. This feature allows you to compare notes in one Track with notes in others.

{{Note|text=Please see Chapter 19, Advanced Sequencing, for information on creating and using Groups.}}

Notation

Displaying Notation

When you select Staff-Notation from the Show menu, Bars&Pipes Professional displays the notes on a traditional treble and bass clef in standard musical format.

Bars&Pipes Professional marks accidentals, those notes which fall outside of the selected key, with sharps or flats. If you haven't defined a key, the Staff defaults to the key of C MAJOR (no standard notes sharped or flatted).

{{Note|text=The Edit window refreshes after each editing operation whenever Staff-Notatlon is activated.}}

The Notation Resolution

When you select Staff - Notation, Bars&Pipes Professional creates rests and ties on the fly. Bars&Pipes Professional uses the duration of each note and the notation resolution to determine what the music looks like. The notation resolution is the smallest note value (eighth, sixteenth, etc.) that Bars&Pipes Professional displays.

You can control the resolution of the notation by selecting Resolution from the Notation menu.

By default, Bars&Pipes Professional selects a sixteenth note resolution. Always choose a resolution that corresponds to the shortest note in the Track. Otherwise, Bars&Pipes Professional displays the note at the selected resolution, which means that shorter notes may run together. On the other hand, if you set the resolution too small, Bars&Pipes Professional can add unnecessary fractions of notes that muddle the page.

{{Note|text=Bars&Pipes Professional plays the notes as you have composed them, even if the selected Resolution causes them to display improperly.}}

Notation Transposition

Bars&Pipes Professional supports two different key types: Concert Key and Transposed Key. Transposed Key applies to those instruments that require transposition, e.g., Eb Alto Sax or Bb Clarinet. If you select a Transposed Key for a particular Track, you have the option of displaying it either in Concert Key or Transposed Key.

To assign a Transposed Key to a Track, select Transposition... from the Notation menu. This opens the Transposition requester.

Most of the time, you'll be using the Transposition Type button. When you click down on this button, Bars&Pipes Professional opens a pop-up menu containing a list of all popular instruments.

If you are writing for an instrument that is not in the list (e.g., piccolo trumpet), select Custom from the list. Then adjust the Octave and Interval sliders to the desired transposition. The Octave slider steps the transposition by octaves; the Interval slider controls the interval within an octave, e.g., a major third or minor sixth. You can also alter any of the instrument presets in the list.

To switch the display of a Track to Concert or Transposition Key, select Notation... from the Display Options menu.

Updating The Notation Display

In certain situations, typically after a lot of editing, the Notation display may contain a few errors. To refresh the Notation display, use the Update Transcription command found in the Notation menu. Bars&Pipes Professional recalculates where to place ties and rests, then redisplays the Track's Notation Staff.

Transcribing Notation

The Transcribe option in the Notation menu goes one step further than the Update command. It commands Bars&Pipes Professional to recalculate the notation values of the notes themselves. It uses the value chosen in the Resolution... option to determine the smallest note that may be displayed. It also uses the options in the Transcription Options requester to determine how it addresses various transcription issues.

You can transcribe the entire Track, or just the portion of the Track between the Edit window's Edit Flags by choosing All or Between Flags respectively. Bars&Pipes Professional then calculates the notation value for each note, and insert rests appropriately.

Transcription Options...

The Transcription Option requester controls the way Bars&Pipes Professional transcribes music. Open it by selecting the Transcription Options command in the Notation menu.

The Transcription Options requester contains three categories of buttons: Note length options, Note stem options, and Chord options.

The Note length buttons help Bars&Pipes Professional decide how to represent a note's length. The following lists each Note length option in detail:

Overlap Notes
When you select Overlap Notes, the Transcribe command handles overlapping notes by creating tied notes. Otherwise, the Transcribe command truncates the first note before starting the second. By default, Overlap Notes is off for a cleaner, though slightly less accurate, representation.

Extend Notes
When you select the Extend Notes option, the Transcribe command extends each note to the next note or beat, whichever comes first. This option makes the display cleaner because it minimizes the use of rests.

Insert Rests
When you select the Insert Rests option, the Transcribe command displays rests. Otherwise, rests will not be transcribed. By default, this option is on.

The Chord Options also control the way Bars&Pipes Professional transcribes music. Bars&Pipes Professional considers notes that begin at the same time, within the selected Resolution, to be members of the same chord. These options control how it decides to display notes in one chord.

The following Chord Options are mutually exclusive:

Shorten Notes
When you select the Insert Notes option, the Transcribe command causes all notes in a chord to be displayed as the smallest note in the chord.

Lengthen Notes
When you select the Lengthen Notes option, the Transcribe command causes all notes in a chord to be displayed as the longest note in the chord.

Keep Note Lengths
When you select the Keep Note Lengths option, the Transcribe command transcribes the notes in a chord to different lengths. It splits longer notes into tied notes.

The Note Stems options controls how Bars&Pipes Professional transcribes stem directions:

Auto Stem
The Auto Stem option lets Bars&Pipes Professional decide which directions to place the note stems.

Stem Up
The Stem Up option sets all note stems up.

Stem Down
The Stem Down option sets all notes stems down.

Oppose Rhythm
With the Oppose Rhythm option selected, Bars&Pipes Professional analyzes the music for two different rhythms in each measure. If there are two different rhythms, it sets the stems up on the first rhythm and the stems down on the second. This option is useful in conjunction with printing notation.

Printing Notation

Choose the Print... command from the Notation menu to open the Print Requester for the Track. Please see chapter 11, Printing Notation, for more information.

Centering The Notation Staff

The center of the Notation Staff defaults to middle C, octave five on the MIDI keyboard. To change to another octave, use the Note Range... Staff Center command in the Display Options menu. The Staff Center requester opens.

In the box to the right of the Center: prompt, the requester displays the note currently at the center of the Staff. By default, the Staff centers around C5, the note C of the fifth octave.

To change the octave, click on the center note and hold the mouse down. Under the mouse, a pop-up menu appears with a choice of octaves. Move the mouse to the one that you want and lift up. The center note changes to C of the octave you choose.

The Auto Center button automatically calculates the center note and accommodates the range of notes displayed.

When you finish, press Okay to accept the new Staff Center, or Cancel, to leave it as it was.

Tablature

Displaying Tablature

When you select Tablature from the Show menu, Bars&Pipes Professional displays note pitches as fret numbers on guitar strings. The open string note value of each string, which can be changed, is shown on the left. To the left of that is either an ON or an OFF. This value is used by the Tabulate... menu option in the Tablature menu. If a string is ON, it may have notes assigned to it. Otherwise, notes are not be assigned to it.

Setting The Tablature Resolution

Use the Set Tablature Resolution command to control how Bars&Pipes Professional spreads notes across the strings. This opens the Tablature Resolution requester.

Since tablature is not concerned with durations of notes, every note could potentially be transcribed to the same string (provided that the pitch of the note exists on the string).

Notes which sound simultaneously obviously need to be transcribed to different strings in order to be played simultaneously. Notes which do not sound simultaneously can be played on the same string, one after another.

The larger the Tablature Resolution, the more notes Bars&Pipes Professional attempts to transcribe simultaneously. This value is measured in clocks. When Bars&Pipes Professional transcribes one note, it goes on to the next note and the next note, filling up each of the six guitar strings.

Once Bars&Pipes Professional has looked ahead of the first note by the number of clocks set by the Tablature Resolution, Bars&Pipes Professional starts over from scratch, filling each string with a note, one by one.

You can set the Tablature Resolution from one clock to 768 clocks.

Setting The Tablature Position

Use the Set Tablature Position requester to control which position, or fret, Bars&Pipes Professional uses during transcription. This value can be set to auto, or from one to 23.

With auto position chosen, Bars&Pipes Professional attempts to find the most comfortable position for the notes to be played in.

When a specific position is chosen, Bars&Pipes Professional attempts to place all notes within one fret below and four frets above the selected position.

Transcribing Tablature

Use the Tabulate... command to transcribe your music to tablature. Choose All or Between Flags to transcribe all of the Track or just the portion between the Edit Flags.

Changing String Octaves

Open the Change String Octaves requester to change the octaves of all strings up or down.

This allows easier access to some transcriptions.

Enabling And Disabling Strings

Sometimes, you may want to transcribe a piece of music only to certain strings. Use the ON/OFF toggle to do so. Click with the Magic Wand on the ON/OFF to toggle between the two.

{{Note|text=Even though a string may be disabled for transcription, you can still drag or Input a note by hand onto that string.}}

{{Note|title=Tip|text=MIDI guitarists can use this feature to get an accurate transcription of what to play. (Please see below.)}}

Changing Open String Notes

Click with the Magic Wand on the open string note value, and drag the mouse up and down to change the open string note value.

Creating A Note In Tablature

To create a note in tablature, click in the tab area with the Pencil. A number appears, indicating the fret number. To set the pitch to the desired note, continue by dragging the mouse up or down to change the number to the correct fret. The duration of the note created is equal to the default note value.

Editing A Note In Tablature

Only the pitch of a note can be changed in Tablature, not the duration. Use the Magic Wand to change the note pitch of existing notes. Click on the note's fret number with the Wand; then drag the mouse up and down to change the fret number. To change the duration, use the Wand in the Piano Roll or Hybrid Notation displays. To change the note velocity, use the Wand in the Velocity display.

Creating An Accurate Transcription

If you record from a MIDI guitar, Bars&Pipes Professional can create an accurate transcription of what you play. Set up Bars&Pipes Professional to record each string on a separate Track, using the multiple-in preferences option, and have your MIDI guitar output each string on a different MIDI channel.

After recording, go into each Track's Edit window. Display Tablature, and set the ON/OFF toggles for each string so that only the correct string is ON, and all others are OFF. Choose the Tabulate... option from the Tablature menu to transcribe the music to the string. This sets each Track to tabulate all of its notes on only the chosen string.

Once you've finished with all six strings, close each Edit window. Create a Group out of the six Tracks, and use the Merge option in the Group menu to merge all six Tracks into one Track. Each note retains its string identity. When you look at the Tablature for the merged Track, you will see an accurate transcription of what you've played.

{{Note|text=Please see Chapter 19, Advanced Sequencing, for Information on creating and using Groups.}}

Cut and Paste Editing

The first menu on the left in the Graphic Editor window is the Edit menu. Most operations in this menu work on the section between the Edit flags. The Edit flags are the purple triangles above the Sequence Display.

We'll refer to the section between the Flags as the Clip. A Clip includes all Events and Parameters which occur between the two Flags. You can drag the Edit flags to any location, and then cut, copy, paste and place Clips into the Clip buffer or, if it is open, the ClipBoard.

{{Note|text=The ClipBoard is explained in the Multi-Track Editing chapter.}}

To set an Edit Flag, click down on it and drag. If you drag beyond the edge of the display, it scrolls. The Edit Flags follow the same rules for alignment as the Flags in the Tracks window; when you lift up on the Flag, it jumps to the leftmost alignment boundary. By default, alignment is set to every measure. Change the alignment by selecting from the Align With... option in the Prefs menu. Alternatively, set the alignment with the alignment buttons in the Set Flags window.

Let's look at each edit command in the Edit menu:

Cut (Right Amiga - X)
Use the Cut command to cut a Clip from your Sequence. Doing so removes the section between the Edit Flags. Everything to the right of the section shifts to the left Edit Flag. You can then use the Paste command to insert the Clip elsewhere in your Track. If the ClipBoard window is open, the Clip displays in it. Use this if you'd like to Cut and Paste between multiple Edit windows. When the ClipBoard window is closed, the Clip remains hidden for use within the same Track.

Copy (Right Amiga - C)
Use the Copy command to copy a Clip without actually removing it. Nothing visibly happens, but the section between the Edit Flags becomes a Clip, available for Pasting. If the ClipBoard window is open, the Clip appears in it.

Paste (Right Amiga - P)
Use the Paste command to insert a Clip after the placement of the left Edit flag. If the ClipBoard window is open, the Paste command uses the currently selected Clip in the ClipBoard. Otherwise, it uses the result of the last Cut or Copy operation from the same Edit window.

You may do multiple Paste operations with the same Clip. The Clip remains the same until the next Cut or Copy command.

Mix (Right Amiga - M)
Use Mix to merge a Clip on top of a section. Starting at the left Edit Flag, Bars&Pipes Professional mixes in Events such as notes, pitch bends, and after-touches, but ignores Parameters such as Chords, Rhythms, etc. Once again, if the ClipBoard window is open, the Mix command uses the currently selected Clip in the ClipBoard. Otherwise, it uses the result of the last Cut or Copy operation from the same Edit window.

Erase (Right Amiga - E)
Use Erase to clear the section between the left and right Edit Flags. All Events disappear, which leaves your Sequence silent during this section. Erase is different from the Cut command, in that the section to the right of the Clip is not shifted over to the left Edit Flag and nothing is placed in the ClipBoard for later Paste or Mix operations.

Insert (Right Amiga - I)
Use Insert to insert a blank space in your music between the Edit Flags. This command comes in handy when adding a section somewhere in the middle of the Sequence. Insert the section, then use whatever methods you prefer to fill the gap with music.

Delete (Right Amiga - D)
To delete a section between the right and left Edit flags, use the Delete command. This command operates identically to the Cut command, but does not place the deleted section into the Clip buffer or ClipBoard.

Toolize (Right Amiga - T)
Use Toolize to process the Clip with the currently selected Tool in the ToolPad.

Selective Toolize
Use the Selective Toolize command to selectively Toolize only certain events and note ranges between the two Edit Flags. When you select this option, a requester appears.

Highlight in red the MIDI event types you want to Toolize. If you select Note On/Off, you may select a note range with the two sliders.

Once you've set the parameters, select the Toolize button. The Tool in the ToolPad processes all activated event types and, if Note On/Off is activated, all notes between the upper and lower limits inclusive.

Repeat... (Right Amiga - R)
Use Repeat to duplicate a section of your Sequence. This command makes multiple copies of the section between the Edit Flags and inserts them into the Sequence.

When you select the Repeat command from the Edit menu, the Repeat requester opens. enter the number of repeats, then select Okay or Cancel.

Listen (Right Amiga - L)
Use Listen to preview everything in the section between the Edit Flags. Bars&Pipes Professional plays all MIDI Events in the section at the current tempo. Because the Events travel down the PipeLine, any Tools you have selected to process the Output PipeLine will process the section as it plays.

* TIP * The Listen command is different from the Speaker button because the Listen command plays back everything between the Edit Flags. The Speaker button plays back everything that is visible in the Edit window.

If the Perform All Tracks option in the Prefs menu is selected, the Listen command plays all other Tracks in the sequence as well.

Boundaries... (Right Amiga - B)
Use Boundaries to enter the numerical values for the Edit Flags. Doing so opens a requester into which you can type positions for the two Flags.
==MIDI Event Editing==

Chapter 9

Overview

Notes aren't the only MIDI events you can record, edit and play. Bars&Pipes Professional lets you work with all MIDI channelized events, including Pitch Bend, Program Change, Control Change, and more.

Entering and editing other MIDI events is similar to entering and editing notes. In this chapter, we'll show you specifically how to enter and edit these special MIDI events.

Types of MIDI Events

When musical information travels through a MIDI cable, it's broken into individual commands that describe specific actions. These commands are commonly called "MIDI messages", or "MIDI events."

With Bars&Pipes Professional, you can record, play and edit all of the MIDI-channeled voice events. These events encompass all the commands that control how your synthesizer(s) can play: what notes to play, how loud to play them, how much pitch bend to include, etc. The MIDI channeled voice events embody the actual performance. Let's look at each:

Note On And Note Off Events

Note On and Note Off are by far the most important MIDI events. They describe when a note starts to play and when it ceases to do so.

From a MIDI perspective, Note On and Note Off are separate entities. When you press a key on your MIDI keyboard, it immediately sends a MIDI Note On event which states that the note is playing. Your MIDI keyboard has no way of knowing however, how long you'll sustain that note. Not until you lift your finger off the keyboard does it send a MIDI Note Off event. As you see, the performance of a note is described by MIDI as two separate occurrences.

In traditional music, a note is considered one event, not two. Bars&Pipes Professional's Sequencer combines Note On and Note Off to create one note event that describes when the note starts, as well as its duration. Even so, it's useful to remember that a note is broken into two parts when it leaves your keyboard, zings across MIDI to your Amiga, flows down a PipeLine, enters the Sequencer and combines into one.

Upon playback, a note is once again broken into two parts, which flow down the right side of the PipeLine, out through MIDI, and into your synthesizer.

Note Velocity Data

In addition to the actual value of the note, the MIDI Note On event also stores the note's velocity, i.e., how hard you strike the key to produce the note. Note Velocity translates into note emphasis or volume. To view and edit MIDI Note events, please see the preceding chapter.

Pitch Bend Events

Pitch Bend allows the performer to bend the pitch of a note. Since bending a note is an extremely powerful form of musical expression, almost all MIDI instruments provide it. The MIDI Pitch Bend event states how far out of pitch all notes are shifted at a specified point in time.

The MIDI Pitch Bend event can be confusing. While it states how far between two extremes the pitch is shifted, it has no knowledge of the boundaries of those extremes. It does not explicitly state, "Shift all notes up a half step." Instead, it says, "Shift all notes up one-eighth of the maximum distance by which you shift." The synthesizer produces the shifting pitch that decides how to interpret the bend. You can set the range on most synthesizers between one half step and a full octave for the Pitch Bend extremes.

Bars&Pipes Professional draws each MIDI Pitch Bend event as a vertical line stemming from a central axis. If the pitch bend is positive, or sharp, the line extends up from the axis. If the pitch bend is negative, or flat, the line drops down. Although you can think of a pitch bend over time as a continuous curve, in MIDI terms it's a series of individual Pitch Bend events, which is why the resulting display looks more like a picket fence, the tops connected to describe the steps of the curve.

Mono After-Touch Events

Mono After-Touch measures how hard you press a key on a MIDI keyboard. The changing pressure is converted into numeric values which are constantly sent down the MIDI link. When these describe the overall pressure on the keyboard, as opposed to individual key pressure, they are Mono After-Touch events. Just how the key pressure is interpreted is completely up to the performing synthesizer. Two typical uses are vibrato and volume control.

Bars&Pipes Professional draws each MIDI Mono After-Touch event as a vertical line and connects the tops with a horizontal line. The greater the key pressure, the higher the line.

Poly After-Touch Events

Poly After-Touch transmits key pressure on an individual key basis. Poly After-Touch MIDI events specify both the key being pressed and its current pressure. Unfortunately, since the hardware to do this is expensive, not many keyboards feature it. For the machines that do support it, Poly After-Touch can be used to describe note emphasis on a continually changing basis.

Bars&Pipes Professional displays Poly After-Touch events in the same way that it displays Mono After-Touch events: with a vertical line denoting pressure, however, since these events also specify which note each After-Touch influences, you can specify the range of notes as well. Do this by setting the Piano Roll note range with the Note Range command in the Display Option menu. All notes displayed in the Piano Roll have their After-Touch values displayed; all others do not.

Control Change Events

Control Change handles many different continuous controllers. Continuous controllers are hardware devices such as volume pedals, breath controllers, and modulation wheels. Every time you alter the position of one of these devices, the device sends a MIDI event reflecting the new value. These events are called MIDI Control Change events. The receiving synthesizer interprets this information to generate vibrato change the timbre of a sound, or adjust the volume.

No limit exists on the scope of sound-producing parameters that can be controlled with these events. In order to support multiple controllers, the Control Change event carries two pieces of data, an identifier that specifies a controller, and the controller data itself.

The identifier, called the Control Change Number, can range from 0 to 127. For example, most synthesizers use Control Change #1 to set the Modulation Wheel and Control Change #7 to set the Volume. The data, the actual position of the wheel, pedal or other controller, is a number between 0 and 127.

Since 128 different Control Change numbers exist, you can't see them all at once. For example, if Bars&Pipes Professional were simultaneously to display a rising Volume Pedal event and a decreasing Modulation Wheel event, it would be impossible to make sense of the resulting mixture, much less edit it with the mouse. Bars&Pipes Professional shows, therefore, only one Control Change type at a time.

To select which Controller you'd like to view and edit, use the Control Change # option in the Display Options menu.

Program Change Events

Program Change tells your synthesizer what sound, or "patch," to use when playing notes. This event holds a number, from 0 to 127, which identifies which patch to use. For example, on your synthesizer, patch #2 could be a violin, patch #45, a marimba. If your synthesizer receives a Program Change event with patch #2, it plays the violin. Later, if it receives a Program Change with patch #45, it switches to a marimba.

Most synthesizers can switch between sounds instantly. It is possible, therefore, to embed Program Change events in your sequence that switch among several voices on the same synthesizer as it plays your piece of music. Embedding such Program Change events is a great way of squeezing more performance out of your available hardware.

Unfortunately, no correlation exists between Program Change patch IDs and specific sounds. Patch #2 may be a violin on one synthesizer and a dog bark on another. The General MIDI Standard is an attempt to remedy this problem. It standardizes the assignment of patches to instruments. For example, with all General MIDI instruments, Patch #0 is a Grand Piano.

Bars&Pipes Professional displays Program Change events as numbers, 0 through 127, or as Patch Names if they have been defined in the Define Patch Lists window. These numbers and names indicate to which patch the synthesizer switches when receiving the event.

System Exclusive Events

System Exclusive events are special commands unique to the instrument (or product line). Manufacturers use System Exclusive events, for example, to set pitch bend ranges, transpose keys, send new patch data to the instrument, and many other functions. The user's manual for your instrument can tell you whether your instrument supports System Exclusive events, and what they do.

Unlike the previous commands, System Exclusive events are not generally considered performance events and they do not obey the same system of MIDI channels as performance events. However, they can be useful to record and play, so Bars&Pipes Professional's recording, playback, and editing mechanisms support them.

Bars&Pipes Professional displays the first four bytes of a System Exclusive event in the strip. Entering new events (with the Pencil) or editing existing events (with the Wand) opens the System Exclusive requester, described in Chapter 13, System Exclusive.

Editing MIDI Events

Use the Graphic Editor to edit MIDI events. To open the Graphic Editor, double-click a specific Track. The Graphic Editor window opens, displaying your selected Track, starting with the measure you clicked on. Depending on which MIDI events you want to edit, it may or may not display all of the appropriate data. To select the events you'd like to edit, check them off in the Show menu of the Graphic Editor window.

You can toggle several Show menu options at once by holding down the right mouse button and pressing the left mouse button over each option you want to toggle. This feature can be a big timesaver, especially if you're changing five or six options.

The Command Buttons in the Graphic Editor

The first eight buttons from the left of the Graphic Editor are the Command Buttons. The Command buttons determine how you use the mouse: for dragging events, erasing events, or whatever. As you click each button with the mouse, the mouse's icon changes. Most of these buttons have keyboard equivalents as well. The following list describes each button briefly:

The Magnifying Glass displays information about events you touch with the mouse.

The Pencil, or function key "F1", draws new events.

The Magic Wand, or function key "F2", alters events.

The Hand, or function key "F3", grabs and drags events.

The Duplicator, or function key "F4", creates an exact duplicate of the selected MIDI event.

The Eraser, or function key "F5", deletes events.

The ToolPad allows you to process MIDI events with certain Tools

The Bounding Box, or function key "F6", working in conjunction with the Hand, Duplicate, Erase, and ToolPad buttons, enables you to draw a rectangle around a set of events and then move, duplicate, delete, or Toolize them.

Setting the Lock Grid

In the last chapter, Note Editing, we needed to set the Default Note before drawing notes. This is because notes have definite durations and volumes. Other types of MIDI events do not have this information. However, it may still be desirable to set some type of quantization for entering and dragging MIDI events.

Before drawing or dragging events, set the Lock grid. The Lock grid determines on what boundaries events fall when dragged or entered. Set the Lock options with the Lock to Default Note and Lock to Notation Resolution options in the Prefs menu.

No Lock Selected

If no Lock grid is selected, events can be dragged and entered at the resolution of the display, which is typically about 4 clock cycles (with 192 clocks per quarter note). In order to tweak the event time even further, use the Magnifying Glass or List Editor.

Lock To Default Note

Selecting Lock to Default Note in the Prefs menu causes events to lock to a grid with intervals corresponding to the Default Note value. The Default Note consists of a note value (eighth, quarter, etc.), and a modifier (triplet, dotted, or normal). Please see the previous chapter, Note Editing, for more information about setting the Default Note.

{{Note|text=The Default Note also contains an articulation (staccato, legato, etc.), and a dynamic level (pp through ff). However, these are only used with Note events, discussed in the previous chapter.}}

Lock To Notation Resolution

Selecting Lock to Notation Resolution in the Prefs menu cause events to lock to a grid with intervals corresponding to the Resolution value assigned in the Notation menu.

Lock To Rhythm

Selecting Lock to Rhythm in the Prefs menu causes events to lock to a grid corresponding to the current Rhythm template. Please see the next chapter, Song Parameters to learn more about Rhythm parameters.

Entering MIDI Events

Use the Pencil to enter MIDI events. To do so, click on the Pencil button, which highlights it. Notice that the mouse resembles a Pencil. Enter events by clicking down with the mouse where you want the first Event. Then drag it across the display to enter a trail of events. Here is what happens when you draw in each MIDI Event type:

Note On And Note Off Events

Please refer to Chapter 8, Note Editing, for more information.

Pitch Bend Events

To enter a Pitch Bend curve, click down with the Pencil where you'd like it to start and drag it to the right. Set the height of each Pitch Bend Event by the vertical position of the mouse. The current Default Note determines the distance between each Pitch Bend Event. If you'd like many events close together for high resolution, select a small Note Value. Sixty-fourth note resolution works very well.

Mono After-Touch Events

To enter a Mono After-Touch curve, click down with the Pencil and drag it to the right. Remember that the Default Note determines the distance between each Event.

Poly After-Touch Events

Drawing in the Poly After-Touch curve is a bit complex because each Poly After-Touch Event corresponds to a particular note. In other words, Bars&Pipes Professional organized Poly After-touch event according to its Poly After-Touch information and its pitch, denoted as a letter and an octave number, such as C5.

As you draw the curve with the Pencil, two factors govern which note corresponds with which Event. First, Bars&Pipes Professional includes only notes within the range of the Piano Roll. Second, Bars&Pipes Professional chooses the current or most recent note in the sequence. As a result, if the Piano Roll displays a C in octave 5, Poly After-Touch events drawn under that note have C5 integrated into them.

Control Change Events

To enter a Control Change curve, you must select the right Control Change number. Then click down with the Pencil and draw in the Control Change events.

To avoid confusion, Bars&Pipes Professional displays only one Controller at a time. Use the Control Change # command from the Display Options menu to open the Control Change Number requester.

After the Controller #: prompt enter the Controller number that you want Bars&Pipes Professional to display or click on the Next Controller button to cycle through all the Control Change numbers in your Sequence. This way, you can quickly jump from one Control Change number to the next. Cycling is also useful for discovering what types of Control Change events are embedded in your Sequence.

Program Change Events

To enter each Program Change, select the Pencil and click in the Program Change region.

You can select a Program (or "Patch") by number, and, if a Patch List is installed, by name as well. To select by name, click the button after the Patch: prompt and hold. A scrolling list of available patch names appears under the mouse. Drag the mouse and click on your choice. To select by number, drag the slider under the Patch name.

The button after the Synth: prompt displays the currently selected Patch List. If you'd like to change it, click on the button and select a different Patch List from the scrolling list.

Create and install Patch Lists from the Patch List window, accessed from the Define menu.

{{Note|text=Each Track references one Patch List. Not only does this list define the names displayed in the Program Change requester and Program Change display, it also defines the Patch List used by the Quick Patch Tool.}}

System Exclusive Events

To enter a System Exclusive event, select the Pencil and click in the System Exclusive region. This opens the System Exclusive requester, described in detail in Chapter 13, System Exclusive.

Altering MIDI Events

Once you enter events, you can alter them. To the right of the Pencil sits the Magic Wand. Once you select the Magic Wand, you can alter the events with the mouse. Click down and pass it over the events you want to change and their heights magically conform to the path of the mouse. Notice that the Magic Wand draws a line as the events change shape.

This holds true for all MIDI Event types except for the Program Change and System Exclusive events. To alter one of these events, touch the event line with the Magic Wand. The Program Change requester or System Exclusive requester appears, which allows you to alter the event data.

Dragging MIDI Events

If you select the Hand button, you can use it to drag events forward and backward in time. Because Bars&Pipes Professional displays most MIDI events as thin vertical lines, you're not required to position the mouse exactly over an Event before you click on it. Instead click down the mouse and sweep it through the Event. The Event sticks to the mouse,. which you can then drag to its destination.

All of the "Lock to" options in the Prefs menu operate on other MIDI events, just like note events. If you set the Lock to Default Note option in the Preferences menu, the item moves to a grid defined by the Default Note. For example, if the Default Note is a quarter note, everything you drag moves left or right at quarter note intervals. Select Lock to Resolution to lock to the Resolution assigned in the Notation menu. Select Lock to Rhythm to lock to the current Rhythm template.

You can also use the Right and Left Arrow keys to move events forward or backward in Song time.

Duplicating MIDI Events

To duplicate events, click on the Duplicator button or press function key "F5." When you click and drag an event, Bars&Pipes Professional creates a new event of the same type, with the same data, and places it at the destination.

Erasing MIDI Events

To erase events, choose the Erase button, which, when selected, causes the mouse to resemble an Eraser. Click down and drag the Eraser through MIDI events to delete them.

Toolizing MIDI Events

You can Toolize all MIDI events, although most Tools concentrate specifically on Note events. Exceptions to this rule are the Delay and Echo Tools, which work on all Event types, and the Modulation, Flip, and Inverter Tools, which do their work on both Poly After-Touch and Note events.

Toolizing other MIDI events is similar to Toolizing Note events. Please see the previous chapter, Note Editing, for more information on Toolizing.

Boxing MIDI Events

You can select some of the Command buttons in conjunction with the Bounding Box. When you use the Bounding Box, you affect everything within it.

To draw the box, click down where you'd like one comer of the box to be and drag the mouse to the opposite corner. A box grows as your mouse travels. The box does not cross boundaries between data displays. Thus, you can't draw a box that encompasses Pitch Bend events as well as Mono After-Touch events.

The Bounding Box works with the following four Command buttons:

The Hand Button
The Hand drags everything in the box with the mouse. Once you create the box, click down on it a second time and drag it. All MIDI events in the box move with the mouse.

The Duplicate Button
The Duplicator duplicates everything in the box. Once you create the box, click down on it and drag it. A copy of the selected MIDI events moves with the mouse.

The Erase Button
The Eraser erases every MIDI Event within the box, once you lift up on the mouse.

The ToolPad
The ToolPad Toolizes all events within the box with the currently selected Tool.

Magnifying MIDI Events

When you select the Magnify button, the Magnify window opens and the mouse resembles a magnifying glass. The Magnify window displays data which can be edited, about each MIDI Event currently being touched with the mouse. Use the Right and Left Arrow keys on your Amiga keyboard to move through the selected event types one by one. Use the Up and Down Arrow keys to move to the event which occurs next chronologically. Bars&Pipes Professional displays the type of event in the Title bar of the Magnify window.

The first field in the Magnify window, labelled "Time," lists the time in measures, beats, and clocks. The second field, labelled "HMSF," lists the time in SMPTE format. If you click in either line with the mouse, you can change the time by entering a new one. Press the Return key when you complete the line. This causes the Event to jump to the new time.

All of the other lines differ depending on the type of MIDI Event. Remember, after you edit any of these lines, you just press the Return key to register the change. Here's a listing of what each Event's Magnify window displays:

Pitch Bend Events

Pitch Bend has one line, "Bend," which displays a numeric value for the bend.

The maximum positive pitch bend is 8191. The maximum negative bend is -8192. A positive bend makes the music play up in pitch, while a negative bend makes it flat.

Mono After-Touch Events

Mono After-Touch has one line, "Pres," which represents the key pressure.

The numbers range from 0, for no pressure, to 127, for extreme pressure.

Poly After-Touch Events

Poly After-Touch has two fields, "Note" and "Pres."

Poly After-Touch has two fields, "Note" and "Pres." "Note" identifies the key being pressed, while "Pres" shows the pressure as a number between 0 and 127.

Control Change Events

Control Change has two fields, "CC #" and "Data."

122 different Control Change numbers exist. The first line specifies which controller this Event addresses. The second provides the data, a number between 0 and 127.

Program Change Events

Program Change has one field, "Ptch," which is a patch selection number between 0 and 127.

System Exclusive Events

System Exclusive has three fields, "Time," "HMSF," and "Data." Clicking in the Data field opens the System Exclusive requester.

==Editing Song Parameters==
Chapter 10

Overview

Song Parameters describe your music in terms more sophisticated than MIDI events. They provide the foundation for your composition.

Song Parameters do not affect your composition directly. Instead, they are used by Tools, Accessories, and other functions to indirectly effect or further illuminate your composition. For instance, Time Signatures affect the display and printout of notation. Chords can be used in conjunction with the Chord Player Tool. Dynamics can be used with the Phrase Shaper Tool.

There are two different uses for Song Parameters: the Master Parameters, which characterize your Song as a whole, and the Track Parameters, which override the Master Parameters and work on a Track-by-Track basis.

Song Parameters are edited in the same Graphic Editor you've been using in the two previous chapters.

To edit the Master Song Parameters, open the Graphic Editor from the Windows menu by selecting Master Parameters. To edit the Song Parameters for any Track, double-click on the Track's sequence display in the Tracks window.

In the Graphic Editor window, Bars&Pipes Professional displays each Parameter in a band that runs from left to right. On the left side of each band is the name of the Parameter.

Select which Parameters you'd like to see from the Show menu.

Since the display can't possibly show all Notes, Parameters and Events at once, a scroll bar on the right enables you to scroll up and down.

An Explanation of Each Parameter

Six different Song Parameters exist. Before we discuss how to enter and edit them, let's consider how they relate to music in general:

Lyrics

Lyrics are words which accompany music. They exist in rock, blues, opera, pop, jazz, heavy metal, church music, and many other musical forms. Lyrics can reinforce a composition's tone or contradict it altogether. They, as well as the meter, rhyme scheme, and rhythm you choose, can complement the music and further its meaning.

Recognizing that not all music is purely instrumental, Bars&Pipes Professional allows you to enter lyrics directly above the measures in which they occur.

You can use the printing Accessory, "Follow the Leader," to print your Lyrics. Also, if you save your Song in MDI File Format with the "sMerFF" Accessory, sMerFF saves the lyrics so that notation programs that read MIDI File Format can display your lyrics with the music. The Graphic Editor displays each word positioned in its appropriate measure.

Chords

Chords consist of three or more notes played at once. Many types exist, but the most common in popular music are major and minor chords and derivations thereof. Basic chords can be formed by taking the first three of every other note in a scale and playing them simultaneously. Sound confusing? Let's look at an example:

A "C major" scale consists of the notes "C,D,E,F,G,A,B,C." To form a triad (a chord with only three notes) in this key, pick a root note (the bottom of the chord) and build up from it by choosing every other note in the scale. A D triad in the key of C consists of the notes D, F and A. An F triad in the key of C consists of the notes F, A, and C. By skipping every other note, you form basic triads within a key.

Every triad or chord conveys a certain emotional tone. Minor chords are often used to project sadness, anger, or seriousness, while major chords tend to sound happy and pure. Since a major scale contains seven distinct notes, seven basic triads exist within the scale. In other words, a triad can be constructed by using each note of the scale as the root note. CEG, DFA, EGB, and FAC are the first four triads in the key of C.

More specifically, rules govern the "flavor" of each triad as it relates to a key. In a major scale, for example, the triad built on the second note in the scale is always minor. The triad built on the third note is minor, too, but the triad built on the fourth note is major.

If you have a keyboard available, play the triads by moving note by note up the C major scale and you can hear the differences in tonal quality. Some triads are major; others, minor. (The triad built on the seventh note is "diminished" in quality, but since this manual has space limitations, we won't branch into aspects of music theory that would explain this.) Major triads are based on the interval formula, "root note + two whole steps + a whole step and a half". Minor triads are based on the formula "root note + a whole step and a half + two whole steps."

The Chords option presents an assortment of chord types including major, augmented, major7, major6, dominant7, minor, minor-6, minor+5, minor6, minor7, minorMA7, diminished, minor7-5, diminishedMA7, dominant 7-5, major9, dominant7-9, dominant9+5, dominant7 -9+5, and the list goes on. Should you fail to find one to your liking, create your own chords in the Define Chords window.

Although Bars&Pipes Professional doesn't play chords automatically, they provide valuable information that can be used by Tools to assist in the composing process. Once chords are entered into a Song, Tools come into play that make sophisticated musical decisions based upon your chord choices. As an illustration, the Accompany B Tool takes your chords and hammers out a rhythmic accompaniment. The "Follow the Leader" Accessory prints your chord changes.

Bars&Pipes Professional displays the root note followed by the chord type. For instance, the major chord CEG is shown as C MAJOR.

Key & Scale/Mode

Key & Scale/Mode indicates the key, or tonal center, of a composition. The tonal center is the single note around which your music revolves. In the key of "C major," it is the note "C;" in the key "Ab minor," "Ab." For nearly every piece of music, a key can be ascertained and assigned. The key, and hence the key signature, provides a framework for composition.

Directly related to keys and key signatures are scales. A scale, in its simplest definition, is a series of notes ascending from a specific note. Every type of scale is formulaic in nature; each is determined by half-step and whole-step relationships, which stem from the tonal center. (On a piano, C, a white key, is a half step from C#, a black key, and a whole step from D, another white key. Although not every white key is a whole-step from the white key next to it and a half-step from the black key next to it, for the most part, this is true.)

To illustrate, the formula for a major scale begins with the tonal center and progresses a whole-step (denoted by "W"), W, half-step (denoted by "H"), W, W, W, H. (All the white keys in succession from C to C on a keyboard.) Minor scales are a bit trickier as there are several types.

Although most American music fits into either the Major or Minor scales, many other scales exist. Some of these are the Whole Tone, in which every note is a whole-step beyond its predecessor; the Chromatic, where every note is a half-step beyond its predecessor; the Pentatonic, containing only notes 1,2,4,5,and 6 of the major scale; and the Gypsy, whose formula is W, H, W+H, H, H, W+H.

Not only is Key & Scale/Mode useful for editing, since the Graphic Editor can display the key signature and accidentals on the Staff, it is also quite useful for Tools that work with your music. For example, the CounterPoint Tool creates a countermelody accompaniment by knowing your chosen note system and calculating the proper intervals according to the rules of first species counterpoint. As with chords, Bars&Pipes Professional comes with a long list of preset scales and all of the classical modes. You are free, however, to design your own with the Define Scales window.

Bars&Pipes Professional displays the tonal center, or key, followed by the scale or mode name, e.g., C Major, Eb Minor, F# Blues. The Staff displays the key signatures for all major and minor scales as well as for all of the modes.

The Display Options menu provides the option of showing the Key & Scale/Mode on the Piano Roll. This command, Background... Key, shadows the current Key & Scale/Mode in a hazy purple. As a result, you can easily compose while staying within your chosen Key & Scale/Mode. Along the same lines, the Lock to Key option in the Preferences menu confines all notes you enter or edit into your chosen Key & Scale/Mode.

Rhythm

Rhythm, in its simplest form, conveys the motion of your music. Beats of varying lengths are organized into rhythmic patterns. Rhythms can be simple or complex, on the beat or off. Certain styles of music are noted first and foremost for their rhythmic form. For instance, Samba music is characterized by syncopated rhythmic patterns, where the beat is shifted to the upbeat, or second half of the beat, over a 2/4 meter, and Shuffle is known for its triplet-based feel in 4/4 time.

Armed with a particular rhythmic style along with the key and chord progressions, any capable musician can quickly construct a Song. Once again, some Tools can use rhythm to make intelligent decisions as they process your music. Accompany B is a good example. It combines the Rhythm and Chord parameters to play a chord pattern. No limit exists to the scope of conceivable rhythms, and although Bars&Pipes Professional does come with a set of pre-defined rhythms, you will almost certainly use the Define Rhythms window to create your own.

Bars&Pipes Professional displays each rhythm by name. If you select Background... Rhythm in the Display Options menu, Bars&Pipes Professional displays the Rhythm pattern in the background behind all the Parameters and MIDI Events. This pattern resembles a set of vertical bands. This gives you a visual cue for how the rhythm lines up with other events.

Use the Background... Rhythm option to analyze how your Rhythm relates to your Sequence. Keep this in mind: a Rhythm consists of Note events, which have durations. The durations determine the width of the bands, some of which may overlap.

Remember, Rhythms don't play anything by themselves. Used in conjunction with Chords and the Accompany B Tool, Rhythms can command Accompany B to play Chords at a defined pace and syncopation. The Groove Quantize Tool uses the Rhythm to lock a performance to the Rhythm's timing. Please refer to the Music Tools chapter for more information.

Dynamics

Dynamics indicate the volume at which each section of music is played. If you're familiar with classical notation, you will recognize these markings as the following lower case letters: "pp," "p," "mp," "mf," "f," and "ff." These abbreviations stand for pianissimo (very soft), piano (soft), mezzo piano (medium soft), mezzo forte (medium loud), forte (loud) and fortissimo (very loud), respectively.

A crescendo gradually increases the volume. The inverse is true of a decrescendo or diminuendo. Without dynamic road signs, music sounds stagnant and lifeless. Dynamics focus attention on or away from various segments of a piece. Ironically, sometimes a quiet section of music is easier to hear than a loud one.

You can define the overall volume of your Song with the Dynamics Parameter. With dynamics, you can draw crescendos and decrescendos.

Bars&Pipes Professional shows the Dynamic curve as a set of points with lines drawn between them. Each point represents a dynamic setting; for example, mezzo piano (mp) or fortissimo (ff). The connecting line conveys the dynamic change over time between the two points. To show a dramatic crescendo across one measure, you might start the measure with a dynamic point labeled "pp' and end with a second, labeled "ff." The Editor automatically draws a line between them.

{{Note|text=Like all Song Parameters, Dynamics do nothing unless they are used in conjunction with a Tool. The Phrase Shaper Tool is a very simple, but powerful implementatIon of Dynamics. It takes each note, places it against the Dynamics curve, and assigns it the proper velocity.}}

Time Signature

A Time Signature appears at the beginning of a piece as two numbers, one above the other. The lower indicates the type of note that is used to measure each beat, (half note, quarter note, etc.), while the upper indicates the number of such beats per measure. 4/4 is by far the most common time signature.

Time signatures provide the basic rhythmic framework of a piece. Though most popular music, such as rock-n-roll, rhythm and blues, and funk, tends to be in symmetrical meters (2/4, 4/4, or 6/8), uneven meters (3/4, 5/4) often lend a fresh feel and unpredictability to music.

Bars&Pipes Professional uses traditional time signature notation and permits a different time signature to be assigned for every measure that exists in a sequence. You can therefore experiment with a multiplicity of beat resolutions. Bars&Pipes Professional also permits different time signatures in different Tracks simultaneously.

Bars&Pipes Professional supports all standard time signatures; however, in keeping with the "one-size-fits-all principle," you can use time signatures as bizarre as 77/8 or 36/2. To enter a time signature, select one from the pre-determined palette or enter your own.

The Time Signature defined in the Master Parameters window is the main Time Signature displayed in the Tracks window. Please see the chapter, Advanced Sequencing, for more information. Individual Tracks can also contain their own Time Signatures that are different from the main Time Signature.

Two Important Considerations About Song Parameters

You do not have to use all the Parameters that Bars&Pipes Professional provides. Rarely would you use all six while composing a single piece of music. The organization of your Song, and more importantly, which Tools you use, dictate which Parameters are necessary and which are a waste of time.
Depending on how you use them, some Parameters may be more useful on a Track-by-Track basis, while others may be preferable in the Master Parameters window. Lyrics, Key, Rhythm and Time Signature usually belong to the entire composition. On the other hand, you may have different voices singing different lyrics or juxtapose different rhythms on individual Tracks.
* TIP * As you add and edit Parameters, think about the appropriateness of their placement. Fortunately, it's quite easy to move Parameters between the Track and the Master Parameters windows, should you want to change them.

Bars&Pipes Professional follows a simple rule with all Parameters: when a Tool uses a Parameter to process a Track, it first checks the Track Parameters. If the required Parameter type is not represented, it refers to the Master Parameters for the data.

Editing the Master and Track Parameters

Two scenarios exist for editing Parameters: editing the Master Parameters or editing the Track Parameters.

Master Parameters define the guidelines used in your Song as a whole. For example, if you add Key and Scale/Mode to your Song, you can place it in the Master Parameters window, since usually every Track shares the same key. On the other hand, you may want separate Dynamic curves for each Track. In this case, use the Track Parameters on an individual Track basis.

To access the Master Parameters, select the Master Parameters option in the windows menu. To access the Parameters for an individual Track, open the Graphic Editor by double-clicking on the Sequencer.

The Master and Track Parameters share the same user interface. By default, Bars&Pipes Professional displays all Parameters when you open the Master Parameters window and none of the Track parameters when you open the Graphic Editor. To display the Master or Track Parameters of choice, select them from the Show menu of the Graphic Editor or Master Parameters window. (You'll notice that the Show menu enables only the Parameters when opening the menu from the Master Parameters window.) This lets you hide the parameters in one window that you're using in another.

You can toggle-select more than one parameter at a time by holding the right mouse button while the Show menu is open, then clicking the left mouse button over the parameters you want to toggle. This can save you some time whenever you change the parameters to display.

The Master Parameter Window Buttons

The Master Parameters window is actually the Graphic Editor with only the Song Parameters available for editing. Please refer to the Note Editing chapter for a thorough guide to this window.

The Command Buttons

The first nine buttons from the left are the Command Buttons. When you press each, the mouse's icon changes. Set these to determine how you use the mouse.

The command buttons in the Master Parameter window are the same as the command buttons in an Edit window. Please refer to Chapter 8, Note Editing, for more information about each command button.

The Lock Grid

Just like other MIDI Events, Song Parameters respond to the "Lock to" menu items in the Prefs menu. Please see the previous chapter, MIDI Event Editing, for more information.

Entering Parameters

Parameters may be entered into either the Master Parameters window or an individual Edit window for a Track. Remember to activate the parameter you want to edit by selecting it in the Show menu.

To enter a parameter, click on the Pencil button or function key "F1." The mouse pointer becomes a Pencil. The way that the Pencil operates is determined by the following options in the Prefs menu.

If you choose the Drag With Pencil option, click down to enter a parameter and the Pencil becomes the Hand so that you can drag the parameter. Lift up on the mouse button when you are satisfied with the parameter's position.
If you choose the Lock to Default Note option, entered parameters align to the Default Note interval. For instance, if your Default Note is an eighth note, then all parameters you enter correspond to eighth note increments in each measure.
The Lock to Resolution option works just like the Lock to Default Notes option, except that it uses the Resolution value defined in the Notation menu.
The Lock to Rhythm option works the same as the Lock to Default Note option, except that it conforms all parameters to the current rhythm template boundaries.
Here is what happens when you draw in each Parameter type:

Lyrics

When you click the Pencil in the Lyrics region, the Lyrics Entry requester opens.

Lyrics must be entered in such a way that each word lines up at its proper position in the music.

If you arbitrarily place a complete sentence at the beginning of a line, the singer won t know on which beat to sing each word. However, opening the Lyrics Entry requester for every word would be time-consuming. So, the Lyric requester let's you enter a line of lyrics and then it breaks it up into individual lyric parameters.

To enter Lyrics in the Song Parameters, enter the entire sentence or phrase on the Lyrics: line. Then enter the number of measures over which this sentence or phrase occurs at the Measures: prompt.

When you press Okay, Bars&Pipes Professional breaks your sentence into its component words and spaces them equally across the number of measures you define. It places the first word at the point you clicked to open the requester.

You can also break words into syllables by placing a dash, followed by a space, between each syllable. Because each word or hyphenated syllable becomes a separate entity in your sequence, it can now be individually positioned to your taste.

When you close the requester, you may find that some of the Lyrics are not exactly where you want them. Follow with the Hand to drag them into position.

Chords

To enter a Chord, click the Pencil on the Chord region and hold the mouse button down. An octave of piano keys appears under the mouse. Choose the root note of the chord by dragging the mouse to the note and lifting up.

The Graphic Editor then tries to choose an appropriate chord, given the current Key & Scale/Mode. However, if you have not selected a Key & Scale/Mode, or the note you chose is not within the selected Key & Scale/Mode, a second menu opens under the mouse. This features a list of chords from which to choose. Since this scrolling menu contains more chords than it displays, it has two arrows, one each at the top and bottom. If you move the mouse over an arrow, the chords scroll by. Move the mouse to the one you want and click down.

Remember, the Graphic Editor only opens the chord menu if it cannot find a triad that fits your selected Key & Scale/Mode. If you don't like its choice, you can always edit the chord with the Wand.

* TIP * You can create your own Chords in the Define Chords window.

Key & Scale/Mode

Enter a Key and Scale or Mode as you would a Chord. Click the Pencil where the key change occurs and hold it down. Choose the key from the octave of piano keys and lift up.

A scrolling menu of Scales and Modes appears under the mouse. Move it to the scale or mode you desire and click down. Since the list of available scales is longer than the menu can show, move the mouse to the bottom arrow. It then scrolls the list up to reveal further choices.

If you selected a black key, a third menu with a sharp and a flat now appears under the mouse. This menu lets you choose whether sharps or flats are used to represent the note value. For example, if you choose the first black key to the right of a C, the sharp/flat menu appears. At this time, you must determine whether the selected note is a C# or a Db. Although these notes are identical in pitch, they are considered different notes and define different scales.

The Key & Scale/Mode Parameter always lines up on measure boundaries. If you place it anywhere else, it locks to the beginning of the measure. The first time you enter a Key & Scale/Mode, Bars&Pipes Professional places the entry at the first measure of the Song. Subsequent Key & Scale/Mode entries stay in the measure where you click the Pencil.

Rhythm

To enter a rhythm, click the Pencil on the Rhythm region and hold it down. A scrolling menu of available Rhythms appears under the mouse. Select the one you want and lift up. Choose from predefined rhythms or define your own in the Define Rhythms window.

Dynamics

Since Bars&Pipes Professional displays Dynamics as lines between points, you must enter both the beginning and end of the dynamic curve. To enter each point, click with the Pencil and hold it down. Depending on whether you've already entered a point, the following happens: If you've already entered a point, Bars&Pipes Professional displays the Dynamic Change pop-up menu. If you haven't yet entered a dynamic point, Bars&Pipes Professional places a point of identical value at the beginning of the Track or Song.

From this menu, choose whether the Dynamic change is Gradual or Immediate. If you choose Gradual, then the dynamic change happens gradually from the point which precedes the one you just entered. Notice that Bars&Pipes Professional draws a sloping line between the two dynamic levels. If you choose Immediate, the dynamic change is sudden. In this case, Bars&Pipes Professional draws a horizontal line that becomes vertical just before the volume change.

A point placed at the top of the Dynamics display indicates the loudest volume, while a point placed at the bottom, indicates the softest. For example, if you want a crescendo to occur within a four-measure time frame, set your original volume on the first of the four measures. Then set your destination volume at the end of the four measures. Bars&Pipes Professional automatically shows a line indicating a gradual increase in volume between the two points.

Time Signature

To enter a Time Signature change, click with the Pencil on its starting measure. The Time Signature requester then opens.

The Time Signature requester provides six standard Time Signatures and a method to define custom Time Signatures The six buttons across the top feature the pre defined Time Signatures Click on your preference to select it.

If you don't find one that meets your needs create your own by first typing the values for the Time Signature after the Other: prompt. Then click on Other to select it.

{{Note|text=It is important that you first enter the values, and then click on the Other button to activate it. Clicking the Other button first, and then typing in the values won't work.}}

By default, Bars&Pipes Professional displays the measure in which the Time Signature change occurs after the "Signature begins on measure:" prompt. This is the point where you clicked with the Pencil. Change the measure by editing this number.

You can also access the previous and next time signature changes. To go to the previous Time Signature change, click on the left arrow button in the Time Signature requester. The arrow finds the Time Signature prior to the one you are viewing and displays so that you can edit it. The right arrow button scans forward to the next Time Signature change.

If you create two adjacent, identical Time Signatures, Bars&Pipes Professional removes the second one. To illustrate, if you have 6/8 on measure 5, then place 6/8 on measure 4, Bars&Pipes Professional discards the 6/8 on measure 5.

Altering Parameters

After you enter a Parameter, you may want to edit it. To the right of the Pencil on the menu Buttons is the Magic Wand. When this button is highlighted (function key "F2"), the mouse takes the shape of a Magic Wand. Selecting this button allows you to touch a Parameter with the mouse and alter it. Wave the Wand through the Parameter to change it. In all cases, this opens a menu or requester. Here's a run-down on how the mouse works with each Parameter:

Lyrics

Touching a Lyric with the Magic Wand opens the Edit Lyric requester.

Edit the Lyric, then press the Okay button if you'd like to keep the change, or press Cancel to forget it.

Chords

Touching a Chord with the Magic Wand opens the piano keyboard under the mouse, which enables you to select a new root note for the chord. Hold the mouse down, roll it to your chord of choice and lift up. If you'd like to keep the current choice, just roll it off the keyboard to retain it.

The Chords list appears under the mouse. Unlike when you enter a Chord, this time Bars&Pipes Professional does not attempt to fit your choice into the selected Key & Scale/Mode. The scrolling menu of Chord choices always opens. Move the mouse to your choice and click on it. If you'd rather go with what you had before, roll the mouse off the menu and the chord reverts to its previous status.

Key & Scale/Mode

Edit a Key & Scale/Mode Parameter as you would a Chord. Touch it and a piano keyboard appears under the Magic Wand. Select the key by moving the mouse to the note and lifting up. Then select the Scale or Mode from the scrolling menu that appears under the mouse. Remember that, at any point, you can go with the original value by rolling the mouse off the menu. If you select a black key, the sharp/flat menu opens as is the case when defining a Key & Scale/Mode.

Rhythm

To change a Rhythm, touch the Rhythm's name. The scrolling list of available Rhythms appears under the mouse. Select your choice by moving the Magic Wand to it and lifting up on the button. To leave the Rhythm unchanged, roll the mouse off the menu.

Dynamic Marking

When you touch a Dynamic Marking with the Magic Wand, the Dynamic Change pop-up menu appears. From this menu, you can reselect the type of volume change, either Gradual or Immediate. If you choose Gradual, then the dynamic change happens gradually from the point which precedes the one you just selected.

Notice that Bars&Pipes Professional draws a sloping line between the two dynamic levels. If you choose Immediate, the dynamic change is sudden. In this case, Bars&Pipes Professional draws a horizontal line that becomes vertical just before the volume change. To move a Dynamic Marking, use the Hand button.

Time Signature

Touch a Time Signature with the Magic Wand and the Time Signature requester opens. Change the Time Signature as desired and click on Okay to keep the change, or on Cancel, to abort.

Dragging Parameters

Select the Hand button (function key "F3") to use the mouse to drag Parameters around and reposition them. Highlighting this button transforms the mouse into a hand. You don't have to position the mouse directly over a Parameter before clicking on it. Instead, click down the mouse and sweep it through the Parameter. The Parameter sticks to the mouse, which you can then drag to the Parameter's new destination.

All of the "Lock to" options in the Prefs menu operate on Song Parameters, just like note events. For instance, if you set the Lock to Default Note option, the Parameter moves only in steps along a grid defined by the Default Note. For example, if the Default Note is a quarter note, everything you drag moves left or right at quarter note intervals. Please refer to Chapter 8, Note Editing, for more information.

You can drag all of the Parameters to the left or right. In addition to these directions, you can drag the Dynamic points up and down. Unlike the case with all other Parameters, you cannot drag one Dynamic point past another, which would create a Dynamic curve that doubles back on itself. If you've dragged a Dynamic Marking and want to change its slope, use the Magic Wand to access the Dynamic Change pop-up menu.

You can also use the Left and Right Arrow keys on your Amiga keyboard to drag Parameters left or right according to the default note grid.

Duplicating Parameters

To duplicate parameters, click on the Duplicator button or press function key "F4." When you click and drag a parameter, Bars&Pipes Professional creates a new parameter of the same type, with the same data, and places it at the destination. While dragging the parameter, the Duplicator works just like the Hand. Please see the previous section, Dragging Parameters, for more information.

Erasing Parameters

To use the mouse to erase Parameters, choose the Erase button (function key "F5'). Highlighting this button turns the mouse into an Eraser. Click down and drag the Eraser over Parameters to delete them.

Toolizing Parameters

You cannot use Tools to process Parameters directly; however, many Tools use Parameters as part of their design. As an example, the CounterPoint Tool uses the Key & Scale/Mode to select the correct intervals. The Phrase-Shaper Tool uses the Dynamics Curve to set Note velocities.

Whenever a Tool looks for a Parameter, it first checks in the Track with which it is working. If it finds no Parameter there, it consults the Master Parameters. If you have a Dynamic curve defined for Track A, but not for Track B, the Phrase-Shaper Tool uses Track A's Dynamic Curve to phrase notes on Track A, but uses the Master Dynamic curve to phrase Track B.

Boxing Parameters

The Bounding Box allows you to operate on more than one parameter at a time by drawing a box around a group of parameters. To select the Bounding Box, click on the Box button (function key "F6").

You can select the Hand, Duplicate, or Erase Buttons in conjunction with the Box button. When you select the Bounding Box, instead of directly touching Parameters with the mouse, you can draw a box around them to affect everything within the box.

To draw the box, click down on one corner of the area and drag the mouse to the opposite corner. A box grows as your mouse travels. The box does not cross boundaries between different Parameters; therefore, you can't draw a box around Lyrics and Chords together. Once you have enclosed what you want in the box, lift up on the mouse.

Depending on which Command button you select in conjunction with the Bounding Box, the following happens:

The Hand Button
Everything in the box drags with the Hand. Once you create the box, click down on the box a second time and drag it. All Parameters in the box move with the mouse.

The Duplicate Button
The Duplicate button works just like the Hand button, but creates a copy of the parameters rather than moving the selection.

The Erase Button
Once you lift up on the mouse, every Parameter within the box disappears when using the Erase button.

Magnifying Parameters

When you select the Magnify button, the Magnify window opens and the mouse pointer changes to a Magnifying Glass. The Magnify window displays information about each Parameter that you select with the mouse. Click on each line to edit it. The Title bar of the Magnify window displays the Parameter's name. Use the Right and Left Arrow keys to move through the parameters one by one.

The first line in the Magnify window lists the time in measures, beats, and clocks. To change a time, click in this field with the mouse and enter a new one. Press the Return or Enter keys on your Amiga keyboard when you finish and the Parameter jumps to the new time.

The second line lists the time in SMPTE format. You can change a time by editing either field; Bars&Pipes Professional automatically updates the other field to display the equivalent time.

The remaining lines in this window change according to the specific Parameter. Remember that after you finish editing a field in the Magnify window, you must press the Return key to register the change.

Lyrics

The Lyric Magnify window contains one field, "Lyric."

Because the Magnify window stays open while you go from lyric to lyric, editing this way is actually quicker than using the Magic Wand to change lyrics.

Chords

The Chord Magnify window contains two fields, "Root" and "Chrd."

The first specifies the chord's root note; the second, the name of the chord. If you change the name of the chord, you must enter the new chord's exact name. The new chord must exist in the list of defined chords. If it does not, the original chord remains unchanged.

Key & Scale/Mode

The Key & Scale/Mode's Magnify window contains two fields, "Root" and "S/M."

The first lists the key; the second, the Scale or Mode associated with it. As with the Chord, the Scale or Mode name that you enter must exist, or Bars&Pipes Professional ignores it.

Rhythm

The Rhythm's Magnify window contains one field, "Name," which displays the name of the selected Rhythm.

If you want, enter a new one. Remember, the entered Rhythm must exist in the list of available Rhythms.

Dynamics

The Dynamics' Magnify window contains two fields, "Emph" and "=". "Emph" and "=" actually represent the same things. What differs is the way Bars&Pipes Professional describes them. "Emph" is the actual value of the Dynamic, or emphasis. This is a number from 0 to 127.

Below, "Emph," in the second box, is "=," the equivalent music notation, ranging from "pp' to "ff". Time Signature: The Time Signature's Magnify window contains two fields, "BPM" and "Beat." The first describes the number of beats per measure; the second, the value of the actual beat.

Time Signature

The Time Signature's Magnify window contains two fields, "BPM" and "Beat".

"BPM" stands for beats per measure. "Beat" stands for the note value that receives the beat.

Importing and Exporting Parameters

You can copy individual Parameter lists back and forth between the Master and Track Parameters. As an example, you may want to duplicate the Master Dynamic curve onto a Track, and then change it a bit to fit the character of the Track's part in the Song. Or, you may have a great set of Chord changes in a Track and want to make them available to the other Tracks by placing them in the Master Parameters.

To copy in either direction, use the Master Parameters menu. This menu can only be accessed from the Graphic Editor window of an individual Track; you cannot copy from the Master Parameters window. If you haven't already done so, open the Graphic Editor window of the Track from which you want to import or export Parameters.

Importing Parameters Into A Track

To import a Parameter list from the Master Parameters to an individual Track's Parameters, select the Import submenu from the Master Parameters menu. Notice that you have six options, one for each category in the Parameters list. Select your preferred Parameter option and Bars&Pipes Professional automatically copies it from the Master Parameters to your Track.

Exporting Parameters From A Track

To export a Parameter list from the Track Parameters to the Master Parameters, select the Export submenu from the Master Parameters menu. Again, you have six options, one for each category in the Parameters list. Select your Parameter of choice and Bars&Pipes Professional copies it from your Track to the Master Parameters.
==Printing Notation==
Chapter 11

Overview

Bars&Pipes Professional provides several options for printing your composition in standard notation. You can print a concert or transposed score from the Song menu, a Group of Tracks from the Groups menu, or one part from either the Tracks menu or a Track's Graphic Editor window's Notation menu.

You can also save your music printout in standard notation as a graphics file. This file can be loaded and modified by paint programs such as Deluxe Paint from Electronic Arts.

Preparing to Print

Before you print a Track, you must first arrange things so that Bars&Pipes Professional prints to your specifications.

Selecting The Printer Driver

You must choose the correct printer driver in your Workbench Printer Preferences program. Be sure to set the graphics preferences for the printer driver, too.

{{Note|text=Setting the graphics preferences may require some experimentation. Please refer to your Amiga Users Manual for more information.}}

Printing Memory Requirements

Printing requires large amounts of free and contiguous (i.e. non-fragmented) graphics memory. Bars&Pipes Professional Tools and Accessories, along with any other application running on your system, consume this precious resource.

For a common example of memory usage, let's say that you wish to print a page of four measures across and four full staves down at normal note spacing and normal resolution. This operation requires 64 Kilobytes of free graphics memory. At high note spacing, this memory requirement increases to 283 Kilobytes.

There are several things you can do to decrease the amount of graphics memory required for a print:

Decrease the number of measures across and staves down you wish to print.
Decrease the note spacing of your printout by sliding the Note Spacing: slider in the Page Print Options requester (please see the next section for information about this requester).
Print in Default Res or High Res rather than Extra Hi Res.
Also, make sure that no other applications are running, and that all unnecessary Bars&Pipes Professional Tools and Accessories are removed from your system.

* TIP * On many Amigas, you can see how much contiguous free memory you have by opening a Shell and typing "avail". The amount shown to the right of "chip" and beneath "largest" is the amount of contiguous free graphics memory.

Organizing Your Score

Before you Print, prepare your score to get the best results.

Fill In The Title And Composer

The printout includes the Song title and composer. Enter these in the Title/Author requester accessed by the Title/Author... command found in the Song menu. Bars&Pipes Professional centers the title on the top and places the author's name in the upper right-hand corner of the first page it prints.

Label The Tracks

Each Track label is the instrument name. Use the Track Name requester found in the Tracks window by double-clicking on the Track Name to the left of each Track. Bars&Pipes Professional prints the name of each part in the top left-hand corner of the first printed page. In a Concert or Transposed Score, Bars&Pipes Professional prints the name of each part above the first measure of each line.

Organize The Tracks

Bars&Pipes Professional prints the individual parts of Concert and Transposed Scores in the order in which the Tracks appear in the Tracks window. To rearrange the ordering of your Tracks, and thus the print order of your score, use the Track Up and Track Down buttons found on the top of the Tracks window.

Select a Track, then click on the up arrow to move it up one in the list or on the down arrow to move it down. Double-click to send a Track to the top or bottom of the Track list.

Size The Display

The sizing of the first Track's Graphic Editor display determines the number of measures per line printed. To change the Sizing of the Edit display, open the Edit window for the Track by double-clicking on the Track. Use the Zoom In and Zoom Out buttons, or the Sizing menu option, to choose the overall Sizing for the Edit display.

Select The Clefs

Each part may be printed on the Treble Clef, the Bass Clef, or both. For each Track, open the Graphic Editor and select the desired Clefs from the Print Options... submenu of the Notation menu.

By default, Bars&Pipes Professional prints both Treble and Bass Clef. You may choose either or both.

Set The Transpositions

You may need to print certain instrument parts in the appropriate transpositions. For example, an Alto Sax part can be displayed in Eb to be easily read by an Alto Sax player. If you need to set the Transposition for a Track, open the Transposition requester from the Notation menu of the Graphic Editor.

Determine the Transpose type by clicking after the Transpose: prompt and selecting from the scrolling list. If you'd like to define your own transposition, select Custom and drag the Octave and Interval sliders. Please read Chapter 8, Note Editing, for a thorough explanation.

Printing Ledger Lines

When printing a single staff, it is usually desirable to print several ledger lines above and below the staff.

The Graphic Editor's Notation/Print Options/Set Ledger Lines... menu command allows you to customize the way that each Track's staves are notated and printed.

Example: Print Treble Clef With As Many Ledger Lines As Possible.

Open the Graphic Editor for a Track by double-clicking on the Track in the main Tracks window (or, single-click and hit the Return key).
Make sure that the notation staff is showing. If it isn't, select the Show/Staff-Notation menu option.
Choose the Notation/Print Options/Set Ledger Lines... menu command. The Adjust Ledger Lines requester opens.

Click on the down arrow until the white arrow pointing to the staff is at the bottom. This arrow denotes the center position between the bassclef and the treble clef.

{{Note|text=If you want to print a bass clef with as many ledger lines above as possible, click the up arrow until the white arrow is as high as possible.}}

Click Okay. Bars&Pipes asks if you would like to renotate your entire Track.
Click Yes. Bars&Pipes renotates the Track with the new ledger line positions. Notice that most notes in the bass clef are now actually part of the treble clef.

{{Note|text=If you choose No, Bars&Pipes does not renotate, and your music prints the same way it always did. This allows you to renotate only the measures that you wish, using the Notation/Transcribe/Between Flags menu option.}}

Printing Tablature

To enable Tablature printing for a Track, open the Graphic Editor and choose the Notation/Print Options/Tablature menu option.

{{Note|text=Tablature can not print by itself. It requires that you also print at least one staff, or both staves along with it.}}

Make sure that you've tabulated your music before you print. If necessary, choose the Tablature/Tabulate menu option from the Graphic Editor.

Formatting The Printed Page

You can easily tell Bars&Pipes how many measures to print per line and how many grand staves to print per page.

You can set these options in one of two ways:

Choose Notation/Print Options/Page Options... from the Graphic Editor.
Choose Preferences/Page Print Options... from the main Tracks window.
The Adjust Page Print Options requester opens.

Slide the Measures/line: slider to the number of measures per line you would like to print.

Slide the Full Staves/Page: slider to the number of full staves you would like to print per page.

{{Note|text=If you open the requester from the Graphic Editor, and you've chosen to only print one staff, the second slider reads "Half Staves/Page" instead of "Full Staves/Page", and is double the number of full staves per page.}}

The Note Spacing: slider controls the overall resolution of the printout. The only real way to know the best note spacing on your particular system is to try a few sample printouts.

{{Note|title=Tip|text=Low note spacings tend to look chunkier and clutter the notes together. High note spacings make the notes thinner and more spaced apart. Normal note spacing is a compromise between the two.}}

The Print Requester

Once you have finalized your printing specifications, open the Print requester by selecting the Print... command. When you select the Print requester from the Song menu, Bars&Pipes Professional prints the entire score; when you select it from the Groups menu, Bars&Pipes Professional prints only the selected Group's member Tracks; and when you select the Print requester from the Track menu or an individual Track's Graphic Editor window's Notation menu, Bars&Pipes Professional prints the contents of the Track.

Additional Information

The top six buttons in the Print requester select additional information to print. To turn each option on or off click on its button.

Sections
If you choose to print Sections, Bars&Pipes Professional prints the A-B-A section names above the music.

Bar Numbers
If you choose Bar Numbers, Bars&Pipes Professional prints the measure number over each line's beginning measure in your music.

Tempo
If you choose Tempo. Bars&Pipes Professional prints the tempo at the beginning of your music.

Chords
If you choose Chords, Bars&Pipes Professional prints chord changes, entered in the Song Parameters, above each Track, or part. In either a Concert or Transposed Score, Bars&Pipes Professional prints chords which were entered in the Master Parameters above the first Track.

Lyrics
If you choose Lyrics, Bars&Pipes Professional prints lyrics, entered in the Song Parameters, above each Track, or part. In either a Concert or Transposed Score, Bars&Pipes Professional prints lyrics which were entered in the Master Parameters above the first Track.

Dynamics
If you choose Dynamics, Bars&Pipes Professional prints dynamic markings, entered in the Song Parameters, within a Track, or part.

Transposed Or Concert Score

If you choose Transposed Score, Bars&Pipes Professional prints each Track transposed by the key established in the Transposition requester (see above.) Choosing this option tums off the Concert Score option.

If you choose Concert Score, Bars&Pipes Professional prints each Track without transposition. Choosing this option tums off the Transposed Score option.

Selecting Measures To Print

To specify which measures Bars&Pipes Professional prints, enter the starting and ending measure numbers after the From Bar: and To Bar: prompts.

If you want to print all measures, click on the All button, which sets the fields to cover the entire range of the piece.

Print Resolution

You may choose from three different print resolutions.

Default Res
Select Default Res for printing in the default resolution. You may determine the resolution from the graphics preferences in your WorkBench printer Preferences. Typically, you might set the WorkBench preferences to the minimum acceptable resolution, for fastest printout. Use this option to get quick trial printouts.

High Res
High Res automatically chooses the highest resolution available in your Workbench preferences. This option gives the best quality available under Workbench 1.3.

Extra Hi Res
Workbench 2.0 users with at least 1 megabyte of chip memory can select Extra Hi Res for much sharper printing. This mode creates much cleaner lines but requires extra time to print.

Previewing

To view the final output without actually sending it to the printer, click on the Preview button found in the Print requester. This opens a small screen with the notation displayed.

{{Note|text=If you're previewing an Extra Hi Res printout, you can scroll to view the entire screen by clicking down with the mouse and dragging.}}

It also opens a small requester with three buttons: Next, Print and Cancel.

Next
To view the next line of notation, click on Next. Bars&Pipes Professional shows you each line of notation until it has displayed all of the selected measures.

Print
Click on the Print button to leave preview mode and start printing immediately.

Cancel
Click on the Cancel button to access the Print Requester again. (If you want to exit the Print Requester, click on its Cancel button.)

Printing
Bars&Pipes Professional prints notation by sending an image of the music to the Preferences printer driver. Remember, in order to print properly, you must set Preferences from Workbench to accommodate your printer.

To begin printing, click on the Print button. Bars&Pipes Professional opens a display screen, paints the notation in it, and sends this out to the printer. Above, it opens a requester with a Cancel button. Printing can take a while, so be patient. Click on the Cancel button to abort printing.

Saving as an ILBM File

Click on the Save button in the Print Requester if you would like to save your music as an IFF/ILBM file. The file requester opens. enter a unique file name for each page of printout. The IFF/ILBM file(s) may then be loaded into a graphics program such as Deluxe Paint, and imported into word processors, etc.

==The List Editor==
Chapter 12

Overview

While Bars&Pipes Professional's Graphic Editor provides a powerful graphics-based environment for editing music, certain editing operations require finer detail. For low-level, numeric editing of MIDI events, Bars&Pipes Professional provides the List Editor.

Accessing the List Editor

To open the List Editor, you must first open the Graphic Editor for the Track you want to edit, then select List Editing from the Prefs menu. Open the Graphic Editor for a Track by either double-clicking on a Track in the Tracks window, using the Magic Wand in the Song Construction window, or double-clicking a Track in the Media Madness Window.

Once you select List Editing, Bars&Pipes Professional closes the Graphic Editor window, then opens the List Editor window for that Track. The List Editor displays a list of all MIDI events in the Track.

{{Note|text=Double-clicking on a Track in the Media Madness Window automatically opens the List Editor, if the Graphic Editor for that Track has not been previously opened.}}

The List Display

The List Editor window contains most of the Command and Default Note Buttons of the Graphic Editor window. The List Editor, however, does not have the Magnifying Glass, Hand, Bounding Box, Duplicator, or Zoom buttons. Below the buttons is a slider, used for modifying events or data (more on this later). Finally, the bulk of the window consists of MIDI events of various types, one event per line. Use the scroll bar to the right of the events to move through the event list.

Use the Show menu to select which MIDI events to display.

{{Note|text=The List Editor does not display Song Parameters.}}

To display Note events, select any of the following options from the Show Menu: Staff-Notation, Tablature, Staff-Hybrid, Piano Roll, or Velocity.

The List Editor displays an event as a start time, followed by the type of event (please see the event types below), followed by event data.

The start time displays in either SMPTE time (hours, minutes, seconds, frames) or music time (measures, beats, clocks.) Use the SMPTE/Music button to select which time format is used.

When the button displays a film strip, the List Editor draws events in SMPTE time. Otherwise, the button displays musical notes and the List Editor draws events in music time.

The MIDI Events Display

The second field denotes the type of MIDI event. A listing of the different MIDI events and an explanation of their data fields follows. The name in parenthesis is the abbreviation the List Editor uses to display the MIDI event type.

Note (Nt)
The Note MIDI event contains the pitch, both as a note/octave (from C0 to G10) and as a numeric MIDI value (from 0 to 127), the velocity of the note (from 0 to 127), and the duration of the note (in Song-time).

With the Hit List option selected in the Display menu, the Hit List name of the Note event displays instead of the Note duration. This is particularly useful when used in conjunction with the Media Madness feature (please see Chapter 28, Media Madness).

Pitch Bend (PB)
The Pitch Bend MIDI event contains the amount of shift, from +8192 (maximum shift down) to 8191 (maximum shift up). Remember, the value given to Pitch Bend determines the proportion of the shift to the maximum. For example, a value of -4096 shifts the current note downward by half the maximum. The MIDI specification uses this scheme because different instruments have different Pitch Bend ranges; full range on one synth may be an octave while only a whole step on another.

Mono After-Touch (MT)
The Mono After-Touch MIDI event contains the overall keyboard pressure, from 0 to 127.

Poly After-Touch (PT)
The Poly After-Touch MIDI event contains the note value for the key being pressed (like Mono After-touch) and the pressure on that key (from 0 to 127). Poly After-Touch is featured only on the most expensive keyboards, since the hardware must sense pressure on each individual key.

Control Change (CC)
The Control Change MIDI event contains the Control Change type (0 to 127) and the Control Change data (0 to 127). Control Change governs continuous controllers such as volume pedals and breath controllers.

Program Change (PC)
The Program Change MIDI event contains the patch number (0 to 127). Program Change controls the sound used by your MIDI device to play subsequent notes.

System Exclusive (SX)
The System Exclusive MIDI event contains no visible data. When you edit a System Exclusive event, Bars&Pipes Professional opens the System Exclusive requester. Please see the System Exclusive chapter for more on this requester.

System Exclusive events are special commands unique to the instrument (or product line). Manufacturers use System Exclusive events, for example, to set pitch bend ranges, transpose keys, send new patch data to the instrument, and to execute many other functions.

{{Note|text=The user's manual for your MIDI instrument can tell you whether your instrument supports System Exclusive events, and what the commands do.}}

The Edit Flags

To the left of the event list are the Edit Flags. Use these to set the boundaries of a Clip section for editing with Clips, just like in the Graphic Editor. The "begin Clip" Flag is a triangle pointing upward; the "end Clip" Flag is a triangle pointing downward.

Use the Flags in conjunction with the options in the Edit menu. Please refer back to the Note Editing chapter for a complete description of these commands.

Except for being turned sideways, the Edit Flags in the List Editor work just as they do in the Graphic Editor. As you probably know, the Edit Flags align with boundaries assigned by the Align with... Preferences option.

* TIP * When you try to place an Edit Flag right after an event in the List Editor, don't be surprised if the flag jumps behind a number of events because you have "Align with... Measures" selected. Change it to "Align with...Anywhere" to able to place an Edit Flag after any event. Even then, if several events have the exact same time, the Flag jumps to just before all of the events. because the position of the Flag is actually the time it occurs, not its position in the list.

Remember: in the List Editor, one event may be at one time, and the next event in the list could be a beat later, a measure later, or several measures later. Because of this, be careful when cutting and pasting.

Command Buttons

The first five buttons from the left are the Command Buttons. As you click each one with the mouse, the mouse's icon changes. All of these buttons have keyboard equivalents as well. Set the Command Buttons to determine how you use the mouse. The following list describes each button briefly. Later in this chapter, we'll delve into greater detail.

The Pencil:
The Pencil, or function key "Fl" enters MIDI events. Clicking with the Pencil on a specific event creates a duplicate of the event, substituting the chosen default note parameters.

The Magic Wand
The Magic Wand, or function key "F2" alters the MIDI events type and data.

The Eraser
The Eraser, or function key "F5" deletes events.

The ToolPad
The ToolPad contains selected Tools and processes notes with the currently-displayed Tool. The mouse pointer turns into a Wrench when the ToolPad is selected.

The Step Entry
The Step Entry button enables step entry of events from a MIDI keyboard.

Default Note Buttons

Before drawing or step-entering events, set the Default Note. The Default Note consists of a note value (eighth, quarter, etc.), a modifier (triplet, dotted, normal), an articulation (staccato, legato, etc.), and a dynamic level (pp through ff). Four separate buttons set these standards.

Upon pressing them with the mouse, each button reveals a pop-up menu with the options displayed. Drag the mouse to the desired option and lift up to select it. Bars&Pipes Professional displays your choice on the appropriate button.

Note Value
The first button determines the currently selected note division. Your choices range from a whole note to a sixty-fourth note. Select your choice from the menu by dragging the mouse to the desired choice. You can also press function key "F7" to decrease the note value without using the mouse, or press SHIFT and function key "F7" to increase the note value.

Note Modifier
The second button modifies your selected note value. The first item in this menu, a triplet, shrinks the size of the note to two-thirds its note value. The second menu item, a "normal" note, leaves the selected note value as is. The third item, the dotted note, adds half of the note to the selected note's length. In other words, Bars&Pipes Professional multiplies the note value by one and one-half. Select your choice by dragging the mouse to the desired choice. You can also press function key "F8" to decrease the note length without using the mouse, or press SHIFT and function key "F8" to increase the note length.

Articulation
The third button determines the relative length of the selected note. The menu range extends from staccato (short) to legato (slurred). Staccato, signified traditionally as a dot above a note, usually indicates a duration of 1/4 its full length value; Portato, signified traditionally by the absence of a marking above the note, indicates a note duration of 1/2 its full length value; Leggiero, traditionally signified as a horizontal line above a note, indicates a note duration of 3/4 its full note value; and Legato, traditionally signified with an arched line above a series of notes, indicates a note duration equal to its full value, with no perceptible space between each note. Make your selection by dragging the mouse to the desired choice and lifting up. You can also press function key "F9" to make the articulation longer in duration without using the mouse, or press SHIFT and function key "F9" to make the duration shorter.

Velocity
The final button, the farthest to the right, determines the velocity of the note. You have six choices ranging from very soft (pp) to very loud (ff). Make your selection by dragging the mouse to the desired choice and lifting up. You can also press function key "F10" to increase the note volume without using the mouse, or press SHIFT and function key "F10" to decrease its volume.

Editing Events

Use the Command buttons described earlier to edit events in the List Editor.

Entering Events

To enter new MIDI events, activate the Pencil by clicking on the Pencil button or by pressing function key "F1". Then, click the Pencil on the MIDI event located just after the point where you want to insert the new event. If you want to enter a new event at the very bottom of the list, click in the blank area below the last event.

The type of event you enter is the same as the one you clicked on. If you clicked on a note, the note also has the same pitch of the note you clicked on, and the volume, duration, and articulation set by the Default Note. Other MIDI events use data from the events you clicked on.

Altering MIDI Events

With the List Editor, you can edit MIDI Events directly by changing the data associated with the Events, or even by changing the Events themselves. To edit Events, activate the Magic Wand by clicking on the Magic Wand button or pressing function key "F2".

When editing Events, the slider above the event list becomes active. To edit an Event, click on any part of the event. Bars&Pipes Professional highlights the selected data in red. Now, you can drag the slider to the desired value (or use the arrow buttons to the right of the slider).

You can also directly edit the text to the right of the slider.

{{Note|text=If the Hit List option is enabled in the Display menu, the textual translation of note value to Hit List name displays here, Use this field to enter new Hit List translations. Remember, each note can have only one Hit List equivalent. If you set C4 to be "dog bark", all C4 notes display as "dog bark."}}

Erasing Events

To erase events, select the Eraser by clicking the Erase button or by pressing function key "F5" then click on each event you want to erase. If you make a mistake, you can select Undo (Right Amiga-U) from the Edit menu to restore the last event you erased.

Toolizing Events

The List Editor window contains the same ToolPad as the Graphic Editor and Song window. You can place, select, and edit Tools from the List Editor in the same manner as for other windows in Bars&Pipes Professional. Toolizing events in the List Editor can be both powerful and confusing. Powerful, since you can edit the results exactly to your liking. Confusing, since Tools can remove an event, reposition it in time, or add additional ones. For example, if you use the Echo Tool on a note, the echoes get mixed in with other notes and events down the line.

* TIP * Another powerful way to use the ToolPad in the List Editor is to explore how Tools affect specific MIDI events. When you Toolize an event in the List Editor, you see the results accurately in numerical form. You can use this knowledge to edit Tool parameters to your liking, with less guesswork and better results.

Step Entering Events

To enter MIDI events into the List Editor from any MIDI instrument, click on the Step Entry button. Then, set the "begin editing" flag (the flag with the arrow pointing upward) to the point where you want to enter new events.

Like the Graphic Editor, any notes you step-enter from your MIDI keyboard automatically conform to the length, articulation, and velocity set by the Default Note parameters. To move forward one note length without entering an event, press the Space bar. To delete the previous event, press the Backspace key. Please see Chapter 8, Note Editing for a thorough explanation of Step Entering.
==System Exclusive==
Chapter 13

Overview

Use the System Exclusive requester to enter and edit System Exclusive MIDI messages. Normally, you'll access it from the Graphic and List Editors, but you'll also use it from the Big Sys Accessory.

Unlike other MIDI events, System Exclusive MIDI events are system specific - one MIDI device's System Exclusive implementation may not be the same as another's. Examples of System Exclusive data are patch banks, system memory dumps, system specific filters, etc.

{{Note|text=Certainly the most frequent use of System Exclusive packets is in patch organization. The PatchMeister, which integrates directly into Bars&Pipes Professional, covers this aspect extremely well. As a result you don't need to become versed in the underlying technology of System Exclusive protocols to effectively use them to your advantage.}}

Recording System Exclusive Events

Bars&Pipes Professional can record System Exclusive events just like other events. By default, the MIDI In and MIDI Out Tools are set up to filter out System Exclusive data. You may decide to record a System Exclusive dump from your keyboard, for instance.

To do so:

Highlight the System Exclusive button in the MIDI In and MIDI Out Tools of the target Track.
Make sure that the Track is in Record mode, and put the Sequencer in Record mode as well.
Start the Sequencer.
Command your MIDI unit to dump System Exclusive. Make certain that there is no handshaking needed.
Stop the Sequencer when your MIDI device is finished.
Do the opposite when you want to send the System Exclusive data back to your MIDI device: set your device to receive, and start the Sequencer.

{{Note|text=This process does no handshaking. Handshaking protocols require communication in both directions. The PatchMeister universal patch librarian takes full advantage of the handshaking ability of many brands of MIDI devices.}}

Accessing the System Exclusive Requester

Access the System Exclusive requester by clicking with the Pencil or Magic Wand in the System Exclusive region of the Graphic Editor. Please see Chapter 9, MIDI Event Editing, for more information

Creating A System Exclusive Event

To create a System Exclusive event, select the Pencil, then click in the System Exclusive region of the Graphic Editor. Bars&Pipes Professional opens the System Exclusive requester.

Editing A System Exclusive Event

To edit an existing System Exclusive event, select the Magic Wand, then click on a System Exclusive event. Bars&Pipes Professional again opens the System Exclusive requester.

Big Sys

The Big Sys Accessory also accesses the System Exclusive Requester. Please see the Big Sys Accessory in the Accessories chapter.

Editing System Exclusive Data

Use the three Command buttons to edit System Exclusive data in the System Exclusive requester.

Entering System Exclusive Data

To enter data into the System Exclusive requester, select the Pencil by clicking on it or pressing function key "F1". Click on any byte in the display to introduce a new byte. The requester creates a new data byte with the same value as the byte you clicked on. If you click to the right of the last byte, Bars&Pipes Professional creates a new byte just before the ending F7 byte.

{{Note|text=The System Exclusive Requester displays all bytes in Hexadecimal notation. Hexadecimal represents numbers in base 16. instead of base 10. The digits are 0 through 9 followed by A through F (for 10 through 15). As odd as it may sound. this is much more natural for binary data, because two hexadecimal characters always make up a byte (0 through 255 becomes 0 through FF).}}

Altering System Exclusive Data

To change the value of a data byte in the display window, select the Magic Wand by clicking on it or pressing the "F2" function key.

Click on the byte you want to change. The requester displays the byte in the slider above the display window. You may now drag the slider to change to the desired value.

Deleting System Exclusive Data

To delete a data byte, select the Eraser by clicking on it or pressing the "F5" function key.

Click on the byte you'd like to erase.

Sending The System Exclusive Command

Click on the Speaker button to the System Exclusive event down the Track's PipeLine and out the MIDI cable. Since the system ID and channel number are embedded in the event data, only the intended instrument receives the event.

Bars&Pipes Professional does not support messages that require a dialog with the synthesizer. And, since the channel number is embedded in the event data, if you want to send this command to more than one instrument, you must edit the channel number and send the command again.

If you are satisfied with your entry, click Okay to accept the changes, or click Cancel to abort the changes.

About System Exclusive Data

Please keep in mind the following points about System Exclusive Data:

Real-Time Recording And Playback

During real-time recording and playback, Bars&Pipes Professional does not support System Exclusive messages that require responses or handshaking, from the synthesizer. Usually, such messages involve downloading large sound patches to the synthesizer. You should do this in advance rather than during the Song's performance. The amount of data involved usually clogs the MIDI network, which results in the pausing of all music until the computer finishes sending the patch.

Instead, set up your System Exclusive information first by using Big Sys or, for patch organization, The PatchMeister. You can also keep System Exclusive packets recorded in one Track. After loading the Song, solo the Track and have it send its stuff. Then, mute the Track and activate all others.

Format Constraints

The first and last bytes of the System Exclusive data always have the hexadecimal values of FO and F7. You cannot change or delete these bytes, as they signal the beginning and ending of the event.

The next byte specifies the manufacturer's ID and channel number of the instrument. This manufacturer's ID (obviously) varies from machine to machine, and is used by the instrument to verify that the event makes sense to that instrument.

The third byte and onward (to the next to last byte) specify the System Exclusive command plus any data needed by that command.

From this, we can see that all System Exclusive events must be at least three bytes long, including the start and stop bytes. The System Exclusive requester, however, does not force a minimum message length beyond the start and stop bytes.
==Accessories==
Accessories can be loaded by openeing the accessories window and selecting "load" from the menu.
At this time SmerFF is the only accessory available. It allows loading and saving MIDI files.
==The Metronome==
Chapter 15

=== Overview ===

Bars&Pipes Professional's Metronome provides a standard metronome click. Use this as a timing reference when recording your performances.

The Metronome creates a click by sounding the Amiga's internal circuitry, sending a MIDI event, or flashing the screen. It can click at rates varying from 1/64 note to a whole note. If you want, it can also provide a lead-in countdown before recording.

Access the Metronome window by double-clicking on the Metronome icon, or choosing the Metronome option in the Windows menu.

=== The Metronome Window ===

The following describes the functionality of the Metronome window:

==== Choosing The Metronome ====

There are three metronome sources:

; Internal
: Select the Internal button to send a tone to the Amiga's speakers for each metronome click.

; Visual
: Select the Visual button to flash the Amiga's screen on every click. The first beat of any measure flashes red, followed by a series of other colors.

; MIDI
: Select the MIDI button to send a MIDI note through the MIDI cable.

==== Setting Up The MIDI Metronome ====

The MIDI metronome option requires a few additional parameters:

; MIDI Note
: Select the pitch of the MIDI note by sliding the MIDI Note: slider to the appropriate note value. By default, this is set to the General MIDI note for a metronome sound (if a drum kit is being played.)

; MIDI Channel
: Select the MIDI channel by clicking on the button after the Channel: prompt and selecting from the pop-up menu. By default, this is set to the General MIDI drum channel, channel 10.

; MIDI Tool
: Drop an Output Tool onto the button after the Tool: prompt. This determines which Tool transmits MIDI metronome clicks. Usually, this is the MIDI Out Tool.

{{Note|text=Triple Play Plus users can use the Triple Play MIDI Out I, 2, or 3 Tools. One-Stop Music Shop users can use the One-Stop MIDI Out or SoundEngine Tools.}}

You can also use other Output Tools with varying results. For example, many of the Media Madness Tools can be used with interesting results!

; Loudness
: The Loudness (volume) of the metronome can be set by moving the slider after the Loudness: prompt. The default is 84.

==== Selecting The Beat Resolution ====

By default, the metronome sounds at each quarter note beat. you can change this rate by clicking on the button after the Resolution: prompt. Choose a rate from 1/64 to a whole (1/1) note.

If you select a 1/4 resolution in 4/4 time, the Metronome clicks on every beat. If you select 1/2 resolution, the Metronome clicks on every other beat, starting with the first beat in the measure. If you choose 1/8, the Metronome clicks twice per beat.

Depress the Triplet button if you want the Metronome to play in triplet time.

==== The Lead In Option ====

Often, it helps to have a countdown before you start recording. To set up a countdown, set the Lead In slider. The slider lets you set the number of measures to count down before recording actually starts.

To disable Lead In, set the number of measures for Lead In to zero.

You may find that you do not want to use the Metronome, except for the Lead In time. In this case, select the Metronome On Lead In Only button. You can also disable all three metronome options; this provides a silent Lead In.

==== Extra features ====

The metronome also responds to hotkeys to control its function. These can be used in any of the the main Bars&Pipes windows (Tracks, Transport etc.).

{| class="wikitable"
|+ The keys are:
| I || toggles the Internal Amiga sound metronome on and off.
|-
| V || toggles the Visual metronome on and off
|-
| O || toggles the Output (e.g. MIDI) metronome on and off
|-
| L || toggles the Lead In funtcion on and off.
|}

==The Transport Controls==
Chapter 16

Overview

The Transport Controls govern the Sequencer's recording, playback, and Song positioning functions. These functions are accessible from the Transport Controls window, the Mini-Transport, and the Tracks window. They are also accessible from hot keys on the Amiga keyboard and, if defined, as MIDI remote controls. The Transport Controls contain familiar tape deck commands, such as Play, Record, Rewind, and Stop, to control recording and playback.

You can reposition the Transport Controls window or shrink it down to an icon. If you close the Transport Controls window, you can reopen it by double-clicking on the icon or by selecting Transport Controls from the Windows menu.

You can bring up the Mini-Transport by choosing its menu option in the Windows menu, or by typing the letter M on the Amiga's keyboard.

The Transport Controls Window

The Transport Controls window contains all of the Transport Controls. The Transport Controls in the Mini Transport and the Tracks window are subsets of the Transport Controls window.

The Transport Controls window contains four groups of controls: the Transport buttons, the Tempo controls, the Song Position controls, and the Flag controls.

Transport Controls

Across the top of the Transport Controls window are nine buttons, which control recording and playback. They are similar in function to the controls on a tape recorder.

Briefly, the Transport buttons are:

Stop (Enter Key on numeric keypad)
The Stop button halts recording and playback. It also sets the Position Marker to the current Stop time so the next Play command will pick up at the same point. Click to activate the Stop button.

Start (Insert Key)
The Start button begins recording and playback from the beginning of the Song.

Play (Enter Key on numeric keypad)
The Play button begins recording and playback from the Position Marker. Use this control when you want to start from a specific point in the Song. Pressing the Play button a second time stops the performance.

Rewind
Rewind quickly shuttles the Song backward to access a specific point in the Song. If the Song is playing when you press the Rewind button, it stops, then resumes when you lift up on the new location.

Fast Forward
Fast Forward shuttles the Song forward in time. If the Song is playing when you press the Fast Forward button, it stops, then resumes when you lift up on the new location.

Record ("R" Key)
The Record button enables Sequencer recording. To activate, click on it. Doing so activates recording only in Tracks placed in Record mode. All others continue to play back.

Loop
The Loop button activates the Loop Mode recording function. With Loop mode, you can record one section of your Track over and over. For more information on Loop Mode recording, please see the Loop Recording Mode section in the Recording chapter.

Punch In/Out ("P" key)
Punch In/Out automatically switches the Sequencer in and out of Sequencer Record mode at preset locations. Although you can manually activate and deactivate the Record button while your Song plays, if you're also playing an instrument, you'll need a third hand, which the Punch In and Out Flags provide.

Set
Use the Set button in conjunction with the Flag buttons, described below, to set Flag positions.

Tempo Controls

The Tempo Controls are on the left side of the Transport Controls window, beneath the Stop button. Use these to set the initial tempo.

{{Note|text=If you'd like to work with a Tempo Map and place tempo changes at specific times in your composition, you must enter them in the Tempo Map window.}}

Tempo
The Tempo button shows the tempo of the Song in beats per minute. Set the tempo, or speed, by clicking on the numbers and, while holding down the mouse button, dragging the mouse up to increase and down to decrease. You can change the tempo in single increments by single-clicking in the top or bottom half of the numbers.

1/2 and 3/4
If, temporarily, you need to slow down the Song (for example, when recording a difficult passage), click on the 1/2 or 3/4 buttons to slow the tempo to one-half or three-quarters of the original speed. Clicking on the same button a second time restores the tempo to its original speed.

* TIP * These functions do not work in conjunction with a Tempo Map, except at the beginning of your Song, before there are any tempo changes in the Tempo Map. Disable the Synchronize to Tempo Map option in the Timing window to disable the Tempo Map. Enable this option to reinstate the Tempo Map.

Song Position Display

Just as a tape deck marks time with a counter that measures the tape's length, Bars&Pipes Professional keeps Track with the Song Position Display.

The top number in the Song Position Display keeps Track of the Song time in Measures, Beats, and Clocks. The bottom display shows Song time in the SMPTE format of Hours, Minutes, Seconds, and Frames.

To reposition your Song to an exact time, click on the top or bottom half of the numbers in the desired display to increase or decrease their values. Note that the second display adjusts itself to the new position as well.

The Position Marker Flag

Bars&Pipes Professional also provides the Position Marker Flag, a red triangle with a blue border, which shows the location of the Song Position in the Sequencer. When you click the numbers in the Song Position Display as described above, the Position Marker moves to the new position as well. You can also adjust the Song position by using the mouse to drag this Flag to a new location.

Flag Position Controls

Use the Flag Position Control buttons to set and use the positions of each of the twelve Flags Bars&Pipes Professional supports.

To set a Flag to a particular point in your music, use the Set button directly above the Flag Position Controls. First, click on the Set button. With the Set button highlighted, adjust the Song Position Display by clicking on the Rewind or Fast Forward buttons or by clicking directly on the Song Position Display as described above. Then, click on the button corresponding to the Flag you want to move. This installs the Song Position into the Flag and disables the Set button.

* TIP * You can also set Flags numerically in the Set Flags window.

To instantly jump to a Flag position, click on the Flag's button without first selecting the Set button. This automatically sets the Song Position to the value in the Flag.

* TIP * Pressing the 1, 2, 3, and 4 keys on the numeric keypad also jumps to the four Auto-Locate Flags.

To instantly jump to a Flag position and start playing immediately, double-click on a Flag.

The Mini-Transport Window

The Mini-Transport window provides the most important Transport Controls in a small convenient window. Access it by choosing the Mini-Transport menu option in the Windows menu, or by typing the letter "M" on the Amiga keyboard.

Most of the buttons are the same as in the Transport Controls window, with a few exceptions:

You cannot change the Song Position by clicking on the Song Position display.
There is an additional button, the SMPTE/Music Time button, that controls whether the Song Position display shows the current Song Position in measure time or SMPTE time. Click on this button to toggle between the two modes.
Remote Control

With the Remote Control option, you can use your MIDI keyboard to control the Sequencer. Remote controls let you Start, Stop, Record, Play, Punch In, Punch Out, and move to the Auto-Locate Flags (Ml through M4) in your composition.

To set up the Remote Controls, select Remote Control from the Preferences menu. In response, Bars&Pipes Professional opens the Remote Control requester.

Click on the Control you want to set up, then press the desired key on your MIDI keyboard. Use the keys located at the very top or bottom of your MIDI keyboard to prevent pressing one accidentally while recording.

Clicking on each control in the requester toggles it on and off. Only the highlighted controls are active. Each active control behaves identically to the button it represents in the Transport Control window. When you're done, close the requester.
==Timing, Syncing, and Tempo==
Chapter 17

Overview

Bars&Pipes Professional contains sophisticated timing controls. It can run on its own or synchronize with external devices. It can synchronize to external MIDI Clock messages that vary the Tempo or synchronize to external SMPTE time and control the timing with the Tempo Map option.

Bars&Pipes Professional plays with a musical timing resolution of 192 PPQN (Parts Per Quarter Note). Its internal resolution is up to one millisecond at higher tempos.

Changing Tempo

Use the Tempo controls in the Tracks window, the Mini Transport window, or the Transport Controls window to change the initial Tempo. Also, you can use the Tempo Palette window to quickly change the Tempo.

Use the Tempo Map window to create changing Tempos over the course of your music. Real-Time Tracks allow you to create Tracks that ignore Tempo Maps.

Tempo

There are tempo buttons in the Transport Controls window, the Mini-Transport Window, and the Tracks window. They all represent the same Tempo.

Set the tempo, or speed, by clicking on the button and, while holding down the mouse button, dragging the mouse up to increase and down to decrease. You can change the tempo in single increments by single-clicking in the top or bottom half of the numbers.

The Tempo Palette Window

Quickly change the Tempo with the Tempo Palette window. To open the Tempo Palette, select Tempo Palette from the main menu's Windows menu, or double-click on the Tempo Palette icon.

The Tempo Palette lists four preset Tempos: A, B, C, and D. To set the Tempo, click on the preset letter, e.g., A, and the Tempo assumes that value. To change a preset tempo, click on the number and enter the desired tempo.

* TIP * You may find it useful to place the Tempo Palette window directly above the Tempo controls (obscuring the Transport Control buttons), and use the "window to back" buttons on the windows to expose or hide the Tempo Palette as needed. This way, you can quickly change tempos while youre working.

The Tempo Map Window

If you are synchronizing with either the internal timer or SMPTE, you can use the Tempo Map window to create a series of tempo change commands to alter the pace of your music. Open the Tempo Map window by selecting Tempo Map from the Windows menu or clicking on the Tempo Map icon.

The Tempo Map window consists of seven control buttons and a graphic display of the Song s tempo over time The graph shows constant tempo in blue tempo changes in red and the tempo at the end of each tempo change in blue The top of the graph displays the measure numbers. Use this window to create and place multiple tempo changes throughout your composition.

Please refer to the next chapter, Chapter 18, Tempo Mapping, for more information on creating and editing Tempo Maps.

Disabling Tempo Changes

Sometimes, you might want to temporarily disable a tempo map.

To do so, turn off the Use Tempo Map selection in the Timing menu. Bars&Pipes Professional then uses the tempo you have set in the Transport Controls window to determine the Song tempo.

To return to your tempo map, deselect the Use Tempo Map option in the Timing menu.

Real-Time Tracks

By default, Tracks operate in Song-time mode. In Song-time mode, increasing the Song's tempo causes notes to play faster. Each note plays on a particular measure, beat and clock, not at an absolute hour, minute and second.

Real-time Tracks do not follow Tempo conventions. Instead, they contain events that occur at specific SMPTE times. This is useful when you are scoring for video or Media Madness and need to have certain notes or events occur at specific times.

To change a Track to a real-time Track, double-click on the Track's name in the Tracks window, or click on the Track name with the Magic Wand in the Song Construction or Media Madness windows. This opens the Track name requester.

Click on the real-time button to convert the Track into a real-time Track. Thereafter, each note plays at an absolute hour, minute, and second, independent of the selected tempo. Deselect the button to convert the Track back into a regular Track. Once a Track is in real-time mode, every time you change the Tempo, the Track stretches or shrinks to make sure the events all still occur at the correct SMPTE times.

Real-time Track names appear purple instead of blue when not highlighted, and red when highlighted.

MIDI Clock Synchronization

The simplest, most affordable method to synchronize Bars&Pipes Professional with external sources involves using MIDI Clocks (sometimes called Song Position Pointer).

MIDI Clocks work in the following manner: The MIDI standard includes a set of commands designed to synchronize multiple devices via the MIDI cable. These commands include instructions to start, stop, and reposition playback, as well as Clock tick instructions that Bars&Pipes Professional uses to maintain accurate synchronization.

Designed with music in mind, MIDI Clock ticks correlate directly with Measures, Beats, and Clocks. As each Clock tick comes in via MIDI, Bars&Pipes Professional increments its position in Song time. In this manner, the MIDI Clocks control both the tempo and the position of the piece as it performs.

Sending MIDI Clocks

To synchronize an extemal MIDI device with Bars&Pipes Professional, first set the MIDI device to which you would like MIDI Clocks sent. For instance, if you have the Triple Play Plus MIDI interface, you can choose to have MIDI Clocks sent out of the Triple Play MIDI Out 1, 2, or 3. To select the MIDI device, choose Set MIDI Clock Tool... from the Timing menu. A requester opens.

Click on the Tool displayed after the MIDI Tool: prompt to cycle through the available Tools. Select the appropriate Tool and click on Okay.

{{Note|text=Only Tools that send out of a MIDI port are accessible from the Set MIDI Clock Tool requester. If there is no MIDI Out Tool loaded, you need to install a MIDI Out Tool to continue.}}

Then, select Send MIDI Clocks from the Timing menu. This command instructs Bars&Pipes Professional to send MIDI Clock events as well as Start, Stop, Continue, and Song Position events.

Recording A MIDI Clocks Synchronization Track

If you are synchronizing Bars&Pipes Professional to a device such as a drum machine that creates its own tempo map, you can skip over this section. However, if you plan to synchronize Bars&Pipes Professional to an audio or video recorder with MIDI Clocks, you'll need to lay down a MIDI Clocks sync Track on tape first.

To lay down a sync Track, do the following:

If you need a Tempo Map for your Song, create it. This will be used to record the timing.

{{Note|text=Instant tempo changes do not work well with MIDI Clocks. Always slope your tempo changes somewhat to improve precision while syncing to MIDI Clocks.}}

Activate Send MIDI Clocks in the Timing menu.
Prepare your tape deck and/or your MIDI Clock interface.
Start recording with your tape deck as you start the Bars&Pipes Professional Sequencer.
When you finish, you should have a MIDI Clock stripe on your tape. All the timing information, include the Tempo Map is embedded in the strip. You can now use the tape to slave Bars&Pipes Professional to your audio or video production.

Synchronizing To MIDI Clocks

To synchronize with an external MIDI device that transmits MIDI Clock events, select the option Synchronize to MIDI Clocks in the Timing menu.

The Synchronize to MIDI Clocks command disables Bars&Pipes Professional's internal timer and slaves it to MIDI Clocks coming in the MIDI interface attached to your Amiga. The incoming MIDI messages determine both the Tempo and Song Position.

* TIP * To help the synchronization happen quickly and effortlessly, set the Tempo to a value reasonably close to intended Incoming Tempo prior to starting.

If you have more than one MIDI input device, you don't have to set MIDI Clocks to enter the device of your choice. All MIDI Input Tools automatically route MIDI Clock messages to Bars&Pipes Professional's timing mechanism.

However, be careful not to have MIDI Clocks coming in at the same time on multiple MIDI inputs. For instance, you would not want to receive MIDI Clocks on the One-Stop Music Shop's MIDI In at the same time as on the standard serial MIDI interface's MIDI In.

Start from your MIDI Clock source, e.g. a drum machine or tape deck. Bars&Pipes Professional automatically jumps to the proper location and plays. You can even record while synchronized. Just put the Transport Controls into Record mode, then start from the MIDI Clock source.

When Bars&Pipes Professional synchronizes with MIDI Clocks, it disables the Lead-In feature (no countdown before starting).

* TIP * Use MIDI Clock synchronization to dump a performance from another Sequencer into Bars&Pipes Professional. First, enable Bars&Pipes Professional's Multiple Ins Preference. This activates input on all Tracks on a channel by channel basis. Then, enable the Synchronize to MIDI Clocks option. Place all Tracks as well as the Transport Controls in Record Mode. Start the external Sequencer. Bars&Pipes Professional locks to the external Sequencer and records the entire performance on up to sixteen individual Tracks. Sometimes, for extra accuracy, it helps to record the transfer at a slow tempo.

SMPTE (MIDI Time Code)

If you require synchronization to an external device in real-time instead of music time, a second option, SMPTE time code, comes into play. SMPTE time code specifies the time in hours, minutes, seconds and frames, with no correlation to music time or tempo.

MIDI Time Code is a protocol for communicating SMPTE time via MIDI. MIDI Time Code events specify the time in hours, minutes, seconds, and frames. By listening to MIDI Time Code, Bars&Pipes Professional can ascertain where in the sequenced piece it currently is. Use MIDI Time Code to synchronize with video hardware, as well as audio and video tape recorders.

To use Time Code with music, create a Tempo Map within Bars&Pipes Professional to specify the music tempo at different points in time. Then assign the desired SMPTE Offset in hours, minutes, seconds, and frames. In this manner, Bars&Pipes Professional's Tempo Map and SMPTE Offset combine to translate real-time into music time.

Bars&Pipes Professional supports SMPTE in two ways: through menu options and Accessories. In the Main menu, the Timing menu options SMPTE Format.., and SMPTE Offset.., allow you to set these two aspects of SMPTE (more on these below.)

The MTC Accessory allows synchronization to most SMPTE boxes. The SyncPro Accessory interfaces directly with Blue Ribbon's SyncPro sync box. (Please see the Accessories chapter for more details)

SMPTE Sync Options

The following SMPTE synchronization options can be found in the Timing menu:

SMPTE Format...
When using MIDI Time Code, set the SMPTE format in the SMPTE Format... option. This option determines how many frames per second (FPS) Bars&Pipes Professional displays in SMPTE time.

{{Note|text=If you are synchronizing to an external SMPTE source, it automatically sets the SMPTE format. Under such circumstances there is no need to set the format.}}

Four SMPTE frame rates are available:

24 FPS - This is the standard frame rate used with motion picture film.
25 FPS - This is the standard frame rate used with European television, video, and film.
30 FPS (Drop Frame) - This is the standard frame rate for American color video today. The frame rate for color video is actually 29.97 FPS. If you use Non-Drop Frame, at the end of one hour, there will be 108 frames less than expected. Drop Frame corrects this deficiency by systematically dropping 108 frames per hour, so that at the end of an hour, the total number of frames will still be 108 frames short, but the frame numbers will be correct. However, Drop Frame should only be used when necessary because of the inaccuracies caused by the dropped frame.
30 FPS (Non-Drop Frame) - This is the standard frame rate for black and white television.
SMPTE Offset...
If you synchronize your music to SMPTE, your music rarely begins at the time 0:0:0.0. Instead, the beginning is most likely between a few seconds to several hours later. If you are scoring a film or video, each composition certainly starts at a different point in SMPTE time.

To adjust the SMPTE Offset, open the SMPTE Offset requester by selecting SMPTE Offset... in the Timing menu. Enter the Song's starting time in SMPTE format; Hours, Minutes, Seconds, and Frames. Bars&Pipes Professional plays your music when the SMPTE source, perhaps a video recorder or multi-track recorder, reaches this point in SMPTE time. Click on Okay to accept your settings and Cancel, to abort them.

If you start the SMPTE source at a point after the SMPTE Offset, Bars&Pipes Professional automatically calculates the Song position based on the current SMPTE time, starting the Song somewhere in the middle.

Display SMPTE Offset
By default, Bars&Pipes Professional adds the SMPTE Offset to the Song time to display the SMPTE time; however, if you'd rather see the Song time without the SMPTE offset added, deselect Display SMPTE Offset in the Timing menu.

Syncing To SMPTE

In order to synchronize Bars&Pipes Professional to SMPTE, you'll need a SMPTE to MIDI Time Code converter such as SyncPro.

{{Note|text=Because we've designed synchronization in as an Accessory, Bars&Pipes Professional easily supports third party SMPTE synchronization boxes. In addition, the Accessory mechanism provides for synchronization with other software. Programs like Real 3D and Imagine currently control Bars&Pipes Professional as if they were SMPTE sources. Please see the Accessories drawer on your Bars&Pipes Professional distribution disks for more on these and other options.}}

Either the SyncPro or MTC Accessory should be loaded in the Accessory window. Please refer to the Accessories chapter for more information.

* TIP * Sometimes, Bars&Pipes Professional may not start exactly when the SMPTE time coming from your SMPTE Interface reaches the SMPTE Offset. As a result, the very first MIDI events may not play. To avoid this, place a blank measure at the beginning of each Song. An easy way to do this is set the Edit Flags in the Tracks window to encompass the first measure and select Insert from the Edit menu.
==Tempo Mapping==
Chapter 18

The Tempo Map Window

Use the Tempo Map window to create a series of tempo change commands to alter the pace of your music over time. Open the Tempo Map window by selecting Tempo Map from the Windows menu or click on the Tempo Map icon.

The Tempo Map window consists of eight control buttons and a graphic display of the Song tempo over time.

The Tempo Map Display

Most of the Tempo Map window features the Tempo Map graph. This graph displays the tempo on the vertical axis and the time in measures or SMPTE on the horizontal axis.

The graph shows constant tempo in blue, tempo changes in red, and the tempo at the end of each tempo change in blue.

Adjusting The Display

To display in SMPTE time, click on the SMPTE/Music Time button until it shows a film strip. The Tempo Map window redraws the tempo changes against a background of vertical lines at every one second interval.

{{Note|text=Once you've entered tempo changes, the spacing between the second markers stretch and shrink as the tempo slows and increases.}}

To display in music time, click until notes appear on the SMPTE/Music Time button. The Tempo Map window redraws the tempo changes against a background of vertical lines at every measure interval.

Click on the two Zoom buttons to change the range of the display. The Zoom In button with the large note magnifies the view for a detailed look, while the Zoom Out button pulls back for a better overview of your the tempo map.

Editing the Tempo Map

Creating A New Tempo Map

Select New from the Tempo Map menu to erase the current Tempo Map and create a new one. The starting tempo for the new Tempo Map is the same as the old one.

* TIP * The starting tempo Is the same tempo entered In any of the Transport Controls.

Entering A Tempo Change

Before entering a tempo change, decide what kind of tempo change you'd like from by clicking on the Curve button. It provides four choices:

Instant, a sudden tempo change
Linear, a change that progresses at a constant rate;
Exponential, a change that starts slowly, then accelerates.
Logarithmic, a change that starts quickly, then eases into the final tempo.
The Pencil, or function key "F1" inserts new tempo changes. Press and hold the mouse button down over the measure where you want the tempo change to begin. Drag up or down to the set the new tempo and to the right to determine the length of the change. Instant tempo changes have no length.

As you drag the mouse, the Tempo Map window displays a straight "rubber band" connecting the beginning and ending points of the tempo change. The Title bar of the Tempo Map window shows the endpoint of the tempo change in Song-time and the ending tempo.

When you reach the desired endpoint, release the mouse button.

Altering A Tempo Change

To numerically alter a tempo change, select the Magic Wand or press function key "F2". Then, click on the tempo change you'd like to edit. This opens the Edit tempo change requester.

The Edit tempo change requester displays seven parameters that describe the tempo change. The parameters are:

Starting Tempo
Enter the Starting Tempo in beats per minute. Each tempo change starts at one tempo, then accelerates or decelerates to a second tempo, the Ending Tempo. The Starting Tempo of each tempo change is the Ending Tempo of the previous tempo change. As a result, you need only edit one of these Tempos, not both.

Starting Time (M.B.C)
Each tempo change begins at a specific point in the Song. To edit this position in Song-time (Measures, Beats, and Clocks), click on the Starting Time (M.B.C) line and edit it.

Starting Time (H:M:S.F)
The second Starting Time parameter displays the Starting Time in Hours, Minutes, Seconds, and Frames. You can edit this parameter, but take note: if you edit a tempo change which precedes this tempo change, the Starting Time for this tempo change changes, because the amount of time in hours, minutes, seconds and frames required to reach this point has changed.

Accel/Rall Curve
The Accelerando/Rallentando Curve lets you change the tempo change Curve type from the four options described above: Instant, Linear, Logarithmic and Exponential.

Select a curve by clicking on the appropriate button.

Ending Time (M.R.C)
Unless a tempo change has an Instant curve, you must specify the duration of the tempo change curve. Enter the time in Song-time after the Ending Time (M.B.C): prompt. B&P Pro calculates a tempo change which occurs gradually between the starting and ending times.

Ending Time (H:M:S.F)
The second Ending Time parameter displays the tempo change ending time in Hours, Minutes, Seconds, and Frames. Edit this field to set the tempo curve ending in SMPTE time.

Ending Tempo
Enter the final Tempo in the Ending Tempo: field. The Song continues at this Tempo until the next tempo change occurs.

When you have finished editing the tempo change, click on Okay, to accept the changes, or Cancel, to leave the previous settings intact.

Moving A Tempo Change

The Hand (function key "F3") drags either the start or the end of the tempo change. To drag the start point, click with the mouse just after the start of the tempo change and drag. To drag the end point, click just after the end point and drag. Move the mouse up or down to change the tempo, and across to change the duration.

The Title bar of the Tempo Map window displays the end time and tempo of the tempo change as you drag it with the mouse.

Erasing A Tempo Change

The Eraser (function key "F5") deletes tempo changes. Click on any part of the red tempo change curve to delete it.

Deleting a tempo change also affects the next tempo change. For instance, the slope of the next tempo change is altered when the starting tempo changes.

Conforming A Section

Sometimes, you may need to create a tempo change that forces a section of music to fit exactly within a specific span of time. Do so with the Conform command in the Tempo Map menu.

When you select the Conform command, the Conform requester opens.

Fill in the following fields:

Starting Time
Enter the Starting Time of the portion you want to conform, in Song Time (M.B.C.) The requester automatically adjusts the starting SMPTE time.

Ending Time
Then, enter the Ending Time of the portion. This time you must enter both Music time in Measures, Beats, and Clocks, as well as SMPTE time, in Hours, Minutes, Seconds, and Frames.

Resulting Tempo
The requester then calculates the appropriate tempo change and places it in the Resulting Tempo field.

Conform
If you approve of the Resulting Tempo, click the Conform button to insert the tempo change into the Tempo Map.

Cancel
Otherwise, click Cancel to return to the Tempo Map or enter new Ending Time values to create a different Resulting Tempo.

* TIP * The Conform option is very useful for scoring to video.

Undoing A Mistake

The Undo option (right-Amiga U) in the Tempo Map menu cancels the last change to the Tempo Map.

Aborting All Changes

The Abort command in the Tempo Map menu restores the Tempo Map to the condition it was in before you opened the Tempo Map window.

Loading & Saving Tempo Maps

To load a Tempo Map from disk, select the Load command in the Tempo Map menu.

Select Save from the Tempo Map menu to save a Tempo Map to disk. Saving a Tempo Map makes it available for use with other Songs, or allows you to try out different Tempo Maps with the same Song.

Disabling Tempo Changes

If you need to disable tempo changes, open the Timing menu from the Tracks window and turn off the Synchronize to Tempo Map selection. Bars&Pipes Professional then uses the tempo you have set in the Transport Controls window to determine the Song tempo for the entire Song.

For more information, please refer to the previous chapter, Timing, Syncing, and Tempo.

==Advanced Sequencing==

Chapter 19

Overview

In Chapters 3 through 7, we learned the basics of multi-track recording and composition with Bars&Pipes Professional. Now it's time to jump back in and complete our exploration with some more advanced concepts.

Most of this chapter pertains to the Tracks window. The Tracks window is the central focus of multi-track sequencing in Bars&Pipes Professional. If it's not open now, open the Tracks window by double-clicking on its icon and close all other windows.

Groups

Sometimes it's nice to be able to grab a collection of Tracks at once and perform an operation on them as a whole. For example, you might want to isolate all of your string Tracks and Toolize them together. Or, you might want to mute everything but the percussion Tracks so you can hear them out of context.

Use Bars&Pipes Professionals Groups mechanism to organize the Tracks that comprise your Song into Groups. A Group is a collection of Tracks that can be accessed as a unit. When a Track belongs to a Group, it's called a member Track. With Groups, you can Mute or Solo several Tracks on playback, which helps you isolate parts of your Song, or Toolize several Tracks at once, or execute many of the operations found in the Edit menu. You can create as many as eight Groups.

The Group buttons at the top of the Tracks window organize and control access to the Groups.

The numbered buttons, the Group Selectors, represent each of the eight Groups. Click on a Group Selector to activate its Group. Click again to deactivate. Use the Group button, to the right, when creating or changing the members of a Group.

Creating Groups

To create a Group, enter into Group Edit mode by clicking on the Group Button. Then click on one of the Group Selectors.

Click on all of the Tracks that you want to belong to the Group. Notice that each Member Track is drawn highlighted. Click a second time on a Track to remove it from the Group. Click on the Group Button again to deactivate Group Edit mode.

From now on, whenever you activate the particular Group Selector, your defined Group is selected.

Editing A Group

You can reorganize a Group at any time.

To enter into Group Edit mode, depress the Group button and the Group Selector button for the Group you'd like to change. While the Group button remains active, you may toggle Tracks in and out of the Group by clicking on them. When you're done, click on the Group button to deactivate Group Edit mode.

* TIP * You can place a Track in several Groups at once. This can be very useful.

Creating A Temporary Group

Often, it's useful to quickly create a temporary Group, especially when used in conjunction with the Group menu (discussed later in this chapter.) To create a temporary Group, hold down a shift key on the Amiga keyboard and click on several Tracks. Each Track that you click on becomes a member of the temporary Group.

Once you finish working with the temporary Group, deselect it by clicking once on any Track.

Group Mode

Clicking on one of the Group selector buttons places you in Group mode. In Group mode, the Track menu becomes the Group menu, and operates on every Track in the Group (see the Track and Group menus later in this chapter.)

Group Mode And The Graphic Editor

Groups allow you to view a Track of music in the Graphic Editor's Hybrid Staff and Piano Roll with other Tracks in the background. This useful feature allows you to compare the timing of notes on one Track with the timing of notes on another.

First, create or select a Group. Once in Group mode, open the Graphic Editor for a member Track of the Group. The notes of the other Tracks in the Group display as grey background notes. You cannot directly edit these notes.

When you open more than one Graphic Edit window simultaneously and both Tracks are members of the same Group, the notes in the foreground of one Edit window appear in the background of the second Edit window, and vice versa.

{{Note|text=Editing notes in one of these windows does not automatically update the background of the other window. The background notes of the other window updates only after the first window closes or updates the Track with the Update command Then, the second window's background notes update upon the next window refresh of the second window.}}

Soloing and Muting

The Solo button is the leftmost button at the top of the Tracks window. The Solo button controls the Solo and Mute state of the currently selected Track or Group. Click on Solo once to solo the highlighted Track or Group. Click again to mute the Track or Group. Click one more time to return the Track or Group to its normal state.

Soloing A Track Or Group

Sometimes, you may want to hear only one Track or Group at a time. Click on the Solo button to isolate the selected Track or Group. This command mutes all remaining Tracks. Notice that their Mute/Thru/Play Only faucets switch to the Mute settings.

Muting A Track Or Group

It can also be useful to mute the selected Track or Group. Click a second time on the Solo button and the selected Track or Group becomes mute, while all other Tracks turn on. The selected Track or Group's Mute/Thru/Play Only faucets switch to the Mute setting while the remaining Tracks' faucets return to their normal states.

Click on the Solo button a third time to return the Track or Group to Normal mode.

The Track Name Requester

Open the Track Name requester by double-clicking on its name in the far left of the Tracks window.

* TIP * You can also open the Track Name requester by selecting the Wand in the Song Construction or Media Madness windows and clicking on the Track name.

Use the Track Name requester to change the name, enter notes, and set the Real-Time property of each Track. The following features are found in the Track Name requester:

Name
Change the Track Name by editing the Name: field.

Notes
You may also enter a brief note about the Track in the Notes: field.

Real-time
The real-time button determines whether or not the Track is in real-time or Song-time mode. By default, Tracks operate in Song-time mode. In Song-time mode, increasing the Song's tempo causes notes to play faster. Each note plays on a particular measure, beat and clock, not at an absolute hour, minute and second.

In some cases, however, certain events must happen at times independent of the Song's tempo, such as sound effects in a film score. The sound effects must synchronize with their real-time screen counterparts. Such a situation calls for real-time mode. To lock a Track into real-time mode, click on the real-time button. Thereafter, each note plays at an absolute hour, minute, and second, independent of the selected tempo.

Since tempo changes cannot affect the timing of events in real-time Tracks, they change the position of the events in the Tracks instead. For example, if an event occurs at measure 2 in a real-time Track, doubling up the tempo should make that event play twice as soon. To avoid that, the event shifts further down to measure 3, to effectively play at the exact same time in seconds and frames.

Real-time Track names appear purple instead of blue in the Tracks window. They still highlight as a red color.

Okay & Cancel
Click on the Okay button to accept the changes, or click on Cancel to ignore them.

Rearranging Tracks

You can rearrange the list of Tracks any way you like. To do so, use the two arrow buttons that are to the right of the Group button.

The Track Up button, on top, moves the highlighted Track up one in the list. The Track Down button, on bottom, moves it down one.

Double-click on the Track Up or Track Down button to jump the selected Track to the top or bottom of the display, respectively.

The Track Menu

The Track menu, accessed from the Tracks, Song Construction, and Media Madness windows, contains operations that primarily apply to the currently selected Track in the Tracks display.

If a Group is currently selected, the Track menu becomes the Group menu. Many of the commands in the Track menu change to accommodate multiple Tracks instead of one. Notice that when an individual Track is highlighted, the menu items Load Group, Share Input, and Gather Group are disabled in the Track menu. These options exist purely for the Group menu.

Before using the Track menu, be sure to select the Track of your choice by clicking on it. The following commands are found in the Track menu:

New
The New command creates a new Track. If a Track is highlighted, the New command creates a new Track directly underneath the highlighted Track. Otherwise, it places the new Track at the bottom of all of the Tracks.

The new Track has, by default, standard MIDI In and MIDI Out Tools (if they are in the ToolBox.)

Alternatively, if you've prepared a default Track and saved it with the Save As Default command, New loads the default Track and installs it.

The new Track is automatically highlighted and its Input Arrow activated.

Copy
The Copy command creates a duplicate of the selected Track and places it directly beneath the selected Track.

Merge...
The Merge command mixes the contents of two Tracks together, placing the results in the second Track.

To use the Merge command, select the first Track, then pick the Merge command.

Notice that the Title bar of the Tracks window displays the command, Select the Merge Track:. Click on the second Track to merge the Tracks, or click on the background of the screen to abort the Merge operation.

Bars&Pipes Professional adds the events from the first Track into the second Track, leaving the first Track as it was originally.

Delete
The Delete command removes the selected Track. A requester verifies the operation. Use Delete with care. Once you delete a Track, you cannot bring it back.

Load Track...
The Load Track... command loads a Track from disk. When you select this command, the file requester opens. Use it to select a Track for loading. Of course, in order to use the Load Track command, you must have a previously saved Track to load.

Load Group...
The Load Group... command is only available when in Group mode. To enter into Group mode, select one of the Group buttons, or hold down a shift key while clicking on multiple Tracks. Please see the Load Group command in the next section, The Group menu, below.

Save Track...
The Save Track... command saves the selected Track to disk. The file requester opens. Use it to select or create a file in which to save your Track.

Save As Default
The Save As Default command saves the selected Track to disk as "New.Track" in the Bars&Pipes Professional directory. Once you've saved a default Track, the New command loads this Track instead of creating a standard blank Track with standard MIDI In and Out Tools.

* TIP * If you're working with MIDI connectors other than the standard MIDI In and Out, create a blank Track, install the MIDI Tools of your choice (for example, the One-Stop Music Shop's,) place any additional Tools that you'd usually add to your PipeLines (Quantize, General MIDI, etch) and save the Track with the Save As Default command. From then on, when you select the New command, the previously prepared Track loads.

Erase
The Erase command erases the Track, emptying it of its contents. The Track itself is not deleted, just erased. The Erase command leave Tools in the PipeLines unharmed.

Toolize
The Toolize command processes all notes in the currently selected Track with the currently selected Tool in the ToolPad. Please see Chapter 7, Tools, for more information.

{{Note|text=This command is ghosted if there is no active Tool in the ToolPad.}}

Time-Shift...
The Time-Shift... command moves everything in the selected Track forward or backward in time. When you select the command, Bars&Pipes Professional opens the Time Shift requester.

Enter the shift distance in measures, beats and clocks after the Shift: prompt. For example, "0.01.0" moves the time by zero measures, one beat, and no clocks. Click on the Forward button to move the music forward in time. Click on the Backward button to move the music backward in time.

{{Note|text=Be careful time-shifting backwards. Notes at the beginning of the Track collect at the very beginning because they can't have negative performance times.}}

Click Okay to confirm or Cancel to leave the Track unchanged.

Propagate
The Propagate command in conjunction with the A-B-A feature of the Song Construction window, copies changes made to the first instance of each section to all other instances of those sections (for the selected Track only).

{{Note|text=This command is ghosted if the A-B-A feature has not been utilized.}}

Please see Chapter 21, Song Construction, for more information.

Print...
The Print command opens the print requester to print the Track. (Please see Chapter 11, Printing Notation.)

{{Note|text=Before Printing a Track, you should set up the Notation parameters by first opening the Graphic Editor for the Track.}}

The Group Menu

The Group menu is active when the Tracks window is in Group mode. To enter Group mode, click on one of the Group buttons or hold down a shift key while clicking on multiple Tracks.

Notice that the menu items Copy and Merge are disabled in the Group menu. They are only active in the Track menu.

Although you can only create Groups from the Tracks window, the Group menu is also available from the Song Construction and Media Madness windows, in case you need to use the Group editing features.

The following commands are found in the Group menu:

New
The New command creates a new Track and places it in the Group. The new Track receives standard MIDI In and Out Tools.

Delete
The Delete command removes the Group as a whole. Use this command with care! A requester asks you to verify the command.

Load Track...
The Load Track... command loads a Track from disk and places it in the Group.

Load Group...
The Load Group... command loads a Group from disk and adds it to the currently selected Group.

Save Group...
The Save Group... command saves the member Tracks of a Group to disk.

{{Note|text=You can reload the Group into a different Group number with the Load Group command.}}

Erase
The Erase command deletes all events in the Group. The Erase command does note delete the Tracks in the Group, just their contents.

Toolize
The Toolize command takes the currently selected Tool in the ToolPad and applies it to every event in each Track member of the Group.

{{Note|text=This command is ghosted if there is no Tool selected in the ToolPad.}}

Time-Shift...
The Time-Shift command offsets the timing of the Group by a specified amount. Please see the Time-Shift command in the Track menu for more information.

Propagate
In conjunction with the Song Construction window's A-B-A feature, the Propagate command copies changes to the first instance of each section to all other instances of those sections for the entire Group. This command is ghosted if the A-B-A feature has not been utilized.

Share Input
The Share Input command connects the PipeLines of all Tracks in the Group so that any input to the top Track goes to the other Tracks as well. The Share Input command uses the Merge In and Branch Out Tools to accomplish this, so make sure they are installed in the ToolBox for this command to function.

Gather Group
The Gather Group command reorganizes the Tracks window display so that all the Tracks in the selected Group are adjacent to each other.

Print...
The Print command prints only the Tracks in the selected Group. (Please see Chapter 11, Printing Notation). Before Printing, be sure to set up the notation in each Track by opening each Track's Graphic Editor first.

The Master Time Signature

The Tracks window displays measure numbers and Time Signature Changes in the Flag Strip, directly above the Sequence display in the Tracks window.

The Tracks window displays each measure number unless a Time Signature Change occurs, in which case it displays the new Time Signature instead. These Time Signature Changes are the same Time Signature Changes accessed in the Master Parameters window.

Since each Track can have its own Time Signature, it is possible that some Tracks in your Song do not line up exactly with the Global Time Signatures.

{{Note|text=From within the Graphic Edit windows of these Tracks, you can use the Export and Import commands from the Master Parameters menu to exchange Time Signatures between Tracks and the Master Parameters Time Signatures.}}

To insert, remove, or change a Time Signature, double-click on the measure with which you want to work. The Time Signature requester opens.

Selecting A Time Signature

Bars&Pipes Professional provides six standard Time Signatures, as well as a method to define custom Time Signatures The six buttons across the top of this requester feature the pre-defined Time Signatures. Click on your preference to select it.

If you don't find one that meets your needs, create your own by first typing the values for the Time Signature after the Other: prompt. Then click on Other to select it.

{{Note|text=It is important that you first enter the values, and then click on the Other button to activate it. Clicking the Other button first, and then typing in the values won't work.}}

Placing The Time Signature On A Specific Measure

By default, Bars&Pipes Professional displays the measure in which the Time Signature change occurs after the "Signature begins on measure:" prompt. Change the measure by editing this number.

Adding A Time Signature

Adding: To add a Time Signature change, select the Time Signature and click on Okay to accept it.

Removing A Time Signature

Removing: To remove a Time Signature change, enter the Time Signature requester by double-clicking on the Time Signature you'd like to remove; click on the No Signature Change button; then select Okay.

Changing A Time Signature

Changing: To alter an existing Time Signature change, double-click on the Time Signature displayed above the Sequencer; then select a new Time Signature.

You can alter when a Time Signature change occurs by editing the measure number after the Signature Begins on Measure: prompt. Once you change the Time Signature to your liking, click on Okay to accept the change, or Cancel, to disregard it.

Selecting The Previous Or Next Time Signature Change

To go to the previous Time Signature change, click on the left arrow button in the Time Signature requester. The arrow finds the Time Signature prior to the one you are viewing and displays it, so that you can edit it. The right arrow button scans forward to the next Time Signature change.

Automatic Removal Of Identical Time Signatures

If you create two adjacent, identical Time Signatures, Bars&Pipes Professional removes the second one. To illustrate, if you have 6/8 on measure 5, then place 6/8 on measure 4, Bars&Pipes Professional discards the 6/8 on measure 5.
==Multi-Track Editing==
Chapter 20

Introduction

Although Bars&Pipes Professional includes sophisticated Graphic and List Editors, you can also perform many editing functions from the Tracks window. In particular, you can Cut, Copy, and Paste individual Tracks, or perform these functions globally on all Tracks. These operations involve the Edit Flags, Edit menu, and ClipBoard.

In addition to the Tracks window, you can also perform multi-track edits from the Song Construction and Media Madness windows. For our examples, however, we will concentrate on the Tracks window.

Clip Editing

All Edit menu operations use "Clips", which store and retrieve edited information. A Clip stores a section of music containing one or more Tracks. A Clip Buffer is a place in your computer's memory that stores a Clip.

The Track Clip Buffers

Each Track has its own Clip Buffer that stores a single Clip. The Cut and Copy commands replace the previous contents of the Track's Clip Buffer with the new Clip; the Paste and Mix commands copy the contents of the Clip Buffer to the Track.

The ClipBoard

Unlike an individual Tracks Clip Buffer, the ClipBoard allows you to work with multiple Cliresents you with filtering options. The Cut and Copy commands add a new Clip to the ClipBoard; the Paste and Mix commands copy the selected Clip to the Tracks. To use the ClipBoard instead of the Clip Buffer, open the ClipBoard by selecting the Windows menu or double-clicking on the Clip Board icon. While the ClipBoard is open, Clips are sent to it instead of the Track's Clip Buffers.

The Edit Window Clip Buffers

Although you don't use the Graphic and List Editor windows when editing multiple Tracks, it's important to understand their usage of Clip buffers:

Like a Track, each Edit window maintains its own Clip Buffer. All Cut and Paste commands in the Editor's Edit menu use this Clip Buffer when the ClipBoard window is not open. When the ClipBoard window is open, the Edit window uses the ClipBoard, just as the multi-track editing operations do. This means that you can Cut and Paste between the Edit windows and individual Tracks in the Tracks, Media Madness, and Song Construction windows.

The Edit Flags

Use the Edit Flags to mark a section of music for editing. The Flags look like purple slanted triangles, and sit directly above the Track displays in the Tracks, Media Madness, and Song Construction windows.

Position these Flags to indicate where you want your edits to occur. The left Edit Flag, designated by a triangular flag with the mast on the right, identifies where an edit operation starts, while the right Edit Flag, designated by a triangular flag with the mast on the left, identifies where an edit operation ends.

Positioning The Edit Flags

To position a Flag, drag it with the mouse. If the desired position is not visible in the display, first scroll the display so that the desired position is visible, then drag the Flag into position.

Dragging a Flag all the way to the left tells Bars&Pipes Professional to place it at the very beginning of your Song or Track. Dragging it all the way to the right indicates that you want it placed at the end of the Song or Track.

* TIP * Notice that as you drag the Flag its position is shown in the LED displays in the Transport Controls Mini Transport and Tracks windows.

You can also position the Flags by entering exact values with the Set Flags Window. To enter exact values open the Set Flags Window from the Windows menu.

Enter the values in Measures, Beats, and Clocks, or, if the SMPTE/Music Time button is set to SMPTE, set the time in Hours, Minutes, Seconds, and Frames. Once you have entered a number, remember to press the Return key, which enters the new value and moves the Flag to its new position.

Flag Alignment

You can specify whether the Flag automatically aligns with Measures, Beats, Seconds, Frames, or Anywhere, by selecting the desired option from the Align with... command in the Preferences menu. If you select Align with Measures, the Edit Flag always sticks to the measure boundary just to the left of, or under, the place where you drag it. If you select Align with Beats, it sticks to the beat boundary. Seconds stick to seconds boundaries, Frames stick to SMPTE frame boundaries, and if you select Align with Anywhere, it stays exactly where you place it.

Alternatively, you can set the Alignment with the four Alignment buttons located in the Set Flags window. "->M<-" sets the alignment to Measures, "->B<-" sets the alignment to Beats, "->S<-" sets the alignment to Seconds, and "->F<-" sets the alignment to Frames. If no button is selected, the alignment is set to Anywhere.

{{Note|text=If you align the Edit Flags on measure boundaries, the Time Signature and Key & Scale/Mode Parameters will be incorporated in the edit. Otherwise, they will not.}}

Selecting Tracks to Edit

You can edit one Track, a Group of Tracks, or the entire Track list at once.

Editing One Track Only

To edit one Track only, select the Track, activate the Solo mode and choose the appropriate edit command. This is the only option available in the Graphic and List Editors.

Editing A Group Of Tracks

To edit an entire Group of Tracks, select that group with the Group Number button or make a temporary Group by shift-clicking several Tracks. Then solo the Group with the Solo button and choose the appropriate Edit command.

Editing All Tracks

To edit all Tracks, make sure the Normal/Solo/Mute button is in Normal mode, then mark off the desired area and use the appropriate edit command.

The Edit Operations

The Edit menu operations work in conjunction with the Edit Flags and the Normal/Solo/Mute button.

Once you have aligned the Edit Flags and set the Normal/Solo/Mute button, select the desired operation from the Edit menu. Once they've been executed, all of the Edit menu commands automatically turn off the Solo button (if selected), so that you can quickly listen to your changes.

The following shows the menu command followed by the hotkey in parenthesis.

Cut (Right Amiga - X)
The Cut command cuts a section from your Song or selected Track. Cut removes the section between the Edit Flags and shifts everything to the right of the section to the left Edit Flag. This is analogous to cutting out a section of tape physically and splicing the remaining ends together.

Use the Paste command to insert the Clip elsewhere in your Track, or the Mix command to merge the Clip with existing notes. Notice that the Solo button is automatically turned off, after the cut is made. If you plan to Paste into just one Track, you must reactivate the Solo button.

Copy (Right Amiga - C)
The Copy command copies a section, without actually removing it, for use with the Paste or Mix commands. Nothing visibly happens, but the section between the Edit Flags is now available for Pasting.

Paste (Right Amiga - P)
The Paste command inserts a cut or copied section into the Song or Track. It's not necessary to set the right Edit Flag, since the length of the inserted section is determined at the time it is cut or copied. For example, if you cut a four-measure section, the Paste command inserts those same four measures and moves everything to the right of the insertion by four measures.

You can do multiple Paste operations with the same Clip it does not change until you cut or coy another section of the Track.

{{Note|text=Remember to activate the Solo button before you Paste, if you intend to Paste into just one Track or Group.}}

Mix
The Mix commands merge a copied or cut section with the existing Song or Track. As with Paste, you need only set the Left Edit flag, unless you explicity wish to limit the pasted size with the Mix To Right Edit flag command. Unlike the Paste command, Mix does not increase the legth of the Track; rather it adds the notes to the notes already in the section.

Erase (Right Amiga - E)
The Erase command clears the section between the left and right Edit Flags. Erase removes all events and your Sequence is silent during this section. This is analogous to erasing a section of tape.

Insert (Right Amiga - I)
The Insert command inserts a blank space in your music. This command is useful when you want to add a section to your Song somewhere in the middle of it. Insert the section, then use whatever methods you prefer to fill the gap with music.

In other words, the section contained between the Edit Flags shifts to the right of the right Edit Flag, and the section between the edit flags is becomes empty.

Delete
To delete a section between the right and left Edit flags, use the Delete command. This command operates identically to the Cut command, but does not place the deleted section into the Clip buffer or ClipBoard.

{{Note|text=You can still use the Undo command.}}

Toolize (Right Amiga - T)
The Toolize command uses the currently selected Tool in the ToolPad to process the section marked off by the Edit Flags. This command is ghosted if there is no Tool in the ToolPad

Repeat (Right Amiga - R)
The Repeat command repeats a section of your Song one or more times. Repeat makes multiple copies of the section designated by the Edit Flags and inserts them in the Song.

When you select the Repeat command, a requester opens and asks you to specify the number of times to repeat.

{{Note|text=This is NOT the number of times that the section plays, but the number of times it repeats. Hence, selecting "1" repeats the section one time.}}

The repeated section appears immediately following the source section. Enter a number and select Okay to repeat, or Cancel, to abort.

Propagate (Right Amiga - A)
The Propagate command is the only Edit command used in association with the A-B-A feature of the Song Construction window. (Please see the Song Construction chapter.)

If you make a change to an A-B-A section and you'd like the change to be reflected in all other copies of that specific section, use the Propagate command in conjunction with the left Edit Flag.

To do so, place the left Edit Flag on or within the boundaries of the section to be propagated. Bars&Pipes Professional then rewrites all occurrences of that section to include the change.

For example, if you change some notes in the first instance of your "A" section, place the left Edit Flag within or on that section's boundaries and the Propagate command changes all other instances of your "A" section.

The Propagate command always uses the first instance of each section to make its changes; therefore, in order to use Propagate successfully, you must always edit the first section.

Undo (Right Amiga - U)
The Undo command returns your Song to its state prior to the last operation. In addition to undoing all of the commands in the Edit menu, it undoes other actions, including the last time you recorded.

Merging Groups Of Tracks Together

You can merge several Tracks into one Track in a single operation. This is useful for merging several Tracks of drums into a single drum track, or merging several Tracks recorded from different MIDI channels from a guitar controller into a single Track for tablature printing.

* TIP * In the latter case, where each guitar string is recorded on a separate Track, open the Graphic Editor for each track separately, and tabulate on the correct string for each track. Then, merge the Tracks together. The notes retain their original string assignments for accurate tablature transcriptions.

Example: Merging Several Tracks

Open the main Tracks window. Choose a blank, unused track to merge the tracks into. If you do not have a blank track, select New from the Track menu to create a new blank track.
Activate one of the Group button numbers (1-8) in the upper left corner of the Tracks window. This places Bars&Pipes in Group mode. If any tracks turn white, they are already members of this group, and you should choose a different number.
Activate the Group button (the button that says "Group" on it). This places you in Group Edit mode. Any Track you click on becomes a member of this new group.
Click on the tracks to merge together. Each track turns white to indicate it is a member of the group.
Deactivate the Group button, but leave the Group Number button active. This takes you out of Group edit mode and back into Group mode.
Choose the Group/Merge... menu command. "Select the Merge Track:" appears in the Track window's title bar.
Click on an empty Track. The Track fills with the merged contents of the group of tracks. The original group is left intact.
If desired, choose the Group/Remove menu command to remove all the original tracks from the song. Alternatively, you may wish to click on the solo/mute button until the group of tracks is muted, in case you ever wish to reuse the original group of tracks.
Deactivate the Group Number button to return to normal track editing mode.
* TIP * Optionally, use multiple selection to create a temporary group. To do so, hold down on the Shift key and click one by one on the Tracks that you would like to merge

Splitting A Drum Track Into Several Parts

There are times when you might wish to split a single track of multiple drum sounds into several tracks of single drum sounds. For instance, this might be useful if you wish to set an echo on the snare drum, but not the bass drum.

The Track/Split menu command provides the ability to split a Track into component parts in a single move.

* TIP * You can also accomplish similar and sometimes more intriguing results using different Tools from the variety of Tool Kits available.

Example: Splitting a drum track into component drum parts

Open the main Tracks window.
Click on the track that you wish to split.
Choose the Track/Split menu command. A requester will appear that tells you how many Tracks will be created if you choose to continue.
Choose Yes to split the track. The track splits into several Tracks, all having the same name and MIDI channel as the original track.

{{Note|text=You can reconstruct the original track by merging all split tracks back together. See above.}}

Clean Cuts

The Clean Cuts option in the Preferences menu controls how Bars&Pipes Professional treats notes that extend over Clip boundaries.

Without Clean Cuts, when Bars&Pipes Professional creates a Clip, it extracts all notes up to the right Edit Flag and leaves the note durations untouched. If a note near the end of the Clip has a duration that hangs over beyond the right edit Flag, it overlaps when pasted in elsewhere.

With Clean Cuts enabled, Bars&Pipes Professional chops notes that overlap the start and end of the Clip into two notes apiece. And, when pasting, if two identical notes butt up to each other on the Clip boundary, it merges them into one.

{{Note|text=The Clean Cuts option also controls how notes cut and merge when Punching in and Out during recording.}}

The ClipBoard

The ClipBoard provides a convenient way to move music Clips from one Track or Group of Tracks to another. It also allows you to filter out events and Song parameters while you cut and paste. And, it provides a convenient storage spot to post Clips that you'd like to use later. You can even load and save Clips to disk.

Accessing The Clipboard

Use the ClipBoard with the Track, Song Construction, Media Madness, and any Edit window. To open the ClipBoard, double-click on its icon along the right side of the screen (the icon that looks like a Clipboard), or select ClipBoard from the Windows menu.

The ClipBoard window controls the use of the ClipBoard. Whenever the window is open, Clips are automatically sent to it, rather than the associated Clip Buffer. As long as the ClipBoard window remains open, all Clip edit operations in all windows pass their Clips through the ClipBoard.

The ClipBoard window displays the list of Clips, with the currently selected Clip highlighted. Each Clip in the list displays its name, the number of Tracks in the Clip, and the length of the Clip in Song-time.

{{Note|text=If the number of Tracks is denoted as a capital S, this means that the Clip is for a single Track only.}}

The ClipBoard Commands

To select a Clip, click on its name in the list. The Clip highlights and its name displays after the Clip Name: prompt. Use the scroll bar and arrows to scroll the Clip list up or down.

The following features are found in the ClipBoard window:

Clip Name
To change the name of the selected Clip, enter the new name after the Clip Name: prompt.

{{Note|text=By default, Bars&Pipes Professional assigns names in the form "Clip #<number>".}}

Clear
To remove a Clip, select the Clip, and then select the Clear button.

Load Clip
To load a previously saved Clip, use the Load Clip command from the File menu.

Save Clip
To save the selected Clip to disk, use the Save Clip command from the File menu. Once the file requester opens, select or enter a file name and click on Save.

Clear all Clips
To delete the entire list of Clips, select the Clear All Clips command from the File menu.

Editing with the ClipBoard

When you enable the ClipBoard, the four Edit menu commands, Cut, Copy, Paste, and Mix pass Clips to and from the ClipBoard. To Cut, Copy, Paste, or Mix an individual Track or Group of Tracks instead of all Tracks, click on the Solo button before selecting the specific edit command.

{{Note|text=When you Cut or Copy all Tracks into the ClipBoard, it displays a Clip size one greater than the number of Tracks. This happens because it also includes the hidden Master Parameters Track.}}

Edit Menu Commands And The Clipboard

Here is how each edit command behaves in conjunction with the ClipBoard:

Cut (Right Amiga - X)
The Cut command removes the section between the Edit Flags and places it in the ClipBoard. Notice that the new Clip is highlighted.

Copy (Right Amiga - C)
The Copy command duplicates the section between the Edit Flags and places it, highlighted, in the ClipBoard. The source Track(s) remains unchanged.

Paste (Right Amiga- P)
The Paste command inserts the selected (highlighted) Clip at the point marked by the left Edit Flag. The Clip remains in the ClipBoard, so that you can make multiple pastes.

You can control which Parameters and Event types you paste with the Include menu. (See below.) You can also control which Tracks receive pasted Clips. (See below.)

Mix
The Mix commands merge the selected Clip into the target Track(s). This command excludes Parameters from the mix. You can, however, choose which MIDI Events to mix with the Include menu.

There are times when you may cut or copy a clip from one Track and wish to mix (e.g. Merge) its contents into another Track.

{{Note|text=When you past a clip into a Track, it actually inserts the clip into the Track, moving the contents of the Track to the right to make room for the clip. If you mix the clip into the Track instead, it does not move the Track's original contents to the right.}}

Example: Mixing the contents of measures 5-8 of one track into measures 10-13 of another:

Open the Main Track window.
Click on the Track to copy the clip from. The Track highlights in white.
Set the Left Edit flag at the beginning of measure 5.
Set the Right Edit flag at the beginning of measure 9.
Click on the Solo button in the upper left hand corner of the Tracks window. All Tracks except the highlighted one become muted.

{{Note|text=This causes the next Edit operation to work only on the soloed Track.}}

Choose the Edit/Copy menu command. If it is not already open, the Clipboard window opens and displays the new clip. It highlight the new clip in red, and it displays the name after the Clip Name: prompt. The name in the list appears with an "S", signifying a single Track, and "0003.00.00", signifying a length of 3 measures, no beats, and no clocks.
Click on the destination Track. It highlights in white.
Once again, click on the solo button to solo the Track.
Move the Left Efit flag to the beginning of measure 10. It does not matter where the Right Edit flag is.
Choose the Edit/Mix To End Of Clip menu command. The entire contents of the clip are mixed into the track.
The menu option Edit/Mix To Right Edit Flag work similarly to the Mix To End Of Clip command, except that it stops mixing the clip when it reaches the Right Edit flag.

For instance, if the Right Edit flag had been set at the beginning of measure 11 in the above example, only the first measure of the clip would have been mixed into the Track.

Cutting From One Track And Pasting Into Another

If you want to Cut and Paste from one Track to another, you must use the Solo button before each command. When the Solo button is used in conjunction with an editing command, the ClipBoard automatically opens if it is not already open.

To Cut from one Track and paste into another:

Highlight the Track you want to Cut (or Copy) from.
Set the Edit flags around the area you want to Cut (or Copy).
Click on the Solo button.
Select the Cut (or Copy) command from the Edit menu.
Highlight the Track you want to Paste (or Mix) into.
Set the left Edit flag to the position you would like to Paste (or Mix).
Click on the Solo button.
Make certain that the correct Clip is highlighted in the ClipBoard.
Select the Paste (or Mix) command from the Edit menu.
* TIP * Another easy way to Cut and Paste from one Track to another is to use the Song Construction window. Please refer to that chapter for more information.

Filtering Clips With The Clipboard

The Include menu is available only when you have selected the ClipBoard window. This menu allows you to select specific Song Parameters and MIDI Events which will be included in the pasting or mixing.

By default, the Include menu includes everything but System Exclusive events. Omit those you don't want by clicking on the particular items in the menu.

{{Note|text=During a Mix operation, only MIDI Events are included, and not Parameters.}}

Multi-Track Clip Alignment

Clips can contain portions of several Tracks. Depending upon whether you're working with one Song or several, you may want to paste multiple Tracks differently. The Align Clips... selection in the Preferences menu gives you two ways to paste multi-track Clips.

When you select By Name, Bars&Pipes Professional pastes multi-track Clips into Tracks with the same names as the Tracks from which the Clips were cut or copied. This method is very useful for moving Clips between Songs, since you do not need to enforce a particular Track order for all of your Songs. Bars&Pipes Professional pastes only the Tracks that have matching names in the Song; other Tracks are not pasted, but do remain in the Clip.

When you select By Position, Bars&Pipes Professional pastes multi-track Clips into the selected Track, and Tracks below, until all Tracks are pasted. This method is useful for moving Clips between Tracks in the same Song, or between Songs without regard to Track names. Pasting "wraps around" from bottom to top, if necessary. For example, if you paste starting three Tracks from the bottom and five Tracks are in the Clip, Bars&Pipes Professional pastes the last two Clip Tracks in the top two Tracks of the Song.
==Song Construction==
Chapter 21

Overview

The Song Construction window provides powerful arrangement functions. You can insert, delete, or move any block of measures, as well as create and edit selected measures.

The Song Construction window also supports powerful A-B-A lists, which give you the option of locking measures to sections and rearranging your Song by rearranging the sections. The A-B-A sections also allow you to loop, or repeat, several measures in several tracks over and over a specified number of times.

Access the Song Construction window by choosing the Song Construction option in the Main menu's Windows menu, or double-click on the Song Construction window's icon.

The Song Construction Window

There are four major parts to the Song Construction window:

The Track Display, the Track Names, the Edit Flags, the A-B-A Strip, and the Command Buttons.

The Track Display

Most of the Song Construction Window features the Track Display. The Track Display shows your Tracks as a series of small measure boxes. Each box represents a measure in a Track. White boxes contain at least one note. Grey boxes contain none. Boxes may change color during moves, deletions, or editing operations.

{{Note|text=If a note spans more than one measure, the second measure's box also displays white, indicating musical activity in that measure.}}

Above the Tracks are the measure numbers; these numbers give you an idea of where you are in your Song. If you have time signature changes in your music, the measure boxes can be different sizes. Track names display to the left.

In conjunction with the Control Buttons (see below) you can perform the following operations in the Tracks Display:

Insert a measure with the Pencil.
Open the Edit window for a measure with the Magic Wand.
Move a measure from left to right within a Track, or even up and down across Tracks, with the Hand.
Duplicate a measure with the Duplicator.
Erase a measure with the Eraser.
Toolize a measure with the ToolPad. The mouse icon tums into a Wrench when this button is selected.
The Right Mouse button cancels dragging, copying, and wanding operations. For example, if you are dragging a group of measures that you surrounded with the bounding box, clicking the Right Mouse Button returns them to their original location.

The Track Names

The Track Names on the left also respond to several of the editing modes. You can:

Create and insert a new Track by clicking in the Track Name area with the Pencil.
Modify a Track name by clicking on it with the Magic Wand, or double-clicking with the Saxophone/Default pointer.
Move a Track up and down relative to the other Tracks with the Hand.
Duplicate a Track by clicking on its Track name with the Duplicator.
Erase a Track by clicking on its Track name with the Eraser.
The Edit Flags

The Song Construction window displays just the two Edit Flags. These are in fact the same as the Edit Flags in the Tracks window. Drag these to set edit boundaries and the same flags in the Tracks window and Media Madness windows follow to the new positions.

The A-B-A Strip

The narrow strip located between the Command Buttons and the Edit Flags contains the current A-B-A sections. This area is called the A-B-A Strip. When you open the Song Construction window for the first time, the A-B-A Strip is completely blank.

A-B-A sections can be named "A", "B", "C", etc. You can also assign more specific names such as "Verse", "Chorus", "Refrain", "Bridge", and "Finale".

Bars&Pipes Professional automatically numbers each section in the order it appears in the A-B-A strip, and assigns different colors to each type of section so that, at a glance, you can see transitions between sections.

You can perform the following editing operations in the A-B-A Strip:

Create and insert a new A-B-A section with the Pencil.
Modify an existing A-B-A section's name, length or number of repeats with the Magic Wand.
Move an A-B-A section with the hand.
Duplicate an A-B-A section with the Duplicator.
Erase an A-B-A section with the Eraser.
Toolize an A-B-A section with the Wrench. Click on the ToolPad in the Song Construction window to access the Wrench

{{Note|text=The actual measures beneath the A-B-A sections are not changed in any way by modifying the A-B-A sections, until the Lock to A-B-A button is selected (please see below).}}

The Control Buttons

The Pencil

Use the Pencil (Fl key) to:

Create and insert a new Track by clicking in the Track Names area.
Insert a blank measure by clicking in the Track Display area.
Create and insert a new A-B-A section by clicking in the A-B-A Strip.
The Magic Wand

Use the Magic Wand (F2 key) to:

Rename a Track name by clicking on the Track name in the Track Names area.
Open the Edit window for a Track at a selected measure by clicking on the measure in the Track Display area.
Modify the name and length of an A-B-A section by clicking on the A-B-A section in the A-B-A Strip.
The Hand

Use the Hand (F3 key) to:

Move a Track up and down relative to other Tracks by clicking and dragging a Track's name in the Track Names area.
Move a measure in the same Track, or across Tracks, by clicking and dragging in the Track Display area. Use the Hand in conjunction with the Bounding Box to move a group of measures
Move an A-B-A section forward or backward by clicking and dragging. The measures beneath the A-B-A section are moved only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker moves.
The Duplicator

Use the Duplicator (F4 key) to:

Duplicate a Track by clicking on the Track's name in the Track Names area.
Duplicate a measure by clicking and dragging the measure in the Track Display area. Use the Duplicator in conjunction with the Bounding Box to duplicate a group of measures
Duplicate an A-B-A section by clicking and dragging in the A-B-A Strip. The measures beneath the A-B-A section are duplicated only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker is duplicated.
The Eraser

Use the Eraser (F5 key) to:

Erase a Track by clicking on the Track's name. A requester asks you to confirm your decision.

{{Note|text=You cannot unerase once you've used the Eraser.}}

Erase a measure by clicking on the measure in the Track Display area. Use the Eraser in conjunction with the Bounding Box to erase a group of measures.
Erase an A-B-A section by clicking on the section in the A-B-A Strip. The measures beneath the A-B-A section are erased only if the Lock to A-B-A button is also selected. Otherwise, just the A-B-A section marker is erased.
The ToolPad

Clicking on the ToolPad causes the mouse pointer to turn into a Wrench. Use the Wrench to:

Toolize a measure by clicking on the measure in the Track Display area. Use the Wrench in conjunction with the Bounding Box to Toolize a group of measures
Toolize an A-B-A section by clicking on the section in the A-B-A Strip. This only works if the Lock to A-B-A button is depressed
The Bounding Box

Use the Bounding Box (F6 key) to edit groups of measures in the Track Display area in conjunction with the Hand, Duplicator, Eraser, and ToolPad.

The Lock To A-B-A Button

Activate the Lock to A-B-A button when you want to have changes made to the A-B-A sections in the A-B-A Strip to also affect the measures beneath the Strip

Deactivate the Lock to A-B-A button when you just want to affect the A-B-A sections themselves without affecting the measures beneath.

The Zoom In And Zoom Out Buttons

The Zoom In button is the large note button. Click on it to enlarge the display by one step. This gives you finer control, but shows fewer measures.

The Zoom Out button is the small note button. Click on it to reduce the display by one step. This allows more measures to be displayed, at the loss of fine editing control.

A-B-A Section Editing

Not only are A-B-A sections useful for labeling your music, they can also be used to physically rearrange your music, or repeat sectons.

By using the Lock to A-B-A button. you can reposition, copy, add and/or delete labeled sections of music. You can also make changes to the first occurrence of each labeled section and propagate those changes throughout your Song.

{{Note|text=Propagate, in this context, means to copy the changes made in the first occurrence of a section to all other occurrences of that particular section within your Song.}}

Arranging Your Composition

When setting up your A-B-A layout, remember to deselect the Lock to A-B-A button in the Song Construction window. This ensures that Bars&Pipes Professional will not rearrange your music as you rearrange the section labels. Use the Pencil to create new sections, the Duplicator to copy them, and the Wand and hand to change and move them.

Once you've set up the A-B-A sections, enable the "Lock to A-B-A" button. Then, rearrange your Song by simply dragging, duplicating, erasing, and inserting sections. As you do so, the music undemeath follows the lead of the section markers.

Propagating Changes

Bars&Pipes Professional automatically copies changes made to a section to all other identically named sections with the Propagate command. For example, if you edit section "A" and then execute the Propagate command, Bars&Pipes Professional inserts the changes in all other sections named "A."

The Propagate command appears in three separate menus: the Song menu, the Track (or Group) menu, and the Edit menu, all of which can be accessed from the Tracks and Song Construction window. The Propagate command behaves differently in each menu.

In the Song menu, the Propagate command copies changes made to the first instance of each section to all other instances of those sections throughout your Song.
In the Track menu, the Propagate command copies the first instance of each section to all other instances of those sections, for the selected Track only.

{{Note|text=When you have a Group selected, the Track menu becomes the Group menu. In this case, the Propagate command, working on the Group as a whole, copies changes made to the first instance of each section to all other instances of those sections within the Group.}}

In the Edit menu, the Propagate command copies changes made to the first instance of a specific section to all other instances of that section. Mark the section by dragging the left Edit Flag on or within its boundaries. The Propagate command works on the section that contains the left Edit Flag; don't forget to set it.
In all cases, the Propagate command copies to all other instances of that section, only the changes made to the first occurrence of each section. You must make your changes to the first of each section in order to use Propagate.

{{Note|title=Remember|text=For Propagate to work, identical sections must retain identical names. If you rename a section, it automatically becomes independent of all sections with its previous label.}}

An A-B-A Example

Let's use the Song Construction window and the A-B-A feature in an example. First, starting with a new Song, create eight measures of music on Track 1 in any way you see fit. We will split this eight-measure section up into five measures plus three measures. Therefore, make certain that there are no notes dangling from measure five into measure six.

Once you've created your eight measures, open the Song Construction window. Bars&Pipes Professional lists your Tracks with the eight measures you've created highlighted in white. All other measures are grey.

Copying Measures From One Track To Another

Just for the fun of it, let's copy the eight measures in Track 1 over to Track 2. Click on the Duplicator button and the Bounding Box button. Then click on the white square representing measure 1 in Track 1, and drag the mouse until it is over the white square representing measure 8 in Track 1. A rubber banding box shape stretches over the eight measures.

Lift the mouse button, and then click on the area you just put the box in. Slide the mouse downward until the eight measures in Track 2 highlight in blue Release the mouse button to copy the measures.

Erasing A Measure

Erase measure four in Track 2. To do so, click on the Eraser, then click on the white square representing measure four in Track 2. The white square disappears and is replaced by a grey square. If it remains white, this means that there is a note in measure three that extends into measure four. In this case, select Clean Cuts from the Preferences menu, and erase measure four again. The note will be cleanly cut so that measure four is clear of all notes.

{{Note|text=Our purpose for erasing measure four in Track 2 is to provide an asymmetrical grid so that we can see our editing operations reflected in the Tracks area.}}

Creating Two A-B-A Sections

Now that we have two Tracks of music, let's create the A-B-A sections. Choose the Pencil. The Duplicator and Bounding Box buttons will automatically deselect. Click with the Pencil after the A-B-A: prompt, and above the Edit flag area above measure 1. A requester will appear.

The section label, by default, will be "A". Change the label to "First". Set the Measures: slider to 5 measures. Click on the Okay button. You'll see a colored bar with your label appear in the A-B-A: area.

Click with the Pencil again, this time to the right of the colored bar. The requester will appear again. enter the name "Second" in the Section Name: area. Set the Measures: slider to 3 measures. Click on the Okay button. You'll see another colored bar appear after the first.

Arranging The A-B-A Sections

To arrange your A-B-A sections, first make sure that the Lock to A-B-A button is tumed off. Then click on the Hand button to enter Drag mode.

Grab the First colored bar, and drag it to the right of the Second bar. The two bars exchange position. The music below does nothing, because the lock to A-B-A button is deselected. Now, grab the Second bar and drag it to the right of the First. The two bars return to their original position.

Now, click on the Lock to A-B-A button to activate it. Repeats the steps in the paragraph above. Notice anything different? When the Lock to A-B-A button is on, the actual measures beneath each A-B-A strip exchange positions along with the Section Names.

You can use any of the mouse modes to operate on the A-B-A sections. While the Lock to A-B-A button is on, any operation you do to an A-B-A section will also be done to that section's measures. Erasing a section will erase the measures, duplicating a section will duplicate the measures, etc. Experiment.

Duplicating A-B-A Changes

Now, activate the Lock to A-B-A button (if it is not still activated). Use the Duplicator to duplicate the Section Names above your music by clicking on the Duplicator, and then clicking and dragging the Section Names. Make a few copies of the A-B-A section, "First." Arrange these sections in any way you like. The music underneath will be copied along with the sections.

Propagating A-B-A Changes

Let's assume that measure 1 is the beginning of the A-B-A section, "First" and Tracks 1 and 2 have musical information on them Now, let's create some music on Track 3 on measure 1. Normally, we would probably record new music into measure 1, but for the sake of brevity let's just select the Duplicator (without the Bounding Box) and copy measure 1 of Track 2 into measure 1 of Track 3. You'll notice that only the first instance of the "First" A-B-A section has Track 3's music in it. This is where the Propagate command comes in.

Choose the Propagate command in the Song menu. The information contained under the first "First" will be copied so that it is under each "First" section, while the information contained under the first "Second" will be copied so that it is under each "Second" section. Notice that the music in Track 3 is now undemeath every instance of the "First" section.

You can use the Propagate command in the Edit menu if you'd like to propagate changes from the section marked by the Left Edit Flag, or use the Propagate command in the Track menu if you'd like to propagate changes on one Track only.

Looping

Looping, also known as repeating is the ability to play several measures in several Tracks over and over a specified number of times.

You can set each song section to play through once or repeat any number of times.

Creating a Looping Section

The easiest way is to learn by example:

Example: Looping measures 1-4, 4 times

Open the Song Construction window.
Activate the Pencil button.
Make sure that there are no A-B-A sections.

{{Note|text=If you don't see any colored bars to the right of the A-B-A prompt above the measure numbers, there are no A-B-A sections. If necessary, activater button and erase any existing A-B-A sections, and then reactivate the Pencil.}}

Click in the A-B-A area with the Pencil. The A-B-A section requester open with the default values. The Section Name: should be "A", the Measures: should be "4", and the Repeats: should be "0".

Slide the Repeats: slider to "4".
Select Okay. The A-B-A section appears to the right of the A-B-A: prompt, showing the name of the A-B-A section, followed by "R: 4".

{{Note|text=The "R:4" denotes "repeats this section 4 times.}}

That's it! Play your song from the beginning, and measures 1 through 4 will repeat 4 times.

Example: Looping measures 12-20, 4 Times

Clear all sections with the eraser, then use the pencil to enter a new section. Again, this opens the A-B-A section requester.
Slide the Measures: slider to "11", and leave the Repeats: slider at "0".
Select Okay. The A-B-A section appears to the right of the A-B-A: prompt, showing only the name of the section.
Click in the A-B-A area again with the Pencil, to the right of the first section you just created. The A-B-A section requester open again.
Slide the Measures: slider to "8" and the Repeats: slider to "4".
Select Okay. Another A-B-A section appears to the right of the first, showing the name of the section followed by "R:4", denoting "repeat 4 times".
That's all there is to it.

Example: General Looping Procedure

If you want a loop beginning with measure 1, then follow Example 1 and adjust the Measures: and Repeats: sliders in the section requester according to how many measures you want to loop and how many times to loop them.

If you want to loop beginning with a measure other than 1, then you must first enter a section long enough to cover measures 1 through the measure before you want to begin the loop. Then, you must create another section of the appropriate length and repeat count, as in example 2.

Changing The Number Of Times A Looping Section Repeats

To change the number of times an existing Section repeats.

Example: Changing section repeat count

Open the Song Construction window.
Activate the Magic Wand.
Click with the Wand on looping Section. The A-B-A section requester opens.
Adjusts the Repeats: slider accordingly
Select Okay. The A-B-A section appears after the A-B-A: prompt. It shows the name of the section, followed by an R:#, where # denotes the repeat count.
Changing The Length Of A Looping Section

Example: To change the length (number of measures) of an existing looping section:

Open the Song Construction window.
Activate the Magic Wand.
Click with the Wand on the looping Section. The A-B-A section requester opens.
Adjust the measures slider accordingly.
Select Okay. The A-B-A section appears after the A-B-A prompt, showing the name of the section followed by an R:#, where # denotes the repeat count. The length of the A-B-A section changes to reflect your new choice.
Changing The Position Of A Looping Section

Change the position of a looping section either by dragging it with the hand or changing the length of sections that precede it.

For instance, if you want to move an existing looping section to the right by 3 measures, you increase the length of one or more sections to the left of the looping section by a total of 3 measures.

Recording Over A Looping Section

Of course, there will be times when you record a Track of music over other looping Tracks. Here's how:

Example: Overwriting a Looped Section

Create a looping section of music.
Set up a Track on which to record. Make sure the Input Arrow or MIDI Channel (in multi-in mode) are correct, and the red R indicates that the Track is in record mode.
Activate sequencer record mode by highlighting R in the Transport.
Click on Start to begin recording.
Record music. You should hear the other Tracks looping as you overdub on top of them. You do not hear what you record looping. You are, in essence, recording a linear Track on top of the looping Tracks.
Click on Stop. A requester appears.
Choose Create. A new, special linear Track is created. This Track does not loop like the others. This way, you hear your music as you recorded it.
Click on Play in the Transport to hear the results.
You should notice that the new Linear Track looks slightly different than the other Tracks. Its colors are light grey when non-highlighted, and the notes are purple when highlighted, instead of yellow. It is very similar to a RealTime Track.

Double click on the Linear Track's name (it's named the same as the Track from which it was created).

Notice that the Linear button is highlighted. This indicates that this Track is linear in nature, and does not loop like other Tracks.

Excluding A Track From Looping

RealTime Tracks do not loop. The difference between a RealTime Track and a Linear Track is that RealTime Tracks do not follow Tempo changes, while Linear Tracks do.

Linear Tracks are explained in the previous section, while RealTime Tracks are explained elsewhere in the manual.

To change an existing Track into a Linear Track, double click on the Track's name. The Track Name requester opens. Highlight either the RealTime or the Linear button and choose OK.
==Mix Maestro==
Chapter 22

Overview

In traditional recording, mixing a Song means combining the recorded Tracks down to a final form. Mixing includes, among other things, setting relative volume levels of each Track and setting stereo positioning of each Track.

Mix Maestro brings mixing capabilities to your Bars&Pipes Professional compositions, giving you real-time control over the mixing process.

Use Mix Maestro to control volume and panning of individual Tracks in your Songs. Mix Maestro does this by entering Control Changes into each Track. Most MIDI instruments respond to Control Change #10 as panning and Control Change #7 as volume. However, Mix Maestro can send out any Control Change that you specify.

Mix Maestro actually records these Control Changes directly into each Track. Once you've created a mix with Mix Maestro, you can view and edit the mix by looking at the Control Changes in each Track with the Sequence or List Editor.

During playback, Mix Maestro's volume sliders and panning knobs follow along with the Control Change information in each Track. They also follow along with real-time Control Change information if you are using a real-time controller during recording.

The Mix Maestro Window

To start Mix Maestro, select the Mix Maestro command from the Windows menu or double-click on the Mix Maestro icon along the right side of Bars&Pipes Professional's screen.

The Mix Maestro window displays three sets of controls for each Track in your composition. Note that the Track names displayed at the top of the window match the Track names in the Tracks window.

The Mix Maestro Controls

Mix Maestro has three sets of controls for each Track: the Lock/Mute buttons, the Panning knob, and the Volume slider.

When you run your Song with Mix Maestro open, the Panning knobs and Volume sliders move with whatever panning and volume information (actually the values of Control Change parameters #10 and #7) you've already recorded in your Song.

The Panning Knob
The Panning knob usually alters the Control Change #10 parameter. This controls the balance, or "pan" of the instrument between the left and right speakers.

To use the Panning knob, press and hold the left mouse button over the knob and drag the mouse left and right. Notice the thin pointer move, and the numeric counter above the knob change, as you drag the mouse.

With the knob in the 9 o'clock position (counter showing -64), the Track position is full left (no power at the right channel for this Track). With the knob at the 3 o'clock position (counter showing 63), the Track position is full right. Intermediate settings yield intermediate positions; when the counter shows 0, you have a perfect balance between the left and right channels.

While dragging the knob, you can move the mouse outside the knob itself; as long as you hold down the mouse button, the pointer follows your moves.

* TIP * You can move the mouse out toward the edges of the screen to get finer control over the knob position.

The Volume Slider
The Volume slider usually alters the Control Change #7 parameter. On most synthesizers, this parameter controls Volume.

To use the Volume slider, drag the small square up and down in its Track. Watch the numeric counter at the bottom of the Mix Maestro window; as you move the Volume slider, this number changes to show you the exact volume level.

The numbers range from 0 (silence) to 127 (full volume).

The Mute Button
There are four buttons below each Track name. The button in the upper left corner is the Mute Button. This button corresponds with the Thru/Play/Mute selector in the Tracks window.

To mute a Track, activate the Mute Button. To unmute a Track, deactivate the Mute Button. Notice that the Thru/Play/Mute faucet in the Tracks window and Media Madness window follows along with this button, and vice versa.

The Lock Buttons
The remaining three buttons are the Lock buttons. In Lock mode, the Volume sliders of several Tracks can be tied together. When moving the slider in a Track that is Locked, the other Locked Tracks follow along, keeping their positions relative to each other.

There are three lock buttons, each with a different color. Tracks that have the same color activated are locked together.

For instance, let's say that Track 1 and Track 2 are locked together. Track 1 is at a volume of 127, and Track 2 is at a volume of 64. If we move Track l's volume slider halfway down to 64, Track 2's volume slider moves halfway down to 32.

{{Note|text=To save CPU processing time, the other Tracks' sliders don't actually move, but the numbers underneath the sliders are continuously updated. When you let go of the slider, the other sliders move to their new positions.}}

Locking is very useful when dealing with groups of related instruments, such as drum effects or a horn section, which tend to be grouped in a live performance.

Without locking Tracks, it would be impossible to change more than one Track at a time, or to fade all Tracks at once at the end of the Song.

If you want to lock all the Tracks in your Song together, select Lock All from the Mix Maestro menu. This sets the Lock button on all Tracks that are not already locked. Conversely, you can select Unlock All from the Mix Maestro menu to unlock all Tracks.

The Mix Maestro Menu

The MixMaestro window has its own menu, the Mix Maestro menu. These commands can be accessed only from the MixMaestro window. The following lists each option contained in the Mix Maestro menu:

ByPass Mix
The ByPass Mix option disables Mix Maestro. This option filters out the Control Changes selected with the Set Controllers menu option during playback.

{{Note|text=These Control Change values are normally 10 for panning and 7 for volume. Use the Set Controllers menu option to change them.}}

Copy Mix to ClipBoard
The Copy Mix to ClipBoard option copies the Control Changes selected in Set Controllers into a Clip in the ClipBoard. This operation works even if the ClipBoard is not open.

* TIP * This command, in conjunction with the Paste Mix and Clear Mix commands, provides a method for saving and auditioning different mixes.

Paste Mix From ClipBoard
The Paste Mix From ClipBoard option replaces the current Mix with the one highlighted in the ClipBoard.

{{Note|text=Use the Copy Mix to ClipBoard command to create the Clip.}}

Clear Mix
The Clear Mix command erases from all Tracks the Control Changes selected in Set Controllers.

Clear Locked Pans
The Clear Locked Pans command erases the Control Change selected as panning in Set Controllers from each locked Track. This command operates independently on Tracks locked with either the yellow, blue, or purple locks. Select the appropriate color from the Clear Locked Pans submenu.

Clear Locked Volumes
The Clear Locked Volumes command erases the Control Change selected as volume in Set Controllers from each locked Track. This command operates independently on Tracks locked with either the yellow, blue, or purple locks. Select the appropriate color from the Clear Locked Volumes submenu.

Lock All
The Lock All command sets one of the three colored locks on all Tracks. Choose the color from the Lock All submenu.

UnLock All
The UnLock All command deselects one of the colored locks on all Tracks. Choose which color of lock to deselect from the UnLock All submenu.

Mute All
The Mute All command mutes all Tracks.

UnMute All
The UnMute All command unmutes all Tracks.

Set Controllers
The Set Controllers command opens the Mix Maestro requester, allowing you to set which Control Change corresponds to panning or volume Slide the appropriate slider to the value you would like to use for each effect.

SnapShot
The SnapShot command enters the current volume and panning information into each Track at the current Song Position. Use the SnapShot command to set initial values, and to create jumps from one value to another.

Select Yellow, Blue, Purple, or All from the SnapShot submenu to enter the Control Changes into locked Tracks or all Tracks respectively.

Recording with Mix Maestro

To use Mix Maestro, open the Mix Maestro window and click the Start or Play buttons in the Transport Controls window. If you already have Control Change #10 or #7 events in your Song, the knobs and sliders for each Track move with the set values as the Song plays. Dragging the Volume slider or Panning knob for any Track overrides the Control Change information in your Song, and replaces it with the values you set. If you have several Tracks locked together, all the locked Tracks immediately reflect the changes you make to any of them.

Setting The Initial Mix

Before you begin your mix, set each Track's pan and volume positions so that your Song begins with these values. To do so, first set all your panning knobs and volume sliders to the desired positions for each Track and your Song Position marker to the first measure of your Song.

Next, select the Snapshot command from the Mix Maestro menu. This command grabs the position of your knobs and sliders and places their respective Control Change values at the current Song Position in each Track.

Recording The Mix

To record the mix, click on the Start button in the Transport Controls. As the music plays, click on a volume or pan pot and drag it as appropriate. When you've recorded one Track's mix, click on Stop in the Transport Controls, then click on Start to mix another Track. Continue in this manner until you've mixed all Tracks.

{{Note|text=You don't have to place your Track in record mode to record a mix in the Mix Maestro window.}}

As you mix your music, Mix Maestro's knobs and sliders move in real-time, automating your mix.

Undoing Or Bypassing Your Mix

If you are unsatisfied with your mix, you can undo your efforts. To clear the volume or pan information from one or more Tracks, select Clear Locked Volumes and Clear Locked Pans respectively from the Mix Maestro menu. Doing so affects all Tracks locked with a Lock button. If you are unhappy with your mix as a whole, use the Clear Mix command from the Mix Maestro menu to clear all pan and volume information. If you pleased with your mix, but want to disregard it temporarily, use the Bypass Mix command.

Saving And Restoring Your Mix

Once you're satisfied with your mix, you can save it in the ClipBoard and retrieve it at a later time. From the Mix Maestro menu, use the Copy Mix to ClipBoard command to save your mix as a Clip. Once you've copied a mix into the ClipBoard, use the ClipBoard's File menu to Load and Save your mix to disk. When you want to retrieve a mix from the ClipBoard, use the Paste Mix from ClipBoard command.
==Time Line Scoring==

Chapter 23

Overview

When you create a soundtrack for a movie, video, or multimedia production, you often need to synchronize several disjointed sections of music with specific points in the movie.

Bars&Pipes Professional's Time Line Scoring feature gives you a high-level view of your soundtrack, and allows you easily to position any number of music sections in SMPTE time. Each of the music sections is actually a full-fledged Bars&Pipes Professional Song, complete with multiple Tracks and its own Tempo Map.

Use the Time Line Scoring window to load multiple Songs and position them relative to each other. Time Line Scoring adds each Song's Tracks to the Track list and recomputes the master Tempo Map to include the time period of each Song.

* TIP * You can access other Songs' Tracks by scrolling the Track display down below the current Song's Tracks.

Before you use Time Line Scoring, you must first create, edit, and save each section as a separate Song. Once you add a Song to the Time Line Scoring window, you can still perform all the standard Bars&Pipes Professional editing operations on the Song.

Accessing

Open the Time Line Scoring window by double-clicking on the Time Line Scoring icon, or using the menu option in the Windows menu.

The Scoring Grid

The Scoring Grid occupies most of the Time Line Scoring window. Rectangular colored areas with Song titles display in the Scoring Grid. These represent the Songs in memory.

The numbers above the scoring grid represent the time in minutes and seconds. By looking at the position of the Song rectangles, you can see at what time a Song begins and ends. For more exact information, click on the Song rectangle with the Magic Wand (please see below).

{{Note|text=Only the horizontal (side-to-side) placement affects the Songs' start time.}}

Adjusting The Zoom

The Zoom In button is the large note. Click on it to enlarge the display by one step. This gives you finer control, but shows fewer measures. The Zoom Out button is the small note. Click on it to reduce the display by one step. This allows more measures to be displayed, at the loss of fine editing control.

Using Time Line Scoring

Adding A Song

To add a Song to the Time Line Scoring window, select the Pencil (or F1 key) and click in the Time Line window. Bars&Pipes Professional opens the File Requester.

When you select the Song you want to include in the soundtrack, Bars&Pipes Professional loads the Song and inserts a colored bar in the Time Line window with the Song title inside. The Song starts at the point at which you clicked with the Pencil. Each Song has a different color, so that you can easily see where one Song ends and another begins.

When you add a Song with Time Line Scoring, the Tracks of the Song are appended to the Tracks that already exist in the Tracks window.

Adjusting The Song's Start Time

One way to adjust the Song's start time is to drag the Song rectangle with the Hand. To do so, click on the Hand button (or choose the F3 key). Then click and drag the Song forward or backward in time.

You can also adjust the Songs start time by entering a start time. Click with the Magic Wand (F2 key) on a Song rectangle to bring up the Song Start Time requester.

The Song Start Time requester shows you the current start time of the Song, in SMPTE time and Song time. Click in either field to enter a new starting time for the Song.

{{Note|text=Tempo changes, Time Signatures, and the SMPTE Global Offset affect the SMPTE starting lime of the selected Song.}}

You can use the Lock to Measure button when you want to move the start time of the Song to the nearest measure boundary when inserting a tempo change. This is handy since the Song Time rarely lands on the beginning of a measure.

To use align your Song with a measure boundary, click on the Lock to Measure button. Bars&Pipes Professional calculates a tempo change and inserts it into the measure immediately before the selected Song. The measure number designated by the Starting Time: prompt equals the sum of all measures in the soundtrack up to this point.

* TIP * When you first create a Song, notes are generally lined up with measures. However, when you connect multiple Songs in the Time Line Scoring window, note can be shifted in time, relative to their original measure positions. If you need to edit a Track, use the Lock to Measure button, then deselect Lock to Measure when you're finished editing.

Combine TimeLine Options

Each Song maintains its own A-B-A section list, Tempo Map, and Song Parameters. Every time you reposition a Song in the TimeLine, Bars&Pipes Professional must recalculate the complete performance's A-B-A section list, Tempo Map, and Song Parameters from the component parts. As such, it's desirable to control which portions get recomputed and which are left alone.

Use the Combine TimeLine... options in the Preferences menu to control how Bars&Pipes Professional recomputes each of the following parameters:

Sections
If the Sections option is enabled, Bars&Pipes Professional computes a new A-B-A section list out of the component parts. Otherwise, it uses the A-B-A section list that existed before the repositioning of a Song portion required recalculating the A-B-A section list.

Tempo Maps
If the Tempo Maps option is enabled, Bars&Pipes Professional computes a new tempo map out of the component parts. Otherwise, it uses the tempo map that existed before.

Song Parameters
If the Song Parameters option is enabled, Bars&Pipes Professional computes a new set of Song Parameters out of the component parts. Otherwise, it uses the Song Parameters that existed before. Remember, the Song Parameters include Lyrics, Time Signature, Chord Changes, Dynamics, Rhythms, and Key Signature.

Removing A Song

Use the Eraser (F5 key) to delete a Song from the soundtrack. Click on the Song you want to delete. A requester asks you to confirm your decision.
==Create-a-Tool==
Chapter 24

=== Overview ===

You can create and edit your own MacroTools in the Create-A-Tool window. A MacroTool is a Tool created by combining several Tools into one. Like the Tools provided with this program, a MacroTool has one input, one output, and an icon representing it. Not only is the use of MacroTools a convenient way to keep your PipeLines from overcrowding (you can take a string of commonly used Tools and create a MacroTool to replace them), but it's a very potent method for making specialized Tools of your own design.

=== The Create-A-Tool Window ===

The Create-A-Tool window enables you to design your own MacroTools. Access the Create-A-Tool window from the ToolBox by choosing the Create MacroTool... option from the ToolBox window.

If you'd like to edit an existing MacroTool, choose the Edit MacroTool... option after you've highlighted an existing MacroTool in the ToolBox. Alternatively, you can double-click on an existing MacroTool in the ToolBox to open its Create-A-Tool window.

=== MacroTools: A List of Ingredients ===

Each MacroTool contains several important parameters:

==== A Unique Name ====

Each MacroTool has a unique name and a four-letter identifier.

For example, a Tool that creates random harmonies could be called "Split-Quant-Counterpoint" and the identifier could be "SQCP." You use the full name, "Split-Quant-Counterpoint," to describe the Tool for your reference. Bars&Pipes Professional uses the identifier, in this case "SQCP," for internal operations that require speed and compact size.

If you choose not to give an identifier a name, Bars&Pipes Professional automatically assigns one.

==== An Icon ====

Each Tool must have an icon to display in the ToolBox, PipeLine and/or ToolPad. In addition, if the Tool has a branching output and can send data two places at once, it requires two icons: one for when the Tool is above the receiving Tool (the connector is on the bottom of the Tool) and one for when the Tool is below the receiving Tool. (The connector is on the top of the Tool.)

==== Tools ====

A MacroTool consists of a collection of interconnected Tools. You arrange these Tools on a grid of PipeLines, much like the PipeLines in the Main Screen.

For example, our Split-Quant-Counterpoint MacroTool feeds notes to a Keyboard Split Tool, which sends notes below the split point to an Echo Tool. The notes at or above the split point enter the Quantize Tool, then, the CounterPoint Tool.

==== Input And Output ====

A MacroTool can have only one input; therefore, you must identify the Tool that accepts incoming notes as the input of the MacroTool. Also you must label the last Tool in the MacroTool as the output. In addition, if this MacroTool is capable of sending a branched output, you must identify the Tool that sends notes down the branch.

==== Tool Parameters ====

Some of the Tools in the MacroTool may have parameters that can be preset.

For example, you might, in your MacroTool, use a Transpose Tool that always shifts a note by a predetermined interval. This requires presetting that component Tool in your MacroTool.

=== Constructing Your MacroTool ===

To construct a MacroTool, open the Create-A-Tool window by selecting Create MacroTool from the ToolBox menu. This menu is only available from the ToolBox window. The Create-A-Tool window opens with a new, blank MacroTool, ready to assemble.

==== Naming Your Macro Tool ====

Across the top of the window are two text entry fields, Tool Name: and Tool ID:. Bars&Pipes Professional automatically supplies a default name and a unique default ID. To name your Tool, click on the Name: field and enter a description of your Tool.

{{Note|text=Changing the ID is optional.}}

==== Painting The Macro Tool Icon ====

On the left side of the Create-A-Tool window is a box with an enlarged icon in it. Since a Tool can have two icons, both are displayed at their normal size to the left of this box. To choose which icon is enlarged, click on one of the two.

Below the box is a Palette of eight colors. To paint the icon, select the paint color by clicking on it in the Palette and draw your icon in the box. Like any other paint program, you draw by clicking down with the mouse and dragging it. The MacroTool window displays the selected color in the tall box to the left of the Palette.

From the Paint menu, you can choose from the following commands:

; Clear
: Clear sets the entire icon to the color currently selected in the Palette.

; Copy
: Copy duplicates your MacroTool icon. Bars&Pipes Professional needs the extra icon for MacroTools that branch off to Tools above or below. Alter the duplicate so that the placement of the output Pipe inverts. If you've created a branching MacroTool, draw your main icon, then duplicate it with the Copy command and edit the position of the outgoing Pipe to go up.

; Flip...
: Flip... turns your icon around an axis. To flip from top to bottom, choose Flip Vertically. To flip from left to right, choose Flip Horizontally.

; Start With...
: Start With... provides a choice of four pre-defined icons. To select a pre-defined icon (a time-saver), drag the mouse over your icon of choice and lift up. That icon now appears in the Paint Box.

; Flood Fill
: Flood Fill paints an entire area of the icon with the selected color. To use the Flood Fill command, first select the fill color and the Flood Fill command. Then, with the mouse, touch the area to be painted and click the mouse. For instance, if you have a red shape you'd like to make yellow, select yellow from the Palette, select Flood Fill from the menu, then click on the center of the shape. It's now filled with yellow.

; Undo
: Undo reverts the icon to the state that existed prior to your most recent action.

==== Adding And Connecting Tools ====

Once you've set up your MacroTool icon, you're ready to build your MacroTools using existing Tools.

; Adding
: In the large box on the right half of the Create-A-Tool window sit six PipeLines. To construct your MacroTool, drag your Tools of choice from the ToolBox and place them on any one of the PipeLines. Determine which PipeLine is the input line and place the first Tool there. Continue by placing the Tools that follow it to the right of the input Tool on the PipeLine. To reposition the placement of a Tool in the PipeLine, select it by clicking on it once. A red box appears around it. Then press either the Left or Right Arrow keys to move it.

; Duplicating
: To duplicate a Tool already in the Create-A-Tool window, drag the Tool to a new location. Bars&Pipes Professional creates an exact copy of the Tool, including its parameter settings.

; Removing
: To remove a Tool, select it, then press the Delete key.

; Connecting
: If a Tool has a branching output, place a Merge In Tool on another PipeLine. (The Merge In icon looks like a Pipe with another Pipe feeding into it above from the left.) This second PipeLine is now active and Tools can be placed in it as well. When you first place the Merge In Tool in the second PipeLine, it may not line up with the source Tool because they have not yet been connected. To connect a Merge In Tool with another Tool, click on the source Tool (the Branching Tool,) select Connect (Right Amiga - K) from the PipeTool menu, then click on the target Tool (the Merge In Tool). The two icons are now connected and the display is redrawn with everything positioned appropriately.

: If your PipeLine is long and you start running out of room, scroll it forward by using the slider and arrows at the bottom of the display. Your MacroTool can be as long as you need.

==== Determining The Input And Output(s) ====

To the right of the PipeLine grid are three arrow-shaped icons. Drag these onto your Tool layout to specify the input and output(s).

; Input
: The top icon, the In arrow, is a blue arrow that selects the input. Drag and place it to the left of the first Tool in your MacroTool lineup. All notes coming into the MacroTool pass through here first. You cannot delete the input arrow. If you want to send the input to a different PipeLine, drag another blue arrow to it; the arrow to your previously selected PipeLine automatically disappears.

; Normal Output
: The middle icon the Out arrow, is a red arrow that represents the Normal Output. Drag it to the right of the last Tool in your Macro sequence. Whatever comes out of that last Tool comes out of the MacroTool as a whole. Unlike the Input arrow, you can have more than one Normal Output per MacroTool because you can use several PipeLines in your design. The MacroTool merges notes coming out of all Normal Output icons. If you want to remove a Normal Output icon, select it, then hit the Delete key.

; Branching Output
: The bottom icon, the Branch arrow, is a purple arrow that represents the Branching Output. This arrow is optional. Whereas every MacroTool requires an Input and an Output, a MacroTool requires a Branching Output only when the MacroTool needs to send events off to a second PipeLine. Install the Branching arrow in the same way that you install the Output arrow.

: Once you have a Branching Output, the alternate icon, on the left of the Paint Box, comes into play. This alternate icon behaves identically to the original, except that it branches off in the opposite direction. In this way, you can have a MacroTool that connects to a Tool above and to a Tool below.

==== Setting The Tool's Controls ====

Many of the Tools that constitute your MacroTool have parameters that you can preset. For example, the Triad Tool uses two Transpose Tools to shift the input note up a third and up a fifth. It is an example of a MacroTool. If you load the Triad Tool into the ToolBox and then double-click on it, Create-A-Tool shows the structure of the MacroTool. You can then open the Control window of each Transpose Tool to see its parameter settings.

As an example, you can edit the parameters to create a chord inversion by changing the second Transpose Tool from shifting up a fifth to down a fourth.

==== Making Macro Tools Out Of Macro Tools ====

Like any other Tool, you can place a MacroTool in any other MacroTool you build; however, you cannot place it inside itself. Nor can you place it within another MacroTool that is contained within it. The Create-A-Tool Editor makes sure this doesn't happen. If you drag a MacroTool into the definition of itself, it won't stay there.

=== Installing, Removing, Using, Altering, and Testing ===

==== Installing ====

Once you have created a MacroTool, you must save it to disk. If you fail to do so, the MacroTool will be deleted when you exit Bars&Pipes Professional.

To save a MacroTool, click once on the MacroTool in the ToolBox, then select the Save option from the ToolBox menu. Bars&Pipes Professional opens its file requester. Create a new file name for your Tool.

{{Note|text=If you use the name of an existing Tool, Bars&Pipes ProfessIonal overwrites the older Tool.}}

Bars&Pipes Professional saves your MacroTool to that file. From now on, when Bars&Pipes Professional runs, it automatically loads your MacroTool.

==== Removing ====

If you don't like what you've created, you can remove your MacroTool by clicking on it in the ToolBox and selecting the Remove option from the ToolBox menu. Bars&Pipes Professional removes the MacroTool from the ToolBox, removes all copies of it from your composition, and no longer loads this MacroTool. The MacroTool, however, is still on your disk; you can leave it there or delete it by using the Workbench or CLI (Command Line Interface.)

==== Using ====

Use your MacroTool just as you would a normal Tool. You can place it in a PipeLine to process notes in real-time, or in a ToolPad, to process notes in a section, or on a note-by-note basis.

==== Altering ====

You can always go back and edit your MacroTool. To do so, double-click on the MacroTool's icon in the ToolBox. The Create-A-Tool Window opens with your MacroTool, and you can edit it in any way you'd like. If you have already used this MacroTool, versions that are in use are not affected by editing the master. Once you are satisfied with the changes you have made, you must once again save the MacroTool to disk.

==== Testing ====

To audition a MacroTool before saving it to disk, drag the Test Tool at the bottom right of the Create-A-Tool window into a PipeLine in the Sequencer window. If you don't like the results, you can continue editing the MacroTool. The Test Tool automatically incorporates the changes, so that you can quickly edit, test, and re-edit until you're satisfied with the MacroTool.

==Tool Trays==

Chapter 25

=== ToolTrays ===

ToolTrays offer a convenient method for organizing your Tools. Bars&Pipes Professional includes eight ToolTrays, each of which can hold up to sixteen Tools. You can define a Tools parameters by double-clicking on the Tool in the ToolTray, and give each instance of a Tool an original name.

Bars&Pipes Professional integrates ToolTrays into your Song. When you save a Song, Bars&Pipes Professional saves your ToolTrays along with it.

To set up a default environment with ToolTrays, select New from the Song menu, arrange your ToolTrays, and then select Save As Default from the Song menu. Please see the chapter, Customizing Your Environment, for more information.

=== The ToolTray Windows ===

Open a ToolTray from the ToolTray menu in the ToolBox or the Tool menu in the Main screen. Choose the menu option corresponding to the particular ToolTray that you'd like to open. By default, ToolTrays are named numerically, however, you can rename a ToolTray however you'd like.

The ToolTray window is divided into two areas by a horizontal grey line. Above the grey line is space for the names of Tools. Below the grey line is room for up to sixteen instances of Tools.

==== Placing A Tool In A ToolTray ====

To install a Tool in a ToolTray, grab a Tool from the ToolBox, PipeLine, or other ToolTray, and drag it to a space beneath the gray line. When you release the mouse button to drop the Tool into the ToolTray, the name of the Tool appears in the space above the grey line.

{{Note|text=By dropping a Tool into a ToolTray, you create a unique instance, or copy, of the Tool,just as you do when you drop a Tool Into a PipeLine.}}

==== Editing A Tool ====

If the Tool has a Control window, double-click on the Tool's icon to open it. Then edit the Tool's parameters as you desire. Once you've changed a Tool, the changes stay with the Tool when you copy it into a PipeLine, ToolPad, MacroTool, or another ToolTray.

==== Naming A Tool ====

Once you've edited a Tool, you can rename it for easy reference. Click once on the Tool to select it, then enter the new name above the gray line.

{{Note|text=When you click on a Tool in a PipeLine, the name of the Tool is displayed in the Title bar of the Tracks window. Even though you can rename Tools in the ToolTrays, Tools in the PipeLine are still displayed as their original names in the Tracks Title bar. This is because only the ToolTray knows about the names that you've given the instances of the Tools within it. The Tracks window has no access to this information.}}

==== Using The ToolTray Tools ====

You can work with ToolTrays as you do the ToolBox. Copy Tools from ToolTrays into PipeLines, MacroTools, and ToolPads by clicking and dragging them to their appropriate destination. Unlike Tools from the ToolBox, the Tool copies retain the settings that you provided in the ToolTray.

==== Copying Tools In ToolTrays ====

Copy a Tool by grabbing it and dropping it in an empty space in the ToolTray. This is similar to copying a Tool in a PipeLine by picking it up and dropping it in another PipeLine. Because you can have several copies of Tools in ToolTrays, renaming Tools help you avoid confusion. For instance, you can have a ToolTray that you call "Quantize Tools.", In this ToolTray, you might have one Quantize Tool that you call "Sixteenth Notes," that quantizes to sixteenth notes, and one called "Eight Notes" that quantizes to eight notes.

If you drag a Tool and place it on top of an existing Tool in the ToolTray, it replaces the Tool beneath it.

==== Loading ToolTrays ====

The Load ToolTray option in the ToolTray menu allows you to load in previously saved ToolTrays. If there are any Tools in the ToolTray that are not in the ToolBox, Bars&Pipes Professional automatically loads them into the ToolBox. If the Bars&Pipes Professional is unable to find a Tool, it asks you to load it manually.

==== Saving Tool Trays ====

The Save ToolTray command in the ToolTray menu allows you to save your ToolTrays to disk. The Load ToolTray command allows you to load ToolTrays from disk.

==== Renaming ToolTrays ====

The Rename ToolTray menu command in the ToolTray menu allows you to rename the ToolTray. When you select this option, a requester appears, displaying the ToolTray name.

Enter the new name and click okay. The new name displays not only in the ToolTray window, but in all menus that refer to the ToolTray as well, such as the menu options in the Main menu's Tool menu.

==== Loading Instances Of Tools Into ToolTrays ====

The Load Tool command in the ToolTray menu allows you to load a Tool into the ToolTray that was previously saved with the Save Tool command from a ToolTray. Each Tool loads with its parameters set to the values they had when it was saved.

==== Saving Instances Of Tools From ToolTrays ====

Use the Save Tool command in the ToolTray menu to save the Tool. Doing so saves the Tool, along with the parameters you've set.

==== Removing Tools From ToolTrays ====

Use the Remove Tool command to remove a Tool from a ToolTray. Do to so, activate the Tool by clicking on it, then select the Remove Tool command in the ToolTray menu.

If you drag a Tool from any source and drop it on a Tool in a ToolTray, it replaces the Tool beneath it, effectively removing that Tool.

==Scales, Chords, Rythms and Patches==

Chapter 30

=== Overview ===

This chapter focuses on defining Scales, Chords, Rhythms, and Patch Lists in their respective Define windows. Many Tools and Sequencer functions use these items to produce customized results. For instance, the Quick Patch Tool and the Program Change area use Patch Lists, so that you can choose program changes by name. The CounterPoint Tool uses Scales to compose and the Accompany B Tool uses Chords and Rhythms to create auto-accompaniments.

Bars&Pipes Professional stores Scale, Chord, and Rhythm information in each Track's Song Parameters. To choose a particular Scale, Chord,or Rhythm, use the Pencil in either the Master Parameters or a specific Track's Song Parameters.

Bars&Pipes Professional saves your Scales, Chords, Rhythms, and Patch Lists with each Song. When Bars&Pipes Professional loads the Song, these additional items load with it.

{{Note|title=Tip|text=To include new Scales, Chords, Rhythms and Patch Lists in your New environment, select New from the Song menu, add the new items, then select Save As Default in the Song menu.}}

The Define windows can be reached from either the Define... option in the Main menu set's Windows menu, or the Edit window's Define menu.

=== Define Scales Window ===

To create your own Key & Scale/Modes, use the Define Scales window.

The Define Scales window has a keyboard area, a name area, three buttons, and two menu options.

==== Adding And Subtracting Notes From Scales ====

On the right side of the Define Scales window is a one-octave keyboard. Active notes are highlighted in blue, while inactive notes are white. To include a note in the scales, click on a white note, thereby turning it blue. Click on a blue note to exclude it from the Scale, thereby turning it white.

==== Creating A New Scale ====

Click on the Add button to create a new Scale. Then, enter a name after the Name: prompt. Click and highlight the notes you want include in your Scale. Once you've defined your scale, you must save your Song. If you do not save your Song, you will lose your Scale upon exiting Bars&Pipes Professional. You can also use the Save Scale... menu option to save your Scale (please see below).

==== Selecting From Existing Scales ====

To bring up a pop-up list of existing Scales, click on the Select button. Once you've chosen from the list, you can rename it or add and subtract notes from it.

==== Removing An Existing Scale ====

To remove the selected Scale from your list, click on the Remove button . A requester asks you to confirm your decision. Once you Remove a Scale, you cannot retrieve it, unless you load a previously saved version of the Scale from disk.

==== Changing The Name Of A Scale ====

After the Name: prompt, you'll find the name of the selected Scale. Click in this area to modify the name or enter a new one. Use the backspace and delete keys if necessary.

==== Loading A Previously Saved Scale ====

To load a previously saved Scale from disk, choose Load Scale from the Define Scales window menu.

==== Saving A Scale ====

To save a Scale to disk, select the Save Scale option.

=== Define Chords Window ===

Use the Define Chords window to create your own Chords.

The Define Chords window has a two octave keyboard area, control buttons, a name area, and menu options.

==== Adding And Subtracting Notes From Chords ====

On the lower right side of the Define Chords window, you'll find a two- octave keyboard. Active notes are highlighted in blue, while inactive notes are white. When you click on a white note, it turns blue. This indicates that the note is included in the Chord. When you click on a blue note, it turns white again, thus indicating that the note is no longer a member of the Chord.

==== Creating A New Chord ====

Click on the Add button to create a new Chord. Then, enter a name after the Name: prompt. Click and highlight the notes you want include in your Chord.

Once you've defined your Chord, you must save your Song. If you do not save your Song, you will lose your Chord upon exiting Bars&Pipes Professional. You can also use the Save Chord... menu option to save your Chord (please see below).

==== Selecting From Existing Chords ====

To bring up a pop-up list of existing Chords, click on the Select button. Once you've chosen from the list, you can rename it or add and subtract notes from it.

==== Removing An Existing Chord ====

To remove the selected Chord from your list, click on the Remove button. A requester asks you to confirm your decision. Once you Remove a Chord, you cannot retrieve it, unless you load a previously saved version of the Chord from disk.

==== Changing The Name Of A Chord ====

After the Name: prompt, you'll find the name of the selected Chord. Click in this area to modify the name or enter a new one. Use the backspace and delete keys if necessary.

==== Loading A Previously Saved Chord ====

To load a previously saved Chord from disk, choose Load Chord from the Define Chords window menu.

==== Saving A Chord ====

To save a Chord to disk, select the Save Chord option.

=== Define Rhythms ===

Use the Define Rhythms window to create your own Rhythms.

By definition a Rhythm includes three elements:

# A sequence of notes which defines the timing, emphasis, and length of each rhythmic event;
# A loop length that determines the length of the pattern; and
# A name for the Rhythm.

==== Creating A New Rhythm ====

To create your own Rhythms, open the Define Rhythms Window from the Define... Rhythms option of the Windows menu. Or, from the Graphic Editor window, use the Define menu.

{{Note|text=If you want to import a Rhythm from the Main Screen, open the Define Rhythms window from the Main Screen. If you want to import a Rhythm from the ClipBoard, or if you are currently in a Track's Sequence Editor window, open the Define Rhythms window from the Sequence Editor window.}}

To create your own rhythm from scratch, first record a sequence of notes that the rhythm uses to define its timing, emphasis, and length. To do so, tap out any notes on your instrument keyboard, as if you were playing the drums. The actual notes you play don't matter, since the rhythm just uses only the start time, velocity, and duration of the notes to define the rhythm pattern.

==== Adding A New Rhythm ====

To add a new Rhythm to the list, click on the Add button. This creates a blank Rhythm with no pattern and a loop length of zero.

==== Selecting An Existing Rhythm ====

To access a scrolling list of all available Rhythms, click and hold on the Select button. Then drag the mouse to the desired Rhythm. If you cannot see the Rhythm you want, use the arrows above and below the list to scroll the menu up or down. You can change the name, length, and patterns of any existing Rhythm.

==== Removing A Rhythm ====

To remove a Rhythm from the list, select it and press the Remove button.

==== Grabbing Clips As Rhythms ====

Because the Rhythm Pattern consists of a sequence of notes, you can record it the same way you would a Track Sequence. For example, you can record your Rhythm in real-time, step-enter it, or draw each note with the Pencil.

{{Note|title=Tip|text=Often, sections of previously recorded Songs make great Rhythm templates.}}

Once you've created a pattern of notes and activated the Add button, you're ready to pull the pattern into the Define Rhythm window. Do so by clicking on one of two command buttons: Grab Clip from ClipBoard or Grab Clip from Track.

The Grab Clip from ClipBoard button copies the currently selected Clip from the ClipBoard window to the Define Rhythm window. Use this command if you have saved your rhythm template to the ClipBoard. By default, the loop length is the length of the Clip, however, you can edit the loop length as needed.

The Grab Clip from Track button copies the notes from the section bounded by the Edit Flags of the selected Track and copies these notes into the Rhythm. This button provides the mechanism for tapping a Rhythm into a Track and quickly transferring it into a Rhythm.

==== Replacing A Rhythm ====

If a Rhythm has an existing pattern of notes, you can change it by replacing the existing pattern with a new one. Do this by executing either of the Grab commands.

==== Setting The Loop Length ====

Once a pattern has been transferred to the Define Rhythms window, the length of the loop appears after the Loop Length: requester. To change this value, assign the Rhythm a loop length in measures, beats, and clocks.

For example, a two measure loop would be entered as "2.0.0", two measures, zero beats and zero clocks.

==== Changing The Rhythm Name ====

Give your Rhythm a name by entering it after the Name: prompt.

==== Loading A Previously Saved Rhythm ====

To load a Rhythm from disk, use the Load Rhythm... command in the Define Rhythms menu.

==== Saving A Rhythm ====

To save individual Rhythms to disk, use the Save.., command in the Define Rhythms menu. Selecting this command opens the file requester from which you can create or select a file name.

=== Define Patch List ===

The Define Patch List window allows you to create Patch Lists for your synths. A Patch List contains the name and its associated Program Change number (between 0 and 127) for each of your synth's instrument sounds.

In addition to using the Define Patch List window to create Patch Lists, you can use it to access Patch Lists from disk.

{{Note|title=Tip|text=You can also load lists created with The PatchMeister and SuperJAM!}}

==== The Define Patch Lists Window ====

The Define Patch List window contains three buttons: the Add, Select, and Remove buttons. These button allow you to create a new Patch List, choose a Patch List from the ones which are loaded, and remove a Patch List, respectively. Above the Add button is the Synth: prompt and Patch List name area. To the right of the Add button is the number prompt and the program change name area. To the right of the Select and Remove buttons is the scrolling Patch List. Use the scroll bar and scroll arrows to scroll through the list.

==== Creating A New Patch List ====

To create a new Patch List, click on the Add button. Then, enter a Patch List name by clicking in the space to the right of the Synth: prompt, and entering the name. To enter the actual Patch List, click after the number prompt and enter the Program Change's name. When you press the return key on your Amiga keyboard, the number prompt automatically increments to the next Program Change.

==== Choosing A Patch List ====

To choose a Patch List, click and hold the Select button. A pop-up list appears where you can select the Patch List you want to use.

{{Note|text=If there are no Patch Lists loaded, the pop-up list does not appear.}}

==== Editing A Patch List ====

To edit an existing Patch List, choose it with the Select button. Change the name of the Patch List after the Synth: prompt; change the names of the individual program changes by clicking on the name in the scrolling list, then changing the name after the number prompt.

==== Removing A Patch List ====

To remove unused Patch Lists, click on the Remove button. This removes the selected Patch List from the loaded list of Patch Lists. A requester asks you to verify this operation.

==== Loading A Patch List ====

To load Patch Lists previously saved with Bars&Pipes Professional, SuperJAM! or The PatchMeister, use the Load Patch List... command found in the Define Patch Lists menu.

{{Note|title=Tip|text=You'll find the SuperJAM! Patch Lists in the SuperJAM!/Bands directory.}}

==== Saving A Patch List ====

Choose the Save Patch List... option in the Define Patch Lists menu to save the selected Patch List.

{{Note|title=Tip|text=You can use Patch Lists created in Bars&Pipes Professional for your Super JAM! Bands.}}

You can find out more about Patch Lists in the chapter on Customizing Your Environment.

==Customizing your Environment==
Chapter 31

=== Overview ===

In this chapter, we'll learn how to customize your Bars&Pipes Professional environment, so that it automatically sets up the system to your liking. We'll also discuss the disk files that Bars&Pipes Professional uses to keep track of your preferences.

=== The Environment Preferences ===

In the Main menu, the Environment.., option in the Preferences menu opens the Environment Preferences requester. This requester controls various aspects of Bars&Pipes Professional's appearance as well as some memory-saving options:

; Interlace Screen
: Select the Interlace Screen option to double the vertical resolution of the Bars&Pipes Professional environment.

; Use Workbench Pointer
: If you'd rather use the Workbench mouse pointer instead of the Bars&Pipes Professional saxophone, enable Use Workbench Pointer.

; Exploding Windows
: The Exploding Windows option causes windows to open with an expanding rectangle and close with a contracting rectangle.

; Windows To Front
: Normally, use the standard Window To Front/Back button on the top right of each window to bring a window to the front If you'd like any window to come immediately to the front no matter where you click in it, select Windows To Front.

; Save Icons
: Bars&Pipes Professional will only create an icon for a song file if the Save Icons option is enabled.

; WB 2.0 File Requester
: If you're running Bars&Pipes Professional under Workbench 2.0 or later, you may optionally use the Workbench file requester for selecting files.

; Double Width Screen/Double Height Screen
: Under Workbench 2.0, Bars&Pipes Professional can display its screen at double width and/or double height, providing much more room to drag and place windows. When in this mode, certain hotkeys make navigating this huge screen easier:

: The Alt key, in conjunction with the arrow keys moves the screen by one screenful. The window icons always appear in the current screen for easy access.

: Holding the Shift key causes the currently active window to move into the new view area. Hold down both the Shift and Alt keys while pressing the arrow keys.

: These features can make it seem like Bars&Pipes Professional is four screen instead of one! For instance, you could open Mix Maestro in one quadrant, the Track window in another, and still have two full screens for other windows. Keep in mind, however, that open windows consume CPU and memory resources

; 68000 Optimization
: If you are running Bars&Pipes on an Amiga using a 68000 processor, such as the A500 or A2000, setting this option will enable Bars&Pipes to run slightly more efficiently.

; Workbench Screen Mode
: Also under Workbench 2.0, Bars&Pipes Professional can adopt the current screen mode used by Workbench. This is particularly useful with the new AGA chipset machines (the Amiga 4000 and 1200) because it provides an automatic method for supporting the new graphic modes.

; Close Workbench
: To save memory, Bars&Pipes Professional can attempt to close Workbench. This only succeeds if no programs have windows open in Workbench.

; Disable Undo Buffer
: When the Bars&Pipes Professional sequencer records a Track, it automatically backs up the entire performance in an Undo buffer. Although this provides an easy way to recover from a poor recording, it doubles the memory provided for MIDI events. Disable the Undo buffer to double the number of notes you can record in low memory situations.

; Use Grey Scale
: Bars&Pipes Professional normally displays in eight colors. Use Grey Scale halves the color count to only four, saving graphics memory.

; Disable Fast Refresh
: Bars&Pipes Professional's windows keep their images intact, even when behind other windows. This results in very fast refresh, but eats memory. Disable Fast Refresh saves memory because it no longer stores hidden imagery, but the drawing time can become painfully slow.

; Save
: Select the Save button to implement the changes and permanently save your choices in the "Bars&Pipes Professional.info" file. Whether run Bars&Pipes Professional from its icon or the Shell, the program still looks at the "Bars&Pipes Professional.info" file for these preferences. If the .info does not exist, Bars&Pipes Professional chooses its default preferences.

; Use
: To use the changes without making them permanent, select Use.

=== The Support Drawer and Support Files ===

Bars&Pipes Professional must keep its control files in a support directory: If a drawer named "Support" exists within the same directory as the Bars&Pipes Professional drawer, Bars&Pipes Professional places its support files there.

If there is no drawer named "Support" located within the same directory, Bars&Pipes Professional places the support files in the S: directory. This is the same directory that contains your startup-sequence.)

* TIP * If you are using Bars&Pipes Professional without a hard drive and want to boot with a Workbench disk, create a Support drawer on your Bars&Pipes Professional program disk Then move the files, Tools, Accessories, and BPPDirs from the & directory on your WorkBench disk to the Support drawer created on your program disk.

==== The Tools File ====

Bars&Pipes Professional uses the Tools file when customizing your environment. This text file contains the names and path names of the Tools currently loaded in the ToolBox. Bars&Pipes Professional updates the Tools file whenever you Install or Remove a Tool in the ToolBox.

==== The Accessories File ====

Bars&Pipes Professional also uses the Accessories file when customizing your environment. This text file contains the names and path names of the Accessories loaded in the Accessories window.

Bars&Pipes Professional updates the Accessories file whenever you Install or Remove an Accessory

==== BPPDirs ====

The BPPDirs file, another environment file, is a binary file that contains the path names of files that you load and save, such as Song files, Patch Lists, and Chords.

Whenever you load or save a file, Bars&Pipes Professional refers to the Bppdirs file to determine the last place you loaded or saved a similar type of file. Bars& Pipes Professional then directs the file requester to this location.

When you change directories with the file requester and select Load or Save, Bars&Pipes Professional looks to the new directory. Bars&Pipes Professional updates the BPPDirs file whenever you exit Bars&Pipes Professional.

=== Settings in Song Files ===

Bars&Pipes Professional saves many settings in each individual Song file, including which windows are open and closed, the color palette as defined by the True Colors Accessory, the position of window icons, Patch Lists, Chords, Scales, Rhythms, Metronome settings, Tool Trays, the ToolPad, Tools in PipeLines, the status of Thru faucets, MIDI channel selectors, the status of Edit windows and all other musical information.

=== Creating a Preset Environment With New.song ===

If you prefer a particular configuration of Tools, Tracks, Tempos, etc., you can set your preferences, then save them as a Song,. This way, you'll have a preset environment each time you begin a new Song.

To do so, first set up your Tracks, MIDI channels, Tool placements, etc., and then use the Save As Default command found in the Song menu. This saves your settings to a file called "New.song." Each time you run Bars&Pipes Professional or select New from the Song menu, Bars&Pipes Professional automatically loads this file.

{{Note|title=Tip|text=When you load another Song, Bars&Pipes Professional overrides your "New" settings with those in the currently loaded file. To impose your new environment on old Song files, load your old Song. Then make a Group out of all of the Tracks contained in the old Song file. Next, save the Group to disk and select New from the Song menu. After you delete all the Tracks in the New Song, load in the Group!}}