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READ.ME
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1993-10-08
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Hi! Welcome to 'Midi Busker'
IF YOU'RE OF AN EAGER DISPOSITION, PLEASE GO IMMEDIATELY TO THE QUICKSTART
PARAGRAPH (2 BELOW).
1.1 We recommend you read this document thoroughly to get the most from your
'Midi Busker' disc. This file has been configured for either showing or
printing. When printed it will automatically skip perforations (if you use
standard 66-line pages). We have tried to cover every eventuality, so if
something insults your intelligence, don't be offended! We're not trying to
teach you to suck eggs, just skip it and read on.
PLEASE READ THE DISCLAIMER AND COPYRIGHT NOTICE AT THE FOOT OF THIS DOCUMENT.
1.2 First things First.
Take a blank formatted (Double sided) disc and make a backup copy of our
Master disc, by copying the files across in the normal way. We grant you the
right to make one backup disc; this will be your working copy. You will
always have the Master disc to go back to should you accidentally erase your
working copy.
1.3 What you need:
A sequencer on which you can edit music and import/merge Standard Midi files
(SMF). If you're using a computer based sequencer, one meg or equivalent of
RAM (this includes the amount of RAM taken by the sequencer). A sound module
capable of producing Acoustic guitar (GS prg no.25) for the Latin and
Acoustic Busker's and Un-distorted muted Electric guitar (GS prg no.29) for
the Electric Busker. (the Busker files have been produced for GS modules but
if you have a sampler, you may be able to produce an even better result).
A means of monitoring (listening to) your music and finally, a good working
Knowledge of your sequencer and/or Atari/PC.
CONTENTS
1. Welcome
1.1 Printing this file
1.2 A Backup copy
1.3 What you will need
2. Quickstart (for the eager)
3. The originator of this disc
4. The Guitar (and the Guitarist)
5. Introduction to Midi Busker
5.1 What is Midi Busker?
5.2 How to use the Busker
5.3 The Busker files on this disc
5.4 Description of styles and Latin index
6. Tips on how to get the most from the Busker
6.1 CUBASE
6.2 C-LAB
6.3 HYBRID ARTS
7. Disc Format/Compatability
8. Troubleshooting
9. Future products
10.Disclaimer/Copyright notice
1
2. QUICKSTART
This paragraph is for those of eager disposition and who haven't time to read
this document but want to hear something NOW!
Follow this procedure:
Load/Turn on your sequencer. Load in LATINDEM.MID which can be found on this
disc.
Connect a GS sound module to your sequencer (see manufacturers instructions
if in doubt)
Press play. listen and enjoy
(the demo track is configured to automatically set up)
If you don't have a GS module, connect a multi-timbral sound source to your
set up. Mute/turn off/delete the System exclusive data track (this is the
last track ie Track 19). Then configure your multi-timbral unit to sound the
following instruments on the corresponding channels as laid out below:
Instrument Midi channel note number BPM 122
Bass 2
Left Acoustic guitar 3
Right Acoustic guitar 4
Lead Acoustic guitar 5
Marimba 6
Bass Drum 10 C1
Rimshot 10 C#1
Hi hat closed 10 F#1
Tambourine 10 F#2
Cowbell 10 G#2
Crash Cymbal 10 A2
High Bongo 10 C3
Mute High Conga 10 D3
Open High Conga 10 D#3
Low Conga 10 E3
Cabasa 10 A3
Maracas 10 A#3
Claves 10 D#4
System exclusive setup
Depending on the type of multi-timbral sound source you have, you may have to
use octave transpose up or down to get the individual parts to sound right.
If your drum map is different to that of GS then transpose the tracks as
neccessary. Please do spend the time to do this, it is worth the effort. If
you're keen to hear the Electric demo or the Acoustic demo then the above
applies but the sound source channel settings are as below:
ELECDEMO.MID
Instrument Midi channel note number BPM 124
Bass 2
Piano 3
Elec piano 4
Muted guitar 5
Lead synth 6
Clavicord 7
Bass drum 10 C1
Snare drum 10 E1
Hi hat 10 F#1
1/2 open hi hat 10 G#1
Hi hat open 10 A#1
2
Tambourine 10 F#2
Crash cymbal 10 A2
System exclusive setup
ACOUDEMO.MID
Instrument Midi channel note number BPM 120
Bass 2
Acoustic guitar left 3
Acoustic guitar right 4
Acoustic git melody 5
Acoustic git melody 6
Bass drum 10 C1
Snare drum 10 E1
Hi Hat open 10 F#1
System exclusive setup
WE HOPE TO HAVE WHETTED YOUR APPETITE TO READ MORE!
3.The originator of this disc
The Midi files on this disc have been prepared by music technologist Per
Villez. Per, an accomplished guitarist and percussionist, has a strong
command of both rhythm and harmony involving music from all over the world.
Having worked for over ten years with synthesisers and computers, Per has
lectured at Sussex University and worked as 'right-hand man' to Johnathan
Harvey with the English National Opera. When he's not slaving away program-
ming and writing his own music, he can be seen performing with the 'Brighton
stomp'. If you're not familiar with that, take a look at the recent 'coke'
TV ad... that's them 'rhythmically' chopping ice.
4. The Guitar (and the Guitarist)
The guitar most commonly has six strings, normally tuned to E A D G B E
(Equivalent GS Midi note numbers: E1 A1 D2 G2 B2 E3 respectively). When
played it creates a texture of sound unlike that of a Keyboard or sequencer.
Take strumming for instance, there is a very definite order in which the
notes are played both on the up and down strum. In addition the differing
accents/timings and liveliness produce a multitude of different feels. By
recording the guitar live, we believe we've captured some of that feel.
On top of this the Guitarist has certain limitations that prevent him from
playing chords in certain ways. The secret in getting your Midi setup to
generate the sound of a live guitar is to play the sampled guitar sounds in a
way the real live guitarist would ie by using the correct chord inversions.
Note that some sample based sound modules have a sample centre, around which
the sample sounds most lifelike. Points further away from the centre will not
sound quite so real. Stick to the correct chord inversions if you can.
Take the basic guitar chords such as E A D G C majors. These chords can be
played on the guitar in the 'open' position. This means that some of the
strings are unfretted. These chord inversions create a sound inherent to the
guitar. A guitarist will transpose up open E and open A chords to obtain all
the other chords (Bar chords) ie all the way up to E flat in the case of open
E, a distance of 11 semitones up. Sometimes a Capo is used to shorten the
effective length of the guitar neck. It raises the relative pitch by clamping
the strings down at a chosen fret position. By using a Capo all chord shapes
can be played in any pitch. Care should be taken when transposing the chord
blocks so that the playing will still sound natural (unless of course you're
after a weird sound, transposing up an octave or two will give you a sort of
banjo effect). We've included some general rules of transposition in the
track listing at para 5.3 to give you almost any chord the real guitarist
would play.
3
5.1 What Midi Busker is
The purpose of the Busker is to bring live guitar playing into the Midi
domain and without the hassle of session fees. On this particular disc we
have gathered together a collection of styles of common guitar strumming,
saved to SMF format 1. On each Busker file there are a number of tracks each
containing four Bars of strum information. Each track contains a different
chord in that style. We call these 'Chord blocks'.
The Busker files consist of recorded note on/off information. Please do not
confuse them with a sample of a guitar. A sample is something quite
different.
To our knowledge files like ours have not been done before, probably because
it's quite difficult to do. With these new files you can bring a tireless
session guitar player into your Midi setup. Your Busker will strum as long as
you like at whatever tempo (for a given meter) in any key you like. In short
what you want, when you want, at minimal cost. We've included tips on how to
get a sound like a real live guitar player but feel free to experiment. Try
using different sounds or try changing the accents of the strums for an
offbeat effect. Be creative!
5.2 How to use the Busker
As far as we see it there are two ways of working: starting from scratch and
making music with the Busker or importing/merging the Busker with your own
already sequenced music. In either case you must load the Busker in by
selecting 'load Midi file'. We've included an index on all the new Busker
discs so you can quickly find the style of strumming you want.
If you can, load the Busker file into an area of the sequencer that doesn't
interfere with your musical arrangement. We call this the 'Holding area'.
When the MID files are imported/merged into your sequencer all the tracks
will be unmuted. It is neccessary to mute every track but one, or you will
hear all the chords playing at once (with less than musical results!).
It is best to: stop the sequencer, load in the file, solo one track, select
the Midi channel and press play to hear the chord/style you want. The chord
blocks are used to create the live guitar track. (with the processing power
of todays sequencers it is relatively easy to copy/duplicate, paste/chain/join
together midi parts, in our case, the chord blocks). With the file
successfully loaded, go to the muted Busker tracks in the holding area and
copy across the chord block you want.
Obviously you will have to unmute the copied track and set the correct Midi
channel for your guitar sound. As you made a copy, the original chord block
is still in the holding area of your sequencer ready for when you need it
again. Note that some sequencers will allow you to chain parts/patterns
(Hybrid Arts, Cubase and C-Lab) rather than just copying the information.
This will save you RAM space. The real guitarist will strum slightly before
and after the beat, so we have placed the four Bars of strum information on
each track to start on the first downbeat of bar TWO. If we started on the
first downbeat of Bar ONE you would be missing part of the strum. This does
not apply to the Latin Busker so much because all the first notes happen
on/or after the first downbeat of the bar. But for standardisation it was
felt better to stick to the Busker format. Point to note, it might be worth
sliding the guitar track back and forth to create different feels. If you're
writing quickly, you may want to crudely paste together the chord blocks to
get the musical architecture right. Then at a later stage edit the joins more
accurately for a master quality result. If you're bringing the Busker into
your own music then you will probably already know which chords blocks you
want; delete the chord blocks you don't need. When you've finished your
arrangement, delete the muted chord blocks in the holding area providing you
have no further use for them. It might be an idea to save your own Midi file
with combinations of chords you use most - do whatever suits you best.
4
Note: If you don't have a GS sound module you may have to transpose the files
an octave up or down to set your sound module to the correct register. If you
have to do this, it is probably best to transpose all the Busker files and
save these as Midi files to disc for future use. If in doubt use the Latin/
Acoustic/Electric demo's as a guide.
5.3 The Busker files on this disc
Description BPM File name First note
(96ppqn)
The Midi Busker Guide n/a READ.ME
(this document)
Latin Demo 122 LATINDEM.MID
Acoustic Demo 120 ACOUDEMO.MID
(from the Acoustic Busker)
Electric Demo 124 ELECDEMO.MID
(from the Electric Busker)
Bossa rhythm 1 200 BOSSA_1A.MID 2.01.00
Bossa rhythm 1 200 BOSSA_1B.MID 2.01.00
You will note that there are two files 'BOSSA_1' : 'A' and 'B'. To keep the
Midi files smaller we've saved the most commonly used chords to file type 'A'
and saved the altered chords to file type 'B'.
Each Busker file has been configured, where possible, in the same way. For
instance, if you load the Midi file 'BOSSA_1A.MID', you will find that Track
2 is four Bars of strumming in E major (open shape) followed by A major on
track 3, A major (fifth fret) on track 4 etc. We have tried to stick to a
standard, so that each time you load a file, track 2 will be E major in that
style. Our common track layout is as per the track listing below (in case you
have a sequencer that will not read track names from Midi files). Note that
some styles of playing don't lend themselves to all chords ie. in the case of
Colombiana there is no D major in the fifth fret position. So don't fret
(sorry) if you can't always find all the chords.
The BPM listed is only a suggestion, do what feels right for you.
Our standard layout for file types 'A' and 'B' can be seen below.
Note that 'Transpose to get:' tells you how to get all chords.ie Transpose E
major one semitone up (+1) gives you F major (as a Bar chord) and so on up
the octave. Most chords can be obtained from more than one chord shape. Use
whichever one you prefer.
File type 'A' Chord type Track name Transpose to get: Midi ch
Track 1 Rhythm guide TIMELINE (GM drum map) 10
Track 2 E major E +11 All 1
Track 3 A major A +11 All 1
Track 4 A major A 5 fret --- 1
Track 5 D major D --- 1
Track 6 D major D 5 fret --- 1
Track 7 G major open G --- 1
Track 8 C major open C --- 2
Track 9 E minor Em +11 All 3
Track 10 D minor Dm --- 4
Track 11 D minor Dm 5 fret --- 5
Track 12 A minor Am +3 Cm 6
Track 13 A minor Am 5 fret --- 7
Track 14 E dominant 7 E7 +11 All 8
Track 15 A dominant 7 A7 --- 9
Track 16 D dominant 7 D7 --- 11
Track 17 G dominant 7 G7 --- 12
Track 18 C dominant 7 C7 --- 13
Track 19 B dominant 7 B7 --- 14
5
Note that majors minors are 'open chord shapes' until transposed as in case
of 'E' and 'A' then they are known as 'Bar chords', but remember ALL of the
chord shapes can be transposed up if you're after the Capo effect mentioned
in para 4. Note that we've included different fret positions for more flexi
bility ie. 'Em7 7fret' is E minor 7 played at the seventh fret.
File type 'B' Chord type Track name Transpose to get: Midi ch
Track 1 Rhythm guide TIMELINE (GM drum map) 10
Track 2 E minor 7 Em7 +11 All 1
Track 3 E minor 7 Em7 7fret --- 1
Track 4 A minor 7 open Am7 +11 All 1
Track 5 A minor 7 Am7 5fret --- 1
Track 6 D minor 7 Dm7 --- 1
Track 7 E minor 9 Em9 +11 All 1
Track 8 E minor 9 Em9 7fret --- 2
Track 9 A minor 9 open Am9 +11 All 3
Trac 10 A minor 9 Am9 5fret --- 4
Track 11 E major 7 EM7 +11 All 5
Track 12 E major 7 EM7 7fret --- 6
Track 13 A major 7 AM7 4fret --- 7
Track 14 G major 7 GM7 wide --- 8
Track 15 G major 7 open GM7 +11 All 9
Track 16 C major 7 CM7 --- 11
Track 17 E 7 sharp 9 open E7/9 +11 All 12
Track 18 E 7 sharp 9 E7/9 7fret --- 13
Track 19 A minor 7 flat 5 Am7-5 7fret --- 14
Midi channels
Please note that the rhythmic guideline has been saved on Midi channel 10,
and that tracks from eight onwards are saved on separate Midi channels.
This is to enable owners of eight track sequencers to extract the separate
tracks (when mixed together) without difficulty.
The Busker files on this disc (cont'd)
Description BPM File name First note
(96ppqn)
The Latin Busker Index n/a LATINDEX.MID n/a
Bossa rhythm 2 200 BOSSA_2A.MID 2.01.00
Bossa rhythm 2 200 BOSSA_2B.MID 2.01.00
Bossa rhythm 3 200 BOSSA_3A.MID 2.01.00
Bossa rhythm 3 200 BOSSA_3B.MID 2.01.00
Bossa rhythm 4 200 BOSSA_4A.MID 2.01.00
Bossa rhythm 4 200 BOSSA_4B.MID 2.01.00
Bossa rhythm 5 200 BOSSA_5A.MID 2.01.00
Bossa rhythm 5 200 BOSSA_5B.MID 2.01.00
Bossa rhythm 6 200 BOSSA_6A.MID 2.01.00
Bossa rhythm 6 200 BOSSA_6B.MID 2.01.00
Bossa rhythm 7 200 BOSSA_7A.MID 2.01.00
Bossa rhythm 7 200 BOSSA_7B.MID 2.01.00
Colombiana 1 120 COLOMB1A.MID 2.01.00
Colombiana 1 120 COLOMB1B.MID 2.01.00
Colombiana 2 120 COLOMB2A.MID 2.01.00
Colombiana 2 120 COLOMB2B.MID 2.01.00
Colombiana 3 120 COLOMB3A.MID 2.01.00
Colombiana 3 120 COLOMB3B.MID 2.01.00
Farruca rhythm 170 FARRUCAA.MID 2.01.00
Farruca rhythm 170 FARRUCAB.MID 2.01.00
Guajira rhythm 1 120 GUAJIR1A.MID 2.01.00
Guajira rhythm 1 120 GUAJIR1B.MID 2.01.00
6
Guajira rhythm 2 120 GUAJIR2A.MID 2.01.00
Guajira rhythm 2 120 GUAJIR2B.MID 2.01.00
Gypsy rumba 1 120 GYPRUM1A.MID 2.01.00
Gypsy rumba 1 120 GYPRUM1B.MID 2.01.00
Gypsy rumba 2 180 GYPRUM2A.MID 2.01.00
Gypsy rumba 2 180 GYPRUM2B.MID 2.01.00
Gypsy rumba 3 240 GYPRUM3A.MID 2.01.00
Gypsy rumba 3 240 GYPRUM3B.MID 2.01.00
Gypsy rumba 4 240 GYPRUM4A.MID 2.01.00
Gypsy rumba 4 240 GYPRUM4B.MID 2.01.00
Latin rumba 180 LT_RUMBA.MID 2.01.00
Latin rumba 180 LT_RUMBB.MID 2.01.00
Milonga 1 100 MILONG1A.MID 2.01.00
Milonga 1 100 MILONG1B.MID 2.01.00
Milonga 2 100 MILONG2A.MID 2.01.00
Milonga 2 100 MILONG2B.MID 2.01.00
Milonga 3 100 MILONG3A.MID 2.01.00
Milonga 3 100 MILONG3B.MID 2.01.00
Milonga 4 100 MILONG4A.MID 2.01.04
Milonga 4 100 MILONG4B.MID 2.01.04
Milonga rumba 120 MILRUMBA.MID 2.01.00
Milonga rumba 120 MILRUMBB.MID 2.01.00
Rumba guajira 120 RUMGUAJA.MID 2.01.00
Rumba guajira 120 RUMGUAJB.MID 2.01.00
Samba 1 120 SAMBA_1A.MID 2.01.00
Samba 1 120 SAMBA_1B.MID 2.01.00
Samba 2 120 SAMBA_2A.MID 2.01.00
Samba 2 120 SAMBA_2B.MID 2.01.00
Samba 3 120 SAMBA_3A.MID 2.01.00
Samba 3 120 SAMBA_3B.MID 2.01.00
Samba 4 120 SAMBA_4A.MID 2.01.00
Samba 4 120 SAMBA_4B.MID 2.01.00
5.4 Description of styles
BOSSA
The Bossa, which employs a lot of chromatic passing chords, must be
one of the most well known rhythms of South America.
This rhythm emerged to undermine the samba, which had dominated for a
long time as a 'high' art form. Such Bossa's as 'Desafinao' (out of
tune) were trying to make the point that any one can sing even if
it might be out of tune! The Bossa owes much of it's harmony to
classical composers (such as Bach) as well as Jazz.
COLOMBIANA
The Colombiana is a style created from the rhythms of folk music in
Colombia. It has since hybridised into Flamenco forms.
FARRUCA
The Farruca is a Song/Dance rhythm which probably originated from
Northern Spain. It probably derived it's Tango influence from
Andalusia.
GUAJIRA
The Guajiras is a flamenco version of the Cuban rhythm, it is possible
that this rhythm was brought back to Spain as early as the sixteenth
century. Three chord tricks work well with this rhythm.
MILONGA
The Milonga, an important Argentinian rhythm which gained popularity
in urban areas until the turn of the century. It later became absorbed
by the Tango.
7
MILONGARUMBA
This hybrid evolved from the Milonga and the flamenco Rumba. It
works well with either the Guajira or the Colombiana.
RUMBAGUAJIRA
Another hybrid of the Rumba and the Guajira.
SAMBA
Traditionally the guitar is not used to play the Samba rhythm,
instead an instrument called the 'Cavaquinho' (similar sounding
and looking to the Ukelele) is used. Contrary to the Bossa, the
Samba is economical with it's harmonies. The swing of this rhythm
is very important to making it sound Samba.
The Index
The index (filename: LATINDEX.MID) should be used as a quick guide
to the styles available on disc. For those who don't have sequencers
that recognise track names the styles are as follows:
Tracknumber Style BPM
Track 1 Bossa 200
Track 2 Colombiana 120
Track 3 Farruca 170
Track 4 Guajira 120
Track 5 Gyprumba 120
Track 6 Latin rumba 180
Track 7 Milonga 100
Track 8 Milonga rumba 120
Track 9 Rumba guajira 120
Trac 10 Samba 120
6.Tips on how to get the most from the Busker
6.1 Cubase users
Make sure you have no more than one window open if you're merging the Busker
file with your sequenced track. Save your ARR before you do this, it's good
practise anyway. Stop the sequencer. Select all (control A), and move your
music so that the first note starts at bar nine. At this point bars one to
eight should contain no parts. This will be the holding area for the chord
blocks.
Position the left pointer at bar one (this is very important). Go to open
file and click on Midi file when the dialogue box appears. When asked to
merge the Midi file with your current arrangement click on 'Yes'. If you have
done this correctly then the Busker file you selected will be merged into
bars one to six (the different chord blocks on different tracks as per
para 5.3) Then mute all the parts with the mouse mute (X) not the track
mute. Please note that the chord blocks are in blocks of 4 bars starting on
bar two. Get the scissors out and cut the parts at the begining of bar six,
Cubase only cuts 'note on' information (unless told otherwise) which is handy
for us. Copy the particular chord block you want across to your music on a
new track and unmute that part. To make eight bars of strumming of the same
chord simply copy the part again so that bar one of the copy overlaps the
original at bar five. You'll get a seamless join. If in difficulty change
part appearance to see where the strums occur, you'll soon get the hang of
it. Changing chords needs more scissor work to cut off the downstrum but can
be left until you're sure you've got the musical architecture right.
You might find it easier to work on two parallel tracks set to the same Midi
channel (Acoustic guitar). It makes editing chord changes much easier by
using alternate tracks each time you change a chord. when finished, mute all
tracks except the two parallel guitar tracks. Select a fresh track and
8
mixdown. Cubase will only mix down unmuted tracks. Delete the two parallel
guitar tracks and unmute the new mixed down guitar track and your original
music tracks. If you're using logical edit and need to know when the first
strummed note occurs multiply the tick value by two. see para 5.3. ie.the
first strummed note of MILONG4A.MID occurs at 2.01.04 (96ppqn) in Cubase this
will be 2 x 04 = 008 eg. 2.01.008 (192ppqn).
6.2 C-Lab users
If merging/importing the Busker into your already sequenced music then make
sure you load your song first (this operation clears the RAM). Select any new
free pattern so that the next pattern is free. ie. if you chose pattern 8
make sure pattern 9 is free as well. These will be your holding patterns for
the Busker. Go to file and load in Midi file. Your busker file will be
loaded into pattern 8 and 9 (if you have selected 16 tracks per pattern,
tracks 17 onwards will be loaded into pattern 9, if you have selected 32
tracks per pattern then all tracks will be loaded into pattern 8). C-Lab
users can save the Busker as patterns of their own as C-Lab will load a
pattern into a song as well as Midi files. Probably the best way to work is
to run your acoustic guitar track in a parallel arrange column (you must be
in arrange mode to do this). ie if your song is chained in the arrange
window under 'a' then use 'b' for your guitar track. Here's the trick, start
all guitar patterns and subsequent chord blocks on the first note of the down
strum. see the track listing at para 5.3 for the first note tick. As the two
chains run independently you should be able to achieve glitchless chord
changes with the Busker. Delay the 'a' chain by a few clock ticks so that
your music coincides with the guitar track chain. If you want to convert
the tick values divide by two ie. the first strummed note of MILONG4A.MID
occurs at 2.01.04 (96ppqn) in C-Lab this will be 04 divided by 2 = 02
eg. 2.01.02 (48ppqn).
6.3 Hybrid Arts users
If you're importing the Busker into your own music it will be neccessary to
save all the Busker files as SNG files. Importing each chord block can be
done via import track. Having done this, you can work in two ways: run your
music under a chain or run realtime tracks. Use 'Glue in section' to achieve
chord blocks of any length. The trick is to set the locator to the first note
of the down strum (see para 5.3) in any given bar and glue into a blank
track. ie if you were making eight bars of strumming from Busker file
MILONG4A.MID, chord block E (open E major), then you would define the four
bar section of the chord block as: 2.01.04 to 7.00.00 say and glue this
section into a blank track at 6.01.04 (by setting the locator to 6.01.04)
When you press play you original track will play until the sustained notes
have finished but in the meantime your copied chord block will take over at
6.01.04 giving you a seamless join. For ease of use mix the two tracks
together. Easy.
7.Disc format/compatability
Users with Atari, PC and hard sequencers that read MSDOS should have no
trouble reading this disc. Apple Mac users should use Resedit or Filetyper
version 1.0. We now have Mac versions available.
Amiga users should use the commercially available program 'crossDOS'.
8.Troubleshooting
We assume you are reading this paragraph because you're having trouble.
Please check the following:
1. That you have all that you need. see para 1.3.
2. That your power is turned on.
3. The Midi connections between sequencer and module are not disconnected or
reversed.
9
4. That your monitoring is functioning correctly. (try listening
to the headphone output on your sound module by loading and running one of
the demo's).
5. That you have routed the chord blocks via Midi to a guitar sound.
If you're still having trouble call us on 0787 311500 between 1230 and 1430
hrs. Please respect this, it will help us to give you a better service.
9. Future products
We welcome your suggestions as to how we can improve our product; eg
something we might have missed out or something that we could do differently
as it is your satisfaction we value. We are not psychic, please let us know.
If we incorporate your suggestions into future discs we will reward you with
a copy of the newest release when complete.
Currently available:
The Acoustic Busker, The Electric Busker and The Latin Busker.
COMING SOON!
The Acoustic Busker 2...
HAPPY CREATING!
..........................................................................
10. DISCLAIMER
We have taken great care in the preparation of this data so that it
will function on the most popular sequencers that support standard
MIDI files format 1. But due to the large number of sequencers that
prevail we cannot guarantee that this data will function on every
sequencer.
Due to the nature of this product we are unable to accept returns.
We will, of course, in the unlikely event of the data being corrupted furnish
you with another disc, provided that you return the damaged disc to us.
We can accept no liability whatsoever for consequential loss or damage
however caused arising as a result of using this software.
We reserve the right to modify our product without prior notice.
COPYRIGHT NOTICE
The files on this disc contain data (Registered at MCPS) specific to
Station Records. All rights of the producers of this work are reserved.
Unauthorised copying or modification of this data for re-sale or
distribution in any medium is strictly prohibited.
'MIDI BUSKER' is copyright Station Records 1992.
Station Records, Station road, Sudbury, Suffolk, CO10 6SS.
The purchaser is authorised the use of 'MIDI BUSKER' for approved
applications: Recording and Performance.
6.AUG.93
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