The Datafile PD-CD 2/DATAFILE_PDCD2.iso/strackers/_aptracker/!APTracker/Version2

Text File | 1993-11-05 | 48KB | 798 lines

                          AP Tracker Version 2
                          ====================

This help text details the new features present in version 2 of "AP
Tracker". For instructions on how to use the program from scratch, you
are advised to first read the text file "Version1", which, though
referring to Version 1 of the software, is also applicable to this later
release due to the upward compatibility. Those already familiar with the
software should refer only to this text in order to avoid having to read
about features with which they are already familiar.

Module Additions

As with version 1, AP Tracker version 2 uses a public domain music
playing module for most of the sound generating bits such as playing
tunes/patterns. However, the module used by AP Tracker version 2 has
itself been updated, and the extra features have thus been carried
through to "AP Tracker". Significantly, "E" (set stereo) commands with
out of range parameters no longer force the computer to crash, which
will certainly prove to be a relief to anyone who has had it happen to
them. Also, command "S" (set speed) has had its parameter range
extended, and now can take variables in the range 0-&1F (31), allowing
slower playing of tunes and greater compatibility with music converted
from the Amiga which uses this facility. Note that, although the module
has been improved in the time between the release of version 1 and
version 2 of AP Tracker, it still retains the same version number (4.09
[development]). You may therefore encounter problems if you have the
older version 4.09 of the module installed (as the computer will not
recognise the newer version as such). To solve this, clear the module
area before loading version 2, load the new version explicitly by double
clicking on the "PlayMod" file within the application directory, or
simply replace all of your old copies of version 4.09 with the newer
module (though you will still have to clear the old version from memory
in this last case).

Program Additions

One of the first things you may notice if you have used Version 1 of the
program is that the full help text is no longer built in to the program
and must be read from outside of it. While an on-line help was
undoubtedly a very nice feature, it was also rather a burden on memory,
as it all had to be in the computer's memory all the time the program
was being used - even if a user was experienced enough never to need to
refer to it. As a measure of just how much memory this took up, by
removing this feature in version 2 (and compressing the !RunImage file
slightly), I have been able to add all of the new features detailed
below while keeping the Wimp slot the same (224 kilobytes). The full
help has therefore now been replaced by just one screen of text
detailing the principal keyboard controls.

Virtually every area of the program has been updated in some way, and
the additions to each part are listed below. As well as this, one
completely new section, the Sample Editor, has been introduced, and the
explanation for this follows those for the new features of the other
sections.

Desktop Operations
==================

This is the part of the program which has changed least, as I have
really just honed some existing routines rather than introduce any new
ones. You may notice that there is now an extra option on the "Save"
submenu. This is for saving details of the synthetic sound currently
being edited (see later). While on the subject of filing, I have also
removed the "Convert from Sound Tracker?" and "Convert from Octalyzer?"
messages, and if you had grown as irritated of them as I had, you will
probably appreciate this. To check on the initial format of a tune, you
should now check the tune author field (or watch for the appearance of
the hourglass when loading which signifies that some form of conversion
is taking place).

Coconizer conversion has also been enhanced in several ways. Firstly, if
you load a song (just pattern data, not samples) as opposed to a track
file, the sample names are copied into the slots, which should aid later
reconstruction. Secondly, some provision is made for the 8 octave range
of Coconizer compared to the 3 octave range for Tracker. AP Tracker 2
does this by allocating vacant sample slots to higher or lower versions
of existing instruments. For example, all notes played above octave 2
(Coconizer) on instrument 5 may be translated to notes played on octaves
1 and 2 (Tracker) on instrument B, and the sample name for B will be
changed to reflect this. It is left to the user to create the higher or
lower versions of the instruments, but this can be accomplished with
ease using the Resample feature of the sample editor. The parameters for
the resample are also placed in the sample name, and so this should be
relatively easy to do. The resample function is a fairly complicated
feature, so if you do get stuck trying to convert a tune, I can convert
it for you if you send me a copy (my address is at the end of this
text).

Another very slight alteration which has taken place is that when you
create a tune using the "Create" option from the main menu, the stored
pattern length (on the "Settings" window) is taken into account when
creating the pattern (and, as before, for each subsequent pattern
created). I have also (hopefully) cured the problem in Version 1 where
if you altered the tune or author name for a piece of music, they did
not always register properly. A small problem whereby dragging save
boxes did not work properly in screen modes such as 16 or 24 has also
now been fixed.

The only other real additions are to be found on the "Amend Track"
window. Whereas before there was a single "Insert Voice" option, there
are now two, "Insert After" and "Insert Before", allowing more control
of (and less confusion over) exactly where a newly created voice will be
inserted. There is also a "Tidy Sample List" option. This has the effect
of shuffling all of the samples upwards, eliminating any gaps which
might appear in the samples list. The "Preserve name order" setting
will, if set, keep all of the sample names the same. This is most useful
when the "sample names" are not actually sample names at all, but
contain some form of text message. Without this option set, the sample
slots which do not contain instruments but do contain text may be moved
around. Conversely, if you wish to use this feature on a tune you have
written which has some form of text message, make sure that the text you
want to keep "belongs" to a valid sample (even if you have to load one
in temporarily while tidying the list).

I have also introduced a link between playing tunes in the desktop and
playing them while in "Play Tune" mode in the main editing section. With
this, if you are playing a tune in the desktop and then enter the main
editing section (Adjust on the icon bar icon), you are automatically
taken into "Play Tune" mode, with the tune at the same position as you
were at outside the desktop. Note that this does not work when a tune
has just been loaded, and you go to the main editing screen for the
first time, as in this case the program needs to sort out internal
pointers and data tables.

The Main Editing Screen
=======================

It is in this section that most of the additions to the program will
become apparent. There are some new features which are mode-specific,
and a few which are global, ie. can occur whatever mode ("Test Samples",
"Play Pattern" etc.) the program is in. These latter will be dealt with
first in the text below. Some of the new features (and many of the old
ones) are accessed using the red function keys, and you are advised to
print out a copy of the enclosed Draw file keystrip for reference.

I have added an extra state for the voices. Previously, clicking with
the mouse over a "Voice X" box would toggle it between "On" and "Mute".
Now, this feature is accomplished by clicking with Select over the
relevant box. Clicking with Adjust will toggle a voice between "On" and
"Quiet". While at first sight (or hearing) this latt