CHAPTER 5: THE OPTIONS MENU

5.1 THE OPTIONS MENU
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During play the sequence can go to any bar or just stop. The default is a
LOOP TO BAR 1, the beginning. You can save memory by looping back to the
last chorus if you intend to do a fade here.

In record the sequence can stop or loop to bar 1. Looping to other bars is not
available during recording.

POST QUANTIZE 
allows you to quantise a track after recording. 
The quantise menu sets the quantise resolution during recording and also
the rate for repeats. Quantise during record is very useful for pattern based
recording because you need to hear the effect of any quantisation while
the sequence loops.

If you prefer to quantise after recording set the quantise menu to 'Off' and
after recording a part select 'Post Quantise'. A range of bars can be
selected for the operation and the sensitivity and strength of quantisation
can be adjusted.

- Sensitivity
Sensitivity allows a tolerance around the quantise points so that notes
which are nearly in the right place are left undisturbed and notes which
are incorrect are pulled to within the set range.

- Strength
Strength determines how hard notes are pulled toward the quantise points.
For instance, if you quantise a snare flam the result would be several snare
hits occuring simultaneously. Instead, with the strength set to say 80%, the
hits will be pulled closer together but without being forced occur at exactly
the same time.

- Shuffle
Shuffle can be used to delay even numbered beats. A 33% shuffle gives the
same effect as using triplet time but omitting the second triplet, quite
common in jazz. A 50% shuffle can change an even eight quavers into the
dotted quaver, semiquaver pattern of swing rock. Experiment with 'Post
Quantise' and play the sequence after each change. Use UNDO if you over
quantise a part.



NOTE PRIORITY 
is used to minimise the audible effect of MIDI delays. 
Unfortunately MIDI is not very fast so when a number of MIDI events
coincide, timing errors can result. These errors are usually more noticeable
on percussion parts. 
Note Priority sorts the stored MIDI data within a sequence, putting the
exempt (drum) tracks first then the other tracks in numerical order. Notes
are given priority over controller data. There may be a slight delay while
this takes place. To take full advantage of note priority you could place the
most time critical parts on lower numbered tracks, but this is seldom
necessary.


PITCH TRANSPOSE 
can work on one or any range of tracks and bars. 
Set the range and amount of transpose required then click UP or DOWN.
The drum tracks are exempt from transposition. The drum tracks may be
set from the Drum List dialog.
 

VELOCITY RESCALE 
is used to permanently alter the velocity of notes. 
A range of bars and tracks may be selected then choose between two
different types of velocity adjustment: 

- 'rescale' is like using the faders, it changes the overall amount
of velocity. 100 percent is no change. The default velocity is derived from
the fader setting for the current track, so using this value will produce the
same sound if the fader is subsequently set back to 100.

- 'dynamics' allows you to compress or expand the range of velocity values.
A setting of 50% will half the dynamic range, a setting of 200% will double
it. A setting of 0% will make all the velocity values the same (64).


NEW SEQUENCE 
deletes the current sequence from memory and makes a new one. 
Select the time signature for the new sequence and the length in bars. The
default is 2 bars of 4/4. Have 7 bars of 13/8 if you prefer. Use short sequences
for drum machine style programming or long ones to emulate a tape
machine.


INDEX
provides a list of sequences with the names you gave them and the
lengths in bars.

The memory requirement (size) of each sequence is shown and also the
amount of memory space remaining in both notes and bytes. Unused
sequences appear dimmed.

The remaining note capacity is an estimate, the actual number will
depend on:

1. The amount of controller data. Pitch bend and aftertouch use a lot of
memory, aftertouch particularly so, because it is possible to generate and
record it without using it for anything. For this reason you should disable
aftertouch on the MIDI menu whenever you do not require it.

2. The quantise interval. This affects the amount of timing information
required. Higher resolution uses more memory.

3. The size of the sequence compared to memory remaining. The program
sometimes needs double memory to do things fast or to maintain the undo
function.



SYNC OUTPUT 
requires additional hardware attached to the modem port. 
It can be set from 1/4 to 1/64th clock pulses or sync24 (DIN). The clock can be
used to drive older sequencers like those built in to the SH101 or JX-3P. It
can also be used to trigger a gate or sampler delay line. The sync24 setting
is suitable for some older drum machines and sequencers. It produces 24
pulses per quarter note. If you sync to MIDI this output  will always start at
the beginning of a bar. Click on the appropriate setting then exit.


PATCH MEMORY 
automatically remembers any patch changes that are transmitted. 
A separate patch memory is kept for each sequence. The patch memory
lists the changes alongside their respective channels and may be edited.
For patch changes to be automatically placed in the patch memory you
must ensure that patch changes are enabled on the MIDI menu. Note also
that if you are punched in then patch changes are recorded in the
sequence instead of the patch memory.

A patch change may be deleted by clearing it with the Escape key. Patch
numbers may be displayed or entered using one of three formats; 0-127,
1-128, a11-b88. Select the format to suit the way your synthesizer numbers
them. The patches are sent when you click on EXIT or whenever you use
the STOP control.



FOOTSWITCHES
can be assigned to the main controls, tap tempo or
duplicate the left mouse button. 
If the mouse option is selected then the corresponding footswitch function
will depend on where you leave the arrow cursor in the main screen.

