@DATABASE OctaMED Soundstudio Help

@REM Features Guide: Instruments [part 2 of 3]

@$VER: 2.0 (24.07.96) for Soundstudio V1.01
@AUTHOR Ed Wiles (e.d.wiles@dur.ac.uk)
@HELP OctaMED.guide/Help


@REM S A M P L E  E D I T O R


@REM Waveform Display


@NODE f2_wadi "Instruments [Sample editor] / Waveform Display"
@TOC OctaMED.guide/f2
HOW TO...
	@{"    Draw the sample in pixels     " LINK f2_wadi_1}
	@{" Edit the waveform with the mouse " LINK f2_wadi_2}

OVERVIEW
The black squiggly line in the middle of the sample editor is the
sample's `waveform', a graphical representation of the sample. The
area which displays this waveform is called the `waveform display'.

The horizontal line in the middle of the waveform display, usually
white, marks zero (no) volume. The further away is a point on the
waveform from the zero volume line, the louder its volume. So when
the waveform hits the very top or bottom of the display, the sample
is at its loudest. Right in the centre, the sample is silent.

There are many types of waveform. Some are made of repeating
patterns; most musical instruments have such waveforms, including
pianos and flutes. Others, like speech, are unpredictable, sharp
and messy. More contrived ones are perfectly curved or are drawn on
only the display's extremes.

Usually, the waveform is drawn as many points connected by straight
lines. Optionally, the lines can be removed, leaving just the
points (or `pixels'). In this mode, the waveform can be edited -
redrawn, even - using the mouse.
@ENDNODE


@NODE f2_wadi_1 "Waveform Display / How To Draw The Sample In Pixels"
@TOC f2_wadi
		 HOW TO DRAW THE SAMPLE IN PIXELS
INTRODUCTION
The points on the waveform display are usually connected by
straight lines. Optionally, the lines can be removed, leaving only
the points (or `pixels'). The density of the pixels can be altered.

This display method is used when drawing freehand. The method is
automatically selected when freehand mode is selected.

STEPS
1) Open the Sample Editor.
   > Display menu -> Sample Editor OR
   > Main Control window -> Edit button (if the current sample is
     not a synthsound)						    @{" More " LINK F2c.guide/f2_cr}

2) In the sample editor, open the SampleEd Disp Settings window.
   > Settings menu -> Display Settings

3) Turn on pixel mode.
   > Switch the Display Type cycle gadget from Line to Pixel

4) If desired, set the pixel density.
   > Adjust the Pixel Density slider

NOTES
* The pixel density is in fact the number of pixels displayed in
  every horizontal pixel position. On slow machines (like my A500),
  the display can take ages to redraw with high densities. To watch
  the pixels being drawn, turn Fast Graphics off.		    @{" More " LINK F8.guide/f8_frme_2}
@ENDNODE


@NODE f2_wadi_2 "Waveform Display / How To Edit The Waveform With The Mouse"
@TOC f2_wadi
	      HOW TO EDIT THE WAVEFORM WITH THE MOUSE
INTRODUCTION
In `freehand mode', the sample's waveform can be changed by drawing
directly on to the waveform using the mouse.

This can remove obvious defects from the sample; for example, the
sample may have a sudden and uncharacteristic peak - use freehand
mode to smooth it out.

The waveform must be greatly magnified in freehand mode. OctaMED
automatically sets the display size to 596 bytes, but you may zoom
in closer if necessary (for accurate editing, this is recommended).

STEPS
1) Zoom into the part of the waveform that you'd like to edit.	    @{" How? " LINK f2_zoinanou_1}

2) Switch on freehand mode.
   > Switch on Freehand (bottom-left)

3) Draw directly on to the waveform.
   > Holding down the left mouse button, move the mouse over the
     waveform
@ENDNODE


@REM Zooming In And Out


@NODE f2_zoinanou "Instruments [Sample editor] / Zooming In And Out"
@TOC OctaMED.guide/f2
HOW TO...
	@{"  Magnify or reduce the waveform   " LINK f2_zoinanou_1}
	@{"        Use the zoom slider        " LINK f2_zoinanou_2}
	@{" Restore the waveform to full size " LINK f2_zoinanou_3}

OVERVIEW
Magnifying and reducing the waveform, or `zooming in and out',
allows you to see part of the waveform in more detail. It also
makes for more accurate range marking and loop positioning.

There are two main ways of zooming in and out: Use the Zoom In and
Zoom Out buttons, or use the handy zoom slider to the right of the
waveform. You may also magnify a particular part of the sample.

Once magnified, you can move around the sample. When you've had
enough, restore the waveform to full size with a single click.
@ENDNODE


@NODE f2_zoinanou_1 "Zooming In and Out / How To Magnify Or Reduce The Waveform"
@TOC f2_zoinanou
	       HOW TO MAGNIFY OR REDUCE THE WAVEFORM
INTRODUCTION
There are two main ways of zooming in and out: Use the Zoom In and
Zoom Out buttons, or use the handy zoom slider to the right of the
waveform. Alternatively, magnify a particular part of the sample:
a marked range or the sample's loop.

Once magnified, you can move around the sample using the scroll bar
below the waveform or the <left> and <right> arrow keys.

The `Display:' box at the top-left corner shows the number of bytes
currently being displayed. If there is no magnification (that is,
the waveform is at full size), Display: and Buffer are equal.

STEPS
1) EITHER Use the two zooming buttons.
   > Click Zoom In or Zoom Out

   OR Use the zoom slider.
   > Adjust the vertical scroll bar along the right-hand side	    @{" How? " LINK f2_zoinanou_2}

   OR Magnify a range.
   > Mark a range THEN						    @{" How? " LINK f2_maara}
   > Click Show (bottom-left)

   OR Magnify the sample's loop.
   > If necessary, set a loop THEN				    @{" How? " LINK F2a.guide/f2_lo_1}
   > Loop menu -> Show Loop

2) Move around the waveform.
   > Adjust the horizontal scroll bar below the waveform OR
   > Press <left> or <right>

NOTES
* The Play Display button (bottom-left) plays the currently	    @{" More " LINK F3.guide/f3_in_2}
  displayed part of the waveform at the current pitch.
@ENDNODE


@NODE f2_zoinanou_2 "Zooming In and Out / How To Use The Zoom Slider"
@TOC f2_zoinanou
		    HOW TO USE THE ZOOM SLIDER
INTRODUCTION
The zoom slider is a handy way of magnifying or reducing the	    @{" More " LINK f2_zoinanou_1}
waveform. Drag the slider upwards to magnify, downwards to reduce.

Usually, dragging the slider upwards gradually moves towards the
middle of the waveform. It can be very useful, however, to move
towards a different point. The how-to shows you how to do this.

STEPS
1) In the sample editor, open the SampleEd Disp Settings window.
   > Settings menu -> Display Settings

2) Switch on zooming towards any point.
   > Switch on Center Zoom Slide on Range

3) Close the window.
   > Click Exit

4) Select a point towards which the zoom slider should magnify.
   > Click anywhere on the waveform display.

5) Magnify the waveform.
   > Drag the zoom slider upwards

NOTES
* As you may have guessed, the zoom slider actually centres the
  magnification on the middle of the marked range. Clicking on the
  waveform display just marks a one-byte range.

* Also in the SampleEd Disp Settings window, Minimum Zoom contains
  the number of bytes displayed at full magnification. When the
  zoom slider is right at the top, the Display: box (top-left)	    @{" More " LINK f2_zoinanou_1}
  contains the Minimum Zoom value.
@ENDNODE


@NODE f2_zoinanou_3 "Zooming In and Out / How To Restore The Waveform To Full Size"
@TOC f2_zoinanou
	     HOW TO RESTORE THE WAVEFORM TO FULL SIZE
INTRODUCTION
When you've finished with waveform magnification, there's a very
easy way to show the whole of the sample.

STEPS
1) Click Show All (bottom-left)
@ENDNODE


@REM Marking A Range


@NODE f2_maara "Instruments [Sample editor] / Marking a range"
@TOC OctaMED.guide/f2
HOW TO...
	@{"       Mark a range with the mouse       " LINK f2_maara_1}
	@{" Adjust an existing range with the mouse " LINK f2_maara_2}
	@{"         Mark a range precisely          " LINK f2_maara_3}
	@{"       Mark a range automatically        " LINK f2_maara_4}

OVERVIEW
The ability to mark a `range' is very important in OctaMED. Many
operations act on the currently marked range: Cut/Copy/Paste, most
effects and many other editing tools.

The range is a rectangular area of the waveform, which usually
appears in white. Usually, a range is marked by dragging the mouse
over the waveform display. Alternatively, click on the waveform
display to mark a one-byte range. There is always a range marked;
if you can't immediately see it, it's probably over the very first
byte in the sample (number 0).

The starting and ending position of the range, in bytes, is shown
along the top row in the Range Start and Range End boxes.

Editing operations, including effects, act on the whole sample if
the range is 1 byte long.

ALSO SEE
	@{" How To Play An Instrument In The Sample Editor " LINK F3.guide/f3_in_2}
@ENDNODE


@NODE f2_maara_1 "Marking a range / How To Mark A Range With The Mouse"
@TOC f2_maara
		HOW TO MARK A RANGE WITH THE MOUSE
INTRODUCTION
A range is usually marked with the mouse. This simply involves
moving the mouse across the waveform display, while holding down
the left mouse button. Alternatively, click on the waveform display
to mark a one-byte range.

The starting and ending position of the range, in bytes, is shown
along the top row in the Range Start and Range End boxes. These
numbers change as you drag the mouse.

STEPS
1) EITHER Mark a range of more than one byte.
   > Holding down the left mouse button, drag the mouse over part
     of the waveform

   OR Mark a range one byte long.
   > Click anywhere on the waveform display

NOTES
* To mark a range more accurately, magnify the waveform.	    @{" How? " LINK f2_zoinanou}

* To mark to an extreme, drag from the other end to the extreme.
  For example, to mark from the very start of the sample to a
  particular point, drag from the point to the very start (not the
  other way round). Similarly for the very end.
@ENDNODE


@NODE f2_maara_2 "Marking a range / How To Adjust An Existing Range With The Mouse"
@TOC f2_maara
	  HOW TO ADJUST AN EXISTING RANGE WITH THE MOUSE
INTRODUCTION
Once marked, the dimensions of a range can be adjusted by dragging
the mouse with the Shift key held down.

STEPS
1) Throughout this how-to, keep holding down a Shift key!

2) Choose to adjust the range's start or the range's end.
   > Range's start: Click on an area to the left of the range
   > Range's end: Click on an area to the right of the range

3) Adjust the existing range.
   > Holding down the left mouse button, move the mouse as required

4) Release the mouse button and Shift key.

TIPS
* As a consequence of this feature, one way to mark a range is to
  click on the range's start, then shift-click on the range's end.
@ENDNODE


@NODE f2_maara_3 "Marking a range / How To Mark A Range Precisely"
@TOC f2_maara
		   HOW TO MARK A RANGE PRECISELY
INTRODUCTION
There are two ways to mark an exact range: Enter values directly
into the Range Start and End boxes, or sufficiently magnify the
waveform to obtain the required degree of accuracy.

STEPS
1) EITHER Enter range start and end values directly.
   > Type a value into Range Start (top-right) THEN
   > Type a value into Range End (top-right)

   OR Zoom in, then mark a range.
   a) Zoom in.							    @{" How? " LINK f2_zoinanou_1}
   b) Mark a range.						    @{" How? " LINK f2_maara_1}
@ENDNODE


@NODE f2_maara_4 "Marking a range / How To Mark A Range Automatically"
@TOC f2_maara
		 HOW TO MARK A RANGE AUTOMATICALLY
INTRODUCTION
OctaMED can mark two types of range for you. A range can be marked
over the whole of the current display, or over the sample's loop.   @{" More " LINK F2a.guide/f2_lo}

Remember that the current display is *not* the whole sample, unless
the waveform is not magnified. To mark a range over the whole
sample, first restore the waveform to full size.		    @{" How? " LINK f2_zoinanou_3}

STEPS
1) EITHER Mark a range over the current display.
   > Click Range Display (middle)

   OR Mark a range over the sample's loop.
   > Loop menu -> Range = Loop
@ENDNODE


@REM Rearrangement And Removal


@NODE f2_reanre "Instruments [Sample editor] / Rearrangement and Removal"
@TOC OctaMED.guide/f2
HOW TO...
	@{"      Move or copy an area       " LINK f2_reanre_1}
	@{" Remove, clear or `chop' an area " LINK f2_reanre_2-3 0}
	@{"    Remove a predefined area     " LINK f2_reanre_2-3 20}

OVERVIEW
The sample editor's most fundamental editing operations are the
wordprocessor-like `cut', `copy' and `paste'. Just like the
equivalent Tracker editor operations, these use a `copy buffer' to
temporarily store a part of the sample.

Sections of the sample can be moved or copied to another place at
will.

Sections can also be removed or cleared, or `chopped' (all parts of
the sample are removed, except for the marked section).
@ENDNODE


@NODE f2_reanre_1 "Rearrangement and Removal / How To Move Or Copy An Area"
@TOC f2_reanre
		    HOW TO MOVE OR COPY AN AREA
INTRODUCTION
Moving or copying an area of the sample is quite simple. Mark a
range over the area; click Cut or Copy; click on the position to
insert the area; click Paste.

Cut and Copy move or copy the range to the `copy buffer', while
Paste inserts the copy buffer's contents at the marked position. So
the area travels via the copy buffer to its destination.

STEPS
1) Mark a range over the area to be moved or copied.		    @{" How? " LINK f2_maara}

2) Choose to move or copy the range.
   > Click Cut or select Edit menu -> Cut [to move] OR
   > Click Copy or select Edit menu -> Copy [to copy]

3) Set the position to move or copy the area to.
   > Click anywhere on the waveform display

4) Move or copy the area.
   > Click Paste

NOTES
* Paste inserts the copy buffer at the marked position. As a
  result, the sample's size increases by the length of the copy
  buffer, but the display size remains the same. To show the whole  @{" More " LINK f2_zoinanou}
  of the new sample, click Show All (bottom-left).

* Instead of inserting the copy buffer's contents, you can
  overwrite part of the sample with the copy buffer. This doesn't
  increase the sample's size. To do this, select Edit menu ->
  Paste (Overwrite) in step 4 above.
@ENDNODE


@NODE f2_reanre_2-3 "Rearrangement and Removal / Removing, Clearing, `Chopping'"
@TOC f2_reanre
	      HOW TO REMOVE, CLEAR OR `CHOP' AN AREA
INTRODUCTION
Removing or clearing an area is as simple as marking a range over
the area and clicking Erase or Clear. `Chopping' an area removes
the whole sample *except* the marked range, so that only the
desired area is left.

STEPS
1) Mark a range over the area to be removed, cleared or chopped.    @{" How? " LINK f2_maara}

2) EITHER Remove the area.
   > Click Erase (bottom-middle) or select Edit menu -> Erase

   OR Clear the area.
   > Click Clear (bottom-middle) or select Edit menu -> Clear

   OR `Chop' the area.
   > Select Edit menu -> Chop


		  HOW TO REMOVE A PREDEFINED AREA
INTRODUCTION
One way of removing an area is to mark a range over it and click
Erase. However, several commonly-removed areas are available
through the sample editor's menus. You can erase from any point on
the waveform to the start or end of the sample, or erase the part
of the sample before the `loop'.

Two further operations `trim' unneeded parts of the sample, to save
memory and keep timing in songs precise. Remove Unused Space
removes empty space (of zero or very little volume) on either end
of the waveform. Erase After Loop removes the part of the sample
after the loop. Think about it: you'll never hear this part!

Also, some of the end of the sample can be removed by changing the
sample's size to a specific value. For example, if the sample's
size is 20000 bytes, setting it to 5000 bytes removes the last
15000 bytes from the sample.

STEPS

EITHER Erase to the start or end of the sample.

1) Choose a point on the waveform.
   > Click anywhere on the waveform

2) Remove the area from that point to the sample's start or end.
   > Edit menu -> Erase To Start OR
   > Edit menu -> Erase To End

OR Remove the part of the sample before the loop.

1) Go for it!
   > Edit menu -> Erase Before Loop

OR Trim unneeded parts of the sample.

1) Remove any unused space from either end of the sample.
   > Edit menu -> Remove Unused Space

2) Remove the part of the sample after the sample's loop.
   > Loop menu -> Erase After Loop

OR Set the sample to a particular size, which may or may not remove
   part of the sample.

1) Set the sample's size.
   > Type a new number into Buffer (top row)

2) Keep the start of the sample; don't clear it.
   > Click Retain in the requester
@ENDNODE


@REM Adding Effects


@NODE f2_adef "Instruments [Sample editor] / Adding Effects"
@TOC OctaMED.guide/f2
HOW TO...
	@{"  Change the volume of an area   " LINK f2_adef_1}	<- Change Volume
	@{"       `Retune' the sample       " LINK f2_adef_2}	<- Change Pitch
	@{"    Mix two samples together     " LINK f2_adef_3}	<- Mix
	@{"  Muffle or brighten the sample  " LINK f2_adef_4}	<- Filter/Boost
	@{"     Add echo to the sample      " LINK f2_adef_5}	<- Echo
	@{"   Add white noise to an area    " LINK f2_adef_6}	<- Create Noise
	@{"  Turn the sample into a chord   " LINK f2_adef_7}	<- Create Chord
	@{" Turn a sample or area backwards " LINK f2_adef_8}
Effect>>@{"      Centralise the sample      " LINK f2_adef_9}
  aids>>@{"  Add `workspace' to the sample  " LINK f2_adef_10}

OVERVIEW
The sample editor's Effects menu really gives you the chance to
play with your sample. An area's volume can be changed in any way,
echo can be added, the sample can be turned backwards, white noise
can be added, or the sample's sound can be muffled or brightened.

If you find you've run out of tracks in your song, the `chord
creation' feature might be just what you're looking for. The sample
can be mixed with the copy buffer, and the sample can even be
(effectively) redigitized at a different frequency.

Two further features - sample centralising and the addition of
blank `workspace' - are described here as aids to producing
effects, although they can be used for other purposes.
@ENDNODE


@NODE f2_adef_1 "Adding Effects / How To Change The Volume Of An Area"
@TOC f2_adef
		HOW TO CHANGE THE VOLUME OF AN AREA
INTRODUCTION
Within reason, the volume of an area (or the whole) of the sample
can be changed. The entire area can be changed by the same amount;
for example, to half of its original volume. Alternatively, the
volume change can `slope' upwards or downwards, so that there is a
gradual increase or decrease in volume throughout the area.

Volume changes are given as two percentages of the original volume.
The first percentage is the new volume of the very start of the
area; the second is the new volume of the very end. To change the
area by the same amount, these percentages should be equal. To
create a volume slope, they should be different.

For example, to halve the volume of the whole area, set both Start
and End to 50 %. To double the whole area, set both to 200 %. To
increase the volume by a half, set both to 150 %. To reduce the
volume by a quarter, set both to 75 %.

However, to start the sound at double its volume but fade away to
nothing by the end, set Start to 200 % and End to 0 %. To make the
volume increase from a quarter of its original to half of its
original, set Start to 25 % and End to 50 %. The percentage for `no
volume change' is 100 %.

Four commonly-used presets are available: Halve (50 %),
Double (200 %), Fade In (0 % to 100 %) and Fade Out (100 % to 0 %).

There is a limit to how much the volume can be increased; after
all, the waveform must be able to fit on the display! If the volume
is increased too much, you'll see short horizontal lines at the top
and bottom of the display, and the sound will be `distorted'.

To prevent the volume from increasing too much, switch Check Clip
on. Alternatively, use the Max preset to increase the area to its
highest possible volume without introducing distortion.

STEPS
1) Mark a range over the area to be affected.			    @{" How? " LINK f2_maara}

2) Open the Change Volume window.
   > Effects menu -> Change Volume

3) If desired, stop the sample from `clipping' the extremes of the
   waveform display, thus preventing distortion.
   > Switch on Check Clip

4) EITHER Select one of the five presets.
   > Click Fade In OR
   > Click Fade Out OR
   > Click Halve OR
   > Click Double OR
   > Click Max

   OR Set the starting and ending volume as a percentage of the
   original volume of the area, then change the volume.
   > Adjust the Start slider THEN
   > Adjust the End slider THEN
   > Click Change Volume

NOTES
* Hold Shift down while clicking any of the five presets or Change
  Volume to close the window too.

* Use Max Clip in combination with Check Clip. It allows slight
  clipping; for example, when set to 10, the normal waveform limits
  can be exceeded by 10 %. For no clipping, set it to 0.
@ENDNODE


@NODE f2_adef_2 "Adding Effects / How To `Retune' The Sample"
@TOC f2_adef
		    HOW TO `RETUNE' THE SAMPLE
INTRODUCTION
The Change Pitch window lets you change the pitch of, or `retune',
the sample. After the operation, it is as if the sample was
originally digitized at a different frequency. This means that the
sample's size will change: It will decrease if the pitch is raised,
and increase if the pitch is lowered.

Use this window if you find that the sample can't play high or
low enough for you, using the available octave range. For example,
clicking Octave Up makes the sample play an octave higher than
before using the same notes. The sample's sized is also halved, but
unfortunately the sound quality decreases.

You can also set a source and destination frequency using the
number boxes or pitch boxes. For example, to retune the current
sample to play the current note G-2 when you press the C-2 key, set
the source to C-2 and the destination to G-2.

The Cancel Finetune preset retunes the sample so that the Finetune
value in the Instrument Properties window is no longer needed. So
if the finetune value were -4, the sample would be retuned 4 steps
lower and the instrument's finetune would be set to 0.

The operation always affects the whole of the sample; it can't be
restricted to a particular area.

STEPS
1) Open the Change Pitch window.
   > Effects menu -> Change Pitch

2) EITHER Set the source and destination frequencies, and retune.
   > Type a value into Source Freq or change the pitch box THEN     @{" How? " LINK F5.guide/f5_gainwi_9}
   > Type a value into Dest.  Freq or change the pitch box THEN     @{" How? " LINK F5.guide/f5_gainwi_9}
   > Click Change Pitch

   OR Choose a preset.
   > Click Octave Up OR
   > Click Octave Down OR
   > Click Cancel Finetune

NOTES
* Anti-Alias reduces noise when retuning downwards (i.e. lowering
  the pitch).

* The source and destination frequencies are relative. That is,
  a source of 10000 and a destination of 20000 will produce the
  same effect as 100 and 200, or 1 and 2 for that matter; all will
  retune the sample up an octave.
@ENDNODE


@NODE f2_adef_3 "Adding Effects / How To Mix Two Samples Together"
@TOC f2_adef
		  HOW TO MIX TWO SAMPLES TOGETHER
INTRODUCTION
Using the Mix window, you can combine two samples or mix two sample
parts together. The contents of the copy buffer and the current
sample are mixed; the result is placed in the current sample.

The relative volumes of the two samples to be mixed can be altered.
For example, one sample can be set to sound twice as loud as the
other. Both volumes are set as percentages of the original volume;
the two percentages should add up to 100 % to prevent distortion,   @{" More " LINK f2_adef_1 28}
so usually both volumes are 50 %.

STEPS
1) Select one of the samples to be mixed together.		    @{" How? " LINK F2a.guide/f2_inma_1}

2) Copy the entire sample to the copy buffer.			    @{" More " LINK f2_cobuto_1}
   > Click >Buffer

3) Select the other sample.					    @{" How? " LINK F2a.guide/f2_inma_1}

4) Open the Mix window.
   > Effects menu -> Mix

5) If desired, adjust the volume levels.
   > Adjust Source Level to affect the current sample THEN
   > Adjust Dest Level to affect the sample in the copy buffer

6) Mix the two samples.
   > Click Mix

NOTES
* Click Mix with Shift held down to close the Mix window.

* To set where the mixing should start in the current sample,
  click on the required point between steps 3 and 4.

* To mix only a specific area in the current sample, mark a range   @{" How? " LINK f2_maara}
  over the area between steps 3 and 4.
@ENDNODE


@NODE f2_adef_4 "Adding Effects / How To Muffle Or Brighten The Sample"
@TOC f2_adef
	       HOW TO MUFFLE OR BRIGHTEN THE SAMPLE
INTRODUCTION
The whole or part of a sample can be muffled (`filtered') or
brightened (`boosted'), at varying degrees of strength. Filtering
reduces noise, while boosting makes the sample more audible.

The filter is a simple `delta' filter, hence the strange slider
names. Filtering is done by calculating the average of each
individual value in the sample and the values on either side of it.
Boosting employs an opposite process.

STEPS
1) Mark a range over the area to be affected, or click anywhere on  @{" How? " LINK f2_maara}
   the waveform display to affect the whole sample.

2) Open the Filter/Boost window.
   > Effects menu -> Filter/Boost

3) Set the strength of the filter or boost. The higher, the
   stronger.
   > Adjust the Averaging slider

4) If necessary, set the distance between the averaged values. Try
   cranking it right up to 128 for a great effect!
   > Adjust the Distance slider

5) EITHER Muffle the area.
   > Click Filter

   OR Brighten the area.
   > Click Boost

NOTES
* To close the window as well as filter or boost, hold Shift down
  while clicking Filter or Boost.

* The Averaging slider controls the proportions of each individual
  value compared to the values on either side of it. The Distance
  slider, as mentioned, is the distance between averaged values.
  For a `normal' filter or boost, leave Distance at 1.
@ENDNODE


@NODE f2_adef_5 "Adding Effects / How To Add Echo To The Sample"
@TOC f2_adef
		   HOW TO ADD ECHO TO THE SAMPLE
INTRODUCTION
One of the sample editor's most powerful features is the ability to
add echo to a sample. In particular, the ending word of a speech
sample can echo away to nothing.

Before adding echo, you usually need to add some workspace to the
end of the sample. In the Echo window, the echo rate, the number of
echoes produced and the rate at which the volume decreases can be
adjusted. The echo rate is in fact the distance, in bytes, between
each echo. This includes both the echoed part of the sample and the
silence (blank space) before the next echo.

The key to this feature really is expermentation. For example,
small echo rates can make a speech sample sound robotic!

STEPS
1) Mark a range over the part to be echoed. It's best if the part
   is at the very end of the sample; in fact, this how-to will
   assume that is the case.

2) Add workspace to the end of the sample. The echoes will fill     @{" How? " LINK f2_adef_10}
   this space.
   a) EITHER Add any old amount of workspace: any space left over
      will be removed anyway.
      > 100000 bytes is usually enough!

      OR Estimate the amount needed.
      > Roughly calculate the length of the range (Range End minus
	Range Start)
      > Multiply this by the number of echoes you wish to add [1]
      > Decide on how many bytes of space there should be between
	each echo, and multiply this by the number of echoes MINUS
	ONE [2]
      > Add [1] and [2] together, then add this amount of workspace

3) Extend the range to the very end of the sample. The range should @{" How? " LINK f2_maara_2}
   now cover the part to be echoed and the added workspace.

4) Open the Echo window.
   > Effects menu -> Echo

5) Set the `echo rate', the number of bytes between the start of
   each echo.
   > Type a number into Echo Rate

6) If necessary, set the `volume decrease', the rate at which echo
   will fade away. The lower, the slower. 0 spreads the volume
   evenly throughout the range, and is the usual value.
   > Type a number into Volume Decrease

7) Set the number of echoes to be added.
   > Type a number into Number of Echoes

8) Add the echo and close the window.
   > Click Do Echo with Shift held down

9) If desired, remove any unused workspace.			    @{" More " LINK f2_reanre_2-3 20}
   > Edit menu -> Remove Unused Space

NOTE
* We appreciate that working out the amount of workspace is fiddly
  to say the least! Overestimating then removing the unused space
  afterwards is the best course of action.
@ENDNODE


@NODE f2_adef_6 "Adding Effects / How To Add White Noise To An Area"
@TOC f2_adef
		 HOW TO ADD WHITE NOISE TO AN AREA
INTRODUCTION
This fairly unique feature can be used to create decent-sounding
instruments without using a sampler. All you need is a bit of
imagination... The strength of the added noise (`hiss') can be
adjusted.

STEPS
1) Mark a range over the area to be affected.			    @{" How? " LINK f2_maara}

2) Open the Noise window.
   > Effects menu -> Create Noise

3) Set the white noise strength as required.
   > Adjust the Level slider

4) Add noise to the area.
   > Click Create Noise

NOTES
* In step 4, click Create Noise with Shift held down to add the
  noise then close the Noise window.
@ENDNODE


@NODE f2_adef_7 "Adding Effects / How To Turn The Sample Into A Chord"
@TOC f2_adef
		HOW TO TURN THE SAMPLE INTO A CHORD
INTRODUCTION
`Chords' - a group of notes played together - are very wasteful of
track space. A three-note chord takes up three tracks; in a 4-track
block, that only leaves one track for anything else!

That's where the Chord Creation window comes in. It turns a sample
into a chord of itself, of up to 4 notes. Choose from one of eight
preset chords, set the chord's inversion and the interval between
each note, or specify each individual note.

You can `preview' the chord - hear what it will sound like - by
clicking Play Chord in the window. The actual chord is much worse
quality than the previewed chord, as quality is lost when the
chord's notes are mixed together.

Because higher notes are played more quickly than lower notes, the
notes in the chord won't end together. However, switch on Erase
Trailing Notes to remove the part that doesn't contain all notes in
the chord, shortening the sample but ensuring that the notes do end
together.

STEPS
1) Select a sample to turn into a chord of itself.		    @{" How? " LINK F2a.guide/f2_inma_1}

2) Open the Chord Creation window.
   > Effects menu -> Create Chord

3) EITHER Choose one of the eight presets.
   > Click Major      [C-2 E-2 G-2]	OR
   > Click Minor      [C-2 D#2 G-2]	OR
   > Click Sus 4th    [C-2 F-2 G-2]	OR
   > Click Major 6    [C-2 E-2 G-2 A-2] OR
   > Click Minor 6    [C-2 D#2 G-2 A-2] OR
   > Click Dominant 7 [C-2 E-2 G-2 A#2] OR
   > Click Major 7    [C-2 E-2 G-2 B-2] OR
   > Click Minor 7    [C-2 D#2 G-2 A#2]

   OR Set the `chord inversion' and the interval between each note.
   a) Set the chord inversion.
      > Adjust the Inversion cycle gadget
   b) Set chord note 1.
      > Adjust the Basic cycle gadget
   c) Set chord note 2.
      > Adjust the Third cycle gadget
   d) Set chord note 3.
      > Adjust the Fourth cycle gadget

   OR Set the notes directly.
   a) Set the lowest note of the chord.
      > Change the Base Note pitch box				    @{" How? " LINK F5.guide/f5_gainwi_10}
   b) Set the other notes of the chord.
      > Change the Chord Note 1, 2 and 3 pitch boxes		    @{" How? " LINK F5.guide/f5_gainwi_10}

4) Set Erase Trailing Notes appropriately.
   > Switch on/off Erase Trailing Notes

5) Preview the chord.
   > Click Play Chord THEN
   > Click Mute or stop playing in the usual way (STOP / space bar)

6) Create the chord.
   > Click Create Chord OR
   > Shift-click Create Chord [to close the window too]

NOTES
* Mixing the sample with itself so many times inevitably reduces
  the sound's volume. OctaMED produces a louder chord if you switch
  on Full Volume; this prevents the division of each sample value
  by the number of notes in the chord.

TIPS
* To improve the chord's quality, before creating the chord:
  > Change the sample to 16-bit 				    @{" How? " LINK F2a.guide/f2_16_1-2 0}
  > Create the chord as above
  > Click Max in the Change Volume window			    @{" More " LINK f2_adef_1}
  > Change the sample back to 8-bit				    @{" How? " LINK F2a.guide/f2_16_1-2 32}

  This, of course, only applies to 8-bit samples.
@ENDNODE


@NODE f2_adef_8 "Adding Effects / How To Turn A Sample Or Area Backwards"
@TOC f2_adef
	      HOW TO TURN A SAMPLE OR AREA BACKWARDS
INTRODUCTION
Does your sample contain a hidden message?...

STEPS
1) Mark a range over the area to be affected.			    @{" How? " LINK f2_maara}

2) Turn the area backwards.
   > Click Reverse (bottom-right) OR
   > Select Edit menu -> Reverse
@ENDNODE


@NODE f2_adef_9 "Adding Effects / How To Centralise The Sample"
@TOC f2_adef
		   HOW TO CENTRALISE THE SAMPLE
INTRODUCTION
Some effects, notably Change Volume, perform much better if the     @{" More " LINK f2_adef_1}
sample is centralised in the the waveform display. Most samples are
roughly centralised, but some are substantially too high or low.

STEPS
1) EITHER Do it the easy way.
   > Edit menu -> Centralize

   OR Do it the hard way.
   > Edit menu -> Adjust Y
   > Click Calculate Average Deviation
   > Click Adjust (or shift-click it to also close the window)

NOTES
* The `hard way' can be interesting in that it shows you by exactly
  how much the sample is off-centre. The value in the Adjust by box
  can be -127 to 128. Positive values shift the sample up, negative
  values shift the sample down. Unlike the Centralise menu item,
  this window can centralise a marked range.
@ENDNODE


@NODE f2_adef_10 "Adding Effects / How To Add `Workspace' To The Sample"
@TOC f2_adef
	       HOW TO ADD `WORKSPACE' TO THE SAMPLE
INTRODUCTION
Sometimes, you may need to add empty `workspace' to your sample,
particularly when adding echo. This is made easy in the Add
Workspace window.

You can add a particular number of bytes of workspace to the start
or end of your sample, or specify a `factor' and `adjust' value.
The factor and adjust values combine to produce a particular number
of bytes to add; they are based on the current size of your sample.

For example, if your sample is 10000 bytes long, set Factor to 1 to
add 10000 bytes of workspace. Set it to 2 to add 20000 bytes, and
so on. The adjust value is given as a percentage, and is used to
add a fractional part to the factor value. For example, Factor 3
and Adjust 50 % adds 35000 bytes of workspace.

STEPS
1) Open the Add Workspace window.
   > Effects menu -> Add Workspace

2) EITHER Set the factor and adjust values.
   > Adjust the Factor slider THEN
   > Adjust the Adjust slider

   OR Specify a particular number of bytes of workspace.
   > Type a number into Bytes

3) If necessary, set whether to add the workspace to the end or
   (rarely) the start of the sample.
   > Set the Add to cycle gadget to End or Start

4) Add the workspace
   > Click Add Workspace

NOTES
* Click Add Workspace with Shift held to close the window after
  adding the workspace.

* The Add Workspace window won't open if the current instrument is
  empty. Select a non-empty instrument. 			    @{" How? " LINK F2a.guide/f2_inma_1}

* Another way to add workspace is to increase the size of the
  sample, retaining the existing sample. To do this, type a new
  sample size into Buffer (top of sample editor), and click Retain
  in the requester.
@ENDNODE


@REM Copy Buffer Tools


@NODE f2_cobuto "Instruments / Copy Buffer Tools"
@TOC OctaMED.guide/f2
HOW TO...
	@{" Temporarily store and retrieve a sample " LINK f2_cobuto_1}

OVERVIEW
The copy buffer is a temporary area, used to store the whole or
part of the sample during editing operations. The wordprocessor-
like operations Cut/Copy/Paste make extensive use of the copy	    @{" More " LINK f2_reanre}
buffer.

One use of the copy buffer is to store the entire sample; this can
be done before changes are made. If the changes turn out to be
unsatisfactory, the original sample can be restored by retrieving
it from the copy buffer.

NOTES
* To play the copy buffer's contents, select Tools menu -> Play
  Buffer Contents

* To empty the copy buffer, freeing the memory occupied by it,
  select Tools menu -> Discard Copy Buffer

* There can be mono, stereo, 8-bit or 16-bit information in the
  copy buffer. The type of information in the buffer is displayed   @{" More " LINK F2a.guide/f2_st_3 12}
  in the bottom-right corner, next to B:.
@ENDNODE


@NODE f2_cobuto_1 "Copy Buffer Tools / How To Temporarily Store And Retrieve A Sample"
@TOC f2_cobuto
	  HOW TO TEMPORARILY STORE AND RETRIEVE A SAMPLE
INTRODUCTION
Before making excessive changes to a sample, it's good practice to
store it in the copy buffer. Then if you don't like the changes,
you can easily retrieve the original sample.

There is only one copy buffer in the sample editor; it's shared by
Cut/Copy/Paste, other editing operations, and the storage and
retrieval of samples! So if you store the sample in the buffer then
proceed to cut a range, don't expect to find the original sample in @{" How? " LINK f2_reanre_1}
the buffer...

Because of this, the feature is especially suited to effects, which
generally don't use the copy buffer.

STEPS
1) Store the sample in the buffer.
   > Click Sample< (middle, below Range Display)

2) Edit the sample as necessary, but don't alter the copy buffer's
   contents!

3) Retrieve the original sample if necessary.
   > Click >Buffer (middle, below Range Display)

NOTES
* Alternatively, you can swap the contents of the sample and copy
  buffer, so that your sample is placed in the copy buffer, and
  whatever was in the copy buffer is placed in your sample. To do
  this, select Tools menu -> Sample <-> Buffer.
@ENDNODE
