User manual KURZWEIL SMP20ADD

[. . . ] ADDENDUM TO KURZWEIL 150 FOURIER SYNTHESIZER SOUND MODELING PROGRAM VERSION 1. 0 USER'S GUIDE FOR VERSION 2. 0 RUNNING ON: APPLE IIe, APPLE IIc, APPLE II+, COMPATIBLE CLONES, and APPLE MACINTOSH (via II-IN-A-MAC tm) KMSI P/N: 91010702 TABLE OF CONTENTS 1. INSTALLATION 2. 1 Apple IIe 2. 2 Apple IIc 2. 3 Apple II 2. 4 Changing the MIDI Interface Slot 2. 5 Installing a Screen Print Program 3. ADDITIONAL NOTES AND TECHNIQUES 15. 1 Sizes of Things 15. 2 Disk File Maintenance 15. 3 Multiple Shape Copy Using Overlap 16. Quick Startup Procedure . S. M. P Version 2. 0 1 1. 0 SUMMARY OF IMPROVEMENTS OVER VERSION 1. 0 Version 2. 0 of the Kurzweil 150 Fourier Synthesizer Sound Modeling Program has been greatly expanded and improved over version 1. 0. [. . . ] In this menu, function #6 toggles between All Partials and Selected Partials. When SEL . S. M. P Version 2. 0 8 PAR is highlighted, the amplitude adjustment will only be made to the currently selected partials. All three of the amplitude adjustment functions will ask for three parameters before actually performing the adjustment. Breakpoints strictly inside the interval will be adjusted while breakpoints on the interval boundaries or outside the interval will not be affected. If you want to adjust the whole contour, simply enter 0 for the beginning time and 65000 (or similarly large value beyond the end of any contours in the model) for the ending time. If the adjustment times are unknown, simply go into the Change Points mode from the Edit Contours menu and use the Cursor Readout or Point Readout functions to find the times of the breakpoints of interest. For example, if you wish to adjust the amplitude of all even-order partials over the interval from 1. 0 second to 1. 7 seconds including any breakpoints at exactly 1. 0 or 1. 7 seconds, you should first select the even numbered partials and highlight SEL PAR. Then select the type of adjustment desired (explained below) and enter 999 for the beginning time and 1701 for the ending time. If 1000 and 1700 were entered instead, then breakpoints at exactly 1000 and 1700 would not be affected. A positive adjustment means that breakpoints in the interval will be moved to higher amplitudes while a negative adjustment means that they will be moved to lower amplitudes. The adjustment range is restricted to 40 decibels either way, but you could simply adjust the same interval twice to get more range. Step simply means that the specified adjustment amount is added to every breakpoint inside the interval. Ramp Up means that breakpoints near the beginning of the interval are adjusted very little while those near the end are adjusted nearly as much as the adjust amount. Those halfway into the interval are adjusted half the adjustment amount. Ramp Down simply reverses this, giving full adjustment at the beginning and less adjustment near the end of the interval. To get a "bump" in the middle of the interval with little adjustment at both beginning and end, just split the interval in half and ramp up in the first half and ramp down in the second half. A "dip" is the same except the adjust amount would be negative. If it will, you will be asked if clipping the offending breakpoints at 0dB (and thus loosing some of the contour's shape) is acceptable. If N is entered then the adjustment is canceled and no breakpoints are changed. Note that there is no explicit "unadjust" for the amplitudes. However you can restore the original amplitudes by simply performing the same adjustment using the opposite adjust amount provided no clipping was performed. Of course you should always save your model on disk before using any global function that has the potential to radically alter the model. 11. 0 TIME ADJUST FUNCTIONS Time Adjust is similar to Amplitude adjust except that it alters the time of breakpoints while leaving the amplitudes alone. [. . . ] Wherever an underline appears in a filename, for example SMP_IIE_2. 0, it has been changed to the minus sign. This applies to all of the program files, even those associated with the Apple IIe and Apple IIc whose keyboards can produce the underline character. Therefore on an Apple II+ it will be necessary to use cursor selection on the catalog display to select those model, voice, and program files which have the underline character. It is suggested that Apple II+ users rename these files if they are ever edited or modified. NOTES FOR II-IN-A-MAC VERSION OF K150FS . SOUND. MODELING. PROGRAM. [. . . ]