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<!--Table of Child-Links-->
<A ID="CHILD_LINKS"><STRONG>Subsections</STRONG></A>

<UL CLASS="ChildLinks">
<LI><A ID="tex2html572"
  HREF="node11.html#SECTION001110000000000000000">Tuning</A>
<LI><A ID="tex2html573"
  HREF="node11.html#SECTION001120000000000000000">Capo</A>
<LI><A ID="tex2html574"
  HREF="node11.html#SECTION001130000000000000000">Strum</A>
<LI><A ID="tex2html575"
  HREF="node11.html#SECTION001140000000000000000">Articulate</A>
<LI><A ID="tex2html576"
  HREF="node11.html#SECTION001150000000000000000">Patterns</A>
<LI><A ID="tex2html577"
  HREF="node11.html#SECTION001160000000000000000">Shape</A>
<LI><A ID="tex2html578"
  HREF="node11.html#SECTION001170000000000000000">Fret Noise</A>
</UL>
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<HR>

<H1><A ID="SECTION001100000000000000000"></A>
<A ID="chap-plectrum"></A>
<BR>
Emulating plucked instruments: Plectrum Tracks
</H1>

<P>
P<SMALL>LECTRUM</SMALL><A ID="tex2html53"
  HREF="#foot9441"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A>tracks are designed to let 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  create tracks that sound,
remarkably, like real, strummed instruments (guitars, mandolins,
banjos, etc).

<P>
As mentioned earlier in this document, the biggest difference between
P<SMALL>LECTRUM</SMALL> and other tracks is that a duration is not used. This
means that each string (note) in P<SMALL>LECTRUM</SMALL> patterns continue to
sound until they are changed (a new note) or muted.

<P>
When creating a P<SMALL>LECTRUM</SMALL> pattern or sequence you simply set an
offset, strum duration and volumes for each string of the
&ldquo;instrument&rdquo;.

<P>
To aid in debugging, a special D<SMALL>EBUG</SMALL> option P<SMALL>LECTRUM</SMALL> is
provided. When enabled this will display chord shapes for generated
chords. See <A HREF="node28.html#debugging">here</A> for
information to enable/disable this option.

<P>
P<SMALL>LECTRUM</SMALL> tracks work with chord shapes. Guitar
players<A ID="tex2html54"
  HREF="#foot2007"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A> will be very familiar with chord shapes, for
that is essentially what a guitar chord is. It is the placement of the
fingers on the strings, and this defines the notes that will sound.
For example, a simple E major chord is usually played using the
following shape:

<P>
<PRE>
    E | - - -   =&gt; E
    B | - - -   =&gt; B
    G | * - -   =&gt; G#
    D | - * -   =&gt; E
    A | - * -   =&gt; B
    E | - - -   =&gt; E
</PRE>

<P>
With a standard guitar tuning E A D G B E (bottom to top), the
sounding notes will be E B E G# B E.

<P>
When a chord is played using a P<SMALL>LECTRUM</SMALL> track, 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  will
calculate a shape for this chord using a simple but effective
algorithm. For an E major chord this will be the shape shown above. In
fact, most chord shapes that 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  calculates for simple chords will
look like the familar chords from a guitar book.

<P>
There are a couple of ways to influence the notes that will sound for
a given chord. First, you can change the tuning of the instrument with
a P<SMALL>LECTRUM </SMALL>T<SMALL>UNING</SMALL> command (for details, see below). For
example, for an E major chord on a D A D G A D tuned guitar 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> 
will calculate the following shape:

<P>
<PRE>
    D | - * -   =&gt; E
    A | - * -   =&gt; B
    G | * - -   =&gt; G#
    D | - * -   =&gt; E
    A | - * -   =&gt; B
    D | - * -   =&gt; E
</PRE>

<P>
The sounding notes will be E B E G# B E.

<P>
Another way is to use the P<SMALL>LECTRUM </SMALL>C<SMALL>APO</SMALL> command (again, details
are below). This changes the tuning of all the strings by the same
amount. For example, a capo on the second fret on a guitar:

<P>
<PRE>
    E | - $ - * -   =&gt; G#
    B | - $ - - *   =&gt; E
    G | - $ - * -   =&gt; B
    D | - $ - - -   =&gt; E
    A | - $ - - -   =&gt; B
    E | - $ - * -   =&gt; G#
</PRE>

<P>
The &ldquo;$&rdquo; denotes the capo postion. 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  has calculated a different
shape so the notes generate an E major chord: G# B E B E G#.

<P>
Guitar players who expected to hear a F# major chord should take a
look at the 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  T<SMALL>RANSPOSE</SMALL> command (<A HREF="node30.html#sec-transpose">detailed
  here)</A>.

<P>

<H1><A ID="SECTION001110000000000000000">
Tuning</A>
</H1> 

<P>
By default the P<SMALL>LECTRUM</SMALL> tracks are set to a standard guitar.
However, it's very easy to change with with the T<SMALL>UNING</SMALL> command.
This command requires a note setting for each string in the
instrument. For example, to duplicate the default:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Plectrum Tuning e- a- d g b e+   </B> 
   
	    </td></tr>
      </Table>

<P>
In this case we have set six strings. The first string is a low &ldquo;e&rdquo;,
the second a low &ldquo;a&rdquo;, etc.

<P>
Similarly, you could define a tenor banjo with:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Plectrum Tuning g- d a e+   </B> 
   
	    </td></tr>
      </Table>

<P>
Only one T<SMALL>UNING</SMALL> setting can be set for a sequence. It applies
to all bars in the current sequence. It is saved and restored in
G<SMALL>ROOVE</SMALL>s.

<P>
If you change the T<SMALL>UNING</SMALL> for a P<SMALL>LECTRUM</SMALL> track after
setting a S<SMALL>EQUENCE</SMALL> you must ensure that the number of strings
in the P<SMALL>ATTERN</SMALL> and T<SMALL>UNING</SMALL> are the same. A mismatch will
generate an error. However, setting a different T<SMALL>UNING</SMALL> with the
same number of strings is just fine.

<P>

<H1><A ID="SECTION001120000000000000000">
Capo</A>
</H1> 

<P>
A &ldquo;capo&rdquo; is small bar which is placed on the neck of a guitar, banjo
or other stringed instrument to raise its pitch. They are quite useful
when a song is in a pitch too low for a singer ... a capo placed
on the guitar raises the pitch of each played chord. Much easier for a
player than having to change (raise) each chord in the song. In 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> 
the use of a P<SMALL>LECTRUM</SMALL> C<SMALL>APO</SMALL> setting is a bit different:
it doesn't change the chord pitches. A &ldquo;C Major&rdquo; chord remains a &ldquo;C
Major&rdquo; chord. However, the actual note assignments to the different
strings on the instrument can (and most likely) changes. Depending on
the tuning of the &ldquo;instrument&rdquo; a &ldquo;C&rdquo; chord with a C<SMALL>APO 2</SMALL>
will be created as a &ldquo;B&rdquo; <SPAN  CLASS="textit">chord shape</SPAN> played above the
second fret. In most cases a chord with a positive C<SMALL>APO</SMALL> value
will have a higher tonality.

<P>
To change the C<SMALL>APO</SMALL> value:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Plectrum Capo 2  </B> 
   
	    </td></tr>
      </Table>

<P>
In addition to raising the pitch of the instrument, you can use
negative values ... in a real instrument you would need to stretch
the neck for similar results! There are no limits on the capo values.
Very high or low values will have no different effect over moderate
ones since the generated notes will always be in the MIDI range of 0
to 127.

<P>
Only one C<SMALL>APO</SMALL> setting can be set for a sequence. It applies to
all bars in the current sequence. It is saved and restored in
G<SMALL>ROOVE</SMALL>s.

<P>
It is also possible to change the pitch or tonality for individual
chords with the &ldquo;barre&rdquo; chord name extension (detailed
<A HREF="node36.html#barre-chords">here</A>).

<P>
Yet another way to change the pitch is to use the O<SMALL>CTAVE</SMALL>
settings <A HREF="node30.html#octave">here</A>.

<P>
<SPAN  CLASS="textit">Remember: unlike a real instrument, neither <SMALL>CAPO</SMALL> or barre
  chords change the pitch (transpose) the chord in 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> . The same
  chord is played, but with a higher tonality.</SPAN>

<P>

<H1><A ID="SECTION001130000000000000000"></A> 
<A ID="plectrum-strum"></A>
<BR>
Strum
</H1>

<P>
By default, all P<SMALL>LECTRUM</SMALL> patterns calculate their <SMALL>STRUM</SMALL>
offsets (delays) from the first string. In most cases this will sound
just fine (remember, we don't have a real guitar here! It's a virtual
model which is not meant to be the same). There are cases when you
might want to modify the order. Use the S<SMALL>TRUM</SMALL> option to change
the default to &ldquo;Start&rdquo;, &ldquo;Center&rdquo; or &ldquo;End&rdquo;. Example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Plectrum Strum center  </B> 
   
	    </td></tr>
      </Table>

<P>
will force the strumming offsets to be calculated from the center
string.

<P>
The P<SMALL>LECTRUM </SMALL>S<SMALL>TRUM</SMALL> command permits <SPAN  CLASS="textit">only</SPAN> one keyword.

<P>

<H1><A ID="SECTION001140000000000000000"></A>
<A ID="sec-plectrum-articulate"></A>
<BR>
Articulate
</H1>

<P>
When the a pattern changes, strings need to be muted. By default, this
is done at the same point as the new strings are sounded. However, you
can adjust this with the A<SMALL>RTICULATE</SMALL> command. The command takes
single values representing the number of MIDI ticks to move the off
action back.

<P>
For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Plectrum-Jazzy Articulate 40   </B> 
   
	    </td></tr>
      </Table>

<P>
would subtract 40 MIDI ticks from the normally determined offset. You
can use any value from 0 to 500 in this command.

<P>
Generally speaking, the use of this option will give a more staccato
feeling to your track.

<P>
A value of 0 will restore the setting to its default (off). The use of
large values is not recommended; however, the OFF point will never be
before the ON so you'll just end up with very short sounding chords.
Remember that 192 MIDI ticks is equivalent to a quarter note.

<P>
Just like in A<SMALL>RTICULATE</SMALL> for other tracks (see
<A HREF="node30.html#articulate">here</A> for full details) you can
increment or the current settings:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Plectrum Articulate -5 +5  </B> 
   
	    </td></tr>
      </Table>

<P>
You can have different settings for each bar in your sequence.

<P>

<H1><A ID="SECTION001150000000000000000">
Patterns</A>
</H1>

<P>
Setting a pattern for a P<SMALL>LECTRUM</SMALL> track is similar to that of
other tracks: you simply set the offset and volumes for the different
strings. In addition you must specify a &ldquo;strum&rdquo; value (used as a
delay between strings). The formal definition for a P<SMALL>LECTRUM</SMALL>
pattern is:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Offset Strum Strings Velocity [...Strings Velocity]  </B> 
   
	    </td></tr>
      </Table>

<P>
where:

<P>
<DL>
<DT><STRONG>Offset</STRONG></DT>
<DD>A beat or offset into the bar. This is used in the same
  manner as in all the other MMA patterns.

<P>
</DD>
<DT><STRONG>Strum</STRONG></DT>
<DD>The strumming delay between hitting each string. Use a
  positive number for a downward strum and negative number for an
  upward strum and use zero for all the notes to be played together.
  &ldquo;3&rdquo; is a fast downward strum and &ldquo;-10&rdquo; is a slow upward strum.

<P>
</DD>
<DT><STRONG>Strings</STRONG></DT>
<DD>The string or strings that are to be plucked. Details
  below.

<P>
</DD>
<DT><STRONG>Velocity</STRONG></DT>
<DD>The MIDI velocity (loudness) for each string. &ldquo;127&rdquo;
  is the maximum volume, A value of zero is used to mute the string or
  strings. Guitarists often mute the strings with the side of their
  hand when strumming.<A ID="tex2html55"
  HREF="#foot9443"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A>
<P>
</DD>
</DL>

<P>
For a basic strumming guitar you might use:<A ID="tex2html56"
  HREF="#foot9444"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">4</SPAN></SUP></A>
<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Begin Plectrum-Strumming 
<BR>&nbsp;&nbsp;Voice       NylonGuitar 
<BR>&nbsp;&nbsp;Volume      m 
<BR>&nbsp;&nbsp;Sequence { 1.0   +5     120 120 120 120 120 100; \
<BR>&nbsp;&nbsp;&nbsp;&nbsp;2.0   +5      90  80  80  80  80  80;\
<BR>&nbsp;&nbsp;&nbsp;&nbsp;2.5   -5       -   -  50  50  50  50;\
<BR>&nbsp;&nbsp;&nbsp;&nbsp;3.0   +5      90  80  80  80  80  80;\
<BR>&nbsp;&nbsp;&nbsp;&nbsp;3.5   -5       -   -  50  50  50  50;\
<BR>&nbsp;&nbsp;&nbsp;&nbsp;4.0   +5      90  80  80  80  80  80;\
<BR>&nbsp;&nbsp;&nbsp;&nbsp;4.5   -5       -   -  50  50  50  50;    } 
<BR>
End   </B> 
   
	    </td></tr>
      </Table>

<P>
This gives eight strums per bar. Note the strum values at beats 2.5,
3.5 and 4.5: using a negative strum value causes the strum to run in
the opposite (high to low) direction.

<P>
Also, notice the use of &ldquo;-&rdquo; values for certain strings. A &ldquo;-&rdquo; lets
that string continue to vibrate until the next pattern. If you want to
disable (mute) a string use a &ldquo;0&rdquo; for the volume.

<P>
Another example shows how to set up a finger picking pattern:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Begin Plectrum-FingerPicking 
<BR>&nbsp;&nbsp;Voice       NylonGuitar 
<BR>&nbsp;&nbsp;Volume      m 
<BR>&nbsp;&nbsp;Sequence {         1.0    0       - 100   -   -  90  -;\
<BR>&nbsp;&nbsp;&nbsp;&nbsp;1.5    0       -   -   -  90   -   -;\
<BR>&nbsp;&nbsp;&nbsp;&nbsp;2.0    0       -   -   90  -  90   -;\
<BR>&nbsp;&nbsp;&nbsp;&nbsp;2.5    0       -   -   -  90   -   -;\
<BR>&nbsp;&nbsp;&nbsp;&nbsp;3.0    0       -   -   -   -   -  90;\
<BR>&nbsp;&nbsp;&nbsp;&nbsp;3.5    0       -   -   -   -  90   -;\
<BR>&nbsp;&nbsp;&nbsp;&nbsp;4.0    0       -   -   -   90  -   -;\
<BR>&nbsp;&nbsp;&nbsp;&nbsp;4.5    0       -   -   90  -   -   -;  } 
<BR>
End   </B> 
   
	    </td></tr>
      </Table>

<P>
To make creation of volume tables a bit easier, you can shorten the
notation by setting a range and volume. This is done by using
&ldquo;n-m:v&rdquo; where n is the start string number and m is the end string
number and v is the volume. <SPAN  CLASS="textit">Please note that the strings are
  numbered in &ldquo;reverse&rdquo; order, just like a guitar.</SPAN> The last string
(the bottom and usually the highest pitch) is string &ldquo;1&rdquo;, the first
string (assuming 6 strings) is &ldquo;6&rdquo;. So,

<P>

<UL>
<LI>&ldquo;1.0 0 2:50&rdquo; is the same as &ldquo;1.0 0 - - - - 50 -&rdquo;
</LI>
<LI>&ldquo;1.0 -5 2-4:80&rdquo; is the same as &ldquo;1.0 -5 - - 80 80 80 -&rdquo;

<P>
</LI>
</UL>

<P>
It is not possible to mix range and individual string settings. So,
<SPAN  CLASS="textit">you cannot do</SPAN>:

<P>

<UL>
<LI>&ldquo;1.0 0 2:50 90&rdquo;  <em><Font color=Red>
	¡¡Wrong!!
    <Font color=Black > </em> 
</LI>
</UL>

<P>
Missing volume settings are expanded just like in C<SMALL>HORD</SMALL> tracks.
So, assuming a 6 string guitar:

<P>

<UL>
<LI>&ldquo;1.0 0 90 &rdquo; is the same as &ldquo;1.0 0 90 90 90 90 90 90&rdquo;
</LI>
</UL>

<P>
However, do note that you must specify either one or all the strings
if you are not using a range. Again, <SPAN  CLASS="textit">you cannot do</SPAN>:

<P>

<UL>
<LI>&ldquo;1.0 0 80 90&rdquo;  <em><Font color=Red>
	¡¡Wrong!!
    <Font color=Black > </em> 
</LI>
</UL>

<P>
Please note that the following options have no effect in a
P<SMALL>LECTRUM</SMALL> track: A<SMALL>RTICULATE</SMALL>, V<SMALL>OICING</SMALL>,
M<SMALL>ALLET</SMALL> and D<SMALL>IRECTION</SMALL>.

<P>

<H1><A ID="SECTION001160000000000000000"></A>
<A ID="plectrum-shape"></A>
<BR>
Shape
</H1>

<P>
Guitar players often talk about &ldquo;chord shapes&rdquo; when referring to
chords. Simply put, a &ldquo;shape&rdquo; is a chord fingering which (mostly)
can be moved to other positions on the fretboard to generate other
chords. 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  doesn't work that way ... well, not without some
magic. As a matter of fact, the way 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  works can be quite foreign
to a guitar player, especially when using the <SMALL>BARRE</SMALL> and
C<SMALL>APO</SMALL> commands ... these commands in 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  <SPAN  CLASS="textbf">do not</SPAN>
change the actual chord sounded, only the position of the chord on the
fretboard.

<P>
The P<SMALL>LECTRUM </SMALL>S<SMALL>HAPE</SMALL> command lets you emulate a real guitar (it
can help predict the notes sounded on different strings which cannot
be done using 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT> 's internal algorithmic routines).

<P>
For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Plectrum Shape D 5 5 4 2 3 2   </B> 
   
	    </td></tr>
      </Table>

<P>
defines the following shape:

<P>
<PRE>
    E | - * - - -   =&gt; F#
    B | - - * - -   =&gt; D
    G | - * - - -   =&gt; A
    D | - - - * -   =&gt; F#
    A | - - - - *   =&gt; D
    E | - - - - *   =&gt; A
</PRE>

<P>
With a standard guitar tuning the sounding notes will be A D F# A D
F#.

<P>
With a different tuning you get different notes, e.g., with D A D G A D
tuning,

<P>
<PRE>
    D | - * - - -   =&gt; E
    A | - - * - -   =&gt; C
    G | - * - - -   =&gt; A
    D | - - - * -   =&gt; F#
    A | - - - - *   =&gt; D
    D | - - - - *   =&gt; G
</PRE>

<P>
A <SMALL>PLECTRUM SHAPE</SMALL> only applies to the chord name specified in
the setting, no other chords are affected. Chords with and without
<SMALL>BARRE</SMALL> are considered different chords; for example, a specific
shape defined for &ldquo;E&rdquo; will not be applied to &ldquo;E:2&rdquo;. You can define a
different shape for &ldquo;E&rdquo;, &ldquo;E:2&rdquo; and even &ldquo;E:0&rdquo; if you really
want.

<P>
Negative values are permitted. Yes, that means you can make a guitar
neck longer than it is.<A ID="tex2html57"
  HREF="#foot2136"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">5</SPAN></SUP></A>
<P>
Notes:

<UL>
<LI>Be careful when defining a shape: 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  does not check to see
  if the notes generated are actually part of the chord. Also, be
  aware that other tracks (Bass, Chord, etc) are totally unaffected by
  any shape settings.

<P>
</LI>
<LI>The C<SMALL>APO</SMALL> setting is ignored for chords with a defined
  shape.

<P>
</LI>
</UL>

<P>

<H1><A ID="SECTION001170000000000000000">
Fret Noise</A>
</H1>

<P>
The noise made by a performer's fingers leaving a string position,
particularly on heavier wire-bound strings, can be emulated in a
plectrum track. The success (or lack thereof) is dependent on the
following settings and the selection of the voice used to emulate
this.

<P>
Fret noises generated by the plectrum track are stored in a
B<SMALL>ASS</SMALL> track selected by the user.

<P>
When this option is enabled, 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  enters a special routine when a new
chord (pattern) is started. A tone is then generated based on the
currently ending note for the each string. Note, the noise is
<SPAN  CLASS="textit">only</SPAN> generated if the string is currently sounding.

<P>
Enabling fret noise is a two step process. First, you should create a
B<SMALL>ASS</SMALL> track. In the following example we set a number of
parameters, but only the V<SMALL>OICE</SMALL> selection is really necessary
(unless you want a piano sound for the fret noise, in which case you
can even omit that).

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Begin Bass-Noise 
<BR>&nbsp;&nbsp;&nbsp;Voice GuitarFretNoise // pretty much required
<BR>&nbsp;&nbsp;&nbsp;Volume mf&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;// up to the user
<BR>&nbsp;&nbsp;&nbsp;RVolume 40&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;// adds some variety
<BR>&nbsp;&nbsp;&nbsp;RTime 50&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;// changes start point of noise
<BR>&nbsp;&nbsp;&nbsp;Delay -8&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;// moves noise back from the beat
<BR>&nbsp;&nbsp;&nbsp;Rskip 10&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;// skip 10% of the noise
<BR>
End  </B> 
   
	    </td></tr>
      </Table>

<P>
Second, you need to set the options in the P<SMALL>LECTRUM</SMALL> track using
the F<SMALL>RET</SMALL>N<SMALL>OISE</SMALL> command. A complete command line duplicating the
defaults (excepting TRACK and assuming 6 strings) would be:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>PLECTRUM FretNoise Track=BASS-NOISE Duration=192t Octave=0
  Strings=6,5,4 Max=1 Beats=All Bars=ALL  </B> 
   
	    </td></tr>
      </Table>

<P>
The various options are set using an OPTION=VALUE format. Each option
is described below:

<P>
<DL>
<DT><STRONG>Track</STRONG></DT>
<DD>This specifies the track used to store the generated fret
  noise. It must be given. The track must be a B<SMALL>ASS</SMALL> track
  (using any other type of track will generate an error). For example:

<P>

      <Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
        <tr><td>
    <B>Plectrum-Noisy FretNoise Track=Bass-Fretty  </B> 
   
	    </td></tr>
      </Table>

<P>
</DD>
<DT><STRONG>Duration</STRONG></DT>
<DD>The duration of the fret noise note. This is specified
  in standard note duration. A quarter note would be &ldquo;4&rdquo;, sixteenth
  &ldquo;16&rdquo;, etc. You can also specify MIDI tick values by adding a
  single &ldquo;T&rdquo;. Please note that the duration value reported in debug
  or in the $_P<SMALL>LECTRUM</SMALL>_F<SMALL>RET</SMALL>N<SMALL>OISE</SMALL> macro is specified in MIDI
  ticks. By default a duration of a quarter note is used.

<P>
</DD>
<DT><STRONG>Octave</STRONG></DT>
<DD>As noted earlier, the note generated for the fret noise
  is the same as previously ending note. Its octave can be raised or
  lowered via the O<SMALL>CTAVE</SMALL> setting. Any value between -8 and 8 is
  valid. Please note that the octave setting in the associated bass
  track is completely ignored. By default an adjustment of &ldquo;0&rdquo; is
  used.

<P>
</DD>
<DT><STRONG>Strings</STRONG></DT>
<DD>The virtual strings to which the fret noise is applied
  are, by default, numbers 6, 5 and 3.<A ID="tex2html58"
  HREF="#foot2156"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">6</SPAN></SUP></A> You can reset this to any strings you wish. Use comma
  separated values. Any strings not set by this command will
  <SPAN  CLASS="textit">not</SPAN> have fret noise applied to them.

<P>
</DD>
<DT><STRONG>Max</STRONG></DT>
<DD>By default, fret noises will only occur once per chord
  release/start (Max=1). However, using this option you can change
  this to more strings, up to the size of the virtual instrument's
  string count. The strings are checked for changes (and possible
  noising) from the bottom up (6 is checked first, etc). Once a string
  is &ldquo;noised&rdquo; the loop is exited. Caution: More strings will
  generate an awful lot of noisy fret sounds.

<P>
</DD>
<DT><STRONG>Beats</STRONG></DT>
<DD>By default, fret noise will apply to each pattern in your
  sequence. Using the B<SMALL>EATS</SMALL> option you can restrict this to
  only specific beats. For example, B<SMALL>EATS=1,3</SMALL> will restrict
  noise generation to patterns starting on beats 1 and 3. To duplicate
  the default you can use the special value &ldquo;All&rdquo;.

<P>
</DD>
<DT><STRONG>Bars</STRONG></DT>
<DD>By default, fret noise will apply to each bar in your
  sequence. You can restrict this to specific bars in your sequence.
  For example, assuming a S<SMALL>EQ</SMALL>S<SMALL>IZE</SMALL> of 8 the setting
  B<SMALL>ARS=1,4</SMALL> will generate fret noise only on bars 1 and 4 in a
  sequence. To duplicate the default you can use the special value
  &ldquo;All&rdquo;.

<P>
</DD>
</DL>

<P>
To disable fret noise in a track you can use an empty command or the
single keywords &ldquo;None&rdquo; or &ldquo;Off&rdquo;:

<P>
Some points to note:

<UL>
<LI>You <SPAN  CLASS="textit">cannot</SPAN> have different settings for bar sequences,
  only limit them with the B<SMALL>ARS</SMALL> option. If you need, for
  example, an specific fret noise in the first bar, and a different
  one in the third, simply make a copies of the track, set the
  sequence for the first track's bars so that you have an empty first
  track; set the second track's sequence to compliment and set the
  fret noise, etc.<A ID="tex2html59"
  HREF="#foot9445"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">7</SPAN></SUP></A>
<P>
</LI>
<LI>Changing the number of strings or tuning (P<SMALL>LECTRUM
    </SMALL>T<SMALL>UNING</SMALL>) deletes all current Fret Noise settings.

<P>
</LI>
<LI>Empty option strings (e.g., B<SMALL>EATS=</SMALL> ) are not permitted.

<P>
</LI>
<LI>Depending on the synth you are using the octave you are using
  can make a huge difference in the sounds used. If the sounds are
  very displeasing, try a very high (or low) octave setting.

<P>
</LI>
<LI>The duration of the sounds also makes a difference. Again, this
  is completely depends on your synth.

<P>
</LI>
<LI>Although this is designed to use fret noise, there is no reason
  you cannot do creative things by using different voice settings.

<P>
</LI>
<LI>Strings are numbered from 1 to the number of strings in the
  virtual instrument. Note that, just like a real fretted instrument,
  string 1 is the highest (closest to the ground).

<P>
</LI>
<LI>The associated B<SMALL>ASS</SMALL> track should <SPAN  CLASS="textit">not</SPAN> have a
  S<SMALL>EQUENCE</SMALL>! However, you can use the track to generate
  interesting patterns with a T<SMALL>RIGGER</SMALL> or R<SMALL>IFF</SMALL>. In these
  cases <SPAN  CLASS="textit">sounds will not be generated by the P<SMALL>LECTRUM</SMALL>
    track settings</SPAN>.

<P>
</LI>
</UL>

<P>
<BR><HR><H4>Footnotes</H4>
<DL>
<DT><A ID="foot9441">...P<SMALL>LECTRUM</SMALL></A><A
 HREF="node11.html#tex2html53"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A></DT>
<DD>The concept and code base for the Plectrum
  track was developed by Louis James Barman
  (<SPAN  CLASS="textbf">louisjbarman@googlemail.com</SPAN>). Send compliments to him!

</DD>
<DT><A ID="foot2007">...
players</A><A
 HREF="node11.html#tex2html54"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A></DT>
<DD>The same principles apply to other fretted stringed
  instruments including banjo, mandoline, ukulele, etc. When we refer
  to &ldquo;guitar&rdquo; in this document feel free to substitute your favorite
  name in its place.

</DD>
<DT><A ID="foot9443">... strumming.</A><A
 HREF="node11.html#tex2html55"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A></DT>
<DD>The P<SMALL>LECTRUM</SMALL> track differs from
    other 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  tracks as the duration of each note is not given but
    instead like a real guitar the note on the string will continue to
    sound until either it is muted by using a velocity of zero or
    until another note is played on the same string.

</DD>
<DT><A ID="foot9444">... use:</A><A
 HREF="node11.html#tex2html56"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">4</SPAN></SUP></A></DT>
<DD>These examples
  use B<SMALL>EGIN</SMALL>/E<SMALL>ND</SMALL> shorthand notation. This is explained in
  the &ldquo;Begin/End Block&rdquo; chapter <A HREF="node31.html#sec-blocks">here</A>.

</DD>
<DT><A ID="foot2136">... is.</A><A
 HREF="node11.html#tex2html57"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">5</SPAN></SUP></A></DT>
<DD>Values must be in the range -127 to
  127. Note that even &ldquo;small&rdquo; values can push notes outside of the
  MIDI range, in which case they are normalized to still sound.

</DD>
<DT><A ID="foot2156">... 3.</A><A
 HREF="node11.html#tex2html58"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">6</SPAN></SUP></A></DT>
<DD>This assumes a 6
    string guitar. If there are fewer strings the numbers will be
    different.

</DD>
<DT><A ID="foot9445">... etc.</A><A
 HREF="node11.html#tex2html59"><SUP><SPAN CLASS="arabic">11</SPAN>.<SPAN CLASS="arabic">7</SPAN></SUP></A></DT>
<DD>This is a deliberate departure from the
    normal 
<FONT Face="Serif"  Color="Navy"><I>MMA</I></FONT>  syntax. It's quite unlikely that you would want more
    that one fret noise setting in a sequence, but quite likely that
    you'd only want a setting to be applied to a certain bar in the
    sequence.

</DD>
</DL>
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