JAN 92
* * * * * * * * * * * * * * * * * * *
* Heavenly Music Ltd. *
* 39 Garden Road, Jaywick Village, *
* Clacton, Essex CO15 2RT England. *
* Tel.Clacton (0255) 434217 *
* * * * * * * * * * * * * * * * * * *
IMPORTANT - READ THIS FIRST
'RAMJAM' and its documentation (with the exception of 'Satellite'
and 'Filespy') are copyright (c) 1991 Heavenly Music Ltd.
The contents of this disk in its entirety are not to be sold,
loaned or recorded without the express permission of Heavenly
Music Limited.
Heavenly Music Ltd cannot assume any responsibilaty regarding
the use/misuse/abuse of this product other than that the disk
and its contents will be replaced free of charge in the unlikely
event that the disk itself proves to be faulty.
In no event will we be held responsible directly or indirectly
for any consiquential damage as a result of using this software.
If this disk is accidentally damaged by the user, we will replace
it provided that the disk is sent back by the original purchaser
in its original packaging with œ1.00 to cover re-copying,
handling and return postage.
Heavenly Music Ltd reserve the right to change prices and/or
specifications without notice.
If you have any queries or require further information, please do
not hesitate to phone.
CONTENTS
ÿÿÿÿÿÿÿÿ
1. Description
2. Using The Disk
3. Hints and Tips
4. Soloing - General Guidelines
5. Drum & Percussion Layout
6. Drum & Percussion Definitions
7. Sattelite
8. File Handling
9. Last Bit
******************************************************************
'RAMJAM'
1. Description
Thank you for your purchase of this our second in a series of
library disks designed to help you get the very best out of you
ST sequencer. On this disk you will find a huge variety of styles
and perhaps some you might not have heard before.
Before moving on, it is assumed that you are familiar with the
procedure for accessing files in folders, root directories and the
like. If not then please take the time to go through your STs and
sequencer's owners manual before continuing.
All the programming was done using Cubase and a Roland U220 with
the percussion card installed and mapped to the now standard MT32
spec? and then saved using Cubase's Midifile option.
We have tested the midifiles with various sequencers (i.e. Cubase,
Notator, Pro 24 III, etc.) so you can rest assured that you will be
able to use these with the minimum of bother.
RAMJAM will be an ongoing series of 'Killer' groove and jam disks
in just about any style you can shake a stick at.
It's purpose in life is to satisfy the needs of any instrumentalist
(from beginner to advanced) who can rarely, if ever, have
access to a room full of willing AND able musicians who can play
ANY kind of music, in ANY key, at ANY speed and for as long as he
or she wants.
All jams are universal in that whatever instrument you play can be
simply muted out from the rest of the tracks.
The user can improve his/her musicianship by starting their jam
sessions in relatively easy keys like G, D or A for example before
challenging themselves to playing in more difficult keys like C#,
F#. D#, etc. Just think of RAMJAM as a sparing partner (or two or
three or...).
As one fellow musician stated......."What I would'nt have given for
something like this when I was still musically wet behind the gills.
And even now that I CAN play, it's still a hell of a buzz to get my
rocks off playing to these grooves,and getting my chops together in
the bargain!"
2. USING THE DISK
Before we go on, most of the RAMJAM files are BIG*.. This means
that you should disable any desktop accessories and any other
parts of your sequencing program (assuming your sequencer allows
this, i.e. Cubase lets you disable score edit and other parts to
free more of the working RAM) as you would'nt want to use with
this disk anyway. The smaller files are in no way less useful
than the bigger ones, it's just the way they went. Try em.
* Should you have memory problems with these files, we can furnish
you with a single sided disk of 'trimmed down' files on return of
your original.
On 'RAMJAM', you will find an assortment of styles and grooves
which once loaded, can be transposed up or down in key as well
as speeding up or slowing down the tempo. Most jams have an INTRO,
a THEME, a JAM and finally, the ENDING (the THEME or some other
cue comes around just before the end to let you know).
Before anything.......CHECK YOUR TUNING! (seasoned musos don't
need this reminder but you'd be surprised how easily this is
overlooked.
We suggest that you set up your JAM LOOP from the Beginning of
the JAM section to the Beginning of the last THEME so as to be
able to play the file from the very beginning, then JAM within
the defined loop for as long as you like, then, when you feel
like you've had enough (while the sequencer is still playing...
and if this is possible), as you are aproaching the end of the
JAM LOOP, DISABLE your LOOP or CYCLE option so that on this last
lap, the jam will then conclude itself. Do have a go at cutting
and pasting sections of the jams around to suit your own re-
quirements.
3. HINTS AND TIPS.
All the tracks are labelled with their respective instruments and
it would be a very good idea to make certain that these tracks
are set to send on the correct midi channels and midi programs/
patches. Also, as every instrument is on its own track, it
is very easy to mute the Drum track if you're a drummer, the Bass
track if you're a bassist and so on.
If you are using an HR16, Sampler or something other than an MT32
or U220, you'll have to spend a little time tweaking up your drum
machine/sampler to the midi drum note numbers as listed in your
disk package.
If you have'nt got an MT32 or a U220, it's no problem cause
all you need to do is remap your drum unit and/or sampler to the
midi note numbers on your info sheet.
If you are applying reverb, try to stick to short decay times for
the more uptempo stuff, otherwise it will just sound cluttered.
IMPORTANT!
The solo track is not only there as an example which can be muted
so that you can rock, but also provides you with a selection of notes
and scales that would compliment the given key. It has'nt been
quantized because it was never meant to be a finished master
performance, but merely a guide for those of us (myself included)
who still have a bit to catch up on.
4. SOLOING. General Guidelines
The trick to soloing (improvising) (jamming) is in knowing your
scales very very well. And not only you major and minor scales but
their variations and modes as well.
It is also a matter of split-second decision making as to how far
you want to take (or fake) a particular scale and where it will go
next. It will entail the excercise of discipline as you don't have
to fill every available beat of every available bar with anything....
if that's what you feel, and the operative word here is FEEL.
In fact, we'll now give you a list of words to bear in mind either
before or during your 'Jam Session'.
Record your jam sessions and analyse the results (Boxers do this
all the time when they video their fights) as it is very diffcult
to assess what's hapenning while it is hapenning.
DO pat yourself on the back (without getting cocky) when you
get it right as it is so easy to kick yourself in the rear for
getting it wrong.
Anyway, Here's that list.
FEEL -
Listen to soloists on instruments other than the one you play--
You'd be surprised at what you can learn.
SPACE - Create space in your solos as these can provide a stark
contrast to what you play before or after these spaces.
DENSITY -
Try building up to or suddemly breaking into a wild flury
of notes/scales (the right ones) for intensity.
SPARSENESS -
Sometimes, you can say a hell of a lot More with a hell
of a lot Less)
DYNAMICS - How soft or hard you should play a phrase)
ACCENTS - 8ths,16ths with or without triplets -
try accenting on the up (or the AND) of beats creating intentional
but PRECISE HOLES in a phrase.
BLUFF -
The art of playing a wrong note in a phrase and turning it
into a passing (right) note without the listener being aware that it
has even happened.
REPETITION & MIMICKRY -
If you play a line or a phrase that went well, then there's no
reason why you should'nt do it again and again then once more with
a slight variation hopefully taking you to your next phrase.
SCALES......Play the minor blues scale in the relative minor
to the major key you're in. For example....say that you are
jamming on the 'JIG' which is in A major. The relative minor
would be F#. The minor blues scale works like this....1st or Root,
minor 3rd, 4th, 5th, 7th and 8th (OCTAVE) or to put it
another way...F#,A,B,C#,E and F# again. Passing notes to this
scale would include C,G# and (just maybe) F. So if you transposed
the JIG to say, C major, then you would use the minor blues scale
in A.
Formula?..... To use the minor blues scale in a minor key, say,
A minor, just play the scale in the same key of this minor.
To use the same scale in a major key, say D major, just go back
3 semitones (to B) and play your minor blues scale in that key.
Also try playing a in a major scale ONE WHOLE TONE BELOW the
minor key you are jamming in.
The major blues scale is just an extension of the minor blues
scale, notes being 1st, 2nd, minor 3rd, major 3rd, 5th, 6th, and
8th (octave). Passing notes would be the 4th, raised 5th, the
major 7th, and (maybe) the dominant 7th. This scale may be used
over a minor chord, say 'A' by going up 3 semitones to 'C' and
then playing your scale there instead.
Hope this is'nt too technical for the novice. There are plenty
of good books on soloing and improvisation and it would be a
good idea if you got a hold of one or two.
If you transpose a jam too far up or down, some of the
instruments are going to sound a bit strange i.e. (the bass
track sounds like a banjo), then obviously, the remedy would be
to further transpose the bass track down an octave (-12
semitones).
Although the tracks / parts are labelled with their instrument
names, don't be afraid to turn that acoustic upright bass into a
fretless or slap bass if that's what sounds good to you.
The same goes for keyboard parts, i.e. electric piano instead of
acoustic.
You most definitely will be able to use these jams straight away
with the Roland U220 fitted with the percussion card. For users of
the Roland U220 who have long lost their original presets, we have
included them on this disk as a 'SATELLITE.BNK as well as the
Satellite Utility (thanks to Steinberg for releasing this excellent
utility into the public domain) we have included it as a PRG.
but you can also use it as a desk accessory. More on this later.
Note: We have made some minor changes to some of the patches, i.e.
voice reserves and so on in order to help get the best from both
RAMJAM and the U220.
5. Drum & Percussion Layout
SOUND LIST as per MT32/U220 w/ percussion card.
C1 - BASS DRUM
C#1 - RIM SHOT
D1 - SNARE
D#1 - CLAPS
E1 - SYNARE
F1 - LO TOM
F#1 - CLOSED HAT
G1 - LO TOM
G#1 - SEMI OPEN HAT
A1 - MEDIUM TOM
A#1 - OPEN HAT
B1 - MEDIUM TOM
C2 - HI TOM
C#2 - CRASH
D2 - HI TOM
D#2 - RIDE CYMBAL
E2 - *
F2 - *
F#2 - TAMBOURINE
G2 - *
G#2 - COW BELL
A2-B2-*
C3 - HI BONGO
C#3 - LO BONGO
D3 - CONGA SLAP
D#3 - HI CONGA
E3 - LO CONGA
F3 - HI TIMBALE
F#3 - LO TIMBALE
G3 - HI GO BELL
G#3 - LO GO BELL
A3 - CABASA
A#3 - SHAKER
B3 - WHISTLE SHORT
C4 - WHISTLE LONG
C#4 - QUIJADA
D4 - *
D#4 - CLAVE
If you have'nt got an MT32 or a U220, it's no problem cause
all you need to do is remap your drum unit to the same midi
note numbers.
* NO SOUND ASSIGNED TO THESE NOTES ON THE MT32
BUT MAY BE USED BY THE U220 WITH THE PERCUSSION CARD.
6. Drum & Percussion Definitions
We had numerous calls concerning the names and descriptions of
certain percussion instruments during the release of Dr. Beat
vol. 1 where we had to explain what the various instruments
looked and sounded like. This prompted us to include the
following information.
BASS DRUM - A Big drum that you play with your foot.
RIM SHOT - Should be called sidestick. Used a lot in
Ballads.
SNARE - This drum provides the Backbeat of most styles.
CLAPS - Hopefully more than one person applauding after
your first gig.
LO TOM - Another BIG Drum but this one is hit with a
stick.
CLOSED HAT- Not the kind to wear when you have a headache.
SEMI OPEN HAT - See Closed Hat.
MEDIUM TOM - A smaller drum that is also hit with a stick.
OPEN HAT - Opposite of a closed hat.
HI TOM - A drum smaller than the Medium tom which is again hit
with a stick.
CRASH - What the drummer wants to do at the end of a gig.
A cymbal used for adding impact to a beat.
RIDE CYMBAL - An airy sounding cymbal sometimes used as an
alternative to keeping the time with the Hi Hat.
TAMBOURINE - A hand held Jangly instrument with what looks like
loads of little cymbals.
COW BELL - Used to let you know a cow is coming.
HI BONGO - A hand struck cowhide skin on a wooden or fiberglass
shell. One of TWO, they are physically connected to each other.
They can also be played with sticks.
LO BONGO - The other half of HI BONGO.
CONGA SLAP - Sheila E. has one of these and it's deadly!
It's also reffered to as Muted conga.
HI CONGA - Cowhide skin on a long wooden or fiberglass shell.
Normally played with the hands but may also be struck with a
stick.
LO CONGA - Just a bigger version of HI CONGA.
HI TIMBALE - Again, a cowhide skin a bit thicker than a normal
drum head but stretched over a Tin or Copper shell. Sounds very
much like Mega Tin Cans.
LO TIMBALE - A Bigger version of HI TIMBAL.
HI GO BELL - Like little cowbells in the shape of a cone.
Two of them connected . See LO GO BELL.
LO GO BELL - See HI GO BELL.
CABASA - A hand held instrument heavily filled with sand and
wrapped in metal beads. Can be used as a shaker as well.
SHAKER - A Very Nervous Musician.
A wooden or metalic hollow cylindrical device. Can be
filled with Rice or Beans (small ones) or both.
WHISTLE SHORT - The kind you get when you're not at your best.
WHISTLE LONG - You must be looking good.
QUIJADA - Like a very thick wire coat hanger bent into a sort of
keyhole shape with a wooden ball at one end and a rattler at the
other.
CLAVE - Two wooden sticks about an inch in diameter. One held in
one hand and being struck by the one in the other hand.
7. SATTELITE
------------
We have included a Steinberg's Sattelite which is a Universal
System Exclusive Bulk Dump Utility, which Steinberg have
generously released into the public domain, and the U20/U220's
original factory presets saved as a Sattelite Bank (file
extension 'BNK'. The presets have been 'tweeked' just a bit in
order to optimise performance.
Sattelite may be used as a .PRG (Program) or an .ACC (Desk acce-
ssory) by simply changing its file extension using the show info
option on the Atari Gem Desktop (assuming that you are booting
from this disk.
To load this bank, you must enable your U220's System Exclusive
Receive or else nothing will happen.
If you are running Sattelite as a desktop Acc. just point the
mouse at desk and click on Sattelite. To save your current setup,
enable Sys Ex on the transmitting unit, click on RECEIVE on
Sattelite, then initiate a bulk dump on the transmitting unit.
You will see some numbers registering in Sattelite letting you
know that something is happening. When this number scrolling
stops, click anywhere in the centre of Sattelite's screen and you
will be presented with a file selector. Name your bank and make
sure the last three letters (file extension) reads .BNK
Click on OK and that's it.
To load a .BNK, point and click on Sattelite in the desk menu and
click on UTILITIES then on DUMP UTIL, then click on TRANSMIT
(making sure that a-your receiving unit has got it's Sys Ex
enabled and b-the right disk is in the drive).
IMPORTANT. Before you load the U20/U220 '.BNK' , be sure to save
your internal patches/timbres that you may have changed since you
bought your unit.
In case you are using a unit other than a U20/U220, it would be a
good idea to have all your patch names/midi program numbers on
paper so that you can make the appropriate changes with the
minimum of guesswork.
8. FILE HANDLING
----------------
If you are not used to, or know the difference between folders,
files, root directories and the like......read on.
a) Start up your midi system as normal, i.e. boot up with your
sequencer disk in the drive, turn on your synths, modules, etc.
b) Insert your RAMJAM disk (BACKUP)
c) Go to 'File' on the 'Menu Bar' and click on 'LOAD MID',
Midifile or 'IMPORT MIDI'. The standard Atari file selector (or
replacement) will appear with a list of the 'FOLDERS' containing
each song's 'MID' files and 'INF.DOCS'
To open a folder, just click once on the folder's name and you
will then be presented with yet another list... but this time
the're not 'FOLDERS' but 'FILES' with the file extension 'MID',
'DOCS', etc. It's a good idea to read/print the 'DOC' for each
song BEFORE you load them.
d) Double click on ????????.MID (where ???????? is the file
name) and let your sequencer do the rest.
Once loading is complete, as mentioned above, you can start
your sequencer and have a listen but you may have to fine tune
program numbers, volume settings, octave ranges, etc. on 'the
fly' until you are satisfied with the results. Once you have set
the songs up to your satisfaction, you can then resave the songs
to a blank formatted disk as a 'normal' sequencer song with a new
title or name if you like. You may have to close the 'FOLDER'
when you go to save or indeed, load another file because in some
cases, the ST does'nt know that you have changed disks and so
will still have the LAST SELECTED FOLDER.