C#5
1 04 101 F-6 2 38 330 G-3 3 20 F05
--- -- 000
--- -- 102 --- --
300 D-2 3 24 A0F C-4 4 -- 472
C#5 5 -- E93 --- -- 300
--- 3 P0 A0F --- -- 400
This data scrolls
up the screen, and when it passes the cursor it gets processed
and played.Not all trackers have this same layout; I've used FT2 above.
Trackers produce files called modules, which is usually abbreviated to MOD.
The term MOD originally meant a SoundTracker module, but over the years it has
become a generic term for any type of module.MODs are a sort of hybrid MIDI/sample
file.They contain sequencing information as well as the instruments (samples) that
are used for playback.
It's actually quite hard to give trackers and MODs a 'definition' that can be
understood by everyone.If you have Internet access then do a search for 'MOD
Trackers' and quite a number of definitions should pop up.
-Choosing a tracker
May as well start at the
beginning I suppose...
Choosing a tracker to learn in is possibly the most important choice you can
make. Some trackers have extremely difficult interfaces to learn, which, if you
are only just starting out and have never used a tracker before, pose an
additional aspect of learning that will need to be undertaken.
There are six systems with trackers that I know of, classified as -
- Amiga
- DOS
- Windows 3.1/95/NT
- Mac
- Unix/Linux/Sun/NeXT
- Atari ST
Obviously the system you own dictates what you can use, but the Amiga, Atari,
and Mac based trackers are split up into a few different areas, depending on
your hardware.Whatever tracker you decide on using, before you even start
tracking with it, be sure to read the manual.Load a few alreadymade modules
in so you can play around with the various features and find out how they
work.Spend a day figuring out every feature of the tracker.
The only way to find out what tracker is best for you is to try out a few
and then decide. I would recommend that you choose a tracker that produces
a standard module format for the platform you are producing on e.g. if you
own an Amiga a MOD based tracker would be a good choice, on a PC an IT or
XM tracker would be a good choice etc. Don't use a tracker just because
someone else does, or because it offers more features.Go for the interface
every time; if you can't use the trackers power then what's the point
in having that power.
Don't do what I do sometimes and use multiple trackers to produce one tune,
doing that is not advised (if you're interested I use FT2 and IT, FT2 to
do the bulk of the work, and IT to tidy up and add panning.I just find FT2
more intuitive).It makes work much harder, especially if you get something
sounding perfect in one, only to find it sounds horrible in the other.
-Choosing hardware
The basic hardware
requirements to track are: -
A computer - You probably already have one of these. If you don't, then
how on earth are you reading this ? Your computer MUST have some sort of
digital audio capabilities. If you have an Amiga, Atari, or Mac then you
should be okay for now. If you have a PC (and by that I don't necessarily
mean an IBM compatible) without a digital sound card of some description,
then you're finished before you've even started. Go out and get one now!
Monitoring Equipment - All that’s needed is a pair of speakers and/or a pair
of headphones. Since we're talking about basic requirements here, practically
anything will do to get you started.
-Getting Started
Ok, so you've got hold of a
tracker that you like the look and feel of, the
next thing to do is to get hold of some samples and/or modules. These should
preferably be in a style that you like and be of a reasonable quality. Just
go to the Internet resources section for a list of places to look. If you don't
have Internet access, then any local shareware libraries or BBS system should
be able to sort you out with some. Samples are preferable to modules, but it's
easy enough to rip the samples out of modules. Alternatively, you could sample
your own sounds, but this can be quite difficult to do if you don't know what
you generally use or need. As you don't yet know how to track properly yet, I
would recommend you choose which to learn first, tracking or sampling. This will
ease the learning curve. If you want to learn the key points to good sampling,
skip to the sampling section. When you've finished that, come back here.
-Ordering your resources
First of all you'll need to
set up a few directories in which to store your
music stuff.There are many different ways to do this, but I'll describe mine
for you to have a base to build on. Obviously you don't have to follow this
it's just to give you an idea of a structure.
I use a separate partition for my music stuff. This brings such benefits
as easy organisation and security from crashes on other partitions.
The structure of this partition is as follows: -
SubDirectory,SubSubDirectory,,SubSubSubDirectory:)
E:\FT2 - Fasttracker II
\SHRINKXM - Shrink XM
\WAV_2_XI - WAV 2 XI
\HANDBOOK - The Tracker’s Handbook
\INSTR - Instruments (Which I rarely use)
\IT - Impulse Tracker
\ITF - Impulse Tracker Font Customiser
\ITPR - Impulse Tracker Pattern Re-Arranger
\ITXT - Impulse Tracker Text Importer
\MODULES - Other trackers modules
\MYMODS - My modules
\8-BIT - 8-Bit versions of my modules
\PATTERNS - To hold pattern data
\RESOURCS - Holds tracking guides etc.
\SAMPLES - Hmm, I wonder...
\309 - Quasimidi Rave-O-Lution 309
\BASS
\BRASS - Brass Instruments
\BREAKBTS - Breakbeats
\DRUMKIT
\BASSDRUM
\CLAP
\CLOSEHH
\CRASH
\MISC - Shakers, tambourines
\OPENHH
\RIMSHOT
\SNARE
\TOM
\DSS-1 - Korg DSS-1
\FX - Sound Effects
\GUITAR
\JP8000 - Roland JP8000
\JUNO60 - Roland Juno 60
\MC-202 - Roland MC-202
\PADS - Looped synth and string sounds
\PIANO
\SH-101 - Roland SH-101
\SYNTH - Synth stabs and hits
\TR-606 - Roland TR-606
\TR-808 - Roland TR-808
\TR-909 - Roland TR-909
\TUBBIES - Teletubbies samples :v)
\VOCALS
\WIND - Wind Instruments
\TRACKS - Track data
\UNFINISH - Unfinished Modules
This allows me quick access to the samples I want (I can remember what
most of them are called and sound like). I also regularly clean out my sample
collection by getting rid of any that are bad quality - clipped,noisy etc.
Any that I'm unlikely to ever use, or I have already used and don't want to
use again are also got rid of.
I create a file in every directory called DETAILS.TXT, where I list each
file contained in the directory, along with where I got it from.When you
have thousands of samples, and you're trying to credit the authors,it saves
a lot of time and much hair pulling to have the information in one place.
I would recommend you start off by creating some sort of structure, it'll
stop your disk getting cluttered and enable you to work more efficiently.
If you're running off floppies then use separate disks for different types
of samples, and regularly defragment and check for errors (this also applies
for hard disk owners).
-Let's Go
By now you should have a
tracker you're happy with, some samples, and/or some
modules. You're ready to begin being a tracker. I'm going to teach you how to
produce a simple tune, and this should hopefully guide you as to what you
should be doing.
This can be done in two ways, either in step-time or in real-time. The majority
of modules are produced in step-time, maybe with a small amount of real-time
just to see roughly where the notes need to be placed. If you have a MIDI
keyboard connected to your sound card, then you could use that to input the
notes. Generally though, due to the harsh amount of quantitization that occurs
with a tracker you are better off doing it in step-time.
I would recommend that you try producing a few 4 channel modules first, use one
channel for drums, one for bass, one for lead, and one for chords. This should
help as you'll always be able to see what's going on, on the screen. If you
find you do want to use more channels to begin with, then by all means go ahead,
but bear in mind that most of the great tracker musicians today started
on 4 channel modules...
The best way to learn how to do something is to watch someone else do it. This
applies to tracking as well. You can learn a lot just from listening to the
great ones in the scene. If you come up with a tune idea and you know what
you want it to sound like, it helps a lot to look for a tune from one of the
masters that sounds similar to what you want to write, and listen to their
tune over and over again. Look for the things they do with their tune that
sets that tracker apart from the others in the scene, and if you can adapt
their techniques into your song in an original way, do it. Start by writing
music that you really like listening to - don't try and write an orchestral
piece if you don't listen to it - it'll show.
If you want to make a tune realistic, try to imagine how the instrument would
be played. Pretend you are a musician when you write a part. Also, if you use
an instrument such as a piano, try to use more than a single piano note - a
real piano will have more than one note playing at a time - use some chords etc.
Originally, people used to sample whole chords to save sample space. Now we've
got these wonderful trackers with gazillions of channels. Constructing chords
from notes because you have the space to do so gives a better and more a
professional sound. However, be very careful! If you decide to construct a
chord rather than use a single sample, some musicianship is required. Simple
major chords are easy, but inversions really add to a piece. If you are able
to do it this way,you'll get a professional, crafted sound. But it does take
a long time before you'll get a smooth flowing part.
For a nice fill to the sound, try to balance the usage of low and high
frequencies, tunes with too much bass and too little treble sound rough,
tunes with too much treble and too little bass sound insubstantial.
-The Effects Commands
By now you should be wanting
to experiment with some effects, to make your
music more interesting and more professional. Before we start, lets just get
something straight. Effects should only be used when they are needed. Using
effects just because you can doesn't automatically improve the quality
of your music.
This section will only cover effects with letters/numbers that can be used
in ProTracker MODs. Practically all trackers support these basic effects.
However many trackers use different letters/numbers to represent the same
effect, so check before trying anything. If you try an effect listed here
and it produces a result completely different to how it is described here,
then consult your trackers manual. Effects are typed into the rightmost
column of each channel in every tracker. They consist of an effect command
and a value.
Different trackers have different letters and numbers for the same effect
command. But pretty much all of them can work with hexadecimal for the
value. If you don't know what Hex is, then the following extract, taken
from the Impulse Tracker manual,should help.
Instead of using a decimal system (i.e. base 10), it is more natural for
the computer to work with hexadecimal (often abbreviated to simply 'Hex')
- numbers which operate in base 16. The first 9 numbers in Hex are denoted
by '1' to '9' and the next 6 are denoted by 'A' to 'F'. So if you count in
Hex, it will be as follows: (0), 1, 2, 3, 4, 5, 6, 7, 8, 9, A, B, C, D, E,
F, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 1A, 1B, 1C, 1D, 1E, 1F, 20, 21,
22, 23, 24, 25, 26, 27, 28, 29, 2A etc. To convert a Hex number to decimal,
multiply the 'tens' column by 16 and add the value of the second column
i.e. 32 Hex = 3*16+2 = 50 decimal. 2A Hex = 2*16+10 = 42 (because A = 10).
The maximum number that you can represent with two Hex digits is FF = 255
decimal.
Let's start with the most basic effect, the Set Volume command: C. Input a
note, then move the cursor to the effects command column and type a C.
Play the pattern, and you shouldn't be able to hear the note you placed the
C by. This is because the effect parameters are 00. Change the two zeros
to a 40(Hex)/64(Dec), depending on what your tracker uses. Play back the
pattern again, and the note should come in at full volume.
The Position Jump command next. This is just a B followed by the position
in the playing list that you want to jump to. One thing to remember is
that the playing list always starts at 0, not 1. This command is
usually in Hex.
Onto the volume slide command: A. This is slightly more complex (much more
if you're using a newer tracker, if you want to achieve the results here,
then set slides to Amiga, not linear), due to the fact it depends on the
secondary tempo. For now set a secondary tempo of 06 (you can play around
later), load a long or looped sample and input a note or two. A few rows
after a note type in the effect command A. For the parameters use 0F.
Play back the pattern, and you should notice that when the effect kicks
in, the sample drops to a very low volume very quickly. Change the effect
parameters to F0, and use a low volume command on the note. Play back the
pattern, and when the slide kicks in the volume of the note should increase
very quickly.
This because each part of the effect parameters for command A does a
different thing. The first number slides the volume up,and the second slides
it down. It's not recommended that you use both a volume up and volume down
at the same time, due to the fact the tracker only looks for the first
number that isn't set to 0. If you specify parameters of 8F, the tracker
will see the 8,ignore the F, and slide the volume up. Using a slide up and
down at same time just makes you look stupid. Don't do it...
The Set Tempo command: F, is pretty easy to understand. You simply specify
the BPM (in Hex) that you want to change to. One important thing to note is
that values of lower than 20 (Hex) sets the secondary tempo rather
than the primary.
Another useful command is the Pattern Break: D. This will stop the playing
of the current pattern and skip to the next one in the playing list. By
using parameters of more than 00 you can also specify which line to begin
playing from.
Command 3 is Portamento to Note. This slides the currently playing note to
another note, at a specified speed. The slide then stops when it reaches
the desired note. The best way to describe this is to give an example.
C-2 1 000 - Starts the note playing
--- 000
C-3 330 - Starts the slide to C-6 at a speed of 30.
--- 300 - Continues the slide
--- 300 - Continues the slide
One thing you can note about this and many other commands are that they
have a memory. Once the parameters have been set, the command can be
input again without any parameters, and it'll still perform the same
function unless you change the parameters. This memory function allows
certain commands to function correctly, such as command 5, which is the
Portamento to Note and Volume Slide command. Once command 3 has been set
up command 5 will simply take the parameters from that and perform a
Portamento to Note. Any parameters set up for command 5 itself simply
perform a Volume Slide identical to command A at the same time as the
Portamento to Note.
This memory function will only operate in the same channel where the
original parameters were set up. There are various other commands
which perform two functions at once; they will be described as we
come across them.
The next command we'll look at is the Portamento up/down: 1 and 2.
Command 1 slides the pitch up at a specified speed,and 2 slides it
down. This command works in a similar way to the volume slide, in that
it is dependent on the secondary tempo. Both these commands have a
memory dependent on each other, if you set the slide to a speed of 3
with the 1 command, a 2 command with no parameters will use the speed
of 3 from the 1 command, and vice versa.
Command 4 is Vibrato. Vibrato is basically rapid changes in pitch, just
try it, and you'll see what I mean. Parameters are in the format of xy,
where x is the speed of the slide, and y is the depth of the slide.
One important point to remember is to keep your vibratos subtle and
natural so a depth of 3 or less and a reasonably fast speed, around
8, is usually used. Setting the depth too high can make the part
sound out of tune from the rest.
Following on from command 4 is command 6. This is the Vibrato and
Volume Slide command, and it has a memory like command 5, which you
already know how to use.
Command 7 is Tremolo. This is similar to vibrato. Rather than
changing the pitch it slides the volume. The effect parameters
are in exactly the same format.
Command 9 is Sample Offset. This starts the playback of the sample
from a different place than the start. The effect parameters specify
the sample offset, but only very roughly. Say you have a sample which
is 8765(Hex) bytes long, and you wanted it to play from position
4321(Hex). The effect parameter could only be as accurate as the
43 part, and it would ignore the 21.
Command B is the Playing List/Order Jump command . The parameters
specify the position in the Playing List/Order to jump to. When
used in conjunction with command D you can specify the position
and the line to play from.
Command E is pretty complex, as it is used for a lot of different
things, depending on what the first parameter is. I will take you
through each effect in order.
Command E0 controls the hardware filter on an Amiga, which, as a
low pass filter, cuts off the highest frequencies being played
back. There are very few players and trackers on other system
that simulate this function, not that you should need to use it.
The second parameter, if set to 1, turns on the filter. If set to
0, the filter gets turned off.
Commands E1/E2 are Fine Portamento Up/Down . Exactly the same
functions as commands 1/2, except that they only slide the pitch
by a very small amount. These commands have a memory the same
as 1/2 as well.
Command E3 sets the Glissando control. If parameters are set to
1 then when using command 3, any sliding will only use the notes
in between the original note and the note being slid to. This
produces a somewhat jumpier slide than usual. The best way to
understand is to try it out for yourself. Produce a slow slide
with command 3, listen to it, and then try using E31.
Command E4 is the Set Vibrato Waveform control . This command
controls how the vibrato command slides the pitch. Parameters
are 0 - Sine, 1 - Ramp Down (Saw), 2 - Square. By adding 4 to
the parameters, the waveform will not be restarted when a new
note is played e.g. 5 - Sine without restart.
Command E5 sets the Fine Tune of the instrument being played, but
only for the particular note being played. It will override the
default Fine Tune for the instrument. The parameters range from 0 to
F, with 0 being -8 and F being +8 Fine Tune. A parameter of 8 gives
no Fine Tune. If you're using a newer tracker that supports more
than -8 to +8 e.g. -128 to +128, these parameters will give a rough
Fine Tune, accurate to the nearest 16.
Command E6 is the Jump Loop command. You mark the beginning of the
part of a pattern that you want to loop with E60,and then specify
with E6x the end of the loop, where x is the number of times you
want it to loop.
Command E7 is the Set Tremolo Waveform control . This has exactly
the same parameters as command E4, except that it works for
Tremolo rather than Vibrato.
Command E9 is for Retriggering the note quickly. The parameter
specifies the interval between the retrigs. Use a value of less
than the current secondary tempo, or else the note will
not get retrigged.
Command EA/B are for Fine Volume Slide Up/Down . Much the same as
the normal Volume Slides, except that these are easier to control
since they don't depend on the secondary tempo. The parameters
specify the amount to slide by e.g. if you have a sample playing
at a volume of 08 (Hex) then the effect EA1 will slide this volume
to 09 (Hex). A subsequent effect of EB4 would slide this volume
down to 05 (Hex).
Command EC is the Note Cut . This sets the volume of the currently
playing note to 0 at a specified tick. The parameters should be
lower than the secondary tempo or else the effect won't work.
Command ED is the Note Delay . This should be used at the same time
as a note is to be played, and the parameters will specify the
number of ticks to delay playing the note. Again, keep the
parameters lower than the secondary tempo, or the note
won't get played!
Command EE is the Pattern Delay . This delays the pattern for the
amount of time it would take to play a certain number of rows. The
parameters specify how many rows to delay for.
Command EF is the Funk It command . Quite what it does is a mystery
to most people, including me. Some say it played the sample backwards,
others that it implemented some crude filtering effect, but nobody
seems to know exactly. Very few trackers actually support it.
Tracking
Tutorial - Beginner Stadium - Continued Here