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                                MIDIBAK.DOC


Welcome  to MIDIBAK STYLES, a midi-file collection of 42 punchy drum and
percussion backing styles. MIDIBAK is shareware. Registration  brings  with
it  MIDIBAK2,  a  supplementary  collection  of  84 (yes, 84) action packed
styles, free of charge.

Registration fee is eleven pounds.


                          THE SET-UP

Any  soundcard  with  midi  accessibility.  Some  programmes play midifiles
through PC speakers, but then, you gets what you plays.

A  sequencer  or music software with a looping capability is an advantage -
it saves the bother of replicating bars, and also on the use of memory.

MIDIBAK styles are set to midi channel 10. Some synthesisers use other than
Channel 10 for percussion sounds, e.g channel 16.  Set  as  appropriate  to
your synth  or sequencer.


                             THE AGENDA

MIDIBAK is broadly divided into 7 styles groups.
1. AFRICAN; 2. DANCE; 3. JAZZ; 4. LATIN;  5. REGGAE; 6. ROCK;
AND 7. SOUL FUNK
Each style directory has a TRK sub-directory, e.g., AFRICA = AFRICA.TRK;
JAZZ =JAZZ.TRK; LATIN = LATIN.TRK, etc.
Files in the main directories are split into multi tracks,  and  each
musical voice or instrument is assigned to a separate track.
Although both music are identical, the TRK sub-directories contain single,
merged tracks of their main directory counterparts.
These backing style files range from 8 to 70+ bars of drum and percussion
delights. We are talking generous helpings of raunch, here.


                               GETTING TO GRIPS

As a collection of backing styles, MIDIBAK offers some basic advantages  in
creative  music composition. It is easy to use. Music programming knowledge
is not essential. No fiddly knobs and switches.
Decide the style of backing track you want (e.g. African, Jazz, Rock, etc),
and  cycle  through  available  alternatives  and  options. For flexibility,
all tempos (with 5 exceptions) are set to 120 BPM. Experiment with changing
the tempo if necessary - you'll be surprised at the change of mood.
You can then (a) loop the copied bar(s); (b)  replicate  the  bar(s)  to  a
required length; or, (c) combine replication and loop.

The single track TRK format is ideal where track availability is a hastle.
It is also useful as a quick audition platform  from  which  to  hear all
instruments available in the chosen backing style. All instruments included
in a TRK format are not open to easy muting, however, and some files with
overly busy percussions may therefore sound jam packed ('frenetic', as they
say in the trade) with bustling activity. (Just  like  some people want to
hear their favourite bands play, as instruments after solo instruments strut
their  stuff!!)

The  multi-track  alternatives  in  the main directories come into their own,
here. Because all  instruments  occupy  separate  tracks,  a  musician  has
complete  control  over  who  jams with whom, and who gets kicked out. Each
instrument can, therefore, easily be rearranged and manipulated as to  when
a  particular  note  starts  or  ends, where it is muted or looped, and is
finally pitched or ditched.


                            TAKE TWO AND TANGO

The first one or two bars of any file, if looped, will often lay the steady
foundation beat for the chosen style. Add the next (or any other) two bars
to make it a four-bar  loop,  and you're definitely cooking. If your music
software does not include a "Loop" facility, copy and replicate the bars
over the required length.
Except for a music that demands an unchanging oompah-oompah beat, while the
above  2/4-bar-loop  procedure  is  okay  as a starting point, the creative
musician will want a non-robotic, "live", charismatic and inspiring session
drummer and percussionist sitting in on his compositions.
No problem, here. Jam with the group. In fact, this is where the creative
fun begins. Especially so with styles that are 16 bars or longer. Most will
have percussion showcases.

                           SKIPPING TO THE LOOP

Copy the chosen multi-track file to the work area. If the copied tracks
are looped "factory pre-set" and unchanged, the first logical loop should
sound exactly like its TRK sister style in the sub-directory group. There-
after, each succeeding loop differs in arrangement from the previous loop!
  ...Yes, you heard right. Try it!!!
To  get  you  really  going, insert one or two blank spaces (mind you, with
judicious prejudice) at the beginning, or between the bars. The promise to
create limitless variations from a single backing style suddenly becomes
demonstrably arguable! The ever changing structures provide  an  (almost!)
interactive, "live" jam session, enough to inspire new ideas. If your
software also inserts empty blank bars at the end of a track (ala Voyetra
Seq), fantastic. Choose the thrills and frills that are in harmony  with
the  opus, and those to mutilate. With a certain amount of (kindly) abuse,
MIDIBAK will surprise you. So, go on, jive to your breakdowns.  Be loopy on
the loop.  Ever so intelligently, though.  Remember, backing sections  keep
the drive and tempo of a music together - that is their main job!

Until knowledgeably confident, therefore, play a  few  loops  of  a  chosen
arrangement,  and  record  them  onto  an open track. This new merged track
becomes a bank from which to choose the best bars in the final take.  Next,
replicate  the  foundation beat of two or four bars over the desired length
of composition. After that, interesting bars  from  the  bank  can  now  be
inserted  as  changes  and  fills.  Of  course,  unless  it  is  a  complex
composition and you have mega oodles of  memory  to  handle  the  resultant
cacophony, 16 to 48 backing bars when intelligently looped, is adequate for
many  a  perfectionist genius. However, the longer the loop, the better the
opportunities of inserting exciting fills  and  variations  to  arrest  any
monotony.


                             SPREADING THE JAM

Once  you  are comfortable with the concept of tampering with the bars (and
provided your sequencer offers enough scope to accommodate all the  tracks),
it is best to work with the multi-track files. They are more creatively
organic when tracks are individually looped, and thereafter prone  to  really
useful  inversions.  Naturally, expect a clash of instruments now and then,
but they will not occur out of step and tempo, and can be moved, muted,  or
edited  according  to  one's  avant  garde  taste.  The important thing to
remember when working with the multi-track format is that groups of voices
occurring at the same bars should be copied together. For example, an
interesting conga phrase using the low, hi, and hi mute congas on the  7th
to 10th bar would require that you copy the 7th to 10th bars from each track
of Conga High, Conga Low, and Conga Mute. The same applies to  other double
voiced instruments like Agogo, Bongos, Timbales, etc. Or interlocked voices,
for example, of a bass drum, snare  and  toms. In  other  words,  where a
combination of sounds is desired, the same track bars from each participating
instrument voice has to be copied.


                          ENDS AND ODDS

You  are  on  your  own,  now. The thing to do is experiment. With endings,
for example. Because MIDIBAK is loop orientated, track ends are staggered
to enhance continuity. Even though many fills and breaks will easily double
as endings, here are some DIY enhancements. In a 4/4 beat, for example,
(1) add a last bar with events on  only the first beat. (2) Add a last bar
with events on the first beat and a half. (3) End on the second second, or,
alternatively, (4) on the second beat and a half. Or, (5) skip the third
beat and end on the fourth. Include a climactic cymbal crash on the last
beat, if possible. Yes, endings are that simple. In the file, ENDINGS.MID,
find samples of the above examples I made earlier.
If you are an experienced midi-file user, you will no doubt soon notice
another  obvious MIDIBAK  advantage.  MIDIBAK files have been cleaned up
and chopped down to essential note durations. Spurious note lengths that
often  lead  down  the "Midi Choke" lane with its flashing, neon-lit
"Channel Full" error messages are thus minimised.


                                MARKET TALK

MIDIBAK  is  distributed  under the Shareware principle. This means you are
free to try MIDIBAK for thirty days. After this period, you are obliged  to
register  MIDIBAK  if  you  intend to keep it for further use. That's fair,
isn't it?
But  even  fairer,  registration  brings with it a special treat, MIDIBAK2.
This supplementary disk contains a whacking 84 extra files, with more fresh,
and more innovative backing styles. Even longer showcase percussion solos.
In comparison with the longer and more varied styles of MIDIBAK2, you might
conclude (and rightly, too?) that MIDIBAK was only the tip of danceberg...
Gedit?
If you take new ideas in music seriously, it will be the best investment you
ever made.

Please feel free to distribute  MIDIBAK to friends and  Bulletin Boards, as
long as it includes this file, MIDIBAK DOC.

Registration is £11.00 (eleven pounds). Cheques or Postal Orders should  be
made payable to:
                MIDIMUSE SEQ,
                14 PEPERFIELD,
                CROMER STREET,
                LONDON WC1H 8LP

                           *********************
                              PUBLIC WARNING!

    MIDIBAK styles have a strong African and Latin American itch to
the percussion accompaniments. Many solo showcases will snap your
fingers, SORE, to the rhythm. MIDIMUSE SEQ will certainly not accept
any responsibility for hours lost listening to interactive loops. You
have been warned!

                         Have a rocking good time.