Real Time Converter



Musicians play beats perfectly, it is the tempos they adjust from 
moment to moment regardless of degree.  Programs that add 
inaccuracies to time step values miss the point entirely. They assume 
that `human feel' is based on rhythmic inaccuracies.  As a musician, 
I take this as an insult.  In a finished performance, the 
fluctuations in time are not due to inaccuracies of rhythm, they are 
due to a speeding up and slowing down of the beat based solely on the 
performer's reaction to the music as it unfolds over time.  Because 
Tempo Master MPE is a tempo creation program, it seemed to me that 
musicians should be able to create a tempo map from a real time 
performance. The result was the Real Time Converter feature of the 
Tempo Master program and when the conversion into measures is made a 
tempo map is also created that makes the measured track 'move in 
time' as it did before the conversion. Let's see what this all means 
in a practical way.



Step # 1

The first step is to have a real time track waiting and ready in 
track mode.  If you have more than one track, merge them.  Any event 
type can belong to these tracks as the program only converts the 
`times' and `durations'.

Note - The file called RT_TM_RC.ALL in the \T_EXMPL\ folder is the 
file I load when I want to make a real time recording for conversion 
to measured time.  It sets the steps per beat at 96 and tempo at 100 
which seems to be a happy medium.  Also, the `controller record' is 
enabled so all you have to do once this file is loaded is start 
playing.  However, this is only a convenience.  You can convert any 
real time recording.



Step # 2

Create what will be known as a Tap Track.  This must be done in order 
for the Converter to know where the beats are supposed to be.  Only 
`Note On' events, one at a time (NO chords), should be in the Tap 
Track (other types will cause it to operate incorrectly).  Also, the 
Tap Track should start with a time of `0'. If it doesn't the program 
will internally make the first event time `0' and add the value 
greater than `0' to the second event time. Therefore, if the first 
time was not intended as a `0' start time, the conversion will be off 
to a `bad' start.





Creating a Tap Track while Recording in real time:



 - Tapping on Keyboard Pedal.  [N]Cnvt:Cc=>G9]. 

This is a special feature of the Tempo Master. It allows you to tap 
your foot on the sustain, soft, or portamento pedal while you play 
the music and, then, afterwards use the continuous controller (CC) 
events as the Tap Track by means of a controller-to-note conversion.



 - Playing `pulse' left hand bass note or figure.

This method will only be practical in pieces which can be performed 
with some type of figure in the the left hand be it a broken octave 
in eighths or drone quarter note bass. It must also be consistent for 
the entire piece or section. Once recorded, split this part (by note 
range) from the right hand part, clone it, then merge it once again 
with the right hand part. The clone will act as a wonderful Tap 
Track.



 - from the Drum part of a merged group performance.

If you record with a group (or just a drummer using an octapad) and 
create group performance tracks by merging, an `even drum figure' can 
be used as the Tap Track (remember to use a clone and not the actual 
drum track).  It could be half beats on the bass drum, or quarters on 
the hi hat.  Just check for consistency.  Use `Adjust' from the KCS 
edit page to insert missing beats.  Of course, Tiger owners can `see' 
missing beats in addition to ones that are slightly `off'.



It's a good idea when creating a `tap track' (while recording) to 
start with a few 'upbeat' Taps.



Creating a Tap Track after recording the real time track:



 - Overdub a `tap track' to the real time track.

I have found that the best way to do this is to tap along using two 
high keys like `G6' and `C7'.  I use the `G6' for the downbeats and 
the `C6' for the remaining beats.  Of course, using a drum controller 
to play bass drum for downbeats and a snare or hi hat for the others 
would be as equally effective.  It's your choice.  But be aware that 
the Converter will work regardless of the pitch or instrument used to 
record each Tap.  But only one note per tap please!



- -By using the Draw feature in Tiger.

This is a wonderful way to be really accurate.  Simply view the step 
time track while viewing the new Tap Track and line up the `tap' 
notes with the `real time' notes.  You can even preview and review 
small sections.



Step # 3

Next you must enter the Tempo Master from the `music' sequence (so it 
is current) and make 3 settings:



 - Set Tap Track - this indicates the number of the track containing 
the taps.

 - Set Tap value - this is the number of steps you want each tap on 
the Tap Track to represent.

 - Set Rec Tempo - this is the tempo setting of the KCS when the real 
time track was recorded.

 - Tap Hot Zone - Refer to pg. 26 Tightening Up a Tap Track without 
Tiger.



Step # 4

Next you would left click on [C]Cnvt:RTim->MTim (which means `Convert 
Real Time to Measured Time') or type [C]. The information area will 
show to which Open Mode sequences the new MUSIC TRACK and TEMPO TRACK 
have been written and will announce when the conversion is finished. 
(The converter always writes to KCS Open Mode sequences so as not to 
overwrite the original data in track mode).



Step # 5

If you want to hear or further edit the newly created files it is 
best to go to the edit page of the open mode sequence named RT>MUSIC 
and select `Merge' from the Options menu.  Enter the number of the 
sequence named RT>TEMPI and type [Return] so the two sequences are 
merged into one.  (This merge will not be necessary if you are 
converting for the real time track for musical notation purposes 
only).  Return to track edit mode, left click on the Seq To All 
Tracks button, type the number of the RT>MUSIC sequence, then type 
[Return].  Track `1' will contain the tempo map created by the 
Converter, and the other track(s) will contain the music in measured 
time.



Example # 8

Simple RT -> Meas Conversion



Load EX_E.ALL from the \T_EXMPL\ folder.  Play the file from the 
Track Mode Play Screen.  This is a short and simple improvisation of 
Are You Sleeping by yours truly.  I used a lot of `tempo bending' 
legitimately known as `rubato'.  You should listen to it a few times 
(maybe even to the point where you can accurately tap along with it).

[Notice that it was recorded with the KCS running at a tempo of 100 
bpm with a quarter note resolution of 96 steps/beat.  These are the 
initial settings of RL_TM_RC .ALL and .TRK files].



Now unmute Track `3' by left clicking on `TapTrack' and play the file 
once again.  Track `3' is playing G-C-C-C over and over again where 
the G represents where the first beat of the measure should be and 
the C's the 2nd, 3rd, and 4th beats of the measure as it's in 4/4 
time.  We have all the necessary components to make a conversion. (If 
you have Tiger, I suggest you take a look at both of these tracks 
together.  I must confess, I used Tiger to line the `taps' up with 
the music for even more accuracy.)



Go to the Track `2' edit page (to make it the current track), then 
enter the Tempo Master.  We must now make the conversion settings.



 - Set the `Set Tap Track' to `3' by scrolling with the mouse as this 
is the track with the taps.  ('3' is the Tap Track default.)

 - Set the `Set Rec Tempo' to `100' because the original real time 
track was recorded at that tempo.

 - Set the `Set Tap Value' to `96' (default) to inform the Converter 
what type of note each tap represents. (This can also be accomplished 
by right clicking when the mouse cursor is in the `Taps' box.)



Now we do it!  Left click on [C]Cnvt:RTim>MTim or type [C]. The 
converter informs us in the information area that the MUSIC TRACK 
<T2> has been converted and placed in (Open Mode) Se(Q)uence `1' and 
that the TAP TRACK <T3> has been converted and placed in Se(Q)uence 
`2'.  It also lets us know when it is FINISHED! [E]xit the Tempo 
Master.



Left click on the `OPEN Mode' button and go to Sequence `1'. This is 
named RT>MUSIC by the Converter and contains the new measured time 
music track.  Go to Sequence `2'.  This is named RT>TEMPI by the 
Converter and contains the tempo map.  Now go back to Sequence `1', 
pull down the Options menu and Merge... (or select Merge in earlier 
than 3.0 versions) and Merge Seq.  `2' with Seq. `1'.  Now return to 
the Track Mode edit Page and left click on the Seq To All Tracks 
button, type [1] and [Return].  Name Track `1' Tempo Map and name 
track `2' Measured.  Now from the play screen, mute Track `1', set 
the tempo at `190' and play the tracks. 



Notice how the music goes perfectly in time with the metronome. 
 Next, unmute Track `1' and play the tracks once more.  You'll notice 
how much it sounds like the original real time track even though it 
is now measured.  Can you imagine how long it would have taken you to 
create such a tempo map by hand. (`Life begins at 80!'.)



There were some `rolls' that may sound a little uneven so let's 
`[I]nterpolate' the tempo track a couple of times.  Go to Tempo 
Master from track `1' to make it current, and type [I] to 
interpolate.  When the information message disappears, repeat the 
interpolation process 2 more times and exit to the KCS.  The 
resolution of the Track `1' is now down to 32nds which is plenty high 
for this track.  Go to the play page and listen once more.  Can you 
notice the higher resolution?  If not, it probably wasn't necessary. 
Then again maybe it was only necessary for certain places.  You are 
the best judge of that.

EX_E2.ALL in the \T_EXMPL\ folder is the finished version of this 
example if you want to check it against yours.



Example # 9

Using the BController-to-Note Converter



Load the file EX_F.ALL from the \T_EXMPL\ folder and go to the Track 
Mode play screen.  Listen to it.  It's just 4 eighth note scales one 
after the other.  They get faster and then slower.  While I recorded 
these scales I tapped my foot on the hold (or sustain) pedal on 
quarter beats.  The clock was set at 120 bpm and steps per beat at 
96.  We will create a Tap Track from the pedaling.  (Remember, I 
wasn't `pedaling' for sustain, I was just tapping my foot in time on 
the `sustain pedal' - continuous controller 64.)



Go to the track `2' edit page.  You will notice `note on' and CC 64 
(sustain pedal) data.  What we want to do is convert the pedal down 
events (CC64/127) to notes and use those notes as a Tap Track. 
 Here's the best way to accomplish this.



First we will convert all of the down pedal events (CC64/127) to 
'notes on' and eliminate the pedal up events. (CC64/0).  To do this, 
enter the Tempo Master MPE from the Track '2' edit page, set 'Split' 
at `G9', type [N] and [Return].  You will be returned to the Track 
'2' edit page automatically.  You will notice there are no more CC 64 
type events.  We now have G9's on midi channel #2 instead.



Next, scroll down the event list a little bit and you will notice 
that the 'taps' (G9's on midi channel #2) are pretty close to the 
notes they come with but very often are 4, 8, or even 12 time steps 
late.  (It's very hard to 'pedal' right on time).  However, the 
timing between the musical events ('our scale') vary roughly between 
'36' and '60' time steps.  This information will make it possible for 
us to 'tighten the taps with the music track' before converting.  



Now we must SPLIT the 'taps' from the notes to create a tap track. 
 Left click on SPLIT and set 'G9' as both the bottom and top of the 
range, then left click on 'OK'.  Now name track '2' SCALE and track 
'3' TAPS.

Now from the track '3' edit page, enter the Master Edit and left 
click on Blend.  We are going to Quantize the Tap Track '3' to the 
Music track '2' so that it is perfectly in sync with it.  Left click 
on the '1' after Reference Sequence and change it to '2'.  Left click 
on Auto-Correct so it is in inverse video then enter the number '15' 
in the space provided following Maximum move and left click on 'OK'. 



We now have a very accurate tap track. Clicking on the UNDO button a 
couple of times will show you how the Quantize operation moved the 
individual 'tap events' into sync with the individual events of the 
music track.  Please compare them.



Now, retun to track '2' edit page called SCALE, go to Tempo Master 
MPE, set Tap Track at '3', set Tap Value at '96', then type [C] to 
convert to measured time.  When the Tempo Master says that it's 
FINISHED, type [E] to exit and procede to Sequence '2' in OPEN Mode. 
 Here is the converted real time track called SCALES and it can be 
further corrected by quantizing to the sixteenth '24 steps' 
particularly for purposes of musical notation.



Tightening up a Tap Track without Tiger.



It is possible to make the taps quite accurate even without using the 
Tiger program.

Set the Tap Hot Zone to a value representing the approximate amount 
of deviation each Tap has to the note it should be in 'sync' with. 
 For example, on page 25, 3rd paragraph, a setting of '12' would have 
created a very accurate conversion without quantizing track '3' to 
track '2'.  However, the quantize method is very accurate. 



Change the Midi Channel of the Tap Track to a channel not used in the 
Music track and then merge them.  Go through the edit list and look 
for any major discrepancies making sure that you listen before making 
changes.  Playing the file at a significantly slower tempo can make 
this job a lot easier.  Most `taps' that are way out of line will 
sound `off'.

If a `tap' is supposed to be played simultaneously with the event 
before it, type `0' for the tap's time, then type [Enter] so the time 
after the `tap' is properly adjusted.

If a `tap' is supposed to be played simultaneously with the event 
after it, type the sum of the tap's time and the next time, then type 
[Enter] so the next time is adjusted to `0'. Use the midi channels to 
distinguish `tap' events from `note' events.

When you are through, send `All Tracks To Seq' then `Seq To All 
Tracks' (where the `Seq' is the one just created).  This will 
separate the Tap Track from the Music Track and you are ready to 
convert.



Using the `Deflam' feature in the `Chords section' of the Master 
Editor while the Taps and music are on the same track.  (This may 
alter the timings of the music.  However, if you are planning to 
quantize eventually, it won't make a difference.)



Tightening up a Tap Track with the TIGER MPE program.

This is really quite simple.  When you have a `Music' track and a 
`Tap' track available in separate tracks, go to TIGER.  Pull down the 
display menu bar and select Add/Drop Tracks (or type [Control T]). 
Highlight your music and tap tracks only and make your music track #2 
by highlighting it last, then left click on `DONE'.  Resize the Taps 
(or lower) window so that it is considerably smaller.  After all it 
only contains a single tap line, and use the scroll arrows to center 
the `taps' in the window.



Now play the tracks. When a `tap' is clearly out of line with a note, 
left click the mouse on the `tap' and drag it so it will line up.  If 
you hold the [left shift] key while you do this, the pitch will not 
be affected by moving the mouse.  Only its time placement will be 
affected.  (Newer versions of TIGER have crosshairs to make this 
chore a little easier by depressing the [HELP] key.)  It is really as 
simple as that.  Of course, setting a slower tempo will make finding 
inaccuracies in the Tap Track that much easier.

See Chapter 4 for an interesting application involving drawing notes 
into the tap track with TIGER.

