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%====================================================================
% MusE Manual
% this is the MusE manual
%
% (C) 2006 Copyright: Werner Schweer and Others
%====================================================================
%----------------------------------------------------------
% Setup
%----------------------------------------------------------
%\showframe
%\showsetups
\usemodule[chart]
\setupcolors[state=start]
\setupbodyfont[Palatino]
\language[en]
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picture p; numeric o; path a, b; pair c;
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\component figurepath.tex
%----------------------------------------------------------
% Body
%----------------------------------------------------------
\starttext
\language[en]
\mainlanguage[en]
\startstandardmakeup[doublesided=no]
\definebodyfont[10pt,11pt,12pt][rm][tfe=Regular at 48pt]
\tfe\setupinterlinespace
\hfill \color[red]{\M}\par
\hfill \color[blue]{Manual}\par
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\hfill \color[blue]{EN}\par
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\hfill Version 1.0pre1\par
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\vfill
\M\ is hosted on SourceForge:\par
\type{http://sourceforge.net/projects/lmuse}
\blank[line]
This document was created using \pdfTeX\ and the macro package
\ConTeXt\.
\blank
\copyright 2006 Werner Schweer and Others
\stopstandardmakeup
\completecontent
\chapter{Introduction}
\section{Where from and where to go}
There's a long history of sequencers. In the beginning there were
only analogue synthesizers, which could only be played live. The classical
example is presumably the Moog. After the introduction of MIDI, the first
devices appeared where music data could be saved and replayed, in short:
Sequencers. To program these devices, i.e. to record and process music can
rather be compared with assembler programming of computers than with making
music. But soon the first sequencers for computers were developed. At
first, one could only process MIDI data, since the corresponding hardware
capacities were missing. But those developed at high speed and thus the
quality of hardware - and what is most important in this case: sound
cards - improved that much, that one could even do without external tape
drives. Now multi-track audio on-line recordings were possible and there
were even astounding possibilities for the post-editing of large projects.
Hard to believe, but nowadays computers can do even more.
Software-synthesizers in combination with software sequencers
(\M\ for example!) offer apparently unlimited possibilities of
variation. In fact, one can compose without even touching the wheel or
the button of a "real" synthesizer. It will need time, however, until this
software will be affordable, as the prices are immense. That's where \M\
enters the game!
\section{\M\ and its competitors}
Of course there will always be "better" programs or not! This decision is
due to strongly subjective criteria. On the one hand, it depends on what one
is aiming at. On the other hand, it depends on individual technical knowledge
in the field of synthesizers/sequencers. To the time that I write this article,
there are unfortunately no commercial sequencers for Linux, not to speak of
whole studios like Cubase or Logic. So the Linux-user can only choose between
a parallel installation either to Mac (if one has a PPC architecture) or to
Windows (in case of IBM Hardware). But where do those programs actually beat
\M? Certainly not in their price because commercial, proprietary software
is expensive. That's where programs like \M\ become interesting because
everybody can have it for free. Furthermore they are "open source", which is
another important point, because thereby the users get the opportunity of
finding bugs themselves and doing away with them.
Naturally, all projects start small. It's the same with \M. With \M,
Linux enters a new dimension of MIDI and Audio processing. Together with
Jack, even multi-track on-line recordings can be realized. In the the next
few years \M\ will certainly evolve strongly and with some luck there will
be an easier installation and more comfortable manuals.
\section{Features of \M}
Main features of \M:
\startitemize[1,packed]
\head Arranger
The arranger window structures a song into tracks and
parts.
\head Pianoroll Editor
\head Drum Editor
\head Mastertrack
Allows you to edit tempo changes and time signatures
\head Controller Editor
Allows to graphically edit controller values.
\head Recording
Muse allows simultaneous midi and audio recording.
Midi can be recorded non realtime step by step.
\head Editing
Midi and audio editing can be done even during play.
\head LADSPA, JACK etc. compatible
\stopitemize
\chapter{Invoking \M}
\section{Invoking \M}
\M\ is invoked from the command line by typing:
\Cmd{muse}
Optionally, you can use command line options of the form:
\Cmd{muse <options> <project-name>}
\definedescription[Mops][location=left,headstyle=bold]
\Mops{\tt <options>:}
see below for a list of available options.
\Mops{\tt <project-name>:}
name of a \M\ project
\section{Command Line Options}
\M\ accepts some options as listed below:
\blank[medium]
\Option{ -v}print version\par
\Option{ -m}MIDI only mode\par
\Option{ -d}debug mode: no threads, no RT\par
\Option{ -D}debug mode: enable some debug messages\par
\Option{ -i}debug mode: trace midi Input\par
\Option{ -o}debug mode: trace midi Output\par
\Option{ -p}don't load LADSPA plugins\par
\blank[big]
Example:
\Cmd{muse -i mysong}
will add trace midi input and open project mysong on startup.
\section{File types used by \M}
\Filetype{\textasciitilde/.MusE}
\M\ Configuration File (``\textasciitilde� refers to your home directory
aka "/home/tux")\par
\Filetype{\textasciitilde/.musePrj}
Hidden Project File; stores list of last projects\par
\Filetype{.med}
\M\ song file; internal \M format\par
\Filetype{.mid}
midi file; can be imported or exported\par
\Filetype{.kar}
karaoke: midi file with additional information; some types
can be imported\par
\component projects.tex
\component structure.tex
\component miditracks.tex
\startappendices
\component ../gpl.tex
\completeindex
\stopappendices
\stoptext
|
