COUNTRY

© 1996/2002 KEYFAX Software USA

Howdy! Welcome to Twiddly.Bits Volume Five, Country. This disk features MIDI recordings of numerous illustrious players on the country music scene; each item recorded on a MIDI instrument and saved as MIDI data in Standard MIDI File format.

Country music is not, sad to say for the millions of country music fans who own computers, very popular amongst the ‘programming fraternity.’ Hence this collection remains a rare animal in music technology.

Though we went to great lengths to make sure recordings, instrumentation, sensibilities etc were authentic and suitable for many style of country music, this collection contains many parts that can be used well beyond country as well. The rolling banjos work great in house music, the guitar strums will be invaluable to any songwriter, the drums contain many a solid rock beat that can be used in any pop or rock setting.

TTTThhhheeee TTTTeeeecccchhhhnnnniiiiccccaaaallll SSSSttttuuuuffffffffSystem Requirements: MIDI sequencer (on Mac, PC, or workstation). MIDI sound source

(synth, sampler, sound card).

Data format: Standard MIDI File (.mid) Type 1 and Type 0.

Sounds/Default Voices: A GM Program Change message has been inserted into the first guitar track of each file. This will automatically select an appropriate drumkit or Voice on a GM synth or sound card.

Program Changes can freely be erased, ignored, or changed if you want to select your own sound for a part. When erasing or changing PCs we recommend saving changes to a fresh file rather than overwriting. That way the ‘original’ data is always preserved.

This collection has an additional factor in that certain instruments - fiddle, and pedal steel - have been recorded on multiple MIDI Channels to preserve their unique playing styles (double-stopping, internal pitch bending). If you are using a GM sound source the ‘correct’ sounds will automatically be called up. But if you are using pro synths or samplers you need to make sure a suitable patch is assigned to EACH MIDI CHANNEL in the part. See the listings for more details.

Tempo: Files generally default to 120 BPM on this collection. Being MIDI, though, you can insert a part into an existing song and it will play back perfectly in time with (and at the current tempo of) that recording. There is a fairly wide tolerance in terms of tempo, however, so do feel free to experiment.

Format (on disk): Standard format is MS DOS on High Density floppy. Mac format disks are also available and will be indicated by a MAC FORMAT sticker on the exterior of the Jewel Case. Some older workstations cannot read a High Density disks and this product m a y be freely exchanged for a DD disk format direct from KEYFAX. (If you have purchased this product by download we recommend you save the data to a physical storage medium of your own choice for backup.)

File Types: SMF (GM): Our standard files (BSLICKS.MID - containing BasS LICKS etc) are saved as Standard MIDI Files with General MIDI (GM) Program Change assignments. These are the files to use if you are using a GM playback instrument since an appropriate instrument for each part will automatically be called up.

“A” prefix Files pre-fixed with an “A” (ABLICKS.MID etc) c o n t a i n identical performance data, but these are Type 0 files with data saved on a single track, running sequentially. These are primarily designed to streamline usage on a hardware sequencer, or workstation, but they are also good for auditioning purposes.

“Z” prefix If you are working with pro synths, and samplers that do not conform to GM, files pre-fixed with a “Z” (ZBLICKS.MID, ZBANJOS.MID etc) are saved without any GM Program Change assignments.

All additional file types are just duplicates of our standard files (the ones that are listed in this manual) so don’t worry if these are the only ones you can access. You are not missing out!

MIDI Channels: Please the MIDI Channel chart for default channels on parts. While most instruments here use a single MIDI channel for playback, fiddle, and pedal steel use multiple channels in order that the specific nature of their playing style (internal pitch bending, double-stopping, can be preserved in MIDI.

The Demo The file A1DEMO is a short amalgam of some of the following files. No cheating, either. Unadulterated files only were used. Track 2 of the demo file will call up special sound effects if you are playing the demo back on a Roland Sound Canvas based instrument. Having played the demo, if you want to reset your Sound Canvas, Track 3 on this file contains a GS reset. Simply solo this track and hit play on your sequencer. Bingo. Back to normal!

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SETTING UP (using GM sound source)

With your GM sound source connected, load a file, EG BLICKS.MID, into your sequencer. Select one track (solo it , or else mute all the others), and press Play.

SETTING UP (NOT using GM sound source)

Load a Twiddly.Bits file prefixed with “Z” into your sequencer and select one track (solo it , or else mute all the others). Match the MIDI channel of your sound source to that of the file (see MIDI Channel Assignments). Select an appropriate sound on your instrument, and press Play.

PITCH BEND

While most instruments on this collection use a standard pitch bend range of +/- 2, others use a wider range to preserve the nuances and subtleties of their playing style. In each file Track 1 is a ‘SetUp” track which will automatically set up the required pitch bend rang on any sound source. To do this simply solo the track and press play. You should only need to do this once unless or until you reset or change your instrument. e If you want to ‘play along’ to one of these you may find the pitch bend range too wide for regular keyboard driven playing. The cure: 1. Don’t use pitch bend - leave that to Twiddly.Bits. 2. Set up another Part using the same sound but with a more standard +2 pitch bend range, and run them concurrently.

MIDI CHANNEL & PITCH BEND ASSIGNMENTS

CH 1. . .FIDDLE (+2) CH 9 . .BASS (+12)CH 2. . .FIDDLE (+2) CH 10. .DRUMS CH 3. . .FIDDLE (+2) CH 11. .PEDAL STEEL (+12)CH 4. . .FIDDLE (+2) CH 12. .PEDAL STEEL (+12)CH 5 . . BANJO (+12) CH 13. .PEDAL STEEL (+12)CH 6 . . GUITAR (+12) CH 14. .PEDAL STEEL (+12)CH 7 . . SLIDE GUITAR (+12) CH 15. .HARP (+12)CH 8 . . PIANO

KEYS

In most cases parts are saved to “C” in terms of notes, or chords, or sensibilities. This allows you to transpose a part quickly and easily to the key you are playing in.

AUDITIONING PARTS

Follow the instructions for setting up. Load a file into a spare pattern of your sequencer and listen to a selection of parts you think may fit your current needs. Copy a part from a Twiddly Bits MIDI File into your sequence, onto a spare track. Using any of the following: your ears, common sense, suggestions in this manual per file, move the part about using whatever tools are available in your sequencer - delays, cut, copy, and paste, transpose, reverse play etc - until you are happy with the final result.

INSERTING PARTS FOR KEEPS

Once you are happy with a part you can, if you like, simply leave it on its separate track to be saved along with the rest of your data. If you want to incorporate it into an existing track then just merge the two tracks together.

MAKING CHANGES

Please feel free to alter, and customize parts as you wish. In general, General Instruments offers standard chords in standard timings. Chords can easily be changed by going into the edit pages of your sequencer and changing a note here and there. For instance a major chord can be quickly turned into a minor one just by flattening all the ‘thirds’ (ie all the Es to D#s in C major). A major run, similarly, though you may have to flatten all the Bs into A#s as well. Explore, and experiment.

When recording changes watch out for:

• Duplicated notes (and remove them).• Unnecessary Program Change Messages.• Mismatched volumes and/or unnecessary volume data.

TRICKS OF THE TRADE

We hope you will find this product fun, invaluable when it comes to spicing up your music, and instructional. If you find a particular run, or lick, or pattern appealing, call up the note editing pages of your sequencer and see exactly how it has been played and what the notes are.

Twiddly.Bits is not a sequencer. Nor is it designed as a specifically interactive piece of software in itself. It is raw data presented in formats aimed to offer the largest amount of people the speediest initial access. You may find it best to re-save the data in a format that will give you greater flexibility in terms of on-going access, or application, for your particular sequencer.

Be creative, and have lots of fun!

THE CREDITS

These files were played by Scott Joss, Jonn Savannah, Milton McDonald, Steve Hackett, Hugo Degenhardt, Johnny Evans, Stuart Sawney, Andy Shillito, Tom Anderson, Rick Fitzgerald, Bill Purse, and Julian Colbeck. Recording took place in America and England during 1995.Programming: David Spiers.

Thanks to Anthony England, Billy Budis, Phil Hasken, Drew Tretick, Brian Nunney, Dave Marshall, Geoff Miller. Thanks also to Roland UK Ltd, Zeta Music Systems Inc., and Union Grove Music in Santa Cruz. Instruments/Systems used include: Roland GR-09, GK-2, GI-10 systems, Zeta Violin MIDI Controller VC-225, Kat Drumkat, Roland keyboards. America Online & CompuServe both sped files across the USA and across the world during the preparation of this disk.

LICENSING AGREEMENT

The musical performances contained in this product are licensed to you for the purpose of incorporating them into songs or arrangements. No license fee or permission is required for any and all such usage. The individual, original material remains © 1994/2002 KEYFAX Software and may not be transferred or re-sold ‘as is.’

You can contact KEYFAX Software USA at:

• Mail: PO Box 958 Aptos, California 95001-0958, USA. • Phone: 831-460-0172. • Fax: 831-460-0173• Email: info@keyfax.com• Web: www.keyfax.com

• May we also recommend use of the User Forums on keyfax.com where you can not only get one-on-one advice from us, but also valuable impartial advice from fellow users of Keyfax products.

BANJO

BJENDS.MID “Banjo endings”GM PC# 105MIDI CH 5Tracks: 3Some typical ending phrases.

BJLICKS.MID “Banjo licks” GM PC# 105MIDI CH 5Tracks: 15Banjo licks: Mainly short runs or patterns good for links or question & answer phrases

BJRIFFS.MID “Banjo riffs”GM PC# 105MIDI CH 5Tracks: 15Banjo riffs: Patterns good for looping, as rhythm or accompaniment parts. Riffs 4 & 8 are diminished chords. Riffs 10, 11, are minor chords. Riff 14 is a seventh.

BJSTRUMS.MID “Banjo Strums”GM PC# 105MIDI CH 5Tracks: 6Banjo strums: From repeated single strokes to patterns. B/HIT sounds odd by itself but adds flourish to a note or phrase. Copy B/HIT to the upbeat of the part you want to enhance.

BASSBS34LICK.MID “Bass licks”GM PC# 33MIDI CH 9Tracks: 7Bass licks in 3/4 time: Some short some long. Lick 2 is a run-up so starts at beat 1 2 3 15 rather than beat one.

BS34RIFF.MID “Bass riffs in 3/4” GM PC# 33MIDI CH 9Tracks 10Bass riffs in 3/4 time: Simple parts, mostly root and fifth.

BS64LICK.MID “Bass licks in 6/4” GM PC# 33 .MIDI CH 9Tracks 10Bass licks in 6/4 time: Linking parts. Licks 7 & 8 are tasty seventh slides

BS64RIFF.MID ”Loopable bass riffs in 6/4”GM PC# 33MIDI CH 9Tracks 12Bass riffs in 6/4 time: These are general purpose riffs, designed for looping.

BSLICKS.MID “Straight bass licks”GM PC# 33MIDI CH 9Tracks: 15Bass licks in 4/4. Mostly short parts. Licks 1, 2, 3, & 4 are run-ups.

BSRIFFS1.MID “Simple bass riffs”GM PC# 33MIDI CH 9Tracks: 15Bass riffs in 4/4. From simple to groovy. Make a 1-bar loop of Riff 3 and try to keep still!

BSRIFFS2.MID “More simple bass riffs”GM PC# 33MIDI CH 9Tracks: 5Bass riffs in 4/4. More of above.

DRUMSDR2BTFIL.MID “Short drum fills” GM PC# 40 MIDI CH 10Tracks: 162-beat style fills: Short fills on brushes using GM Brush Kit.

DR2BTPAT.MID “2-beat patterns” GM PC# 40 + 32MIDI CH 10Tracks: 16Patterns that mainly use kick, brush snare, and hi-hats. Some patterns use the GM Jazz Kit.

DRCKFILL.MID “Rocky drum fills”GM PC# 32MIDI CH 10Tracks: 6Short, punchy drums fills to go with the rockier patterns, see below.

DRCKPAT.MID “Simple country/rock patterns”GM PC# 32MIDI CH 10Tracks: 16Rock-influenced drum patterns: Simple, but hard-hitting. Some are 2-bar, some 4-bar. Tracks 10-16 have a distinct triplet feel.

DRSLOW64.MID “Slow patterns in 6/4”GM PC# 32MIDI CH 10Tracks: 15Slow grooves and fills in 6/4 time: Some nice lazy fills. Good cymbal work.

FIDDLEGeneral Note: #1. These were played on a real violin using the Zeta pickup system, on which the information from each string is stored on its own MIDI channel in order for the nuances of individual strings to be retained. Because this data is extremely complex it may not be quite as customizable as other, single MIDI channel instruments on this disk. However, have a go!

#2. Violin sounds vary alarmingly from GM instrument to GM instrument. While we have taken care to present data in as broad a setting as possible, we cannot be held responsible for your lousy fiddle sounds - if that is what your instrument possesses! From our experience, Roland Sound Canvas has the best GM Violin.

F34ENDS.MID “Endings”GM PC# 110MIDI CH 1-4Tracks: 2Fiddle endings in 3/4 time: F34END 2 starts at 1 3 1 1.

F34LICKS.MID “Licks in 3/4 time”GM PC# 110MIDI CH 1-4Tracks: 16Fiddle licks in 3/4 time: Linking phrases, some quick some slow. Good question & answer lines. Lick 7 is a wonderful, lilting 6-bar phrase.

FENDS.MID “Endings in 4/4”GM PC# 110MIDI CH 1-4Tracks: 14Fiddle endings: Mostly short; some single string, some double-stopping. These files show off many different bowing techniques. Bendriff 2 can easily be looped.

FBITS.MID “Bits and pieces” GM PC# 110MIDI CH 1-4Tracks: 15All-purpose scrapes, dramatic flourishes, and bits and pieces. Again, shows off the various bowing techniques. Very useful.

FCHORDS.MID “Chords”GM PC# 110MIDI CH 1-4Tracks: 6Fiddle chords: multi-string chords.

FDVLRIFF.MID “Classic - and classical - riffs”GM PC# 110 MIDI CH 1-4Tracks: 9Fiddle/Violin riffs: Of a more classical nature. Riff 6 is spectacular. You can loop it of sorts from 1 2 3 1 to 3 2 1 1.

FENDS.MID “Endings”GM PC# 110MIDI CH 1-4Tracks: 12Fiddle endings: All manner of ending styles and phrases. F/END 12 is a classic.

FLICKS.MID “Dramatic licks”GM PC# 110MIDI CH 1-4Tracks: 16Fiddle licks: Some dramatic flourishes, some short bits. Lick 1 is an excellent phrase in itself.

FRIFFS1.MID “Fiddle riffs”GM PC# 110MIDI CH 1-4Tracks: 13Plenty of earthy riffs here. Folk as well as country style.

FRIFFS2.MID “More fiddle riffs” GM PC# 110MIDI CH 1-4Tracks: 15More of the same, with some particularly good double stopping phrases. Jigs. Riff 15 is practically a verse in itself.

FRUNS.MID “Fiddle runs” GM PC# 110MIDI CH 1-4Tracks: 16Mainly fast run-ups; splashes of color. Cut and paste the runs into your own phrases to add some sparkle.

FSLIDES.MID “Slides”GM PC# 110MIDI CH 1-4Tracks: 13Fiddle slides: Some cheeky, crazy stuff here. Excellent for adding character. The fun pack!

GUITARGSTSLIDE.MID “Slide guitar lines” GM PC# 25 . MIDI CH 7Tracks: 13Slide guitar: some simple lines and movements

GTBENDS.MID “Bends”GM PC# 24MIDI CH 6Tracks: 12Guitar bends: Component parts. Some nice finger vibrato on BND/U3.

GTENDS.MID “Ending phrases”GM PC# 24MIDI CH 6Tracks: 7Guitar ending phrases: All styles.

GTLICKS1.MID “Assorted licks”GM PC# 24MIDI CH 6Tracks 15A good cross-section of phrases, the longer ones coming more towards the end. Good links.

GTLICKS2.MID “More licks”GM PC# 24MIDI CH 6Tracks: 15More of the same. Though acoustic guitar is the default instrument electric guitar works equally well.

GTPICKIN.MID “Picking parts”GM PC# 24MIDI CH 6Tracks: 15Fast finger picking styles designed to be looped. The basis of many a song, here.

GTTRILLS. MID “Trills”GM PC# 24MIDI CH 6Tracks: 9A broad range of trills and ornaments at various speeds and intensities. Track names should make what’s what self-evident.

GTSLIDES.MID “Slides” GM PC# 24MIDI CH 6Tracks: 10As opposed to slide guitar. Classic component parts. Cut and paste to fit.

GTSLOPICK.MID “Slow fingerpicking patterns” GM PC# 24MIDI CH 6Tracks: 15Guitar, slow finger picking patterns: A wide range, that works equally well on electric guitar sounds.

GTSLOPK2.MID ““Slow fingerpicking patterns” GM PC# 24MIDI CH 6Tracks: 6More of the above.

GTSTRUM1.MID “Strums”GM PC# 24MIDI CH 6Tracks: 15Invaluable strumming patterns. STRM 1 even works well on an accordion sound for a Cajun groove. The 2-bar STRM 13 is excellent looped at either just bar 1, or just bar 2

.

GTSTRUM2.MID “More strums”GM PC# 24MIDI CH 6Tracks: 5Don’t assume a second pattern contains out takes! STRM17 is classic. STRM19 loops over 3 bars for a 12/8 feel.

HARP (Harmonica)HBENDS.MID “Harp bends” GM PC# 22MIDI CH 15Tracks: 8Plenty of character in these simple motifs.

HCHORDS.MID “Chords”GM PC# 22MIDI CH 15Tracks: 10Harp chords: There’s a few lines in amongst the chords. You should be able to assemble some nice accompaniments.

HLICKS.MID “Various licks”GM PC# 22MIDI CH 15Tracks: 12Short but typical fireside licks.

PIANOHONKYTNK.MID “Honky tonk parts”GM PC# 4 MIDI CH 8Tracks: 12Honky Tonk piano parts: From barrelhouse to ragtime & stride. Great fun mixing and matching.

PNOENDS.MID “Endings” GM PC# 1MIDI CH 8Tracks 5A good cross section from simple to flash.

PNOGRV64.MID “Parts in 6/4 time” GM PC# 1MIDI CH 8Tracks: 7Piano grooves in 6/4 time. Slow; in both major and minor.

PNOGRVS.MID “General purpose parts (in 4/4)”GM PC# 1MIDI CH 8Tracks: 11Piano grooves in 4/4 time. From fast to slow, boogie to rocky. Good for building up songs. P/Simp3 is particularly easy to change from major into minor: Go into your sequencer edit pages and change the two E3s into D#3s.

PNOLICKS.MID “Licks”GM PC# 1MIDI CH 8Tracks 15General purpose parts for solos or flourishes.

PNOLNK64.MID “Links”GM PC# 1MIDI CH 8Tracks: 10Piano links in 6/4 time. Especially, but not solely for PNOGRV64 files. The occasional lick from here will add color and interest to most any part.

PNORIFFS.MID “Riffs”GM PC# 1MIDI CH 8Tracks: 12Piano riffs: Lively, sharp, rhythmic riffs. Good for single insertions or looping.

PNOTRILL.MID “Trills” GM PC# 1MIDI CH 8 .Tracks: 11Piano trills. Trills and turns. The rather awkward sounding Trill 6 works well in real life as you can hear on the demo

PEDAL STEELGeneral Note: As with the fiddle parts these have been created and recorded on multiple MIDI channels, making the data complex and so relatively difficult to customize. General MIDI has no Pedal Steel sound as such. If you are using a Roland Sound Canvas based instrument, Track 2 on the following files will call up the hidden Hawaiian Guitar preset, which works very well. Other GM instruments must call up a pedal steel facsimile manually. And please remember to set this for MIDI chs 11-14. PSTBENDS.MID “Pedal steel bends”GM PC# see aboveMIDI CH 11-14Tracks: 14Pedal Steel bends: These parts might sound simple and bland on their own ut in context they’ll add enormous depth and atmosphere.

PSTLICKS.MID “Pedal steel licks”GM PC# see #1 above.MIDI CH 11-14Tracks 11Pedal steel licks: Again, simple but highly effective

Recommended Related Products YOU NEED WE RECOMMEND

More Strums 1. Electric & Acoustic Guitar2. Guitar Grooves

More Drums 1. Drums & Percussion

More Bass 1. Bottoms Up

To find out more about these titles please visit www.keyfax.com

© 1996/2002 KEYFAX Software USA