

.  ..s..s.s.ssss.
:  ::$::$:$:$$$$$
`  ``ý``ý`ý`ýýýý'.$$$     .$$$ $$$$$$$$$$ .$$$   .$$ .$$$ .$$$$$$$$$$ .$$$$$$$$
   .  . . .$$$$ .$$$$    .$$$$ $$$   .$$'.$$$'  .$$'.$$$'.$$$$'  .$$'.$$$' .$$'
  .  . . .$$$$'.$$$$$   .$$'.$ $$$  .$$'.$$$'  .$$'.$$$'.$$$$'  .$$'.$$$' .$$'
 .  . . .$$$$'.$$$$'$  .$$'.$$ $$$ .$$'.$$$'  .$$'.$$$'.$$$$'      .$$$'
.  . . .$$$$'.$$$$'.$ .$$' $$$ $$$$$$'.$$$'  .$$'.$$$' $$$$$$$$$$'.$$$$$'
  . . .$$$$'.$$$$' $$.$$'  $$$ $$$   .$$$'  .$$'.$$$'        .$$'.$$$'  ..
 . . .$$$$'.$$$$'  $$$$'   $$$ $$$  .$$$'  .$$'.$$$'   .$   .$$'.$$$' .$$'
. . .$$$$'.$$$$'   $$$'    $$$ $$$ .$$$'  .$$'.$$$'   .$$  .$$'.$$$' .$$'
 . .$$$$'.$$$$'    $$'     $$$ $$$ $$$$$$$$$' $$$$$$$$$$$ $$$'.$$$$$$$$' .cC!

        ..                                                           ..
    .s$$$$$. .sssssssssssssssssssssssssssssssssssssssssssssssssss. .$$$$$s.
   `$$.  `$$.   .ssss. .ssss. .ssss. .sss. .s  ss .sss. .ssss.    .$$'  .$$'
    `$$   `$$   ýss.`$ $. ``$ $' .$$ $. `$ $$.sý' $. `$ $. ``$    $$'   $$'
  ds.`$ ds.`$     $$ ' $$ssý' $ssý$$ $$    $$S    $$ý   $$ssý'    $'.sb $'.sb
 $$$$.$ $$$.$     $$   $$`ýs. $   $$ $$..$ $$`ýs. $$..$ $$`ýs.    $.$$$ $.$$$$
 Y$$$$'.$$$$'.cC! ýý   ýý  ýý ý   ýý `ýýý' ýý  ýý `ýýý' ýý  ýý    `$$$$.`$$$$Y
  `ý'   `ý'  `ýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýýý'  `ý'   `ý'
     

                                 User's Manual



 1. Introduction
  1.1  What is Impulse Tracker?
  1.2  About Impulse Tracker
  1.3  Running Impulse Tracker
  1.4  Technical information about Impulse Tracker

 2. Using Impulse Tracker
  2.1  Playing songs
  2.2  Pattern editor
  2.3  Order list, channel panning & volume
  2.4  Samples
  2.4.1 Information about samples
  2.4.2 Sample functions
  2.5  Instruments
  2.6  Song Variables
  2.7  Hey! This program looks like Scream Tracker 3!!!
  2.8  Gravis UltraSound / Interwave / AWE32 users.

 3. Before you write to me (Important notes)

 4. Closing words

 5. How to get the latest version of Impulse Tracker

 6. Legal stuff


 ** Please note that this document hasn't been udpated in a long time.
 ** Some information may be missing, which may be present in supplementary
 ** files such as DRIVERS.TXT, FILTERS.TXT, MIDI.TXT, UPDATE.TXT, etc.

 1. Introduction
        If you are familiar with tracker programs, then you could probably
        skip through most of this document. (I strongly suggest that ANYONE
        print out SUMMARY.TXT though, for a list of effects and editing
        commands.) For those of you who have had experience with Scream
        Tracker 3, read section 2.7. This should detail most of the major
        differences between Scream Tracker 3 and Impulse Tracker. For those
        of you who are unfamiliar with tracker programs it would probably be
        best to print out this document, and then refer to it as you work
        with the program.

        Check out the file UPDATE.TXT. If this document contains conflicting
        information with what's listed in UPDATE.TXT, then follow what
        UPDATE.TXT contains, as I may have forgotten to update this text.

  1.1  What is Impulse Tracker?
        Impulse Tracker is a program used to create high quality music
        without the requirements of specialised, expensive equipment. The
        hardware requirements should be easily met: Any IBM 386+ compatible
        computer (although a 486+ is recommended), and a VGA or higher video
        card. If you want to hear sound, you'll need one of the following:

            þ Sound Blaster series (or most compatibles)
            þ Pro Audio Spectrum
            þ Windows Sound System
            þ ESS ES1868 AudioDrive
            þ Ensoniq SoundscapeVIVO
            þ EWS64XL Soundcards
            þ Gravis UltraSound
            þ Interwave based board
            þ Generic MPU401 for MIDI Input/Output
            þ DAC on LPT1/LPT2
            þ PC Speaker

        Note that stereo effects (including surround sound) can only be
        experienced on software mixed stereo cards. Hardware mixed soundcards
        support panning, but do not support surround sound.

        You'll need about 500k of conventional memory to get the program
        running - about 600k to have it load almost any song (as long as you
        have an EMM driver - samples are stored in EMS when possible, otherwise
        the songs that you are able to load will be limited even further!).
        If you use EMM386.EXE, add "H=255" at the end of it to prevent
        "Out of memory" messages when you still have EMS remaining. If
        you're using some other memory manager, check it's documentation
        to see how to increase the number of "memory handles".

        Impulse Tracker supports direct control over 64 channels, and can
        load and play the following formats: S3M, MTM, MOD and of course,
        IT. At the moment, modules can only be saved in the IT and S3M
        formats.

        The number of channels playable on hardware mixed soundcards is
        limited by the hardware. Check DRIVERS.TXT for specific details
        on your soundcard hardware.

        The Gravis UltraSound can only play 32 channels, although this
        shouldn't be too much of a limitation. Note that if you put notes
        in channels 33->64 in sample mode using a Gravis, you WILL NOT hear
        these notes! (There's an explanation of sample mode much later on,
        just keep it in mind if you own a Gravis UltraSound - it shouldn't
        cause any problems.) The same restriction applies for the Sound
        Blaster AWE 32, but to 30 channels. (ie. notes in channels 31->64
        will not cause any sound)


  1.2  About Impulse Tracker.
        Impulse Tracker began simply as an extension to Scream Tracker 3
        (which should be quite obvious to Scream Tracker 3 users, due to
        the interface.) At first, I only intended a couple of extra
        features (eg. proper panning and a couple of other interesting
        functions), but with the release of Fast Tracker 2, it became obvious
        that there were many areas in which Scream Tracker could be improved.
        In spite of all the limitations of Scream Tracker 3 (in comparison
        to Fast Tracker 2, which offered Volume/Panning Envelopes, 16-bit
        samples, Samples > 64k, an in built sampler, proper stereo panning
        on SB16, etc. etc), there were still more .S3M releases than there
        were .XM releases! And the reason must have been within the way
        you WRITE music with Scream Tracker 3. That's why I've used the same
        simple and QUICK interface that Scream Tracker 3 offered. And I've
        also incorporated all the power of Fast Tracker 2 and more!

        The Tracker was written in 100% Assembler. All the routines are of
        my own coding (That's why some of them suck so much :) ).
        The program was written on and off during 1995, but most of the
        work was completed in the summer holidays of '96. The source code
        is over 100,000 lines long and occupies over 3MB. The Tracker runs
        entirely in text mode (!) with some neat remapping of characters
        (that's why I haven't been able to use colours to help in some places
        ie. making the volume envelope nodes a different colour would have
        made it easier to use!).

  1.3  Running Impulse Tracker.

        Win95 Users - ignore all this HIMEM and EMM386 stuff.. as long as
        you don't have "noems" or "noframe" as a parameter to EMM386 in your
        config.sys file, it'll work fine. If you have no idea what I'm talking
        about, you can probably assume it's fine :) (unless you get "out of
        memory messages")

        Impulse Tracker uses EMS. If you want to be able to load large songs,
        you need the following lines in your CONFIG.SYS file (on your boot
        drive)

                DEVICE=<path>\HIMEM.SYS
                DEVICE=<path>\EMM386.EXE RAM H=255

        eg. if the files are in your C:\DOS directory, you need this:

                DEVICE=C:\DOS\HIMEM.SYS
                DEVICE=C:\DOS\EMM386.EXE RAM H=255


        If you use QEMM, use the following line instead:

                DEVICE=<path>\QEMM.SYS DMA=64, HANDLES=255

        If you want to run Impulse Tracker in Windows 95, check out WIN95.TXT

        To find out details about the driver for your soundcard, check through
        DRIVERS.TXT.

        Most users should not require any command line switches, however
        the following are available:

          SFilename.Drv - Sets sound driver to use. eg. IT /sITIW.DRV
                          this may become necessary as new sound drivers
                          are released.

          S#      Set sound card
                   S0 = No sound card (silent mode)
                   S1 = PC Speaker
                   S2 = Sound Blaster
                   S3 = Sound Blaster 2
                   S4 = Sound Blaster Pro
                   S5 = Sound Blaster 16
                   S6 = Sound Blaster AWE 32
                   S7 = Gravis UltraSound
                   S8 = Interwave
                   S9 = Pro Audio Spectrum
                   S10 = Pro Audio Spectrum 16
                   S11 = Windows Sound System
                   S20 = .WAV writer device

                  If this parameter is omitted, then a (hardware) detection
                  routine is used. Check DRIVERS.TXT for specific information
                  on the various drivers.

          Axxx    Set Base Address of sound card (hex)
          D#      Set DMA of sound card (decimal)
          I##     Set IRQ of sound card (decimal)

          M#####  Set Mixspeed. Values are accepted between 0->65535,
                  however, the soundcards have hardware limits which will
                  override the command line switch. Again, check DRIVERS.TXT
                  for specific information on your sound driver.

          L###    Limit number of active channels

                  When you limit the number of channels, you are limiting the
                  number of notes that you can hear on playback. In a "Sample"
                  controlled song (explained later), the result is that if you
                  play a 16 channel piece with the limit at 4 channels, then
                  you will lose the last 12 channels! Even if the first 4
                  are not playing anything. In an instrument controlled song,
                  the result is that you will hear 4 notes at most, which can
                  be controlled from any of the 64 channels, excess notes will
                  be lost. (The reason for this is within the channel
                  allocation routines.)

                  Note that the hardware mixed devices (eg. Gravis UltraSound,
                  AMD Interwave and Sound Blaster AWE32) cannot play more
                  than a certain number of channels (drivers.TXT will provide
                  the exact details).

                  If you are new to tracking and didn't understand what I was
                  just talking about, hilight this section with a marker
                  (you've printed this out, right?), and in your dabblings,
                  if you notice that some notes aren't being played, reread
                  this section. It should make sense by then, and the reason
                  hopefully lies in the above paragraphs.

          V1      Override VGA detection routine.. in case you DO have a
                  VGA and the program doesn't recognise it. If characters
                  look weird, you may need to use this switch to override
                  the Matrox mode autodetect.

          V2      Force Matrox mode. Use this switch if you get garbled stuff
                  appearing on your screen

          R       Reverse stereo channels.
                  This is only really useful on the SB16. (Swaps left/right
                  outputs). The Sound Blaster Pro stereo setting routines
                  aren't accurate, and will sometimes set the left to left
                  and right to right (how it's supposed to be), and
                  sometimes set the left to right and right to left (how
                  it's not supposed to be :) ).
                  You can also switch left/right channels in IT by pressing
                  Alt-R on the info page.

          C       Control playback in DOS Shell.
                  When this option is on, the following keys will operate
                  within the DOS Shell:

                   Right-Alt:   Stop playback
                   Right-Ctrl:  Play song (if not already playing)
                   Grey Plus:   Increase global volume
                   Grey Minus:  Decrease global volume

                  Warning: There are problems on some computers with this
                           enabled! If your keboard locks up, it may be
                           necessary to press the left ctrl/alt to "unfreeze"
                           it... sometimes (other times.. I don't know!)

         F        Disable file colour distinctions.
                  When this is on, all file colours will appear the same as
                  the background colour. This is just to make it easier to
                  redo the palette to your liking more easily.

  1.4 Technical Information

        Formats supported
          Modules:
            MOD (M.K., M!K!, 4CHN, 6CHN, 8CHN, xxCH, FLT4, FLT8)
            669 (Composer 669, Unis669)
            MTM (MMEdit files)
            S3M (Scream Tracker 3 files)
            XM  (Fast Tracker 2 files, DigiTracker 3 files)
            IT  (Impulse Tracker 1.xx, 2.xx files)

          Samples:
            S3I (Scream tracker sample, 8 bit or 16 bit)
            IFF (Fast tracker 2 sample, 8 bit or 16 bit)
            WAV (Microsoft WAV, 8 bit or 16 bit)
            Wxx (TX Wave format samples)
            ITS (Impulse tracker sample, 8 bit or 16 bit)
            RAW (Raw sample information, assumed 8 bit)
            PAT (Gravis UltraSound patches)
            KRZ (Kurzweil Synth files)
            MOD (Samples from almost all .MOD formats)
            PTM (Samples from Poly Tracker modules)
            669 (Samples from 669 and 669 Enhanced modules)
            FAR (Samples from Farandole composer modules)
            MTM (Samples from MMEdit modules)
            S3M (Samples from Scream Tracker 3 modules)
            XM  (Samples from Fast Tracker 2 modules)
            IT  (Samples from Impulse Tracker 1.xx, 2.xx modules)

          Instruments:
            XI  (Instruments from Fast Tracker 2)
            ITI (Instruments from Impulse Tracker)
            XM  (Instruments from Fast Tracker 2 modules)
            IT  (Instruments from Impulse Tracker 1.xx, 2.xx modules)

        Modules
          99 Samples maximum
          99 Instruments maximum
         200 Patterns maximum (from 32-200 rows per pattern)
         256 Orders maximum
          64 Channels under direct control
         256 Channels maximum for virtual control (64 max default)

        Samples
          8/16 bit samples
          Maximum size around 4MB
          No Loop/Forwards/Ping pong loop
          Default pan for samples (optional)
          Vibrato parameters

        Instruments
          25-point Volume/Panning/Pitch envelopes
          Default pan for instruments (optional)
          Pitch pan separation
          Volume / panning swing
          Virtual controls (*REALLY* worth understanding)
          MIDI Output controls

        Sound Devices
          Generic MPU401
          Sound Blaster 1.xx, 2.xx (8 bit mono)
          Sound Blaster Pro (8 bit stereo)
          Sound Blaster 16 (16 bit stereo, MIDI In supported)
          Sound Blaster AWE 32 (16 bit stereo, hardware mixing, MIDI In &
                                MIDI Out supported)
          Pro Audio Spectrum (8 bit stereo)
          Pro Audio Spectrum 16 (16 bit stereo)
          Windows Sound System card (16 bit stereo)
          ESS ES1688 AudioDrive (16 bit stereo)
          ESS ES1868 AudioDrive (16 bit stereo, MIDI In supported)
          ESS ES1869 AudioDrive (16 bit stereo)
          Gravis UltraSound (16 bit stereo, hardware mixing)
          Interwave based board (eg. GUS PnP, Dynasonix, 16 bit stereo,
                                     hardware mixing, MIDI In & MIDI Out
                                     supported)
          EWS64XL (Codec driver, 16 bit stereo)
          Sound Track '97 PCI (16 bit stereo)
          DAC on LPT1/LPT2 (8 bit mono)
          PC Speaker (very final option not recommended... )

        MIDI Output
          Supports 128 MIDI Macros
          Supports 16 parmaeterised MIDI Macros
          Internal handling of conflicting notes
          Fully configurable output messages


 2. Using Impulse Tracker
        Before any specific details of how to use the tracker, it may be
        worth knowing these few "editing" keys:

      When using Thumbbars.
       Pressing Left and Right arrows will shift the values left/right
       Holding down Ctrl while pressing left/right will move them quicker
       And Shift-Left/Right will move them even quicker....
       But just typing in a number will get you directly to the desired value!

      String (text) entry.
       Nothing special here (and the routines need to be rewritten), but
       pressing Ctrl-Backspace will clear the entire text..

      Numerical entries (of the 7 digit or 3 digit variety)
       Pressing '+' or '-' will increase/decrease the value by 1. This is
       especially useful when modifying loop values.

  2.1  Playing songs
        If you are like most of us, you would have run the program first,
        and probably figured out how to do this yourself. Songs are simply
        loaded by pressing F9 at any time (to invoke the file load menu)
        and then selecting a song by pressing Enter. You can also type the
        first few characters of a filename, and a "search" will be made for
        the first match.

        Note that on all the file menus in Impulse Tracker, you can also
        delete files by pressing Delete.

        After loading a song, use F5 to play it and F8 to stop. The Info
        Page should appear, and you can cycle through views using
        PgUp/PgDn. Separate view windows can be created by pressing Insert
        (and removed by pressing delete) and these separate windows can
        each have a different view method.

        Details (ranges follow in brackets):
         Frequency - the speed (pitch) at which the sample is played in
                     samples per second
         Position  - the offset in a sample (in bytes)
         Smp       - The sample currently being played (1->99)
         FVl       - The final volume of the sample, taking into account
                     all the scaling factors (viz global volume, sample vol,
                     envelope volume, channel volume and fadeout) (0->128)
         CV        - Channel volume (0->64)
         SV        - Sample volume (0->64)
         VE        - Envelope volume (0->64)
         Fde       - Fadeout component (0->512)
         Pn        - Panning (0->64, Su = surround)
         PE        - Panning envelope value (0->32)
         NNA       - The current NNA (Cut/Con/Off/Fde)
         Tot       - The total number of active virtual channels 'owned' by
                     the channel

        If you're looking for some songs to play, check out the following
        places:
         ftp.cdrom.com/pub/demos/music [huge collection!]
         kosmic.wit.com/kosmic/songs
         ftp.uni-muenster.de/pub/sounds
         archie.au/pub/aminet/mods

  2.2  Pattern editor (F2)
        The pattern editor allows you to edit patterns. For those of you
        who are familiar with music, patterns can be thought of as "bars",
        and the order in which these "bars" are played is determined by
        order list. For those of you who are not familiar with music,
        consider patterns as a small collection of notes. Impulse Tracker
        supports up to 200 different patterns - it *IS* quite a lot more
        than it may initially sound!

        Each pattern can range in length between 32 and 200 rows. You can
        change this value by using the "Pattern Editor Configuration" screen by
        pressing F2 when alredy in the Pattern Editor. (If you want to change
        the number of rows of several consecutive patterns, use Ctrl-F2)
        The other options available are the base octave (explained later),
        the skip value (also explained later), the row hilight major and
        minor (which determines the distance between the emphasized rows)
        and the command/commandvalue link/split option, which determines
        whether when editing, the cursor should move downwards when entering
        an effect, or across to the effect value columns.

        The pattern editor appears normally as 5 'channel' columns as such:
        (You can configure the pattern editor .. press F1 in the pattern
         editor, then page down to find the Track View options.)

        ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
        ³C-5 01 23 A02³E-5 02 64 D01³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³
        ³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³
        ³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³
        ³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³
        ³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³
        ³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³ùùù ùù ùù .00³
                        ^   ^  ^  ^
     Component Columns: 1   2  3  4

        What the component columns mean:
         1) The first column contains the note and octave of the note.
            Notes are entered by using the keyboard as such:

    (Note)         C# D#    F# G# A#    C# D#    F# G# A#    C# D#
                ³ ³ ³³ ³ ³ ³ ³³ ³³ ³ ³ ³ ³³ ³ ³ ³ ³³ ³³ ³ ³ ³ ³³ ³ ³
                ³ ³ ³³ ³ ³ ³ ³³ ³³ ³ ³ ³ ³³ ³ ³ ³ ³³ ³³ ³ ³ ³ ³³ ³ ³
    (What you   ³ ³S³³D³ ³ ³G³³H³³J³ ³ ³2³³3³ ³ ³5³³6³³7³ ³ ³9³³0³ ³
     type)      ³ ÀÂÙÀÂÙ ³ ÀÂÙÀÂÙÀÂÙ ³ ÀÂÙÀÂÙ ³ ÀÂÙÀÂÙÀÂÙ ³ ÀÂÙÀÂÙ ³
                ³ Z³ X³ C³ V³ B³ N³ M³ Q³ W³ E³ R³ T³ Y³ U³ I³ O³ P³
                ÀÄÄÁÄÄÁÄÄÁÄÄÁÄÄÁÄÄÁÄÄÁÄÄÁÄÄÁÄÄÁÄÄÁÄÄÁÄÄÁÄÄÁÄÄÁÄÄÁÄÄÙ
    (Note)        C  D  E  F  G  A  B  C  D  E  F  G  A  B  C  D  E
                 (Octave 0)           (Octave 1)           (Octave 2)

            (For those of you with AZERTY keyboards, you will find that
             the keys should work as positioned on the keyboard, rather
             than having to figure out QWERTY equivalents)

            The octave of the note is determined by adding the BaseOctave
            to the Octave of the note played. The BaseOctave can be
            adjusted by pressing the Grey keys '/' or '*' or using
            Ctrl-Up Arrow or Ctrl-Down Arrow.

            The range of notes is from C-0 to B-9. The 'middle' note is
            considered as C-5

            Pressing '1' on the note column will enter a notecut command.
            This causes any note in the column to immediately stop.

            Pressing '`' (the note below ESC) on the note colume will enter a
            noteoff command. This causes all sustain points to be released
            (Explained in samples and instruments in more detail.)

            At the bottom of the channel is an 'edit mask'. This highlights
            what will be affected when you type anything in. Note that
            typing a note in can affect more than just a note - normally
            it's set to enter an instrument and volume with it! You can easily
            tell IT to enter an effect with it also by changing the
            channel mask with ',' (comma) on columns 2, 3 and 4.

                Examples of interpretation:

                ³C-4 01 ùù .ùù³ - will play note C octave 4, instrument 1
                ³D-4 ùù ùù .ùù³ - will play note D, octave 4, instrument 1
                ³ùùù 02 ùù .ùù³ - Will play note D, octave 4, instrument 2
                ³E-4 ùù ùù .ùù³ - will play note E, octave 4, instrument 2
                ³G-6 12 ùù .ùù³ - will play note G, octave 6, instrument 12

         2) The second column contains the sample/instrument, depending on
            whether the tracker is operating in sample mode, or instrument
            mode. Valid ranges are from 01->99 (decimal).

         3) The third column contains the volume or panning of the note.
            To toggle between entry of volumes and panning, press '`'

            Volumes.
            0 is the softest (ie. nothing) and 64 (decimal!) is the loudest.
            If no volume is specified, then the default volume for the sample
            is used. (Note that effects *CANNOT* raise the volume above 64)

            The volume scale works linearly - ie. one note played at a
            volume of 64 will be the same 'loudness' as 4 of the same note,
            one played at a volume of 10, another at a volume of 30,
            another at a volume of 20 and another at a volume of 4.
             (10+30+20+4 = 64)
            But if you have a choice, always go for the single note (it
            will require less processing (occupy less channels), and also
            sound better in quality, due to roundings that occur in processing
            softer volumes).

            Panning.
            Panning controls appear in a different colour to the volume
            controls. For panning in this column, 0 represents far left, and
            64 represents far right. If you have an Xxx effect at the same
            time, the Xxx will take precedence over this column.

            It is more efficient filesize-wise to use a panning control in
            this column rather than in the effect column.

            Volume, Panning & Effect??
            OK. So you want to do something tricky. Well, it's possible to
            get all 3 of these how you want with a little meddling with
            the channel volume control - just place one before the row with
            an appropriate value (remember that the range is 0->40 HEX) such
            that the channel volume scales the default volume to the desired
            value.... What I mean is that if you want to play a note at volume
            32, pan 48, with vibrato H81, then you can do the following:

                ³ùùù ùù ùù M20³ - Set channel volume to HALF.
                ³C-4 01 48 H81³ - The 48 is a pan command - this assumes that
                                  the default volume for sample/instrument 1
                                  is 64.

            Volume Column Effects
            In IT208 and higher, some extra functions are available in the
            volume column. These allow you to slide the volume up/down and
            pitch up/down, just like the final column effects. If you aren't
            familiar with the rest of the editor, leave this section out for
            now and come back after you have become acquainted to column
            (4) of the editor - the effects column.

            Volume column effects are selected by pressing A-H in the first
            column of the effects.

                Ax = fine volume slide up by x
                Bx = fine volume slide down by x
                Cx = volume slide up by x
                Dx = volume slide down by x
                Ex = pitch slide down by x
                Fx = pitch slide up by x
                Gx = portamento to note with speed x
                Hx = vibrato with depth x

            In all cases, if x is 0, then the effect memory is used (as
            explained in (4)

            The memory for Ax/Bx/Cx/Dx are shared, as is the memory for
            Ex/Fx.

         4) The final column contains effect data. For those of you who are
            just starting, I would advise you to leave this section until
            later, when you have already dabbled with entering notes, and
            want some special features. It's easy to get caught up with all
            these special features and you can 'overdo' the effects.
            And it will sound absolutely pathetic.

            Trust me, I know - I've done it :)

            Effects are entered by typing 'a'-'z', then a hex value
            (see later for an explanation of hex numbers) as the final two
            entries. The effects allow you to a wide variety of functions
            that are otherwise impossible to obtain.

            Due to the repetitive nature of some effects, there is a
            'memory' so that instead of typing:

                ùùù ùù ùù G12     It is easier to   ùùù ùù ùù G12
                ùùù ùù ùù G12     use:              ùùù ùù ùù G00
                ùùù ùù ùù G12                       ùùù ùù ùù G00
                ùùù ùù ùù G12                       ùùù ùù ùù G00
                ùùù ùù ùù G12                       ùùù ùù ùù G00
                ùùù ùù ùù G12                       ùùù ùù ùù G00
                ùùù ùù ùù G12                       ùùù ùù ùù G00

           The following effects 'memorise' their previous values:
            (D/K/L), (E/F/G), (HU), I, J, N, O, S, T, W

           Note: Bracketed commands share the same 'memory' value. So

                ùùù ùù ùù E12   can be written as:  ùùù ùù ùù E12
                ùùù ùù ùù F12                       ùùù ùù ùù F00
                ùùù ùù ùù E12                       ùùù ùù ùù E00
                ùùù ùù ùù F12                       ùùù ùù ùù F00
                C-4 01 ùù G12                       C-4 01 ùù G00

                Commands H and U are linked even more closely.
                If you use H00 or U00, then the previous vibrato, no matter
                whether it was set with Hxx or Uxx will be used. So:

                ùùù ùù ùù H81    Is the same as:    ùùù ùù ùù H81
                ùùù ùù ùù U00                       ùùù ùù ùù H81
                ùùù ùù ùù U83                       ùùù ùù ùù U83
                ùùù ùù ùù U00                       ùùù ùù ùù U83
                ùùù ùù ùù H00                       ùùù ùù ùù U83

            Hex Numbers
                Note: Impulse Tracker works ENTIRELY with decimal numbers
                      EXCEPT for the effects column.

                Instead of using a decimal system (ie. 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. ie. 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.

                Hope that this makes SOME sense :)

        Effects.

          Axx   Set Speed.

                I prefer to think of this command as "Set Frames per Row".
                Normally, the tracker operates at around 50 frames a
                second. If the rows were played at this speed, then a huge
                amount of space would be required to enter the pattern data.
                Instead, setting the 'speed' of the song will cause the
                tracker to wait on the current row for 'xx' frames. Hence,
                setting the speed at 50 (decimal = 32hex) will cause each
                row to last about a second - quite a long time! The default
                is A06. The initial speed can be set in the variables
                screen on F12.

                If two Axx commands are given in the same row, then the
                command in the higher channel (by number) will take effect.

          Bxx   Jump to order.

                  Causes the song to jump to order xx (hex). This is often
                  used to create looping songs.

                  If two Bxx commands are given, then the command in the
                  higher channel will take effect.

          Cxx   Break to row.

                  The Command Cxx signifies the end of the current pattern,
                  and also that the next pattern should be played from row
                  xx (hex)

                  If two Cxx commands are given... you know :)

          D0x   Volume slide down

                  The volume slide down command causes the volume of the
                  note to be reduced by x for each frame after (for that
                  row). ie. If you have a note at volume 64, with command
                  D01 and speed A06, then the final volume will be 64-5=59.
                  A note at volume 32 with command D02 at speed A05 will
                  result in a volume of 24.

                  For greater S3M compatibility, D0F will cause the volume
                  to drop by 15 EVERY frame, instead of just off-note frames.

                  Here's a full frame-by-frame description which should provide
                  greater understanding:

                        At 'speed' 4:
                         C-4 01 .. D04

                  What this does is:
                    Frame 1: Plays C-4 with instrument 1
                    Frame 2: Lowers the volume by 4
                    Frame 3: Lowers the volume by 4
                    Frame 4: Lowers the volume by 4

                  The next frame will be controlled by the next row of
                  information.

          Dx0   Volume slide up.

                  Operates exactly the same way as D0x, but slides the
                  volume up by 'x'. Volumes cannot exceed 64 (checked
                  and limited internally).

                  For greater S3M compatibility, DF0 will cause the volume
                  to rise by 15 EVERY frame, instead of just off-note frames.

          DFx   Fine volume slide down.

                  Takes the volume down by x at the start of the row.

          DxF   Fine volume slide up.

                  Takes the volume up by x at the start of the row.

          Exx   Pitch slide down

                  The pitch will slide down with speed xx (hex). In linear
                  frequency mode, a pitch slide down by a particular value
                  will always cause the same "pitch interval" - this does
                  not occur in Amiga frequency mode. Valid ranges for xx
                  are between 0 and 0DFh (as > 0E0h will be interpreted as
                  fine slides)

          EFx   Fine pitch slide down

                  Slides the pitch down by x at the start of the row.

          EEx   Extra fine pitch slide down

                  Same as EFx, but 4 times finer. (ie. EE4 is equivalent to
                  EF1)

          Fxx   Pitch Slide up
          FFx   Fine Pitch slide up
          FEx   Extra fine pitch slide up

                  Operates in the same manner as the Exx commands, but
                  slides the pitch up. If the pitch gets 'too high', then
                  the channel is turned off.

          Gxx   Portamento to note.

                  This command requires 2 parameters: A note to slide to
                  and a speed. Example:

                        C-4 01 ùù .00
                        G-4 01 ùù G08
                        ùùù ùù ùù G00
                        ùùù ùù ùù G00

                  This will cause the note C-4 to slide to G-4 with speed 8.

                  You *CAN* change the sample that the note is sliding to.
                  It is a good idea to make sure that the C5Speed of the
                  samples is similar, if you want to try this! The new sample
                  will play from it's beginning.

          Hxy   Vibrato with speed x, depth y

                  Causes the frequency to osciallte with depth 'y' at speed
                  'x' which causes an interesting effect. Don't get carried
                  away with it though! If you specify EITHER x or y as 0, then
                  the previous value will be used.

          Ixy   Tremor with ontime x, offtime y.

                  Causes the volume of the instrument to remain normal for
                  x frames, then sets the volume to 0 for y frames.

          Jxy   Arpeggio with halftones x, y.

                  This causes the note to quickly cycle through three notes -
                  the note playing, a note x halftones above, and a note y
                  halftones above. This causes an effect similar to old
                  C-64 chords.

                  Example: C-4 01 ùù J47 will cause the notes C-4, E-4 and
                  G-4 to be cycled.

          Kxx   Dual command: Vibrato + Dxx (Volume slide)

                  Note: The vibrato could have been set with either Hxx or
                        Uxx

          Lxx   Dual Command: G00 + Dxx (Portamento to and Volume slide)

          Mxx   Set channel volume

                  Each channel has a volume range from 0->40h. The lower
                  the value, the softer the notes in the channel. This
                  command is convenient for making 'echoes'... you won't have
                  to modify the echoing channel from the original, except
                  for placing a M20 at the top of it!

                  Values greater than 40h are ignored at playtime.

          N0x, Nx0, NFx, NxF  Slide channel volume commands

                  These commands work in the same manner as the slide
                  volume commands, but operate on the channel volume,
                  rather than directly on the note volume.

          Oxx   Set sample offset.

                  This will cause a sample to be played from offset yxx00h.
                  This is useful to skip past the first part of a sample
                  which may have a loud hit, or to start a speech sample
                  half way through.

                  If you specify a value PAST the end of a sample, then the
                  command is ignored.

                  The "y" part of yxx00h is set with command "SAy"

                  Example:
                        ... .. .. SA5
                        C-4 01 .. O10

                  This will play note C-4, instrument 1 at offset 51000hex

                  Note to programmers: Oxx for 16-bit samples will move
                  to the xx00h*2 position in the sample - ie. the 'xx00th'
                  sample.

          P0x, Px0, PFx, PxF  Slide panning commands.

                  These work in the same maner as the slide volume
                  commands, but operate on the channel panning. P0x slides
                  the panning right, while Px0 slides the panning left.

          Qxy   Retriggers a note after y frames with volume modifier x.

                  This will cause a sample to be replayed from it's
                  beginning after every y frames. 'x' can be any of the
                  following:

                        Value           Effect on volume each retrig.
                         0                No change
                         1                  -1
                         2                  -2
                         3                  -4
                         4                  -8
                         5                  -16
                         6                  *2/3
                         7                  *1/2
                         8                No change
                         9                  +1
                         A                  +2
                         B                  +4
                         C                  +8
                         D                  +16
                         E                  *3/2
                         F                  *2

          Rxy   Tremelo with speed x, depth y

                  This command acts similarly to the vibrato command, but
                  affects the note volume, instead of the pitch. If you specify
                  EITHER x or y as 0, then the previous value will be used.

          S3x   Sets vibrato waveform to x
          S4x   Sets tremelo waveform to x
          S5x   Sets panbrello waveform to x

                  Values for x: 0 = sine wave
                                1 = square wave
                                2 = Ramp down
                                3 = Random!

          S70   Past note cut
          S71   Past note off
          S72   Past note fade

                  With the loss of 1-1 correspondence of editing channels
                  to internal playing channels, these commands provide
                  control over notes that have already been played by a
                  channel.

                   Example:
                        Consider the following situation, where instrument
                        1, notes C-4 & D-4 map to a looped sample, and the
                        New Note Action is set to continue.

                        C-4 01 64 .ùù
                        D-4 01 64 .ùù
                        E-4 01 64 .ùù <--- Use S70 here!

                  Ordinarily, control would be lost over C-4 and D-4, but
                  using command S70 at the point indicated, the notes C-4
                  and D-4 would be stopped immediately when the note E-4
                  plays.

                  Similarly, note off commands and Fadeout commands can
                  also be issued.

                  Note: You *MUST* be in instrument mode for these
                        to have any significance.

          S6x   Pattern delay for x ticks.

          S73   Set NNA to note cut
          S74   Set NNA to continue
          S75   Set NNA to note off
          S76   Set NNA to note fade

                  These options allow you to override the default NNA for a
                  particular NOTE (ie. it does not affect the instrument)
                  See section 2.5 for an explanation of NNAs.

                  Note: You *MUST* be in instrument mode for these to have
                        any effect.

          S77   Turn Volume envelope off.

                  Stops the processing of the volume envelope. This is for the
                  times that you don't want to use the volume envelope that
                  you've created.

          S78   Turn volume envelope on.

                  Sometimes, you'll decide that it's better not to use the
                  volume envelope for most cases, but you may just want to
                  use it a few times - this is the command that lets you
                  do that!

                  Note: You *MUST* be in instrument mode for this to work.

          S8x   Set panning position

                  Set panning position, S80 is leftmost, S8F is rightmost.
                  This is an obsolete command, provided only for ST3
                  compatibility. Use command Xxx instead.

          S91   Set surround sound!

                  For those of you who are lucky enough to have a dolby
                  surround sound decoder (myself not included - so if ya
                  wanna send me something.....), this *should* cause the
                  sound to come from the surround speaker. This is a
                  pseudo-panning command, and issuing either Xxx or S8x
                  will cause the surround sound to be reset.

                  If you try and play Surround Sound on a GUS, Interwave
                  or AWE32, it will be played as a central pan.

          SAy   Set high-offset. Check Oxx for an example.

          SB0   Set loopback point
          SBx   Loop x times.

                  This pattern space-saving feature will cause the pattern
                  to be looped x times back to the last SB0. Note that you
                  can only loop within the pattern! Also, each channel has
                  it's own loop-back information... so you HAVE to have the
                  SB0 and SBx in the same channel for it to operate.

          SCx   Note cut after x frames

                  This will cause a note to be immediately stopped after x
                  frames. It is similar to issuing a "^^^" in the note column,
                  just that it has a finer control over timing.

          SDx   Note delay for x frames

                  Actually, this command works like "interpretation" delay
                  for x frames. Any data - note, sample/instrument or volume
                  in the channel will not be interpreted until x frames into
                  the row.

          SEx   Pattern delay for x rows

                  This will cause a "pause" on the row for effectively x rows
                  longer.

                  Note that if TWO pattern delay commands are issued, then
                  the only the command in the higher channel will be considered.

          Txx   Set tempo to xx

                 Valid ranges are between 20h and 0FFh. The higher the
                 value, the faster the playback. This essentially
                 determines the time length of each frame, by the following
                 formulas:
                               Frames per minute = 24*Tempo
                 equivalently:
                               Frames per second = 0.4*Tempo

          T0x   Tempo slide down
          T1x   Tempo slide up

                Tempo slides up and down are used to smoothly modify the
                speed of the song. The tempo is modified by ñx every
                non-row frame.

          Uxy   Fine vibrato with speed x, depth y

                 Same as vibrato, but 4 times finer in depth.

          Vxx   Set Global volume

                 Valid ranges are between 0 and 80h. All notes playing are
                 affected by this change.
                 Values greater than 80h are ignored at playtime.

          W0x, Wx0, WFx, WxF  Slide global volume

                 Similar to the Dxx commands, but operate on the global
                 volume. Useful when fading out songs.

          Xxx   Set panning position

                 Sets the panning position anywhere from left to right (X00
                 is left, XFF is right).

          Yxy   Panbrello with speed x, depth y.

                 What the hell is panbrello? Well, it's a word that I coined
                 late one night after a friend suggested that there should
                 be a random pan position command. I decided.. why not - I'll
                 make the vibrato/tremelo equivalent of panning! And so you
                 have here, 'panbrello.' What this does is instead of
                 oscillating frequency (pitch) or volume, it oscillates the
                 panning position about the 'set' panning position for a
                 channel. This is for you techno freaks out there who want
                 another function to stuff around with! :)

                 The random pan position can be achieved by setting the
                 waveform to 3 (ie. a S53 command). In this case *ONLY*, the
                 speed actually is interpreted as a delay in frames before
                 another random value is found. so S14 will be a very QUICK
                 panbrello, and S44 will be a slower panbrello. With any
                 other waveform, the higher the value for x, the faster the
                 panbrello, like vibrato and tremelo. If you don't know what
                 I'm talking about, check out the stereo-indicators on the
                 info page (don't forget that you have to be in stereo mode!)

                 If you specify EITHER x or y as 0, then the previous value
                 will be used.

         5) Editing Functions

             For a complete list of available functions, check the help screen
             for the pattern editor (on F1)

           Ctrl-Backspace       IMPORTANT! This one will save you a lot of
                                frustration - it's a 10-stage listed Undo
                                function!

           Grey Plus    Advance to next pattern
           Grey Minus   Goto previous pattern
           Shift-GPlus  Advance 4 patterns
           Shift-GMinus Go back 4 patterns
           Ctrl-GPlus   Go to the next order's pattern
           Ctrl-GMinus  Go to the previous order's pattern

           Alt-Delete   Remove an entire row from the pattern
           Alt-Insert   Insert an entire row into the pattern

           '.'          erase data.
           Space        will enter the previous data for that column.
           '4'          play the note under the cursor.
           '8'          play entire row.
           Ctrl-F6      play pattern from the current row.
           Ctrl-F7      Set playback mark - this will be the position that
                        subsequent playback will occur when you press F7.
                        Remove the mark by pressing Ctrl-F7 on the row
                        that is already 'marked.'

           Alt-0 -> 9   Quick select "skip value"
                        The skip value is the number of rows that the
                        editor advances by when a note is entered - this
                        makes it easy to enter notes on alternate rows
                        (press alt-2 first!)

                        If the skip value is 0, then the editor will
                        advance to the next channel (making it easier to
                        enter chords)

                        If the skip value is 0, AND template mode is on,
                        then entering a note will cause the editor to
                        advance by the length of the template block.

           Alt-Enter     Store current pattern in memory
           Alt-Backspace Restore current pattern

         6) Block Functions
           Alt-B        Mark top left of block
           Alt-E        Mark bottom right of block
           Alt-L        Mark entire column (channel)
           Alt-L*2      Mark entire pattern
           Alt-D        Mark the minor row hilight number of rows. Pressing
                        this repeatedly doubles the length of the block.
                        eg. Pressing Alt-D once may mark out 16 rows,
                        pressing it twice will mark 16 rows.

           Alt-A        Transpose all the notes in the block a semitone
                        down If no block is marked, then the current note
                        will be transposed a semitone down.
           Alt-C        Copy marked block into the clipboard
           Alt-F        Double the length of the selected block
           Alt-G        Halve the length of the selected block
           Alt-I        Toggle Template mode... read part 8
           Alt-J        Volume Amplifier... modify the volume controls
                        between 0 and 200%
           Alt-K        Slide volume... if you want to manually control a
                        fadeout, or fadein, then set the volumes at the
                        extreme ends of the blocks, then press Alt-K ONCE!
           Alt-K*2      Remove all volume controls in the selected block
           Alt-M        Mix clipboard with pattern data.. try it out, and
                        you'll understand (it's like an advanced paste
                        command - it'll only copy the data IF there is nothing
                        on the row it is copying to.)
                        Pressing this two times will copy the data if there's
                        nothing in the same FIELD (not just same row).
           Alt-N        Toggle Multichannel mode.. Multichannel mode allows
                        you to select for each channel whether it should be
                        part of the multichannel list. If you enter a note
                        while on a channel which is in the multichannel
                        list, then the editor will advance to the next
                        channel.
           Alt-N*2      Multichannel menu.
           Alt-O        Overwrite pattern data with clipboard. Like paste,
                        but without the "insert" part :)
           Alt-P        Paste clipboard into pattern at current position
           Alt-Q        Transpose all the notes in the block a semitone up
                        If no block is marked, then the current note will
                        be transposed a semitone up.
           Alt-S        Set all the instrument (sample) values to the
                        current instrument (sample) within a block
           Alt-U        Unmark block / release clipboard from memory.
           Alt-V        Set all the volume controls to the current
           Alt-W        Remove all volumes not associated with a note/inst
           Alt-X        Slide command value. Similar to Alt-K (slide
                        volume). This command can be convenient to slide
                        the panning from one position to another, or to
                        slide global volume effects, channel volume, sample
                        offsets... whatever...

           Alt-X*2      Erase all effect data in the selected block!
           Alt-Y        Swap selected block with a samesized/shaped block
                        starting at the current position. Swap blocks
                        CANNOT overlap.
           Alt-Z        Cut current block.
                        Warning: If you don't have enough memory, the
                        current block WILL be erased, although there is no
                        record of it in the clipboard....

         7) Track View functions

            Sometimes you just want to know what you've put in those tracks
            that are currently off the screen... these functions allow you
            to do just that!

            Alt-T       Cycle Track view mode.
            Alt-R       Remove all track views
            Alt-H       Remove track view divisions (allows you to view 36
                        channels!)
            Ctrl-0      Remove current track from track view
            Ctrl-1->5   Quick select a track view for current channel.

         8) Templates

            Templates are an invention to make entering repeated
            'sequences' easier. Often, you may want to enter a note with
            the same effects following each note. eg.

                C-4 01 00 D10   }
                ùùù ùù ùù D00   }
                ùùù ùù ùù D00   } Enter this....
                ùùù ùù ùù D00   }
                ùùù ùù ùù D02   }
                ùùù ùù ùù D00   }
                D-4 01 00 D10     }
                ùùù ùù ùù D00     }
                ùùù ùù ùù D00     }
                ùùù ùù ùù D00     }
                ùùù ùù ùù D02     }
                ùùù ùù ùù D00     } Use the templates to enter this!
                E-4 01 00 D10     }
                ùùù ùù ùù D00     }
                ùùù ùù ùù D00     }
                ùùù ùù ùù D00     }
                ùùù ùù ùù D02     }
                ùùù ùù ùù D00     }
                etc..

            With templates, this can be done by entering the first 'block',
            then marking it and copying it into the clipboard (using
            Alt-C). Toggle the template mode by pressing Alt-I to Template:
            Overwrite, then go to the start of the second block, and press
            the key for D-4 (normally X). The whole block will be filled
            in! This is easiest to understand if you print this section out
            and try it in the editor.

            The templates can also include other notes, which will be
            translated accordingly, and can span several channels.

            A VERY neat use of templates is to enter multiple notes:
            (eg. octaves, different samples, left/right stereo sample
             pairs...)

                C-4 01 32 .00    C-5 02 32 .00  } Enter this...
                G-4 01 32 .00    G-5 02 32 .00      }
                D#4 01 32 .00    D#5 02 32 .00      }
                C-4 01 32 .00    C-5 02 32 .00      } And use Templates here!
                G-4 01 32 .00    G-5 02 32 .00      }
                D#4 01 32 .00    D#5 02 32 .00      }

            Templates can span more than one row and one channel - you
            can template blocks of any size.

  2.3  Order List, Channel panning & volume. (F11)
          After creating patterns, the tracker has to know what order to
          play them back in. The order list is the means by which this is
          done. Another wording of the Order List which may make it simper
          to understand is the "Pattern sequence list." ie. the sequence in
          which the patterns are played back.
          Simply enter the patterns into the list in the order they
          should be played, and voila! - you have a new piece of music.
          (as long as you have something in the patterns, of course!). The
          "---" marks the end of a song, and "+++" is simply a marker which
          is skipped (for ST3 support). Pressing N on a row will enter the
          previous order's pattern+1. eg. Entering 000, then pressing 'n' 5
          times will enter 000 (which you typed), then 1, 2, 3, 4 and 5.

          Initial channel panning and volume is the panning and volume that
          each channel is set to whenever the song is reset. It will not
          affect anything currently playing. On the panning list, you can
          also mute channels by pressing spacebar. Pressing S will select
          the initial 'panning' as surround sound. The initial channel
          volumes can be accessed by pressing F11 once you are already on
          the Order list and channel panning screen.

  2.4  Samples

  2.4.1 Information about Samples
         Samples are the raw sound information. They can be of *anything*
         you like - normally a musical instrument of some sort, but you
         could have voice samples or sound effects too!

         Impulse Tracker accepts 8-bit or 16-bit samples. It can import
         several different formats, which are detailed in section 1.4

         If you import a 16-bit file which isn't recognised, you have to
         use the following steps:

                1) Press Alt-A (to convert signed/unsigned) and convert the
                   data.
                2) Press Alt-Q (to toggle to 16-bit) and DON'T convert
                   the data
                3) If the sample is unsigned, you will then need to convert
                   it AGAIN by pressing Alt-A (and selecting yes to convert
                   data)

         Samples have the following information: A name, a default volume,
         a global volume, vibrato information, loop information and a
         frequency

         The default volume of a sample is the volume at which a sample is
         played, IF no volume is specifier.

         The global volume is the modifier by which ALL occurrences of the
         current sample are scaled by.

         Vibrato information - the vibrato speed is the speed at which the
         vibrato oscillates. Although it is possible to enter values 0->64,
         the best effects are obtained by entering values around 24-48. The
         vibrato depth determines the maximum deviation from the mean
         frequency. The vibrato rate determines how quickly the vibrato is
         applied. Higher values cause the vibrato to be applied more
         quickly, a low value like 1 can take many seconds before the
         vibrato is noticed.

         Loop information. Samples can be looped to provide a continuous
         sound. The loop beginning and the loop end must be specified, and
         the loop method (either forwards or ping pong) must be set.
         (Toggle by pressing spacebar). The loop boundaries can also be
         modified using '+' or '-' (even while the sample is playing!)

         Sustain loops are the loops used as long as no note off command is
         encountered. In the sample tester, releasing a key provides a note
         off command to the player. Once a note off command is issued, the
         normal loops apply. The idea behind sustain loops originated after
         listening to some synthesizers which provided 'after note' sounds
         - like fingers lifting off guitar strings. With sustain loops, you
         can have a guitar sound in the sustain loop, with the end of the
         sample containing the 'finger off' sound. This way, you should be
         able to achieve a new degree of realism. The best way to do this
         is to have a reasonably small sustain loop, and a section after it
         containing the note-off sound, possibly looped. (The sustain loop
         should ideally be less than 1/20th of a second, so that you have
         reasonably good control over the timing of the note-off, but this
         is not always possible)

           Example: If you have a sample with no sample loop, but a sustain
                    loop around bytes 19000-20000, then while no noteoff
                    command is issued, then the sample will loop between
                    19000 and 20000. Once a noteoff command is received,
                    then the sample will be played until it's end and then
                    will stop.

                    If you have a sample of length 64000 with a ping pong
                    loop around the whole sample (0->64000) and a sustain
                    ping pong loop around bytes 20000-30000, then the
                    sample will loop backwards and forwards between 20000
                    and 30000 until a noteoff command is received, after
                    which it will loop between 0 and 64000 (backwards and
                    forwards).

           It is recommended that you do NOT have a ping pong sustain loop
           going to a forwards loop or no loop and that if you DO have a
           sustain loop AND a normal loop, that the sustain loop lies
           within the normal loop (for ping pong), or that the normal loop
           end is after the sustain loop end (for forward's loop) (think
           about what you're asking it to do in these cases carefully...
           it should make sense - the tracker can still handle the cases
           when this is not adhered to, but the resulting note-off effect
           can vary greatly depending on timing and pitch!)

         The frequency of a sample determines its pitch. The higher the
         frequency, the higher the pitch. The frequency can be doubled or
         halved by pressing Alt-Grey Plus/Minus to cause an octave
         rise/decrease. For the technically inclined out there, the
         frequency is the number of bytes per second that have to be played
         for a C-5. You can increase the frequency by one semitone by
         pressing Ctrl-Grey Plus or decrease it by a semitone with
         Ctrl-Grey Minus.

         To load in a sample, go to the entry in which you want to load it
         then press enter. The sample library should appear. You can test
         out any sample just by "playing" notes on the keyboard while you
         are on top of the sample. Load a sample into the sample list by
         pressing enter. Of course, if you don't have any samples, no
         samples will appear :)

         Where can I get samples from??

         You can steal ('rip') samples from modules by going to the sample
         in the sample list, then pressing Alt-O. Scream Tracker 3 samples
         can be saved by pressing Alt-T (vibrato, global volume + susloop
         information lost) or raw samples can be saved by pressing Alt-W
         (all variables lost!)

         Warning: Be careful where you rip samples from!! Some people don't
         welcome it at all! And in some cases, sample ripping may be a breach
         of copyright - this mainly a concern when you use commercial samples)

         There are also many great sample 'packs' available... try a local
         music BBS, or the bigger FTP sites.

         Some synthesizers have patch files (eg. Kurzweil 2000 as .KRZ) which
         are available through the internet. You can download these, and
         convert them with an appropriate utility (I recommend Convert 1.4 -
         convrt14.zip on ftp.cdrom.com/pub/demos/programs/convert and use
         it to convert the files to .S3I format - even for 16 bit samples).
         I don't know what sort of copyright these samples have. *YOU* have
         to read any text accompanying the files to find this out.

         Finally, you can make your OWN samples! With a sampler (eg.
         Digiplay 3.0) or with some other tracker (eg. Fast Tracker 2), you
         are able to record information through the microphone socket of
         the computer!

         Note: The length of a sample is *NOT* necessarily the number of bytes
         it occupies! The length quoted is the quantity of SAMPLE INFORMATION.
         If you have an 8 bit sample, then the size in bytes IS the same as
         the length. If you have a 16-bit sample, then the size in bytes
         is DOUBLE the length.

  2.4.2 Sample Functions

         Alt-A and Alt-Q provide basic sample-conversion functions. Alt-A
         will convert a sample to or from unsigned to signed format. Alt-Q
         will allow you to change a sample between 8 and 16 bits.

         If you want to remove the part of a sample before a loop or after the
         end of a loop, you can use Pre-loop cut sample (Alt-B) or Post-Loop
         cut sample (Alt-L)

         To reverse a sample, use Alt-G. This can produce interesting effects.

         If you are working to a size limit, check out the functions Alt-E
         and Alt-F. These functions allow you to resize the sample to whatever
         size you would like! (Note that there is a reduction in quality
         associated with a reduction in size). Alt-E will resize the samples
         WITH interpolation, Alt-F will resize the samples WITHOUT
         interpolation.

         To decrease the volume of a sample, the best way for 8 bit samples
         is to reduce the Sample's GLOBAL volume. For 16-bit samples, it's
         better to just attenuate the sample (ie. use Alt-M to 75%). The
         sample will retain greater quality if you follow these guidelines.

         Alt-M is used to amplify a sample to between 0 and 400%. The default
         value for Alt-M which appears is the maximum the sample can be
         modified without creating clipping distortions.

         To exchange two samples *in the sample list only*, use Alt-X. To
         swap two samples *even in the pattern data*, use Alt-S.

  2.5  Instruments

         For those who have never used a tracker before, I strongly suggest
         that you skip this section for now - learn how to 'use' samples
         first. After that, you'll should be able to understand and hopefully
         fully appreciate the power that instruments can provide.

         To enable instruments, go to the song variables (F12), and press
         on the "Instruments" button after then "Control" prompt. This *MUST*
         be done in order to use ANY instrument function (including special
         note effects, viz S7x).

         The instrument parameters are split into four screens - one for
         each of general options, volume options, panning options and pitch
         options. To select the appropriate screen, just whack enter on any
         of the four buttons at the top of the instrument list.

         Instruments are collections of samples (or just a single sample).
         The translation of samples is controlled by the column in the
         centre of the screen on the general options page which shows what
         note/sample pair a single instrument note will be translated to.
         Example: If you're on instrument 1, and the note translation table
         appears as such:

                C-5³C-5 01
                C#5³C-5 02
                D-5³D-4 03
                D#5³D#4 03

         Then entering "C-5 01" into a pattern will cause sample 1 to be
         played at pitch C-5, "C#5 01", wil cause sample 2, to be played a
         pitch C-5, "D-5 01" will cause Sample 3 to play at D-4, "D#5 01"
         will cause Sample 3 pitch D#4 to play... get the idea?

         Why would you want to combine several samples into one instrument?
         Well, one very good reason is that it makes it easier to enter
         drum parts - you no longer have to change the 'instrument' if you
         want another sample. And also, combining them into one instrument
         makes them easier to manage - you can specify a volume envelope,
         NNA or FadeOut which will apply for ALL of the samples in the
         list.

         Another reason is if you want a very high quality sounding
         'instrument.' If you wanted to go overboard, you could sample
         every single note on a piano separately, and set up the note
         translation table to point to each sample accordingly - you'd
         get a very, very nice sound - if you don't run out of memory
         first. Or patience :)

         When you save an instrument to disk, all the related samples are
         stored with it. This means that you can setup a 'drum kit' instrument,
         and to load it into another song, you only need to select that
         instrument and all the samples will be loaded for you.

         The Fadeout value for each instrument determines how quickly the
         volume of the instrument decays under any of the following
         conditions:
           1) NNA "FadeOut" is selected, and another note is played. (see
              later in this section for info about NNAs)
           2) The end of a volume envelope is reached.
           3) A note off command is encountered, without a volume envelope.
           4) A note off command is encountered, and the 'normal' volume
              envelope loop is on.

         The larger the fadeout value, the quicker the volume decays.

         Each instrument also has an associated volume/pan/pitch envelope!
         The volume envelope is editing by selecting the node (left/right
         arrows) then picking it up (with enter), moving it around (using
         arrows, or Alt-Arrows for quicker control), then pressing enter
         again to "put down the node". Nodes can be inserted or deleted
         (with the keys insert and delete!). Note that the envelope will
         only be used if the envelope flag is set to "on" (just below the
         envelope graph)..

         Remember that you have to be in instrument mode for this all to work!

         There are 3 pieces of information for each Envelope graph -
         the node number (hopefully obvious), the time of the node (the
         number of 'ticks' or 'frames' that elapse before the node point)
         and the value of a node (also hopefully obvious). So the x-axis
         is time, and the y-axis is volume/pan/pitch - simple, really!

         You can also specify envelope loops and sustain loops. These
         operate in the same manner as the sample loops, but the numbers
         refer to node numbers.

         The powerful feature of this tracker, though, is not the
         envelopes by themselves - it's the New Note Actions! What these
         options do is allow you to select what should happen to an
         instrument when another note is played in the same column. If NNA
         "Cut" is selected, then the previous note will immediately be
         stopped (like in all other trackers). If NNA "Continue" is
         selected, then the note will continue playing! This is especially
         useful for Drum Parts, where there may be a long-ish snare sample
         - you can go on ahead and put a bass drum in the very next row
         after it - the snare drum will still complete playing! NNA "Note
         Off" issues a note off command to a note when a new note is played
         in the channel. This is particularly useful in combination with
         volume envelopes and volume envelope sustain loops. NNA "Note
         Fade" causes the current note to fade out with the fadeout value
         when a new note is played.

        WARNING!!
         New Note Actions are EXTREMELY powerful, but they CAN cause
         problems if you are not careful. Selecting NNA Fade with a fade
         value of 0, or note continue with a looped sample (no volume
         envelope) or anything which can cause a quick build up of
         allocated channels can easily hang a slow computer (or even a
         quick one, for that matter!) I tried to put checks against this,
         but they always triggered too late - "past the point of no return"
         where the CPU becomes so bogged down with processing the
         information, that it can't do or try to do anything else. (The
         tracker has *MANY* calculations to do - the most time consuming
         are the mixing routines, which require the processor to process as
         many bytes as the mixing speed per second for EACH note ie. a
         mixing speed of 44kHz means that for each note playing, 44000
         calculations have to be made EVERY second... so with 64 channels
         'active' at the maximum mixing rate for a SB16, almost 3 MILLION
         calculations have to be done EVERY second to produce the sound (in
         mono)!!! (My 486 can cope with this, but my 386 just dies!)

        Duplicate Check Type (DCT) / Duplicate Check Action (DCA)
           DCT = Off/Note/Sample/Instrument, DCA = Cut/Off/Fade

         When the duplicate check type is enabled, then repetitions of the same
         instrument&note/sample (or just repititions of the same instrument)
         pair in a particular channel will cause the previous occurence of
         the instrument&note/sample pair to be cut or faded (depending on
         the DCA)

          Example: If the DCT is set to note, and DCA is set to Cut, then the
                    asterixed notes will cut out the tilda notes
        ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
        ³  C-4 01 ~     ³     C-4 02 ~      ³   C-4 03 }                    ³
        ³  D-4 01       ³     C-4 02 *   ~  ³   D-4 03 } Nothing get's cut. ³
        ³  C-4 01 *     ³     C-4 02     *  ³   C-4 02 }                    ³
        ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÁÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÁÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ

        This option was included to help limit the number of active channels,
        and is especially useful for drum tracks.

        Another nifty application of Duplicity checks is the following
        example: You can have a separate sample for each string of a guitar
        and setup and instrument to accomodate this. Setting the NNA to
        continue, the DCT to sample and the DCA to fade (with a relatively
        quick fadeout) means that whenever you play a new note, the previous
        note will continue to play on. BUT! If a previous note of the same
        instrument has the same sample as the new note being played, then
        it will be faded out - this closely relates to what you hear when
        someone plays a guitar - when they play the same string, they have
        to put their fingers down on the string, which causes the last note
        *on that string* to fade out.

        I sincerely hope that these options do not cause the death of brilliant
        4 channel music - that would be a great shame! There is truly an art in
        making a decent sound in as few channels as possible! (If you're new to
        this sorta thing, then it'll grow upon you...)

        For interest's sake...
         Channels are turned off internally under any of the following
         conditions:
          1) The end of a sample is reached (quite obvious)
          2) When the end of a volume envelope is reached, and the final
             envelope volume is 0
          3) When the fadeout value for a channel causes it to become silent.
          4) When a duplicate note is played when DNT is set to Note and DCA is
             set to cut for the instrument.
          5) When a notecut is issued (obvious)
          6) When a channel is moved to the background (using NNAs)
             AND the volume is 0.

         Out of all the functions provided for the Samples and Instruments,
         perhaps the only one that requires explanation is the "Update
         Pattern Data" function. This function was written for people who
         have already written music in MOD/S3M/MTM formats, and want to
         combine their percussion parts into a single instrument. The way
         to do this is to set up the instrument->note/sample table, and
         then use the "Update Pattern Data" function. What this does is
         search through all the patterns for all occurrences of the
         note/sample pairs that appear in the instrument->note/sample
         table, and replace it with the appropriate note/INSTRUMENT pair.
         Sounds quite complicated... sorry :)

                Example:
                  If you originally have the following setup

                Sample 1 = Bass Drum
                Sample 2 = Snare Drum
                Sample 3 = Closed Hihat
                Sample 4 = Open Hihat

                  And the following column within any pattern:

                        C-5 01 ùù .ùù
                        C-5 03 ùù .ùù
                        C-5 03 ùù .ùù
                        C-5 03 ùù .ùù
                        C-5 02 ùù .ùù
                        C-5 04 ùù .ùù
                        C-5 01 ùù .ùù
                        C-5 04 ùù .ùù
                        C-5 01 ùù .ùù

                  You can combine these four samples into one instrument by
                  creating the instrument->note/sample table with the
                  following entries: (say for instrument 10)

                        C-5³C-5 01
                        C#5³C-5 ùù        <--- just an empty slot...
                        D-5³C-5 02
                        D#5³C-5 ùù
                        E-5³C-5 03
                        F-5³C-5 04

                  And using the update pattern data command will produce the
                  following

                        C-5 10 ùù .ùù
                        E-5 10 ùù .ùù
                        E-5 10 ùù .ùù
                        E-5 10 ùù .ùù
                        D-5 10 ùù .ùù
                        F-5 10 ùù .ùù
                        C-5 10 ùù .ùù
                        F-5 10 ùù .ùù
                        C-5 10 ùù .ùù

  2.6  Song Variables

        Most of the options on this screen should be quite obvious, but they
        are explained here for clarity.

        Song Name - should be obvious. Shove whatever you like in here :)

        Inital tempo - The tempo that the piece starts with. The tempo
                       calculation is explained under the set tempo
                       command (Txx)

        Inital speed - The speed that the song starts with. The speed
                       calculation is explained under the set speed
                       command (Axx)

        Global volume - This scales all the volumes in the song. It may be
                        necessary to change this value if there is overload
                        occuring (in the form of crackles in the music) -
                        especially on the Gravis UltraSound, as it is a
                        non-mixing device, and not scaled by the mixing
                        volume.

        Mixing volume - This value affects mixing sound devices (ie.
                        all Sound Blaster cards + PC Speaker).

        Separation - The separation determines how far apart the left/right
                     panning sounds. It is suggested that for a stereo
                     system (where the speakers are relatively close together)
                     that the separation be around its maximum (ie. 128).
                     For a stereo system where the speakers are placed a
                     large distance apart, a value of 80 may suit better.
                     A suggested separation for headphones is around 40.
                     This value has no significance unless stereo playback
                     is selected.

        Old Effects - When Impulse Tracker was first written, some effects
                      were interpreted differently from other formats, most
                      notably vibrato. When you turn this ON, then it effects
                      will be interpreted how the used to be in ST3/MMEdit/...
                      but when it's off, it'll operate how it use to in
                      previous versions.

                      Differences:
                       The Vibrato (and Tremelo) used in IT is smoother than
                       how it was implemented in MOD/S3M/etc. It is updated
                       EVERY frame and hence is independant of song speed,
                       whereas the standard vibrato WAS dependant upon song
                       speed. Vibrato is two times 'deeper' with Old Effects
                       on.

                       Sample offset commands past the end of a sample in IT
                       were ignored, whereas with Old Effects on, the sample
                       is played from it's end point.

        Control - This is the option that lets you use Instruments!
                  When Control Sample is selected, then all the instrument
                  information is ignored. The query to initialise
                  instruments, if accepted, will copy all the sample
                  names to the instruments (if the samples exist) and set
                  up the Note Translation Table for each instrument to point
                  to a sample.

        Playback - Mono: When you select mono playback, all stereo commands
                         are essentially ignored. If you are using a SBPro,
                         selecting Mono provides a higher quality output
                         than selecting Stereo and using a central pan.

                   Stereo: This is the option to go for!
                           Note that stereo mode requires more processing
                           power than mono (unless you are using a hardware
                           driver)

        Pitch Slides - Amiga: This is the mode to choose for compatibility
                              with S3Ms, MODs, MTMs, XMs... when you select
                              amiga pitch slides, you'll often have to
                              experiment to find the adequate slide value.

                     - Linear: With the linear slides, a certain slide value
                               will always cause the same music "interval"
                               change. An example of what this means is if
                               you slide up a note with speed 8 (ie. F08) at
                               speed 5, then the result will be that the
                               note is raised a tone. Everytime. So a C-4
                               will rise to a D-4, C-5 will rise to a D-5.
                               (It's not like this with amiga slides! A
                               C-4 *MAY* rise to a D-4, but if it does then
                               the C-5 will rise to a note around E-5!!)

                               The benefit of linear slides is that if you
                               slide a pair of notes at the same speed, they
                               will maintain the same interval (pitch
                               difference) throughout. Also, if you modulate
                               (transpose) a pattern, you will not have to
                               modify any slide values.

        Directories - this shows the current song/sample/instrument
                      directories. If you want to save the current directories
                      as the default to have on bootup, then press enter
                      on the Save button. Note that this save function also
                      saves the palette, keyboard type, info page layout
                      and pattern editing preferences to IT.CFG

  2.7  Scream Tracker 3 Users
     This section is just for users of Scream Tracker 3 who would like to know
     the differences between ST3 and IT without working through the whole
     document. In a nutshell:

     1) Differences in use.
        a) The Order List, Panning and Variables used to be on F1. In IT,
           F1 has been reserved for the Help Screen, F11 for the order list
           and panning, F12 for the variables.
           If you REALLY do find this too inconvenient, use the command line
           switch -k to swap the interpretation of the keys F1 and F11...
           no text will be updated tho (and it does seem sorta weird!)
        b) Samples now have associated Vibrato information and a global
           volume. The global volume affects all instances of the sample
           throughout the song. This is useful when you replace a sample,
           which is at a different volume from the original - you can just
           adjust the global volumes of the samples to suit.
        d) Block functions are no longer restricted to one column. This also
           means that when you copy entire patterns, you will have to go to
           the top left of the pattern. Also, you will have to set the number
           of rows in the destination pattern to the appropriate number if
           it is different from the source.
           This difference may take some getting used to - you may often
           find yourself doing several block functions in a single columns
           when you could actually have done it across the whole block!
         * To mark blocks, you can use Alt-B and Alt-E, or Shift+Movement *
        e) In the pattern editor, the following commands have changed:
            1) Alt-T : Track View has been upgraded. Alt-T will cycle
                       through all of the possible 5 viewmethods. You can
                       use Ctrl-1 to Ctrl-5 to quick select a view, or
                       Ctrl-0 to remove a view. Press Left-Ctrl+Shift 1->4
                       to select a 'different way to edit' :)
            2) Alt-X : Pressing Alt-X once will slide the effect data value
                       in a block (useful for controlling global volume,
                       panning or sample offsets in some cases). Pressing
                       Alt-X twice will cause all of the effect data to be
                       deleted as in Scream Tracker 3
            3) Alt-K : Pressing Alt-K once will slide the volumes. Pressing
                       Alt-K TWICE will remove all volume controls in the
                       block. (Works like Alt-X, but on the volume column)
            4) Alt-I : Cycle Template control.
            5) Alt-J : Volume amplifier. Select an amplification between
                       0 and 200%.
            6) Alt-H : Now toggles view divisions on/off. Makes it possible
                       to view/edit up to 36 channels in the pattern editor!!!
            7) Alt-Z : Originally the Zap command (if pressed twice)... now
                       it is effectively a "Block Cut" command. It will
                       copy the block into the clipboard, and then wipe the
                       block clean.
            8) Alt-V : Will set all the volumes in the block to the default.
            9) Alt-W : Will remove ALL volumes not attached to a
                       note/instrument Therefore, the old Alt-V command can
                       be simulated using Alt-V then Alt-W. The reason for
                       doing this was so that the Alt-K, Alt-W combination
                       would slide all the volumes with notes/instruments
                       associated.
        f) There is no chord edit feature in IT. I considered the chord
           edit feature of ST3 useless and a bad influence on new trackers :)
        g) Patterns can be from 32 to 200 rows! (Under Pattern edit config
           on F2, or Ctrl-F2)
        h) Pressing spacebar in the pattern editor will cause the previously
           entered note/instrument/volume/efffect/effectvalue to be entered.
           Quite convenient. Hopefully.
        i) Alt-F10 now solos a channel instead of toggling all of the
           channels on/off. On the InfoPage, you can use 's' to solo
           channels, and 'q' to toggle channels. I felt that this was more
           usable than the original.
        j) The infopage itself has become upgraded... press PgUp/PgDn to
           cycle through view methods, "Insert" to add a window, "Delete"
           to remove the currently highlighted window, Tab to move between
           windows, Alt-Up/Down to move the base of the window up/down.
        k) To increase the sample frequency by an octave in the sample
           list, press Alt-Grey '+' or Alt-Grey '-' to decrease the
           frequency by an octave. To change it by semi-tones, use Ctrl-Grey
           '+' and Ctrl-Grey '-'
        l) The Sample library is accesible from all screens in the program
           by pressing Ctrl-F3. The Instrument library is accesible on
           Ctrl-F4.
        m) Each channel has an associated volume. Echoes can be created by
           just copying one channel onto another, then setting the "channel
           volume" (Command Mxx)
        n) When channels are muted, all commands are still interpreted, but
           the notes aren't played. What this means is that commands such
           as Axx, Bxx, Cxx, SBx, Vxx, Txx, Mxx, Nxx will be processed even
           if they are in a muted channel.
        o) Pressing Ctrl-Grey Plus and Ctrl-Grey Minus in the pattern
           editor will go to the next/previous pattern according to the
           order list!
        p) Samples have sustain loops + Ping Pong loops supported
        q) Note off command & Note cut command implemented... Note cut is
           exactly like ST3's ^^^ (and appears like it too!) Note off
           appears as "ÍÍÍ" and releases sustain points.
        r) You can enter panning values (between 0 and 64) in the volume
           column. Do this by pressing '`' to toggle between entry of
           panning/volume values.
        s) You can use samples >64k and 16 bit samples!!!
        t) When you use a skip value of 0, the cursor will move across to
           the next channel. This is a very convenient way to enter chords,
           especially when combined with the multi-channel selection (whack
           Alt-N twice)

     2) Differences in interpretation of notedata.
        a) Global volume changes will affect ALL of the notes playing. In
           ST3, global volume changes only affected new notes. The range
           for the global volume command is from 0 to 80h
        b) If you specify an instrument without a note, then in ST3, the
           volume is set to the default volume. In IT, the volume will be
           set to the default volume *IF* the instrument specified is the
           SAME as the currently playing instrument. Otherwise, the new
           sample will be played from it's beginning.
        c) Command X (Set panning, not REALLY implemented in ST3) now has
           range from 0 to 0FFh.
        d) Command C (Break to row) now works in HEX. This is so that you
           can jump to any row in the (next) pattern.
        e) New commands:
               M:   Set channel volume
               N:   Slide channel volume
               P:   Slide panning
               S5x: Set panbrello waveform and reset panbrello position
               S6x: Pattern delay for x frames.
               S7x: Instrument related controls (8 different controls here)
               S91: Surround sound on!
               SAy: Set high offset
               T0x: Tempo slide down
               T1x: Tempo slide up.
               W:   Global volume slide.
               X:   Set pan position.
               Yxy: Panbrello
        f) If you use the portamento to command (Gxx) to a different sample
           in ST3, the sample offset is undetermined. In Impulse Tracker,
           the sample will be played from it's start.
        g) The commands Hxx and Uxx will cause a vibrato half the depth
           of ST3 if "Old Effects" option is OFF and the vibrato in IT is
           also smoother than the vibrato in ST3.

     3) The greatest difference is the implementation of instruments. Read
        section 2.5 for more information.

     4) Saving S3M modules.

        The following guidelines have to be followed to compose 100%
        compatible S3M modules.

          General Stuff
            1) *Pitch slide mode MUST be amiga.
            2) *All initial channel volumes MUST be 64
            3) *No instruments functions can be used. If you ARE in
                instrument mode, however, Impulse Tracker will translate
                the pattern data according to the Note Translation Tables.
            4) The song message is *NOT* saved in S3M format.

          Pattern stuff
            1) *The total number of patterns MUST NOT exceed 100.
            2) *The number of rows in each pattern MUST be 64
            3) *Data is only translated within the first 16 channels.
            4) *All notes must lie within the range of C-1 to B-8
            5)  Several commands will not be interpreted by a standard
                S3M player (viz. Mxx, Nxx, Pxx, S5x, S6x, S7x, S91, SAy, Wxx,
                Yxx).
                Also, you should have Old Effects (on the variable list)
                put to *ON* if you want to write S3M files.
            6) *Panning controls in the volume column are NOT stored.

          Sample stuff
            1) *No sustain or ping pong loops can be used
            2) *No sample vibrato can be used
            3) *The sample global volume must be 64.

            4) The Scream Tracker 3 module format supports 16 bit samples
                and samples >64k although the actual program did NOT.
                Note that *MOST* players probably ignore these fields
                and it is likely that the module will NOT be played correctly
                by a standard S3M player if it contains samples >64k and/or
                16 bit samples.

        All conditions with an asterix preceding them are checked at save
        time.

        Note that both note off (ÍÍÍ) and note cut (^^^) will get translated
        to a note cut (^^^) in S3M format.

 2.8  Gravis UltraSound / Interwave / AWE32 users.

        For hardware mixed devices (eg. Gravis UltraSound, Interwave and
        AWE32), there are some limitations that are outlined here.

        I've already mentioned a few things throughout the DOC about hardware
        mixing, but I'll reiterate them here with a few more points.

        1) The maximum number of notes that you CAN play with a GUS and
           Interwave is 32. The maximum number of the AWE32 is *30*.

           This was incorporated by effectively limiting the number of active
           channels to 32/30. So if you play a 64 channel song which is using
           control:Samples, then you will LOSE the last 32/34 channels. If you
           are playing a 64 channel song with control:Instruments, you
           shouldn't miss out on too much. This shouldn't really be a
           problem in 99.9% of the cases.

        2) The GUS playback quality is dependent on the maximum limit of active
           channels. The GUS can be initialised to play anywhere between
           14 and 32 channels. Values above 32 are reduced to 32, and values
           below 14 are increased to 14. The lower the number of channels, the
           higher the playback quality. (14 channels will give 44100 Hz, with
           16-bit interpolation - very, very nice quality!). The default
           GUS driver dynamically chooses a particular number of channels.
           This doesn't ALWAYS work with all cards, so if you don't like the
           transition of sample quality as the channels increase, or your
           GUS seems to stop notes unexpectedly, use the other driver(s).

        3) The GUS/Interwave/AWE32 routines occupy less memory than the mixing
           routines. You will have about 30k-100k more of memory to play
           around with.

        4) The memory allocation routines are very simple and not very
           versatile. When you are working through the sample library, samples
           are NOT always deallocated when you move on to the next sample! If
           you get the message "Out of soundcard RAM", then it may be necessary
           to press Ctrl-G (or select Reload Samples from the samples menu) to
           reorganise the samples in memory. Sorry about the inconvenience.

        5) Changing the mixing volume does NOT affect these cards.
           It may be necessary to reduce the global volume to remove crackle
           if the output is overloading.

        6) The surround sound option will cause the sample to be played with
           a central panning. This is because I don't know how to get hardware
           surround without wasting a lot of memory and channels.

        7) The panning positions are reduced to a scale of 0->15 in the GUS,
           so fine alterations in the panning may go unnoticed. The Interwave
           and AWE32 permit 256 pan positions


 3. Before you write to me. (Important notes)

    I would very much like to get feedback on this program, but I am already
    aware of several problems (?).

    1) If you're going to write because the program looks 'too' much like
       Scream Tracker 3, then don't :) I've used Scream Tracker. I loved
       using it - it was the best, easiest, most convenient program ever,
       so why not adopt it's design?????

    2) The program could easily crash if you try to load a corrupted
       module. If you've got some modules that you know are corrupted, try
       to resist the temptation of testing the stability of the program....
       in many cases it'll die :)

    3) A couple of people have asked about ASCII characters > 128. I'm
       sorry - I can't let you have 'em on anywhere else except the message
       editor. The reason is because I've used a lot of the characters for
       'graphics' - real time character generation. (the ASCII characters >
       128 don't really exist anymore)

    4) If you 'overload' your CPU... the subsequent playback can also
       become distorted! To fix this, reinitialise your sound driver with
       Ctrl-I.

    5) The help screens have only been defined for the following screens:
        a) Pattern Editor
        b) Sample List
        c) Instrument List
        d) Info Page
        e) Order list and panning
        f) Order list and channel volumes
        g) Message editor

       I didn't think it necessary to include help screens for the other
       screens, but if you feel strongly about including help on certain
       points/screens, then I suppose I could make the effort...

    6) If you have a bug to report, please check through BUGS.TXT first to
       see if it's listed, and also check through this document - the problem
       may be in the understanding of how the program works! Otherwise,
       contact me, AND LET ME KNOW WHAT VERSION YOU ARE USING!

    7) Any further GUS click removal is very difficult to achieve. ST3's
       GUS click removal requires double the number of channels on the GUS
       to be used and I can't allocate any more! Try out the alternative
       GUS drivers first

    8) Got suggestions for IT? At the moment, I'm really sorry - I barely
       have enough spare time myself. I can't promise to add any suggestions
       you make, but please send them along anyway.

You can contact me by writing to:
        Jeffrey Lim
        9 Wilgena Avenue
        Myrtle Bank
        South Australia  5064

EMail account:
  pulse@cyburbia.net.au
 WARNING!!!
  If you ask me anything which is obviously contained within this document or
  the FAQ, I will reply with RTFM (Read the #$%@#$% Manual). Sorry, but I hate
  idiots who can't be bothered to take their time to have a quick look through
  this document and write to me with stupid messages which have recently become
  a chore to answer (You'd understand if you received 4000+ EMails...)
 BUT!
  If there *is* something that you HAVE made an effort to understand/look for,
  then don't hesistate to write to me. The worst that can happen is that I
  reply with RTFM :)
********ALSO********
  If you have an incorrect reply-address, don't expect to receive anything.
  If you are reporting a bug, let me know what version you are using.

  If you find any major problem with the tracker, please try to find the
  circumstances which cause it to trigger - if you can't, don't worry - write
  to me anyway. It's just that it's much easier if I know a likely cause of
  the error. (Don't worry if it seems that the cause is very, very remote -
  I had a problem in my GUS playback routines which originally caused my
  palette configuration screen to hang - now that's obscure!)

  Send money! I don't demand that you send me anything, (and I don't like
  spoiling a program by shoving in reminder messages), but if you *DO* use
  the program and think that it's worth contributing a small amount towards,
  then please do so... it would be GREATLY appreciated. Remember.... even a
  few dollars will be appreciated! It's very unlikely that I'll make a huge
  profit (I doubt I could get close to sufficient money from this program to
  make it even worth $1 for every hour I put in!). I won't be sending out any
  nice thankyou notes, or bound manuals... but I will include your names in
  the future versions of the tracker and I will EMail you each new version the
  minute the are released if you wish.

  I believe that software *SHOULD* be cheap - you've spent perhaps a few
  thousand getting your computer, so you wouldn't want to spend TOO much
  more on programs! If you think this program is worth $5, then send $5.
  If you think it's worth $10, then send $10. If you think it's worth
  $1,000,000,000... don't let me stop you :)

  So... get together with a couple of friends and send me $10... If you send
  me a significant amount, I'll put together a "special contributor's" list..
  (Oeeerrrrr :) )

  Methods of payment:
    International Money Orders - (NOT postal orders though!)
    Cash (Make sure it's securely wrapped!) - it doesn't have to be Australian
          currency, although it'd be nice if it could be!
    Bank Transfer - EMail me for my details


 4. Closing Words

    I would like to thank the following people:

        Psi: For introducing me to tracking with the brilliant Scream Tracker 3
        Purple Motion: For being my music hero.... I still think
                       "When the Heaven's Fall" is *THE* best S3M ever written.
        Red Haze: For constantly bugging me to get the tracker done, and for
                  his effort in testing out the program and making suggestions.
                  (He's directly responsible for the inclusion of Ping Pong
                  loops - I originally couldn't be bothered :) )
                  Also extensive testing of later versions of IT...
        The WALKER: For his flow of ideas & beta testing and getting the PoP
                    DiskMag finished.... tomorrow. Or is that next week?
                    OK... so he has done it. Finally.... 6 months late. :)
        Perception: For his constant support over the many years he ran his BBS
        Psibelius: For being the nice friendly Epinicion founder that he is.
        Dominic: For his thoroughness in beta testing the program, and providing
                 suggestions. (He came up with more than double the number of
                 suggestions than almost anyone else... even though many of
                 them were not finally implemented :) )
        Chris Jarvis: For his effort in beta testing the tracker and producing
                      Firestorm (released with v1.00 of the tracker)
                      Pale Dreams! (released with v1.01 of the tracker)
                      Firepower (released with v1.03 of the tracker)
                      Sidewalk (released with v1.05 of the tracker) and
                      Fallen World (released with v2.01 of the tracker)
                      These are ALL amazing pieces of work! (Yes, I'm jealous!)
        Zilym Limms: For his technical help with the tracker and his love of
                     Fast Tracker 2. Hahaha. :)
                     Also for his information and source code for the PAS 16.
        Benjamin Bruheim: For his super list of contributions to v1.01
        ZaStaR: For his effort in putting together ITF - the font customiser!
                and ITTXT - the text file importer for IT's messages!
                Also for being the willing target of a barrage of beta
                versions, a great contributor of ideas, a musician with whom
                I could exchange work and for being a great dude all round!
        Emmanuel Giasson: For creating the utilities MMCMP/MMUNCMP/MMTSR -
                          the music module compressor!
        Diablo: For creating the Impulse Tracker directories on ftp.cdrom.com!
        Siren: For providing me a contact to obtain an Interwave card!
        AMD: For providing me with an Interwave card to program for!

        To the other beta testers:
            Eric Bonython               Phorte
            Alistair Watts              Julian Ellis
            Alex Bates                  David Rohrsheim
            Delta X                     GD (Grave Digger)
            Andy Chen                   ShawnM
            Clef                        Emmanuel Giasson
            KXMode

        And anybody there who uses this program!!!

        Big thanks and thumbs up to Advanced Gravis for releasing their
        Software Developer's Kit (SDK) free of charge!

        Congratulations to Creative Labs for finally releasing their SDKs
        free of charge!

        Especially *BIG* thanks to AMD for providing me with an Interwave
        card to use and the SDK!

        Finally... I have a request.....
         If *YOU* write something with this program... share it with the
         rest of the world!!!

         If you have an iNet account, you can upload your songs to:
           ftp.cdrom.com/pub/demos/incoming/music/songs/it
           - remember to ZIP up your song, to use a *lower* case filename
             and to also upload a short description of your song in a .txt
             file, otherwise your file will just be deleted.

         If you know of any other places where modules can be uploaded to,
         let me know and I'll include them in the above list.

 5. How to get the latest version of Impulse Tracker

    There are several places around the internet where you can find the
    latest version of Impulse Tracker:

        1) ftp.cdrom.com/pub/demos/incoming/music/programs } Check (1) first!
        2) ftp.cdrom.com/pub/demos/music/programs/trackers }

        3) http://www.noisemusic.org/it
                - American Site
        4) http://www.maz-sound.com
                - Music and Tracking Site
        5) http://www.unidev.com/~logic/music/it
                - IT Resource Central
        6) http://www.musica.org/impulse
                - Spanish Site
        7) http://www.mixbbs.demon.co.uk
                - UK Site

    If you want to have the latest version sent to you via EMail, or at least
    be notified of new releases, then you'll have to send $omething to me :)
    Check section 3 on how to contact me.


 6. Legal stuff

    No matter what happens, no matter how bad, I'm not going to be held
    responsible.

    That's basically the same as any other license agreement, except you
    should be able to understand this one without an interpreter :)

    YOU MAY NOT CHARGE ANYTHING FOR THIS PROGRAM - DISTRIBUTORS WHO
    ARE INTERESTED IN THIS PROGRAM MUST WRITE TO ME FIRST AND HAVE MY
    APPROVAL! (yeah, even by snail mail if you don't have EMail access).

    USE OF THIS PROGRAM COMMERCIALLY IS EXPRESSLY FORBIDDEN WITHOUT WRITTEN
    AND SIGNED APPROVAL FROM ME. COMMERCIAL USE INVOLVES ANY USE OF IMPULSE
    TRACKER IN WHICH MONEY IS INVOLVED (SPECIFICALLY THE CREATION OF ANY
    MUSIC WHERE PAYMENT IS INVOLVED). THIS PROGRAM IS ONLY FREEWARE FOR
    NON-COMMERCIAL USE.
