!RE-WRITTEN WITH K-WRITER - WINDOWS USERS PLEASE USE WORDPAD FOR PROPER VIEW! RULES AND GUIDELINES Version L1.3: 6 February 2004 I.PURPOSE AND ACKNOWLEDGEMENT OF RULES 1.Rules allow for reaching the set goal. There are certain restrictions to which the module is limited. Some of these restrictions originate from the module format. Other rules are set up because of bugs or limitations in the tracker, or to ensure compability. 2.The rules act as guidelines. Following these guidelines improves overview and understanding of each others work. The intent is that this will create a smooth workflow as to deliver the final module within a reasonable span of time. 3.The rules can and will be evaluated for their validity, necessity, usage and feasibility. Anyone is allowed to participate to these evaluations. II.PARTICIPATION 1. All 13 participants must provide a working email address and send their artists’ information (including handle, name, country, age, gear, connection and max. eMail-Attachmentsize) to Premium.Trance. 2. Each member will be given a number of turns of several days to add their contribution. These will be ordered in a first come, first served basis, and rotated in order until the song is at a desired length, which decided by the group. 3. If you are unable to attend your allocated date, you may ask to either be pushed to the back of the queue, or you may swap with someone else, by their permission. 4. Anyone is entitled to contribute to a "final mix" of the finished song after completion of all tracks. The "official" final mix will be decided apon by democratic approval of the group. 5. The title of the song will be decided by democratic approval of the group. You can call your own bits in the 'track listing' whatever you like though. 6. Upon participation you understand and acknowledge the rules and the purpose of the rules. The rules will act as guidelines which you will try to follow. Certain flexibility in the rules is not prohibited, but only allowed in combination with discussion and evaluation of the proposal to make an exception in or change of the rules. III. COPYRIGHT 1. The finished production will be jointly owned by all participants, but by contributing, you allow for all decisions relating to its copying and redistribution to be decided by the democratic vote of all members involved. IV. CONTENT AND USE OF FEATURES 1. When adding to a song, the first composer has to provide a useful documentation-template for anything you may want to have add or change so that the next person knows it's there! A simple textfile do the job. This is called the diary. Typical comments are along the lines of "Hey, I turned off your reverb on send1!" or "I changed the Filter-Inertia on track 4 to instant", etc. 2. You may add as many effects and/or automations to any audio track as you wish, provided they are Renoise built-in DSP effects. Pay attention to the CPU% though and try to keep it simple. Experiences show that a complex effect chain results in an inadequate understanding, fear for mistakes and overview of the module. This slows progress. Some solve it by creating new tracks, which decrease the overview in the track scopes, therefore recylcing tracks is encouraged. 3. Whenever you add an effect, add a bypass on command to all previous parts and a bypass off in your part. Effects that were not in the previous parts originally must only be enabled in your part unless there is good reason to enable it in other places. Discuss this with the others. 4. Make sure your part starts and ends with the correct settings. If you don’t change settings, you can copy the settings on the last pattern of the previous part and paste them into your last pattern. Don’t forget the buttons on effects; you’ll have to find out the code yourself since a rightclick won’t show it. Doing so will keep consistency in the module. 5. You may add as many "send tracks" to each track as you like. You can add as many effects as you like to each send track. 6. You may not add any effects to the master track until the time of final mix. This will preserve CPU%. 7. You may not use any VSTfx, VST-Instruments or MIDI. 8. Each pattern has the maximum number of rows (512). This way we ensure we have enough patterns to finish the song. You are not allowed to do double entries. Every pattern must be unique so you have to copy every pattern instead. Patterns of 64 and 128 rows are too short and will waste too much patterns to reach the end of the 2nd turn. There is a maximum of FE (255) pattern positions and FF (256) patterns. Because there are less pattern posistions than there are patterns, duplicating a pattern is better than entering a pattern number more than once. It will not be more efficient for the duration of the song if you enter a pattern number more than once, instead of duplicating it. This has two benefits. First, you will be able to make changes in a duplicate pattern in a later stadium. Second, when the pattern position does not equal the pattern number next to it, it will indicate that at some point a pattern is sequenced more than once. It is very easy to hit a pattern number instead of an arrow button, and clicking a pattern number will change its value. 9. Sort the patterns to keep a good overview and to avoid confused composers. You can easily do this by hitting the "Sort"-Button in the Sequencer. When the pattern position does not equal the pattern number next to it, it will indicate that at some point a pattern is sequenced more than once. It is very easy to hit a pattern number instead of an arrow button, and clicking a pattern number will change its value. 10. You may make minor edits to the last pattern of the last participant's entry for the purpose of blending the music into your own parts. By"minor edit", this doesn't mean you can completely ruin someone's tune! Show some respect! However, there should be enough flexibilty to make a smooth transistion. Continuing the last part’s style for at least a while is encouraged. No transistions will mean a listener can download a few mods, put them in a playlist and get the same result. An important aspect of this project is learning how to co-operate and working together towards one long song. 11. Each part has a maximum duration of 5 minutes. Making a one hour song alone is easy. It is part of the challenge to do it together. Short parts means more people are influencing the song, so it is important to work well-organized to keep a smooth workflow. 12. We don´t want to target a 10 Terrabyte module. Try to optimize your part as much as you can. Although looping samples are efficient, make sure they will mute eventually, even when an off-note command is not given. So if there is a sustain loop in the sample, then avoid sustain point or loop in the associated instrument. Make the release curve longer instead. This will prevent that the sample will accidently pop-up later in the song, when the volume of the track is raised after you muted it. 13. Use intelligent track and instrument names, and try to re-use as many existing tracks as possible. Name your instruments to make them easy to recognize. For example, add letters of your name to each instrument. Reusing tracks helps preventing a decreased overview in both the track scopes and the patterns. There are several reasons to hesitate: you might leave tracks open because you or someone else may reuse a track from a previous part. Since each track has its own set the track is more or less fixed in place. Another reason is that you fear losing settings. If all is well these setting should have been saved in a previous part. You can disable and enable the effects on the track, so it’s easy to start on a track as if it were empty. Don’t forget to copy the settings and the bypass command when you’re finished though.