AMPLINEX 011

AMPLINEX issue 011 was published in May 1989. Each AMPLINEX magazine is stored as a 200K single-sided 80-track disk image file (.ssd file type). The image can be used to create disks for a BBC Micro or can be loaded into a BBC emulator. For the disks to run, the BBC (real or emulated) must have an AMPLE Nucleus ROM installed and be running the Hybrid Music System.

News and reviews

Hybrid Technology – product news

In an unexpected move, Hybrid Technology have delayed release of the Music 5000 Junior (which was announced last autumn) and switched resources into development of the Music 3000, an 'expander' which adds a second 8-voice synthesiser to play alongside the Music 5000.

AMPLINEX has just received a beta-test version of the package and this is reviewed below.

In addition, two new music discs have been released - 'Plaice' by the Fish Shop Boys and 'Zen and the Art of Making Music' by Obernell. These too are reviewed below.

A new audio demonstration cassette has just been produced to show off the capabilities of the Hybrid Music System. Called 'The Hybrid Music System's Greatest Hits', the 13-minute tape contains excerpts from a dozen different pieces of AMPLE music. In addition to extracts from Hybrid's own music albums (from, for example, Pilgrim Beart and David Reed), there are two from past issues of AMPLINEX with music from Michael Harbour and Mark Mulders.

The tape will be selling for £2.95.

Music 3000 expander

Kevin Doyle

The Music 3000 package will consist of a synthesiser, issue disc and a brief user guide. The synthesiser is a modified version of the Music 5000 and allows it to be controlled in parallel with, but independently of, the Music 5000.

Setting up the Music 3000 is very easy. Like the Music 5000 there are three connections to be made: the 1MHz ribbon cable (which just plugs into the socket on the back of the Music 5000); the mains lead (plug provided); and your own audio lead to plug into the 5-pin DIN socket on the back of the unit.

The last item may need some consideration - many people will be using ordinary stereo audio equipment to listen to their Music 5000 at present. With the addition of the Music 3000 you will need a means of listening to four channels of sound.

If your audio equipment has only one stereo DIN socket then you will need to use a lead which converts two DIN plugs into one. To coincide with the release of the Music 3000, Hybrid Technology will be adding such a lead to their product list.

Those who already have multi-channel mixing or recording equipment should have no difficulty accommodating the extra two channels of output.

The Music 3000 software looks identical to the standard Music 5000 or 5000-4 package until you come to the Mixing Desk. The screen layout is the same showing the standard 8 voices. But if you move the cursor beyond the eighth voice (at the right-hand side), the screen is re-drawn to display another set of 8 voices. These new voices are called 9, A, B, C, D, E, F and G, a rather odd notation which probably results from the need to fit them into the cramped screen display.

In use, voices 1-8 (on the first screen) are played on the Music 5000; voices 9-G (on the second screen) are played on the Music 3000. In other respects the software is unchanged. The same waveforms are written to both synthesisers, and complex, multi-channel instruments can even be split between the two synthesisers.

Although sixteen voices are available, the limit on the number of players remains at ten, so chords must be used in order to play more than ten different musical scores. For those who just want to increase the complexity of the instruments used, however, existing pieces can be adapted very quickly to play on more voices.

Another immediate benefit of the extra voices is in the use of multi-voice effects such as Echo and Perc. With eight more voices available much more attention can be paid to the overall sound of a piece of music, with less concern about running out of voices for the score.

One side-effect of the increased number of voices is that the 'mix' definition output by the Mixing Desk can easily become too long to be read into the Notepad - awkward if you use both methods for amending mixes, but one more reason for Hybrid to develop a better Notepad.

In summary, if you are finding the eight voices of the Music 5000 synthesiser a restriction, and you do not wish to invest in MIDI equipment, the Music 3000 could be the answer. The only other point to consider before buying, is how you will combine the audio outputs of the two synthesisers.

The Music 3000 will be launched at the July BBC Acorn User Show and will cost £115 including VAT and postage and packing. The audio lead (2 into 1 DIN) will cost £4.95 inclusive.

New Hybrid music albums

Roy Follett

'Zen and the Art of Making Music' by Obernell

When I reviewed Obernell's previous disc ('Return to the Homeland') I was absolutely delighted with it, and praised it highly. So highly, in fact, that I was accused of going over the top.

Sorry to say, I am unable to be as enthusiastic about 'Zen and The Art of Making Music' - very few of the pieces have any fresh ideas for the listener.

This disc contains nineteen tunes, most of them with lyrics, and all the pieces are original compositions. There are two remixes included in the total of nineteen.

Any innovation, however, seems to be reserved for rewriting the English language and I quote at random from the lyrics held in the 'info' words:

"Don't u see we'll b 2gether 4ever more"

"After wot u did 2 me?"

I was very disappointed.

'Plaice' by The Fish Shop Boys

'Plaice' by the Fish Shop Boys contains ten titles all of which are a play on the theme of fish - for instance, 'OpporTUNAties', 'BASSe out of hell' or 'PILCHARD beat'. This last one is at the expense of Pilgrim Beart with a re-working of some of his stuff.

Some thought has gone into the compilation of this disc, but the content does not bring joy to my ears. Perhaps I like my tunes to be more melodic, or is it the driving drum line that I found over-insistent? I don't know. But I do feel both of these discs would be more interesting if it were only possible to hear the lyrics performed rather than reading them off the screen.

However as someone must have said 'Art is in the ear of the beholder' - so go and buy these two discs, listen to them, and then tell me I am wrong.

Both these music discs are available from Hybrid Technology priced £4.95 (inclusive of VAT and postage and packing).

Published in AMPLINEX 011, May 1989

Winds of Change

by Obernell

From the album 'Zen and the Art of Making Music

Courtesy of Hybrid Technology

in this ever changing world,
it is so very hard 2 keep pace.
living in this ever changing world,
is like running the endless race.
the winds of change blow so cold,
that my face and hands are numb.
this ever changing world,
has got me under its thumb.

Obernell

Source: AMPLINEX 011 disk, file $.WINDS

Published in AMPLINEX 011, May 1989

Travelin' Text Tinhorn

by Andy Knight

Tex Tinhorn was just a saddle tramp, drifting from town to town. He meant no harm to anyone. But he made a big mistake when he arrived in Tumblegulch. Not that folks were unfriendly in these parts, 'cos they were. He stopped off at the "Golden Nugget" saloon to wet his whistle and wash away the trail dust. This was his error, 'cos the Claytons were in town. Now local folks don't use the saloon on these occasions but if they do, they keep their eyes fixed to the floor, 'cos,it don't take much to upset a Clayton. As Tex found out when he accidentally spilt Billy Clayton's drink.

Well, all hell let loose, but Tex was lucky to get away with jest his hat shot full a holes. All you could see of Tex was a cloud of dust as he high-tailed north on the trail ag'in. I sure hope he don't take the trail east at Red Rock Pass, 'cos that'll lead him to Roughwood and the McCarthys are in town...

Source: AMPLINEX 011 disk, file $.TEX

Published in AMPLINEX 011, May 1989

Three to Get Ready

by Michael Mellor

Composed by: Dave Brubeck

You would think from the title that this piece is a waltz, however it has a pattern of 2 bars of 3/4 time and then 2 bars of 4/4 time after the initial theme.

It was one of the first pieces I programmed.

Michael Mellor

Source: AMPLINEX 011 disk, file $.3GETRDY

Published in AMPLINEX 011, May 1989

Telstar

by Pete Christy

Composed by: Joe Meek

Originally performed by The Tornadoes

One of my all-time favourite tunes, though I'm not sure I do it justice. The music was worked out on a small Yamaha Portasound keyboard, then transcribed into AMPLE. Not a sheet of music in sight!

The lead instrument isn't quite right. Not quite raucous or hollow enough. Also there is a slight timing hiccup on the mix changes to and from the chorus. If you can improve it, feel free, but tell me how!

Source: AMPLINEX 011 disk, file $.TELSTAR

Published in AMPLINEX 011, May 1989

Squits

by Mike Dobson

Looking at the word 'screen', you may be intrigued to know how I did it.

I drew the picture on my personal Mode 7 designer and *SAVEed it as a lump of bytes. Then I loaded up AMPLE and the Notepad, *LOADed the screen and typed "screen"NAME. I then pressed TAB to enter the Notepad and added the '%' and 'DISPLAY'. Finally I typed MAKE.

This is a fairly effective way of storing screens in AMPLE and allows the use of non-AMPLE software to draw the pretty pictures.

Now stop reading and pay attention to the tune...

Source: AMPLINEX 011 disk, file $.SQUITS

Published in AMPLINEX 011, May 1989

Opportunaties

by Fish Shop Boys

From the album 'Plaice'

Courtesy of Hybrid Technology

opportunaties
[ let's catch lots of fish ]

(gabrielli/obernell/law)

fish shop boys

(1:48)

i've got the brains,
you've got the prawn...

you've got the hooks,
i've got the brains...

Source: AMPLINEX 011 disk, file $.OPPORTU

Published in AMPLINEX 011, May 1989

Intro-vox

by P W Scott

Source: AMPLINEX 011 disk, file $.INTVOX

Published in AMPLINEX 011, May 1989

Hyphon FX

by Andy Smith

A journey into our destiny

This composition saw its completion on Sunday 9th April after two days work. One main point about it that I don't like is the hiccups during the half mix changes. One particular mix is the one before the jobboFX's play, in the latter part of the piece. I hope someone can correct it. ACT has been used as I find it tremendously useful and effective.

Enjoy your listening

Bye!

Source: AMPLINEX 011 disk, file $.HYPHON

Published in AMPLINEX 011, May 1989

Goodbye to the Rain Forest

by Ted Kirk

Source: AMPLINEX 011 disk, file $.FOREST

Published in AMPLINEX 011, May 1989

Frere Jacques

by Jim Redfarn

Composed by: Traditional

I use this piece to teach beginners how to use the Hybrid Music System. They play the first part of the tune into the Staff editor, using the keyboard for input. They input the remaining part of the tune using the Notepad and step-time keyboard. The ornamentations are recorded in real-time at the keyboard. I have written some worksheets for this.

If you are interested phone me on 01 504 6680.

Jim Redfarn

Source: AMPLINEX 011 disk, file $.FREREJ

Published in AMPLINEX 011, May 1989

Fanfare for the Common Man

by Robonk

Composed by: Aaron Copland

Emerson, Lake & Palmer's arrangement

This was written as an aid to a 20-piece Brass arrangement I was working on. I got so involved with the Mixing desk side I was nearly late with the score.

Note the weird mix1 to get the instruments in order on the desk.

This also uses the UNUSED command followed by an UNMIX. I had to sacrifice 1 voice from the opening fanfare because it hiccupped upon entering mix1 trying to set 8 voices.

Source: AMPLINEX 011 disk, file $.FANFARE

Published in AMPLINEX 011, May 1989

Etude Op 25 No 1

by G H Richardson

Composed by: Chopin

This is a very good example of a technically-difficult piano piece made easy with AMPLE, as anyone who has tried to play it will know. In programming it the problem was to get the double running accompaniment into a nice smooth legato.

Initially I used Ted Royffe's pianol from Bethena (AMPLINEX M06) for all parts but the notes were too separated for the accompaniment so I took off the attack and gave them more sustain, retaining the original definition for part 5 which merely emphasises certain notes. This is a beautiful piece and the result is not bad. Reverb helps.

Source: AMPLINEX 011 disk, file $.ETUDE

Published in AMPLINEX 011, May 1989

Dennis the Menace

by Frank Dudley

The Beano Concertino

Source: AMPLINEX 011 disk, file $.DENNIS

Published in AMPLINEX 011, May 1989

Dark

by Michael Harbour

Source: AMPLINEX 011 disk, file $.DARK

Published in AMPLINEX 011, May 1989

Danielle

by Neil Williams

This tune is one of several composed on my electronic keyboard prior to the purchase of my Music 5000 about a year ago.

Since then I have transferred them to AMPLE as accurately as possible. This has enabled me to add a slightly more complex bass line in the middle section (my keyboard playing abilities are very limited).

I decided to keep the number of voices to a minimum so as to keep them largely polyphonic. This, I think, adds feeling and smoothness to the piece and is how it was written. The accompaniment track (player 3) was more of an afterthought as I was left with a spare channel, although I now think it improves the piece quite a lot.

Try typing mix2 as the piece is playing. This is an alternative voice arrangement without the accompaniment of player3.

Neil Williams (16)

(Due acknowledgment to the 'susped' routine from XPACH by Pilgrim Beart used in part2.)

Source: AMPLINEX 011 disk, file $.DANIELL

Published in AMPLINEX 011, May 1989

Ain't Misbehavin'

by John Bartlett

Composed by: Fats Waller

As played by Art Tatum

This is a transcription taken from a 1938 recording by Art Tatum. It is as faithful to the original as possible with only a few very minor 'tweaks' to suit the AMPLE environment and limitations.

The "piano" instrument is one which I created and use almost exclusively for piano parts because it seems more realistic than the "Upright" voice. Because of the size of the program, if you wish to experiment it will probably be necessary to SPOOL the affected part to disc, modify it, and EXEC it back to the main program.

Source: AMPLINEX 011 disk, file $.AINT

Published in AMPLINEX 011, May 1989

Bend utility

Peter Miller

For example of use see U.Bendemo.

These routines produce realistic guitar bends (try with Elguit), and can be used on the Staff or in Notepad. The bend is initialised with 'bn' immediately before the note (either a semiquaver or demisemiquaver - see bn) followed by 'bn1', 'bn2' or 'bn3' for up and down, up, or down bends. The total length (including the note entered) is a crotchet, which can be extended with ties. Use *EXEC to merge this file with your own music.

"bn" [ON Slide
0=L
% Bend syntax: bn <note> bn<1-3>
% There are three bend words
% available, and the length of <note>
% must be as specified in the chosen
% word.
]

"bn1" [4, 4 4 +L
//// /
4 4 -L
////
OFF Slide
6,/
% bend up and down 1 semitone
% preceding note must be
% demisemiquaver
% total length = 1 crotchet
]

"bn2" [4, 4 4 +L
//// /////
OFF Slide
12,
% bend up one semitone
% preceding note must be semiquaver
% total length = 1 crotchet
]

"bn3" [4, 4 4 -L
//// /////
OFF Slide
12,
% bend down one semitone
% preceding note must be semiquaver
% total length = 1 crotchet
]

Published in AMPLINEX 011, May 1989

Hints and tips

Transposition of music

'Robonk'

I use this method when arranging for large bands which have different keyed instruments, e.g. Bb trumpets and Eb horns.

A chromatic scale is one which goes from one note to the next note of the same name and includes all intermediate semi-tones. This can be used as the basis of transposition.

First write the chromatic key of the music. For example, for the key of Ab:

Ab A Bb B C Db D Eb E F Gb G Ab

Then write directly under it the key you require (e.g. C):

C C# D D# E F F# G G# A A# B C

To transpose, read the note from the music on the top line and take the new value from the bottom line.

Using the Aries B32

Ken Hughes

In AMPLINEX 009 there was a hint from Pete Christy about the command

*XON 20 A

to use the Aries B32 with AMPLE.

In AMPLINEX 010 Allen Gardner shows another way to do this by altering the C.PREPARE file.

The former method give more free bytes than the latter, but is less convenient to use. For the best of both methods type the following:

*RENAME !BOOT BOOT
*BUILD !BOOT
*KEY 10 *XON 20 A|M *EXEC BOOT|M
CALL !-4

and then press the ESCAPE key.

On my system !BOOTing the disc sets up Shadow RAM and then loads AMPLE without the need to press BREAK. Having noted the problem with Staff printing (AMPLINEX 007) I have left one disc unmodified. I have not had any problem with the Staff editor using the above system.

'Return to the Homeland'

Les Pearce

I have recently purchased the AMPLE music disc 'Return to the Homeland', which was reviewed by Roy Follett in AMPLINEX 008. However, upon its first play, whilst monitoring the Mixing Desk, I noticed that player 1 was not active in quite a few of the pieces although it was set to play. Further examination of these pieces revealed that 'PNUM SHARE' was missing at the end of the 'mix' word.

After correcting this omission all such pieces played as intended. This was on a system loaded with Studio 5000 Release 2, but I later found that all such unmodified pieces would play correctly on a system booted from Studio 5000-4 Release 1 (as supplied with the Music 4000 keyboard). However, as the disc is labelled for use on the 'Music 5000 Synthesiser' I would have expected it play correctly when run from Studio 5000!

So, for other 'Studio 5000' users here is a list of the tracks needing attention:

Side A - Dance!; Flight Of Icarus; Call Of The Homeland; Don't Surrender; Lucy, Who Lives On The Corner; Dreamer.

Side B - Return To The Homeland; Midnight In Soho; Russia (We Live In Fear); Restless; Midnight In Soho (remix).

Apart from this relatively minor problem, and although I wouldn't give it 'five stars' for originality as Roy did, I would still recommend this disc for its very compact and effective use of the AMPLE language resulting in some very interesting and enjoyable pieces.

Reverb units

Jim Redfarn

Some while back I bought one of the Tandy reverb units recommended in AMPLINEX 003. I have two Hybrid Music Systems and still use it on one. On the other I use an Alesis Microverb II. This is so much better, that I feel that I must recommend it to members who are improving their systems in this way.

In case any members are not clear what is exactly meant by 'reverb', it means adding natural-sounding room reflections to your recording. The Alesis Microverb offers a large range of room sizes and is very convincing. Prices seem to vary a lot, but mine cost £170 new. You can of course get them second-hand. By the way, don't get a Yamaha R100 Reverb/Echo unit. I did, in error, but luckily managed to persuade the shop to exchange it. The snag with the Yamaha is that the input sockets are mono.

Saving space during AMPLE compositions

G H Richardson

Never having had any serious memory problems on the relatively short musical pieces I had programmed before, I did not consciously think to save space when programming Bach's Toccata and Fugue in D minor. I actually got it all in at 12188 bytes, but by that time there was no room to load the Staff editor and the Notepad was getting close to the brink.

Since I normally use the Staff editor and keyboard to put the music in and to edit it, I found this disconcerting and had to resort to Notepad to edit. When this began to fail panic set in and I had visions of my 'masterpiece' ending 10 bars short - so I began looking for ways to save space.

First I did the obvious thing. I went through parts 1, 2 and 3 (21 sections) eliminating spaces between characters where possible; cramming two lines into one; converting repeated rests (^^^^) into rest holds (^///) - except for chords - and in this way managed to save about 160 bytes.

Next, I dimly remembered that because I used the Staff editor to input my notes the word '%STAFF' appeared in all sections of every part and that this word was not really necessary unless you wished to view the part on the Staff. So I removed '%STAFF' from all the parts and sections - saving a few hundred more bytes.

Then I examined other peoples' programs and came across this mysterious symbol 'sig' which I eventually realised was a music word containing something like

SCORE K(-B)K 48, 4BAR

setting the time, key signature and bar length which I had in full in all parts and sections. With reckless abandon I replaced this phrase with 'sig' throughout bringing my savings to the magnificent total of 988 bytes.

At this stage I had made enough savings to permit me to edit the music, put in an alternative mix and add the 'info' notes, so I left it at that.

I realised, however, that further savings could be made by using symbols for alterations in volume - e.g. 'ppv' for '30 0 -L' - and for variations in time - e.g. 'acc' for '30 8 +T'. On reflection I think the better way, assuming enough space is available, is to insert the volume and time variations in their normal, standard form initially, then examine them, see which are the most commonly occurring, and symbolize those.

The article by Kevin Doyle 'How to save memory in AMPLE' (AMPLINEX 004) has further information on this subject, and all I have done is reduce the general to the particular.

Finally, I understand there are considerable savings to be made by making a new !BOOT file by leaving out unwanted modules, but to me this is a technical minefield and fills me with horror. I may try it someday if someone could spell out the process step by step in practical terms.

Published in AMPLINEX 011, May 1989

Opinions on the Music 5000

In AMPLINEX 004, we carried a feature about the desirability of publishing original (rather than transcriptions of someone else's) music and about the merits of the Music 5000 as a musical instrument. Since then we have received several more comments on these and similar subjects, and we have decided to bring these together here in order to further the discussion and to encourage other responses from members.

Jim Brook

I could not disagree more with Richard Nevill in AMPLINEX 004 - melody has to be the supreme element in music, and I invariably find that the most attractive sounds I hear on the Music 5000 are compositions which were NOT written with it in mind. Give me 'To the Manor born' before the 'COSMIX' stuff, every time. I'm busy at the moment with a 'Handel-style' arrangement of an old nursery rhyme that I came across, and although I wish I was more skilled in using AMPLE, I still find the results exciting.

Ken Hughes

I should like to add my support to the views expressed by G H Richardson in AMPLINEX 004 on the type of music that AMPLE can be used for. I myself use AMPLE mainly to help me in my attempts to play the organ and a PSR 70 keyboard. As I find it almost impossible to play a tune that I do not know completely, I transcribe the tune into AMPLE and then learn it by listening to it and playing along with it on the keyboard. I am also able to play music I could not otherwise play by playing the melody part on the keyboard along with a backing part from AMPLE.

My favourite music is the middle-of-the-road type and I for one would like to see copies of well-known music of this type included in AMPLINEX. I would be very interested to see some orchestral arrangements of simple tunes such as those given in books like 'The complete keyboard player'.

Michael Harbour

I have just received and listened to AMPLINEX M06, and I think that AMPLINEX music discs are a great idea. I am a bit disappointed, however, at the number of 'originals' on each disc. Most pieces seem to be straight transcriptions of Bach or Grieg. Apart from the Chorale Prelude (which I thought was VERY realistic) the other transcriptions lacked a certain realism.

Although I don't knock what Bach and Grieg wrote, if we want to hear their music, surely we should buy records. The more realistic the Music 5000 pieces get, the closer they become to a record track. So, again, why not just settle for the record version and spend the time composing good original material?

Graham Firth

I can't say how much of a pleasure it is to see some 'real' music in the AMPLINEX jukebox. I do not wish to take anything away from those members who are clever enough to write music, but to me there is nothing nicer than to hear something well-known coming out of my Music 5000.

I know some people don't like to hear poor imitations of records but I have to disagree, and if they are based on a record, then the nearer they are to the originals, the better. If they aren't, then a nice arrangement is always a pleasure to listen to.

Bob Cornford-Wood

The comments in AMPLINEX 004 show the diverse spread of musical interests that the Music 5000 is able to cater for. From my point of view, I find the system exciting to use mainly because I'm a woodwind player with virtually no keyboard skills. Being in control of more than one musical part is a great feeling - whether it's a transcription of a piano rag, or an original composition.

Ivor Abiks

I've often wondered to what use other members put their AMPLE systems. I suppose there are those who use them as 'accompanists' when learning a solo instrument piece (such as flute, violin, cello etc.). On the other hand, are there any who have thrown away their CD players, and use a Music 5000 as an 'alternative' digital sound source? Anyway, for what it's worth, I'll tell you how I use mine. It may start something.

I play semi-professionally in a band (well a duo actually), but, with backing tapes made with the help of my Music 5000/4000/2000 system, we sound like a cast of thousands! My Music 500 synthesiser, upgraded to a Music 5000, is connected to a Tascam 244 Portastudio. An Alesis Microverb (used with discretion), makes the Music 5000 sound absolutely fantastic.

Together with a Korg DDD-5 drum machine, Yamaha TX81Z, and Yamaha PSR-70, I can (almost) reproduce the type of sound that is to be found on most chart singles (can't quite get Kylies' vocal sound though).

I find the results of entering notation from sheet music somewhat variable. Sometimes, the performance is very 'mechanical' and needs 'humanizing' by adding parts, riffs, etc., via the Music 4000. At other times, the performance seems to mimic the original very well. There seems to be a variety of quality/accuracy in the transcribed sheet music that one can purchase.

I generally use the Music 5000 for any piano parts, the FM piano voices on the TX81Z are not very realistic in my opinion, even though they are touch sensitive. I don't use any multi-tracking techniques because I find I have sufficient voices (8 on the Music 5000, 8 on both TX81Z and PSR-70 and 14 on the DDD-5 - a maximum of 38!). The only problem I encounter is finding enough RAM in my BBC B+ 128K.

The resulting recording is then copied to conventional cassette for use 'on the road'. Any pub-frequenting members in the Cambridge area may well have heard a Music 5000 at 100 watts - and I don't mean near Hybrid's headquarters! To what use do other members put their systems?

'Robonk'

When you buy a guitar and learn to play it, the first tunes are always established pieces - 'My bonnie lies over the ocean' or 'She'll be coming round the mountain'. It's similar with other instruments. When you're relatively competent, people will ask you to play something - they might even be slightly interested in your own composition - but play the latest 'Bros', 'Houston' or whatever and you'll be brilliant. Most professional musicians play 'covers' with very little 'original' music, especially 'classical' instrument players.

I like to hear good original music such as Obernell's (which I find very hard to write) but I would rather hear a thousand good copies than ten dreadful originals.

Editor's note:

Further comments, opinions and details of uses of the Music 5000 are welcome.

The policy of AMPLINEX is to publish a mixture of the best of both original and transcribed music, within the limits of our copyright agreement. We wish to encourage creativity in the use of the Hybrid Music System and believe that this can be achieved in both original compositions and the imaginative arrangements of other people's music.

Published in AMPLINEX 011, May 1989

A beginner's guide to 'unmixes'

G H Richardson

If there is one thing that has bedevilled me from the start on the Hybrid Music System, it is the dreaded message 'Too many players' (or voices, or channels) and, as I was working recently on a piece using all eight voices, I soon ran into it again when I tried to change to a new mix. This time, however, instead of sidestepping the problem I decided to confront it face-to-face and find the proper answer.

I knew it had something to do with 'unmixes', but the word itself filled me with terror because I had never understood it (despite the explanation in the User Guide) and I suspect there are some others in the same boat.

Having solved the problem (to my own practical satisfaction at least) I thought I would set down in a step-by-step sequence in the hope that it would help the other struggling mortals.

I will use the piece I was working on as a means of explanation. The piece began with 'mix1' which used 3 players with a total of 7 voices:

"mix1" [M5MIX 48,150=T 0 M5TUNE
1 SHARE 3 VOICES pianol
1 VOICE 112 VOL 0 PAN
2 VOICE 112 VOL 0 PAN
3 VOICE 112 VOL 0 PAN
2 SHARE 3 VOICES pianol
1 VOICE 92 VOL 0 PAN
2 VOICE 92 VOL 0 PAN
3 VOICE 92 VOL 0 PAN
3 SHARE 1 VOICES pianol
1 VOICE 124 VOL 0 PAN
PNUM SHARE
]

In the next mix I wanted to use 4 players with a total of 8 voices but with a different distribution - 2 voices on player 1, 3 on player 2, 2 on player 3 and 1 on player 4. This is where the trouble (the 'Too many...' error messages) began.

The solution was quite simple - 'unmixes'.

This is how I used unmixes:

1) I got 'mix1' into the Mixing Desk with

"mix1" GET

which showed the first 7 voices with brackets around them and the last one without.

2) I removed the brackets from voices 3,4,5,6 and 7 by moving the cursor to each voice and pressing 'b' (see Music 5000 User Guide p.83). This left just voices 1 and 2 in brackets (because these were to be retained in the new mix) and voices 3,4,5,6,7 and 8 without brackets, freeing them for further use.

3) I NAMEd this concoction 'mix2' but instead of MAKEing it, I typed

UMAKE

and it then scrolled out,

"mix2" [M5MIX
1 SHARE 3 VOICES
3 VOICE UNUSED
2 SHARE 3 VOICES UNUSED
3 SHARE 1 VOICES UNUSED
PNUM SHARE
]

Although called 'mix2' it is in fact an 'unmix' and it is this which frees voices 3,4,5,6 and 7 (with 8 already free) ready for use in the new mix - 'mix3'.

4) I started to set up 'mix3' in the normal way beginning with CLEAR and READY, SHAREing the voices to the players and ending with another CLEAR.

I then allocated the instruments to the voices, set the volume levels etc.

I then NAMEd the mix as 'mix3' and typed MAKE in the normal way.

5) Finally I moved into Notepad, called up 'RUN'

"RUN" GET

and included the unmix ('mix2') in the playing sequence before 'mix3',

"1234-1ab23cd41abg" PLAY

It is vital that the unmix ('mix2') immediately precedes the new mix ('mix3') whenever it is used. You will also notice that I have had to use a further unmix 'mix4' to unscramble the players and voices to get back to 'mix1'.

I make no apology for the simplicity of this step-by-step explanation - I only wish someone had done it before me and saved me a lot of trouble. I do apologise to those who find this child's play - perhaps someone may show how it can be done in a better and simpler way. For myself I am content that the 'terror' has gone out of unmixes and the dreaded 'Too many...' messages!

Published in AMPLINEX 011, May 1989

Questions and answers

Question: Keys of tuned instruments

I have a piece of music which is arranged for an orchestra. It has eight parts, which is ideal for the Music 5000 system, but I have a problem. Each part has a different key signature at the start of it. I suspect this is because of the differently-tuned instruments - for instance, it has a B flat trombone, and an E flat tenor horn.

How do I harmonize these parts together? I would really like to transcribe this piece but at the moment I've hit a brick wall. Can somebody help me, please!

Andrew Smith

Answer: Part-bars in Staff editor

In reply to the question from Vincent Fojut in AMPLINEX 010, the technique that I use to enter notes in part-bars is to precede the notes in the incomplete bar with sufficient back holds (\), enter the notes concerned, but then not enter the next bar-line. The effect of this is to move back in music time sufficiently for the pick-up notes of the incomplete bar to fit within the time to be allocated to the next complete bar.

This technique is also explained, though not with reference to bar-lines, in the AMPLE Nucleus Programmer Guide, page 115.

In the Staff editor the back hold, \, needs to be entered above the staff, as explained on page 34 of the Music 5000 User Guide.

The following definition was made from a short piece entered in the Staff editor:

"FromMeToYou" [%STAFF
SCORE K(-B)K 48, 4BAR \
0: 24, FGAgf/GG// | 48,d//^ | 0,^]

Playing such a part word in isolation may not be entirely successful (the system gets a bit confused if it has to start in negative time), but in the context of a larger piece, or after an initial dummy rest bar, or playing from the Staff editor, the effect is exactly as desired.

Tony Walduck

Question: Use of RAMROM board

Has any other AMPLINEX member got a RAMROM board and managed to use it with AMPLE to get more memory? As the documentation that came with it is so poor, I haven't got a clue on how to use it for Sideways RAM.

Diccon Maude

Answer: MIDI implementation charts

If Taj Letocha (AMPLINEX 010) is having problems with MIDI implementation charts he may care to look at an article I wrote for the March 1988 issue of Keyboard Player magazine on just that subject. I noticed that although there are several good books on MIDI, none gave a beginner's guide to MIDI implementation charts.

My article is not definitive (it doesn't cover some of the Mode 3 implementations of modern expanders, for example) but it does give a good introduction to the subject - if I say so myself!

Ian Waugh

Question: Linking two Hybrid systems

I was interested in the comment made in AMPLINEX 010 (F.SurvA88) about linking two Hybrid Music Systems. Can anyone give practical advice about this? I presume it would involve using the MIDIRT command and the MIDI IN socket.

Jim Redfarn

Your question might just have been answered by the Music 3000 released by Hybrid (see News and Reviews, this issue).

Question: Acoustic guitar instrument

I am having some trouble making an instrument which sounds at least vaguely like an acoustic guitar, so I would be grateful if someone knows of a suitable definition, or can point me in the right direction. I've tried amending Elguit, Slapbass and harpsichord words, but I don't know how to make the required changes.

Peter Miller

Please, has anyone got an acoustic guitar instrument? The closest that I have got is a sort of banjo type sound.

Diccon Maude

Answer: Drum rhythm

In AMPLINEX 010 Neil Walker asked for help with drum rhythms used in rock and jazz music. The paperback "Teach Yourself Rock Drums" by Mike Finkelstein (Amsco Publications, Order No. 25180, UK ISBN 0.7119.0222.4 from Music Sales Ltd, 78 Newman Street, London. W1P 3LA) should prove at least partly useful reading.

Covering most types of rock music and jazz funk, it gives numerous examples in staff notation of the 'grooves' created by many famous drummers up to 1979. Everything from a 'Paradiddle' to a 'Nine Stroke Roll' are ready to be tried out in the Staff editor. No 'Flam'!

Jack Wrigley

Question: Registration slips

When I upgraded my Music 500 to a Music 5000, I had to complete a registration slip. This, I was told, would keep me up-to-date on new developments of the Hybrid Music System, new music discs, etc.

It is now several months since I sent off that slip, but I have heard nothing. Is this something that other AMPLE users have found, or has my registration gone astray?

Peter Wright

Answer: Aries B32 problems

In reply to the question by Jack Wrigley in AMPLINEX 010 - with the Aries B32, typing *XON 20 A sets up 20K of Shadow RAM, but sets the B32 workspace area to page A, i.e. at &A00-&AFF (see B32 manual, page 35).

However, the memory map of the AMPLE system (Music 5000 User Guide, page 90) shows that the Staff editor buffer is at &900-&AFF. This is obviously a recipe for disaster!

I use *XON 20 13, choosing to use page 13 for the workspace. This means that I have to allow one page of user memory for the B32 workspace, but at least this arrangement is safe. In addition, I have to change one byte in the file C.PREPARE for the initial memory recovery technique to work.

In Studio 5000 (Release 6) byte &3E needs changing from &13 to &14; in Studio 5000-4 (Release 2) byte &52 needs changing from &13 to &14. The byte to change is possibly the same in other releases. This aspect of the use of Shadow RAM in AMPLE has been mentioned in earlier issues of AMPLINEX.

Tony Walduck

We understand that Hybrid Technology will be using a revised version of the C.PREPARE file in future software releases. Therefore, members following instructions which involve altering this file based on the addresses of specific bytes should try to ensure that the instructions apply to their version. I all cases you should work on a backup copy of your system disc, just in case.

Question: 40-track twin-disc users

For 40-track disc users, who receive AMPLINEX split over two discs, is it not possible to have the menu for the music files on the same disc or side of the disc as the music files themselves? This would save much disc swapping or drive changing when all we want to do is listen to the music!

Jack Wrigley

Because we try to put as much as possible on each AMPLINEX disc there is normally only just enough room for the AMPLINEX control program to be stored once. In addition, there would be extra work involved in preparing two versions of the program for the minority of 40-track disc users.

However, we are aware of the inconvenience of the split-disc arrangement and if any member can suggest a simple means of allowing 40-track disc users (single and dual drive) to select files from two discs more easily, we would be only two willing to use it.

Editor's note:

The comments following some of the questions above are only my opinions on the subject and should not be taken as definitive answers.

Your comments are most welcome on any of the questions posed, whether they supplement, confirm or correct any I have expressed.

Published in AMPLINEX 011, May 1989

Printing out AMPLINEX information

There are three ways to print out the information seen in AMPLINEX.

You can print out an AMPLINEX file as it is displayed on the screen from within AMPLINEX; you can print the files themselves as you would any other text file; or you can load the files into your own word processor and re-format them as required before printing.

1) To print a file from within AMPLINEX choose the 'SET PRINT ON/OFF' option from the Introduction menu. This allows you to toggle a software 'print switch' on or off. If the switch is set ON then any AMPLINEX file which is displayed on the screen will be sent to the printer. This will continue until you set the switch off again using the same Introduction option. An asterisk is displayed at the top of the screen next to the issue number when the print option is ON and the print status is shown at the bottom right of the screen as text is displayed within AMPLINEX.

It is now also possible to print out part of a file from within AMPLINEX. There are two ways to do this:

a) To print a single page of an AMPLINEX file, make sure the 'print switch' is OFF and then select the menu option which displays the file. When the page you wish to print is displayed, and the 'Press RETURN to continue' prompt is showing at the bottom of the screen, press the letter 'P' on the keyboard. The page being displayed will then be sent to the printer. Pressing RETURN will then continue to display the file without printing.

b) To start printing part-way through a file, you can turn on the 'print switch' by pressing the CTRL and 'P' keys together when the 'Press RETURN to continue' prompt is displayed. Subsequent pages which are displayed will then be sent to the printer. The 'print switch' can be turned off again in the same way.

2) If you prefer to print the parts you require outside of AMPLINEX - all the data is held in files on the AMPLINEX disc. The files are in directories named according to the sections in which they appear and the file names can be seen at the foot of the screen as they are displayed in AMPLINEX so you can make a note of the ones you require.

The file directories allocated to each section of AMPLINEX are as follows:

$. for Music

A. for the Introduction and Adverts

F. for Features

H. for Hints and Tips

I. for Instruments

N. for News and Reviews

Q. for Questions and Answers

U. for Utilities

In addition to the text files, the AMPLE instrument definitions can also be printed directly from within AMPLINEX. Music and utility programs written in AMPLE can only be printed by LOADing the programs into the Studio 5000 and using the WRITE command (see Studio 5000 User Guide page 100).

3) If you wish to re-format the text before printing you should load the files into your word processor. The files contain unjustified text restricted to 38 columns width. The files contain only printable ASCII characters except for a control code (ASCII 11) which marks the screen page breaks. View treats these as left margin tabs and if necessary they can be removed with a C/^L// command.

Two utilities have been published in AMPLINEX to aid with the re-formatting of text files:

In AMPLINEX 003 'Hints and Tips' (H.ints003) there were instructions for a Wordwise segment program to automatically format AMPLINEX text files. The segment itself was included in AMPLINEX 004 (H.WWconv).

In AMPLINEX 005 there was a utility to print formatted 80-column text direct from an AMPLINEX text file. The instructions (U.print/i) and the BASIC program (U.print80) are both within the 'Utilities' section. A modification to this program (to provide a wider margin) was included in the 'Hints and Tips' section of AMPLINEX 006. See also the Update section of AMPLINEX 008 for a note concerning BASIC 1 users.

Published in AMPLINEX 011, May 1989

Next issue news

The next issue of AMPLINEX is planned for release at the end of July 1989. This means that all applications for a FREE copy (i.e. those with discs containing contributions) must be received by MONDAY 3RD JULY. Anyone paying the £2.00 fee should apply by Friday 28th July.

Over the next few issues we are planning a series of features on the area of waveform design, leading up to the publication of a full waveform design package. Most of the rest depends on the contributions which we receive between now and then - so please let us have the benefit of your words and music for the next issue of AMPLINEX.

Published in AMPLINEX 011, May 1989

How to contribute to AMPLINEX

To receive your next issue of AMPLINEX free of charge you must send a contribution of your own.

This could be an AMPLE music program, an instrument definition, a question or an article about some aspect of the AMPLE language or Hybrid Music System hardware or software, an AMPLE utility, a useful hint about AMPLE, or an answer to another member's question.

Under copyright law we cannot publish programs or music unless we have the permission of the copyright owners or their licensing agent. It is important to realise that in the case of an AMPLE music program, copyright exists in both the program itself and the music it represents. There may even be a separate copyright in the arrangement. If you wish to contribute transcriptions into AMPLE of someone else's music you must credit the copyright owner(s) of the music, the arrangement (if applicable) and lyrics (if included). We can then try to obtain permission to publish.

To protect ourselves from copyright actions we must ask you to sign the copyright declaration on the 'next issue request form' which was sent to you with this issue of AMPLINEX. All submissions made to AMPLINEX will be regarded as permission to publish within the AMPLINEX membership. Beyond this, the submission remains the property of the author.

As part of an exchange arrangement, we may wish to pass on your address if any of your contributions are of interest to other software publishers such as Hybrid Technology, Micronet or CEEFAX.

If you do NOT wish your contributions to be considered for publication elsewhere (and thus your address not to be passed to anyone else) please indicate this on the request form in the place provided.

You can also use your return disc to pass on questions which you would like answered on any issue relating to the Hybrid Music System or AMPLE language. We will do our best to answer them (or will pass them over to the other members for help) and publish the results in the Questions and Answers section of AMPLINEX.

You can also use AMPLINEX to advertise any (un)wanted items or to make contact with other members. Just put the details of your advertisement on to the return disc and we will try to include it in the next issue.

The 'Feedback' section of AMPLINEX contains a utility to allow a note to be written on the screen which can then be saved to disc. This 'note' file can then be included on your disc sent for the next issue of AMPLINEX.

'Feedback' notes can be used to make contributions to any of the text-based sections of AMPLINEX as well as to make comments or suggestions on AMPLINEX itself.

Send all contributions, on a standard DFS format disc (40- or 80-track).

It is not necessary to send printed copies of your contributions - any copies required are printed locally to minimize postage costs.

40-track disc users please note:

The AMPLINEX magazine is designed to fit on to one side of an 80-track disc. If you use 40-track discs you should send one double-sided or two single-sided discs.

Suggested file formats are:

a) AMPLE music programs - save these in normal Studio 5000 format (e.g. by selecting 'Save program' from the Studio 5000 Main menu). Since many members do not have the Music 4000 keyboard please ensure that your program has no M.M4 or M.KFX module words present. To make sure, try loading the program using your Studio 5000 system disc.

Please include some comments about the music - how or why it was written, how it could be changed - and put them into a word as comments following a DISPLAY statement. Use of the word 'info' to contain such text is common practice and we would suggest that it is NOT displayed automatically every time the music is played.

b) AMPLE instruments - save these in text form via *SPOOL using the AMPLE 'TYPE' command to save the word(s) you want.

Some description of the sound itself and hints on its use (e.g. which parameters could be changed, which are the most suitable octave settings) would make it more useful. This can be done using comments within the instrument definition itself (by preceding them with a '%').

c) Text (hints, questions etc.) - use the 'Feedback' note facility for short contributions. For longer pieces use View, Wordwise or other word processor (without embedded format codes or commands). Do not right justify the text.

You can help us operate AMPLINEX more efficiently by careful naming of the files which you send us. Receiving several files called 'hint' or 'quest' can cause us problems in trying to keep track of which contribution came from which member.

Wherever possible, please try and make the filenames of your contributions unique especially where they are for a regular section of the magazine.

Putting a combination of your name or initials and the section for which the contribution is destined is one way of doing this. So if your name is Fred Bloggs you could use FBquest or BlogH&T for contributions to the Questions and Answers or Hints and Tips sections.

Whatever filenames you use, please remember to include your name somewhere in the contribution - this can save us many hours annotating lists and cross-referencing filenames with contributors.

Ensure that your disc is well packed as we will be using the same packaging to return it to you.

Make sure you enclose a return address label and postage and that both the packaging and the disc are marked with your name and address.

Send it to:

AMPLINEX
26 Arbor Lane
Winnersh
Berks.
RG11 5JD

to arrive by the date specified in the 'Next issue' section.

We look forward to reading and hearing your contributions.

Published in AMPLINEX 011, May 1989

Update – changes/corrections/comments

This section is a focus for news about the workings of AMPLINEX, corrections to items in previous issues, and other small items of information which might otherwise be missed amongst the details of each issue.

Music 2000 files

We have received two further letters on the subject of music files written for use with the Music 2000 MIDI interface.

G H Richardson

The point raised in Michael Mellor's letter in AMPLINEX 010 about cassette recordings of AMPLE/MIDI music touches on something I have often thought. Although I don't as yet use MIDI I often feel that the Music 5000 pieces I produce can be made to sound so much better by using my mixing desk to give or take away 'edge', vary bottom, middle or top frequencies, produce 'echo' etc.

These enhancements, however, are only reproduced on a recording and are lost on a straight Music 5000 replay. If, therefore, people like myself and AMPLE/MIDI users were to indicate on their contributions that a cassette recording was available on request, that might help. The AMPLINEX system could be used: a blank cassette in an envelope containing a stamped, return address label sent to the contributor who would make the recording and return it in the same envelope. What about it?

Chris Hanby

In reply to the letter from Michael Mellor concerning MIDI music files, all his solutions will require extra work for AMPLINEX, which can easily be avoided.

Surely these files can be provided in exactly the same way as other music, with an indication on the menu if it is a MIDI piece. Comments can be included in the music to indicate the hardware and instruments used, it is then up to members to adapt it to their own requirements. I use a Roland MT32 and would welcome MIDI software of any kind to try out.

Anyone who contributes to AMPLINEX is welcome to take up G H Richardson's idea - details of where members should send a cassette could be put in an 'info' word within the piece.

The only difficulty with including MIDI pieces in the normal AMPLINEX music section is that such pieces would only be usable by those members with a MIDI interface - currently only about 20% of the membership - since the M.M2 module is needed to load such files.

As we mentioned in the previous issue, we would like to hear the thoughts of other members on this subject whether or not they are Music 2000 users. As Music 2000 ownership spreads it may well be possible to produce MIDI-, or even MIDI instrument-specific music discs. The difficulty, as we mentioned before, is finding the resources to develop such publications. So here is an open invitation to MIDI users - if you think you could help to organise such a venture, please get in touch!

AMPLINEX and CEEFAX

The long-running attempt to broadcast AMPLE music on the CEEFAX Telesoftware service has moved one stage nearer with the issuing of contracts to the authors of the first batch of music programs. Confusion at the BBC meant that the contracts did not go via AMPLINEX as arranged and so there may be a longer delay than anticipated before broadcast. We may have more details in the next issue of AMPLINEX.

We always welcome suggestions for improvements in the workings or contents of AMPLINEX - most of the changes made to date have originated from members' suggestions. So, if you have an idea to improve AMPLINEX, let us know.

Also, please let us know if you spot an error or omission in the contents of AMPLINEX - you may be the first one who has noticed.

Published in AMPLINEX 011, May 1989

Welcome to AMPLINEX 011

Kevin Doyle, Roy Follett and Jackie Follett

As you will have noticed, there is another 'bonus' disc included with this issue. This time, however, it contains not music but an excellent utility developed by AMPLINEX member Taj Letocha which extends the BBC computer's EXEC facility to allow, for example, dozens of instrument files to be held on one side of a disc. Full details of the utility are held on the 'bonus' disc - just use the normal

"A.MPLINEX" LOAD RUN

command to start.

The utility is designed for Sideways RAM but, for the minority of AMPLINEX members without this facility, author Taj Letocha has kindly offered to provide a ROM version of the software. If you would like to make use of this offer, please send a cheque for £7.00 to:

Taj Letocha
62, Kitsbury Road
Berkhamstead
HP4 3EG

On this disc, as well as the usual 'Questions and Answers' and 'Hints and Tips' sections, there are two further utilities including one from Roger Cawkwell, author of the 'Practice of Music' series, which is the first of what will be occasional example pieces exploring specific aspects of AMPLE music.

Making up the rest of the disc we have fourteen pieces of AMPLINEX members' music plus two examples from the latest Hybrid Technology music discs. Both these discs are reviewed, together with the latest hardware release from Hybrid, in the 'News and Reviews' section.

Finally, we have a couple of features - one a beginner's guide to 'unmixes', the other some debate on the nature and use of AMPLE music.

Please keep the contributions coming.

Published in AMPLINEX 011, May 1989