AMPLINEX 014

AMPLINEX issue 014 was published in November 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 news

In AMPLINEX 013 we gave brief details of a new software product from Hybrid Technology - the AMPLE Toolbox - which we expected to be reviewing in this issue. Unfortunately, as our publication deadline approached, we were told that the software was still not ready for release, but that it would be ready within 'a few days'. We hope, therefore, to include a review of this product in our next issue. In the meantime we have received a note from AMPLINEX member Tony Walduck about the software:

Recent advertisements by Hybrid Technology in the November issues of BBC Acorn User and The Micro User do not mention any restrictions in the use of the new AMPLE Toolbox. In fact the advertisement actually has the wording 'Compatible with BBC Models B, B+, B+128K and Master 128 with 40/80 track disc drive'.

But upon ordering the AMPLE Toolbox I received a letter from Hybrid asking me 'to note that the Sideways RAM module store function is available only for those with the Master 128'. However, I was assured that the rest of the package can be used on the entire range of BBC microcomputers.

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In AMPLINEX 011 we reviewed a beta-test version of the Music 3000 expander. Our reviews are usually conducted in a short time in order to meet publication deadlines and we are always glad to receive the comments of members who have had used the products 'for real'.

Music 3000 expander - a user review

Graham Firth

The Music 3000 expander is a modified Music 500 - the circuit board is identical to the one I bought in May 1985 (when they were £199!) except for a few modifications. Firstly, there are two capacitors connected across two of the chips - I reckon that these are the modifications that were done to improve the timing on a BBC Master when the Music 5000 was introduced.

Secondly, there is a resistor and three wires joining three IC pins together and four cut PCB tracks. These I think, are to change the 1MHz bus (FRED?) address.

Then there is the software. It comes as an issue disc complete with a password as we all know and love. It needs a copy of a Music 5000 system disc and it modifies that disc by replacing the MIX and M5 modules and the C.PREPARE file. Incidentally, this is the first disc I have had from Hybrid that is copy protected, it took a few attempts before I managed to back it up.

The new modules - V3.2 for MIX and V3.4 for M5 are longer than the old files - 280 and 220 bytes respectively. Oh dear, you say - even less memory! But it is actually worse than that because my checks show that at the main menu page I have gone from 15537 to 14513 bytes free, a whole 1K! And, in the Mixing Desk, I have gone from 10382 to 9128 bytes free - 1254 bytes lost! It is, of course, worse in the Staff editor where there are only a maximum of 2225 bytes free.

I have a Watford Shadow RAM board in my machine which has served me well up to now, but although the Music 3000 Installation Guide says it will work with Shadow RAM, my system seems not to (see Questions and Answers section).

Having said all that, it seems to perform OK without the Shadow RAM, albeit with reduced memory, although on my set up, a standard Model B, I appear to have some new ROM clashes and I am going to have to investigate further.

The only things I have tried so far are to change 2-channel instruments to 4 channels to get a fuller, richer sound (and many tunes sound all the better for that) and to add more rhythm to tunes. The maximum number of players remains at 9 although you can use 10 if you use the 10 P(...)P type of structure.

There is another advantage to the Mixing Desk in that voices with more than 2 channels now only take up a single position on the desk so an 8-voice mix, all of 4 channels, only takes up one screen. Another refinement added is that you can use the DELETE and COPY keys to subtract or add voices to a player which makes setting up an initial mix easier - it saves typing in the 1 SHARE etc. It also makes changing mixes easier.

The Music 3000 comes with a 5-page A5 Installation guide in the usual format with all the information you need to know about it.

As this is another Music 500(0) type unit, there is of course, another 5-pin DIN socket on the back for the audio output - great for those members with a quadrophonic system or a proper mixer. I have neither of those so I bought a couple of matching 5 pin DIN plugs and a matching free socket from Maplins and wired it as follows using 1k resistors:

plug 1          socket          plug 2
Music       (for original        Music
5000        amplifier lead)       3000
------      ---------------     ------

pin 2 -----------pin 2-----------pin 2
pin 5 ----1k-----pin 5-----1k----pin 5
pin 3 ----1k-----pin 3-----1k----pin 3

(The four 1k resistors can be fitted within the free socket if they are 1/8th watt).

I think that channels 1 to 8 come out of the Music 5000 and channels 9 to G came out of the Music 3000 but I was unable to confirm this.

It is noticeable that when the Mixing Desk is on the screen, and you are playing a piece with all channels in use, then the 'stars' at the top of the screen are almost stationary. I couldn't try any of my complicated pieces that almost stop the stars normally as I couldn't get them into the available memory without Shadow RAM. I wanted to see what would happen with all channels in use as well!

Altogether, I am pleased with the new unit - and I am looking forward to spending more time playing with the combination.

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In AMPLINEX 012 we carried a review of the Hybrid Music 1000 amplifier by Tony Walduck. In his review he mentioned that he had received no technical specification for the unit and that he was disappointed with the quality of the headphone output. In AMPLINEX 013 we published the technical specification for the unit which Hybrid Technology say is included with each one and, in the Hints and Tips section, we had some advice from Neil Walker about improving the quality of the headphone output. In an update to his review, Tony Walduck re-addresses these two problems:

Music 1000 amplifier - review update

Tony Walduck

It was mentioned in AMPLINEX 013 that Hybrid Technology do enclose a brief technical specification with each Music 1000.

Although I have subsequently requested and been supplied with this information, it did not arrive with my amplifier, which came packed in a large 'Jiffy' bag, and not the usual foam-polystyrene container. I can only assume that there was a problem in their mail order department when my unit was sent out.

The problem with noise and hum on the headphone outlets is indeed resolved by inclusion of resistors in the headphone leads, as suggested by Neil Walker. I find that values between 220R and 470R are most suitable.

However, I am still puzzled why Hybrid expect you to have to modify other equipment to interface correctly with their products. Presumably, headphones (as supplied) ought to be capable of working directly from the headphone sockets on the front of the unit. Couldn't the necessary resistors have been built into the amplifier?

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Published in AMPLINEX 014, November 1989

Sunrise, Sunset

by Peter Stephens Composed by: Jerry Bock & Sheldon Harnick

Source: AMPLINEX 014 disk, file $.SUNRISE

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Published in AMPLINEX 014, November 1989

Nobody Knows the Trouble…

by Daniel Clark Composed by: Traditional Arrangement Gregg Perry "Nobody Knows the Trouble I've Seen" is an old traditional song, jazzed up in this arrangement by Gregg Perry. It should have drums all the way through, but as you've probably guessed, I'm not the world's best drum programmer (and there isn't enough room anyway). Yes, I know toms aren't tuned, but it makes programming more fun!

Source: AMPLINEX 014 disk, file $.TROUBLE

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Published in AMPLINEX 014, November 1989

Moods

by Diccon Maude This piece was the star attraction in my G.C.S.E. music exam composition folder. This is a rough idea of what it actually sounded like on the tape _ I used a 4-track recorder and played the Music 4000 live, using a guitar for the bass line. It can't have been too bad _ I have just received an A for the exam! The music is so titled because of the contrasting Moods it portrays as it plays. The third part is supposed to be rockier than it actually is, but there you are... Most of the voices used are borrowed from somewhere else, but some I have adapted or made from scratch _ experiment with them yourselves. The programming is probably very poor compared with anyone else's standards, but maybe you can pick up a tip or two from somewhere.

Source: AMPLINEX 014 disk, file $.MOODS

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Published in AMPLINEX 014, November 1989

In the Night

by Colin Homer Composed by: Pet Shop Boys Or 'The Clothes Shop Song' I don't know if it bugs you but it certainly bugs me, when some of the jukebox tunes in AMPLINEX don't have an 'info'. Please could all the tunes have an 'info', even if it's just one letter. Right, back to the song. I find it a great pity that the Music 5000 doesn't have great percussion sounds, because even the DD10 one of the cheapest drum machines has better sounds. Let's hope with the event of the Wave Designer that this will change. Hope you like the song.

Source: AMPLINEX 014 disk, file $.INNIGHT

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Published in AMPLINEX 014, November 1989

I Just Called to Say I Love You

by Andrew Leahy Composed by: Stevie Wonder

Source: AMPLINEX 014 disk, file $.ICALLED

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Published in AMPLINEX 014, November 1989

Fantasia Absolute & Divertimento

by F Chaplin This piece, Movement no.1 taken from my 11-part Fantasia Absolute and Divertimento Opus 1 has had each original MIDI instrument replaced by a Music 5000 voice - otherwise, all musical parts are identical. Changing from MIDI to Music 5000 isn't quite as straightforward as one might expect. There are a multitude of snags to be overcome if one wishes to have a satisfactory outcome. Voice blending, volume capability, etc. need to be considered. A straight voice for voice swap simply doesn't suffice in my view. F.C.

Source: AMPLINEX 014 disk, file $.DIVERTI

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Published in AMPLINEX 014, November 1989

Falling Snow

by Richard Bettis This is a 'rhythmic' composition designed to see how little AMPLE is ample. There are only 3 music words 'riff' and 'friff' play a short sequence of notes (1 bar each) while 'pause' is a 1 bar rest. There are really only 6 play words (1 for each part), the others only swap parts between players till the end. In each part the base PITCH of the sequence is decided, and changed each time it is played. Only the 'system' voices from the 'EW' module are used. Which all leaves plenty of room to RUN this piece and have a MODE 4 graphics screen (and without Shadow memory!)

Source: AMPLINEX 014 disk, file $.FALLING

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Published in AMPLINEX 014, November 1989

Fairly Quiet Bit

by Michael Harbour Movement 2

Source: AMPLINEX 014 disk, file $.FQUIET

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Published in AMPLINEX 014, November 1989

Endangered Species

by Michael Mellor Composed by: Wayne Shorter & Joseph Vitarelli NOTES ON MIDI CONVERSION This piece can be converted for MIDI a. With a drum m/c e.g. TR505 only b. With parts 1 & 3 also from outside sources, part 2 still being M.5000 Levels will have to be adjusted by external mixer. NOTE that part six is for MIDI control of a reverb unit. Due to the differences in programming the changeover to drum machine needs RUN - "12348"PLAY altering to "12356"PLAY. See "mix" in NOTEPAD for further changes. Ring 0203 554436 Monday/Friday 0815/1615 Hrs if in any difficulties

Source: AMPLINEX 014 disk, file $.ENDANGR

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Published in AMPLINEX 014, November 1989

Electrix

by Michael Lefevre Hi! I am a new member of AMPLINEX although I have had a Music 5000 (and a Music 4000 keyboard) for 3 years. I have just got a Music 3000. I have written about 70 bits of music, they're not very good, but they are improving (I think). I play 'cello, recorder (grade 5) and a bit of keyboard (although I haven't had lessons). I am 15. This piece isn't terribly original, but I am quite pleased with the twiddles in the 'hammond' part (5e) even if the bend wouldn't be possible on a real Hammond (I think it's some kind of organ, isn't it?). MJL

Source: AMPLINEX 014 disk, file $.ELECTRX

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Published in AMPLINEX 014, November 1989

The Christmas Song

by John Bartlett Composed by: Mel Torme & Robert Wells Just a message to say Merry Christmas and a Happy New Year to all the members of AMPLINEX - and a special thank you to the team who do such a marvellous job producing the discs ... and our best wishes and thanks to all AMPLINEX contributors, without whom none of this would be possible - Editor

Source: AMPLINEX 014 disk, file $.CHRISTM

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Published in AMPLINEX 014, November 1989

Music 500 Waveforms

Courtesy of and copyright Hybrid Technology

For use with U.Wave program.

% Waveform definitions:

"bright" [WZERO 181 1 WH! 155 2 WH!
181 3 WH! 62 4 WH! 76 5 WH! 37 6 WH!
14 7 WH! 3 8 WH! WHG WGC]

"medium" [WZERO 4FOR(159 INDEX WH!)FOR
WHG WGC]

"dull" [WZERO 243 1 WH! 74 2 WH!
27 3 WH! 19 4 WH! 16 5 WH! 12 6 WH!
8 7 WH! 8 8 WH! 4 9 WH! 4 10 WH!
WHG WGC]

"reed" [WZERO 242 1 WH! 220 3 WH!
200 5 WH! 180 7 WH! 120 9 WH!
80 11 WH! WHG WGC]

"wierd" [WZERO 234 1 WH! 167 8 WH!
134 12 WH! WHG WGC]

"delta" [WZERO
16 FOR(172 INDEX WH!)FOR WHG WGC]

"tri" [32 FOR(INDEX 1 #- #11 #+ #11 #+
#11 INDEX WG! #11 65 INDEX #- WG!
0 #12 #- #11 64 INDEX #+ WG! 129
INDEX #- WG!)FOR WGC]

"qsine" [WZERO 128 4 WH! WHG
96 FOR(0 INDEX 32 #+ WG!)FOR WGC]

"pulse" [32 FOR(127 INDEX WG!)FOR
96 FOR(-127 INDEX 32 #+ WG!)FOR WGC]

"ramp" [128 FOR(INDEX #11 #+ 129 #-
INDEX WG!)FOR WGC]

"rand1" [0 RAND!
128 FOR(RAND INDEX WG!)FOR WGC]

"rand2" [255 RAND!
128 FOR(RAND INDEX WG!)FOR WGC]

"null" [WZERO WGC]

% Setup words:

"W!" ["Wave "$OUT#11NOUTNL WMOD]

"preset1" [1 W! bright 2 W! medium
3 W! dull 4 W! reed 5 W! wierd
6 W! delta 7 W! tri8 W! qsine
9 W! pulse 10 W! ramp 11 W! rand1
12 W! rand2 13 W! null NL]

% Type preset1 to set up all
% 13 waveforms

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Published in AMPLINEX 014, November 1989

Music 5000 waveform editing utility

Richard Bettis

The Music 5000 environment provides 14 standard waveforms - Bright, Broad, Clear, and so on. These are defined during the start-up of the system. Unlike its predecessor (the Music 500) there is no facility to alter these waveforms, or to change their names.

In some ways this is an advantage - using the Music 5000 approach is certainly much simpler, and the pre-defined waveforms cover many of the sound types that one might want to produce.

In some circumstances, however, it would be nice to have some wave definition abilities. For example, I really like a good strong square wave sound, which 'Hollow' just doesn't quite produce.

In AMPLINEX 009, Ian Guinan described the relationship between the Music 500 and 5000 waveforms, and demonstrated a method for using the Music 500 waveforms on the Music 5000. The big disadvantage of this method is that you need to run the Music 500 software to set up the waves. (I hardly remember how to do it, and others won't have a copy).

I have therefore written the U.Wave program, which allows any (or all) of the Music 5000 waveforms to be redefined.

Using U.Wave

1) The main screen

When U.Wave is RUN it gives a mode 4 screen divided into three windows.

At the top is a graph in which a waveform can be displayed. Below that, to the right, is a chart of harmonic levels for a waveform. These are similar to the charts on pages 127-129 of the Music 5000 User Guide.

The third window is for AMPLE, and serves to confine user activity to one area of the screen. It is in this window that you control the actions of U.Wave.

2) Seeing it work

There are 4 waveforms built into the program. In each case they replace the 'Hollow' waveform with the new one. An instrument definition (imaginatively called 'ins') puts the wave to work.

The 4 waveforms are: Square, Saw, Pulse and Hwave. Entering the wave name causes the whole redefinition process to be carried out.

3) Doing it yourself

A waveform definition consists of 128 points which describe one cycle of the wave. Each point can have a value between -127 and 127.

For example, the Square wave has points 1 to 64 all at 127, and points 65 to 128 all at -127.

As an alternative, a wave can be described using the relative strengths of the first sixteen harmonics. Each harmonic strength can be at any value from 0 to 255.

For example, a pure sine wave would have a first harmonic of strength 255, and all the others at 0.

The waveform defining words are compatible with those on the Music 500 and are all defined in upper case. This means that Music 500 wave definitions can be imported although some preparation may be needed to cope with other AMPLE BCE to Nucleus discrepancies (such as RAND? versus RAND).

4) Wave definition vocabulary

The syntax of each word is shown below using lower case letters to indicate numerical values. There is also a short description of its use.

WZERO      initialises the wave and harmonic buffers,
           setting all values to 0

x WMOD     specifies which wave is to be changed (see table 1)
           x = 0 to 13

vv nn WG!  sets the value of wave point nn to vv
           nn = 1 to 128
           vv = -127 to 127

nn WG?     puts the value of wave point nn on to the stack
           nn = 1 to 128
           (e.g. 100 WG? NOUT will print the value of point 100)

WGC        moves the waveform from the computer to the synthesiser unit
           Once this is done the new waveform can be used

ss hh WH!  sets the strength of harmonic hh to spreadsheet
           hh = 1 to 16
           ss = 0 to 255

WHG        This makes a waveform from the harmonics specified by WH!
           This must be done prior to a WGC command to put the waveform
           into the synthesiser unit.

5) Other U.Wave commands

There are some other commands in the U.Wave program which are for interactive use.

wdraw      displays the current waveform
           Any waveform created by a user word or by direct entry of
           wave change commands in the AMPLE window can be seen using
           this method.

edit       loads the Notepad editor so that the predefined waveforms
           may be examined and altered. (In mode 4 on a standard BBC
           Model B there is so little room left that many extra
           waveforms are impossible)

graph      gets back to the mode 4 graphics screen,
           QUITting and MDELETEing the editor.

dump       spools all the words needed for wave manipulation out to a
           file called E.WaveUse. This can then be *EXECed into other
           programs. None of the functionality is lost, but the
           graphical displays are!

           (When *EXECed into another program the wave change system
           needs nearly 2500 bytes, 1800+ for words and the rest for
           its run time arrays).

6) To get started...

First of all, RUN the program and check that the Pulse waveform has been selected. (Type in a few note letters, or use a Music 4000 keyboard if you have one).

The screen should show the Pulse waveform plotted in the top left of the screen, and indicate that the current waveform is a Geometric one in the Harmonics window. (This just means that the current wave hasn't been defined using harmonics).

Now enter 'Saw' at the % prompt.

The waveform should be redrawn, and playing a few notes should confirm that a change has been made in the synthesiser waveform (the tone will have changed markedly, into one that is much richer in high frequencies).

Try the other two waveforms too. If you type 'help' at the % prompt a list of the supplied waveforms is displayed. When you try Hwave you will notice that a message is given as the three harmonics are processed.

To illustrate the use of harmonics use WZERO to initialise the current waveform and then enter

127 1 WH!
 80 2 WH!
 40 4 WH!
 20 6 WH!
WHG
WGC
wdraw

As each harmonic is processed a message is given. (This just proves that the machine is working, as it does take a little time to do the processing!) The new waveform will they be shown and can be played.

You can use 'edit' to get to Notepad and alter any of the defined waveform words. (See notes below before starting!)

You will see that Square and Pulse use similar techniques, while Saw has a little more maths to it. Hwave uses harmonic waveform creation.

Apart from the obvious range of facilities for experimenting with waveforms that is provided, you can also create harmonic waveforms then, following a WHG command, each value can be extracted using WG? for further changes.

To produce a range of more complex waveforms you may need to 'dump' the wave change words into your own program, to give extra working space.

Notes

As the program stands, it uses quite a lot of the available memory at run-time.

If you wish to create any new words, you must first create some space by deleting existing ones. (The prime candidates must be the 'dump facility' words 'dump', 'dump2' and 'dump3').

Note that, because of the way AMPLE works, you can create new words when using Notepad, or even at the mode 4 prompt under some circumstances, but get a '!No room' error when the program is RUN. You have been warned!

I should like to acknowledge the contribution of Mike Mellors, who both tested my program for the problem found in the Soundsculptures software (see AMPLINEX 012), and provided the solution in the form of the 'trans' word.

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Related files on this disc:

U.Wave - Richard Bettis' waveform design and editing program

U.Preset1 - EXEC file of Music 500 waveform definitions courtesy of Hybrid Technology

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Published in AMPLINEX 014, November 1989

Instruments

To make the best use of disc space we have combined several instrument definitions into one file. These can be saved individually if required, either by loading/saving via a word processor or from within AMPLE (after *EXECing in this file) using:

*SPOOL insfile
"insname" TYPE
*SPOOL

where 'insfile' is the file on which the individual instrument definition is to be held and 'insname' is the
% word containing the instrument definition.

"bassguit" [4 CHANS
ODD CHAN
 76 FM
EVEN CHAN
 0 OFFSET
1 PAIR CHAN   1 SHIFT    OFF RM
3 PAIR CHAN   0 SHIFT
EVERY CHAN
 Hard        Delvib      Long
 ON PHSET   128 AMP
% to be used at -2:
% by Gavin Jones
]

% For notes on instruments 2' to 32'
% see Hints and Tips section

"2'" [2 CHANS
1 CHAN
    0 SHIFT   200 OFFSET 128 AMP
 Pipes       Flat        Onoff
2 CHAN
  384 SHIFT     0 OFFSET 128 AMP
 Pipes       Flat        Tailed
EVEN CHAN     -3 PAN
ODD CHAN       3 PAN
EVERY CHAN
  ON PHSET
% by Patrick Black
]

"4'" [2 CHANS
 1 CHAN
    0 SHIFT    50 OFFSET 128 AMP
   Pipes       Flat        Onoff
 2 CHAN
  192 SHIFT     0 OFFSET 128 AMP
   Pipes       Flat        Tailed
ODD CHAN       3 PAN
EVEN CHAN     -3 PAN
EVERY CHAN
  ON PHSET
% by Patrick Black
]

"8'" [2 CHANS
 1 CHAN
    0 SHIFT  128 AMP
  Pipes       Flat        Onoff
 2 CHAN
    0 SHIFT  128 AMP
  Pipes       Flat        Tailed
EVERY CHAN
% by Patrick Black
]

"16'" [2 CHANS
1 CHAN
    0 SHIFT    50 OFFSET 128 AMP
 Pipes       Flat        Onoff
2 CHAN
 -192 SHIFT     0 OFFSET 128 AMP
 Pipes       Flat        Tailed
EVEN CHAN     -3 PAN
ODD CHAN       3 PAN
EVERY CHAN
  ON PHSET
% by Patrick Black
]

"32'" [4 CHANS
1 CHAN
 -385 SHIFT     0 OFFSET 128 AMP
2 CHAN
 -193 SHIFT     0 OFFSET 128 AMP
3 CHAN
 -385 SHIFT     0 OFFSET 128 AMP
4 CHAN
    0 SHIFT     0 OFFSET 128 AMP
ODD CHAN       -3 POS
 Pipes       Flat        Onoff
   ON RM
EVEN CHAN      -1 POS
 Pipes       Flat        Tailed
EVERY CHAN  ON PHSET
% by Patrick Black
]

"12string" [2CHANS
1CHAN
  ON RM     14 OFFSET
2CHAN
  128 AMP
EVERY CHAN
  Hard   Delvib   Strike
% Use six notes as per guitar with
% slight arpeggio. I set the top
% strings (notes) louder than the
% bass. Use bass string at -2:, top
% string at 0:.
%
% See '$.12stDem' for demonstration.
% by Carl Robinson
]

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Published in AMPLINEX 014, November 1989

Hints and tips

Black on white Staff editor

Philip Wells

I use a small control sequence word to display the Staff editor notes as black on a white background - which to me looks more realistic.

"bw" [19 #OUT 7 #OUT
4 FOR(0 #OUT)FOR
19 #OUT 0 #OUT 7 #OUT
3 FOR(0 #OUT)FOR
]

Separating notes

Michael Lefevre

In the 'info' of Tim Barrett's 'Voluntary in D minor' (AMPLINEX 013), he asks if there is a simple way of separating notes. The answer is the Len instruction. This can be used with a negative number to shorten all the notes by a set length or with a positive number to make all the notes the same length.

So, to make all the notes crochet length you would use '48 Len' and to shorten all the notes by a semi-demi-quaver you would use '-6 Len'. The instruction is on page 126 of the Music 5000 User Guide. It should not be confused with LEN (in capitals) which is for returning the length of a string.

Separating notes

Patrick Black

One way of separating repeated notes when using organ voices (Tim Barrett, "Voluntary in D minor", AMPLINEX 013) is to add ON PHSET to the instrument definition. From experience it's a great deal easier than all those rests!

In this issue's Instruments section are some which I used in the Bach Fantasia on 'In dulci jubilo'. As well as separated notes, I was trying to get some variation in the organ voices, as you would by setting stops on the real thing. In the main it works, I think, but you need to use 32' with care - it's a bit crude on its own and works best with some of the others on top of it.

Making the ZROM manual

F Chaplin

When you have printed the ZROM manual (AMPLINEX U11) and separated the pages, don't remove the tractor-feed holes from the left side of the loose leaves. Instead, square up the sheets, align the holes and simply thread them with wool or string or whatever you fancy, tie up the ends and there you have it - a real together manual!

Try it, it's bound to work!

More music in 'Ice Breaker'

Michael Lefevre

There is a rather interesting extra in 'The Ice Breaker' by Ian Guinan, on the Music City (1) disc. The music is in part words with no letter (i.e. part1 rather than part1a) but the PLAY instruction uses parts with letters. So, if you play the parts without letters by typing

"123456"PLAY mix1

you get another piece of music altogether!

Avoiding Staff editor memory limits

David Hall

Anyone who, like me, uses the Staff editor to enter notes may be faced with that dreaded '! Too big' message. Do not despair. What I do is to save what I have (as say 'tune#1') and then NEW the system. I then enter the rest of the tune as normal.

I then use the WRITE command to create a text file of the AMPLE words I have entered in this second program:

*SPOOL tune#2
WRITE
*SPOOL

I then load my original program 'tune#1' and read in the words from the text file of the second program:

*EXEC tune#2

I this way I can program very long pieces whilst still using the Staff editor.

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Published in AMPLINEX 014, November 1989

Music file compatibility

Over recent issues of AMPLINEX we have been debating the problem of compatibility between music files created on different Hybrid Music System configurations. The introduction of the Music 2000 MIDI interface meant, for the first time, that music files created by one member may not be usable by another. The recent addition of the Music 3000 expander has added to this problem.

In this feature we publish contributions from two AMPLINEX members who propose practical solutions to the problem.

Firstly, Taj Letocha (author of the ZROM utility published in AMPLINEX U11) outlines a proposal for dual-purpose music files suitable for the Music 2000 as well as the Music 5000. In the second part of this feature, Ian Hubbard suggests a method for making music files suitable for members with the new Music 3000 expander as well as those with just the Music 5000.

The Music 2000 and AMPLINEX music

Taj Letocha

I was very interested in the discussions in AMPLINEX 012 about the production of music which is compatible with both the Music 5000 and the Music 2000 and which can be played whether or not the user has a MIDI set-up.

I've spent a little time looking at this problem and have come up with the basis for a solution which I'll describe in terms of a series of 7 steps to follow during the construction of a piece of music. I've also produced an example piece called 'Metal' for you to examine while going through the explanation.

Here are the seven steps:

1) Produce the piece of music using whatever musical set-up you wish. For example, if it's a piece for a mixture of Music 5000 and MIDI-instruments, then write the mixes as appropriate; otherwise, just do your normal thing. (This is not necessarily the easiest step!)

2) *SPOOL all mixes and instrument definitions into a text file. The easiest way of doing this is to use the WRITE command to output your complete piece to a text file:

*SPOOL txtfile
WRITE
*SPOOL

You can then edit it so as to remove all but the mix and instrument definitions. While you're editing it, add an extra line at the end containing the word 'run' in lower case.

If your piece is written solely for use with the Music 5000 (i.e. no MIDI instruments at all) then you should identify your SPOOLed text file as being for the Music 5000 - perhaps with a '/5' suffix. If, however, your piece makes use of at least one MIDI instrument, then identify the SPOOLed text file as being for the Music 2000 - with a '/2' suffix. By using such names consistently, anyone else looking at your piece will immediately be able to figure out how 'MIDI compatible' it is!

There are two files accompanying the Metal piece called (would you believe) Metal/5 and Metal/2. Have a look at both of these to see how I've defined my instruments and mixes.

(Editor's note: the text files Metal/5 and Metal/2 are not included in the Features menu but they can be examined using the *TYPE command from within AMPLE.)

3) When back in AMPLE, LOAD up your piece and redefine (by hand) all of those words which appear in the SPOOLed text file to be null. For example, if you have a mix called 'mix1' and an instrument called 'piano' in your piece then type

"mix1"[]
"piano" []

to redefine them.

Now your piece will have no specific information in it regarding the mixes and instruments that it should use.

4) Rename the RUN word to 'run'.

5) Now type in a new RUN word as follows

"RUN" [7MODE MENUDISP
%---------------------------------------
%         MIDI Compatible Piece
%
%       Select your arrangement:
%
%         Music 5000%m5000
%         MIDI Setup%midi
%
%---------------------------------------
MENU ]

Create the two new words 'm5000' and 'midi' used by the RUN menu:

"midi"  [ "EXEC fname/2" OSCLI ]

"m5000" [ "EXEC fname/5" OSCLI ]

where 'fname' is your filename for your SPOOLed text files.

A standard version of these words can easily be held as a text file and EXECed into an existing piece or, even better, held in a ZROM module and retrieved by using *ZX.

6) Use the SAVE command to save your piece.

7) That's it! You now have a Music 5000 and Music 2000 compatible piece.

To hear it, LOAD it into the AMPLE environment as normal and type RUN. You'll see the two-option menu come up asking you to select just the Music 5000 arrangement or the MIDI arrangement. Make your selection and the system will *EXEC either the '/5' or the '/2' file as appropriate and automatically invoke 'run' which will play the piece.

Some points are worth bearing in mind here.

If you have created only the Music 5000 arrangement, then selecting a MIDI arrangement on running the piece won't achieve anything at all unless you also created the '/2' MIDI file to go with it. The same applies to a MIDI piece of course - without a sensible '/5' Music 5000 file, you can't hear the piece in full. This may seem obvious but for those without a Music 2000 and the MIDI instruments to go with them there is normally no need to create a '/2' MIDI file. (One can even ask: why bother to go as far as the '/5' file if you've got no MIDI?)

There is obviously an overhead associated with this technique: namely, 3 files per piece instead of one. This could cause a significant problem to AMPLINEX, for example, which is constrained by both the number of files and their total size. This problem could be solved by using the library features provided by ZROM to collect the contents of all '/2' and '/5' files into one (or even 2) libraries and changing very slightly the definitions of the 2 words 'midi' and 'm5000' to use ZXEC instead of EXEC. This would certainly ease AMPLINEX's problem.

The other drawback with the technique is the length of time it takes for the piece to play once having chosen the MIDI or the Music 5000 arrangement. This can be addressed in 2 ways: firstly, once the MIDI or the Music 5000 arrangement has EXECed into the piece, you can delete the RUN word and rename 'run' as 'RUN'. Then use the SAVE command to save the whole piece which can then be reloaded and RUN with no time penalty again and again.

The second approach would be to write the piece as usual but not redefine each instrument and mix word to null as in step 3 above. So if the piece were written for the Music 5000 alone, the only extra work for MIDI compatibility would be to create the '/2' MIDI file and ensure that the new 'RUN' word (see step 5 above) calls 'run' when the Music 5000 arrangement is selected and calls 'midi' when the MIDI arrangement is selected. This would result in a piece which would play immediately when its 'native' mode of instruments and mixes is selected at run time.

I hope that you find my ideas not only interesting but also of practical use in this unusual dilemma that we face: being able to compose pieces which not everyone can play!

---

Related files on this disc:

$.Metal - Example music file which can be played on both standard Music 5000 and Music 2000 MIDI systems

$.Metal/5 - Text file containing mix and instrument words for Music 5000 systems

$.Metal/2 - Text file containing mix and instrument words for Music 2000 MIDI systems

The Music 3000 and AMPLINEX music

Ian L Hubbard

Music 3000 expander owners can contribute to the music section of AMPLINEX so that members with or without the expander software can listen. This can be done by using the M5INFO word which returns the current number of unused channels.

1) Define a variable that will contain the number of channels, e.g.,

"chans" [GVAR]

2) Include the following as the first line of the RUN word to find the number of channels available:

READY M5INFO chans #B! #2 #2 #2

3) Depending on where you like to change mixes, you can use the following structure to use different PLAY strings in the RUN word, use alternate mix words in a part word, or use alternate VOICE setups in a mix word:

chans #B? 16 #=
IF(
% Music 5000 alternative
)ELSE(
% Music 3000 alternative
)IF

---

Editor's note:

We hope the two articles above will provide some ideas for members with Music 2000 or Music 3000 systems. Both of the methods outlined above allow a piece to be played by those with the basic Music 5000 system as well as providing a different version for those with a Music 2000 or 3000.

We would like, however, to encourage members with Music 2000 or Music 3000 systems to contribute music made for those systems, whether or not they incorporate the ideas discussed in this feature. Once we have gauged the volume, quality and type of music available we will consider the best way to publish it.

---

Published in AMPLINEX 014, November 1989

Questions and answers

Answer: Music 2000 and Casio HT3000

Regarding Paul Nuttall's question on the use of the Casio HT3000 and the Music 2000 (AMPLINEX 012) I think Ian Waugh's and my 'dialogue' (AMPLINEX 010 to 012) regarding the HT700 points the way. Yes, you can use it but don't expect to be able to trigger drum fill-ins as the keyboard's MIDI implementation would not seem to allow it.

Taj Letocha

Question: AMPLE Benchmarks

I am running AMPLE on my Electron with Slogger Master RAM board (which provides Shadow RAM and overcomes some of the Electron's speed deficiencies).

It would be interesting to measure the Electron's speed against the BBC B and Master, especially when playing complex music. It seems to me that limits are reached when the interrupts can't quite cope with the processing load.

Can anyone think of a way of quantifying this? What are the processing limits for a BBC B? Are there any ways of optimising speed?

Philip Wells

Question: PAN values and volume

When I played back my piece 'Machu picchu' (AMPLINEX M13) I was horrified. At 'mix3' where both tunes combine, the volume level of tune 2 completely blotted out tune 1. Several times this happened and then it suddenly went right - then wrong again.

I spent a couple of hours trying to locate the trouble then, quite fortuitously, I altered the PAN values of players 5 and 6 in 'mix3' from 3 and -3 respectively to 0 and - hey presto - it was cured.

So, if you have experienced the same problem and want to hear what it really sounds like, alter 'mix3' as indicated above. I am somewhat mystified by the effect of widely diverging PAN values. Is this normal or have I got a bug in my outfit?

G H Richardson

Answer: Fanfare for the Common Man

In reply to John Spry (AMPLINEX 012) the 'Fanfare for the Common Man' arrangement (AMPLINEX 011) was for a brass band with electric instruments. The copyright owners gave us permission to perform it but we had to surrender all copies of the manuscripts.

There is an arrangement available for brass but I believe this to be the 'classical' version.

If you require the 'pop' version a phone call to Mark Wardle (0623 823003) may prove fruitful. Remember to state the instruments required and please quote my name as he should then remember that I've told him about you.

Carl Robinson

Question: Re-MAKEing MENU words

Recently, I decided it was time I gave Ian Waugh's 'Funky Nuts' some attention! This was an example piece built up stage-by-stage in his excellent series in The Micro User last year. One of the subjects covered was the use of a MENU screen to offer options to the listener. Trying it out as instructed worked first time.

Flushed with this initial success I decided to add a drum part and include this as an option on the menu. I then got the original MENU word back into Notepad, included the new line, went into command mode, pressed f3 to MAKE the word and got '! Mistake' time after time! There was no apparent fault with the drum part, everything worked without a MENU option and yet every time I tried to reMAKE the word '! Mistake' was the result.

After much searching the only way I found to MAKE the new MENU word (with the definition in Notepad) was to enter in command mode

"MENU" DELETE MAKE

But, this technique is not required in any other cases that I've come across. Every other word with the same name that I have wanted to modify has been replaced by MAKE. Is MENU a special case? Needless to say, I haven't found an explanation.

Jack Wrigley

Question: User words number limit

Does anyone know how to increase the number of user words from the standard 125 allowed in one program, or is it simply not possible?

F Chaplin

Answer: Triggering of drum machines

Referring to the question from Carl Robinson in AMPLINEX 012 regarding the triggering of drum machines from within AMPLE. I wrote to Hybrid some time ago about this problem, and the reply I received was:

1) use one of the Music 5000 audio outputs

2) on a Studio 5000-4 keyboard, use the internal sound chip voice (normally a metronome output).

For various reasons I never tried these ideas, and suggest that the simplest, but unfortunately expensive, way would be to use the Music 2000 MIDI interface.

Chris Hanby

Question: Copyright on AMPLE music

Could you please tell me how to apply for permission to release an LP of AMPLE music. Do you need permission if you're not charging for the music?

Carl Robinson

---

If you wish to publish other composers' music you need to reach agreement with the Mechanical-Copyright Protection Society (MCPS) who represent their interests. You should stress that you will not be charging for the music. If you wish to find out more about the copyright laws, try the Writers' and Artists' Yearbook which you should find in your local library.

The address of the MCPS is:

MCPS Limited
Elgar House
41 Streatham High Road
LONDON
SW16 1ER

Telephone 01 769 4400

Question: Delete file and thunder

In AMPLINEX 012 you ask whether all the questions on Hybrid Music System have been answered. Here's two which I asked some time ago which haven't.

1) The Music 4000 User Guide (p.37) purports to explain how to create a 'delete file' and it looks simple enough - but I just cannot get it to work. I would like someone to give me a step-by-step idiot's guide on how to create it from start to finish. I have been trying for the last six months without success and it seems a most useful thing to have.

2) Has anyone had success making realistic thunder (a clap or two followed by reverberations dying away)? Mine sounds like artillery fire.

G H Richardson

Answer: Sideways RAM programs

Stewart Wilkie asked in AMPLINEX 012 about the possibility of authors of Sideways RAM utilities providing the source listing.

My own position on this is quite simple: no!

When I wrote ZROM (AMPLINEX U11) I wanted to produce something which would be of benefit to all AMPLINEX members. I also hoped to extend ZROM and apply bug-fixes as and when I received feedback on its use. Releasing the source of ZROM to all and sundry would destroy any possibility of turning ZROM into a long-lived utility - used and trusted by many. Instead, as individuals changed ZROM its general usefulness to those without assembler capabilities would diminish and so ZROM would become just another curiosity.

The idea of merging several utilities to save Sideways RAM is a good idea which perhaps needs further thought. My own problem with this approach is having to make my assembler code 'fit in' with someone else's. My solution to having limited Sideways RAM is to use paged ROMs!

Taj Letocha

Question: Music 3000 and Shadow RAM

I have a Watford Shadow RAM board in my machine which has served me well up to now. But, although the Music 3000 Installation Guide says the unit will work with Shadow RAM, my system seems not to.

I have noticed that the C.PREPARE file is longer and also runs at &2800, and the byte I have to change to get a page of user RAM for the Shadow RAM is now &2860 instead of &203E. Changing this byte to &14 as I have done in the past, or even &15 as suggested in a recent AMPLINEX does not make it work properly and it always crashes in the Mixing Desk.

Has anybody any ideas that could help with this problem? If anyone wants any further information I can be contacted on Leeds (0532) 671070 at home or on Leeds 464881 during the day. My Telecom Gold mailbox is 82:TLT 095.

Graham Firth

Question: AMPLINEX and Music 3000

Can the A.MPLINEX main program be reduced in size or split into two programs to accommodate the latest Music 3000 software? In the latest version of the software (Studio 5000-4D for the Music 5000/4000/3000 hardware combination) all the system modules have been incorporated into a single file. All the modules get installed including M.M4, and none can be left out. This results in a significant loss of memory (only 14249 bytes remaining free), so that the A.MPLINEX program is too big for the available memory.

This means that I will have to use my old, non-3000 software for AMPLINEX and will not be able to listen, via AMPLINEX, to fully expanded Music 3000 tunes (see Hints and Tips section) that people may wish to submit.

Ian L Hubbard

---

We are considering altering the AMPLINEX program to accommodate the newer releases of Hybrid Music System software. Work on rewriting the program will, however, have to take second place to producing the regular AMPLINEX discs.

---

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 014, November 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.

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Published in AMPLINEX 014, November 1989

Next issue news

The next issue of AMPLINEX is planned for release at the beginning of February (rather later than usual). This means that all applications for a FREE copy (i.e. those with discs containing contributions) must be received by FRIDAY 12TH JANUARY. Anyone paying the £2.00 fee should apply by Friday 9th February.

In issue 015 we plan to review the forthcoming 'Toolbox' disc from Hybrid Technology and to include some new utilities of our own.

Most of the rest of the content depends on your contributions between now and then - so please let us have your words or music in time for the next issue of AMPLINEX. Our deadline is further away than usual - so it's an ideal chance to make use of these long winter evenings, to work off some of that Christmas over-eating, and get us off to a good start in 1990!

We look forward to reading and hearing your contributions.

---

Published in AMPLINEX 014, November 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.

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.

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Published in AMPLINEX 014, November 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.

AMPLINEX 012 index

Patrick Black has let us know that in compiling the index to volume 2 of AMPLINEX he accidentally gave some of the music files the wrong issue code. All the pieces on the M09 music disc appear with the code 009, instead of M09.

Music 2000 files

We have received some more correspondence on the subject of publishing Music 2000 music files in AMPLINEX.

---

M F Mellor

Two of the reasons I purchased a Music 2000 were to get better drum sounds by using a drum machine, and to allow use of more than eight players particularly if using keyboard sounds (8 fingers and two thumbs are available you know!)

I am of the opinion that the choice of instruments is most important to maintain the integrity of a piece, and even such things as reverberation and output levels are critical to the overall presentation.

 If the primary reason for submitting pieces to AMPLINEX is the programming of music, this may be okay for some, but I feel the music is the end in itself and therefore is not up for alteration unless it is to improve it.

Tape versions of a piece would most certainly help to ensure as close as possible reproduction of the piece.

 I have several pieces I have composed myself which cannot be played on the Music 5000 due to the reasons above but would be willing to provide them in tape form to anyone interested (see 'Endangered species' in Music section).

---

P Hibbert

It is to be expected that members with the Music 2000 box will want at least some of the content of the magazine to include information and music examples that would be applicable to the equipment that they have. I have a Music 2000 and would like to have the opportunity to play and examine the work of those with this equipment.

 However, it seems to me that the inclusion of music on AMPLINEX that is not playable by 80% of the membership is not the way to go.

Maybe what we need is some sort of public domain library of Music 2000 songs and information that members could use. Failing that what about a disc of material collected together and available to those members who have the equipment to use it.

---

We would like to encourage members to send Music 2000 files in to AMPLINEX. We will then consider either publishing them within the normal AMPLINEX disc or separately to interested members.

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.

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Published in AMPLINEX 014, November 1989

Welcome to AMPLINEX 014

Kevin Doyle and Roy Follett

In this issue we conclude our recent features on waveforms with an excellent waveform design utility which will allow you to design and use your own waveforms within the AMPLE Nucleus environment.

We also pursue the theme of compatibility between music files created on Hybrid Music Systems which include different equipment (e.g. the Music 2000 MIDI interface or Music 3000 expander). Accompanying this feature we have an example piece of music which can be used on systems with and without the Music 2000 MIDI interface.

We also have our usual selection of new music composed for, and more familiar music arranged for, the Music 5000 - a total of 11 pieces.

We have, of course, the usual variety of 'Questions and Answers' and 'Hints and Tips' as well as instrument definitions and Hybrid Music System news.

As you will probably have already noticed, we have a sound counterpart to our title graphics. This musical accompaniment was the winning entry in our competition for a Music 3000 expander unit. The entries were judged by Ian Waugh, writer of the music column in BBC Acorn User magazine, and the winning piece was composed by Ted Kirk. Our congratulations to him, and our thanks to all those members who entered.

We would also like to take this opportunity to wish you all an enjoyable Christmas and New Year, and to look forward to your continued support during 1990.

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Published in AMPLINEX 014, November 1989