AMPLINEX 021

AMPLINEX issue 021 was published in March 1991. 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 have announced that they are now a division of Music Information Technology Limited. Their new address and telephone number are given below. The meaning of this change, and its significance for users, are not made clear.

New Hybrid Technology products

Hybrid Technology have announced some new software and hardware products, aimed mainly at the education sector. Below are some brief details distributed during the education technology show, BETT 91.

Music 6000 Sensor

A non-contact music controller that projects an interactive linear sound space up to 35 feet for exploration and performance by hands, feet, whole body.

Music Publisher

Desktop music publishing with fully automatic score layout, for pupil compositions, lesson materials, full scores and instrumental parts, and low cost publishing.

Soundscore

From concepts to compositions using a real-time coloured graphic score, with keyboard recording, over-dubbing, editing, and colour or mono printout.

Soundstory

Word-processed text and recorded sound and music combined, creating stories, adventure games, songs, poems, drama soundtracks and more.

Soundscene

Sound and visuals combined in a variety of interactive scenes, explored using single switch, double switch or touchscreen.

Soundshow

Over an hour of pre-recorded music presented via pictograms, accessible through switch or touchscreen, and configurable for a wide range of abilities.

RM Music Sequencer

For the RM Nimbus PC186 with Hybrid Music 2000 Interface, powerful and easy-to-use keyboard recording using mouse and Windows - launched by Research Machines at BETT 91.

Further details are available from:

Hybrid Technology
88 Butt Lane
Milton
CAMBRIDGE
CB4 6DG

Telephone: 0223 861522

The A3000 and the Concertmate 1000M

Jack Wrigley

After a careful appraisal of all the options, I have just bought a BBC A3000 computer. This is to compliment my BBC B and AMPLE of course. Apart from music, I have a professional interest in graphics and the A3000's use of outline fonts was the deciding factor. Used with a printer like the Canon BJ-10e ink jet the system gives Apple Macintosh quality, at a much lower price.

With the lack of definite information on the future plans for 'SuperAMPLE' (to give it a name), I recently wrote to Pres and Research Machines. Both failed to reply and both kept my stamped, addressed envelopes!

I was asking Pres if they knew if AMPLE would work on the A3000 in BBC B emulation mode (they market all the necessary hardware). I was trying to find out from Research Machines if the spec of the Nimbus PC186 might be in line with the PC emulator available for the A3000. In PC emulation mode the A3000 can equate to a 640K PC on a machine equipped with 2Mb or more. The hope was that both options might give a useful memory increase over the BBC B if AMPLE was a possibility. Does anybody have any ideas or opinions on the above options?

What a few weeks experience with the A3000 does demonstrate, is just how powerful a custom-written application of AMPLE could be on this machine. RISC OS is multi-tasking and one can imagine all the AMPLE editors being available from pull down menus at the point of a mouse! Windows could be opened with, for example, the Mixing Desk running in one and the Notepad or Staff editor displayed in another. The flexibility of AMPLE combined with the processing power and speed of the A3000 would surely be a winning combination.

My first music software choice for the A3000 was Clares' 'Rhapsody' music notation program. This really does give an idea of what an AMPLE Staff editor might be like on the A3000. The 1Mb memory allows 5 scores to be loaded at one time, each having a maximum of 24 staves! 'Rhapsody' will accept MIDI files, so I wonder if Music 2000 notes could be imported? Eight sound channels are available on the A3000 and, though the supplied 'instruments' sound a bit thin, new ones can be installed and public domain software is available to transfer Amiga sounds and samples.

'Rhapsody' supports MIDI, and the software really started to impress me once I'd taken Andy Knight's advice from AMPLINEX 019 and bought the Concertmate 1000M keyboard. The quality of sound on this half-price bargain was not exaggerated by Andy. Any members looking for a starter MIDI instrument need look no further, but there can't be many left, so don't spend too much time thinking about it!

The 'multi sprit' (that's what it says!) percussion mode would work well in an AMPLE program, one voice being able to sound 49 different and very realistic PCM percussion instruments simply by changing pitch. Only the small keys disappoint, but then I'm a pretty clumsy player!

Once I've got over the financial shock of recent weeks, I look forward to testing the 1000M with a Music 2000.

Finally, I'll make a personal plea to Chris Jordan and the Hybrid team to get together with Acorn and develop AMPLE for the Archimedes range. Sales now exceed 100,000 and it's got ample memory and ample speed. All it needs is the AMPLE software!

Published in AMPLINEX 021, March 1991

Venture

by Lol Taylor

This piece is called 'Venture' because I wrote it without access to a piano, having to imagine it in my head. This was when I was in the RAF during the war.

Also, the piece goes into several keys at once.

Needless to say, when I arrived home on leave, I tried it out and made some corrections.

I'm not a performer, so it was not until this year that I heard it played, thanks to Hybrid.

Source: AMPLINEX 021 disk, file $.VENTURE

Published in AMPLINEX 021, March 1991

Up and Down

by P W Scott

Source: AMPLINEX 021 disk, file $.UPDOWN

Published in AMPLINEX 021, March 1991

Theme of the Turkish March

by Paul Williams

Composed by: Beethoven

This offering is the first piece I have programmed for the Music 5000.

I have used 'preset' instruments which could perhaps be improved on.

I have tried to make full use of the dynamics of the system to give some natural-sounding expression which shows particularly in the 'piano solo'.

Source: AMPLINEX 021 disk, file $.TURKISH

Published in AMPLINEX 021, March 1991

She's Leaving Home

by Andy Knight

Composed by: Lennon & McCartney

I downloaded Mr Obernell's version of this song from Dudley College and I was disappointed not only with the sound, but also his comments, saying that the Beatles were overrated. I grew up in the Beatles' era and I, along with millions of others, think they are the greatest. Lennon and McCartney compositions are second to none and they must number into the hundreds.

Overrated groups don't last, but the Beatles did and their music will live forever.

Source: AMPLINEX 021 disk, file $.LEAVING

Published in AMPLINEX 021, March 1991

Serenade

by Carl Robinson

Composed by: Derek Bourgeois

Opus 22b

Source: AMPLINEX 021 disk, file $.SERENAD

Published in AMPLINEX 021, March 1991

Sase

by Jim Redfarn

Composed by: Bobby McFerrin

Pronounced sah-say. No melodic development (or formal ending) in this traditional African-style music. The interest is retained by the complex static patterns - analogous to a painting, as opposed to a movie - you are enriched by repeated reviewing. This McFerrin adaptation contains simple 6/4 and 4/4 polyrhythmic phrases. They're easy to write in AMPLE but impossible on Arc systems like EMR's Studio 24 Plus and Clare's Rhapsody.

Jim Redfarn

Source: AMPLINEX 021 disk, file $.SASE

Published in AMPLINEX 021, March 1991

The Newfound Harp Key

by G Adams

Source: AMPLINEX 021 disk, file $.HARPKEY

Published in AMPLINEX 021, March 1991

Minuet in D

by Pete Holdroyd

Composed by: Mozart

Arrangement by O A Mansfield

Source: AMPLINEX 021 disk, file $.MINUETD

Published in AMPLINEX 021, March 1991

The Journey of the Whale

by Chris Percival

Chris' Suite - third movement

Source: AMPLINEX 021 disk, file $.WHALE

Published in AMPLINEX 021, March 1991

January

by B J Hawkins

Source: AMPLINEX 021 disk, file $.JANUARY

Published in AMPLINEX 021, March 1991

Glory and Honour

by Reverend John Slee

This is one of the Alternative Service Book Evening Prayer Canticles (hymns). It may take a little time to fit the words to the music, but there's usually a note per syllable. Exceptions include 'God' (line 11) and 'Lamb' (line 17), which each have 3 beats: e.g. La-a-amb. As an Assistant Curate in Truro diocese I have used this quite often. My son Craig (8) has now 'borrowed' my Music 5000 and thought that publishing this might allow him a free AMPLINEX disc!

(c) Reverend John Slee

Lyrics:
Glory and honour and pow'r
Are yours by right,
O Lord our God

For you created all things
and by your will
they have their being

Glory and honour and pow'r
are yours by right,
O Lamb who was slain

For by your blood you ransomed
men for God.

From every race and language,
From every people and nation,
To make them a kingdom of priests,
To stand and serve before our God.

To him who sits on the throne
and to the Lamb,
be praise & honour, glory & might
for ever and ever. Amen.

Source: AMPLINEX 021 disk, file $.GLORYHO

Published in AMPLINEX 021, March 1991

Fugue II

by David Lee

Composed by: J S Bach

From book 1 of the 48 preludes and fugues

By its very nature the music of J S Bach lends itself very well to computerisation. This fugue from the 48 Preludes and Fugues is no exception.

I include 3 variations on the harpsichord sound: harpconc4, harps and harps4. See which you prefer by changing the 'mix' word. There is also metclick which tries to add that mechanical sound of a real harpsichord (see part4a), what do you think?

For those interested in fugues, modify the PLAY command in the RUN word to include part9 (i.e. "12349-abcde"PLAY).

This will display a little 'ditty' I learnt as an aid to identifying the fugue's main theme.

(If you include part9, don't RUN from within the Mixing Desk as it makes a mess of the screen!)

The weird harmony in the middle is as Bach wrote it! (See part2c and part3c.)

Source: AMPLINEX 021 disk, file $.FUGUEII

Published in AMPLINEX 021, March 1991

Don't Lose My Number

by Paul Nuttall

Composed by: Phil Collins

Source: AMPLINEX 021 disk, file $.LOSENUM

Published in AMPLINEX 021, March 1991

The Dark Island

by Hazel Thompson & Patrick Morris

Source: AMPLINEX 021 disk, file $.DARK

Published in AMPLINEX 021, March 1991

Carmenesque

by P Gray

Source: AMPLINEX 021 disk, file $.CARMEN

Published in AMPLINEX 021, March 1991

Black and White Rag

by Ian L Hubbard

Composed by: George Botsford

Source: AMPLINEX 021 disk, file $.BANDW

Published in AMPLINEX 021, March 1991

Beeb's Revenge

by Andy Smith

Yo dudes!

This is my latest piece which I completed on the 28th May 1989. Surprisingly, it started off as a classical piece, but it didn't seem to fit into this category. I've now beefed it up a bit... and here it is!

You may be interested in my hihat part, as it tries to imitate the hihat foot-pedal, which slurs the relevant strike.

Type 'sequence' to hear its effect.

Thanks to 'Cod Records' for some of their instrument definitions and to Andrew Davies who helped me with the piece's basis at school.

(c) Copyright 1989 Andrew Smith (aged 13)

Source: AMPLINEX 021 disk, file $.BEEBREV

Published in AMPLINEX 021, March 1991

Amoroso

by Bob Ord

Composed by: Charles Avison

Third movement from first of six concertos

Whilst thumbing my way through the music index in the library of the Literary and Philosophical Society, Newcastle upon Tyne, looking for some music by Locatelli (it was his music that was used to support the hoax in the 1960s about P.D.Q. Bach) I saw that the library had 12 concertos by him bound up with some music by a local composer Charles Avison.

Upon examining the books I came across six concertos for four violins, a viola and a violoncello, with a thorough bass for harpsichord, dedicated to Mrs Ord. Intrigued by the reference to my surname, I asked for photocopies of the books published in 1751, to be made at my own expense.

Mr Avison, commenting in the preface upon the number of instruments to give the best effect, states:

And 1ft I wou'd propofe, exclufive of the four Principal Parts, which muft always be complete, that the Chorus of other Inftruments fhou'd not exceed the Number following, viz fix Primo and four fecondo Ripienos; four Ripieno Baffes, and two Double Baffes and a Harpfichord.

Let us look at what Mr Avison means:

1 Primo concertino (Solo) violin
1 Secondo concertino violin
1 Concertino violoncello (cello)
6 Primo Ripieno (Chorus) violins
4 Secondo Ripieno violins
4 Violoncellos
2 Double basses
1 Harpsichord

20 players: "Ugh! 10 max, 9 usable"
23 voices assuming the harpsichord has four: "Well I've got 16 with the Music 3000"
46 channels: "Hel---lp!!!! Hybrid"

So how does one realise this sort of music with AMPLE?

Disregarding Mr Avison's helpful advice I merged the Concertino violins with the Ripieno violins, 2 parts instead of 4, using the Echo effect with a minimal delay during tutti and a single voice during the solos. A part for the viola again doubled using Echo for effect and the same for the cello, 8 voices 4 players so far. One part, voice and player each for the bass fiddle and the left hand of the harpsichord and 1 part, 3 voices and 1 player for the right hand of the harpsichord once I'd figured out the thorough bass. That came to a total of 13 voices and 7 players. "Mmm, got to use the 3000."

Still, I've managed to do a dual version, but those of you who are listening to the Music 5000 version have a bass fiddle missing and, of course, no Echoed parts.

Hope you enjoy the music,

Bob Ord.

P.S. A good book on figured bass is:

Thorough Bass Made Easy
by Nicolo Pasquali

Oxford University Press published a facsimile of the 1763 edition in 1974.

Source: AMPLINEX 021 disk, file $.AMOROSO

Published in AMPLINEX 021, March 1991

AMPLE modules in Sideways RAM

Martijn van der Mei

This utility enables you to put Hybrid Music System modules (M.PAD, M.MIX, M.STAFF etc.) into Sideways RAM. This is not a copy of the Hybrid Technology Sidemod program (included in their AMPLE Toolbox disc), though it was created (in April 1989) for a similar purpose: that is, to speed up access to utility modules and to eliminate the need to have the system disc present after booting up the system.

The program (U.AMSR) creates a ROM image, containing the modules you select. As a ROM cannot contain more than 16K of data, it is impossible to squeeze all the modules into one, so when you run the program you'll be asked to type a identity number (1-3), which has the consequence of using another free vector. This means that you can use up to three ROMs at a time for module storage without the problem of ROMs intercepting each other, which causes the filing system to disappear and probably crashes the machine. This gives a potential of 48K excluding the ROM control software.

When you run the program you will be asked to insert your system disc. This should be placed into the currently selected drive (probably the one you loaded the program from). The program will then search the disc for modules and present a menu of those available. The menu couldn't be simpler. Just select the letters of the modules you want and watch the free space counter decrease until nothing more can be installed (beep!). You can de-select a module by pressing its letter again. After pressing Return, the modules are loaded and the ROM software assembled. You can then save the ROM image to disc.

When ROMs are loaded into Sideways RAM they do not become active until a Control+Break has been done. This means that the ROM images should be loaded before the AMPLE system is started.

You can create three different ROMs in this way. Be careful when you re-load these ROMs, because you're guaranteed that your filing system will NOT work if you have two or more ROMs with the same identity number, due to there being interceptions on the same vector.

The module prefix must be set to 'M.' in your !BOOT file (i.e. "M."MPREFIX) for the ROM files to be found. If you have a dual-drive system you may have set it to a specific drive (e.g. ":0.M."MPREFIX) and the system will still try to load from disc.

Editor's note:

Some minor problems have been found with this utility: in particular it seems to affect the selection of the disc filing system on Break and Shift+Break. Because these are not major problems, and because another member may be able to find the solution we have decided to publish the utility in its present form.

Related file on this disc:

U.AMSR - BASIC program to allow AMPLE modules to be placed in Sideways RAM. Type CHAIN "U.AMSR" to run.

Published in AMPLINEX 021, March 1991

Hints and tips

Further notes on 'C.PREPARE'

Allan Gardner

In AMPLINEX 020 Alan Minns showed how Aries Shadow RAM could be utilized without the need to modify the C.PREPARE routine, and for this information I wholeheartedly applaud his method of cracking the problem.

I thought, however, that I could provide some background to the method which I used.

It was late 1986 that I got the Aries B32 (having been told that the Watford Shadow RAM I already had was not compatible with the Hybrid Music System software).

I soon learnt that the Aries board, although compatible, was not being used efficiently.

A study of the Music 5000 User Guide was of little use in solving this problem, and the R, S and K parameters of the C.PREPARE were not explained.

I ended up using a memory editor/disassembler on the PREPARE file and using the extremely limited knowledge that I had at the time of the BBC's internals I managed to find the right 'bits' of the code to alter to get the thing to work more efficiently - and I have not had any real need to change it since.

The method Alan Minns uses to set the Aries static workspace to page &13 necessitates having the link removed from the Aries board - which I would find much less convenient than pressing the Break key once during start up.

One further point, on my use of the term 'PAGE'. Whilst it could be argued that the term OSHWM is more correct I don't think there was any confusion over the meaning intended. Also, even though PAGE has no meaning outside of the BASIC environment, when C.PREPARE is invoked the active language is indeed BASIC, and criticism of the use of this word would seem to be merely pedantic.

One final thought on the subject: in my opinion none of the problems discussed here should ever have existed in the first place. After all, Chris Jordan was the leading light in Aries Computers before forming Hybrid Technology. So we might have expected the two pieces of technology to be perfectly compatible, or at the very least that sufficient information should have been given in the User Guide to make them so.

Changing volume

Neil Walker

Following recent comments about the VOL word, the following 'fade' and 'swell' words may be of interest.

Working through the 'v1' word they will allow volume changes within a note duration.

'fade' fades the volume of a selected voice:

"v1" [ 1 VOICE VOL ]

"fade" [ FOR( #11 COUNT #+ 128 #12 #-
v1 / )FOR #2 ]

'v1' selects a voice - here it is set for 1 VOICE. '128 v1' gives 128 VOL on VOICE 1.

'fade' takes 2 numbers:

- The first is the number of units by which the volume is reduced for each hold (starting from 128)

- The second number defines the number of holds. (If bar length is important, arrange with a ',' setting).

For example:

0:CeGfc 5 16 fade

will produce a 16*5 = 80 reduction in the VOL setting for voice 1 giving 128-80 = 48 as the final value.

'swell' increases the volume of a selected voice:

"v1" [ 1 VOICE VOL ]

"swell" [ #213 #11 v1 #12 FOR( #212
#+ #11 v1 /)FOR #2#2 ]

'swell' takes 3 numbers:

- The first number is the starting volume

- The second number is the number of units by which the volume is increased for each hold (to a maximum of 128). Note: 0 doesn't work

- The third number defines the number of holds. (If bar length is important, arrange with a ',' setting).

For example:

100 #11 v1 0:CEGfc 7 4 swell ^

Before striking a note, set and retain the volume with '#11 v1' as shown above. Use '+L' word to keep the level unchanged at this point (can be done at any previous convenient time).

The 'v1' word could be changed to take 2 numbers, for VOICE and VOL, and/or CHAN rather than VOICE. Try it.

Soloist in trouble

Roger Sapolsky

Suppose you have a music program including a RUN word with a PLAY string such as:

"1234-1abc"

where player 1, owning one or several voices, is the soloist. At a later date, having acquired a MIDI system and Music 2000 MIDI interface, you decide to extend the piece with some new parts to be played by a MIDI instrument.

Logically, the new RUN word will be something like

"12345-19abcdef"

with new words 'part5d', 'part5e' and 'part5f' containing the new MIDI scores. 'part5a', 'part5b' and 'part5c', will be 'empty' (containing an appropriate number of rests). Parts d, e and f on players 2, 3 and 4 just duplicate parts a, b, c.

Well, contrary to all expectations, hiccups interrupt player 5 while it is playing 'part5d' - then the computer hangs up.

After fiddling with the score, I eventually found that the trouble was due to the absence of the 'empty' parts 'part1d', 'part1e' and 'part1f'. Although player 1 is idle after the completion of 'part1c' (and even if the instruction 'UNUSED' has been entered at the end of 'part1c') the system 'expects' player 1's music parts, failing which it stops.

In a AMPLE program, the hitch just described is unlikely, since player1 will probably be given the task of playing the new part after changing the instrument. However, I have found that the hitch is exactly the same when a player 5 is added to 'mix1' to play parts d, e and f.

Easier spooling

Neil Walker

There are some useful words in earlier AMPLINEX issues. 'sp' by David Westbrook (AMPLINEX 003) solves all spooling problems, and I have combined it here with the SHOW word.

"sp" [ "SHOW NL sp1" $+ ]

"sp1" [ 134#OUT
"Word to Spool: "$OUT $IN
LEN1 #- $- $12
$2 """" $12 $+ """" $+
131#OUT "Filename: " $OUT $IN
"*Spool S." $+ $+ "TYPE" $12
$+ "*SPOOL" $12 $+ $+ ]

To save this utility, start a new program (NEW), type in the words as shown above, then type:

*SPOOL sp
WRITE
*SPOOL

To use 'sp' from disc type:

*EXEC sp

Then when you need to save a word type 'sp' and away you go.

Published in AMPLINEX 021, March 1991

More about mixes

Roger Sapolsky

Several articles dealing with mixes have appeared in past issues of AMPLINEX, but this feature harks back in particular to G H Richardson's excellent 'Beginner's guide to unmixes' which appeared in AMPLINEX 011. There is, however, a difference. Whilst that article was based on the use of the Mixing Desk, I will be dealing with the Notepad only. This is not just to be contrary - it's because I find advantages doing it that way:

1) Because I type my programs in Notepad, it is time-saving to remain in Notepad when typing or altering mixes/unmixes

2) I find it simpler. There is no need to search in the user manual for a forgotten command (should I press 'i' or 'p' to do that?)

3) The Mixing Desk module is almost 1600 bytes bigger than the Notepad module. A mix might be one the first things you create in a program, but adding or changing mixes later, when the program has reached a considerable size, might not be possible using the Mixing Desk. Calling the Mixing Desk might then bring an unexpected colourful 'avant-garde' display and the 'Too big!' message

4) After looking at a very complicated John Bartlett program, I think using the Mixing Desk for such a program would be impossible.

To explain the use of Notepad for creating mixes and unmixes, I will describe an example of creating new mixes for an existing piece of music.

1) The piece might start with mix1, which allocates player 1 two voices, player 2 four voices and players 3 and 4 one voice each. This would give a mix as shown below:

"mix1" [M5MIX
1 SHARE 2 VOICES
1 VOICE instrument1...
2 VOICE instrument2...
2 SHARE 4 VOICES
instrument3...
3 SHARE 1 VOICES
1 VOICE instrument4...
4 SHARE 1 VOICES
1 VOICE instrument5...
PNUM SHARE ]

2) We might then want 'mix2' to transfer one voice from player 2 to a new player 5. Assuming the transferred voice is the first (1 VOICE), this would give the following mix:

"mix2" [
2 SHARE 1 VOICE UNUSED
5 SHARE 1 VOICES
1 VOICE instrument6...
PNUM SHARE ]

At the beginning of 'mix2', I have omitted the 'new mix' command M5MIX, which is not necessary when a mix is not processed through the Mixing Desk (see the Music 5000 User Manual page 83). Following '2 SHARE', you might expect to read '3 VOICES', since one voice has been subtracted from the four voices allocated to player 2 by 'mix1'. Actually, things go just as well without this command, although it could be included as a reminder.

3) Next we might wish 'mix3' to transfer another voice from player 2 to a new player 6. Noticing that player 2 now owns voices 2, 3 and 4, the voice selected for transfer can only be one of these three - say voice 2 (all three use the same instrument).

So, 'mix3' then reads:

"mix3" [
2 SHARE 2 VOICE UNUSED
6 SHARE 1 VOICES
1 VOICE instrument6...
PNUM SHARE ]

During the programming of this piece, I first typed '1 VOICE UNUSED' instead of '2 VOICE UNUSED'. It took me some time before finding this was the cause of the message 'Too many players'. Because voice 1 had already been transferred by mix2, mix3 couldn't transfer a voice which player 2 didn't have.

4) In 'mix4' players 5 and 6 relinquish their voices for use by players 1 and 2:

"mix4" [
5 SHARE 1 VOICE UNUSED
6 SHARE 1 VOICE UNUSED
1 SHARE
3 VOICE instrument1...
2 SHARE
2 VOICE instrument3...
PNUM SHARE ]

Because player 1 owns voices 1 and 2 given to it by 'mix1', the voice coming from player 5 must be labelled '3 VOICE'. Similarly, player 2 owns voices 3 and 4, so the voice transferred from player 6 is then labelled '2 VOICE'.

5) Finally, 'mix5' returns the program to the state given initially by 'mix1':

"mix5" [
1 SHARE 3 VOICE UNUSED
2 SHARE
1 VOICE instrument3...
PNUM SHARE ]

The chart below helps to visualize what voices serving a player are active, in each mix. The players are shown across the top of the chart, the mixes down the edge. The numbers in the boxes represent the voices on each player. An 'X' indicates that the voice shown in this position in the previous mix is freed by this mix.

player: | 1   | 2    | 3 | 4 | 5 | 6 |
--------|-----|------|---|---|---|---|
mix1    | 12 | 1234 | 1 | 1 |   |   |
mix2    | 12 | X234 | 1 | 1 | 1 |   |
mix3    | 12 | X34 | 1 | 1 | 1 | 1 |
mix4    | 123 | 234 | 1 | 1 | X | X |
mix5    | 12X | 1234 | 1 | 1 |   |   |

Whatever the number of mixes and the number of voice changes in your program, a chart of this type, if given a little attention, will rid you of the dreaded 'Too many voices in player...' message.

The method described above is designed to be 'efficient' in the sense that as few voice changes as possible are used. This is in the hope of minimising the number of 'glitches' (brief gaps in a player's output) which might occur.

An alternative, but less 'efficient' method, is to free all voices on a player and then redefine all the voices, including the ones which haven't changed, thus eliminating the need to worry about which voices were previously in use.

Published in AMPLINEX 021, March 1991

Questions and answers

Answer: Swinging different ways (1)

In AMPLINEX 020 G Adams asks about the use of WIND in separate parts of an AMPLE piece to give the tune 'swing'. I think that the easiest method is to use the FOR(...)FOR construction rather than REP(...)REP. Set the index value to give the same overall length as the playing parts. Each 'part9' will then start and finish synchronised with the corresponding music section.

If it happens that the sum of the initial rest and an appropriate multiple of the rest value inside the FOR(..)FOR loop cannot be made equal to the required total length, just add a rest after the loop to make things neat and tidy.

Alan Minns

Answer: Swinging different ways (2)

In answer to G Adams problem with the WIND word: due to the REP(...)REP loop, 'part9a' never finishes. I suggest replacing the REP(...)REP by a FOR(...)FOR loop with a FOR count number to ensure the correct number of notes or bars are played. For example,

128 FOR( 12 WIND 48,/ )FOR

'part9b' is not now strictly necessary, as any number of different FOR(...)FOR loops may be used in 'part9a' to give changes at the correct point in the music. A browse through some of the AMPLINEX music files will give examples of what may be done.

Neil Walker

Answer: Real instruments

Robert Charlesworth (AMPLINEX 020) asks about real instrument sounds on the Hybrid Music System. Many instrument definitions have appeared in AMPLINEX and more are available in members' tunes and on the numerous AMPLE albums available from Hybrid, Panda and independent sources such as J B Software.

But it's worth remembering that you aren't going to get 100% authenticity across the full range of orchestral instruments from a £150 synthesiser. There are some sounds the system is not very good at, at all (brass, for example).

If you want super-realism you're looking at a sampler (typically over £1000 but second-hand ones are available around £300) or a good synthesiser/expander (typically costing from £350 upwards). But, again, one instrument (especially a budget one - and £500 is budget in the musical instrument world) won't sound like every orchestral instrument under the sun.

This begs the question which was raised in AMPLINEX some time ago about the relevant merits of using the Hybrid Music System for original music and for transcribing existing pieces.

The problem with doing exact transcriptions and then playing them with inexact sounds is that they don't sound quite right. Which is one reason why I maintained (at the time of the discussion) that original compositions specially written to take advantage of the strengths of the system were the most successful. After all, that's what the classical composers did - they wrote to make the most of the strengths of the instruments at their disposal.

Write with what you have, not with what you wish you had.

John Bartlett's 'Symphony' (reviewed in AMPLINEX 020 News and Reviews section) is a tour de force of programming and arranging and I heartily agree with the comment that it is well worth adding to your collection. But however clever the programming may be, the result is not quite the same as the London Philharmonic, is it?

Well, something to bear in mind - unless members want to start another discussion...

Ian Waugh

Question: ZROM Library Manager

In AMPLINEX 011, Taj Letocha gave us a powerful utility: the ZROM Library Manager. But my first attempt to enter a new module belonging to a new library has been a failure (the blame is probably mine). Here is the complete story.

After first loading the ZROM file image into a bank of Sideways RAM, followed by the loading of AMPLE, all of the ZROM commands responded correctly when used in conjunction with a disc containing the X-INSLIB file. I then entered in succession:

*zl MIDI
*|=sb
"sb" [#* 0MIDIBEND] % 5000-2 used
*ze
"sb" SAVE
*zmake 10 MIDI

The story ends here, with the error message 'Can't open file MIDI' displayed.

In fact, *CAT shows that 'sb' is present on the disc, but not the 'MIDI' library I expected to introduce by means of the '*zl MIDI' instruction. Will someone be kind enough to tell me what should be done to achieve my aim?

Roger Sapolsky

Answer: Mixing Desk query

Alan Minns (AMPLINEX 020) gives a solution to a question asking if an AMPLE program can control the Mixing Desk faders, by suggesting the use of the VOL command. He gives examples of its use such as:

2; 128 VOL 1;

However, like any other sound word, VOL is directed to a particular voice by VOICE, e.g.

2 VOICE 128 VOL

The music voice setting, e.g. 2;, has no direct effect on sound words.

Hybrid Technology

Answer: Saving instruments

In AMPLINEX 019 Don Buckley asked how to delete unused instruments from a program.

One method is given on page 37 of the Music 4000 User Guide which, put simply, is as follows:

If you have a setup program or an *EXEC file with x number of instruments on it, you make up a separate *EXEC file containing the names of the instruments and DELETE after each one.

For example if your file contains three instruments called arcopiano, binatone and deephorn, your *EXEC file would be:

"arcopiano" DELETE
"binatone" DELETE
"deephorn" DELETE

Save the above using *SPOOL, with a name such as S.insdel.

When you wish to delete any unwanted instruments simple *EXEC S.insdel into your program. It will not delete any word that is in use.

You can of course use as many words as you wish (memory permitting) but don't forget to add the delete line to S.insdel if you add extra instruments to your setup program, or *EXEC file.

Ken Hughes

Answer: Auto Menu listing (1)

In AMPLINEX 020, W T Hyde raises a query concerning his inability to get Ian Waugh's 'Auto Menu' program in Acorn User (September 1990) to *EXEC.

It is another black mark to Acorn User! I must admit that I had not looked at this program until the query arose, otherwise it would have been included in my hint in AMPLINEX 020. Fortunately the error, a superfluous Return, is easy to correct.

The long string in the word 'lr' must be entered as one line and not two as shown. Type the program (not in Notepad) with that long line spilling over the screen width to a second line without any carriage return. In the disc copy, edit 'lr' with a word processor to replace the carriage return after 'CODE#2' with a space. The program then works.

Alan Minns

Answer: Auto Menu listing (2)

I think Acorn User has been putting text files on disc rather than files correctly *SPOOLed from AMPLE. For some reason they apparently don't seem to like to include raw AMPLE programs on the disc. I'll see if I can sort this out for future issues.

If W T Hyde has been having problems then I would have thought the first and most obvious step would be to contact the magazine. They are generally very good at passing on readers' letters and I've received none on this subject so far.

The Auto Menu listing seems to be correct (but I'm not going to type it in to find out!). Perhaps the tilde (~) character in the 'lr' word is causing problems. Other things to check are the quotes (") - there are a lot of them in 'lr'.

Well done to Alan Minns for offering a solution to Dice Program problem.

Ian Waugh

Question: Software updates

I was most surprised to read (AMPLINEX 020, Update section) that it is now possible to obtain free Hybrid Music System software updates from Hybrid Technology - as reported by Allan Gardner. Why surprised? Because I had previously found that by being a good customer, ordering quickly and waiting weeks for delivery of the Music 4000 keyboard, meant that I would have to pay for later software updates/upgrades (e.g. Staff printing) although they would be free to later purchasers.

I can understand Hybrid's position but given this situation I naturally assumed that any subsequent software updates that I was lucky enough to hear about, would also not be provided free of charge. Is it not possible, with the support of other members, to ask Hybrid to provide a history of software updates in order to at least identify any bugs and how they were cured with each new release of software. I would welcome comments and information from other AMPLE users, regarding these changes, to enable all of us to avoid any potential problems and to develop programs compatible with all releases of software.

At present I am using the following system discs and have no idea as to what limitations may exist:

Studio 5000 Release 2 (Music 5000)
Studio 5000-4 Release 1 (Music 4000)
Studio 5000-2 Release 2 (Music 2000)

Les Pearce

Answer: Toolbox editors (1)

Tony Walduck (AMPLINEX 020) says, 'I am getting tired of having to MLOAD the desired new editor (sometimes after having to MDELETE the Main Menu editor), then enter the new editor, and finally MDELETE it after use, as well as having to swap between the System and Toolbox discs.'

Some comments:

MDELETEing the Main Menu editor is never necessary, since 'Run program' does it for you.

The MLOAD and MDELETE of Toolbox editors can be conveniently placed on function keys.

Swapping between System and Toolbox discs is unnecessary if the Toolbox editors are copied on to the System disc, or if the Sidemod utility is used.

Hybrid Technology

Answer: Toolbox editors (2)

In reply to Tony Walduck's query about module loading, I find it useful to define function keys to do the calling up. Most of my work is done without the Main menu, having chosen from a menu on booting which editors are needed.

The following method will still work if the Main menu is included, and is probably quicker. *COPY the Toolbox Modules you use on to the System disc (I found no problems here), and have a set of key definitions which are *LOADed in as needed. Any set of keys may be saved by

*SAVE Key1 B00 C00

on the BBC Model B (sorry, I know nothing about the Master) and *LOADed quickly, e.g.

*LOAD Key1

For example, to swap between a mode 0 TEDIT and Staff set up two keys:

*K.9QU."TEDIT"MD."STAFF"ML.ST.|M

*K.8QU."STAFF"MD.0MO."TEDIT"ML.TED.|M

Those flip over function key strips are a handy way to keep track of the keys in use, though once you have a useful combination you tend to stay with it.

As an alternative to all this, AMPLE itself can provide an answer: words may be made to do the swap, and kept in your program during development. For example:

"s" [% Staff from TEDIT
"Q.""TEDIT""MD.""STAFF""ML.ST."
$+]

"t" [% TEDIT from Staff
"Q.""STAFF""MD.0MO.""TEDIT""ML.TE."
$+]

Neil Walker

Answer: MIDI drum kit problem

IN AMPLINEX 020 Mike Dobson comments: 'Using the VEL command to set the volume of any of the MIDI voices doesn't work from the mix word or from within an individual part.'

You can do this, but since VEL is to express =L, your setting will be overridden when you play a note or hit. To prevent this, use

"novel" [30 ACT( OFF 3 FVAR #! ACT )ACT]

SCORE novel CDE...

Hybrid Technology

Published in AMPLINEX 021, March 1991

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 021, March 1991

Next issue news

Until October, I'm afraid the timing of AMPLINEX issues will remain rather erratic. Please bear with us if your copy does not arrive when expected. The next issue should be available by mid-August.

All applications for a FREE copy (i.e. those with discs containing contributions) must be received by MONDAY 13TH MAY. Anyone paying the £2.00 fee should apply by Friday 26th July.

Most of the content depends on your contributions between now and then - so please let us have your words or music as soon as possible. In fact, why not type that question, answer, hint, or comment right now using our Feedback utility? Or copy your latest piece of music on to another disc ready for AMPLINEX?

We look forward to reading and hearing your contributions.

Published in AMPLINEX 021, March 1991

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.

Published in AMPLINEX 021, March 1991

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.

Software Updates

Our correspondence on obtaining free software upgrades from Hybrid Technology continues. Following his comments in AMPLINEX 019, and Allan Gardner's reply in AMPLINEX 020, we have received the following contribution from Ian Waugh:

Allan Gardner's comments about Hybrid's free software updates were interesting but I still feel that if all users upgraded, the compatibility problem would cease.

While Hybrid may not always have had a policy of free upgrades (I don't know about this as I haven't asked them), free updates have certainly been available for a couple of years now. Old policy is no reason for pursuing unnecessary modifications.

Like Allan, I would have been miffed if I'd been asked to pay another fiver for a upgrade to 2-day old software. But I've not heard Hybrid's side of this story.

The free upgrades have been well publicised in AMPLINEX and Acorn User (and mentioned in The Micro User and BeeBug, too). As my original comments were directed specifically to AMPLINEX members I can't believe that the vast majority were not aware of the upgrades.

Ideally, all upgrades should be 100% downwardly compatible but it's not an ideal world and when advances are made this is not always possible. But, again, the problem could be solved if both programmers and users upgraded. It's not as if every new release is incompatible with its predecessor. I reckon most releases over the past year (however many or few there may have been) will be compatible. You don't have to upgrade every three months!

As a writer I suppose it behoves Hybrid to keep me informed of new developments and in that way I suppose my relationship with them is 'special'. But I know of many other Hybrid users who have received 'free' support from them, well beyond what I know to be the commercial norm.

I don't think you can blame Hybrid for not mailing all users to tell them about the free upgrade. It may be free to you but it costs them money. As mentioned, it has been well enough publicised for anyone wanting to take advantage of it to do so.

Suggesting that the answer is NOT for users to upgrade but for those with the expertise to solve problems arising is like suggesting that you turn down a manufacturer's offer to trade in your old car for a new one, preferring to keep you local garage busy with 3,000 mile services!

If you want to know about compatibility and latest version numbers, perhaps it might be an idea to get in touch with Hybrid and ask them.

Using MIDIBEND on the Roland D110

Hybrid Technology have replied to Roger Sapolsky's feature in AMPLINEX 020 in which he commented:

(I) have tried using the MIDIBEND instruction on a Roland D110 . . . and have found the information given in the Music 2000 User Guide . . . is too brief, and is in some cases misleading.

Consider for instance 'sb' at the top of page 43. The score following it will not play a D unless the 'Bender Range' . . . of the instrument is set at 8.

In the comments for the word 'gl' (page 44) it is not said that a negative sign should be placed before the number of steps to play a down slide - an explanation of this would have saved me a lot of time.

Hybrid Technology note:

On the contrary, the need to set 'Bender range' (an uncalibrated MIDI variable) is described in the very listing of 'sb', and explained in the facing page.

On the contrary, the comment on the fourth line of 'gl' indicates that negative numbers ARE handled.

Musical Dice in Acorn User

In the Hints and Tips section of AMPLINEX 020 we published a hint from Alan Minns to overcome problems with Ian Waugh's Musical Dice program on the Acorn User monthly disc.

Unfortunately, we made an error during the compilation of the AMPLINEX disc: in line 30 of his program, &30 00 should read &3000. We're sorry for any problems this may have caused.

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 content of AMPLINEX - you may be the first one who has noticed.

Published in AMPLINEX 021, March 1991

Welcome to AMPLINEX 021

Kevin Doyle and Roy Follett

In this issue, in addition to the regular sections of Questions and Answers and Hints and Tips, we have a utility which allows AMPLE modules to be stored in Sideways RAM, a feature on creating mixes and unmixes in Notepad, more comment on free software releases, and brief news of new products from Hybrid Technology.

In addition, we have eighteen pieces of AMPLE music on this disc: some original, and some which may be familiar.

Editor's note:

My apologies for the late arrival of this issue. At the moment I am in the middle of the main part of the further education studies which I have mentioned on previous occasions. This has caused a direct conflict between AMPLINEX and my studies, which are both spare-time activities. I am afraid that this has meant I was unable to produce an issue of AMPLINEX for January 1991. I have decided, therefore, to publish this issue as March 1991.

My studies will not be complete until the end of September of this year, and I anticipate that there will be further conflicts for the May issue of AMPLINEX. Rather than plan for the May issue and fail to complete it, I feel it is better to omit this issue as well, and plan the next issue for July 1991. In order to give myself more time to prepare the July issue, we have not set the contribution deadline too far ahead (see Next Issue News section). I hope to publish the September issue without too much delay, before returning to our normal schedule.

May I offer my apologies to all members for these alterations to our schedule, and thank you in advance for your patience during these next few months.

Published in AMPLINEX 021, March 1991