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
"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.
%-------------------------------------
% AMPLINEX 009 instrument definitions
%-------------------------------------
% AMPLINEX 009 instrument definitions
%-------------------------------------
"bdrum4" [4 CHANS
1 PAIR CHAN
Pure Zap Short
-42 PITCH -1 POS
3 PAIR CHAN
Broad Click
-30 PITCH 1 POS
EVERY CHAN
ON PHSET 128 AMP
% by Roger Cawkwell
% see notes in "sb/info"
]
1 PAIR CHAN
Pure Zap Short
-42 PITCH -1 POS
3 PAIR CHAN
Broad Click
-30 PITCH 1 POS
EVERY CHAN
ON PHSET 128 AMP
% by Roger Cawkwell
% see notes in "sb/info"
]
"snare4" [4 CHANS
1 CHAN
ON RM 120 AMP
2 CHAN
-669 SHIFT
1 PAIR CHAN
Metal Percuss
3 CHAN
Pure Percuss 120 AMP
4 CHAN
Metal Click 128 AMP
EVERY CHAN
ON PHSET
Drop -14 PITCH
% by Roger Cawkwell
% see notes in "sb/info"
]
1 CHAN
ON RM 120 AMP
2 CHAN
-669 SHIFT
1 PAIR CHAN
Metal Percuss
3 CHAN
Pure Percuss 120 AMP
4 CHAN
Metal Click 128 AMP
EVERY CHAN
ON PHSET
Drop -14 PITCH
% by Roger Cawkwell
% see notes in "sb/info"
]
"bX" [bdrum4X]
"sX" [snare4X]
"sb/info" []
"sb/info2" []
"sb/info3" []
"sb/info4" []
"wait" [NL"Press a key..."$OUT
#IN#2NLNL]
#IN#2NLNL]
"sb/info" [DISPLAY
% Notes on "snare4" and "bdrum4"
% by Roger Cawkwell
%
% These rich and extravagant
% instruments each take up four
% channels. If they are both included
% in the same mix, half of the Music
% 5000's voices will have been
% allocated! Clearly another strategy
% is necessary.
waitsb/info2
]
% Notes on "snare4" and "bdrum4"
% by Roger Cawkwell
%
% These rich and extravagant
% instruments each take up four
% channels. If they are both included
% in the same mix, half of the Music
% 5000's voices will have been
% allocated! Clearly another strategy
% is necessary.
waitsb/info2
]
"sb/info2" [DISPLAY
% The two short words "bX" and "sX"
% both swap and strike the instrument
% so that providing you are happy
% about not using snare and bass drums
% together (not a great handicap, I
% think) they will use a total of four
% channels.
waitsb/info3
]
% The two short words "bX" and "sX"
% both swap and strike the instrument
% so that providing you are happy
% about not using snare and bass drums
% together (not a great handicap, I
% think) they will use a total of four
% channels.
waitsb/info3
]
"sb/info3" [DISPLAY
% Percussion parts then look something
% like this:
%
% 24, REP( bX / sX / bX X sX / )REP
%
% Notice the plain X to re-strike bd4.
% The relevant line in the mix should
% contain a reference to only one
% instrument:
%
% 2 SHARE 1 VOICES snare4
%
waitsb/info4
]
% Percussion parts then look something
% like this:
%
% 24, REP( bX / sX / bX X sX / )REP
%
% Notice the plain X to re-strike bd4.
% The relevant line in the mix should
% contain a reference to only one
% instrument:
%
% 2 SHARE 1 VOICES snare4
%
waitsb/info4
]
"sb/info4" [DISPLAY
% VOL and PAN settings are not
% included in the mix because changing
% an instrument returns VOL to 128 and
% PAN to 0 so if you require values
% different from these they must be
% included in the change/strike words,
% eg:
%
% "bX" [ bd4 100 VOL -1 PANX ]
%
% "sX" [ snare4 -2 PAN 'X ]
%
% Turn the volume down when trying
% them (you have been warned!)
]
% VOL and PAN settings are not
% included in the mix because changing
% an instrument returns VOL to 128 and
% PAN to 0 so if you require values
% different from these they must be
% included in the change/strike words,
% eg:
%
% "bX" [ bd4 100 VOL -1 PANX ]
%
% "sX" [ snare4 -2 PAN 'X ]
%
% Turn the volume down when trying
% them (you have been warned!)
]
"church" [2 CHANS
1 CHAN
Onoff 2 POS
2 CHAN
-193 SHIFT 128 AMP
Tailed -2 POS
EVERY CHAN
Pipes Flat
% Very stereo, this one. A bit more
% oomph with a very wide sound. Can be
% used convincingly even in -3:
% octave. Personally I think the Music
% 5000 is brilliant at big organs.
% by Corin Greaves
]
1 CHAN
Onoff 2 POS
2 CHAN
-193 SHIFT 128 AMP
Tailed -2 POS
EVERY CHAN
Pipes Flat
% Very stereo, this one. A bit more
% oomph with a very wide sound. Can be
% used convincingly even in -3:
% octave. Personally I think the Music
% 5000 is brilliant at big organs.
% by Corin Greaves
]
"dblbass" [2 CHANS
1 CHAN
Round Flat Strike
125 FM
2 CHAN
Bright Flat Peaked
382 SHIFT 100 OFFSET
EVERY CHAN
ON PHSET
% A bit odd unless used properly.
% Firstly it is only convincing in the
% -2: octave due to the FM phasing. It
% is quite soft and should be doubled
% up with another voice the same if it
% is to be heard in music.
% by Corin Greaves
]
1 CHAN
Round Flat Strike
125 FM
2 CHAN
Bright Flat Peaked
382 SHIFT 100 OFFSET
EVERY CHAN
ON PHSET
% A bit odd unless used properly.
% Firstly it is only convincing in the
% -2: octave due to the FM phasing. It
% is quite soft and should be doubled
% up with another voice the same if it
% is to be heard in music.
% by Corin Greaves
]
"mellow4" [4 CHANS
1 CHAN
High Flat Percuss
192 SHIFT
2 CHAN
Pure Delvib Strike
3 SHIFT
3 CHAN
Pure Delvib Long
0 SHIFT -3 POS
4 CHAN
Pure Delvib Long
1 SHIFT 3 POS
EVERY CHAN
ON PHSET 128 AMP
% by Mark A J Mulders
]
1 CHAN
High Flat Percuss
192 SHIFT
2 CHAN
Pure Delvib Strike
3 SHIFT
3 CHAN
Pure Delvib Long
0 SHIFT -3 POS
4 CHAN
Pure Delvib Long
1 SHIFT 3 POS
EVERY CHAN
ON PHSET 128 AMP
% by Mark A J Mulders
]
"smooth4" [4 CHANS
1 CHAN
Watery Vibrato Tailed
128 AMP ON SYNC -420 SHIFT
2 CHAN
Syncer Slowvib Spike
3 CHAN
Watery Deepvib Tailed
128 AMP ON SYNC -440 SHIFT
4 CHAN
Syncer Vibrato Spike
1 SHIFT 200 OFFSET
EVERY CHAN
OFF PHSET
% Fairlight eat you heart out!
% by Mark A J Mulders
]
1 CHAN
Watery Vibrato Tailed
128 AMP ON SYNC -420 SHIFT
2 CHAN
Syncer Slowvib Spike
3 CHAN
Watery Deepvib Tailed
128 AMP ON SYNC -440 SHIFT
4 CHAN
Syncer Vibrato Spike
1 SHIFT 200 OFFSET
EVERY CHAN
OFF PHSET
% Fairlight eat you heart out!
% by Mark A J Mulders
]
"trumpet" [2 CHANS
1 CHAN
3 POS
2 CHAN
-3 POS 100 OFFSET
EVERY CHAN
Sharp Slowvib Puff
128 AMP
% Trumpet.
% Best range 0:C to 2:C
% by Andy Knight
]
1 CHAN
3 POS
2 CHAN
-3 POS 100 OFFSET
EVERY CHAN
Sharp Slowvib Puff
128 AMP
% Trumpet.
% Best range 0:C to 2:C
% by Andy Knight
]
"trumpet4" [4 CHANS
1 CHAN
Reedy Flat Onoff
2 CHAN
2 SHIFT 100 OFFSET 128 AMP
Sharp Delvib Puff
3 CHAN
192 SHIFT 100 AMP
Hard Flat Strike
4 CHAN
-2 SHIFT 98 AMP
Bright Flat Soft
ON PHSET
% It sounds best in octave 1. Lower
% down it could be a base for trombone
% and euphonium.
% by G H Richardson
]
1 CHAN
Reedy Flat Onoff
2 CHAN
2 SHIFT 100 OFFSET 128 AMP
Sharp Delvib Puff
3 CHAN
192 SHIFT 100 AMP
Hard Flat Strike
4 CHAN
-2 SHIFT 98 AMP
Bright Flat Soft
ON PHSET
% It sounds best in octave 1. Lower
% down it could be a base for trombone
% and euphonium.
% by G H Richardson
]
Published in AMPLINEX 009, January 1989
