AMPLINEX 017
AMPLINEX issue 017 was published in May 1990. 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
In this section we have a review of two new music disc
releases, and comments on compatibility problems with commercial music discs.
Ashes by Michael Harbour
Roy Follett
Another good disc of music. I seem to be repeating myself of
late but there is no doubt that Music 500(0) owners are being spoilt with good
offerings. In this case an inventive selection from Michael Harbour - all of
them originals, all of them tuneful, all of them with good sounds.
'Sunburn (air on a 5-DIN lead)' has some really low notes
which the Studio 5000 instrument 'mexbass4' puts to good use. The resulting
sound makes my speakers work overtime and sends shivers down my spine.
I sometimes wonder, however, what prompts a programmer to
write 'words' that seem, to me anyway, totally unnecessary. Load 'Out of the
frying pan' and look at 'v':
'Thanks. Mum and I will be safe, don't worry.' said Doctor
Lampe. 'Goodbye Rhybid.' said Mrs Lampe.
The console started a faint ticking noise. The doctor and his
wife closed their eyes.
And I am totally lost as to the meaning of 'part1':
192,1:deaf-deface-cabbage-facade
It is very difficult to review music - one either likes or
dislikes it. I am beginning, however, to realise what helps me make up my mind:
and that is 'listener fatigue'.
Do I end up listening to the last piece wanting more, or am
I glad it's all over. If I reach for f9 before each piece of music has come to
its natural end, I am getting my first clue.
Apart from his desire to insert superfluous 'words',
Michael's 'Ashes' is a superb offering and I play it over and over again. There
is, for me, zero 'listener fatigue' on this disc.
An example piece from 'Ashes' is included on this disc, in
the Music section.
'Take a bite' by Phil Comber
Roy Follett
Yet another collection from the prolific Panda - this time
the work of Phil Comber under the title 'Take a bite'. There are thirteen
titles, ten of which are Phil Comber originals.
It is marvellous how some programmers are producing good
instruments, giving the Music 5000 box a chance to break away from its familiar
sound. Phil's certainly managed to do that.
This disc contains music with a modern beat and repetitive
tunes - a bit too repetitive for my tastes. But one thought kept coming to
mind: 'this would make a good TV theme'. These were attention getters, but
after a few bars not much to keep me listening. As I said 'a bit too repetitive'
Don't get me wrong, though, this is a good disc. Phil's
compositions fare well against the competition. The pieces written by Chris de
Burgh and The Pet Shop Boys don't stand out from the rest. On a scale of nought
to five, I'd give it a 'listener fatigue' level of two.
One further point, not a criticism of this disc, but of
Panda. On June 1st all their discs went up to £6.00. A 20% increase is rather a
lot, I think.
'Ashes' by Michael Harbour costs £4.95 (inclusive of postage
and packing) and is available from:
Hybrid Technology Ltd
273 The Science Park
CAMBRIDGE
CB4 4WE
273 The Science Park
CAMBRIDGE
CB4 4WE
'Take a bite' by Phil Comber costs £6.00 (inclusive of postage
and packing) and is available from:
Panda Discs
Four Seasons
Tinkers Lane
Brewood
Stafford
ST19 9DE
Four Seasons
Tinkers Lane
Brewood
Stafford
ST19 9DE
See also the Advertisements section in this issue.
Music file compatibility problems
Julian Benton
In recent issues of AMPLINEX there has been much said about
producing programs that are compatible with both the Music 5000 and the Music
2000.
However, at this time, I think it is also important to
ensure that programs will run on all issues of the Studio 5000 software. It is
well known that Studio 5000 issue 6 requires voices to be declared UNUSED
before other players may use them. This is the issue that I own.
In the past, when programs have failed to discard
unnecessary voices, it has been quite straightforward to edit the mix using the
Notepad. However, I feel compelled to write after the Panda Discs' 'Moments in
Time' demonstration program, featured in AMPLINEX 016. Not only did this
program have the same problems, refusing to run beyond the introduction, but
was impossible to correct, as the relevant parts of the program had been
protected.
All these problems could have been easily avoided by more
structured programming. By only allocating voices when required, and discarding
them with the UNUSED command when finished with, all programs could be made to run
on any issue of software. Thus, I do not see why I, and probably many others
who also use the issue 6 software, should have to obtain an updated version of
the Studio 5000 software, or spend time correcting programs, simply to hear the
music. As good programming structure is always encouraged, it is a pity that
many contributors let themselves down in this area, as their music, once running,
is excellent.
Finally, concerning the 'Moments in Time' disc. I feel it
very unlikely that I would risk purchasing this album, in case the programs on
that disc also featured the same problems and protection system. It is a great shame,
as the music sounded promising.
Published in AMPLINEX 017, May 1990
Yo!!
by Colin HomerI'm at a present a pupil at Perry Beeches school (the one that nearly burnt down) and am currently in revision for my exams. With the number of rap songs that are in the charts there must be a trend - so I decided to have a go.
Make your own words up and try to rap if you can. |
Source: AMPLINEX 017 disk, file $.YO |
Published in AMPLINEX 017, May 1990
The Waters of Babylon
by Michael MellorComposed by: Don McClean & Lee HaysNo, it's not that one!
There is a MIDI version available 0203 416653 |
Source: AMPLINEX 017 disk, file $.BABYLON |
Published in AMPLINEX 017, May 1990
Sunburn
by Michael HarbourFrom the album 'Ashes' Courtesy of Hybrid Technology |
Source: AMPLINEX 017 disk, file $.SUNBURN |
Published in AMPLINEX 017, May 1990
Sun
by Tim SketchleyThis piece has been going through my mind (like most of my compositions) for many years.
In programming it, it was apparent to me how simple the piece is. I often struggle over thinking of titles. In this case I considered "A Quiet Evening" and "Gemstone". Then "Sun" came to mind, probably because of the good summer we have had. Even so, this need not be a summer piece; even in winter-time the sun is still there, lighting up the Earth. |
Source: AMPLINEX 017 disk, file $.SUN |
Published in AMPLINEX 017, May 1990
Soft as Diamond
by Michael LefevreThis piece was supposed to be Heavy Metal, but it doesn't quite make it.
Note that if you choose not to have lyrics, the music misses the section with words. I thought the words sounded quite good when I wrote them, but now I think they sound a bit silly. Section e was originally in a separate piece, but it was very similar so I put it in this piece instead. Those of you without Music 3000s are missing a Yakbell part, which isn't terribly exciting. The 3000 version also uses larger instruments (bassguit4, snare4 and drum4). I made bassguit from bassguit4 but it doesn't sound anything like as good. If you don't have a Music 3000, you can hear what the 3000 version sounds like by typing: "1234-4iabc"PLAY (this only plays the bass and percussion parts). MJL Lyrics: Soft as diamond, Hard as silk, Light as jet, Dark as milk. Quiet as thunder, Loud as lasers, Sharp as spheres, Blunt as razors. |
Source: AMPLINEX 017 disk, file $.DIAMOND |
Published in AMPLINEX 017, May 1990
Safe Sax
by Frank DudleyJ Roden and F Dudley proudly present |
Source: AMPLINEX 017 disk, file $.SAFESAX |
Published in AMPLINEX 017, May 1990
The Jazzman
by Diccon MaudeThis is the first long(ish!) piece I have composed for the Music 5000. The bass instrument, mysyn, is a variation of Moog. I often change Moog like this because it doesn't otherwise give a precise start to repeated notes. Elecins (thanks to AMPLINEX issue 004) is a renamed 'jarre-4'. Mydrum is a low Yakbell.
This piece started life as a school music project. And after just two days since I first programmed the bass line into my Music 5000, here it is! Diccon Maude (14) 27/3/88 |
Source: AMPLINEX 017 disk, file $.JAZZMAN |
Published in AMPLINEX 017, May 1990
I've Got You Under My Skin
by F J FornerodComposed by: Cole Porter |
Source: AMPLINEX 017 disk, file $.IGOTYOU |
Published in AMPLINEX 017, May 1990
Highly Strung
by Jason PerryComposed by: Christopher NortonFrom More Microjazz II by Christopher Norton
Remixed and edited by Jason Perry 1990 Originally for the piano, this piece consists of a 'synthesised' bass, with electric piano as the main tune. More Microjazz pieces to follow:Fine Line Thank you for listening! |
Source: AMPLINEX 017 disk, file $.STRUNG |
Published in AMPLINEX 017, May 1990
En Vacances
by Alan MinnsComposed by: Deodat de SeveracOu l'on entend une vielle boite a musique Ou l'on entend une vielle boite a musique
Deodat de Severac (1873-1921) arr. Alan Minns Very little needs to be said about this French miniature. It is pure 'picture music', very short, no special effects, not even stereo! Just press a key, sit back, listen and (I hope) enjoy. |
Source: AMPLINEX 017 disk, file $.VACANCE |
Published in AMPLINEX 017, May 1990
Eine Kliene Nachtmusik
by Jeff BennettComposed by: Mozart1st movement. Allegro Space - the final frontier...
No seriously, the biggest problem was how to fit this piece in without making the whole thing one mad scramble. My copy of the score was almost unreadable with notes showing repeated sections. I also wanted to use four-channel voices for each part but ended up having to split the first and second violins into separate instruments to cover all of the notes. Anyway, I'm pleased with the result - I hope you are too. JSB May 1990 |
Source: AMPLINEX 017 disk, file $.EKNACHT |
Published in AMPLINEX 017, May 1990
Close Encounters of the Third Kind
by Ian L HubbardComposed by: John Williams |
Source: AMPLINEX 017 disk, file $.CLOSEEN |
Published in AMPLINEX 017, May 1990
Chanson de Matin
by Graham M TippingComposed by: Edward ElgarArranged by Bothwell Thomson I found this arrangement in a book called The Music Lovers Album dated October 1934.
It was the first piece I tried in AMPLE and I'm quite pleased with it although I haven't added any dynamics or changes of tempo. |
Source: AMPLINEX 017 disk, file $.CHANSON |
Published in AMPLINEX 017, May 1990
Programmable Jukebox – version 2
Allan Gardner
These notes describe the new version of my Programmable
Jukebox - the original version was published by A&B Computing magazine in
November 1988. The program has been rewritten and improved for use by AMPLINEX
members.
The main improvements over the original version are:
a) The menu layout has been much improved and tidied up,
presenting a less 'cluttered' screen
b) The highlight cursor now has full wrap-around in all four
directions, making getting to the file you want much easier and quicker
c) Ten pages of on-line help are available at the press of a
key
d) The program can now present a menu from both sides of a
double-sided disc
e) There's the option of generating a 'playing sequence' of
files from all four surfaces of a double-sided dual-drive disc system
f) If desired the entire sequence can be set to auto-repeat
indefinitely
g) This Jukebox can sort the filenames into 'ASCII-betical'
order, helping you to find that elusive file.
These improvements have resulted in a complete re-coding of
the program.
All the features of the original program, including
automatic updating of the menu, programming of sequences of up to 63 files and
self-generation of 'CHAIN' words, have been retained.
However some of the keys and commands have been changed from
the original, as has the coding of the sequence buffer.
The keys and commands now used are:
CURSOR highlight filename
KEYS (no change)
KEYS (no change)
<COPY> enter file
into sequence
(no change)
(no change)
<RET> play file or
start sequence
(no change)
(no change)
<DEL> wipe
sequence/re-catalogue
(previously <r>)
(previously <r>)
<d> swap drive
on dual-drive system
(new command)
(new command)
<r> enable/disable
autoRepeat
(<r>-previously restart)
(<r>-previously restart)
<s> sort
filenames in ASCII sequence
(new command)
(new command)
<ESC> stop program
or enter command mode
(no change)
(no change)
CHAIN generate CHAIN
words on disc
(previously chaingen)
(previously chaingen)
save saves 'Jukebox' to
disc
(no change)
(no change)
"double" [ON]
to use double-sided discs
(new word)
to use double-sided discs
(new word)
"double" [OFF]
to use single-sided discs
(as above)
to use single-sided discs
(as above)
<f9> "Jukebox"
LOAD RUN
(no change)
(no change)
<f4> "Jukebox"
LOAD run
(no change: but note that a
'bug' in the original version
existed where a 'sequence' of
one file meant that function
key four was programmed to
contain "Jukebox" LOAD run
(instead of CLEAR). This is
now corrected).
(no change: but note that a
'bug' in the original version
existed where a 'sequence' of
one file meant that function
key four was programmed to
contain "Jukebox" LOAD run
(instead of CLEAR). This is
now corrected).
The writing of the sequence buffer has been altered to
include the autoRepeat feature and to add disc drive-numbers to the filenames.
This does mean that a sequence buffer written with Jukebox
version 1 is unreadable by version 2 but this will not cause any problems, as
the buffer is cleared by both versions before the programming of sequences is
begun.
Note that the program is supplied to suit single-sided
drives to avoid generating an error when trying to read the 'second' side of a single-sided
system.
The word 'double' should be edited to suit your
disc-drive(s).
P.S. if anyone can come up with a quicker sort routine - I'd
be very interested.
Published in AMPLINEX 017, May 1990
Hints and tips
AMPLE in the press
Jim Redfarn
In the Hints and Tips section of AMPLINEX 009, there was a
request to send in details of any published articles about AMPLE and/or the
Hybrid Music System. I submit two that may have not been picked up. Both were written
by Ian Waugh.
The first was published in February of last year in the
Keyboard Player. It is entitled 'The Micro and Music' and is an excellent
morale-boosting description of the Hybrid Music System.
The second was published in the BEEBUG magazine for April
1990. It is called 'Music Programming in AMPLE' and is the first of a series of
articles, to be published in succeeding months. As always with articles by Ian
Waugh, it is clearly written, with lots of useful ideas.
The use of the Slide command
Alan Minns
I believe that previous discussions of the Slide command
rather missed the essential points of the facility.
1) An =L value before the ON Slide fixes the dynamic level
which is sustained throughout the slide (and after).
2) An =L value after the ON Slide fixes the pitch offset for
the start of the slide.
3) If no pitch offset is defined, the existing value of
dynamic level is used, which by default means that the slide starts at a tenth
interval above the starting note!
Problems with the FX1A module
Richard Bettis
For a while now I've been noticing odd quirks in my system
when I play some of the AMPLINEX tunes. Recent examples are 'In The Night' from
AMPLINEX 014 and 'The Last Patrol' from AMPLINEX 015. Both of these crashed
with a 'Too many voices' error before starting to play (see Questions and
Answers in AMPLINEX 016). By chance I was using my original Music 5000 system
disc and decided to sort out one of these pieces - and it ran perfectly!
I traced the problem to different versions of the FX1A
module, which contains the PLAY word. Using MCAT, I found that my normal system
had version 1.0 and the original had version 0.6. I replaced the newer version
on my !BOOT disk, and have had no problems since.
I thought the purpose of updates was usually to REMOVE bugs?
Published in AMPLINEX 017, May 1990
New words demonstration
% by Kevin Doyle
% For more details see F.NewWord
% Published by AMPLINEX May 1990
% For more details see F.NewWord
% Published by AMPLINEX May 1990
% Can be *EXECed into AMPLE
% Define new words as GVAR
"findword" [GVAR]
"wordname" [GVAR]
"nextword" [GVAR]
"wordshow" [GVAR]
"wordname" [GVAR]
"nextword" [GVAR]
"wordshow" [GVAR]
% Set up the above words with the
% values required
% values required
15 findword #! &2E findword 1 #- #B!
15 wordname #! &59 wordname 1 #- #B!
15 nextword #! &73 nextword 1 #- #B!
15 wordshow #! &B8 wordshow 1 #- #B!
15 wordname #! &59 wordname 1 #- #B!
15 nextword #! &73 nextword 1 #- #B!
15 wordshow #! &B8 wordshow 1 #- #B!
% Use new words in utility
"FREE" [
OFF % Set start value of 0
% for nextword
REP( % Begin main loop: this
% loop gets the token
% for each user word.
% This token will be
% the object searched
% for in each user word
% in the sub-loop below
6 nextword % Get address of first
% (or next) user word
)UNTIL( % Continue whilst more
% words
OFF % Set start value of 0
% for nextword
REP( % Begin main loop: this
% loop gets the token
% for each user word.
% This token will be
% the object searched
% for in each user word
% in the sub-loop below
6 nextword % Get address of first
% (or next) user word
)UNTIL( % Continue whilst more
% words
OFF #212 % Put OFF flag on stack
% and copy object word
% address to top. OFF
% flag is used to
% indicate the initial
% state - i.e. that no
% occurrence of the
% object token has been
% found
4 #+ % Add 4 to address to
% point to word name
% length byte
#11 % Duplicate address
% and copy object word
% address to top. OFF
% flag is used to
% indicate the initial
% state - i.e. that no
% occurrence of the
% object token has been
% found
4 #+ % Add 4 to address to
% point to word name
% length byte
#11 % Duplicate address
#B? % Read word length byte
15 AND % Remove top bit (&80)
% to give word length
#+ % Add word length to
% address to point to
% end of word name
1 #+ % Add 1 to address to
% point to word token
#? % Read word token bytes
% (i.e. token + &00)
#B12 % Reverse bytes to give
% &00 + token, the form
% of the token used in
% word definitions.
% This gives the object
% token to be searched
% for in the next loop
15 AND % Remove top bit (&80)
% to give word length
#+ % Add word length to
% address to point to
% end of word name
1 #+ % Add 1 to address to
% point to word token
#? % Read word token bytes
% (i.e. token + &00)
#B12 % Reverse bytes to give
% &00 + token, the form
% of the token used in
% word definitions.
% This gives the object
% token to be searched
% for in the next loop
OFF % Set start value of 0
% for nextword
REP( % Begin sub-loop
6 nextword % Get address of first
% (or next) user word
)UNTIL( % Continue whilst more
% words
#2121 % Duplicate top two
% items on the stack
% (i.e. the object word
% token and the target
% word address)
4 #+ % Add 4 to address to
% point to word name
% length byte
#11 % Duplicate address
% for nextword
REP( % Begin sub-loop
6 nextword % Get address of first
% (or next) user word
)UNTIL( % Continue whilst more
% words
#2121 % Duplicate top two
% items on the stack
% (i.e. the object word
% token and the target
% word address)
4 #+ % Add 4 to address to
% point to word name
% length byte
#11 % Duplicate address
#B? % Read word length byte
15 AND % Remove top bit (&80)
% to give word length
#+ % Add word length to
% address to point to
% end of word name
3 #+ % Add 3 to address to
% point to start of
% target word
% definition
findword % Find next occurrence
% of object token in
% target word. Returns
% address ON if found;
% OFF if not found
#11 % Duplicate find flag
15 AND % Remove top bit (&80)
% to give word length
#+ % Add word length to
% address to point to
% end of word name
3 #+ % Add 3 to address to
% point to start of
% target word
% definition
findword % Find next occurrence
% of object token in
% target word. Returns
% address ON if found;
% OFF if not found
#11 % Duplicate find flag
IF( % If found:
#12 #2 % Delete found address
% from stack
FRAME % Set frame pointer to
% top of stack
FRAME? % Read frame pointer
ON % Set fourth element
4 FVAR % on stack to ON to
#! % indicate that the
% object token has
% been found in the
% target word. This
% will replace the OFF
% flag put on the
% stack near the start
FRAME! % Write frame pointer
)IF % End of conditional
#12 #2 % Delete found address
% from stack
FRAME % Set frame pointer to
% top of stack
FRAME? % Read frame pointer
ON % Set fourth element
4 FVAR % on stack to ON to
#! % indicate that the
% object token has
% been found in the
% target word. This
% will replace the OFF
% flag put on the
% stack near the start
FRAME! % Write frame pointer
)IF % End of conditional
)UNTIL( % Repeat above until
% object found in
% target word
)REP % End of sub-loop
% object found in
% target word
)REP % End of sub-loop
#2 % Delete target address
% from stack
#2 % Delete object token
% from stack
NOT % Reverse flag - i.e.
% OFF (not found) => ON
% from stack
#2 % Delete object token
% from stack
NOT % Reverse flag - i.e.
% OFF (not found) => ON
IF( % If object token not
% found in any target
% word
#11 % Duplicate address of
% object word
4 #+ % Add 4 to address to
% point to word name
% length byte
wordname % Return string
% containing word name
wordshow % Pad out to fixed
% length and print
)IF % End of conditional
)REP % End of main loop
#2 % Delete last address
]
% found in any target
% word
#11 % Duplicate address of
% object word
4 #+ % Add 4 to address to
% point to word name
% length byte
wordname % Return string
% containing word name
wordshow % Pad out to fixed
% length and print
)IF % End of conditional
)REP % End of main loop
#2 % Delete last address
]
% Type FREE to use the utility
Published in AMPLINEX 017, May 1990
Finding new words in AMPLE
Kevin Doyle
AMPLINEX members who read the Feature in AMPLINEX 008 by
Tony Walduck will know that all AMPLE words are stored in memory as tokens much
as the words in BASIC programs are. In his feature, Tony identified the tokens which
corresponded to each of the user-accessible (UA) words available in the AMPLE
Nucleus. It was clear from his notes, however, that a lot of tokens were not
used for such words.
Anyone examining the contents of AMPLE modules (rather than
user programs) will notice that some tokens are used which are not in Tony
Walduck's list - i.e. which are not UA words. These non-UA AMPLE tokens allow
the modules to perform tasks which are impossible with only the UA words. The
same observation applies the AMPLE Nucleus ROM itself, which it written, in
part, in AMPLE.
Recently, in order to write a utility, I examined the use of
some of these tokens and, by trial and error, worked out the function of a few
of them. For the benefit of those who may also wish to extend their AMPLE
programming range, this article introduces some of the ways in which these
non-UA features can be used.
Since such tokens are not accessible through a user word, a
way has to be found to write the token value directly into a user program. This
can be done by the careful reading and writing of bytes in a user program in
memory, but this is rather awkward, and liable to error.
In addition, since such tokens cannot be translated back
into a user word via TYPE or WRITE, editing such programs within AMPLE is
impossible.
To get around such problems, I decided to write my utility
program in a word processor and EXEC it into AMPLE. This way I could write the
program, then try it in AMPLE, with no danger of corrupting the program in the
process.
This also meant that I had to find a way of introducing a
token into a program via an EXEC file.
The technique I decided to use, was to define some new words
to contain each of the tokens required. I initially defined the word using
GVAR, for example,
"test" [GVAR]
The reason for using GVAR is that it returns an address
which refers to two bytes located immediately after the GVAR token, within the
word definition, which are normally used to store the value assigned to the
word. The memory map looks like this:
00 01 02 03 04 05 06 07 08 09
-----------------------------
74 65 73 74 nn 00 12 lo hi 20
t e s t [ GVAR ]
-----------------------------
74 65 73 74 nn 00 12 lo hi 20
t e s t [ GVAR ]
where 'nn' is the user word token, and 'lo' and 'hi' are the
two bytes which store the GVAR value.
The fact that GVAR returns an address which is at a known
position in the user word means that it can be used to allow the contents of
the user word to be directly altered in memory.
In the above example, typing 'test' will return the address
of the 'lo' byte in the word definition.
We can thus obtain this address, and overwrite the token for
GVAR with a new one. This still leaves the other two bytes - 'lo' and 'hi'. I
decided to overwrite these with the token for a comment (&0F) and a zero
(which would be regarded by AMPLE as indicating a comment of zero length).
So, the following definition would allow the word 'test' to
be set up with a token value of &60:
"test" [GVAR]
15 test #! &60 test 1 #- #B!
giving a memory map like this:
00 01 02 03 04 05 06 07 08 09
-----------------------------
74 65 73 74 nn 00 60 0F 00 20
t e s t [ % ]
-----------------------------
74 65 73 74 nn 00 60 0F 00 20
t e s t [ % ]
Having devised a way to set up words to contain the tokens I
required, I began to test the tokens I had seen in use in the modules to find
their effects. The utility I was writing was one which would identify user
words which were not used elsewhere in the program - to show which ones might
be able to be deleted.
I discovered four tokens which I needed for this program:
&2E, &59, &73, and &B8.
Defining their operation was a matter of trial and error,
but I think the following descriptions are correct.
&2E - returns the address of the next occurrence in a
word definition of a specified token. Thus, it can be used to check whether a
particular word contains another word.
number address &2E -> address ON
-> OFF
-> OFF
It takes a number (which is the token to be searched for),
and an address for the start of the search. The search ends when the end of the
word definition is reached. If the number is found, &2E returns the address
of the occurrence, and the ON flag. If the number is not found it returns the OFF
flag.
&59 - pulls a word name string from a specified address.
Thus, if the start address of a word definition is known its word name can be
found.
address &59 -> namestring
The byte before a word name in a definition contains the
value &80 + the length of the name. Thus the word 'test' would have the
value &84 in the byte preceding the word name. The address of this byte is
passed to &59 and it returns the word name string.
&73 - returns the address of the start of the next word,
alphabetically. This can be used to step through the list of user words in
sequence.
address code &73 -> address OFF/ON
It takes an address of the start of a word, or 0 to find the
first word. The code is set to 6 for user words - I do not know the meaning of
other values. The address returned points to the next word in ascending
alphabetical sequence (as displayed by SHOW) and the OFF flag. If there are no
more words the input address is unaltered and the ON flag returned.
&B8 - pads out a word name string to a number of
characters which allows a columnar display, and prints it to the screen.
string &B8 ->
If the number of characters in the string is greater than 9
the string will be padded with spaces to the right to bring it up to 10, 20 or
40 characters, whichever is the next highest of these figures. It then prints
the result to the screen. It is used by SHOW to display a list of user words.
Having identified the operation of these words I used them
to write a small utility to show unused words. This was published in AMPLINEX
013 (Utilities section) and an annotated version of the program is included on this
disc to illustrate the use of the words described above.
The utility takes each user word in turn and checks for its
occurrence in each user word in turn. Those words which are not found in any
other words are displayed on the screen.
The challenge I would like to offer AMPLINEX members,
however, is to identify more of these non-UA tokens in order to build a base
for more extensive use of the AMPLE language.
There are over 80 tokens undefined in Tony Walduck's list.
For those without a copy of AMPLINEX 008, there are no user-accessible tokens
between &72 and &82; between &99 and &A3; and between &F4
and &FF.
One word of warning - do not try out these tokens with any
program that you have not already saved, as many of them may corrupt memory!
Happy hunting - and don't forget to let AMPLINEX know your
results.
Related file on this disc:
F.NWdemo - annotated utility to show the use of AMPLE
words not normally accessible
Published in AMPLINEX 017, May 1990
Questions and answers
Answer: Use of *TYPE
In AMPLINEX 015 Allan Gardner said that he had experienced
problems when using the *TYPE command within AMPLE.
The answer may well be the Watford DFS. In using any of the
commands *TYPE, *LIST or *DUMP, page &1200 is used as a buffer - but, in
addition, the first few bytes of page &1300 are corrupted. So far as I
know, the quirk is unique to this DFS. In the case of *TYPE, the first 4 bytes
in page &1300 are set to zero.
So if, for example, the Aries control block is at &1300
or if the Staff display characters are suppressed and a module loads at this
address, the use of *TYPE will cause the system to lock up. When using BASIC,
the problem is unlikely to arise since page &1300 is normally unused.
The answer (if this is the cause) is to put the Aries
control block at &1400 and set OSHWM to &1500 with *FX179,21 (note:
21=&15) before booting the system disc. If the *FX command is included in
the !BOOT file, it must precede the */C.PREPARE R S K line.
Alan Minns
Question: Mixing Desk mystery
Can anyone please explain why the mix changes when I switch
to command mode and back to edit mode in the Mixing Desk? If I run a program
from the Mixing Desk, then press Tab to enter command mode (whether I enter a command
or not makes no difference), and then Tab to go back to edit mode, I find that
the channels have swapped themselves about.
I know it isn't a ROM clash as they are all unplugged.
Ordinarily, this isn't much problem, but occasionally it has caused a few
mutters because if I MAKE a mix, it makes the new setup. Is this a bug peculiar
to my system, (BBC+ 128 and two double-sided disc drives), or is it just one of
those things? Any advice would be surely welcome.
Bob Hanson
Question: Music City on Prestel
I have access to a modem, with membership to Prestel. Could
you tell me if you have any pages on this system or a similar system, and how
to access them. I have tried 'Music City' in Micronet through a gateway in Prestel,
but so far have found nothing in there that shows any relevance to the Music
5000.
I have a copy of the album 'Music City II', where it
explains where the songs on the album came from. It says they came from
contributors of the Micronet Viewdata service. Where is it?
Philip Robert Hunter
AMPLINEX has no links with any such service. We do not know
the status of Music City - perhaps other members can help? For some members
comments on the use of other telephone-based sources of AMPLE, see the Features
section of AMPLINEX 008.
Answer: What's a player?
In answer to David Bloxham's question in AMPLINEX 016, a
player is one of the things that plays the musical parts. When a PLAY
instruction is given, part1 is played on player 1, part2 on player 2 and so on.
There are 10 players - only 1-9 are available with PLAY, but 10 can be used by
a P(...)P instruction, although this is not necessary for most music. As well as
the ten there is player 0, the master player which is used by instructions
typed at the keyboard.
A definition of the word 'player' can be found on page 155
of the Music 5000 User Guide (in the glossary) and more information is given on
page 12 in the introduction under 'concurrency'. I have found that this manual,
and especially the tutorial section, covers most things like this, which you
may not know or may have forgotten.
Michael Lefevre
Question: AMPLINEX Staff Printer (1)
Having seen Bob Ord's Staff Printer (AMPLINEX 016) working
on a BBC Master it looks to be a very useful program, especially where several
parts need to be printed out together. Can anybody advise on the changes
required to run it on a BBC B with Aries B-32 Shadow RAM? On my BBC Model B,
Shadow RAM is selected by default, but running Bob's utility simply displays
the request to check lines 9-11 for Shadow RAM suitability.
I believe the lines '*FX114,0' and '*SHADOW' select the
Master's Shadow RAM, but I can't find '*FX20,3' in the BBC Master User Guide.
Deleting lines 9-11 results in a 'Bad program' message when the program is run.
Any solutions please, boffins?
Jack Wrigley
Question: AMPLINEX Staff Printer (2)
Help! Bob Ord's Staff Printer utility published in AMPLINEX
016, gives up at line 40 in U.AS2 unless I REM out the 'CALL code%' command in
that line. The JSR call at line 350 seems to be causing the trouble.
Using a BBC Model B with Aries B32, I have altered U.ASP to
suit. With code% removed all the program functions seem to work OK - am I
missing anything?
Neil Walker
Question: Waveform design utility
Concerning the waveform design utility published in AMPLINEX
014: having created your waveform, how do you store it and use it in other instruments?
If you can't do this, what is the point of the program? If I can store
waveforms for use in other instruments, then this will prove to be an extremely
useful utility.
David Bloxham
Answer: 'In The Night'
In reply to Richard Bettis (AMPLINEX 016): the problem of
'too many voices' or 'too many channels' is caused by the PLAY word in older
releases, like release 6. The word gives all the players a Simpleins voice if
there is no word called 'mix'. Programs like 'In The Night' which have words
like 'mix1' and 'mix2' (but no 'mix') are given a Simpleins voice on each player,
although they are not needed. When the program tries to use its mix, there are
no more voices (or channels) because they have been taken by Simpleins
instruments.
Making all the other voices UNUSED is one solution, a much
simpler one is to have a dummy mix word which can be created with:
"mix" []
However, it is still a good idea to get a new version of the
system disc, which recognises mix words with a number.
Michael Lefevre
See the Hints and Tips section for Richard Bettis's own
solution to this problem.
Question: Mozart's musical dice-game
Does anyone have any information on Mozart's musical dice
game? All I know is that it is a means of assembling together a series of
'preset' musical phrases, by throwing dice, and consistently generating an
acceptable musical result (waltzes, I think). It's been featured in a few
magazines over the years (Practical Electronics, and Your Computer to name two)
but I can't lay my hands on the back-issues. Armed with a suitable algorithm,
I'd like to try coding it in AMPLE.
Vincent Fojut
Question: MIDI drum kit problem
As a newcomer to the delights of using the Music 2000, can someone
solve the following problem? Page 41 of the Music 2000 User Guide gives an
example of the use of VEL to balance instruments in a kit, but I can't get it
to work.
The guide shows
5 SHARE 10 VOICES MIDIV
1 VOICE 35 midikey 80 VEL
2 VOICE 38 midikey 60 VEL
3 VOICE 39 midikey 75 VEL
...
1 VOICE 35 midikey 80 VEL
2 VOICE 38 midikey 60 VEL
3 VOICE 39 midikey 75 VEL
...
and seems to have been written with Roland gear in mind
because the midikey numbers on page 40 correlate with the drums on the Roland
D10 I've been using.
However, trying to apply this to the D10 causes every voice
in the kit to be the same volume. The tip given recently in AMPLINEX of using
[number] 7 MIDICONTROL has the same effect and cannot be used on an individual
VOICE within a kit.
If anyone knows how to solve this I would be happy for you
to phone me reverse charges on 081 953 6867 (before sending the answer to
AMPLINEX for the benefit of other members - Editor).
Bernie Dawson
Answer: The 'M.M5' module
In AMPLINEX 016 Michael Lefevre asks about the meaning of
various words in the M5 module. Referring to the Music 500 User Guide may throw
a little light on some of these:
number AENV - select amplitude envelope (number in range 1-10)
number PENV - select pitch envelope (number in range 1-10)
These could well be the functions of AEN and PEN, though I
cannot find any equivalent for ONEN. Maybe they access envelopes by number,
rather than by name - but the available envelopes are contained in the EW
module, not in M5.
I have not actually tested any of these findings, however,
so I cannot be sure of their effects. Perhaps someone with more knowledge of
the sound generation process would be better placed to advise.
Tony Walduck
Question: Watford Shadow RAM
I am the owner of a BBC Model B, as well as the Music 5000,
4000 and 3000. In my computer I have fitted the Watford Shadow RAM, and have
found that for some reason AMPLE will not recognise it as free memory, giving about
the same memory it would if it wasn't there at all. Thanks to Bob Ord in
AMPLINEX 015 I gained about 1K. What has happened to the other 31K?
I also want to know whether it would be advisable to buy a
second processor for my computer, as using the Shadow RAM seems to slow the
computer down so much, that the music it is playing jumbles-up, as if the CPU
can't keep up. Would a second processor solve this problem?
Philip Robert Hunter
Question: Shadow RAM choice
Like others I am thinking of expanding my system with a
Music 3000. I have a BBC Model B and Music 4000 and would like to expand my
memory with Shadow RAM. I am quite a new member and in some of the back-issues
of AMPLINEX which I have received people have noted problems with Shadow RAM.
What I would like to know is: is there anybody with a Shadow
RAM that works well with the music system and also doesn't interfere with other
programs like games?
I would be very grateful for any assistance in selecting
one.
Keith Taylor
Question: Long-playing music discs
Does anyone know of a way of chaining items of music so that
all of the files on a disc can be played without user intervention - i.e. as on
a long-playing record?
F Isaac-Dixon
See the Utilities section in this issue.
Answer: Music 3000 system disc (1)
In reply to David Bloxham's question in AMPLINEX 016: the
Music 3000 system disc does not create an entire set of new modules; instead it
updates any system disc by replacing the MIX and M5 modules and C.PREPARE. This
means that the amount of memory available depends on the system disc you
started with: which release it is, and what type (i.e. with or without a Music 4000,
3000, or 2000). With Shadow RAM, the screen memory, which takes up different
amounts depending on the mode, is gained.
On my system, which is a Studio 5000-4 release 2 updated
with the Studio -3 disc, I get 16049 bytes (nearly 16K) free with no editors
loaded. With the Mixing Desk loaded I have 10664 bytes free.
Michael Lefevre
Answer: Music 3000 system disc (2)
I have obtained the following free RAM amounts with the
configurations shown:
System ------- modules
loaded -------
disc 'Basic' PAD MIX STAFF REC
disc 'Basic' PAD MIX STAFF REC
5000 15537 10929 10673 2737 --
-4 14505 9897 9641 1705 8873
-4D 14505 9897 9385 1705 8873
-3 14257 9649 8872 1457 --
-4D-3 13225 8617 7840 425 7593
These figures are without using Shadow RAM. Using Aries
Shadow RAM increases space by 768 bytes generally, but by 7936 bytes in the
Staff editor.
Tony Walduck
Question: AMPLE disassembly
I have performed a cursory disassembly of the AMPLE ROM and
am overwhelmed by the task of deciphering all the data. Could other AMPLINEX
members who have already trodden this path offer any time-saving tips and hints
- e.g. addresses of key routines, data areas, embedded AMPLE code, key memory locations,
etc?
Vincent Fojut
Question: AMPLINEX and ADFS (1)
In order to save disc space, I have transferred all of the
past issues of AMPLINEX to ADFS format discs, storing each issue in a different
directory (e.g. 016 for issue 016). Following a tip given in an earlier
AMPLINEX issue, I changed the required line in the word 'lr' to access the correct
directory.
However, on issues 015 and 016 I have been unable to do
this, getting a 'too long' type message when trying to TYPE the word. Can you
please tell me how to get around this as I am unable to access the Music menu
from my ADFS discs?
Graham M Tipping
Question: AMPLINEX and ADFS (2)
Normally I transfer AMPLINEX to an ADFS disc, which will
take three issues. However, on issues 015 and 016 when I attempted to change
the 'lr' word to read '$.FIFTEEN' or '$.SIXTEEN' (so that on returning from a piece
of music to the music menu I stay within the appropriate directory) I met with
difficulties. I change 'lr' by *SPOOLing the word to disc, loading the file
into View, making the alteration and *EXECing it back into the A.MPLINEX
program.
However, when *SPOOLing the word it gives the message '! Too
many characters'. I assume this is because you have COMPILEd the program with Toolbox.
On attempting to DISCOMPILE the program I continually get the message '! No
room' no matter how many modules I do not load. Can you suggest a remedy?
M F Mellor
The reason you cannot *SPOOL the word 'lr' is indeed because
it has been COMPILEd to save memory. However, the word has not been changed, so
use an issue 014 disc to *SPOOL the word and then continue as before.
Question: Microphone input
I have a piece of literature advertising the Music 5000
synthesiser from Peartree Computers. On the back are examples of various
screens. One of them shows a sample menu on which one of the selections is
'microphone input'.
Can this be done, or is it a bit of someone's imagination?
The literature does not appear to make reference to the MIDI system so can it
be attached somehow to the Music 5000 Unit?
Keith Taylor
In answer to a similar question in AMPLINEX 010, Hybrid
Technology commented: "we made and demonstrated a working microphone input
add-on prototype, but development was halted in 1986, and this is unlikely to appear
as a product in this form. Frankly, though the unit works well, the whole
principle is not as useful as you might expect."
AMPLINEX in drive 1
Like David Bloxham (AMPLINEX 016) I too have had problems in
running AMPLINEX from drive 1. My AMPLINEX issues arrive on two 40-track discs which
I now transfer to a single 3.5" disc. I have problems in starting (in my
first issue I didn't discover the musical intro as my system went straight into
the menu) and issue 016 would not load A.MPLINEX but gave a 'Too big' error.
I have solved my problems by creating a duplicate AMPLE
system disc with a modified !BOOT file especially for AMPLINEX. In this !BOOT
file I have deleted the 'MAIN' command and appended
*DRIVE1
"A.MPLINEX"LOADRUN
"A.MPLINEX"LOADRUN
So if I now put the system disc in drive 0 and AMPLINEX in
drive 1 and press <SHIFT><BREAK> AMPLINEX will run. Furthermore,
all of my difficulties have gone away!
To create your own customised AMPLE system disc is easy:
1) Load the system disc and enter '*TYPE !BOOT'.
2) Enter '*BUILD !BOOT' and load a new formatted disc.
3) Use cursor arrow keys to copy the displayed lines until
'MAIN' is reached. Don't copy 'MAIN'.
4) Now enter *DRIVE1 (or any other drive number).
5) Enter "A.MPLINEX"LOADRUN then hit <ESCAPE>
to save the file.
6) Enter '*OPT 4,3' and then '*ACCESS *.* L'
7) Copy from your system disc all prefixed files (all except
the $. files
8) Stick a write protect tab on the new disc and label
'AMPLINEX BOOT DISC'
Fred Isaac-Dixon
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 017, May 1990
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 017, May 1990
Next issue news
To try to bring the AMPLINEX timetable back on schedule, and
fit in with summer holidays we are only having a short gap between this and the
next issue.
This means that all applications for a FREE copy (i.e. those
with discs containing contributions) must be received by FRIDAY 27TH JULY.
Anyone paying the £2.00 fee should apply by Friday 10th August.
We are planning to include a review of the Music 5000
Synthesiser Universal (mentioned in News and Reviews AMPLINEX 015) and the
first music disc specifically for Music 3000 users. Most of the content,
however, 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 017, May 1990
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
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 017, May 1990
Update – changes/corrections/comments
This section is a focus for news about the workings of
AMPLINEX, corrections to items in previous issues, and other small items of
information which might otherwise be missed amongst the details of each issue.
Music 3000 files
In this issue we have a couple of music files ('Close
encounters...' and 'Soft as diamond') which can be played on the Music 5000
alone, or in combination with the Music 3000. This combination - using two
virtually identical synthesisers - is relatively easy to program, and does not
suffer from the compatibility problems which arise with Music 2000 MIDI pieces (which
will never sound the same on a different MIDI instrument). We would like,
therefore, to receive more such files from members with this equipment.
Uses of the Hybrid Music System
We plan to put together a feature on the different uses to
which members put the Hybrid Music System in the next issue of AMPLINEX. We are
looking for examples of its use in, say, performance, recording or audio-visual
work and would welcome further contributions from members describing their
application.
We always welcome suggestions for improvements in the
workings or contents of AMPLINEX - most of the changes made to date have
originated from members' suggestions. So, if you have an idea to improve
AMPLINEX, let us know.
Also, please let us know if you spot an error or omission in
the contents of AMPLINEX - you may be the first one who has noticed.
Published in AMPLINEX 017, May 1990
Welcome to AMPLINEX 017
Kevin Doyle and Roy Follett
In this issue, in addition to a larger than usual Questions
and Answers section and our regular Hints and Tips, we have two utilities: a
demonstration program to help in the creation of drum patterns and a new
version of Allan Gardner's jukebox program which offers a number of useful
features for linking music files together to form an automated musical
sequence. We have a feature on gaining access to new AMPLE functions and
reviews of two new music discs.
We have sixteen pieces of AMPLE music, some original, some
which may be familiar, including a couple which have dual-purpose settings to
suit both the Music 5000 synthesiser and Music 3000 expander unit.
We hope you enjoy the disc and we look forward to receiving
your contributions to AMPLINEX 018.
Editor's note: we are running rather behind schedule with
this issue because of my commitments to the course I am taking. These last few months
have been particularly heavy, with only very short gaps between periods of
course work.
Things will still be behind schedule for the next two issues
(but less so than this one, I hope), with things getting back to normal at the
end of the year.
Thanks for your patience and your tolerance of this erratic
timetable.
Published in AMPLINEX 017, May 1990
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