Staff editor memory saving
Bob Ord
Normally I use part names for a player like part1a, part1b,
part1c, when entering music using the Staff editor. Like others, I suspect, I
enter the clefs at the beginning of the part and any settings for key signature
(=L, and Len, for example) follow on. Apart from taking up space in the Staff editor
buffer, these take up memory in one's program.
I've discovered that setting the clefs is responsible for
writing the word SCORE in the part definition. SCORE has the destructive effect
of cancelling the key signature, zeroing the BAR length, and resetting the effect
of @, =L, 'L and Len.
Now I enter the clefs in the first parts only - i.e. part1a,
part2a etc. and save a lot of memory.
Avoiding Staff editor memory limits
Jack Wrigley
In AMPLINEX 014 David Hall described his method of SPOOLing
words to a second program for modification before EXECing them back to the
original program. When a single part needs changing and the Staff editor is
'out of bounds' my method is as follows.
For example, to modify 'partx' in a program already loaded
and named 'MyProg':
Save the program so
far Select Notepad Enter "partx" GET Enter NEW (to discard the rest
of the program) Enter MAKE Select Staff editor Enter "partx" GET Enter
READY (to free all voices) Enter the number of voices and the required
instrument Modify the part Enter "MyProg" LOAD
Entering MAKE then replaces the original 'partx' with the
modified one. For single parts I find this better than using *SPOOL and *EXEC. Obviously,
larger programs can preclude the use of Notepad for 'retaining' the word to be
modified. In this case, David Hall's method fits the bill. Lastly, don't forget
Roger Sapolsky's 'Making longer programs' piece in AMPLINEX 012, which takes the
process a stage further.
Deadening sounds
David Bloxham
In AMPLE, to stop a long fade away at the end of a note, I
have found ^(^) to be best.
Hearing the Music 5000
Jimmy Ryan
In the letter section of the May 1990 issue of Micro User, a
reader states that he is using a piece of hardware called a Soundblaster to
amplify his Music 5000. He goes on to say that it is of good quality and that
he no longer finds the need for a hi-fi and that his system is a lot more portable.
It occurred to me while reading this that anyone who owns a
Philips CM 8833 Personal Monitor and is handy with a soldering iron could
produce the same portability. Correctly connecting the Music 5000 to the
Euroconnector at the back of the monitor will send the sound through its stereo
speakers. Of course the quality of the sound cannot be compared to a high
quality hi-fi system but it may make life a little easier if the hi-fi and
Music 5000 systems are in different rooms. The specifications for the
Euroconnector are in the manual received with the monitor.
Published in AMPLINEX 018, July 1990
