AMPLINEX issue 002 was published in November 1987. 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.
Showing posts with label AIX002. Show all posts
Showing posts with label AIX002. Show all posts
AMPLINEX survey
Kevin Doyle
Firstly, many thanks to all who took the time to complete
our survey in the September issue of AMPLINEX. We had almost 100% response, and
all the comments have been noted and, where possible, taken into account in
this issue.
The answers to the multiple choice questions gave us a
sketch of the initial AMPLINEX membership. Here are some of the key points.
About two thirds of the members have Music 500 hardware and
the original BCE software, and half have the Music 5000 hardware. The overlap
is people with both.
About half the membership owns a keyboard (more Hybrid than
Symphony) and there was a high degree of interest amongst those who don't yet own
one.
When asked about what software products were of interest,
everyone highlighted AMPLE music compilations and the Advanced Sound Studio announced
by Hybrid in July attracted an 80% response from members.
On the hardware side, the MIDI interface was of interest to
two out of every three members, and from other responses it seemed that about a
third of those who showed an interest already had access to MIDI equipment.
By contrast, no one expressed any interest in the Hybrid
amplifier.
Several people replied to the question on 'which aspect of
the AMPLE language they would like to see discussed in AMPLINEX' and we will endeavour
to cover as many of these as possible in the near future.
Two particular areas mentioned were instrument design and the
use of sub-mixes. These are both areas where I feel sure that members will have
experience to share (see, for example, the Hints and Tips contribution from Tim
Sketchley).
Comments on the design and contents of AMPLINEX were, in the
main, very favourable. Specific requests for change have been incorporated into
this issue wherever possible (see 'Update' in the Introduction section for more
details).
If you haven't yet sent in your copy of the survey, please
try to do so in time for the next issue - your comments are very useful to us.
And please continue to let us know what you think about AMPLINEX,
what you want us to do and where we go wrong. We have not included a survey program
in this issue so please put your replies in another format (see 'How to make a contribution'
in the Introduction section).
Two ideas open for comments -
·
Would you like a regular method for providing
feedback on each issue? If so, what form should it take? A short comment box as
used in the survey? Marks out of 10 for each section? Would you like to see
them published in a letters or comments page?
·
If you contribute a piece of music would you
like member's comments or other feedback on how it was liked or disliked?
Whatever your thoughts, please let us know in time for the
next issue (see 'Next issue news' in the Introduction section), and remember -
AMPLINEX is whatever we make it, so let us have your ideas.
Published in AMPLINEX 002, November
1987
AMPLE music discs review
Kevin Doyle
Two new discs of AMPLE music have just been released by
Hybrid Technology - 'Notes' by Pilgrim Beart and 'Music City' by Ian Guinan.
Pilgrim Beart was the composer/arranger of one of the first two Hybrid music
discs 'Cosmix'. Ian Guinan is the man behind the just launched 'Music City' service
on Microlink (see elsewhere in the News & Reviews section for details).
'Notes' by Pilgrim Beart
Owners of the 'Cosmix' album will not be disappointed by the
'jukebox' program which controls this album. In place of the 'spacephone' used on
'Cosmix' is something called a 'Filosax' containing a page for each of the
pieces of music and which plays an endless 20-bar blues with fluctuating but generally
increasing tempo. You are advised to choose something within a minute or so
since, after that, the frenetic music drives out any keyboard activity as the
BBC struggles to cope.
There are 12 pieces of music on the disc (excluding the
'jukebox' program) and they range in length from four and a half minutes down to
a mere 30 seconds, giving a total of 24 minutes listening. The longer pieces
are the more satisfying, and the two longest ('Jazuru' and 'Qutor' - both over
four minutes) are the high points of the collection. These two pieces have been
structured to give some musical light and shade - a feature that some of the other
pieces lack.
The shorter pieces are often no more than musical ideas, largely
undeveloped, and any melodic interest is lost in an unnecessary rush to overlay
competing sounds and noises.
These faults are offset, however, by the wealth of techniques
and sounds that are contained throughout the disc. For the AMPLE composer this
disc will be a delight to search through, to answer the recurring question 'how
did he do that?'.
The album is, thankfully, almost free of the somewhat self-conscious
messages of 'Cosmix', and appears to be a mixture of material composed in 1986 and
in 1987. The better quality material tends to bear the 1987 mark.
At its best this album surprises and intrigues - at its worst
it annoys with its frenzied complication. The best reason for buying it, unless
you are a fan of the 'Cosmix' material, is for the help it may give you with
your own composition and it is certainly worth it for that alone.
'Music City' by Ian Guinan
Behind the 'Music City' logo and Teletext version of the Liverpool
skyline, this disc contains 12 songs together providing over 35 minutes of AMPLE
music. Four of the songs are Ian Guinan's own compositions, the other eight
being a mixture of, mainly, pop music from the seventies and eighties. Almost everyone
will find something familiar on this disc with music made famous by such people
as Elvis Presley, Grace Jones and Donna Summer.
The AMPLE versions are not meant to be 'soundalike' reproductions
of the original hits, but they often work best when the original material was synthesiser
based. The drum sounds (as usual) sound rather weak, especially as most of the music
has a disco origin, but the most successful pieces (for example Donna Summer's 'I
feel love') transcend this restriction.
One can't help feeling, however, that Ian Guinan's obvious enthusiasm
for the original recordings somewhat narrowed his scope for interpretation of
the music. The value of creating AMPLE copies of well-known music is questionable,
and, despite his notes to the contrary, it sometimes seemed that his
interpretations of the music were more a necessity forced by the absence of sheet
music than a deliberate decision.
Of his own music, the most successful piece is 'The Ice
Breaker' with its driving bass line and sudden shifts in arrangement. In 'Looking
at you' he confesses to being an ex-bassist in a punk band, and, listening to the
opening bars the thrashing guitar seems imminent - but instead a rather softer
string-synth sound whooshes in. Rather a pity that - some AMPLE punk might have
been interesting.
The 'info' notes included with nearly every piece are an
added bonus, adding insight and information whilst transmitting Ian Guinan's obvious
enthusiasm for the music.
In conclusion, everyone should find something in here to
interest them and also something they will want to play again and again.
If you want to choose between the two then you must decide between
the familiarity and musical variety of 'Music City' and the more technically ambitious
but musically narrower 'Notes'.
Both discs cost £4.95 (inclusive of VAT and carriage) and are
available from:
Orders Dept, Hybrid Technology Ltd, Unit 3, Robert Davies Court, Nuffield Road, CAMBRIDGE. CB4 1TP
Orders Dept, Hybrid Technology Ltd, Unit 3, Robert Davies Court, Nuffield Road, CAMBRIDGE. CB4 1TP
Published in AMPLINEX 002, November
1987
Highlights from the Micro User Show, London, November 13th-15th
'Music City' the new Micronet service
Kevin Doyle
By the time you read this the new computer music magazine 'Music
City' will have been launched on Micronet, the viewdata service for micros. The
magazine aims to cover news from the micro music world, with a mixture of hardware
and software reviews, articles, a letters/contact section, hints and tips and
downloadable music and instrument files.
Initially, the service is to concentrate on the Hybrid Music
System and will aim to provide AMPLE music programs of many current hits,
paying royalties out of the download fee where appropriate.
AMPLINEX intends to operate a reciprocal arrangement with 'Music
City' whereby information from each will be made available to the other. This
might mean that selected features are distributed via Micronet at some time after
the publication of AMPLINEX. For contributors this could mean the chance to earn
some money through royalty payments, if the contribution was considered 'saleable'.
Use of any AMPLINEX material by 'Music City' would of course be subject to the author's
approval.
We will have more details of the 'Music City'/AMPLINEX arrangement
in the next issue and would welcome your comments (including reviews of the 'Music
City' service).
'Music City' can be found on Micronet (*800989 - *MUSIC CITY)
and more details of the service can be obtained from Micronet on 01-278-3143.
Peartree Music 87
Roy Follett
At the Micro User Show in November, as at the Acorn User Show
in July, Peartree were playing Music 500 tunes whilst advertising their Music
87. Any members who have made enquiries about the availability of the Music 87
must have had similar answers to me. That is, "they will be shipped out at
the end of the week" or "at the end of the month, we're waiting for the
user guides". The answer given at the show to my wife Jackie in response
to the question "can I buy one now" was "No, the manuals are not
quite ready".
However, at my request, a representative gave a brief demonstration
of the Music 87. This consisted of a series of screens and certainly sounds
were produced, but no music was heard under the Music 87 banner. Indeed, I had
the impression that the demonstration was curtailed in order that music could
be played to the visitors. This was done using AMPLE BCE.
Whilst the demo of the Music 87 was in progress, a co-processor
was being used as was a hard disc unit. It is true that they could have been
showing that the software would work across the Tube, and the hard disc may
have been in use to provide quick access in a very busy situation, but I was
most unimpressed. A moments thought should indicate that using high resolution screens
does not leave a great deal of memory left for programming use.
AMPLINEX by its title is a group for AMPLE users and our
initial interest in the Music 87 was because - it was being advertised it might
have been pertinent to our group it might have used AMPLE.
It still is. It isn't. It doesn't.
Although it must appear an attractive option to purchasers of
the Music 500/BCE setup at what seems to be a much lower price, it seems we have
a classic case of 'vapourware'. I have rung on many occasions since its original
announcement at the May Micro User Show this year and, despite all the
assurances, nothing has appeared.
If I am talking to any potential Music 500 upgraders I can
only say "come and join us". Wait for a while, save up the difference.
The Hybrid upgrade will cost you £69.00; the Music 87, if and when it ever becomes
available, will cost you £39.95 plus £2.50 postage and packing, plus VAT - a total
of £48.82. The difference of £20.18 will get you the AMPLE Nucleus system which
is tried and tested, together with an ever-increasing user base. And if you
like - AMPLINEX.
Hybrid Technology products
Kevin Doyle
Increased sales and a move to larger premises have caused some
delays to new Hybrid products announced at the July Acorn User Show. The AMPLE Nucleus
Programmer's Guide expected in September is now due to ship within the next few
days according to Chris Jordan of Hybrid Technology. Customer requests for a
change in the design of the Music 2000 MIDI interface mean that this is now expected
at the beginning of January.
The Music 2000 has been redesigned to provide a MIDI input
channel in place of one of the three outputs in the original design. The MIDI
input and clock/tape synchronisation functions will, however, require additional
system software.
Two new AMPLE music discs were available at the Micro User Show,
'Notes' by Pilgrim Beart and 'Music City' by Ian Guinan (see reviews elsewhere
in this section).
The Advanced Sound Studio announced by Hybrid in July has
been dropped for the time being. However, at the Micro User Show a contact
address was being advertised for a 'Hybrid approved' independent supplier of a waveform
designer.
The author, Mr J Stockdale, developed the waveform design
software as part of his PhD and after contact with Chris Jordan of Hybrid
Technology is developing the product to interface with the Studio 5000 system.
The software is in the form of a toolkit with about 20 utilities
and will operate outside of AMPLE using high-resolution Mode 0 screens.
The development work should be complete around January and the
software plus 100 page manual is expected to sell for around £27.50p.
Brief details of the system can be obtained by sending a stamped,
self-addressed envelope to:
Mr J Stockdale, 59 Old Lansdowne Road, West Didsbury, MANCHESTER
M20 8WY
but we will have a full review of the system in the January issue
of AMPLINEX.
Published in AMPLINEX 002, November
1987
Pavane
by David ReedComposed by: Gabriel FaureFrom the album 'AMPLE Bites Back' Courtesy of Hybrid Technology |
Source: AMPLINEX 002 disk, file $.PAVANE |
Published in AMPLINEX 002, November 1987
The Terra-Cotta Army
by Michael Mellor |
Source: AMPLINEX 002 disk, file $.TERRACB |
Published in AMPLINEX 002, November 1987
Trawling the Night
by Doctor Yof (R J Bettis)Parts 1, 2 & 3 form the background. Part 4 is the hunter, at first simply 'cruising', then spotting its prey, closing in and finally swooping for the kill. Part 5 is the hapless victim, startled into a run by the hunter, but eventually caught.
(C) R.J.Bettis 1987 <"|"> A Yoftunes - Project |
Source: AMPLINEX 002 disk, file $.NITRAWL |
Published in AMPLINEX 002, November 1987
Fyer, Fyer - an English madrigal
by Roy AtkinsComposed by: Thomas MorleyMy name is Roy Atkins and I live in Holland. I am the chairman of the British Choir in The Hague, and I use the Music 5000 system as a means for learning choral parts. I enter the various parts and set the voices such that I can play back the piece with any particular part highlighted. In this way the singer can hear his part in its proper context, against the other parts.
Fyer, Fyer is a good example of a popular English madrigal from the late 16th century. The madrigal was a very popular form of polyphonic music of its time. Usually written for from 4 to 8 voices, the parts are all musically complete in their own right, making singing fun for all concerned. These pieces were very popular with singers of the period, and are still popular today with amateur choirs. This example has been programmed in 5 parts and one by one the top 4 parts, cantus, quintus, altus and tenor are heard in turn in a distinctive voice on the left of the stage. It indicates the way in which the system can be put to use. Roy Atkins |
Source: AMPLINEX 002 disk, file $.FYER |
Published in AMPLINEX 002, November 1987
Elite Syncopations
by Ted RoyffeComposed by: Scott Joplin |
Source: AMPLINEX 002 disk, file $.ELITE |
Published in AMPLINEX 002, November 1987
Sinfonia to Cantata No 29
by Graham F FirthComposed by: J S Bach |
Source: AMPLINEX 002 disk, file $.CANTATA |
Published in AMPLINEX 002, November 1987
AMPLE Screen Designer – User Guide
Kevin Doyle
The AMPLE Screen Designer is a utility to allow the creation
of Mode 7 screens for inclusion in AMPLE programs. It is written in AMPLE and incorporates
a comprehensive MODE 7 screen designer, screen filing system and conversion facility
to create AMPLE words which will display all or part of a MODE 7 screen.
Note
If you are not familiar with the use of MODE 7 (Teletext)
control codes it would be advisable to read the relevant chapter in your BBC Micro
User Guide.
To follow the examples in this guide you should also have on
the same disc as the ASD program, the example file ASDdemo.
Getting started
To use the utility go into AMPLE in the usual way, LOAD the
file ASD and then RUN. As ASD uses only AMPLE Nucleus words it can be run without
any Modules present (i.e. from the *AMPLE command).
After the title has come and gone you will be presented with
a blank screen and the cursor in the top left corner.
Moving around the screen
If you try the cursor keys you will find that these move the
cursor in the usual way except that the screen is 'wrapped' in all directions so
that cursor movement is continuous but the screen is static. You may also
notice that the cursor will not move to the bottom right hand corner of the screen.
This last position is protected to avoid the screen scrolling hardware being
activated. All other positions on the screen are available.
By pressing the SHIFT key at the same time as a cursor key
you can move the cursor to the edge of the screen in the direction you select. This
can often save time when moving about the screen.
Writing to the screen
If you use the standard typewriter keys they will write to the
screen in the usual way. Pressing RETURN will move to the beginning of the next
line. The use of screen 'wrapping' means that attempting to write beyond the
bottom of the screen will return you to the top.
The DELETE key has its usual function of backspacing and deleting
the previous character.
Pause now to fill a few lines with text - it doesn't matter
what. This will help in demonstrating the next section.
Teletext control codes
The special control codes used in MODE 7 screens are accessible
using the function keys. You should have received a function key card for this program
which shows the keys used to produce these codes. Try pressing SHIFT key with
some of the functions keys (f0-f9) amongst the text you have written to create coloured,
flashing and double height text.
The double/normal height key is different from the others in
that it can produce either the code for double height or the code for normal
height. Which of these two codes it produces depends on which option (double or
normal height) is currently in use. If double height is the current option it produces
a normal height code and vice versa. If there are no previous height control codes
on the line a double height code is produced.
Graphics control codes can be produced using the function
keys (CTRL f0-f6). The subsequent characters will then be displayed as graphics
where appropriate. Most of the graphics characters are produced using lower case
letters - see the BBC Micro User Guide Appendix for the full table.
To make things easier when designing graphics symbols, you can
use the function keys (f0-f5) which allow you to switch the individual graphics
blocks within a character on and off. Try using these keys on an existing graphics
character or on a blank space following a graphics control code.
As an alternative you can use CTRL and the keys Q,W,A,S,Z,X.
These keys reflect the position of the blocks they alter.
If the character you wish alter is not already a graphics
one, you can set it to a graphics blank by pressing CTRL and the SPACE bar.
A full block character can be obtained by using SHIFT and
the SPACE bar.
Identifying characters
As you may have noticed, the cursor on the screen is sometimes
a line, sometimes a block. The block cursor indicates that it is on a control character.
The line cursor is used when it on any other character. Its main purpose is to distinguish
positions containing control codes from those containing spaces.
To identify the character at the cursor you can press the
TAB key. This displays, at the top of the screen, the character's code and either
the character itself (in both its alpha or graphics form) or its description.
The display stays on the screen for one second - to remove it
more quickly, press a key.
Menu options
The AMPLE Screen Designer has several functions which are
accessible through its menu system. To access the menu press the ESCAPE key.
The choices are then displayed at the top of the screen. Each menu has a title
which is displayed on the left (in white) - in this case it is "Main".
The menu options are then displayed (in magenta) with the first option highlighted
(in yellow).
An option can be selected by pressing the RETURN key when it
is highlighted. You can highlight the different options by using the left and
right cursor keys.
Pressing the ESCAPE key takes you out of the menu and back
to the editing screen no matter which menu you are in.
Try using the cursor keys now, and then select the option "Screen"
by pressing RETURN when it is highlighted.
Some menu options lead to further menus. In the case of the
"Screen" option there is a second menu giving the options
"Memory, "Disc", "Convert" and "New". In
this case we will select the option "Disc" but using the alternate selection
method available. This is to press the key which corresponds to the first
letter of the option you require. So, in this case, you should press the 'D' key.
It doesn't matter whether the key is set to produce upper or lower case. Pressing
a key which does not correspond to a menu option will produce a lower pitch
beep.
Loading a screen from disc
The "Disc" menu has the options "Save", "Load",
"Catalogue" and "Drive". Make sure you have the disc containing
the sample file ASDdemo in the currently selected disc drive. (If you need to change
your drive selection then choose the "Drive" menu option and select
the drive number which contains the ASDdemo file. Then retrace your steps back to
the "Disc" menu.)
You should now choose the "Load" option. At the
"filename:" prompt type in "ASDdemo" and press RETURN. The screen
should now start to change as ASDdemo is read in from disc. When it is loaded a
message will appear at the top of the screen - this can be removed by pressing
RETURN.
The procedure for saving a screen is very similar, except
that the 'Save' option is selected from the 'Disc' menu. Before you try saving
a screen you should read the notes in the section 'Some cautions on disc
filing' below.
The sample screen you have just loaded can now be used to
demonstrate some of the screen editing facilities.
Screen editing
Several screen editing facilities are provided to allow you to
manipulate information on the screen.
Using the CTRL key in conjunction with the left cursor key removes
the character at the cursor. To demonstrate this, position the cursor in the middle
of a full line of text and press CTRL and the left cursor key. Notice that the
rest of the line moves to the left leaving a blank character at the end of the
line.
Using the CTRL key in conjunction with the right cursor key
inserts a blank character at the cursor. To demonstrate this, position the
cursor in the middle of a full line of text and press CTRL and the right cursor
key. Notice that the rest of the line moves to the right losing the character
at the end of the line.
Using the CTRL key in conjunction with the down cursor key
inserts a blank line at the cursor. To demonstrate this, position the cursor in
the middle of the page and press CTRL and the down cursor key. Notice that the rest
of page, below the cursor, moves down losing the bottom line.
Using the CTRL key in conjunction with the up cursor key
removes the line at the cursor. To demonstrate this, position the cursor in the
middle of the page and press CTRL and the up cursor key. Notice that the rest
of page, below the cursor, moves up leaving a blank line at the bottom.
As mentioned earlier, the DELETE key performs its usual function
of backspace to, and deletion of, the previous character. In combination with
the SHIFT key, however, it has the effect of deleting all characters from the cursor
to the end of the line.
Copying
The copy facility in the AMPLE Screen Designer allows the
copying of blocks of the screen. This is essential in graphics work. To copy a block
you need first to define the area to be copied and then the place to copy to.
To mark the area to be copied, simply position the cursor over
the first character and press COPY. Then move to the last character and press
SHIFT and COPY. The area could be just a group of consecutive characters on the
same line or a large block in the centre of the screen. If you are marking an
area spanning several lines, it does not matter which corners of the block you mark
- top-left and bottom-right or top-right and bottom left.
Now move the cursor to where you want the copy to be put. If
you are copying a multi-line block of characters, the cursor should be where the
top left of the block is to be copied. Then press CTRL and COPY and the block you
defined will be copied.
The positions of the markers you defined using COPY and
SHIFT COPY are stored so that the same block can be copied again using only
CTRL and COPY.
Some cautions about copying
The copy function is not 'wrapped' and so any part of the marked
area which cannot be copied within the boundaries of the screen is lost.
The markers are stored as absolute screen references - that
is, they are not affected by screen editing activities such as line insertion
or removal. Care should therefore be taken when screen editing has taken place
since the copy area was marked.
If when CTRL and COPY are pressed, both markers are found to
be in the same position, it is assumed that they have not been correctly set and
the message 'No copy area defined' is shown.
The copying is performed starting at the top left of the copy
area, and proceeds left to right, top to bottom. Placing the cursor within the
copy area before copying will thus lead to part of the copy area being overwritten
before it can be copied.
To help with the copying process there is a facility to
enable you to keep track of the two copy area markers. Pressing SHIFT and TAB will
display the current positions of these markers at the top of the screen. If you
press the COPY or SHIFT and COPY keys while the positions are being displayed,
the block cursor will move to the relevant position on the screen. If another
key is pressed or if no key is pressed for one second the display is removed.
Use of screen memory
The AMPLE Screen Designer provides for two screens in memory
at any one time. This allows the copying of elements in one screen to another.
By careful use of the two screens a new screen can be constructed from many
existing ones.
To illustrate this, we can firstly store the current screen
in memory. To do this call up the menu by pressing ESCAPE. Then select
"Screen" followed by "Memory" followed by
"Store". After a few seconds a message will appear at the top of the screen
to inform you that the screen has been stored. Press RETURN to remove this message.
Now alter the screen by, for example, deleting some lines or adding new text. You
can then restore the screen from memory by selecting "Screen", "Memory"
and "Restore" from the menu.
Your original screen should now be displayed.
You can now re-load the sample screen from disc (which should
look quite different from the current screen if you have been trying out the
editing and copy functions). Select "Screen", "Disc", "Load"
as before and then enter the filename "ASDdemo".
When the screen has loaded, select "Screen", "Memory",
"Exchange" from the menu. This swaps the screen in memory with the
one displayed. Thus, the screen you saved earlier will gradually be displayed and
the screen you have just loaded will be transferred to memory.
If you select "Restore" or "Exchange" when
no screen is in memory the message "No screen has been stored" will be
displayed. You can check whether a screen is in memory by selecting "Screen",
"Memory", "Check" from the menu.
Copying from screen memory
The copy markers which were used earlier to copy areas
within a screen can also be used to copy from memory to the screen. To
demonstrate this, mark an area on the screen displayed now. You can check the results
by pressing SHIFT and TAB.
Then select "Screen", "Memory", "Exchange"
as before. As well as swapping the screen in memory with the screen displayed it
also swaps the copy markers into memory.
If you press SHIFT and TAB now, you will see that the copy
markers are shown as 'Memory' rather than 'Screen'. The display option using
the SHIFT and COPY keys is not available.
Now position the cursor in a suitable place on the screen to
copy to. Then press CTRL and COPY and the area marked on the previous screen
will be copied.
Once either of the markers are reset, the positions are
assumed to refer to the displayed screen rather than memory.
Converting to AMPLE
Once you have created a screen (or part of a screen) which you
wish to use in an AMPLE program, you are ready to use the AMPLE conversion
facility.
If you wish to use only part of the screen, you must mark the
area you wish to convert using the copy markers (COPY, SHIFT and COPY) before
starting the conversion process. Do this now if you wish.
To start the conversion process, select 'Convert' from the
Main menu. You will then be given two choices - 'Full screen' or 'Copy area'.
After choosing the appropriate one you will be prompted for an AMPLE word in
which to store the AMPLE definition generated. This can be up to 15 characters long.
Your will then be prompted for the filename in which the AMPLE definition is to
be stored.
Once this has been entered the conversion process will
begin. To show how it is progressing, a block cursor is displayed at the character
being converted. When the conversion is complete a message will be displayed which
can be removed by pressing RETURN.
To use the AMPLE word in your programs, load your existing
program as usual, and then type "*EXEC filename" where filename is the
name you gave to the file during the conversion process. The definition will then
be loaded and stored in the word which you specified at the start of the
conversion.
For flexibility, the definition does not include any command
to switch to MODE 7. You should therefore ensure that this mode is selected
before the word is used (the AMPLE command is 7MODE). If you type the word at
the "%" prompt when in MODE 7 the screen (or part screen) should be
displayed exactly as it was within the AMPLE Screen Designer.
If you convert part of a screen and find the AMPLE word does
not produce the expected results, this may be because you have not included
some of necessary control codes within your copy area. If this happens, return
to the AMPLE Screen Designer and check for control codes to the left of the area
which you specified.
Disc facilities
Apart from the ability to load and save screens, other options
in the 'Disc' menu allow the current disc to be catalogued and for another
drive to be selected.
When the disc catalogue option is selected the program checks
whether any information has been written to the screen which needs to be
stored.
The top line is always stored and restored by the menu, but any
other characters written below the top line will cause the screen to be stored before
the disc catalogue is displayed. Similarly, if a screen has been loaded or restored
form memory, this will cause the screen to be stored.
Once the screen has been stored (if necessary) the disc catalogue
is displayed.
The 'paged' mode of screen display is used so that each screenful
of information is held waiting for the SHIFT key to be pressed.
Once the disc catalogue is complete, a message appears at the
top of the screen which can be removed by pressing RETURN. The screen is then restored
to its previous state.
Operating system commands
Commands can be passed to the operating system using the 'OS
Command' option in the Main menu. With this option you can either use a single line
or the full screen to display any system response. This allows you to avoid delay
due to saving of the screen where this is unnecessary.
If the full screen option is selected, the 'paged' mode of
screen display is used (see previous section).
Some cautions on disc and OS commands
Because AMPLE does not provide any operating system error trapping
routine, some errors are 'fatal'. That is, the program will stop and screen information
will be lost. To guard against this, the following points should be noted.
Ensure that all filenames entered during screen saving and
loading to disc or operating system commands are valid. Illegal filenames will
generate the error message "! Bad filename in ...".
Ensure that the disc to which you are saving has enough room
to accommodate the file. Be particularly careful when using 'Convert' to
replace an existing file - if the new file is longer than the old one, and you have
saved another file in the meantime, you may get the message "! Can't extend
in ...". Other disc capacity errors may generate the messages "! Disc
full" or "Catalogue full".
Similarly, invalid operating system commands will generate the
error message "! Bad command".
If you have any doubt about a disc command working, store the
current screen to memory first. It can then be recovered in case of a 'fatal'
error (see 'Leaving the AMPLE Screen Designer' below).
Help
In the Main menu the 'Help' option displays a list of the
special keys used in the AMPLE Screen Designer. If necessary the contents of
the screen are stored before this is displayed.
The help screen can also be accessed by pressing CTRL and
TAB.
Clearing the screen
To clear the screen to start on a new design, select
"Screen", "New" from the menu. You will be asked to confirm
this action before the screen is cleared. Any screen in memory is unaffected.
Leaving the AMPLE Screen Designer
To leave the AMPLE Screen Designer and return to AMPLE, select
'Exit' from the Main menu. You will be asked to confirm your choice before the
screen information is lost. The title will then be redisplayed and the message "AMPLE
Screen Designer - session ended" displayed. If you ran the program from
the Studio 5000 Main Menu you will be returned to it. If not you will return
the AMPLE "%" prompt.
In case of errors, a facility is provided to enable the screen
in memory to be preserved after the AMPLE Screen Designer session has been ended.
If you wish to retain the screen memory on start-up of a new session, you should
press down the CTRL key as the title screen is displayed and release it once the
blank screen appears.
The screen memory will not be correctly preserved if any
actions are taken which alter memory. These include the addition, deletion or change
of words, programs or modules or use of the COMPACT command.
Function keys
Because the AMPLE Screen Designer redefines the function
keys f0-f9 for its own use, there is a facility included which resets the key definitions
at the end of the program. The key definitions are those which are provided as
standard in the Studio 5000 software. If you have changed these for your own
use, you should alter the program to match.
To do this, you need to change the word 'keyreset'. Using 'Notepad'
change the key definitions as required, then MAKE the word and re-save the ASD
program.
Technical notes
The AMPLE Screen Designer uses only 'legal' operating system
calls to address the screen. This results in a slower execution speed when reading
from and writing to the screen but ensures that the program will work on any BBC
micro whether or not 'shadow' memory is in use.
The AMPLE conversion part of the program is fairly simple
and does not necessarily result in the most compact AMPLE definition. The
conversion does remove all trailing spaces from each line, except where a line is
empty when one space remains to force the ALIGN function to move down a line.
The last character on the screen (at the bottom right) is
not converted and the last line converted does not have an ALIGN command appended.
This ensures that screen scrolling is not activated if the last line on the screen
is used in 'paged' mode.
If you wish to display a series of screens you can create a
word which calls up series of screens and waits for a keypress to move from one
screen to the next.
For example, if you had created 3 full screen display words -
screen1, screen2 and screen3:
"screenshow" [ 7 MODE
screen1 #IN #2
screen2 #IN #2
screen3 #IN #2
]
screen1 #IN #2
screen2 #IN #2
screen3 #IN #2
]
would do this. (#IN waits for and gets a key code, #2
discards it).
Program use
If you find the program useful, and would like to suggest
enhancements or changes, please contact me through AMPLINEX.
Published in AMPLINEX 002, November
1987
drip
"drip" [2 CHANS
1 CHAN
Burst 1 POS
2 CHAN
Burst -1 POS
1 SHIFT
EVERY CHAN
High Wow
128 AMP -386 SHIFT
% Sound of a dripping tap
% by Graeme Shaw
]
1 CHAN
Burst 1 POS
2 CHAN
Burst -1 POS
1 SHIFT
EVERY CHAN
High Wow
128 AMP -386 SHIFT
% Sound of a dripping tap
% by Graeme Shaw
]
Published in AMPLINEX 002, November1987
oboe
"oboe" [2CHANS
1 CHAN
Puff
ON SYNC ON INVERT
30 PITCH 8 SHIFT OFF PSENS
2 CHAN
Soft
110 AMP
EVERY CHAN
Watery
% Feeble oboe by Roger Cawkwell
% Suggested pitch range 0:G to 1:A
% Try 2CHAN Tailed for resonant release
]
1 CHAN
Puff
ON SYNC ON INVERT
30 PITCH 8 SHIFT OFF PSENS
2 CHAN
Soft
110 AMP
EVERY CHAN
Watery
% Feeble oboe by Roger Cawkwell
% Suggested pitch range 0:G to 1:A
% Try 2CHAN Tailed for resonant release
]
Published in AMPLINEX 002, November1987
Hints and tips
1) Studio 5000 waveforms
Tim Sketchley
The Studio 5000 offers 14 predefined waveforms which can be
used as part of an instrument definition. When defining an instrument, it can be
largely a matter of trial and error to find the ones you need for that instrument
until of course you know them.
Details about the sound and purpose of each waveform are
given at the back of the Studio 5000 User Guide (pp 127-129). However, I have
some tips which I will now explain.
I find it convenient to divide the waveforms into three 'tone
groups' thus:
Low tone: Pure Round
Mid tone: Bright Hollow Watery Hard Clear
High tone: Pipes Sharp
Reedy Broad Metal High
The effect of these groups is similar (broadly speaking) to the
effect of the tone controls of a radio set. You should easily notice that the two
low-tone waveforms sound, so to speak, as if the tone is turned down; the waveforms
in the mid-tone group as if the tone is half way up; and the high-tone group
contain a fair amount of treble, as if the tone is turned up.
To put it another way, they are grouped according to the
brightness of the sound, with the high-tone group being the brightest. I am
missing out Syncer, which is a silent waveform.
We can now set up a simple instrument whose tone is easily
adjusted.
"toneins" [ 2 CHANS
1 CHAN
Pure 128 AMP
2 CHAN
Broad 100 AMP
EVERY CHAN
ON PHSET Flat Long]
1 CHAN
Pure 128 AMP
2 CHAN
Broad 100 AMP
EVERY CHAN
ON PHSET Flat Long]
Note that channel 1 plays a low-tone wave and channel 2
plays a high-tone wave. The tone of the instrument is adjusted by varying the two
numbers; for instance, in our example, changing '100 AMP' to '128 AMP' will
make the instrument a lot brighter.
2) Ignored natural signs
Roger Sapolsky
If the first note entered in Notepad following SCORE, normal
settings and the signature word (e.g. 'sig') happens to be preceded by the
natural sign ('='), the effect of 'sig' will not be cancelled as it should. To
play the expected natural note, simply enter 'sig' AFTER this note, the natural
symbol being then unnecessary. All notes going after 'sig' will now play
correctly when preceded by '='.
3) Three little words
Roger Calkwell
In the last issue of AMPLINEX both QUIT and 7 MODE were
suggested as ways of clearing PAD off the screen to make way for disc
cataloguing and the like.
QUIT has the disadvantage of switching PAD off, requiring
PAD and "word"GET before it reappears.
To return after 7 MODE, "word" GET (or "word"
NAME) suffices.
A screen-clearing utility word will speed up your
programming. I use "q" to remind me of QUIT, thus
"q" [7MODE]
This may be prefixed to a variety of commands;
qSHOW
q"word"TYPE
q*CAT
If you wish to switch to other modes, omit the 7 from the
definition. The q will now take a number prefix;
7qSHOW
1qdisplayword
Another approach is;
"q" [26#OUT 12#OUT]
#OUT is the equivalent of BASIC's VDU - it treats the
preceding number as an ASCII code and sends it to the screen. In this case 26
is the control code for 'default windows' and 12 is 'clear screen' - the effect
is the same as VDU26, 12 in BASIC.
If you're in a hurry and don't want to take the time to
define a word you can send some control codes directly with the CTRL key.
Pressing Z followed by L whilst holding CTRL down throughout is equivalent to
the #OUT version of q.
Two more one-letter utility words;
"s" ["*SPOOL "$+]
"x" ["*EXEC "$+]
Both *SPOOL and *EXEC like to have a space between them and
the filename, so this is built into the word. The result is that
xpiano = *EXEC piano
P.S. Why did I use "x" instead of "e"?
4) AMPLE abbreviations
Robin Johnson
One small tip, not mentioned anywhere that I have seen - AMPLE
accepts abbreviations like BBC BASIC does.
So, you can enter, for example, 'TY.' instead of 'TYPE'. It works
for Instruments and other words too. But beware of confusing the system as the abbreviation
for 'VOICES' will give 'VOICE' - which may not help much!
Published in AMPLINEX 002, November
1987
The ACT command
Andy Thomas
The AMPLE Nucleus ROM does not contain a music specific language,
but a general multi-tasking operating environment. The computer knows how to play
a note from a command called ACT. This command is called every time a note or rest
is played, and has seven pieces of information passed to it. These pieces of
information correspond to the pitch, volume and duration of the note, and which
voice the note is being played on.
The ACT command normally has the following format:
ON ACT(
1 FVAR #? VOICE
2 FVAR #? PITCH
3 FVAR #? VOICE
4 FVAR #? VEL
5 FVAR #? VOICE
6 FVAR #? GATE
7 FVAR #? DURATION
)ACT
1 FVAR #? VOICE
2 FVAR #? PITCH
3 FVAR #? VOICE
4 FVAR #? VEL
5 FVAR #? VOICE
6 FVAR #? GATE
7 FVAR #? DURATION
)ACT
The 1 FVAR #? just references which piece of data is being
accessed. The command after this takes this piece of data and uses it. Most are
self-explanatory. For instance, the first piece of data sent contains which voice
the note is being played on. The fourth piece of data is used by VEL (velocity)
and controls the volume of the note. The sixth item is used by GATE, and
controls whether the note is on or off.
As hinted earlier, these commands do not all appear in the Nucleus
ROM. Some are contained in the modules loaded when the system disc is booted. For
example GATE, PITCH and VEL are contained in the 'M5' module. To catalogue all
of the modules present type:
MCAT
To display the contents of a module type:
"modulename" MSHOW
Notepad, Mix and Staff are all written as modules, and I
would be interested to hear if anyone has managed to list or write a module.
Well that's probably lost half of you, so what is the use of
knowing all this? The answer is that a number of special effects can be achieved
by altering the ACT command. I have included a couple of rewritten ACT commands
in the file 'ACTdemo' (included on this AMPLINEX disc).
The first, 'newact1', enables sixteen part music to be played.
All I have done is to change the VOICEs to CHANs. This means that every note is
played on one channel rather than a VOICE, a couple of channels.
So to hear sixteen part chords, you need to set up a sixteen
part instrument. I have already done this (with 'instrum16') so you just need
to type:
newvoices
This turns on the new ACT command, sets up the sixteen part
instrument, and then plays a sixteen part chord.
You could also play two lots of eight part music for
instance, by setting up two eight channel instruments.
The second ACT command makes each note play twice, by taking
the note length of the original note, halving it, and playing it twice (by placing
an ACT command inside the new ACT command). You can try this by typing:
ON newact2
and playing some notes.
Finally please note that SCORE and READY perform a SIMPLEACT
command which resets the ACT command to its original format, cancelling out any
changes made. So put any new ACT command after the SCORE statement in your
programs.
The program 'ACTdemo' can be LOADed into AMPLE in the usual way
or selected from the menu in the Features section. Brief instructions are given
in the word 'info'. These are displayed automatically (via RUN) if the program
is loaded via the AMPLINEX menu.
Published in AMPLINEX 002, November
1987
Subscribe to:
Posts (Atom)
