by Paul TheobaldComposed by: EnyaTo enhance the soporific effect of the music, Enya uses 'rubato'. That is, the speeding up of the music at the start of the bar and slowing down in the middle. This is programmed in AMPLE by the use of a conductor part (part9), with the appropriate tempo changes affecting all parts. This is briefly documented in the User Guide on p121.
I have developed my own piano instrument which is less harsh than the preset supplied, which together with the 'act' definition produce a gentle and smooth piano part. |
Source: AMPLINEX 022 disk, file $.WATERM3 |
by Aiden BlackComposed by: EnyaDedicated to Castlerigg Manor Chapel There is a reason for the dedication. Nearly everyone I know loves this album and when my Youth Group went to Castlerigg Manor in Keswick (north Lake District), we went into the chapel at about half past ten one night for an evening prayer session and played this album. The only problem is, this music tends to send people to sleep! At the end of evening prayer, we left the chapel one by one, except for one. We didn't see him again until about one in the morning!
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Source: AMPLINEX 022 disk, file $.WATERM2 |
by Tim HolgateComposed by: Enya |
Source: AMPLINEX 022 disk, file $.WATERM1 |
by G H RichardsonThis piece was inspired by Philip Wormall's 'Ocean' (AMPLINEX 004). The scene, a tropical island with the surf breaking gently on the hot sand while seagulls whirl above. The native guitar group play '"Aloha'".
A storm approaches - the waves become breakers - thunder claps are heard and the storm breaks. Just as suddenly the storm passes, the breakers subside, the guitar group reappear and peace returns with the seagulls and surf taking over once more. Finally, the gulls disappear leaving only the gentle sound of the surf. When constructing 'Sea' I had a problem with noise volume control. 'waves' is a single note noise (whatever note one plays the noise is the same- no pitch) and +L or -L have no effect on its volume. I found however that by giving the noise actual note values and sequential names (abcdedede etc.), +L and -L worked. 'waves2' is the 'crump' noise when a wave breaks and was given the same treatment. 'thunder' was also given the same treatment, but it really sounds more like gunfire. Any suggestions for more realistic thunder would be appreciated. |
Source: AMPLINEX 022 disk, file $.TROPSEA |
by Bernie DawsonComposed by: TraditionalArranged by Jill Townsend M5000 version recorded M5000 only version played
It seems to me there are lots of ways to have MIDI and Music 5000 in one file. This is one way I've thought of. If you have the Music 2000 MIDI interface, remove the '%' signs from 'mix9', 'm', and 'vol', and reMAKE the words. The MIDI version was done for a Roland D10, and will sound the same on a D20 or D110. The choice of sounds needs altering and that's up to you! Players 1 2 3 4 are for the Music 5000. Players 5 6 7 8 are for MIDI. Since the same notes need to go to player 5's voices as well as player 1's I have the MIDI parts just refer to the Music 5000 ones. For example, "part5a" [part1a] This seemed a memory-efficient way of doubling up to produce this file. Memory is also saved in parts b and c where the key changes are achieved by transposing part a (e.g. '2@ part1a' and '4@ part1a') rather than by entering all the notes. When using the Music 5000 and MIDI together, do not use the Mixing Desk as well. You are near the limit of the Beeb's processing power and it hiccups towards the end. Bernie Dawson |
Source: AMPLINEX 022 disk, file $.SAND |
by Peter HodsonComposed by: MozartPiano version recorded From '59 Piano Solos' by Chappell & Co. Ltd., London, and G.Schirmer, Inc., New York, 1960. Menu selection code was taken from Domine Deus in AMPLINEX M06.
The piece is quite difficult to play and my wife who is a pianist thinks the computer handles the fiddly trills and arpeggios well! The eight lines of piano score were each allocated a separate voice, each voice being strictly reserved for that line throughout. This method makes it easier to successfully substitute alternative instruments as in <A>. |
Source: AMPLINEX 022 disk, file $.RONDO |
by Philip WellsComposed by: Graham Kendrick |
Source: AMPLINEX 022 disk, file $.MERCY |
by Bo HansonComposed by: Francisco TarregaThis is my second 'major' piece of work since I got my Music 5000 in November '89.
The music itself was transcribed straight from a score my wife bought for 5p at the local flea market, the rest I put down, (so should I, I hear you mutter) to 'artistic licence'. All in all, it's nothing grandiose or spectacular, but it puts over my idea of a nice tune (AARRGGHH!!!) which is the point of the whole thing, and I like it anyway. I would like to thank G H Richardson for his Hints and Tips, (AMPLINEX 009), regarding unwanted gaps 'twixt mixes. The instruments are purloined from anywhere and everywhere. I don't care 'cos they sound good! Some have been altered and some have been re-written so steal them back by all means if you like any. The leaping Pan controls (dance) were taken from the AMPLE Nucleus obstruction manual and amended to dance between -2 and 2 only. The piccie was drawn on the IEDIT module on the Toolbox utilities disc, an excellent package, highly praised. The only snag is the 'SideMod' module converter for Master only and not for expanded Beeb's, not even the B+128. Huh!! Mutter, moan... |
Source: AMPLINEX 022 disk, file $.LAGRIMA |
by ObernellThis track is a favourite of mine due to the bass tracks and stop start motion of the rhythm. Being a bass guitarist, I appreciate a good rhythm, especially when it is rather groovy. I feel that this kind of music is the Music 5000's forte.
This piece is featured in various formats on several different albums, including the first Children In Need disc, and my recent compilation, 'The Legend Of Obernell'. |
Source: AMPLINEX 022 disk, file $.IDWYL |
by Leslie GardenerComposed by: Richard JonesFrom figures bass manuscript by Henry Geehl |
Source: AMPLINEX 022 disk, file $.GIGUE |
by Neil WalkerComposed by: Rogers & HartThis program redefines the Metal and Syncer waveforms in the Music 5000 synthesiser. There will be slight delay as this is carried out. To stop the program please press the CTRL key and this will reset the original waveforms. Typing 'reset' with the program in memory will also do this!
The redefinition is carried out by words from Richard Bettis' waveform editing utility (AMPLINEX 014), using values obtained with Bob Ord's Fast Fourier analysis program (AMPLINEX 015). These two utilities have made this program possible. The program contains a suggestion for a trumpet sound which uses one of the redefined waveforms. Many thanks to Richard Bettis and Bob Ord. Neil Walker Aug.1990. You may need to turn up the wick - just a bit. |
Source: AMPLINEX 022 disk, file $.FUNNYVA |
by F ChaplinThis was my very first composition on the Music 5000. It was done really as an exercise in getting familiar with the basic ins and outs of the system.
Still, it's quite catchy all the same. This is a polished version of the original effort of September '88. F Chaplin September 17th 1989 |
Source: AMPLINEX 022 disk, file $.SUNSET |
by Paul HibbertA first attempt at something a little bit livelier than I normally do. I think that this could be quite good if some extra punch could be added to make it have some of the sound delivered by "concert" on the Pilgrim Beart disc. I am still struggling with the listing of that piece to discover how it was done but I'll get it... eventually.
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Source: AMPLINEX 022 disk, file $.TREE |
by Diccon MaudeComposed by: StingThe music took just one night to put in but it took ages to get the sound as best as I can get it. I still need a good guitar sound other than the Elguit type. Ho hum. That's all folks!
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Source: AMPLINEX 022 disk, file $.BREATH |
by Frank Dudley & Jim Roden |
Source: AMPLINEX 022 disk, file $.DROPOUT |
by Jeff BennettComposed by: TchaikovskyFrom the Nutcracker Suite My first foray into the expanded world of the Music 3000 and discovering the difficulties of fitting sixteen instruments into only 9 parts. This certainly taught me a lot about using chord programming to control multiple voices.
Many thanks to Alan Minns for the Celeste voice which underpins the whole piece. I am now working on the march which is a much longer piece and this time it's touch and go if I can fit it into the memory. Jeff Bennett Sept 90 (081-204-0745) |
Source: AMPLINEX 022 disk, file $.SPFAIRY |
by Bill BuckleyHipgnosis < 2 min This music is written so that it plays forever and so this recording is just a sample of the music that it could produce. |
Source: AMPLINEX 022 disk, file $.RAGA |