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AMPLINEX 024

AMPLINEX issue 024 was published in January 1992. 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 issue we have a review of a new AMPLE music disc, further discussion about music on the Acorn Archimedes, and a reaction to Hybrid Technology's showing at a recent exhibition.

'5000 Notes' by Ted Kirk

Roy Follett

'5000 notes' marks a departure for Ted Kirk, this being his first AMPLE disc of music. Members are no doubt aware of his Theory of Music (grade 2 to 5), Level 1 Theory of Music and Play What I Play software. Those who are not aware of these titles might like to be reminded that it is his jingle that greets them on starting up their AMPLINEX issues.

There are eight original tunes, arranged under two group titles: 'Wishful Thinking' and 'Instrumentals'. This disc is suitable for either the Music 5000 on its own or in conjunction with a Music 3000 expander. The software of course detects the presence of the expander if it is fitted.

A nice touch is the four page A5 leaflet with brief notes about each piece together with some of Ted's wishful thoughts.

I am a softie when it comes to original works - I am convinced that AMPLE comes in to its own when it's not being compared with familiar tunes which bring with them familiar arrangements and preconceived ideas. That does not mean I do not like 'standards '; I do, but only when the programmer has thought out new ideas and given the oldie a new lease of life.

So top marks to Ted Kirk for this disc, I hope this is the first of many.

'5000 Notes' costs £3.95 inclusive of postage and packing from:

Ted Kirk
33 Humber Crescent
Sutton Leach
St Helens
Merseyside
WA9 4HD

Music on the Archimedes – continued

Jack Wrigley

In reply to Jim Redfarn's comments in AMPLINEX 022 News and Reviews, I must disagree with his criticism of the 'tedious' operation of the A3000's graphics programs. Try running the main Apple Mac DTP programs on a Mac Classic if you want to define tedium!

2 Mb A3000s can be purchased for the basic list price from several sources these days and are well suited for a variety of applications.

I've just managed to output some text and graphics through to high quality typesetting (via the Impression Business Supplement) and the results are very impressive indeed. All from a 2 Mb machine with single disc drive!

I think most of Jim's criticisms of 'Rhapsody' have been fixed in release 2 of this program, but it was as a 'taster' of the Staff editor of a future implementation of AMPLE that I mentioned it.

On this long running subject, two recent replies to my enquiries might be of interest to members.

The first was from Unilab Ltd, who market the 'I/O Box 3000' a hardware upgrade giving the A3000 User Analogue and 1 Mhz Bus ports. They said:

If your music system uses the BBC User, Analogue and 1 Mhz Bus ports (in any combination) and you are using software which uses legal Acorn calls, then the software should run under the !65Host emulator.

Feeling as if the 'holy grail' was finally coming into reach, I asked Hybrid Technology if the above was the case and Chris Jordan replied:

We have indeed indicated that a Hybrid Music System will be available for the RM Nimbus PC 186, but not said anything specific about AMPLE.

Because the Nimbus is not PC compatible (having different card slots), Nimbus add-ons will not work on PC-compatibles, or the RISC-OS PC emulator.

The RISC-OS BBC emulator (either version) has proved incapable of running AMPLE and Studio 5000.

All of which seems to put us back to square one, needing a custom written application of AMPLE, making the best use of the speed and convenience of the Archimedes.

I wonder what Chris Jordan looks like in a Santa Claus outfit?

Selling Hybrid Technology

Jim Redfarn

I went to the Hybrid Technology stand at the Acorn User Show to look at ArcRecorder, which is Hybrid's new sound sampler for the Archimedes. It was nowhere to be seen! Mr Jordan was not there either, and perhaps it is reasonable for such an outstanding computer programmer not to use up his valuable time doing a selling job, though I have always found his low-key sales approach far more convincing than Mike Beecher's prancings on the EMR stand.

It was more of a surprise not to find Hybrid's Roger Curtis or Val Cutting. The attractive young person in charge of the stand apparently had not heard of ArcRecorder and was vague about any other recent Hybrid products, such as the Music 6000. Instead, this person seemed only interested in trying to sell me a re-hashed version of an old game called, I think, Elite. Can someone reassure me that all is well at Hybrid?

Published in AMPLINEX 024, January 1992

Searching for the Word

by Carl Robinson

A nice little waltz that's been sitting locked away for years. The electric guitar is a new piece (does anybody leave them as they were originally?).

Bonks had his nose pushed out here 'cos I didn't know him when I wrote it, therefore he don't get no credit.

(Hope he don't stop me using his 5000.)

Rob (of Robonk)

Source: AMPLINEX 024 disk, file $.SEARCH

Published in AMPLINEX 024, January 1992

The Sandman

by Phil Comber

Composed by: Phil Comber & Andy Comber

Composed by Phil Comber & Andy Comber
Programmed by Phil Comber
Mixed by Andy Comber
August 1989

WOULD YOU LIKE TO BE A FISH???

Since the release of the album "Anchovy", at the beginning of 1989, the future of the Fish Shop Boys has been uncertain.

Much promising material has been shelved, due to the fact that founder member Andy Comber now spends most of his time in Scotland, and Phil remains in Surrey.

As a result, new material has been impossible to produce. In a desperate attempt to save the Fish Shop Boys from drowning, they send out an invitation for some other talented, and inventive composer to join the group, so that future albums can be completed & released.

If you would like to be a part of this group, then contact Phil Comber as soon as possible. Do not worry if you live a fair way off from the address below, as the music can simply be mailed between group members.

Phil Comber
"Pucks Corner"
Green Dene
East Horsley
Surrey
KT24 5RE

Remember: This offer is open to anyone! Composers/Programmers of any standard. Creative input is what is required to maintain the high standards and originality set by the first 2 albums!

Source: AMPLINEX 024 disk, file $.SANDMAN

Published in AMPLINEX 024, January 1992

The Reel Thing

by G Adams

Three Irish reels for party time!

Source: AMPLINEX 024 disk, file $.REEL

Published in AMPLINEX 024, January 1992

The Muses

by Bill Mellor

Composed by: Michael Raven

JIG copyright of Michael Raven of Derrington Stafford

Source: AMPLINEX 024 disk, file $.MUSES

Published in AMPLINEX 024, January 1992

Machine Shop MS3

by Lol Taylor

Suggestions by Lol Taylor

It is rather difficult for comparative beginners like myself to grasp the subtleties in the programming of many of the examples we get. Beginners might be put off completely when they compare their own prowess. MS3 was devised as something they could work with. A knowledge of music is unnecessary, and probably a hindrance!

Feel perfectly free to experiment with this program ($.Machine). You have my full permission. Here are some notes about it.

I have chosen a bar length of 240, as this also divides by 5. Part 'a' is 50 bars long, part 'b' 46 bars, and part 'd' 12 bars. Part 'c' is a fairly orthodox interlude and can be disregarded.

The musical(?) phrase words have a suffix which gives their length in bars. E.g. 'sub-6' is 6 bars long.

I obtained some squared paper (at least 50 columns wide) and wrote down the player numbers several lines apart. It was then easy to note each player with instruments:

pitch @ loudness* o
staccato q staccatissimo sq
legato y pan p

(* 3o = pp 8o = ff
stands for a number)

I then filled in the squares opposite each part number with the phrases and rests (e.g. 6 squares for sub-6) so that they all totalled the same length (e.g. 50 bars in part 'a').

Here is a summary of the phrase words:

sub- = subject,
csub- = countersubject,
hiss- = note 2:C,
ped- = note -2:C,
n- = note 0:C,
up- = chromatic scale etc.,
sli- = a slide downwards,
sli0 = a slide upwards etc.,
larum- = alarm,
r- = a rest.

To study a part, say "part6a", call up the Notepad. In command mode type ' "part6a"GET ' then 'mix' then '6 SHARE'. Press TAB to go into the editor and then . To hear the same phrases on bdrum say, go into command mode and type '8 SHARE' (if bdrum is still in player 8 in the 'mix' word) and then go back into the editor and press .

To hear a few instruments at a time go into command mode and type, say, ' "123-a"PLAY ' as an example. You will need to type 'mix' again and ' SHARE ' after doing that, if you wish to hear a part in the editor.

When you experiment you can try out your own ideas for phrases. There's plenty of scope: aviary, jungle, aquarium, motorway, cavern etc., when you get tired of machinery!

Lol Taylor.

Source: AMPLINEX 024 disk, file $.MACHINE

Published in AMPLINEX 024, January 1992

The Incredible Hulk

by Jason Perry

Composed by: Joe Harnell

(c) Copyright MCA, 138 Piccadilly,
London, W1V 9FH for the world.

A very emotional piece about a Doctor Bruce Banner, who takes an unintended overdose of 'gammar' radiation. When he gets angry he transforms into the Hulk. He tries to reverse the process, but only succeeds in killing his colleague.

By Jason Perry 1990

Source: AMPLINEX 024 disk, file $.HULK

Published in AMPLINEX 024, January 1992

I Never Told You

by G H Richardson

This is another case where I could not at first get the rhythm in the chorus (parts c to g) to sound exactly as I play it until I had a bright idea. I switched to 'Recorder' in the Menu and after setting up 1 Voice, 1 Player, Quantize at 12 (or 16), and reducing the Tempo by half, I tapped out one note of the tune over 7 bars as I knew it should sound. After several attempts I produced something reasonable and duly named and made it as 'part1'. I then transferred to the Staff editor and, like a miracle, there were the notes complete with values, rests and bar lines. Why didn't I think of this solution before? Another problem was that the lower notes 'growled' rather than sounded, so in the Mixing Desk I transposed the whole thing up to 100 - about three and a half tones - with, I think, a considerable improvement.

G H Richardson

Source: AMPLINEX 024 disk, file $.TOLDYOU

Published in AMPLINEX 024, January 1992

The House of the Rising Sun

by P H Meesters

Composed by: Traditional

Source: AMPLINEX 024 disk, file $.RISING

Published in AMPLINEX 024, January 1992

Hazel Thompson

by Hazel Thompson

Composed by: George MacIntyre

This tune is called 'Hazel Thompson'. It is a hornpipe written for the Great Highland Bagpipe by George MacIntyre. (He names all his hornpipes after ladies of his acquaintance!)

Arranged by Hazel Thompson April 1990

Source: AMPLINEX 024 disk, file $.HAZEL

Published in AMPLINEX 024, January 1992

Ever Increasing Spirals

by Alan Minns

This music is written so that it plays forever and so this recording is just a sample of the music that it could produce.

This little program is not music - it is an attempt to create the auditory illusion of the ever increasing pitch, sometimes called the Barberpole effect.

Four identical sound sources at octave separations are swept through a four octave range of frequency and each with a different and constantly changing amplitude.

The result is reasonable - but not as good as it might be!

If any member is interested to experiment, I would be pleased to hear the results via AMPLINEX.

Alan Minns

Source: AMPLINEX 024 disk, file $.SPIRALS

Published in AMPLINEX 024, January 1992

Ebony and Ivory

by Daniel Clark

Composed by: Paul McCartney

This piece has been transferred to AMPLE by using the published sheet music and refining it by listening to a recording of it.

Feel free to change the instrument definitions, or to muck about with the program. I would appreciate it if you would send these changes to me through AMPLINEX.

Thanks to Jonathan, who has helped with the music; and also to anyone whose instruments I have nicked. Hope you enjoy it,

Daniel Clark

Source: AMPLINEX 024 disk, file $.EBONYIV

Published in AMPLINEX 024, January 1992

Easy Lover

by Paul Nuttall

Composed by: Phil Collins

Source: AMPLINEX 024 disk, file $.EASY

Published in AMPLINEX 024, January 1992

Concerto in F major

by Robert Ord

For two mandolins and strings

Having just completed a guitar (my instrument) concerto about this time last year, my brother asked me to write something for his instrument the mandolin. Completed by the end of October I then worked upon the sound for the mandolin. Using the following on one voice sounded a bit flat so I used an Echo with each mandolin part.

1 CHAN
Bright Flat Echohit
100 OFFSET
2 CHAN
Round Slowvib Long
100 AMP
EVERY CHAN
OFF PHSET

The title in quotes is not mine but my brother's upon hearing the concerto. Hope you like the music.

Bob Ord

Source: AMPLINEX 024 disk, file $.CONFMAJ

Published in AMPLINEX 024, January 1992

Cicadas Song

by Jim Redfarn

This is randomly-generated music and so this recording is just one example of the music that could be produced when the generating program is run.

The idea came from a radio program about Japanese insects. It was called 'Insect Musicians'. I had fun finding out how to create random delays between the calls of the 'insects'. The random delays are to me part of the fascination of insect sounds. Of course, the piece never plays the same twice!

Jim Redfarn

Source: AMPLINEX 024 disk, file $.CICADAS

Published in AMPLINEX 024, January 1992

Adagio

by Roger Sapolsky

Composed by: Albinoni

Compatible Music 5000/2000

Related to Hints and Tips section

A classic guitar piece made acceptable thanks to 'mvol' and reverb, which seems to make the Roland Guitar1 sound better!

If using the Music 2000, make the words 'mix9', 'hv' and 'mvol' after deleting the '%' signs where needed, and replace 'play2' by 'play1' in 'RUN'.

For more information about 'mvol' see AMPLINEX 024 Hints and Tips section.

Source: AMPLINEX 024 disk, file $.ADAGIO

Published in AMPLINEX 024, January 1992

AMPLE modules in new system releases

Allan Gardner

There have been several hints, tips and enquiries recently regarding the latest releases of Hybrid Technology system discs where some of the modules are combined into one file with the name M.!SYSTEM.

I have encountered several problems:

- the Watford DFS (1.44) is not compatible with building a system disc from an issue disc, although it is perfectly alright once the system has been built

- the C.PREPARE file which I had previously modified to use Shadow RAM was no longer compatible with the modules M.INT, M.M5, M.M4, M.EW, M.MENU, M.FX1A and M.INS1 which are now 'lumped' into M.!SYSTEM

- with M.!SYSTEM you cannot leave any of the above modules (e.g. M.M4 or M.MENU) out of the system to save memory

- Martijn van der Mei's excellent utility (AMPLINEX 021) to allow AMPLE modules to be held in Sideways RAM appears to accept the combined module, but does not subsequently work.

Clearly something radical was called for, so I set about trying to break down M.!SYSTEM into its constituent modules.

Firstly, I analysed all of the modules I had, scattered around several system discs, ranging from a Music 5000 Release 1 to the latest Music 5000-4D-3, (which includes the M.M5 and M.MIX modules for the Music 3000 expander). I was thus able to find the latest versions of each module and which ones had not changed since they were available separately (before M.!SYSTEM).

Then, armed with a memory editor, I was able to identify the individual modules within M.!SYSTEM (not too easy if you have not got an individual copy with the same version number) and then save them back to disc.

I now have a system disc with all of the individual modules (including the three from AMPLE Toolbox) available separately for custom installation.

A short BASIC program was used to separate the modules from M.!SYSTEM and this is shown below (and a copy is included on this disc).

10 HIMEM=TOP+&200 : I%=HIMEM
20 PRINT"Loading.. M.!SYSTEM at ";~I%
30 OSCLI("LOAD M.!SYSTEM "+STR$~(I%))
40 REPEAT
50 Names$="M."+$I%
60 Start$=" "+STR$~(HIMEM+?(I%+7)+ ?(I%+8)*&100)
70 End$=" "+STR$~(HIMEM+?(I%+16)+ ?(I%+17)*&100)
80 A$=Names$+Start$+End$+" 10 0"
90 PRINT"Saving.. "A$
100 OSCLI("SAVE "+A$)
110 I%=I%+9
120 UNTIL !I%=0
130 END

Once I had a disc which contained every module it was a simple job to write a BASIC start-up program to provide a menu of the likely combinations of modules I would need:

10 MODE7
20 PRINT'"Hybrid Technology Music System"
30 PRINT'"1. Basic M5000 System"
40 PRINT'"2. Basic M4000 System"
50 PRINT'"3. M5000 System with Text Editor"
60 PRINT'"4. M4000 System with Text Editor"
70 PRINT'"5. M5000 System with Mode 7 Editor"
80 PRINT'"6. M4000 System with Mode 7 Editor"
90 PRINT'"7. M5000 System with UTILS"
100 PRINT'"8. M4000 System with UTILS"
105 PRINT'"9. M5000 Minimum System"
110 PRINT'"(please note all options"
111 PRINT" support M3000 expander)"
112 REM only if you have M3000 versions of M5 & MIX
120 PRINT'"Please select (1-9) ";
130 A=GET:IF A=13 THEN A=49
140 A=A-48:IF A<1 OR A>9 THEN 10
150 PRINT;A
160 FOR I=1 TO A
170 READ F$
180 NEXT
190 A$="EXEC "+F$
200 OSCLI A$
210 END
220 DATA M5000,M4000,M5000T,M4000T
230 DATA M50007,M40007,M5000U,M4000U
240 DATA M5000M

An EXEC file for all of the modules was written (based on the original !BOOT file of early copies of the system disc), and then several copies were saved on to disc with various modules REMmed out (with %).

The basic start-up program then merely *EXECs the relevant option file. For instance, the example below was used for the 'normal' Music 5000 start-up.

*BASIC
*/C.PREP R S K
*FX 202,48
*FX118
*AMPLE
*TV0,1
":0.M." MPREFIX
"INT" INSTALL
"M5" INSTALL
% "M4" INSTALL
"EW" INSTALL
"MENU" INSTALL
"FX1A" INSTALL
"INS1" INSTALL
% "TEDIT" INSTALL
% "IEDIT" INSTALL
% "UTILS" INSTALL
MAIN

Other EXEC files have M4, TEDIT etc. included and one is a minimized system having MENU and MAIN removed.

Thus I am now able to use any of the modules at will and be able to use Shadow RAM, and all from one disc.

Related file on this disc:

U.ModuSep - BASIC program to separate the individual modules from the M.!SYSTEM file.

Note that before running this program you must have a disc containing the M.!SYSTEM file in the default drive and enough space on the disc to write out the seven resulting module files.

Published in AMPLINEX 024, January 1992

Stereo test

Neil Walker

This utility provides a series of tests for use with the Music 5000 synthesiser to help in setting up an amplifier and speakers.

Load and RUN 'U.Testing' from the Main menu. Function key f4 is now defined as RUN. Select the 'Stereo Test' option from the menu. Each of the choices displayed is explained below.

PHASE check

This is the most difficult test: a check that the left and right speakers are in phase. That is, that when fed with the same signal the two speaker cones move in and out together. If any work has been done on the speakers - leads extended, plugs refitted, baffles made from doors, etc. - it is possible that the speakers are out of phase.

The different sound of an out-of-phase system can be very subtle: the stereo image position will be rather vaguely defined and the bass response tends to be poor, and the AMPLE 'INVERT' word may not give the required effect when your program is used on another system.

It is easily cured by reversing the connections to one of your speakers - it does not matter which one.

This test depends on sound cancellation and works best if the speakers are placed close together (around 12" apart) facing each other. It is possible to perform the check without moving the speakers, but this needs experience of the sounds produced on your particular system.

To try the test, select the PHASE option. This toggles, each time it is selected, between in-phase and out-of-phase signals to the speakers. The out-of-phase sound should be of an obviously lower amplitude and lacking bass, than the in-phase sound. Listen to the fundamental where the difference will be quite large. The higher harmonics are affected less.

If you hear the loudest bass on the out-of-phase sound reverse the connections to one of the speakers, at the speaker end or in the speaker plug. But remember to turn the amplifier off first - you are safe, but transistor amplifiers object to accidental touching together of speaker leads, and may go faulty in an expensive way. Before switching on again check there are no stray strands of wire left to short circuit the speaker leads.

If you have four or more speakers in use, deal with them in pairs and then match the pairs together.

Stereo Check

Each time this option is selected it cycles through right speaker on, left speaker on, and both speakers on.

With right or left speakers on the sound should only come from one speaker; if sound comes from both this is nothing to do with the speakers. Look at the amplifier input leads: somewhere the two inputs are joined together.

VOICES off

Silence - very popular with other people in the same room.

PAN check

This test is useful for placing the speakers relative to where you are sitting. On each selection it pans either the right voice to the left or the left voice to the right.

Sweep both

This test checks the overall frequency response of your system. It also helps to locate mechanical rattles or buzzing noises.

Keep the volume down on this test. Both speakers are fed with a very low (maximum negative SHIFT) to a very high (maximum positive SHIFT) frequency. High volume levels may damage your amplifiers and speakers. The speakers will flap around at very low frequencies and your amplifier may object to high levels of high frequencies. The SHIFT number tells you what is happening.

You will not hear anything at the extremities of the frequency spectrum; the point at which you start to hear or feel low frequency sound is mainly determined by your room and speakers. If you are youngish the speakers will be probably be the limiting factor with the higher frequencies; otherwise, as with me, it will be your ears.

Sweep Right

As above but right speaker only.

Sweep Left

As above but left speaker only.

Step up

As 'SWEEP both' but it steps the tone up in octaves.

Step down

As above but steps tone down in octaves.

These two tests give a quick check of response. Again, go easy on the volume.

Using numbers as AMPLE words

Ken Hughes

It is a fairly well-known fact that the letters A to G should not be used as words in AMPLE as they cause errors. Numbers used as word names will also cause an error to occur if the number used appears in any other part of the program. For instance, if '1' is used as a word name and a part contains the instruction '10 FOR(' an error will occur when the program is run.

MIDI volume via 'mvol'

Roger Sapolsky

'mvol' - the word which made a dream come true. I was writing a contribution dealing with a word I had recently discovered, when I found in AMPLINEX 022 (Hints and Tips) that G Adams had beaten me to it. He covered the essential definition of 'mvol', but the few comments which follow may be of interest for MIDI users.

In fact, 'mvol' is a powerful word which reads correctly not only the '=L' instruction, but also all of the AMPLE instructions '+L', 'L', the accents etc. What's more, it also works perfectly with percussion instruments, a happy surprise: at last, accents, crescendos, etc. can be used in a drum (or music) part, allowing the light and shade without which there is no good music.

If the percussion part has the form

SCORE mvol 70=L 16, w(u) // w(zu)...

the setting will affect all of the instruments called by w, u and z. The resulting balance of levels will generally be acceptable. However, different settings can be given to one or several instruments. If you happen to run programs where percussion levels are set by exclusive messages, 'mvol' may not be able to provide the expected settings.

I use a simple program in which the twelve rhythm instruments most frequently selected have their default level 100 reset by as many exclusive messages, pending the day when I will have eliminated all the messages present in dozens of my MIDI programmes. I wish G Adams (or myself) had unearthed the indispensable 'mvol' much sooner. Still better, Hybrid should have inserted it in the Music 2000 User Guide, in preference to its much less interesting parent word 'levcont'.

Although I did not originally include the operators 2#* 1#- in 'mvol' as G Adams did, I eventually cribbed the idea after finding that it is convenient for making a music part work nicely in both MIDI and non-MIDI programs from the point of view of levels. Levels are first entered normally (0-64) in the Music 5000 part, then 'mvol' is added after SCORE in the MIDI part.

Related file on this disc:

$.Adagio - This example program to demonstrate the use of the 'mvol' word can be found in the Music section.

Published in AMPLINEX 024, January 1992