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Imported MODfiles, Noise Tracker GS and SoundSmith
(A Collective GS Music Report and Review)
Compiled and Edited
by Charles Turley, Ph.D.
A FREEWARE - Copyright (c) 1994 by Charles Turley, Ph.D.
An amazingly user friendly computer for music compositions, enjoyment
and file format versatility, the IIgs has remained useful and popular
with its music users, from it introduction in 1986. Now that Apple has
discontinued the IIgs' production and the commercial efforts have
diminished to nearly 'ZERO' with the music and sound related software,
it's effectively become a user supported computer.
As such, the IIgs gives both the users and hobbyist programmers,
virtual freedom to develop, research and share their knowledge with
other users, to keep the computer in an active, enjoyable and useful
status, with so many applications, especially music and sound.
Imported MODfiles, Noise Tracker GS and SoundSmith, have continued to
show their popularity and abilities to preform what the IIgs' other
music and MIDI programs can't. With their continual use and inventive
applications with music compositions, programs and utilities, it's
clear that they still remain popular with the IIgs' music users.
While all of the music and sound programs for the IIgs, have their own
special effects, abilities, limitations and restrictions, both
SoundSmith and Noise Tracker GS have consistently shown their
popularity, expanded potentials, faithful use and continued support by
the music user.
Realizing the IIgs music users need for clear and informative detail,
with technical information concerning these programs, their abilities,
usefulness and relation to Imported Module files, I've composed this
collective report and reviews, with personal notes and general
(updated) information I've obtained, concerning; Noise Tracker GS,
SoundSmith, Imported Module files - (MODfiles), accessory programs and
utilities that compliment and enhance their abilities with each other.
I hope that my personal experience, collectives and knowledge will be
of some useful value towards the understanding of these programs, in
order to stimulate their use, with more creative efforts by their
users.
The IIgs had no useful modification utilities or editors, that could be
used directly with the 'Imported MODfiles' or create them from scratch
and then, allow you to save your music efforts back to the same
'Imported MODfiles' format, until just recently.
That missing aspect with the IIgs, is no longer present. With the
development efforts underway and nearing completion, with respect to
the rewrite of Noise Tracker GS v2.00, as a GS/OS application program.
Featuring new options such as; converting, editing and saving
multi-format music files to the 'Imported MODfiles' format, in
(Protracker file format) and supporting most major special effects of
the MODfiles, the IIgs and its music users will have the abilities to
make, edit, play and 'EXPORT' MODfiles to all of those other computers.
With the (FIRST) release of Noise Tracker GS v2.00, you'll have the
abilities to create a NATIVE IIgs MODfile from scratch, with your own
score and samples, save it and then load and play it with any of the
IIgs' MOD Players and EXPORT these new NATIVE IIgs MODfiles to any
other computer that can accept and play MODfiles, in the current
(Protracker) MODfile format.
You'll also have the abilities to do the same things that you could do
with the original ProDOS 8 versions of Noise Tracker GS, such as; load,
convert, edit with cut/copy/paste (within the music score and/or to the
clipboard - for multiple merge scores); Noise Tracker GS files, (all
formats), SoundSmith and Imported MODfiles.
The added advantages with NTGS v2.00, will allow you to also save your
altered, merged/enhanced or original compositions and music scores as,
MODfiles, (4 track - Protracker file format, with up to 31 RAM bank
samples, of a maximum size of 128k each) to use, edit, enhance and
play, on the IIgs or export, to the other computers for their use and
enjoyment.
The program will let you save any of the music as NTGS file formats;
module or score/wavebank sets. But, you can't save them as SoundSmith
music scores and wavebank files. It has full editing features, with
the new additions of full score cut/copy/paste for; tracks, individual
blocks, individual or multiple positions.
With all the major 'user friendly' editing (SPREED-SHEET STYLE) score
abilities that SoundSmith has to offer, the new NTGS v2.00 program
should certainly give the IIgs music users a lot of enjoyment and
hopefully, will help this computer gain its respected place within
other computer groups, with the creations of NATIVE MODfiles on the
IIgs for export to those other computers.
I'm currently consumed with beta testing the b8 version and
coordinating its design and development. It just keeps getting better
and better, with each new beta I get from Dave Swanson. It's a great
music program and I'm sure everybody will enjoy this complete rewrite
and major upgrade of Noise Tracker GS.
While everybody waits for the new (FREEWARE) Noise Tracker GS v2.00
release, projected to be around September 21, 1994, I'm presenting
information on other new and useful programs to use with MODfiles,
along with a collective of information on MODfiles and reviews of all
the IIgs' programs that can be used with them, as well as, a few
experimental MODfile; editing and creation, modification and
enhancement suggestions.
PATtern CHanger (PATCH), by Tony Morales, is a ShareWare utility basic
program, which allows you to perform various actions on Amiga MOD
pattern data structures. Pattern data structures are simply
collections of notes, (sometimes called blocks), that when combined
together, produce a musical sequence.
PATCH takes any Amiga MODfile, and allows you to adjust all notes in
the sequence. PATCH allows you to increment or decrement each note.
This may sound like nothing special. But, giving PATCH the correct
parameters, you can often produce pleasant sounding alternatives with
MODfiles.
There are 12 basic notes in each musical octave, (C, C#, D, D#, E, F,
F#, G, G#, A, A#,B). If you hear a song in the key of G, this means
it's playing with note offsets relative to the note G. Example given,
(G, B, D). It's possible to play a piece of music in a different key,
such as C. This is the equivalent of the above example, played in the
key of C, (C, E, G).
Think how many possible notes occur between each corresponding note in
the examples. Three notes between G and B, and three notes between C
and E. Two notes between B and D, [go up an octave] and two notes
between E and G.
PATCH takes each note in a MODfile and slides it up or down as many
notes as you desire. To play in a different key, slide each note up or
down x many notes, where x is the number of notes, (up or down the
scale), it takes to reach the new key. If you're confused, consult a
person, who knows music for more details.
Always make a backup copy of your MODfiles before altering them with
PATCH. If you make some alterations that don't sound good, you won't
harm the original MODfile. PATCH's unique modification features follow.
You're prompted to type in the pathname of the MODfile you're going to
use. If the MODfile's in a different directory or folder, than the one
you ran PATCH from, you'll need to type in the complete pathname,
(/RAM5/MOD.xxx, for example).
PATCH then displays the MODfile title, type and number of patterns,
with the number of the first and last pattern in the MODfile.
Next, you're asked for the start and end patterns to work on. If
entering the same values as displayed, PATCH will convert the entire
MODfile. You can't enter an ending pattern less than the starting
pattern and vice versa. Nor can you enter a negative pattern.
MODfiles (that the IIgs can currently deal with), have 4 basic tracks
to play notes on. PATCH prompts you if it should operate on a
particular track. Type in Y for yes, N for no, at each of the track
prompts, (1 thru 4). PATCH then asks you if it should increment or
decrement the specified notes. Type I or D, at this prompt.
The last option will ask the offset to adjust the notes. There's no
way of knowing, other than by listening, which key a particular MODfile
was designed in. The best way, is to explore or experiment with
various values. Values of 1 or 2 usually raise, or lower, MODfiles by
1 whole note.
When you've entered the value, the conversion process begins. PATCH
informs you with each pattern it's converting. Most MODfiles only
support 3 octaves. So, most likely a note, when adjusted, will fall
outside the allowable octave range. If this occurs, PATCH won't touch
the note, leaving it the way it was. This results in a pattern that is
partially converted.
PATCH alerts you and gives you the options to; save the pattern or not
save it. If you select no, the pattern remains unconverted. All good
patterns are written automatically to disk over the original MODfile.
That's why I suggest you backup the MODfile before you alter it.
Chances are that your first session with PATCH won't produce a
masterpiece. It's possible to do some nice things with MODfiles using
PATCH. But, like everything new that you try, it takes practice to
make it right.
TRACk ediTOR is another very useful MODfile utility basic program by
Tony Morales and it's a copyrighted FreeWare. TRACk ediTOR, (TRACTOR)
lets you rearrange the tracks in any MODfile. Each MODfile has 4
tracks, and TRACTOR prompts you to specify 2 track numbers, then flips
those corresponding tracks around.
It requires a IIgs to run, and works fine under any memory
configuration. It operates on any valid pattern or range of patterns,
in the MODfile. When tracks are flipped the instruments on each track
plays from opposite channels. The following table shows which tracks
use which channels.
Note: (Virtually all '4 Track MODfiles' use this channel configuration).
Track Channel
1 Right
2 Left
3 Left
4 Right
It's certainly a user friendly program. Launch it, from any application
that's capable of running Applesoft ProDOS BASIC programs. The file
TRACTOR.BIN, must reside in the same folder as, "TRACTOR."
The program prompts you to type in the pathname for the MODfile you'd
like to work with. Keep in mind, if the MODfile resides in a different
directory, you'll need to type in the complete pathname.
It then displays the MOD's title, type, and number of patterns. As
previously mentioned, patterns are blocks of notes. It shows you the
number of the first and last pattern in the MODfile.
First, you're asked to define the range of patterns it should be
constrained to when swapping tracks. If you enter the same values as
displayed, it swaps tracks with the entire MODfile.
You can't enter an ending pattern less than the starting pattern, nor a
starting pattern greater than the ending pattern and you can't enter a
negative pattern.
You're next prompted to enter the number of the first track in the pair
of tracks to swap. Enter a number between 1 and 4. You're then
prompted for the second track in the pair. This can't be the same as
the first track you selected.
After you've entered all of this information, the swapping will begin.
It will inform you of each pattern it's currently swapping. The
pattern is saved to disk as soon as it's swapped.
Tony Morales, is the first person to have created MODfiles, better
stated 'NATIVE IIGS MODfiles' (ProTracker file format), entirely on
the IIgs, using his own digitized samples, with his own manual and
original score/sequence efforts, then assembling them by hand. This
gives him the status of being the originator and inventor of 'Native
IIgs MODfiles'.
A two part article written by Tony, featuring his process in
'STEP-BY-STEP' detail, is presented in 'II Alive' Magazine, with the
first part in the current issue and the second to be presented in the
next issue. Tony could best be described as: 'THE NEW IIGS MASTER OF
MODFILES'.
I'm sure Tony plans to make many more, MODfile modification,
manipulation, enhancement and file conversion programs, to release them
for the IIgs users to enjoy.
His assistance with techniques and information have been a valued
asset, with our development of Noise Tracker GS v2.00.
He has developed a vast knowledge and profound understanding of the
Noise Tracker GS files, MODfiles and their related players, programs
and utilities. He's sincerely commited to the IIgs and the needs of
its many faithful users.
All he needs, is a little encouragement and support from you, to
stimulate him into creating some amazing, user friendly and very useful
programming 'WORKS OF ART' for the IIgs.
You can write or EMAIL Tony at the following addresses:
Tony Morales
2260 Rock St, Apt K
Mountain View, CA 94043
GEnie: T.MORALES
Internet: hexman@netcom.com
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I've been fasinated and involved with sound and music for many years. I
bought my first IIgs 01 ROM computer, in 1986. Because, I found it
very useful for my sound and music efforts. I've been working with
sound design and engineering efforts for 26 years now. I still enjoy
using the IIgs, over either the MAC or PC.
As time progressed over the years, I've used all of the IIgs music
programs. The IIgs is unique, with its built-in Ensoniq DOC. But, I
found the limitations of 64k RAM samples with the music composition and
the lack of music program special effects frustrating. Compared to
some of the other computers and what they had to offer, with sound and
music, I was seriously considering another computer.
Al Switzer, the same friend who first introduced me to the IIgs back in
1986, also introduced me to Noise Tracker GS via: beta v0.30 release.
As soon as I listened to the music it presented, I knew the limitations
with all the other music programs, was no longer of any concern to me.
Noise Tracker GS, with its ability to use both the RAM based sound bank
and the 64k Ensoniq RAM bank, for sample sound presentations, via
swap/caching, limited only by the amount of RAM memory available,
opened up an entirely new series of creative and expressive music
composition options with the IIgs.
With each updated release of Noise Tracker GS, the abilities of the
program expanded the IIgs' music formats and composition options.
Version 0.70 presented the NT module format and support, along with
refined options for loading SoundSmith GS music and importing music
modules originally created on the Amiga's, Atari ST's and more recently
MAC's and PC computers.
The abilities of Noise Tracker GS fascinated me. I began spending all
of my spare time studying the program and what it could present with
music compositions. I was eager to attempt some Virtual (3-D) Audio
compositions and needed to use both right and left channels together,
for such efforts.
I was able to do this, using the RAM based sound bank. But, when
attempting the same with the Ensoniq RAM bank, problems resulted. The
program often would lock up or crash, with such dual (Right-Left
channel) Ensonic RAM sample assignments.
With the release of version 1.0, these problems with assigning both
right and left channels to a sample in the Ensoniq RAM bank were
eliminated. Version 1.0 allowed me to do this fine with either or both
RAM banks and all of their samples.
I was eager to see additional functions, improvements and enhancements
with updates to the program. After waiting for over a year for an
update and finding none available, I decided to write to the author,
Olivier Goguel, to ask him when an update to Noise Tracker GS would be
released.
I mailed Olivier a package with many of my Virtual (3-D) Audio music
compositions and thanked him for his efforts, in developing such a
fantastic music program for the IIgs. I enclosed $20 as a contribution
and requested any updates he had for release of Noise Tracker GS. I
also enclosed a list of improvements and enhancements, I thought would
be useful with updates to the program, for his review and comments.
I received a reply from him a few weeks later, expressing that he was
sorry to inform me that v1.0 was his final release for Noise Tracker
GS, because the FTA was dead, 'FEU' in french and he had no plans to do
any more with the program. He expressed how much he liked the music I
sent him, thanked me for the $20 contribution and told me that my
wishes for an update to Noise Tracker GS from him, would not be
available.
Most Noise Tracker GS users assume that the program was an FTA creation
and release. Actually, Olivier Goguel was the programmer and author
entirely, for the program. He conceived it, developed it, coded it and
released it with music, animation, icons and graphic routine
contributions from his friends and past members of the FTA, as a final
tribute to the memory of the FTA.
If you'll carefully check the v1.0 of Noise Tracker GS, you'll note
that it saves sound files noted as v0.60, which is actually what Noise
Tracker GS v1.0 was developed from.
When I pointed this out to Olivier in one of our many lengthy
international telephone conversations and asked him about it, he
explained that it was indeed, developed from that unreleased beta
version and he simply forgot to change the reference to v0.60 in the
dialog. We discussed the possibility of upgrades for Noise Tracker GS
in many of our telephone conversations.
I wrote to Olivier again, expressing how much this computer needed the
continuation with the upgrade and development of Noise Tracker GS,
asking him if I could continue with such efforts. With his reply by
mail, came the entire SRC.CODES for Noise Tracker GS v1.0 with the
rights, to continue with development and upgrades for it.
I continued to keep in close contact with Olivier by phone and mail.
We developed a friendship and co-founded the One World Software Wizards
development team in June of 1992.
I was given the rights and SRC.CODES by Olivier for many of his
authored programs, music, demos, routines, (both released and
unreleased - finished and unfinished) to continue with their upgrades
and development efforts for the 1WSW team and thru my own OmniSoft
Research LAB (OSRL), for release on the IIgs.
With Noise Tracker GS as the top priority development effort,the first
basic improvements to Noise Tracker GS resulted, when I furnished the
SRC.CODES to our (now past) 1WSW team associate, Ken for his assistance
with upgrade efforts.
With Ken furnishing the SRC.CODES, Ian Schmidt and James Brookes made
several modifications, patches and basic improvements with it, by
enhancing the sound abilities, filtering efforts, improving its
abilities to load more imported module formats and faster swap
routines.
After reviewing the first upgrade of Noise Tracker GS with Olivier, we
expressed concern with several problems the upgrade presented. We
both felt, while there had been some basic improvements with enhancing
the sound abilities, filtering efforts added, improving its abilities
to load more imported module formats and faster swap routines, this was
a very hasty and unprofessional effort, having several problems that
required prompt action to correct. It was all done in a little over 24
hours, uploaded to the major on-line services and released for
downloads, without my knowledge, review or premission.
We expressed displeasure at having the copyright to the program,
improperly replaced with 2 Meg Music and Ian Schmidts claim to
copyright of Noise Tracker GS. I assured Olivier, that I would take
the matter up with Ian, A.S.A.P. and make certain these things that
displeased both of us were promptly corrected.
Taking the appropriate actions, I discussed the matters with Ian at
length and had this unauthorized version removed from the major on-line
services from any further down-loads or distribution.
With the release of version 1.20, we eliminated some problems that
resulted with saving and reloading samples from the Ensoniq RAM bank,
along with various other minor sound improvements and proper dialog
changes, with respect to certain LAME comments in the saved samples and
the correct copyright status of Noise Tracker GS to 1WSW and OSRL.
When Dave Swanson joined our 1WSW team, he updated Noise Tracker GS to
v1.30, our holiday release in December of 1993, giving it additional
sound enhancements, filter refinements and faster sound swap
improvements, repaired its abilities to correctly save and reload sound
samples from both RAM based banks and Ensoniq RAM banks, as either RAW
Binary or IFF sound files, plus some additional dialog changes.
Noise Tracker GS has been a well received, favored music program and a
blessing for this computers music composition abilities. It's gone
through many changes, with a few trials and tribulations along the way.
It's transcended from its very first conceptual alpha state, as a small
binary file named NoiseBlaster II v0.1, when it was nothing more than a
simple RAM bank sound/sample loader-player and preview utility from
Olivier Goguel, (featured in a past VAMPS/NTV release), thru its Noise
Tracker GS beta versions; 0.30, 0.50 and 0.70, on up to its most
current upgraded ProDOS 8 release v1.40, with many major internal auto-
functional modes and improvements by our 1WSW 'Master Programmer', Dave
Swanson.
You could say it's gone through its; Alpha, Beta, Delta and Gamma
states, now progressing on toward its ultimate 'Omega Factor'
capabilities, with continual upgrade efforts from our 1WSW team
members, to improve it to the fullest abilities.
Now it's under restricted beta testing, as a complete rewrite by Dave
Swanson. It's now a GS/OS application program, in the final stages of
development as an (ALL-NEW), Noise Tracker GS v2.00.
Tony Morales, has developed the NT MOD Player GS/OS application program
for loading and playing the NT music module format, from any storage
device, having included the functionality of tool 220 in the program,
thus eliminating the necessity of tool 220. This program gives you the
ability to load and play the NT Module file format via your GS/OS
v6.0.1, from the finder, via either your hard drive, 3.5 disk or
whatever other device you use to launch GS/OS applications from.
Dave Swanson is working on the next (pending) release of Noise Tracker
GS v2.00, with many more amazing enhancement and improvement efforts,
along with the assistance of many of our other team members, IIgs
associates and friends.
It has little, if resemblance to the P8 versions of Noise Tracker GS.
It has so many new features and improvements, you'll be astounded with
its abilities.
With its release (COMING SOON !) and continual upgrades, you'll be able
to; import MODS and convert them to both of Noise Tracker GS' file
formats, using all of their major special effects and vice versa,
compose, edit and save your own original MODfiles from scratch. Import
SoundSmith music and wavebanks or instrument files, any of the current
NT music file formats, save them all and/or create and convert, modify,
manipulate, combine and enhance them with ease, to your own
specifications.
Then, you can save them as a MODfile (IN THE PROTRACKER FILE FORMAT),
with all of the major special effects that MODfiles have, for use with
any of the IIgs' MOD players or you can port them over to the other
computers for their enjoyment by; Amiga, Atari ST, MAC and PC users.
The new (FREEWARE) GS/OS application program, rewrite and release of
Noise Tracker GS v2.00, will not convert and save any of the music
formats to SoundSmith music formats. That ability already exist with
the MODCONVERT and MODIFIER programs for the MODfiles.
It won't have MIDI support either. Several IIgs MIDI music programs
and pending file format converters for them, with the SoundSmith
program and its MIDI abilities, will cover any such needs. The
SoundSmith MIDI music can be imported into the new Noise Tracker GS
v2.00, for additional enhancements and conversion efforts.
Nor will it have any intro-music, SHR graphic intro-screen, whistles,
bells, dazzle graphic players, screen savers, alarm clocks, jukebox
options or the like. It's being presented and released as a serious
multi-music format editor, converter, 'user friendly' expressive music
sequencer and GS/OS application program, with full featured MODfile
creation, edit and save abilities.
There will be no upgrades from our 1WSW team, for the P8 Noise Tracker
GS program. However, the new GS/OS rewrite of NTGS, will support,
import and export, allowing you to convert all of the ProDOS NTGS music
files.
Soon, you'll all have the abilities to create, convert, edit, enhance,
alter and modify MODfiles to your own individual specifications and
desires, with GS/OS user friendly ease and do it with Noise Tracker GS
v2.00 on your own wonderful IIgs music machine.
I'm deligently coordinating its beta testing and development, every day
and having a blast creating, editing, saving and playing native IIgs
and anhanced original Imported MODfiles, via; ShellPlay, sonicTracker
and MODZap.
Within a few weeks, you too can do the same (using the popular
PROTRACKER file format) and dazzle all those other computer users with
your own impressive 'NATIVE IIGS EXPORTED MODFILE' creations and
musical works of art.
I just finished an international telephone conversation with Olivier
Goguel, in FRANCE, informing him of the (ALL-NEW) Noise Tracker GS
v2.00. We discussed many things about it and he's looking forward to
my sending him the program, so he can warm up his 'friendly old IIgs'
and check it out. He was very happy to hear about all the new NTGS
rewrite has to offer.
Noise Tracker GS lives on, and will continue to push the IIgs to its
maximum musical abilities, with each future upgrade and release.
About MODCONVERT v1.2 - (FREEWARE)
This program consist of two files; a basic file (MODCONVERT) and a
binary file (MODCONVERT.BIN). They must remain together in the
folder/directory they were copied to in order for the program to work.
The program was originally written by our (now past) 1WSW team member
Alex, from Germany and given to me to improve, upgrade and distribute
as a FREEWARE.
The program will convert any MOD music file, from any computer; MAC,
AMIGA, IBM or ATARI ST, to a SoundSmith GS or SSP music file. You must
make sure that the MOD file is a binary file (BIN). If it's not, the
program will not recognize it or attempt to do a conversion. If it's
not a binary file, then you should change the MOD file to a binary
file, (BIN - file type 06), before you attempt to do any converting
with this program. You can use any file type changer utility to do
this.
I've found, in using this program, that it has many limitations with
both; quality and construction of the samples/instrument files that it
saves with the converted music file. Thus, I use Noise Tracker GS to
load the MOD file, then I save the instruments via Noise Tracker GS as
'IIF' files, for use with the converted SoundSmith music file.
I usually don't select the option to convert both the music and the
instruments of a MOD file, for this reason. When you do use this
mode, the program saves the instruments files with default names; INST1
- INST15 and so on, as raw binary file types.
The older versions of MODCONVERT, wouldn't handle any MODfiles that
were too large or that had too many instruments or tracks to convert.
The older versions of the program would simply lock-up or break into
the basic line where the error was. This version was updated to allow
you the option to ' DO IT ANYWAY ', without such problems occurring.
KEEP IN MIND THAT WHEN YOU: ' DO IT ANYWAY ' YOU'll MOST LIKELY, GET
SOME BIZARRE SOUNDS WHEN SAVING THE INSTRUMENTS. SO DO WHAT I
SUGGESTED AND LOAD THE MODULE FILE VIA NTGS, THEN SAVE THE
SAMPLES/INSTRUMENTS AS IFF. BE SURE TO USE THE DEFAULT NAMES; INST1 -
INST15, ETC. SO THAT THE SAVED IFF INSTRUMENTS - SAMPLE/SOUND FILES
CAN THEN BE CONVENIENTLY LOADED BY SS OR SSP, TO MATCH THE CORRECT
INSTRUMENTS NEEDED FOR THE MUSIC SCORE.
The only advantage I can see currently, to converting an imported
module to the SoundSmith GS or SSP music format is to be able to
manipulate, enhance and modify the music score, to save that file, then
import it to NTGS for additional changes, enhancements, modifications,
etc.
With the release of the new GS/OS application program (FREEWARE), Noise
Tracker GS v2.00 and its continual upgrades, having implemented the
special editing functions of SoundSmith, i.e.; track, block, individual
position, volume fade-in and fade-out, etc., the logic to such
conversions will become antiquated !
You can also use the most current release of MODZap (v00.90b3) to save
MOD sounds, as raw data sound binary files, (KEEP IN MIND, THAT MODZAP
CAN'T CURRENTLY SAVE A LOOP SAMPLE, AS A LOOP SAMPLE) then convert them
to IFF files, modifying, cut & paste EDIT functions and a vast host of
other special effects, using such programs as; AudioZAP, SSS Sound
Editor (SE.SYSTEM), NTGS v1.40, Noise Tracker GS v2.00, Sound Ace,
Sound Edit (USE), DigitalSessions, Sound Shop, etc.
The MODCONVERT basic program is slow and works best if copied to RAM
disk. You can make the conversion process fast and simple by copying
the MOD files and the program files to RAM, with ProDOS and the
Basic.system file, then run the program and save the converted music
and/or instruments to RAM also.
You can also copy and use MODCONVERT on your hard-drive. After you've
done your conversion, you can copy the converted files to where you
want them, load them into SoundSmith GS or SSP and make the
modifications, etc. to the music score, rearrange or substitute the
instruments, etc., to make your own customized version of the original
MOD music file, as a new SoundSmith GS or SSP music and instruments
wavebank set, then save them, via SoundSmith GS or SSP to the disk or
device of your choice.
I'm sure those of you that enjoy using the SoundSmith GS or SSP program
will be glad 1WSW has updated and released this MODCONVERT P8 basic
program. You'll enjoy using it and if you do any conversions with it
and SoundSmith GS or SSP compositions, I'd like for you to send them
out for down-loads, to other IIgs music users to listen to and enjoy.
If you can't, send them to me and I will !
It's still far from perfect in many respects, but it's a FREEWARE and
it's the only program I know of that will allow you to convert MODfiles
to SoundSmith GS music files from P8 basic.
I received a beta of MODCONVERT II in April, from Alex, which is a P8
system file. It has problems when saving the samples and converting
the music score from an imported MODfile. But, it looks like it will
be a useful program, when the final version is perfected and released.
Alex also expressed in his letter with the beta, that his Ninja Force
group have several unique music programs and utilities, that will work
with Noise Tracker GS, SoundSmith and imported MODfiles for the IIgs,
under development for release soon.
The Ninja Force group from Germany are a very talented team of
programmers that are devoted to the IIgs and its many users and should
prove to contribute many worthy wares for the IIgs users needs.
The 'Compact' option found in the AudioZAP Sound Editor, can reduce the
size of the 'IIF' files, to about 1/2 their original size. Then you
can save the sound files for use with SoundSmith GS or SSP GS in the SS
file type/format.
This would effectively, allow you to load and include more complex
sample/sounds and still remain within the 64k maximum, for the total of
15 instrument limitations, with SoundSmith.
The FREEWARE program, Modifier by Ian Schmidt, is a GS/OS application
program for converting the imported MODfile score and sounds or
instruments/samples. It saves the music score and instruments as files
that SS or SSP can load and use. Modifier has its limitations also.
It saves the score and all samples, without regard for the (64k) limits
the Ensoniq RAM places on the amount of samples possible, which total
15. MODifier makes no effort to insure that the instruments fit into
64k of DOCRAM, nor does it 'synthesize' effects SoundSmith doesn't
support.
It converts many module effects into SoundSmith equivalents. MODifier
can't coherently convert all MOD music scores, as there are thousands
of MODs and at least 19 programs on the Amiga which use some variant of
the module format.
MODifier primarily supports ProTracker, NoiseTracker, and StarTrekker modules.
Some programs such as DeliTracker use a completely incompatible format so
don't even attempt to convert DeliTracker MODs, MED MODS, OKTAMODS, OKTA-MED
MODS and other like varieties. None of these Imported MODfile formats can be used with the IIgs currently and most like won't be of any use for any IIgs program support for a long time to come, 'IF EVER'.
MODifier has detailed, ample documentation to assist you with using it
proficiently, to its maximum abilities.
SuperSound PRO is a program developed and released by 1WSW, during
1992-93, (that is a generic FREEWARE clone of SoundSmith GS) when
Huibert Aalbers was a 1WSW team member.
Several bugs and problems were found with the SHAREWARE and final
v1.0.1 release of SoundSmith GS. In a conversation I had with Huibert
Aalbers, (the author of SoundSmith GS) he informed me that he
accidently destroyed some 37 lines of the SRC. CODE for SoundSmith GS
v1.0.1, and was attempting to reconstruct them, to send me, so that our
One World Software Wizards team could develop the SuperSoundPro music
program, with continual upgrades and release it as FREEWARE.
Our 1WSW team worked on it to correct some of the problems, as best we
could and released it in 1993 as a FREEWARE: SSP DEMO, with Huiberts
blessings and full consent.
Huibert has given up on any more efforts with the IIgs, moved to Canada
and from what he related in our last conversation, is now devoting all
of his efforts to developing a MAC version of SoundSmith. Thus, both
SoundSmith GS and the SSP programs are at their FINAL states of
development. No more work is planned for either of them !
If you have the need, skills and patients to convert your MODfiles
collection to SoundSmith music files, you'll have a lot of creative
media to work with and can do some impressive SoundSmith GS music
compositions for additional use as imports for NTGS.
The following information concerning: SoundSmith GS and the
SuperSoundPRO GS DEMO is an update and excerpt from the SuperSoundPRO
GS (SSP) DEMO Reference Manual. This information is a concise review
for the SuperSoundPro.GS (SSP) DEMO. It is also equally applicable to
both SoundSmith GS v1.0 and v1.0.1.
Please note: Updates to SuperSoundPRO or SoundSmith GS have been
abandoned.
About: SuperSoundPro.GS (SSP) DEMO
First you should know that the program is not public domain and is
FREEWARE. It's constructed SRC.CODES are available to any sincere and
talented programmer for the asking, if they wish to do any rewrites or
upgrades.
SuperSoundPro is a functional and combined upgrade of SoundSmith GS
v1.0 and v1.0.1.
The name SuperSoundPro was suggested to me in a conversation back in
1992, I had with Earl Childers, Pres. of Seven Hills Software. They
were hoping to be able to develop SoundSmith GS to a commercial version
and release it. But, many problems resulted and the project was
canceled.
A beta version of SoundSmith GS v1.0, the (never released) commercial
program by Seven Hills and ESP, was uploaded (without any
authorization) to Internet and many BBS' around the world, which
created many problems, bad feelings and destroyed any further
development efforts from Seven Hills and the European Software
Partners, (ESP).
Next the SHAREWARE v1.0.1 of SoundSmith GS, released by Huibert Aalbers
arrived, on-line as an alternative and hopeful solution to the
abandoned SoundSmith GS v1.0 project.
Realizing that SoundSmith v1.0.1 had some major bugs and limitations
with MIDI functions and several other problems, our 1WSW team, (with
the assistance, knowledge and blessings of our past team member Huibert
Aalbers) decided to release this FREEWARE for all of you to use and
enjoy, while we were (then beginning) to work on a project, for a major
commercial upgrade of SoundSmith GS v2.0.
As a result of many additional complications, SoundSmith GS v2.0 has
been abandoned, as have any future efforts with any more upgrades to
SoundSmith GS.
If any of you have sent Huibert a shareware fee for SoundSmith v1.0.1
and you feel that the program didn't meet up to your expectations,
please contact the 1WSW team Executive Coordinator to rectify your
discontent, to the best abilities possible.
SuperSoundPro.GS (SSP) is a (FREEWARE release) and full function Apple
IIgs GS/OS application program, that's relevant and functional in all
respects, with SoundSmith GS, using MIDISYNTH (tool 35), designed to
create both; regular and 3-D enhanced stereo music with ease on your
IIgs.
A unique FREEWARE NDA, was also included with its release. This is a
full function, SL player/recorder new desk accessory (NDA), that allows
you to; play/modify/record and save synthLAB v1.1 music, from within
the SSP program.
You even have the ability (with an Apple MIDI interface and the proper
GS/OS MIDI setup, I/O port setups and the appropriate MIDI instruments,
keyboard or synthesizers) to port the synthLAB music into the SSP.GS
program, via MIDI file to enhance it, as you wish, save it and use it
the way you decide to use it.
These options, should open up a new creative door to all Apple IIgs
MIDI composers and music devotees. The program was released at Apple
Expo West and to Internet in April of 1993.
The SSP program is 100% compatible with all previous SoundSmith GS
music, with the exception and excluding the first 'ANTICS' SoundSmith
release, which saved the music score files as a P8 system file.
If anybody still has music made with the first 'ANTICS' version, (CRUDE
AND LIMITED AS THEY WERE) if you so wish, you can simply use any file
type changer program and change the music P8 system file to the current
SoundSmith GS file type.
It should then load and function properly, via any current SoundSmith
GS versions 0.94 thru 1.0.1 or the SSP DEMO program. The sound/sample
wavebank file was a binary file and you don't need to convert it.
However, keep it in mind, that neither SoundSmith or SSP can directly
load and use the GS wavebank file format generated and saved by the SS
or SSP programs, with its score. You can conviently, load and/or
import the SS or SSP GS wavebank file, via either AudioZAP or Noise
Tracker GS, extract the individual samples, save each as IFF file
formats, then you can load the SS/SSP music score and the SS/SSP
programs will automatically load the correct samples for the score.
The SSP DEMO (FREEWARE) release, is an improved enhancement of the
(OFFICIALLY) unreleased SoundSmith GS v1.0 and has somewhat better MIDI
compatibility support and sync. functions, than the SHAREWARE release
v1.0.1 of SoundSmith GS, having combined some improved aspects of each.
About SuperSoundPro GS DEMO Instruments:
The instruments (sounds/samples) used by SuperSoundPro GS DEMO, must be
standard ASIF, Polysons or (NT instrument/sample/sound (IFF) files)
which can be import constructed and saved with either NoiseTracker GS,
any of the SSS Sound Editor versions or any of the many other Sound
Editors that save IFF/AIFF samples or SoundSmith file format sound
samples. As mentioned above, you can also extract and save the sample
files via AudioZAP, from the SS/SSP wave bank file.
SS/SSP instruments/sounds/samples are available from a multitude of
sources or they can be designed, converted and saved via; the Sound
Editors, which are included with many other exceptional SSP compliment
programs, utilities and music/sample data disks, in the response and
reply kit, you'll receive promptly, when you send your request with
disks for them, with return postage. The special conversion program
update of MODCONVERT, to directly convert Amiga Music Modules to SSP or
SS music will be included also.
About Launching:
Insert the SuperSoundPRO GS DEMO. MUSIC LAUNCH/BOOT disk in disk drive
1. Point and click your mouse on the SSP.GS, to launch it from your
GS/OS Turbo mini- Launcher. For those of you with limited RAM memory
in your Apple IIgs, we have included a FREEWARE mini-launcher: TURBO
LAUNCHER - (START), donated for update, by Seven Hills Software.
If you need to use this fast load mini-launcher to conserve RAM memory,
you can select the TURBO LAUNCH (START) application program, via your
favorite file copy utility and replace the finder application program
or your start program with it.
You can then use this 'START' application (mini-launcher) program to
select and launch SuperSoundPRO GS DEMO (SSP), any other P16, GS/OS
application program or P8 system program. When SSP is launched, the
TITLE.SCREEN appears, the 3-D Stereo INTRO.MUSIC plays and then the
programs GS/OS desktop appears with one open window.
About the Windows, Menu and Options:
Instruments Window:
This window is for a list of loaded instruments (sounds/samples) used
with the SS/SSP music or songs you load. There are 4 buttons in this
window for your use to: load, remove/delete instruments and save SSP
music wavebank files (not music files).
It's possible (currently) to load only up to 15 instruments for use
with SS/SSP music. We are working on a duel RAM bank, with unlimited
multiple samples/sounds, like NoiseTracker GS uses. We hope to have
this included in the next release of SSP. Just when this will be
released, (if ever) will depend on you 'the user'. If you want
updates and improvements for the SSP DEMO program, you'll have to write
and tell us what updates and improvements you want !
You can see how much memory is available by viewing the size of the
largest free block at the bottom of the window. This value doesn't
however, always represent the size of the largest loadable instrument,
as the IIgs handles DOC Memory in a unique and special way. We can't
explain how everything works in the IIgs DOC memory in this SSP.GS
reference manual.
You can find more information in your Apple IIgs Hardware Reference
Manual. Using the DOC Memory option from the SSP.GS DEMO 'Information
menu', lets you see a map of the ENSONIQ DOC Memory.
When an instrument has been loaded, two other windows become active.
The first one gives you information about the instrument selected in
the instrument list. You'll find the fully functional and compatible
MIDI parameters. The keyboard window allows you to hear the selected
instrument and also see the note played in the top right part of the
screen. Playing on the keyboard while the music is running with MIDI,
will record the notes.
The Open Music option of the File Menu allows you to load music. After
loading the instruments and the music, a new window will appear. This
window should look familiar to everyone who ever used; Appleworks GS
spreadsheets, the older versions of SoundSmith and other programs that
use this layout for: Cut/Copy/Paste functions of data.
You can edit the music by selecting any zone (clicking the mouse on the
block number selects the whole block, on a line number selects the line
(single note position), on a track number (selects the track), using
the; Cut, Paste, Copy and Clear commands.
The selected zone can be extended by holding the Shift key down while
pressing the mouse button. When a single case is highlighted, you can
move around by using the arrow keys. These commands are identical to
the ones used by AppleWorks GS, SoundSmith GS and many other programs,
to make them easy to learn and user friendly.
To enter a new note, you can enter the values in the three editable
boxes on the music window (a single case must be selected) and pressing
RETURN or you may use the keyboard shortcuts;
To change the Octave press 1-7 on the numeric keypad.
To change the instrument press 1-F on the main keyboard.
To enter a note using the current instrument, effect and octave press:
G for C , Y for C#
H for D , U for D#
J for E
K for F , O for F#
L for G , P for G#
; for A , [ for A#
' for B
The effects are composed by an effect number and an effect value. They
modify the way a note is played (except the set tempo effect which
modifies the tempo for all the following notes).
The following effects are defined;
Effect: 0 = Arpeggio Value: 0 = no Arpeggio
nm = Increment1=n, Increment2=m
3 = Set Volume nm = New Volume (0-$FF)
5 = Decrease Volume nm = Volume to subtract from: (Instrument Volume)
6 = Increase Volume nm = Volume to add to: (Instrument Volume)
F = Set Tempo nm = New tempo
You can now start to compose by using the New Music File option from the
File menu. Before you start to compose new music you need to know the
way SSP plays the music. You can use up to 14 tracks (0-13)
simultaneously, and you can use any instrument sample/sound in any
track. But, you can only play one instrument at a time in one track.
We'll show you how this works with an example:
Track 00
00. C#3 1000
01. E3 2000
02. --- 0000
03. C#3 1000
04. STP 0000
SSP DEMO will first play line 00. This means that it will play a C#3
note using the first sample. Then it will play line 01. To do this, it
will first stop to play the C#3 note and then play the E3 note, using
the second sample. This means that if the first sample is long, you
won't hear it completely.
If you want to continue to play a note, you must do what we did on line
02. You can repeat this many times, if your sample is very long. The
instrument will continue to be played until the end of the wave is
reached or a new note is played. If you want to stop a note without
playing another one, you must enter a STP command instead of a note
(line 04).
SSP DEMO gives you total control over the stereo and 3-D (dimensional
sound scape) enhancement effects. There are two different ways to
select on which channel, a note will be played. The first one is used
by all the IIgs music programs. Each one of the instruments has a
stereo parameter that indicates, on which channel it will be played.
To use this method you must select (for each instrument) in the
(Instrument data Window), the stereo channel (Right or Left - R, L)
that you want to assign to that particular instrument. Then, you must
go to the Tracks option from the Information menu and click on the (Use
Instrument data) button.
The other way to use stereo is powerful and more impressive. You
assign a stereo channel to each track. This means that an instrument
will play on the right or left channel depending on which track it is
played on.
This is a very interesting and creative option. Because, it allows you
to create incredible 3-D Stereo sound effects. This option is activated
by clicking on the: (Use Channel/Track data) button on the: Tracks
dialog box.
This is the same basic Channel/Track data format used by almost all of
the 'Imported MODfiles', using their four tracks. SSP, allows you to
do this with up to 14 tracks, for some vivid 3-D sound scape
dimensional and localization points, sweeps, etc.
The Music option from the Information menu allows you to set some
important parameters like the length of the music, the tempo, etc. The
length of the music is given in number of blocks. If the music is for
example four blocks long, you must tell the program which four blocks
to play. This is necessary because you may want to repeat some blocks.
You can play blocks 0,1,2 and 3 or 0,1,0,1 or 2,4,6,8, etc. Imagine
that you want to play the following sequence: 0,1,2,2. Set position to
0 and then block number to 0. Then set position to 1 and block number
to 1. Repeat the same steps for positions 2 and 3, setting the block
number to 2. On the Music data dialog box there is also a check
button. If you click on it, the entire music score will loop (or play
from start to end - over and over again).
The Preferences option from the Information menu, lets you set some
more important parameters. The volume scroll bar sets the main volume
(this is the same value that you set on the control panel). The
Keyboard translation scroll bar is used to set the keyboard octave (if
the keyboard translation is 2, the first note of the keyboard will be
C2).
The sound file format buttons allow you to select the type of file that
will be used when saving a sound file (not a music file !). When the
sound file format is set to Music Studio, SuperSoundPro GS will save
two files, a wavebank and a sound file.
These files can be loaded by Music Studio. If you're wondering why
Music Studio is an option on SuperSoundPro GS, some IIgs users still
enjoy using Music Studio. This allows you to use new instruments with
the Music Studio program.
The SuperSoundPro GS (SSP GS) binary file has the following structure:
Number of instruments: 2bytes
DOC Memory: 64K
Instrument Definition: 92bytes*Number of instruments
The Play options from the Play menu doesn't need to be explained. When
using the Graphic Player option you'll see that you can move a cursor
that looks like an electric guitar. Use it to select the active tracks
and the ones that are displayed on the screen.
Since no more than four tracks can be displayed at once, you must first
un-select a track to be able to select another one. The Continue and
Graphic Continue options use the value of the Position scroll bar (on
the music data dialog box) to know where to start to play the music.
The following is an edited and compiled collection of notes originally
available from several on-line services, dealing with composing music
with: SSP DEMO or SoundSmith GS.
If you can't read spread-sheet music, you're probably going to initally
be confused, no matter how simply I try to explain this. Although when
I first started, I couldn't read spread-sheet music either. It took me
about a week to get used to it. But, now it's really easy to use and
fairly simple to understand.
The beauty of this method for music score display and manipulation, is
that it's real easy to understand and use, and the only 'user friendly'
alternative to composing music, if you can't read or write normal music
scores, (LIKE ME, who plays by ear).
If you can read and/or write music, you'll have to learn how to
translate a note on a scale to a SUPERSOUNDPRO DEMO spread-sheet-like
note. It's fairly straight forward, but like anything else you've never
done before: practice is the only logical way to learn how to get it
all right.
When you first run SUPERSOUNDPRO DEMO, you are greeted by the INTRO
MUSIC AND INTRO PICTURE. If you like the program, PLEASE send your
comments, (LIKES & DISLIKES). The effort and price for a postage stamp
and a postcard or letter to show your interest and appreciation would
be very welcomed. It's really a small price to pay for such a great
(FREEWARE) MIDI sequencer composition program.
Next, you'll see a dialog box containing various instrument options.
At this point, as you probably already know, you can load in a song to
be played (from the FILE menu.) Another thing you can do is load in an
instrument (see that big "Load Instrument" button).
Try loading an instrument now. Just pick one from any song you happen
to have (KEEP IN MIND THAT SSP IS FULLY SOUNDSMITH MUSIC COMPATIBLE)
(you'll probably have to swap disks unless you have a hard drive.) Now
you'll see a keyboard & an instrument data box appear.
Try clicking a few notes on the keyboard with your mouse. Nothing too
spectacular here. The only reason you'll ever use the keyboard is to
test an instrument before you use it to see what it sounds like. Or,
if you'll be writing your own songs, this is how you'll probably do it
(just like a real keyboard.) For now, don't worry about the stuff in
the instrument data box. I'll get to that later.
If it appears that SUPERSOUNDPRO DEMO has a problem sometimes when it
comes to starting a new song. If you're not careful, you could waste a
lot of time entering notes only to find out later that the tempo is
stuck on zero! What this means is that your song has no tempo & it
will NOT play! Here's what you do to avoid this:
1. Load in any song (ie. "open" it from the FILE menu.)
2. Close the song.
3. Start a new song by selecting "New" from the FILE menu.
4. Open the "Music" option from the INFORMATION menu.
5. Make sure the "Tempo" is set to something other than zero.
6. You're ok! Now you can start composing.
There are other ways to start a new song. But, this method works the
best. From here, it's a good idea to save your empty song & reload it.
Then check the tempo again. You can never be too sure!
While you were in the "Information" box, you might have noticed the
other items: Position, Block, etc. This is where you tell SUPERSOUNDPRO
how to play your song. Since SUPERSOUNDPRO uses a spread-sheet instead
of a musical staff, you'll be typing your notes into "Blocks" and
"Tracks." Each block can contain up to 896 notes (64 rows * 14 Tracks,
0-13). The "Information" box is where you choose how many blocks
(positions) are in your song & in what order you want to play them.
SUPERSOUNDPRO can play blocks in any order. For example:
Position Block
-------- -----
0 0
1 1
2 1
3 2
4 2
5 1
6 3
This tells SUPERSOUNDPRO to play block #0 followed by #1 (twice), #2
(twice), #1 again, & #3 last. For your first few songs, you'll
probably just play the blocks in order: 0,1,2,3,... without repeating
any blocks. When you get used to using SUPERSOUNDPRO, you'll realize
that many songs repeat themselves. So instead of wasting blocks on
identical music, you can just repeat a block each time it's needed.
So, set the number of positions to something like 5. Then set position
#0 to block #0, position #1 to block #1, and so on up to position #4
(since positions start at 0, #4 is actually the fifth position.)
Now you're ready to start typing in notes. Get back to the main screen
by clicking "OK." you'll see the familiar blank spread-sheet. Make
sure you have at least one instrument loaded & you're ready to go.
Before you start entering notes, make sure your "Caps Lock" key is
down. SUPERSOUNDPRO will only recognize upper case notes. Another
thing you have to get used to is the numbers on the keypad and the main
keyboard are DIFFERENT & they do different things. Ok, hit your "G"
key. Notice that a "C" note was placed in highlighted box. The number
after the "C" is the note's octave. For example, C5 means "C" in the
fifth octave. You'll find that different instruments sound better in
different octaves. Octave 0 is a lower note than Octave 5. Why, you
might ask, did the letter "G" produce a "C" note? Well, the keyboard
is mapped out like a musical keyboard as follows:
key: G H J K L ;
note: C D E F G A
Where is the "B"??? Well, there is no key for "B". Normally, If you
want a "B" you have to enter it manually. Click on the "Note" box at
the top & type "B5" & hit Return to put a fifth octave B in the box.
ALTERNATIVE:
Because the original program was authored in SPAIN, an alternative to
the 'No key for "B", does exist. As an alternative, go into the
Control Panel (by pressing; Control, Option and ESC. keys) and select
options. For Keyboard layout, select Spanish. Return to the program
and the ";" key will give you a B note, the "M" key will give you an A
note and the "\" key (to the right of the spacebar), gives you an A#
note.
Make certain to change back to your normal keyboard layout in the
Control Panel when you quit and start with another GS/OS application
program, such as a word processor or the like. Otherwise, they will be
in Spanish !
Without using the 'ALTERNATIVE', in the normal keyboard layout (U.S.A.),
sharp notes are done the same way as covered before the ALTERNATIVE:
key: Y U O P [
note: C# D# F# G# A#
Again, please note: (using U.S.A.), that some sharps don't exist: B & E.
The B# is a C and a E# is an F.
Notice that the keys for sharps are just above and to the right of the
regular notes (just like on a real keyboard.) What about flat notes?
There aren't any. Don't worry though. If you want a flat note, just
use its equivalent. For example, if you need a A flat, simply use a G
sharp (they are the same note anyway.) Here are the flat equivalents:
flat: D E G A B
use: C# D# F# G# A#
As before, some flats don't exist: F & C. Fb is an E and Cb is B.
Look at the keyboard below & you'll see why certain notes can't be sharp
or flat:
_________________________________________
| | C | | D | | | F | | G | | A | |
| | # | | # | | | # | | # | | # | |
| | | | | | | | | | | | |
| | D | | E | | | G | | A | | B | |
| | b | | b | | | b | | b | | b | |
| |___| |___| | |___| |___| |___| |
| | | | | | | |
| C | D | E | F | G | A | B |
|_____|_____|_____|_____|_____|_____|_____|
For those who can't read sheet music, (LIKE ME, WHO PLAYS BY EAR) here's
where the notes are on the scale:
_________________________________________ F
E T
_____________________________ R __________ D
E
C B
_________________________________________ B
L
A E
_________________________________________ G
F
_________________________________________ E
------------------------------------------------------------------------
_________________________________________ A
G
_________________________________________ F
B
E A
_____________________________ S___________ D
S
C
_________________________________________ B
A
_________________________________________ G
(Hopefully, that didn't confuse or mystify you to much. As above and
below, I didn't lay it out or character draw it. I only obtained it
from on-line text files and tech. notes, including it for your
reference, hoping it might be useful).
On sheet music, the clefs are marked with:
T /\ __
R | / B / \
E / A \ |
B / /\ S /
B < < | S /
L \__/ _/
E
Pardon the bad (lunatic ?) artwork, but you get the idea.
Now you'll notice that all your notes have no instrument associated
with them yet. If you plan on using a single instrument for an entire
track, you cam simply click on the track number to highlight it. Then
choose "Change Sample" from the EDIT menu (instruments are also called
"samples").
You'll want to change from "0" to the number of the instrument you
want. The sounds, samples or instruments are numbered from 0-F (hex)
according to how they are listed in the "Instruments" box.
Another way to choose an instrument is to insert it manually with each
note. Here's where you have to remember that the keypad numbers are
different from the main numbers. The keypad is used to set a note's
octave, & the main row of numbers above the keyboard are used to set
the sample (instrument.) - (Samples, Instruments and Sounds are all the
same thing)
Here's how to usually enter notes:
1. Enter the octave using the keypad.
2. Enter the instrument using the regular numbers.
3. Enter the actual note using the proper key (see above.)
You must hit the keys in this order or it might not work. If you hit the
wrong key, just go back and try again. Also note that this won't work
for "B" notes because they have to be typed in manually. Any note can
be typed manually, & I know some people prefer to do it this way. Just
click on the Note & Sample boxes to enter the note & instrument
manually. The octave is set along with the note (C#5, for example).
The box labeled "Effect" is for effects. These include changing tempo &
volume. When you enter an effect for a note, the change is not just for
that note. Whatever you do will effect all notes after the one you
changed.
To change tempo within the score, click on the effect box & enter "F"
followed by hex number from 1-F. DO NOT TYPE "0" FOR TEMPO!!! I can't
stress this enough. If you enter a zero, your song will have no tempo &
will not play. To change volume, type "3" followed by a hex number from
00-FF. 00 is no volume, FF is full volume.
Now for the hard part. SUPERSOUNDPRO doesn't use time signatures. In
other words, there is no 4/4 2/4 3/4, etc. You have to scan your music
first & see what the shortest note is. This will usually be a sixteenth
note.
In this case, a sixteenth note is simply one box long. An eighth note
would be two boxes long. A quarter note, 4 boxes. A half note, 8
boxes. A whole note, 16 boxes. This means that for a half note, you
must leave 7 empty boxes after the note. For a sixteenth note, you
don't have to leave any empty boxes.
You may find that when you play your song, it's too fast or too slow.
Go back to the "Music" box (from the INFORMATION menu) & reset the
tempo to make it sound right.
Tips & hints on writing music with: SUPERSOUNDPRO DEMO or SoundSmith GS
After booting SUPERSOUNDPRO DEMO and getting past the title screen &
Title song a small, empty box with 4 buttons is displayed. The only
button you can use at this point is Load instrument. This is how you
load instruments.
You can load instruments from any disk and use them. The author of
SUPERSOUNDPRO, was gracious enough to include a plethora of instruments
for our use, all of which sound better than any of Music Studio's
sounds (but, SSP sounds may be saved into MS Wave-files.
If you do this, make sure you change the envelope form in the Design
instrument section of Music Studio). To change the default volume of
an instrument, highlight the instrument and use the scrollbar to set
the volume. You can test the notes on the keyboard and what you play
on a keyboard will be recorded into your song.
Now that you have selected all your instruments (you can still select
more later on if you don't have enough), ( UP TO 15 INSTRUMENTS
TOTALING NO LARGER THAN 64K) go to the file menu and select 'New Song.'
This will give you the familiar spread-sheet that you usually see
littered with 'D#5's and stuff, except that it is empty. You are now
ready to begin composition. First of all, select MUSIC from the pull
down menu.
You should get a screen with 'Number of Positions','Position','Block'
and 'Tempo'. Set the number of positions to about 10 or so, and then
set POSITION #0 to BLOCK #0 and Position #1 to Block #1 and so on and
so forth and then set Tempo to whatever you want.
(REMEMBER DON'T USE 0 (ZERO)) 1 is the fastest and 16 is the slowest.
The Position bar and the Block bar are vital. The program plays the
blocks according to how you tell it to: for example, SSP starts at
position zero and at position zero, you have instructed SSP to play
Block #0.
After playing Block #0, SSP moves on to the next position. At position
#1, you have instructed SSP to play block #1. But, let's say you want
to repeat a block. Set position #10 (or whatever) to block #10 and
Position #11 to block #10. This will repeat the 10th block. Hit the
'OK' button to get back to the Spreadsheet.
What you should do at this point, is put any note on the screen and
save it to /RAM5 and then close the spreadsheet and load the song back
up (but, 'Cancel' the loading of new instruments). This way, you have
loaded a song and are modifying it. Delete the dummy note you have
placed on the screen and now you are ready to begin.
On some other songs, you may have noticed the way the notes were
arranged:
Note instrument
|| |
| D#5 | 4000 |
| |||
Octave Effect
Note: This is the note. The musical alphabet is CDEFGAB and that is
how SSP looks at it's notes. Some times a note will have # after it.
This denotes a 'Sharp' or an increase in the notes pitch. Since SSP
doesn't recognize flats, only sharps may be used, such as G# instead
of Ab (these are both the same note). Sometimes, though, notes can't
be sharp. These notes are B and E. This is because B# is C and E# is
F. Keep that in mind. (The following is an example of a musical
staff. If you'll notice, they are in alphabetical order from bottom to
top, counting spaces and lines)
Spaces Lines(Treble)
_______________________________________________ F(ine)
E _______________________________________________ D(oes)
C _______________________________________________ B(oy)
A _______________________________________________ G(ood)
F _______________________________________________ E(very)
_______________________________________________ A(lways)
G _______________________________________________ F(ine)
E _______________________________________________ D(o) (Bass)
C _______________________________________________ B(oys)
A _______________________________________________ G(ood)
Octave: This is what pitch the note will be played at. Each new octave
starts at C(ex: A4 B4 C5 D5). You can usually use the C in the Treble
Clef as C5, the C in between the two clefs (middle C) as C4 and the C
in the Bass Clef as C3. Your octave may range from a low 2 to a high
7.
Instrument: This is the instrument number to play. They range from 1
to F(a Hex number{0,1,2,3,4,5,6,7,8,9,A,B,C,D,E,F}). You can use any
instrument in any row. Effect: A very useful tool. This affects the
way a note preforms.
The most useful effects are Volume and Tempo. To change the volume of
your score, go up to the effect box and type 3 (this says, I'm changing
volume, to SSP) followed by any number from 00 to FF (again, this is
Hex). 00 is no volume at all and FF is full blast. This type of
volume only affects the current note.
To change the Tempo, go to the Effect box and type F (again, "I'm
changing Tempo now!!") followed by any number from 01 to 0F.
(WARNING-WARNING: Under NO circumstances type F00 and play it as it
will shut off the speed of your song. There is no way out of this (the
Tempo Bar in the pull-down is now all solid, and you can't change Tempo
again in your song because your song isn't moving!) Your only option is
to reload the song.
Again please make note of it. The first question everyone asks is "How
do you set the Time Signature?" Forget this. There are no time
signatures in SUPERSOUNDPRO. If you want to make a whole note, put
down a note and leave 3 blank spaces after it. If you want to make an
eight note, put down a note and leave no spaces after it (if you aren't
adding anything after it, that's fine.
The note will play to it's full extent, but it won't mess anything up.
If you're pickey, place 'STP' in place of the note/octave. This should
stop the note. Let's say you have sixteenth notes in your song: to
make a whole note, put down the note and leave 7 blank spaces after it.
To make a quarter note, put down a note with 1 blank space. As you can
see, I've doubled the distance between all notes, and with this, you
may also need to half the tempo. Usually, however, duration doesn't
mean anything in SSP. What is important is when each note starts since
that is all that is really audible.
Shortcuts: Instead of typing in each note, octave, instrument, and
effect, you can simply highlight the square you want to work on by
clicking on it. Then, typing any number on the keypad will set the
octave, and any number on the top-number-row will set the instrument
(apparently, 5 on the keypad and 5 on the keyboard are different!).
Typing the keys between [G] and [:;] on the keyboard will produce the
notes C though A. The letters on the row above will produce the sharp
notes. Ex:
[Y][U] [C#][D#]
[G][H] will give you [C ][D ]
Of course, all the Open Apple-commands work as well. Cut and Paste is
vital to a song writer. If you want to copy part of your song, take
your mouse, click and hold at the top part of your segment and drag the
mouse all the way to the bottom part of your segment. You may also
drag it across several rows.
Now that it's all highlighted, release the mouse and select Cut or Copy
(cut removes the selection and puts it into memory, copy copies it into
memory). Now take the mouse and move it to the top corner of where you
want your segment to end up and then select paste(or hit Open Apple-V).
and, there it is.
You may notice Fade IN and Fade Out in the menu(OA+ and OA-). This is
a real effective item. All you do is select the area of the song (for
example, the last block) and then select Fade Out or Fade In. SSP
automatically calculates the variables needed for a nice, even fade
in/out.
Change Sample: If, for some reason, you decide you don't like the
instrument you wrote your song with, select the portion of the song
with the instrument (you can select whole rows, columns, and blocks by
clicking on the heading), and go to change sample. Put simply, SSP is
asking: You, do want me to change all the instruments Number x to
instruments Number y. This is useful.
Set Octave: This is rather useful. Sometimes, you make a really great
Drum Beat, and when you listen to it, you discover it sounds like your
supper is attacking you from the inside because the octave is to low.
(THIS IS A GROWL EFFECT, THAT I USE IN SOME OF MY VAMPS COMPOSITIONS).
Select the area and then pick Change Octave from the Menu. This will
set everything in the selected area to Octave x.
A drawback of this is when you have multiple octaves such as B3 C4 D4,
it will change them all to the same octave, such as B5 C5 D5 (which
will produce 1 high note and 2 low notes instead of 3 low notes).
(WELL, NOTHING IS PERFECT)!
Never forget about the UNDO item. If you make a bad mistake (such as
fading a part of a song you don't want to) go up and select Undo and it
will undo it.
DOC: It shows exactly what memory specifically designated for your DOC
(Digital Oscillator Chip (the ENSONIQ sound chip!) is used up by the
instrument data.
Play and Graphic Play are used to listen to your music. Continue and
Graphic Continue doesn't continue the song from where you stopped it,
it acts as a loop so it will play forever. Stop Sound stops it from
playing. (You can do Continue and listen to the song while you're
writing it. It'll play the notes after you add them.)
After you have a song all written out, go back to MUSIC in the
Pull-down and set the Total Positions to the greatest position +1.
This will cause the song to end right after the last position. (+1
because Number of Positions starts with 1 and Position Number starts
with 0). Clicking on the LOOP box will make the song start over after
the last position.
A few Hints:
To give your song a spacial hollow type sound, copy all the tracks and
fill up all 14 tracks with your music. The sound effect is
interesting.
The lower the octave of a note, the longer it gets. To make a long
fuzzy sound, use C2 with the instrument.
If you're just starting out, I recommend adding a drum beat to a
classic song such as 5th Symphony, Blue Danube, etc. See the example
of Pachelbel's Canon in D under the name 'New.Cannon'.
To give that BassDrum2 more bass, play 2 or 3 notes at the exact same
time. Echo the note, by staggering in adjacent tracks, positioned one
above and one below the original tracks note position.
If there are any questions at all, please, feel free to write me or
give me a call. I look forward to your reply.
I hope this SSP GS Reference Manual will help you to understand the
basics for using SuperSoundPro GS, how the program works and how to
compose some music. This SSP GS Reference Manual covers all the
important functions of this program.
I know that some points could be explained in greater details.
However, since I wanted to include this compiled Reference manual, with
the SSP.GS program, I couldn't spend more time on it. I will furnish
any MORE comprehensive SSP.GS program operations that I can, which you
request with the REPLY KIT, that includes some useful compliment
programs, utilities and music/sample data disks. As soon as you send
your (REPLY/RESPONSE) with your disks and return postage, to cover
mailing cost you'll receive your reply kit, promptly.
Make sure the program is distributed on a FREE basis, please be
advised, this program is FREEWARE. We spent a great deal of time,
energy and effort designing the SuperSoundPro GS DEMO for the Apple
IIgs world to use and enjoy FREELY, as an alternative to the SoundSmith
ShareWare versions.
Hopefully, you'll like this (FREEWARE) full-function MIDI program
enough to send your comments, (LIKES & DISLIKES) about the
SuperSoundPro GS DEMO program. The REPLY/RESPONSE accessories package
will be sent to you when you respond with your comments and any
problems that you find with the SSP DEMO program, when you use it.
Please send your responses, with four 800k (3.5) DSDD disks, return
postage and your comments, if you want the REPLY/RESPONSE accessories
package to:
Charles T. Turley, Ph.D. - (Dr. Tom)
Executive Coordinator
One World Software Wizards
115 Santa Clara St.
Brisbane, CA. 94005
USA
Tel. (415) 468-1609
Remember, you'll receive a wonderful collection of useful accessories,
sounds and music, along with any additional detailed information or
updated files I can present, that you request, covering every function
of these SSP compliment programs, with tips, tricks and special Noise
Tracker GS (VAMPS/NTV) Virtual (3-D) Audio Global Stereo sound scape
design techniques.
I hope you'll enjoy using the SuperSoundPro GS DEMO. If you like the
SSP GS DEMO please let me know. If you don't, let me know also. If
you have any problems with the program, please let me know what they
are, so I can advise you how to correct them. If you can't locate it
anywhere, send two blank disks with return postage and it will be
mailed to you promptly, for your use, review and comments.
A final (reminder) note to all SS and SSP users: Huibert Aalbers
accidently destroyed some of the SRC.CODE for his release of SoundSmith
GS v1.0.1. He is a full time university student and he is involved
with writing a SoundSmith for the MAC and also an assembly language
tutorial for the MAC, with whatever spare time he has.
Without the SRC.CODES for the original SoundSmith GS v1.0.1 our team
was not able to do very much to improve the problems that were
discovered with SoundSmith GS v1.0.1. We have attempted to reconstruct
the codes and do the best we could to correct those problems by
rewriting, enhancing, patching and releasing the SSP GS DEMO as a
FREEWARE for the IIgs world to use.
Huibert had a disabled IIgs that refused to function. He's bought a
new MAC and has moved to Quebec, Canada. to go to, live, work and
continue with his education. Effective, last November of 1993, Huibert
left the 1WSW team and has abondoned any more efforts for any upgrades
with either SoundSmith GS or SuperSoundPRO GS or any efforts with the
IIgs.
KNOWN BUGS WITH THE SSP GS DEMO PROGRAM
THERE IS ONLY ONE KNOWN BUG WITH THE DEMO PROGRAM ITSELF. BE VERY
SELECTIVE WHEN YOU DO ANY CUTS AND PASTES INTO TRACK 13.
(don't cut & paste an entire track into track 13-do your cut & paste
efforts to track 13 in small increments or sections only !)
THIS TRACK MAY LOCK UP YOUR ENTIRE PROGRAM AND CAUSE YOU TO HAVE TO
RE-BOOT, THUS YOU WOULD LOSE ANYTHING YOU HAD DONE SO FAR WITH THE
COMPOSITION OF YOUR SONG/MUSIC. BE SURE TO SAVE YOUR WORK OFTEN TO
AVOID THIS PROBLEM.
CONCERNING THE 3-D SL MIDI NDA: IF YOU LOAD A (SL FILE) AND PLAY IT
THEN LOAD A SS OR SSP MUSIC FILE OR SONG, YOU MAY HAVE SOME SEVERE
CONFLICTS WITH THE SAMPLES AND THE SOUND OF THE SAMPLES. THEY WILL
OFTEN RETAIN THE SOUNDS OF SAMPLES FROM THE SL MUSIC FILE. OTHER
STRANGE CONFLICTS AND PROBLEMS MAY ALSO RESULT WITH THE INCORRECT USE
OF THIS NDA WITH THE SSP DEMO PROGRAM. TRIAL AND ERROR ARE YOUR BEST
TEACHERS USING THIS NDA WITH THIS PROGRAM. SO, USE IT WITH CARE !
I'VE ATTEMPTED TO DISCOVER AND RELATE ALL THE BUGS I COULD FIND WITH
THIS SPECIALLY DESIGNED AND CONSTRUCTED SSP DEMO BOOT DISK AND SSP DEMO
PROGRAM DATA DISK. IF YOU ENCOUNTER ANY OTHER BUGS OR ANOMALIES,
PLEASE WRITE AND LET ME KNOW, SO THAT I CAN RELATE THE INFORMATION,
WITH ANY POSSIBLE SOLUTIONS ON TO OTHER USERS.
I hope you'll understand that we have done the best we could, with what
we had to work with, our limited resources and the limited time we had
to work with it. If you have the talents and/or skills, resources and
time to improve this SSP GS DEMO (FREEWARE) release, please do ! I'll
be happy to furnish you with the SRC.CODES.
Next comes an edited excerpt, dealing with notes for tuning with
SoundSmith GS from: Ian Schmidt, via his original on-line posting.
Note that MegaTracker is Ian's SoundSmith Player.
How to sample perfectly tuned SoundSmith/MegaTracker instruments
First off, print out the tuning table at the end of this SECTION.
Compare the frequencies to those offered by your favorite sampler (I
personally wouldn't do this without either Audio Animator and its sw,
or AudioZap. Once you find the closest one, its a matter of checking
which note that corresponds to and then sampling that note from your
instrument at that frequency. Then clean it up, convert to ASIF, and
you're done.
Tuning for standard MOD-type sequencers (including SoundSmith GS)
(note: NoiseTracker is slightly flat from these specs) (note2: MOD/SS's
definition of MIDI octaves is one above the Intl. MIDI
Associations's...so subtract 1 octave to get a normal MIDI note)
Note Frequency (Hz) Note Frequency (Hz)
C1 N/A C2 2107
C#1 1130 C#2 2193
D1 1182 D2 2346
D#1 1233 D#2 2499
E1 1336 E2 2601
F1 1387 F2 2754
F#1 1490 F#2 2958
G1 1542 G2 3111
G#1 1645 G#2 3315
A1 1747 A2 3519
A#1 1850 A#2 3723
B1 1953 B2 3927
Note Frequency (Hz) Note Frequency (Hz)
C3 4182 C4 8313
C#3 4386 C#4 8823
D3 4692 D4 9333
D#3 4947 D#4 9894
E3 5253 E4 10506
F3 5559 F4 11067
F#3 5865 F#4 11730
G3 6222 G4 12444
G#3 6579 G#4 13158
A3 6681 A4 13974
A#3 7395 A#4 14790
B3 7854 B4 15657
Note Frequency (Hz) Note Frequency (Hz)
C5 16626 C6 33303
C#5 17646 C#6 35292
D5 18717 D6 37383
D#5 19788 D#6 39627
E5 20961 E6 41973
F5 22236 F6 44472
F#5 23562 F#6 47124
G5 24939 G6 49929
G#5 26418 G#6 52887
A5 27999 A6 55998
A#5 29682 A#6 59364
B5 31467 B6 62883
---------------------------------------------------------------------------
EXPLORING SOUNDSMITH
"Exploring SoundSmith" is an 82 page guide to all the features of
SoundSmith. The publication, from Al Crout and Gareth Jones, covers
every possible aspect of making music with the IIgs and SoundSmith.
Sections include such topics as; getting the best possible sound from a
IIgs, musical composition using the SoundTracks module (THE MUSIC
SCORE AND EDITING PORTION OF THE PROGRAM), MIDI recording and play back
and saving your work to storage devices. It has appendices which
briefly cover a number of items of shareware and freeware for the
enhancement of SoundSmith including DreamVoir, AudioZap and Noise
Tracker GS.
I found the MIDI recording information, reviews and tech. materials
very revealing, informative and easy to understand. This portion alone
makes the publication a very worthy addition for anybody using
SoundSmith that never fully understood its MIDI abilities before.
Exploring SoundSmith costs $15.00 (US) post paid and can be ordered
from:
Gareth Jones
Apartment 1
3872 Sunset Street
Burnaby
British Columbia
Canada V5G 1T3
Tel. (604) 435-1416
Gareth furnished me with a copy for review and I must say it's an very
informative and well written publication, that all serious SoundSmith
users should have.
In a lengthy, friendly and informative conversation, I had last week,
with Al Crout, he informed me that he was working on a HyperStudio
stack, that had a lot of information from the publication with undated
information and other things of interest for SoundSmith users. If you
should care to make contact with him for information about this, his
mailing address follows:
Al Crout
Apt. 102, 215 Mowat Street
New Westminster
British Columbia
CANADA
V3M 4B1
Next, is my compiled and edited collection of notes and on-line
postings, that deal with Imported Modules, with some possible novel and
experimental procedures, you might care to try.
A composite of all related information concerning the construction and
operation of Imported MODULE files (MODfiles) from the Amiga, follows.
They were passed along to me from many people and collected over the
past few years, from many on-line services.
They all pertain to commands, special effects and native languages of
the Amiga computer. You shouldn't confuse the context of this portion
of this collective article and reviews, with programming languages or
commands native to the IIgs.
The content of this portion is presented for experimental and research
use only, to help any of you, that care to take on the challenging
adventure of modifying, altering, enhancing or reconstructing an
Imported Module file that's a standard text file type.
If you have an Imported Module file that is a text file, you should be
able to load it into WRITE AWAY!, a (ShareWare) which is a very
useful, well designed and unique word processor GS/OS application. You
might also try using the ShadowWrite (FreeWare) NDA.
If you have an Imported Module file that isn't a text file, change it
to a text file with any file type changer program.
Such efforts, will become needless and antiquated, for their originally
intended purpose, within couple of months or so, with the release of
Noise Tracker GS v2.00.
But, pending its release, which will allow you to construct, edit and
arrange MODfiles (ProTracker file Format) music scores, then save them,
(Native MODfiles from the IIgs - AT LAST), you can review this
following information to gain an over-all understanding of MODfiles,
for whatever use you care to apply the knowledge you might gain, for
your future efforts with MODfile music on the IIgs.
Even with the release of Noise Tracker GS v2.00, (the first GS/OS
application program for composing, editing and saving MODfiles), you
can still experiment and play around with the MODfiles or even with the
Noise Tracker GS v2.00 music file format, and (with trial & error),
obtain some interesting results. Sometimes they could result in unique
effects and sometimes they could result in completely corrupting the
files structure and usefulness.
As with any file you are experimenting, attempting to modify or alter,
you should always keep a copy of the original, in the event you mess
up, with your efforts.
---------------------------------------------------------------------------
Protracker 2.1A Song/Module Format Information:
Courtesy of: Lars Hamre and Peter Hanning
Offset Bytes Description
------ ----- -----------
0 20 Songname. Remember to put trailing null bytes at the end.
Information for sample 1-31:
Offset Bytes Description
------ ----- -----------
20 22 Samplename for sample 1. Pad with null bytes.
42 2 Samplelength for sample 1. Stored as number of words.
Multiply by two to get real sample length in bytes.
44 1 Lower four bits are the finetune value, stored as a signed
four bit number. The upper four bits are not used, and
should be set to zero.
Value: Finetune:
0 0
1 +1
2 +2
3 +3
4 +4
5 +5
6 +6
7 +7
8 -8
9 -7
A -6
B -5
C -4
D -3
E -2
F -1
45 1 Volume for sample 1. Range is $00-$40, or 0-64 decimal.
46 2 Repeat point for sample 1. Stored as number of words offset
from start of sample. Multiply by two to get offset in bytes.
48 2 Repeat Length for sample 1. Stored as number of words in
loop. Multiply by two to get replen in bytes.
Information for the next 30 samples starts here. It's just like the info
for sample 1.
Offset Bytes Description
------ ----- -----------
50 30 Sample 2...
80 30 Sample 3...
.
.
.
890 30 Sample 30...
920 30 Sample 31...
Offset Bytes Description
------ ----- -----------
950 1 Songlength. Range is 1-128.
951 1 This little byte is set to 127, so that old
trackers will search through all patterns when loading.
Noisetracker uses this byte for restart, but we don't.
952 128 Song positions 0-127. Each hold a number from 0-63 that
tells the tracker what pattern to play at that position.
1080 4 The four letters "M.K." - This is something Mahoney & Kaktus
inserted when they increased the number of samples from
15 to 31. If it's not there, the module/song uses 15 samples
or the text has been removed to make the module harder to
rip. Startrekker puts "FLT4" or "FLT8" there instead.
Offset Bytes Description
------ ----- -----------
1084 1024 Data for pattern 00.
.
.
.
xxxx Number of patterns stored is equal to the highest patternnumber
in the song position table (at offset 952-1079).
Each note is stored as 4 bytes, and all four notes at each position in
the pattern are stored after each other.
00 - chan1 chan2 chan3 chan4
01 - chan1 chan2 chan3 chan4
02 - chan1 chan2 chan3 chan4
etc.
Info for each note:
_____byte 1_____ byte2_ _____byte 3_____ byte4_
/ \ / \ / \ / \
0000 0000-00000000 0000 0000-00000000
Upper four 12 bits for Lower four Effect command.
bits of sam- note period. bits of sam-
ple number. ple number.
Periodtable for Tuning 0, Normal
C-1 to B-1 : 856,808,762,720,678,640,604,570,538,508,480,453
C-2 to B-2 : 428,404,381,360,339,320,302,285,269,254,240,226
C-3 to B-3 : 214,202,190,180,170,160,151,143,135,127,120,113
To determine what note to show, scan through the table until you find
the same period as the one stored in byte 1-2. Use the index to look
up in a notenames table.
This is the data stored in a normal song. A packed song starts with the
four letters "PACK", and then comes the packed data.
In a module, all the samples are stored right after the pattern data.
To determine where a sample starts and stops, you use the sample info
structures in the beginning of the file (from offset 20). Take a look
at the mt_init routine in the playroutine, and you'll see just how it
is done.
Amiga Imported MOD tips from Mike:
This is an explanation for how the notes are played on the Amiga. So, you can
figure out how to handle them.
The Amiga's audio DMA runs on a bus cycle of 2.79365E-07 seconds. (All
you really need to know about the Amiga's audio DMA for your purposes
is this number.) All the sample playback periods are based on this
number.
The table can be constructed of Amiga playback sample periods
with the following formula:
1
Sample period=---------------------------
Sampling rate * 2.79365E-07
And you get the following table.
C C# D D# E F F# G G# A A# B
------------------------------------------------------------
1st Octave.| 856 808 762 720 678 640 604 570 538 508 480 453
|
2nd Octave.| 428 404 381 360 339 320 302 285 269 254 240 226
|
3rd Octave.| 214 202 190 180 170 160 151 143 135 127 120 113
This gives the values for the 3 octaves the Amiga can play from a raw
sample.
To get the sample rates in samples per second that you'll need you
use the formula:
1
Sample rate(Hz) =---------------------------
Sample period * 2.79365E-07
(from table)
So for a note C-2 the sample rate is 8363 Hz.
The fine tuning is accomplished buy adding/subtracting to the periods
taken from period table at playback. Thus you get this conversion
formula:
1
Sample rate(Hz) =------------------------------------------
(Sample period + Finetuning) * 2.79365E-07
(Finetuning value can be positive or negative)
MED and the newer Trackers can also use IFF instrument files which
contain a sample for each octave. With these instruments you use only
the playback rates from one octave but a different sample from the
file. This allows five instead of three octaves per instrument.
Tempo (playing speed)
To understand this completely, you need to know some technical aspects.
MED uses the CIAB timers for timing. They give " timing pulses " that
trigger the MED's player interrupt. On each timing pulse effects are
handled (e.g. commands 1,2,3,4,5,D, hold/decay, synthsounds). But,
the new note is usually not played on each pulse. The time between
timing pulses can be changed (primary tempo). The new note is usually
played on every 6th pulse. But, this can be changed also (secondary
tempo). For example, if new note was played on every 3rd pulse, the
playing speed would be twice as fast. This doesn't affect the speed of
effects.
Graphically:
pulse \ PLAY NOTE
the time between pulses can be changed (primary tempo)
pulse / DO EFFECTS \
\
pulse DO EFFECTS \ The number of pulses between
/ notes can be changed (4 in this example).
pulse DO EFFECTS / This is the secondary tempo.
/
pulse PLAY NOTE
MED V3.2 player commands/effects:
This section gives information about commands/effects. They are events
which affect the playing and they are handled by the MED player routine.
C - 2 1 2 3 4
| \ |
command number \|
data byte
You insert the commands usually by hand (turn editing on, move cursor on the
command numbers and type the numbers). It may be a bit easier if you turn
off automatic-advance with Ctrl-A.
Here are the descriptions of each of the currently recognized commands:
Command 0: ARPEGGIO MIDI: controller value
This command changes the pitch of the note quickly (6 times during 1 note).
It can be used to create "chords" or special effects. If you've listened
to music made with the C-64, you MUST have heard arpeggios. The pitch is
changed between 3 different pitches during one note:
the 1st pitch is the pitch of the original note
the 2nd pitch is the pitch of the original note + the 1st number
of databyte halfsteps up
the 3rd pitch is the pitch of the original note + the 2nd number
of databyte halfsteps up
Note: 3rd pitch | 2nd pitch | 1st pitch | 3rd pitch | 2nd pitch | 1st pitch
changed 6 times during note
It may be a bit difficult to understand, so here's an example:
You want to make an arpeggio which sounds like C-major chord.
The lowest pitch is C (C-2 in this example).
The second is E-2 (4 halfsteps higher than C-2).
The third is G-2 (7 halfsteps higher than C-2).
4 halfsteps from C-2 -+ 7 halfsteps from C-2
|/
That produces: C-2 1047
--- 0047
--- 0047 and so on...
Data byte for a minor chord would be 37.
The arpeggios sound better with some instruments than others.
MIDI: See command 5 for a description.
Command 1: SLIDE UP MIDI: pitchbender up
This command slides up the pitch of the current track.
With Amiga samples:
Decreases the period of the note the amount of databyte on each
timing pulse. Sounds rather technical ?? Yes. The instructions for
previous (before 2.10) versions of MED contained detailed
instructions for making good-sounding slides with this command.
Because this version now contains the easy automatic slide making
(Amiga-T), I felt that these instructions are not necessary any more.
If you use this function for special effects (not real slides) then
you can experiment with the values for the databyte.
Example:
A-1 1000
--- 0000
--- 010F <- slide up a bit
With MIDI:
This commands works very differently with MIDI. It actually
"turns" the pitchbender 8 * databyte steps up on each timing pulse.
Because the actual range of the pitchbender may be different with
different MIDI-devices, you must find the right value by
experimenting. There's also one thing you should know: when a new
note is played, the pitchbender isn't reset automatically. To
reset the pitchbender, you use this command with databyte zero.
Example:
G-2 L1FF <-turn it up very quick
--- 0000
--- 0100 <- then reset the pitchbender
Command 2: SLIDE DOWN MIDI: pitchbender down
It's just like command 1 except it slides
down.
Command 3: PORTAMENTO MIDI: set pitchbender
This is another slide command (on some old MED versions (2.00) this was
a vibrato command, see command 5 now). It can be used to make perfect
slides more easily. First an example:
C-2 5000 <- played note C
--- 0000
E-2 5305 <- this note is not played!! Instead, slide target is set
--- 0300 to G-2 and slide speed is 5
--- 0300 <- when speed is zero, use the previous speed
--- 0306 <- the speed can be changed, of course
This example would slide from C-2 to E-2, but the slide stops EXACTLY
when E-2 is reached. The remaining 3's have no effect. This command
is easier to handle with automatic slide making (see Edit/S1 above).
MIDI: By using this command, you can set the pitchbender to an absolute
value, instead of sliding as commands 1 and 2 do. The data byte is the
pitchbender value, expressed as a signed hexadecimal digit (a nightmare
to non-programmers!).
00 = center position
80 (-7F) = smallest value
7F = largest value
Example:
C-2 3000
--- 037F <- pitchbender to max. value
--- 0300 <- reset
Command 4: VIBRATO MIDI: modulation wheel
The first number of the data byte is vibrato speed, the second is
vibrato depth. If the numbers are zeros, the previous speed and depth
is used.
Example: F-215000
--- 0000
--- 0433 <- slow, not much depth
--- 0437 <- more depth
--- 043F <- full depth
--- 0482 <- fast, not very deep
MIDI: This command affects the modulation wheel of the current channel.
The data byte can be 00 - 7F. 00 = no modulation, 7F = maximum.
Values 80 - FF are reserved for future expansion (and won't work).
Command 5: OLD VIBRATO MIDI: controller number
This is the old vibrato command (previously it was 3). The command 3 is
automatically converted to 5 when loading old MED songs. The pitch of
the note is changed between two values, databyte is the depth.
Example: A#1 J502
--- 0507 increasing depth
--- 0517 v
--- 0527
--- 0537
MIDI: Command 5 in conjunction with command 0 allows you to change any
controller of MIDI (command $Bx cc vv, where cc = controller number,
vv = value).
First you set the number of controller you want to change with command
5. Then you can select the value with command 0. Subsequent uses of
command 0 will affect the controller previously set with command 5.
Each channel has its own controller number. If the controller value is
$00, you can't use '00', because the command '000' means 'do nothing'.
Instead, you type '80'. Acceptable controller numbers and values are
$00 - $7F.
For example: (assuming instrument 3 is set to MIDI channel 1)
C-2 3000
--- 0507 <- controller $07, volume, according to MIDI standard
D-2 307F <- set max. volume ($7F), command $B0 $07 $7F is sent
--- 0000
F-3 3001 <- small volume ($01)
--- 055C <- select controller $5C (tremolo depth)
G-4 3080 <- set to 0 (note: $80 = $00)
Command 8: SET HOLD/DECAY MIDI: set hold only
This command must be located on the same line with a note. The command
assigns the hold and decay values for the note (see above for description
about hold/decay).
hold value
decay----------+|
||
Example: C-3 3824
-|- 3000
-|- 3000
--- 0000
Command 9: SEC. TEMPO MIDI: no action
This command sets the secondary tempo (the number of timing pulses/note).
The argument must be 01 - 20.
Example: --- 0903 <= double tempo
--- 0000
Command A: VOLUME SLIDE MIDI: polyph aftertouch
This is the same as command D (for Noisetracker/Protracker compatibility).
However, please use D instead of this.
MIDI: Command A changes the polyphonic aftertouch of the most recent note.
The value should be $00 - $7F.
Example:
C-3 4000
--- 0A30 <- aftertouch $30
--- 0000
--- 0A00 <- aftertouch $00
Command B: POSITION JUMP MIDI: position jump
This command lets you make songs that have a beginning which is played
only once and then some part which is looped forever. Position jump
causes the jump to play sequence number pointed by the data byte. If the
data byte is 0, then the playseq jumps to the first entry.
Example: --- 0B02 <- start playing from play sequence number 3
Command C: SET VOLUME MIDI: set volume
You can override the default volume of the instrument with this command.
Example:
A-3 4C20 <- played with volume 20
There are 65 volume levels (0 - 64), 0 = no sound, 64 = maximum. The
data byte of command C can be 00 - 64 or 00 - 40 (decimal or hex).
Non-programmers will probably want to use the decimal numbers. See
(Play/[Dec/Hex]). If you want the playroutine to have maximum performance,
then use hex values.
It's also possible to change the volume of already played note. Note
that it doesn't work with MIDI-instruments.
Example:
A-3 4000
--- 0000
--- 0C10 <- volume to 10
It's possible to change the default volume of an instrument (MED V2 and
later). The value must be between 80 and C0 (always hex!). Value $80 = volume
0, and $C0 = 64. Note: This can cause trouble in multi-modules, because the
set of instruments (and their default volumes) are common. I recommend that
you change the default volume only on non-multi-modules.
Command D: VOLUME SLIDE MIDI: channel pressure
You can increase/decrease volume smoothly with this command. The data
byte is divided in two parts:
C-3 3D01
||
|+- Amount of decresdendo
+-- Amount of crescendo
If crescendo is zero, then the decrescendo is performed. Otherwise only
crescendo is performed.
Example:
C-2 3C40
--- 0D01 <- a bit more quiet
--- 0D01 <- even more
--- 0D20 <- and crescendo back to original
One unit in these commands means six actual volume units, so this example
would look like this, when using the C-command (except that it doesn't
sound so smooth):
C-2 3C40 (volumes are decimal in this example)
--- 0C34 <- -6
--- 0C28 <- -6
--- 0C40 <- +12
MIDI: This command sends a channel pressure (channel aftertouch) message
using the channel in which the most recent note was sent. The databyte
should be $00 - $7F.
D#5 J000
--- 0D40 <- channel aftertouch $40
--- 0D00 <- to $00
Command E: SYNTH/JMP MIDI: pan control
When used with synth/hybrid instruments, this command triggers a jump
in the waveform command sequence. The databyte is the jump destination
(line number).
Example: C-4 4000 <- this should be synth/hybrid instrument
--- 0000
--- 0E05 <- cause a jump to line # 5
With MIDI-instruments, this command controls the stereo location of the
sound. The data byte can be 00 - 7F.
left mid right
| | |
00 3F 7F
If you've used MED V2.00/V2.01 or NoiseTracker/SoundTracker, you may remember
that this command controls the low-pass filter. I think that it was
unnecessary to spend the command E only for controlling only a single
switch. See command F.
Command F: TEMPO/MISC. MIDI: tempo/misc.
Command F has many different actions depending on the data byte.
If the data byte is zero (00), this command causes the immediate jumping
to the next block on the playing sequence (or to the beginning of this
block if you're only playing the block). This function is better to
implement by making the block shorter (takes less memory).
Example:
C-2 4F00 <- this is the last note of this block
When the data byte if 01 - F0, the command changes the tempo. This is the
primary tempo (length of the pause between timing pulses).
If the new tempo is 01 - 0A, it is compatible with Trackers, but now you
should use the command 9 instead of this command, as it's directly
Tracker-compatible (set the primary tempo to 33).
Example:
E-3 6FF0 <- highest tempo
--- 0000
--- 0F0B <- slowest
Data bytes FF1 - FFF are reserved for special actions, some of them
are currently used:
FF1 causes the same note played actually twice. This way it's possible
to create fast rhythms.
C-3 2FF1 is same as C-3 2000
C-3 2000 with double tempo
FF2 plays the note only once, but it is not started immediately:
C-3 2FF2 is same as --- 0000
C-3 2000 with double tempo
FF3 works like FF1 except the note is played three times (very fast).
FF8 turns off the low-pass filter (power-LED will dim).
FF9 turns the low-pass filter on (bright LED).
FFA sends MIDI "hold pedal on"-command (works only with MIDI-instruments).
FFB sends MIDI "hold pedal off"-command (works only with MIDI-instruments).
FFD works only with Amiga-samples. It causes the pitch of the channel to
be set to the pitch of the new note, but the new note is not replayed.
C-1 2000 <- play note
--- 0000
C-2 2FFD <- don't replay the note, just set the pitch to C-2
FFE stops playing immediately. If you want to make a song which plays only
once, put this command to the end of the song. This command can be
easily entered: Click "Stop playing" while holding the Shift-key.
FFF Stops the note on the current track. Works with both Amiga- and MIDI-
instruments. Nearly identical to "C00" on Amiga-samples, but because
"C00" doesn't work with MIDI, I made this command.
About MMD:
Tempo (playing speed)
To understand this completely, you need to know some technical aspects. MED
uses the CIAB timers for timing. They give " timing pulses " that trigger the
MED's player interrupt. On each timing pulse effects are handled (e.g.
commands 1,2,3,4,5,D, hold/decay, synthsounds). But, the new note is usually
not played on each pulse. The time between timing pulses can be changed
(primary tempo). The new note is usually played on every 6th pulse. But
this can be changed also (secondary tempo). For example, if new note was
played on every 3rd pulse, the playing speed would be twice as fast. This
doesn't affect the speed of effects.
Graphically:
pulse \ PLAY NOTE
the time between pulses can be changed (primary tempo)
pulse / DO EFFECTS \
\
pulse DO EFFECTS \ The number of pulses between
/ notes can be changed (4 in this example).
pulse DO EFFECTS / This is the secondary tempo.
/
pulse PLAY NOTE
MED V3.2 player commands/effects:
This section gives information about commands/effects. They are events
which affect the playing and they are handled by the MED player routine.
C - 2 1 2 3 4
| \ |
command number \|
data byte
You insert the commands usually by hand (turn editing on, move cursor on the
command numbers and type the numbers). It may be a bit easier if you turn
off automatic-advance with Ctrl-A.
Here are the descriptions of each of the currently recognized commands:
Command 0: ARPEGGIO MIDI: controller value
This command changes the pitch of the note quickly (6 times during 1 note).
It can be used to create "chords" or special effects. If you've listened
to music made with the C-64, you MUST have heard arpeggios. The pitch is
changed between 3 different pitches during one note:
the 1st pitch is the pitch of the original note
the 2nd pitch is the pitch of the original note + the 1st number
of databyte halfsteps up
the 3rd pitch is the pitch of the original note + the 2nd number
of databyte halfsteps up
Note: 3rd pitch | 2nd pitch | 1st pitch | 3rd pitch | 2nd pitch | 1st pitch
changed 6 times during note
It may be a bit difficult to understand, so here's an example:
You want to make an arpeggio which sounds like C-major chord.
The lowest pitch is C (C-2 in this example).
The second is E-2 (4 halfsteps higher than C-2).
The third is G-2 (7 halfsteps higher than C-2).
4 halfsteps from C-2 -+ 7 halfsteps from C-2
|/
That produces: C-2 1047
--- 0047
--- 0047 and so on...
Data byte for a minor chord would be 37.
The arpeggios sound better with some instruments than others.
MIDI: See command 5 for a description.
Command 1: SLIDE UP MIDI: pitchbender up
This command slides up the pitch of the current track.
With Amiga samples:
Decreases the period of the note the amount of databyte on each
timing pulse. Sounds rather technical ?? Yes. The instructions for
previous (before 2.10) versions of MED contained detailed
instructions for making good-sounding slides with this command.
Because this version now contains the easy automatic slide making
(Amiga-T), I felt that these instructions are not necessary any more.
If you use this function for special effects (not real slides) then
you can experiment with the values for the databyte.
Example:
A-1 1000
--- 0000
--- 010F <- slide up a bit
With MIDI:
This commands works very differently with MIDI. It actually
"turns" the pitchbender 8 * databyte steps up on each timing pulse.
Because the actual range of the pitchbender may be different with
different MIDI-devices, you must find the right value by
experimenting. There's also one thing you should know: when a new
note is played, the pitchbender isn't reset automatically. To
reset the pitchbender, you use this command with databyte zero.
Example:
G-2 L1FF <-turn it up very quick
--- 0000
--- 0100 <- then reset the pitchbender
Command 2: SLIDE DOWN MIDI: pitchbender down
It's just like command 1 except it slides
down.
Command 3: PORTAMENTO MIDI: set pitchbender
This is another slide command (on some old MED versions (2.00) this
was a vibrato command, see command 5 now). It can be used to
make perfect slides more easily. First an example:
C-2 5000 <- played note C
--- 0000
E-2 5305 <- this note is not played!! Instead, slide target is set
--- 0300 to G-2 and slide speed is 5
--- 0300 <- when speed is zero, use the previous speed
--- 0306 <- the speed can be changed, of course
This example would slide from C-2 to E-2, but the slide stops EXACTLY
when E-2 is reached. The remaining 3's have no effect. This command
is easier to handle with automatic slide making (see Edit/S1 above).
MIDI: By using this command, you can set the pitchbender to an absolute
value, instead of sliding as commands 1 and 2 do. The data byte is the
pitchbender value, expressed as a signed hexadecimal digit (a nightmare
to non-programmers!).
00 = center position
80 (-7F) = smallest value
7F = largest value
Example:
C-2 3000
--- 037F <- pitchbender to max. value
--- 0300 <- reset
Command 4: VIBRATO MIDI: modulation wheel
The first number of the data byte is vibrato speed, the second is
vibrato depth. If the numbers are zeros, the previous speed and depth
is used.
Example: F-215000
--- 0000
--- 0433 <- slow, not much depth
--- 0437 <- more depth
--- 043F <- full depth
--- 0482 <- fast, not very deep
MIDI: This command affects the modulation wheel of the current channel.
The data byte can be 00 - 7F. 00 = no modulation, 7F = maximum.
Values 80 - FF are reserved for future expansion (and won't work).
Command 5: OLD VIBRATO MIDI: controller number
This is the old vibrato command (previously it was 3). The command 3 is
automatically converted to 5 when loading old MED songs. The pitch of
the note is changed between two values, databyte is the depth.
Example: A#1 J502
--- 0507 increasing depth
--- 0517 v
--- 0527
--- 0537
MIDI: Command 5 in conjunction with command 0 allows you to change any
controller of MIDI (command $Bx cc vv, where cc = controller number,
vv = value).
First you set the number of controller you want to change with command
5. Then you can select the value with command 0. Subsequent uses of
command 0 will affect the controller previously set with command 5.
Each channel has its own controller number. If the controller value is
$00, you can't use '00', because the command '000' means 'do nothing'.
Instead, you type '80'. Acceptable controller numbers and values are
$00 - $7F.
For example: (assuming instrument 3 is set to MIDI channel 1)
C-2 3000
--- 0507 <- controller $07, volume, according to MIDI standard
D-2 307F <- set max. volume ($7F), command $B0 $07 $7F is sent
--- 0000
F-3 3001 <- small volume ($01)
--- 055C <- select controller $5C (tremolo depth)
G-4 3080 <- set to 0 (note: $80 = $00)
Command 8: SET HOLD/DECAY MIDI: set hold only
This command must be located on the same line with a note. The command
assigns the hold and decay values for the note (see above for description
about hold/decay).
hold value
decay----------+|
||
Example: C-3 3824
-|- 3000
-|- 3000
--- 0000
Command 9: SEC. TEMPO MIDI: no action
This command sets the secondary tempo (the number of timing pulses/note).
The argument must be 01 - 20.
Example: --- 0903 <= double tempo
--- 0000
Command A: VOLUME SLIDE MIDI: polyph aftertouch
This is the same as command D (for Noisetracker/Protracker compatibility).
However, please use D instead of this.
MIDI: Command A changes the polyphonic aftertouch of the most recent note.
The value should be $00 - $7F.
Example:
C-3 4000
--- 0A30 <- aftertouch $30
--- 0000
--- 0A00 <- aftertouch $00
Command B: POSITION JUMP MIDI: position jump
This command lets you make songs that have a beginning which is played
only once and then some part which is looped forever. Position jump
causes the jump to play sequence number pointed by the data byte. If the
data byte is 0, then the playseq jumps to the first entry.
Example: --- 0B02 <- start playing from play sequence number 3
Command C: SET VOLUME MIDI: set volume
You can override the default volume of the instrument with this command.
Example:
A-3 4C20 <- played with volume 20
There are 65 volume levels (0 - 64), 0 = no sound, 64 = maximum. The
data byte of command C can be 00 - 64 or 00 - 40 (decimal or hex).
Non-programmers will probably want to use the decimal numbers. See
(Play/[Dec/Hex]). If you want the playroutine to have maximum performance,
then use hex values.
It's also possible to change the volume of already played note. Note
that it doesn't work with MIDI-instruments.
Example:
A-3 4000
--- 0000
--- 0C10 <- volume to 10
It's possible to change the default volume of an instrument (MED V2 and
later). The value must be between 80 and C0 (always hex!). Value $80 = volume
0, and $C0 = 64. Note: This can cause trouble in multi-modules, because the
set of instruments (and their default volumes) are common. I recommend that
you change the default volume only on non-multi-modules.
Command D: VOLUME SLIDE MIDI: channel pressure
You can increase/decrease volume smoothly with this command. The data
byte is divided in two parts:
C-3 3D01
||
|+- Amount of decresdendo
+-- Amount of crescendo
If crescendo is zero, then the decrescendo is performed. Otherwise only
crescendo is performed.
Example:
C-2 3C40
--- 0D01 <- a bit more quiet
--- 0D01 <- even more
--- 0D20 <- and crescendo back to original
One unit in these commands means six actual volume units, so this example
would look like this, when using the C-command (except that it doesn't
sound so smooth):
C-2 3C40 (volumes are decimal in this example)
--- 0C34 <- -6
--- 0C28 <- -6
--- 0C40 <- +12
MIDI: This command sends a channel pressure (channel aftertouch) message
using the channel in which the most recent note was sent. The databyte
should be $00 - $7F.
D#5 J000
--- 0D40 <- channel aftertouch $40
--- 0D00 <- to $00
Command E: SYNTH/JMP MIDI: pan control
When used with synth/hybrid instruments, this command triggers a jump
in the waveform command sequence. The databyte is the jump destination
(line number).
Example: C-4 4000 <- this should be synth/hybrid instrument
--- 0000
--- 0E05 <- cause a jump to line # 5
With MIDI-instruments, this command controls the stereo location of the
sound. The data byte can be 00 - 7F.
left mid right
| | |
00 3F 7F
If you've used MED V2.00/V2.01 or NoiseTracker/SoundTracker, you may remember
that this command controls the low-pass filter. I think that it was
unnecessary to spend the command E only for controlling only a single
switch. See command F.
Command F: TEMPO/MISC. MIDI: tempo/misc.
Command F has many different actions depending on the data byte.
If the data byte is zero (00), this command causes the immediate jumping
to the next block on the playing sequence (or to the beginning of this
block if you're only playing the block). This function is better to
implement by making the block shorter (takes less memory).
Example:
C-2 4F00 <- this is the last note of this block
When the data byte if 01 - F0, the command changes the tempo. This is the
primary tempo (length of the pause between timing pulses).
If the new tempo is 01 - 0A, it is compatible with Trackers, but now you
should use the command 9 instead of this command, as it's directly
Tracker-compatible (set the primary tempo to 33).
Example:
E-3 6FF0 <- highest tempo
--- 0000
--- 0F0B <- slowest
Data bytes FF1 - FFF are reserved for special actions, some of them
are currently used:
FF1 causes the same note played actually twice. This way it's possible
to create fast rhythms.
C-3 2FF1 is same as C-3 2000
C-3 2000 with double tempo
FF2 plays the note only once, but it is not started immediately:
C-3 2FF2 is same as --- 0000
C-3 2000 with double tempo
FF3 works like FF1 except the note is played three times (very fast).
FF8 turns off the low-pass filter (power-LED will dim).
FF9 turns the low-pass filter on (bright LED).
FFA sends MIDI "hold pedal on"-command (works only with MIDI-instruments).
FFB sends MIDI "hold pedal off"-command (works only with MIDI-instruments).
FFD works only with Amiga-samples. It causes the pitch of the channel to
be set to the pitch of the new note, but the new note is not replayed.
C-1 2000 <- play note
--- 0000
C-2 2FFD <- don't replay the note, just set the pitch to C-2
FFE stops playing immediately. If you want to make a song which plays only
once, put this command to the end of the song. This command can be
easily entered: Click "Stop playing" while holding the Shift-key.
FFF Stops the note on the current track. Works with both Amiga- and MIDI-
instruments. Nearly identical to "C00" on Amiga-samples, but because
"C00" doesn't work with MIDI, I made this command.
Tempo (playing speed)
To understand this completely, you need to know some technical aspects. MED
uses the CIAB timers for timing. They give " timing pulses " that trigger the
MED's player interrupt. On each timing pulse effects are handled (e.g.
commands 1,2,3,4,5,D, hold/decay, synthsounds). But, the new note is usually
not played on each pulse. The time between timing pulses can be changed
(primary tempo). The new note is usually played on every 6th pulse. But
this can be changed also (secondary tempo). For example, if new note was
played on every 3rd pulse, the playing speed would be twice as fast. This
doesn't affect the speed of effects.
Graphically:
pulse \ PLAY NOTE
the time between pulses can be changed (primary tempo)
pulse / DO EFFECTS \
\
pulse DO EFFECTS \ The number of pulses between
/ notes can be changed (4 in this example).
pulse DO EFFECTS / This is the secondary tempo.
/
pulse PLAY NOTE
MED V3.2 player commands/effects:
This section gives information about commands/effects. They are events
which affect the playing and they are handled by the MED player routine.
C - 2 1 2 3 4
| \ |
command number \|
data byte
You insert the commands usually by hand (turn editing on, move cursor on the
command numbers and type the numbers). It may be a bit easier if you turn
off automatic-advance with Ctrl-A.
Here are the descriptions of each of the currently recognized commands:
Command 0: ARPEGGIO MIDI: controller value
This command changes the pitch of the note quickly (6 times during 1 note).
It can be used to create "chords" or special effects. If you've listened
to music made with the C-64, you MUST have heard arpeggios. The pitch is
changed between 3 different pitches during one note:
the 1st pitch is the pitch of the original note
the 2nd pitch is the pitch of the original note + the 1st number
of databyte halfsteps up
the 3rd pitch is the pitch of the original note + the 2nd number
of databyte halfsteps up
Note: 3rd pitch | 2nd pitch | 1st pitch | 3rd pitch | 2nd pitch | 1st pitch
changed 6 times during note
It may be a bit difficult to understand, so here's an example:
You want to make an arpeggio which sounds like C-major chord.
The lowest pitch is C (C-2 in this example).
The second is E-2 (4 halfsteps higher than C-2).
The third is G-2 (7 halfsteps higher than C-2).
4 halfsteps from C-2 -+ 7 halfsteps from C-2
|/
That produces: C-2 1047
--- 0047
--- 0047 and so on...
Data byte for a minor chord would be 37.
The arpeggios sound better with some instruments than others.
MIDI: See command 5 for a description.
Command 1: SLIDE UP MIDI: pitchbender up
This command slides up the pitch of the current track.
With Amiga samples:
Decreases the period of the note the amount of databyte on each
timing pulse. Sounds rather technical ?? Yes. The instructions for
previous (before 2.10) versions of MED contained detailed
instructions for making good-sounding slides with this command.
Because this version now contains the easy automatic slide making
(Amiga-T), I felt that these instructions are not necessary any more.
If you use this function for special effects (not real slides) then
you can experiment with the values for the databyte.
Example:
A-1 1000
--- 0000
--- 010F <- slide up a bit
With MIDI:
This commands works very differently with MIDI. It actually
"turns" the pitchbender 8 * databyte steps up on each timing pulse.
Because the actual range of the pitchbender may be different with
different MIDI-devices, you must find the right value by
experimenting. There's also one thing you should know: when a new
note is played, the pitchbender isn't reset automatically. To
reset the pitchbender, you use this command with databyte zero.
Example:
G-2 L1FF <-turn it up very quick
--- 0000
--- 0100 <- then reset the pitchbender
Command 2: SLIDE DOWN MIDI: pitchbender down
It's just like command 1 except it slides
down.
Command 3: PORTAMENTO MIDI: set pitchbender
This is another slide command (on some old MED versions (2.00) this
was a vibrato command, see command 5 now). It can be used to
make perfect slides more easily. First an example:
C-2 5000 <- played note C
--- 0000
E-2 5305 <- this note is not played!! Instead, slide target is set
--- 0300 to G-2 and slide speed is 5
--- 0300 <- when speed is zero, use the previous speed
--- 0306 <- the speed can be changed, of course
This example would slide from C-2 to E-2, but the slide stops EXACTLY
when E-2 is reached. The remaining 3's have no effect. This command
is easier to handle with automatic slide making (see Edit/S1 above).
MIDI: By using this command, you can set the pitchbender to an absolute
value, instead of sliding as commands 1 and 2 do. The data byte is the
pitchbender value, expressed as a signed hexadecimal digit (a nightmare
to non-programmers!).
00 = center position
80 (-7F) = smallest value
7F = largest value
Example:
C-2 3000
--- 037F <- pitchbender to max. value
--- 0300 <- reset
Command 4: VIBRATO MIDI: modulation wheel
The first number of the data byte is vibrato speed, the second is
vibrato depth. If the numbers are zeros, the previous speed and depth
is used.
Example: F-215000
--- 0000
--- 0433 <- slow, not much depth
--- 0437 <- more depth
--- 043F <- full depth
--- 0482 <- fast, not very deep
MIDI: This command affects the modulation wheel of the current channel.
The data byte can be 00 - 7F. 00 = no modulation, 7F = maximum.
Values 80 - FF are reserved for future expansion (and won't work).
Command 5: OLD VIBRATO MIDI: controller number
This is the old vibrato command (previously it was 3). The command 3 is
automatically converted to 5 when loading old MED songs. The pitch of
the note is changed between two values, databyte is the depth.
Example: A#1 J502
--- 0507 increasing depth
--- 0517 v
--- 0527
--- 0537
MIDI: Command 5 in conjunction with command 0 allows you to change any
controller of MIDI (command $Bx cc vv, where cc = controller number,
vv = value).
First you set the number of controller you want to change with command
5. Then you can select the value with command 0. Subsequent uses of
command 0 will affect the controller previously set with command 5.
Each channel has its own controller number. If the controller value is
$00, you can't use '00', because the command '000' means 'do nothing'.
Instead, you type '80'. Acceptable controller numbers and values are
$00 - $7F.
For example: (assuming instrument 3 is set to MIDI channel 1)
C-2 3000
--- 0507 <- controller $07, volume, according to MIDI standard
D-2 307F <- set max. volume ($7F), command $B0 $07 $7F is sent
--- 0000
F-3 3001 <- small volume ($01)
--- 055C <- select controller $5C (tremolo depth)
G-4 3080 <- set to 0 (note: $80 = $00)
Command 8: SET HOLD/DECAY MIDI: set hold only
This command must be located on the same line with a note. The command
assigns the hold and decay values for the note (see above for description
about hold/decay).
hold value
decay----------+|
||
Example: C-3 3824
-|- 3000
-|- 3000
--- 0000
Command 9: SEC. TEMPO MIDI: no action
This command sets the secondary tempo (the number of timing pulses/note).
The argument must be 01 - 20.
Example: --- 0903 <= double tempo
--- 0000
Command A: VOLUME SLIDE MIDI: polyph aftertouch
This is the same as command D (for Noisetracker/Protracker compatibility).
However, please use D instead of this.
MIDI: Command A changes the polyphonic aftertouch of the most recent note.
The value should be $00 - $7F.
Example:
C-3 4000
--- 0A30 <- aftertouch $30
--- 0000
--- 0A00 <- aftertouch $00
Command B: POSITION JUMP MIDI: position jump
This command lets you make songs that have a beginning which is played
only once and then some part which is looped forever. Position jump
causes the jump to play sequence number pointed by the data byte. If the
data byte is 0, then the playseq jumps to the first entry.
Example: --- 0B02 <- start playing from play sequence number 3
Command C: SET VOLUME MIDI: set volume
You can override the default volume of the instrument with this command.
Example:
A-3 4C20 <- played with volume 20
There are 65 volume levels (0 - 64), 0 = no sound, 64 = maximum. The
data byte of command C can be 00 - 64 or 00 - 40 (decimal or hex).
Non-programmers will probably want to use the decimal numbers. See
(Play/[Dec/Hex]). If you want the playroutine to have maximum performance,
then use hex values.
It's also possible to change the volume of already played note. Note
that it doesn't work with MIDI-instruments.
Example:
A-3 4000
--- 0000
--- 0C10 <- volume to 10
It's possible to change the default volume of an instrument (MED V2 and
later). The value must be between 80 and C0 (always hex!). Value $80 = volume
0, and $C0 = 64. Note: This can cause trouble in multi-modules, because the
set of instruments (and their default volumes) are common. I recommend that
you change the default volume only on non-multi-modules.
Command D: VOLUME SLIDE MIDI: channel pressure
You can increase/decrease volume smoothly with this command. The data
byte is divided in two parts:
C-3 3D01
||
|+- Amount of decresdendo
+-- Amount of crescendo
If crescendo is zero, then the decrescendo is performed. Otherwise only
crescendo is performed.
Example:
C-2 3C40
--- 0D01 <- a bit more quiet
--- 0D01 <- even more
--- 0D20 <- and crescendo back to original
One unit in these commands means six actual volume units, so this example
would look like this, when using the C-command (except that it doesn't
sound so smooth):
C-2 3C40 (volumes are decimal in this example)
--- 0C34 <- -6
--- 0C28 <- -6
--- 0C40 <- +12
MIDI: This command sends a channel pressure (channel aftertouch) message
using the channel in which the most recent note was sent. The databyte
should be $00 - $7F.
D#5 J000
--- 0D40 <- channel aftertouch $40
--- 0D00 <- to $00
Command E: SYNTH/JMP MIDI: pan control
When used with synth/hybrid instruments, this command triggers a jump
in the waveform command sequence. The databyte is the jump destination
(line number).
Example: C-4 4000 <- this should be synth/hybrid instrument
--- 0000
--- 0E05 <- cause a jump to line # 5
With MIDI-instruments, this command controls the stereo location of the
sound. The data byte can be 00 - 7F.
left mid right
| | |
00 3F 7F
If you've used MED V2.00/V2.01 or NoiseTracker/SoundTracker, you may remember
that this command controls the low-pass filter. I think that it was
unnecessary to spend the command E only for controlling only a single
switch. See command F.
Command F: TEMPO/MISC. MIDI: tempo/misc.
Command F has many different actions depending on the data byte.
If the data byte is zero (00), this command causes the immediate jumping
to the next block on the playing sequence (or to the beginning of this
block if you're only playing the block). This function is better to
implement by making the block shorter (takes less memory).
Example:
C-2 4F00 <- this is the last note of this block
When the data byte if 01 - F0, the command changes the tempo. This is the
primary tempo (length of the pause between timing pulses).
If the new tempo is 01 - 0A, it is compatible with Trackers, but now you
should use the command 9 instead of this command, as it's directly
Tracker-compatible (set the primary tempo to 33).
Example:
E-3 6FF0 <- highest tempo
--- 0000
--- 0F0B <- slowest
Data bytes FF1 - FFF are reserved for special actions, some of them
are currently used:
FF1 causes the same note played actually twice. This way it's possible
to create fast rhythms.
C-3 2FF1 is same as C-3 2000
C-3 2000 with double tempo
FF2 plays the note only once, but it is not started immediately:
C-3 2FF2 is same as --- 0000
C-3 2000 with double tempo
FF3 works like FF1 except the note is played three times (very fast).
FF8 turns off the low-pass filter (power-LED will dim).
FF9 turns the low-pass filter on (bright LED).
FFA sends MIDI "hold pedal on"-command (works only with MIDI-instruments).
FFB sends MIDI "hold pedal off"-command (works only with MIDI-instruments).
FFD works only with Amiga-samples. It causes the pitch of the channel to
be set to the pitch of the new note, but the new note is not replayed.
C-1 2000 <- play note
--- 0000
C-2 2FFD <- don't replay the note, just set the pitch to C-2
FFE stops playing immediately. If you want to make a song which plays only
once, put this command to the end of the song. This command can be
easily entered: Click "Stop playing" while holding the Shift-key.
FFF Stops the note on the current track. Works with both Amiga- and MIDI-
instruments. Nearly identical to "C00" on Amiga-samples, but because
"C00" doesn't work with MIDI, I made this command.
EFFECT COMMANDS
---------------
Effect commands on Protracker should
be compatible with all other trackers.
0 - None/Arpeggio 8 - * NOT USED *
1 - Portamento Up 9 - SampleOffset
2 - Portamento Down A - VolumeSlide
3 - TonePortamento B - PositionJump
4 - Vibrato C - Set Volume
5 - ToneP + VolSlide D - PatternBreak
6 - Vibra + VolSlide E - Misc. Cmds
7 - Tremolo F - Set Speed
E - COMMANDS
------------
The E command has been altered to contain more commands than one.
E0- Filter On/Off E8- * NOT USED *
E1- Fineslide Up E9- Retrig Note
E2- Fineslide Down EA- FineVol Up
E3- Glissando Control EB- FineVol Down
E4- Vibrato Control EC- NoteCut
E5- Set Finetune ED- NoteDelay
E6- Patternloop EE- PatternDelay
E7- Tremolo Control EF- Invert Loop
Cmd 0. Arpeggio [Range:$0-$F/$0-$F]
-----------------------------------
Usage: $0 + 1st halfnote add
+ 2nd halfnote add
Arpeggio is used to simulate chords. This is done by rapidly changing the
pitch between 3(or 2) different notes. It sounds very noisy and grainy on
most samples, but ok on monotone ones.
Example: C-300047 C-major chord: (C+E+G or C+4+7 halfnotes)
C-300037 C-minor chord: (C+D#+G or C+3+7 halfnotes)
Cmd 1. Portamento up [Speed:$00-$FF]
------------------------------------
Usage: $1 + portamento speed
Portamento up will simply slide the sample pitch up. You can NOT slide
higher than B-3! (Period 113)
Example: C-300103 1 is the command, 3 is the portamentospeed.
NOTE: The portamento will be called as many times as the speed of the song.
This means that you'll sometimes have trouble sliding accurately. If you
change the speed without changing the sliderates, it will sound bad...
Cmd 2. Portamento down [Speed:$00-FF]
-------------------------------------
Usage: $2 + portamento speed
Just like command 1, except that this one slides the pitch down instead.
(Adds to the period).
You can NOT slide lower than C-1! (Period 856)
Example: C-300203 2 is the command, 3 is the portamentospeed.
Cmd 3. Tone-portamento [Speed:$00-$FF]
--------------------------------------
Usage: Dest-note + $3 + slidespeed
This command will automatically slide from the old note to the new.
You don't have to worry about which direction to slide, you need only set
the slide speed. To keep on sliding, just select the command $3 + 00.
Example: A-200000 First play a note.
C-300305 C-3 is the note to slide to, 3 the command,
and 5 the speed.
Cmd 4. Vibrato [Rate:$0-$F,Dpth:$0-$F]
--------------------------------------
Usage: $4 + vibratorate + vibratodepth
Example: C-300481 4 is the command, 8 is the speed of the vibrato,
and 1 is the depth of the vibrato.
To keep on vibrating, just select the command $4 + 00. To change the
vibrato, you can alter the rate, depth or both. Use command E4- to
change the vibrato-waveform.
Cmd 5. ToneP + Volsl [Spd:$0-$F/$0-$F]
--------------------------------------
Usage: $5 + upspeed + downspeed
This command will continue the current tone portamento and slide the
volume at the same time. Compatible with Noisetracker 2.0.
Example: C-300503 3 is the speed to turn the volume down.
C-300540 4 is the speed to slide it up.
Cmd 6. Vibra + Volsl [Spd:$0-$F/$0-$F]
--------------------------------------
Usage: $6 + upspeed + downspeed
This command will continue the current vibrato and slide the volume at the
same time. Compatible with Noisetracker 2.0.
Example: C-300605 5 is the speed to turn the volume down.
C-300640 4 is the speed to slide it up.
Cmd 7. Tremolo [Rate:$0-$F,Dpth:$0-$F]
--------------------------------------
Usage: $7 + tremolorate + tremolodepth
Tremolo vibrates the volume.
Example: C-300794 7 is the command, 9 is the speed of the tremolo,
and 4 is the depth of the tremolo.
To keep on tremoling, just select the command $7 + 00. To change the
tremolo, you can alter the rate, depth or both. Use command E7- to
change the tremolo-waveform.
Cmd 9. Set SampleOffset [Offs:$00-$FF]
--------------------------------------
Usage: $9 + Sampleoffset
This command will play from a chosen position in the sample, and not from
the beginning. The two numbers equal the two first numbers in the length
of the sample. Handy for speech samples.
Example: C-300923 Play sample from offset $2300.
Cmd A. Volumeslide [Speed:$0-$F/$0-$F]
--------------------------------------
Usage: $A + upspeed + downspeed
Example: C-300A05 5 is the speed to turn the volume down.
C-300A40 4 is the speed to slide it up.
NOTE: The slide will be called as many times as the speed of the song.
The slower the song, the more the volume will be changed on each note.
Cmd B. Position-jump [Pos:$00-$7F]
----------------------------------
Usage: $B + position to continue at
Example: C-300B01 B is the command, 1 is the position to
restart the song at.
This command will also perform a pattern-break (see 2 pages below).
You can use this command instead of restart as on Noisetracker, but you
must enter the position in hex!
Cmd C. Set volume [Volume:$00-$40]
----------------------------------
Usage: $C + new volume
Well, this old familiar command will set the current volume to your own
selected. The highest volume is $40. All volumes are represented in hex.
(Programmers do it in hex, you know!)
Example: C-300C10 C is the command, 10 is the volume (16 decimal).
Cmd D. Pattern-break [Pattern-pos:00-63, decimal]
-------------------------------------------------
Usage: $D + pattern-position
This command just jumps to the next song-position, and continues play
from the patternposition you specify.
Example: C-300D00 Jump to the next song-position and continue play
from patternposition 00.
Or: C-300D32 Jump to the next song-position and continue play
from patternposition 32 instead.
Cmd E0. Set filter [Range:$0-$1]
--------------------------------
Usage: $E0 + filter-status
This command jerks around with the sound-filter on some A500 + A2000.
All other Amiga-users should keep out of playing around with it.
Example: C-300E01 disconnects filter (turns power LED off)
C-300E00 connects filter (turns power LED on)
Cmd E1. Fineslide up [Range:$0-$F]
----------------------------------
Usage: $E1 + value
This command works just like the normal portamento up, except that
it only slides up once. It does not continue sliding during the length
of the note.
Example: C-300E11 Slide up 1 at the beginning of the note.
(Great for creating chorus effects)
Cmd E2. Fineslide down [Range:$0-$F]
------------------------------------
Usage: $E2 + value
This command works just like the normal portamento down, except that
it only slides down once. It does not continue sliding during the length
of the note.
Example: C-300E26 Slide up 6 at the beginning of the note.
Cmd E3. Glissando Ctrl [Range:$0-$1]
------------------------------------
Usage: $E3 + Glissando-Status
Glissando must be used with the tone-portamento command. When glissando
is activated, tone portamento will slide a half note at a time, instead
of a straight slide.
Example: C-300E31 Turn Glissando on.
C-300E30 Turn Glissando off.
Cmd E4. Set vibrato waveform [Range:$0-$3]
------------------------------------------
Usage: $E4 + vibrato-waveform
Example: C-300E40 Set sine(default)
E44 Don't retrig WF
C-300E41 Set Ramp Down
E45 Don't retrig WF
C-300E42 Set Squarewave
E46 Don't retrig WF
C-300E43 Set Random
E47 Don't retrig WF
Cmd E5. Set finetune [Range:$0-$F]
----------------------------------
Usage: $E5 + finetune-value
Example: C-300E51 Set finetune to 1.
Use these tables to figure out the finetune-value.
Finetune: +7 +6 +5 +4 +3 +2 +1 0
Value: 7 6 5 4 3 2 1 0
Finetune: -1 -2 -3 -4 -5 -6 -7 -8
Value: F E D C B A 9 8
Cmd E6. PatternLoop [Loops:$0-$F]
----------------------------------
Usage: $E6 + number of loops
This command will loop a part of a pattern.
Example: C-300E60 Set loopstart.
C-300E63 Jump to loop 3 times before playing on.
Cmd E7. Set tremolo waveform [Range:$0-$3]
------------------------------------------
Usage: $E7 + tremolo-waveform
Example: C-300E70 Set sine (default)
E74 Don't retrig WF
C-300E71 Set Ramp Down
E75 Don't retrig WF
C-300E72 Set Squarewave
E76 Don't retrig WF
C-300E73 Set Random
E77 Don't retrig WF
Cmd E9. Retrig note [Value:$0-$F]
-------------------------------
Usage: $E9 + Tick to Retrig note at.
This command will retrig the same note before playing the next. Where to
retrig depends on the speed of the song. If you retrig with 1 in speed 6
that note will be trigged 6 times in one note slot. Retrig on hi-hats!
Example: C-300F06 Set speed to 6.
C-300E93 Retrig at tick 3 out of 6.
Cmd EA. FineVolsl up [Range:$0-$F]
----------------------------------
Usage: $EA + value
This command works just like the normal volumeslide up, except that
it only slides up once. It does not continue sliding during the length
of the note.
Example: C-300EA3 Slide volume up 1 at the beginning of the note.
Cmd EB. FineVolsl down [Range:$0-$F]
------------------------------------
Usage: $EB + value
This command works just like the normal volumeslide down, except that
it only slides down once. It does not continue sliding during the length
of the note.
Example: C-300EB6 Slide volume down 6 at the beginning of the note.
Cmd EC. Cut note [Value:$0-$F]
------------------------------
Usage: $EC + Tick to cut note at.
This command will cut the note at the selected tick, creating
extremely short notes.
Example: C-300F06 Set speed to 6.
C-300EC3 Cut at tick 3 out of 6.
Note that the note is not really cut, the volume is just turned down.
Cmd ED. NoteDelay [Value:$0-$F]
-------------------------------
Usage: $ED + ticks to delay note.
This command will delay the note to the selected tick.
Example: C-300F06 Set speed to 6.
C-300ED3 Play note at tick 3 out of 6.
If you use ED0, the note will be delayed a little anyway.
You can play the same note on two channels, delay one, and get a
nice flanging effect.
Cmd EE. PatternDelay [Notes:$0-$F]
----------------------------------
Usage: $EE + notes to delay pattern.
This command will delay the pattern the selected numbers of notes.
Example: C-300EE8 Delay pattern 8 notes before playing on.
All other effects are still active when the pattern is being delayed.
Cmd EF. Invert Loop [Speed:$0-$F]
---------------------------------
Usage: $EF + Invertspeed
This command will need a short loop ($10,20,40,80 etc. bytes) to work.
It will invert the loop byte by byte. Sounds better than funkrepeat...
Example: C-300EF8 Set invspeed to 8.
To turn off the inverting, set invspeed to 0, or press ctrl + Z.
This effect will trash the sample, and will probably be removed in
the next version.
Cmd F. Set speed [Speed:$00-$FF]
--------------------------------
Usage: $F + speed
This command will set the speed of the song.
Vblank: Range 01-FF - Normal timing
CIA: Range 01-1F - Set vblank speeds
with CIA timing.
CIA: Range 20-FF - Set BPM speeds,
range 32-255.
Both: Range 00 - STOP song.
ABOUT: THE SYNTHETIC SOUND EDITOR (USED WITH THE AMIGA MODULES)
This is the editor, which is used to design simple pieces of waveforms and
to " program " the volume and pitch altering sequences. Synthetic sounds
don't take much memory (that's the main advantage of them). They can use
the whole 5-octave range. Although they are quite simple, they usually
sound quite "cool" (and remind me of the good old C-64).
Getting started:
First load MED, select the Instr-panel, click the Synth-gadget to
initialize a new synthsound. Then click the Synth-display selection
gadget to display the synthsound editor. Please turn editing off.
You can play the current sound with keyboard, like ordinary samples.
Waveform editing:
There are two waveform displays, the left one is the "master waveform
display" and the right one is for intermediate editing (it also serves as a
copy buffer). Between the waveform displays are some gadgets, that are
used for transferring waveforms between displays.
First, there are two copy gadgets. If you press the left copy gadget, the
right waveform will be copied to the left one (and vice versa). Gadget "<-
EXCHANGE ->" exchanges the waveforms on the left and right. "<- MIX" mixes
the left waveform to the right waveform.
It is a powerful tool that can be needed quite often. "<-ADD" is
similar to the mix, but it doesn't produce any average between the
waveforms (= waveforms, from now on). The waveforms are simply added
together. It's possible, that the waveforms exceed the upper and lower
limits (in that case, they are truncated).
Two "<- EDIT" "EDIT->" gadgets allow you to select either of the
displayed waveforms as a current waveform, which is then used in some
editing functions. Sometimes they're automatically set (when you draw
the waveform with mouse, for example). "UNDO" undoes your last
editing operation. It can be quite useful.
"RANGE ALL" selects the current waveform, so that any editing
operations affect the whole waveform.
Freehand drawing:
A very simple way to create waveforms is to draw them from scratch. This is
easily done. Just press the left mouse button and draw. There are two
drawing modes. The default is "pixel". The other is "line". This can be
used for drawing straight lines. There's also a mix-mode, that works in
both "line" and "pixel" -mode. It mixes the drawed pixels or lines with
the already existing data. Mode-selection gadgets are located below "RANGE ALL".
Waveform length:
Each waveform in synthsound can be 2 - 128 bytes long (it must be even,
though). The shorter the waveform, the higher the pitch (it also depends
on the waveform itself). Usually, to make the pitches compatible with other
instruments, you should use length 2, 4, 8, 16, 32, 64 or 128. The length
can be changed with "LEN:" gadgets below the left waveform, by typing in
a new value or by clicking the single-step gadgets.
Multiple waveforms:
Each synthsound can consist of more than one waveform (the maximum is actually
64). On the left, below the left waveform, there's a set of gadgets:
curr. waveform #
|
0 < > / 00
|/ \|
next/prev number of the last waveform
The arrow gadgets select the next/previous waveform. As this is an
operation that is needed often, there are keyboard shortcuts:
Alt-cursor left = previous
Alt-cursor right = next
There are two Add gadgets that allow you to increase the number of
waveforms.
"Last" adds a new waveform after the last waveform.
"Here" inserts a new waveform here, and shifts the others.
Del gadgets:
"Last" deletes the last waveform.
"Here" deletes the current waveform.
Preset waveforms:
There are some simple, often needed preset waveforms available at a
single click. First, make sure, that the destination waveform is the
current waveform (selected with the EDIT <-/-> gadgets). Then, just
click the preset waveform icon. The icons are located at the bottom of
the editor.
The available waveforms are: sine, saw up/down, pulse, random and triangle.
The CLR-gadget clears the current waveform.
The ALL-gadget clears the whole synthsound (so be careful..)
Range operations:
These are some basic operations, that are applied to the selected range
(highlighted white). You can select the range by dragging the mouse over
the waveform with the right mouse button down. You can select the whole
waveform by clicking "RANGE ALL". The Range start/Range end gadgets
at the lower right corner of the synthsound editor can be used to make
small corrections to the area.
When there's no range selected, there's a single horizontal white line.
This is the cursor. Some editing operations need it. The cursor
position can be set by clicking the right mouse button on the waveform
area. There are also three narrow gadgets (on the left of the preset
waveform gadgets) for positioning the cursor:
cursor to cursor to end
start | |
< + >
|
cursor to the middle (of the waveform)
On the middle of the screen, there's a word "RNG", followed by a strip of
gadgets:
RNG Cut Copy Paste Clr Dbl Rev < >
Cut- (works only on left waveform). It "cuts" the selected area, which
is then moved to the right waveform display.
Copy- copies the selected range to the right waveform, but doesn't cut it away.
Paste- copies the contents of the right waveform to the position pointed
by the cursor.
Clr- clears the range.
Dbl- "doubles" the range, making it play one octave higher.
Rev- reverses the range.
< or > shift the ranged data to left or right.
There are two other editing operations: stretch and volume change.
Stretch allows you to stretch a point of the waveform towards some other point
(understand?? no?? then try this:)
For example, select a sine wave. Then position the cursor on the middle of
the waveform (there's a gadget for this purpose, see above). Now activate
the "STRETCH:"-gadget (on the left lower corner of the synthsound ed).
Type in the amount of moving, e.g. 32. This should demonstrate it... If
the number you type in is negative, the point is stretched to left.
Volume change allows you to increase/decrease the volume of selected range:
First, select a range. Then activate the "VOL.CHG:"-gadget. Now you must
enter the amount of volume change (in %'s). For example, to halve the
volume, you should type 50. If you want to double the volume, type 200.
The volume will be changed when you press Return.
Transformation:
This is quite a powerful feature. It allows you to change a waveform to
another smoothly (by creating the waveforms between them).
Demonstration: Allocate 9 new waveforms (click Add/Last 9 times). Now
you have 10 waveforms. Move to waveform 00, and select a pulse
waveform, for example. Then click Transform: Start to mark the
beginning of transformation range. Move to waveform 09 (the last one).
Put here a sine waveform. Click Transform: Do, and the magic is
done. If you view the waveforms 01 - 08, you'll notice that there's
now a smooth transition from the pulse wave to the sine wave.
PLEASE NOTE: AGAIN ALL OF THIS DATA AND INFORMATION (WHICH FOLLOWS)
CONCERNING 'THE PROGRAMMING LANGUAGE' DEALS WITH THE AMIGA AND NOT WITH
THE IIGS SPECIFICALLY.
---------------------------------------------------------------------------
THE PROGRAMMING LANGUAGE
========================
Note: please read this section carefully before experimenting, because
you can lock up your machine with the synthsound programming language
(as with any other language)
The programming language is used for controlling the
volume/pitch/vibrato/ waveforms/arpeggio/etc... of the synthsound.
It consist of simple keywords, of which some have an argument.
The programming is done using two lists of commands/numbers. These lists
are displayed through a small window below the right waveform display.
First there are line numbers in decimal and hex (two leftmost columns).
The middle column contains the volume sequence, while the rightmost is the
waveform/pitch sequence.
volume ctrl seq
|
line | waveform ctrl seq
| | |
00 00 40 00
01 01 END END
These lists are both max. 127 ($7F) entries long. The list is always
terminated with "END" instruction (it's automatically there so you don't
have to do that). You can scroll the list with cursor up/down -keys. The
cursor can be moved horizontally using the cursor left/right -keys. There
are six possible cursor locations (3 for both lists). When entering
commands, the cursor should be on the leftmost position of that list.
Values are entered by pointing the cursor over the value to be changed and
entering a new value. Commands and numbers are entered with keyboard. You
can insert entries to the list with the Return-key (or clicking
Ins-gadget), and delete using Del (or clicking Del-gadget). JMP commands
are renumbered when entries are inserted or deleted.
ALL NUMBERS IN THE SEQUENCE LISTS ARE HEXADECIMAL.
Just remember this, and you have no problems (fingers crossed :^)
Also, the editing (Esc) must be on before the lists can be changed.
First, let's examine some example sequences:
This is a volume sequence:
00 40 <= set initial volume to 64 (hex $40, did you already forget?)
01 CHD <= command, that means "Set volume change down speed"
02 03 <= argument (speed = 3)
03 END
Here's another:
00 00 <= initial volume = 0
01 CHU <= Command: Set volume change up
02 07 <= speed = 7
03 WAI <= Command: Wait
04 10 <= wait 10 pulses
05 CHU <= Set volume change up
06 00 <= speed = 0 -> stop changing volume
07 WAI <= Wait
08 70 <= 70 pulses
09 CHD <= Cmd: Set volume change down
0A 01 <= speed = 1 (slow)
0B END
Third:
00 40 <= vol = $40
01 30 <= vol = $30 (without command, the values are volume changes)
02 20 <= vol = $20
03 END
And fourth, finally:
00 40 <= vol = $40
01 CHD <+ <= change down speed..
02 01 | <= ..= 1
03 WAI | <= Wait..
04 20 | <= ..20
05 CHU | <= change up
06 01 | <= ..1
07 WAI | <= Wait..
08 20 | <= ..20 again
09 JMP | <= Jump (= goto)
0A 01 -+ <= to line number 01
0B END
Now some waveform/pitch sequences. waveform/pitch sequence is the "mastersequence"
while the volume sequence is a kind of "slave sequence".
First: (the simplest case)
00 00 <= set waveform #00
01 END
A bit more complex:
00 VBS <= set vibrato speed
01 40 <= speed = $40
02 VBD <= set vibrato depth
03 02 <= depth = 2
04 00 <= waveform #00
05 END
And very complex:
00 ARP <= start arpeggio sequence
01 00 \
02 03 arpeggio values 0, 3, 7 (minor chord)
03 07 /
04 ARE <= end arpeggio sequence
05 VBD <= vibrato depth
06 06 <= 6
07 VBS <= vibrato speed
08 40 <= $40
09 00 <= set waveform #0
0A 01 <= set waveforms 01 - 0A (one timing pulse/waveform)
0B 02 | |
0C 03 \ /
0D 04 \_/
0E 05
0F 06
10 07
11 08
12 09
13 0A and back to #01...
14 08
15 07
16 06
17 05
18 04
19 03
1A 02
1B 01
1C JMP <= jump
1D 09 <= to position 09 (restart waveform changing)
1E END
---------------------------------------------------------------------------
You can learn a lot by examining the example synthsounds and by
experimenting.
Now, some reference...
About timing:
For both sequence lists, most of the commands are fetched, executed, and
the next command is immediately fetched. There are also some commands that
wait for the next timing pulse, this is important because the computer
would otherwise send all its time executing the sequence lists (and would
hang up). You should take care that all loops contain a command, that
waits for the next timing pulse. These commands are WAI (Wait), vol chg
(plain number in the volume list) and set waveform (plain number in
pitch/waveform list).
For example, the following loops will hang up your computer:
00 JMP 00 CHU <-+ command CHU doesn't wait
01 00 01 02 |
02 JMP | 03 00 --+
While the following would not:
00 20 00 WAI
01 JMP 01 02
02 00 02 JMP
03 00
Execution speed:
The synthsound handling routine is called once every interrupt. This means
that the handling is usually done 6 times/note (can be changed with
secondary tempo, see main docs). Both lists have an execution speed, that
is the speed of the operation. When the speed is 1, the next command is
fetched/pitch changed etc. on every interrupt. If the speed was 2, it
would happen every second interrupt (runs two times slower). The initial
execution speed can be set with the two speed gadgets. During executing,
the speed can be changed with command SPD.
VOLUME SEQUENCE LIST COMMANDS
=============================
1. Set volume
Command: ---
Keyboard: --- (key needed to enter the command)
This is the default command (no command identifier). It sets the
absolute volume of the synthsound. It should be 00 - 40. Note that
the relative track volumes are not used in synthsounds (mostly
because of performance reasons).
Example:
00 30 ;volume = $30
01 10 ;volume = $10
...
2. End sequence
Command: END
Keyboard: ---
This command terminates the volume sequence list. It's always there
and automatically inserted. You can't insert commands past this one.
3. Set volume change down speed
Command: CHD
Keyboard: D
This command sets the speed, in which volume is decreased each timing
pulse. The volume starts changing automatically after this command.
To stop automatic volume sliding, issue this command with speed 00.
Example:
00 CHD
01 05 ;speed = 5
...
10 CHD
11 00 ;speed = 0 -> stop sliding
4. Set volume change up speed
Command: CHU
Keyboard: U
This command is like CHD, except it sets the volume change up.
5. Wait
Command: WAI
Keyboard: W
This command waits for specified amount of timing pulses (pause).
Example:
03 WAI
04 10 ;wait for 16 ($10) pulses to occur
6. Jump
Command: JMP
Keyboard: J
Causes an immediate jump to another position of the volume list.
Example:
05 JMP
06 0A ;jump forward to line 0A
7. Jump waveform sequence
Command: JWS
Keyboard: Shift-J
This command causes a jump in the waveform sequence. This can be used
for example, to trigger a pitch change at the end of the vol seq
list. Note that this DOESN'T cause a jump TO waveform sequence.
Example:
04 JWS
05 0F ;Cause jump in waveform sequence list
8. Halt
Command: HLT
Keyboard: H
This has the same effect with command END (halt execution), but it
can be inserted in the middle of the sequence list.
Example:
03 HLT
04 04 ;some other code (can be accessed with JMP instruction, for
... example)
9. Set speed
Command: SPD
Keyboard: S
Sets the execution speed.
Example:
0A SPD
0B 01 ;speed = 1 (fastest)
...
(The following commands require OctaMED V2.00 / MED V3.20 or later.)
10. One-shot envelope
Command: EN1
Keyboard: E
This command allows you to draw the shape of the envelope with the
mouse. When the end of the envelope is reached, nothing occurs.
02 40
03 EN1
04 05
Waveform 05 is used as an envelope. Note that the envelope execution
starts on next interrupt, so the volume is initialized to $40.
The envelope waveform must always be 128 bytes long!!
11. Looping envelope
Command: EN2
Keyboard: Shift-E
This works like command EN1, except that when the end is reached,
execution will start again from the beginning.
WAVEFORM/PITCH SEQUENCE LIST COMMANDS
=====================================
1. Set waveform
Command: ---
Keyboard: ---
This command is used to indicate the waveform number (starting from
00). After this instruction, the execution stops until next timing
pulse occurs. Don't use waveform numbers that are higher than the
actual number of the last waveform.
Example:
00 00 ;waveform 00
01 01 ;waveform 01
...
2. End sequence
Command: END
Keyboard: ---
This command terminates the waveform/pitch sequence list. It's always
there and automatically inserted. You can't insert commands past this
one.
3. Set pitch change down speed
Command: CHD
Keyboard: D
This command sets the sliding speed for sliding pitch down. The
sliding automatically starts after this command and stops, when
speed is set to zero.
Example:
00 CHD
01 03 ;set speed to 3
...
4. Set pitch change up speed
Command: CHU
Keyboard: U
Just like previous, but slides pitch up.
5. Wait
Command: WAI
Keyboard: W
This command waits for specified amount of timing pulses (pause).
Example:
03 WAI
04 02 ;wait for 2 pulses to occur
6. Jump
Command: JMP
Keyboard: J
Causes an immediate jump to another position of the waveform/pitch list.
Example:
05 JMP
06 0A ;jump forward to line 0A
7. Jump volume sequence
Command: JVS
Keyboard: Shift-J
This command causes a jump to happen in the volume sequence. Can be
used e.g. for triggering volume changes after some waveform event.
Example:
09 JVS
0A 00 ;start volume sequence from the beginning
8. Halt
Command: HLT
Keyboard: H
This has the same effect with command END (halt execution), but it
can be inserted in the middle of the sequence list.
Example:
03 HLT
04 04 ;some other code (can be accessed with JMP instruction, for
... example)
9. Set speed
Command: SPD
Keyboard: S
Sets the execution speed.
Example:
0A SPD
0B 01 ;speed = 1 (fastest)
...
10. Begin arpeggio definition
Command: ARP
Keyboard: A
This command starts the arpeggio sequence. The following values are
the arpeggio offsets from the base note. The arpeggio sequence
is terminated with ARE-command. The arpeggio starts automatically
after the sequence is defined.
Example:
03 ARP ;start arpeggio
04 00 ;offset values
05 04
06 07
07 0A
08 ARE ;end arpeggio definition
11. End arpeggio definition
Command: ARE
Keyboard: E
Ends an arpeggio definition. See above.
12. Set vibrato depth
Command: VBD
Keyboard: V
This command is used to set the vibrato depth (00 - 7F).
Example:
02 VBD
03 04 ;set depth to 4
13. Set vibrato speed
Command: VBS
Keyboard: Shift-V
This command sets the vibrato speed (00 - 7F). Both speed and depth
must be nonzero for vibrato to occur.
Example:
02 VBD
03 04 ;depth = 4
04 VBS
05 30 ;speed = 30
14. Reset pitch
Command: RES
Keyboard: R
This command resets the pitch of the note to its initial pitch.
(The following command requires OctaMED V2.00 / MED V3.20 or later.)
15. Set vibrato waveform
Command: VWF
Keyboard: Shift-W
Sets the vibrato waveform. The argument is the number of waveform.
The waveform should always be 32 bytes long!! Note that it's
actually played reversed (use the Rev gadget to reverse it).
By default, sine wave is used.
Example:
00 VBD
01 06
02 VBS
03 40
04 VWF
05 04 ;use waveform number 04 as vibrato waveform
===========================================================================
Synthsound handling commands in the songs:
Command E in the songs controls the MIDI pan, if used with MIDI, but with
synthsounds, it is used to trigger a jump in the waveform/pitch sequence list.
For example, if you wanted to decrease the pitch of the sound after a
certain point, your waveform/pitch sequence could look like this:
00 VBS
01 40
02 VBD
03 06
04 00 ;play waveform 00
05 HLT
06 CHD ;pitch changing entry point
07 02
08 END
Now you could compose a track like this:
C-2 3000 ;this is the previous synthsound
--- 0000
--- 0000
--- 0E06 ;cause a jump to position 06 (pitch starts to slide down)
--- 0000
With command JVS, you could make the command affect volume sequence too.
Hold/Decay:
===========
Hold/Decay work well with synthsounds too. The decay value in
synthsounds is, however, a jump address in the volume sequence list.
When the decay should start, the execution will jump to this entry in
the vol seq list. This means that you can handle the decay on any way
you want. You can also make it affect the pitch/waveforms using the
command JWS.
Example volume sequence list:
00 40 ;volume
01 HLT ;end
02 CHD ;decay handling (entry point) -> cause decay
03 03
04 END
The decay value for this synthsound should be 2. When you save/load
synthsounds, the decay values are saved/loaded with the instrument.
Saving/loading synthsounds:
Synthsounds are saved using the file requester panel, "save instr". They
usually take very little disk space. Synthsounds can be loaded just like
normal samples (file requester, sample list, typing sample name).
HYBRID SOUNDS:
Hybrid sounds are much like synthsounds, except that there are no waveform
pieces. Instead, there's a normal sample. All commands of the synthsound
handling programming language can be used with hybrid sounds. There's only
one thing you should know: Don't use "Set waveform". Because there's only
a single waveform, there's no need for that (and it wouldn't work anyway).
Final note - CODA !
Don't be afraid if you didn't understand everything described in this file
(I hardly understand it myself ;-) All this information is not necessary
for using the synthsounds (only for designing them).
---------------------------------------------------------------------------
This is a last minute addition, that may well have a lot of redundant
information and tech. data. But, it also has some additional technical
data, undates and inclusions that could be useful for reference, to the
readers of this collective report, review and article.
Therefore, I've decided to include it in its entire informational and
text chat content, for your review. I had no time to correct the
offset text, remove the useless on-line chat comments, or do any
sentence, paragraph or other alignments and editing.
I hope it will be useful and not to confusing. Again, I have to point
it out and please keep in mind that this all deals with the Amiga and
MODfiles from them. It's content, computer language reference and the
like, should not be confused with that for the IIgs.
It was written for technical support and applications with the Amiga
computer and their native MODfiles. So, please keep this formost in
mind, when you read, reference and review it. - Dr. Tom
---------------------------------------------------------------------------
From: Lars Hamre
There are _NO_ standard sample rate for the samples used in modules.
But most often the samples are done on the rate called C-3 (which is
about 16574 Hz if you have a PAL machine). Sometimes drums are sampled
at A-3 (around 28 kHz), and some sounds are at ~8 kHz or anything else
to save space.
The sample rate on each of the channels can be selected by a period value,
which tells the hardware how many ~3.5 MHz clocks to count down before
playing the next sample. If you have a 16 kHz sample you simply play
it at a note that gives you 16 kHz sample rate. If you play it one octave
lower, you get a 8 kHz sample rate (and a double period value).
Here are the magic formulas:
7093789.2
SampleRate = -------------- (For a PAL machine)
Period * 2
7159090.5
SampleRate = -------------- (For a NTSC machine)
Period * 2
So, the most normal rate is (C-3, period 214):
7093789.2
----------- = 16574.27 Hz
214 * 2
(16726.8 Hz if you use the NTSC formula, but i have a PAL machine)
The Amiga has four channels with independent sample rates, so there are
no such thing as a common rate for all channels, and there are no mixing
going on.
For a list of period values and what notes they are supposed to correspond
to, see the list of period values in the MOD format below.
Also note that finetuning are actually done by switching between 16 different
period tables (not included here, but get the Amiga Protracker Playroutine).
Lars Hamre
larsha@lise.unit.no
[ A description of the mod format follows: -Lars]
Newsgroups: comp.sys.amiga.audio
From: steinarm@ifi.uio.no (Steinar Midtskogen)
Subject: Old MOD. format + PowerPacking
Summary: Description of the MOD format and powerpacking
Keywords: MOD, Powerpacker
Organization: University of Oslo, Norway
Date: Sun, 14 Mar 1993 23:49:00 GMT
Since everybody seem to ask about the module format, here it comes. I
will post this information every forthnight, at least for a period (pun
intended).
I have put together most of the documentation about the module format
from PT2.3, edited it heavily (all credit to the original authors, but I
take responsibility for all errors) and added information about
powerpacking and how the Amiga volume work.
The reason for not using documentation following PT3.0, which is written
by my group, is that there is no docmentation on the MOD format following
that. Our reason for not distributing the documentation of the MOD.
format with the tracker is that we try to discourage the usage of the MOD.
format; a new format is coming up soon. So don't write a revolutionary
piece of code based on the information presented herein; it will hopefully
be outdated in only another month.
[ Outdated? I don't think so... -Lars]
(The "I" in this file refer to Vishnu of Cryptoburners, the "we" refer to
respectively Amiga Freelancers and Cryptoburners; it should be obvious from
the context which of them)
Credits for original doc files:
Lars "ZAP" Hamre /Amiga Freelancers
The documentation to the song/module format.
The information about how to calculate BMPs from the Amiga CIA timings.
Peter "CRAYON" Hanning /Mushroom Studios/Noxious
Updates to the song/module format information. (I thought that it looked
pretty similar to the one from PT1.3, but he had put his name under,
so...)
The table of effect commands.
[ Hrm. Both files are mine. I can see no big changes. -Lars]
I have updated the information in the song/module format text, and added
information on how the finetuning work.