andym00

Here's the NES source code.. Someone should give it a go then jt_robocop3.asm jt_robocop3.txt

Personally, AMY was a great (if unoriginal) design, and additive synthesis has always been a fun field to me, but with AMY I've always been concerned over the amount of CPU power that would have been required to drive it, sensibly.. I mean 64 oscillators and 72 slope generators to control is a lot for a little 6502 to drive.. Playing back simple instruments would have been fine, but throw bends, glides, arpeggios and complex envelopes into the mix and the 6502 is in deep deep trouble And likewise, playing back something resembling MIDI data that doesn't require much RAM to back the playback up would have been fine, but memory intensive from a data point of view.. Go to more conventional sequences, patterns etc, and you're looking at a lot of working RAM.. I loved the idea, just always dubious of how well it'd work with a 6502 driving it.. As an example, AMY would have provided a quarter of what the Kurzweil K150FS did soundwise, and although the latter had a 256 point hardware envelope generator for each of its 240 oscillators, it still needed a 68K to drive the thing sensibly.. And whilst the AMY patent does suggest that using an additional microcontroller to drive AMY would be advisable, I just couldn't see that happening if it was to surface in any of the 6502 machines.. I mean bolting in an 8051 (as they suggested) just to drive the sound chip ? On a cheap as chips computer ? Nah, wasn't going to happen imho.. In the bigger 68K based machines planned, then it makes sense.. Still, loved the K150FS and actually have 2 of them complete with the Apple IIe & Sound Modelling Program to go with them, hence why I have much affection for the idea of AMY and indeed all things additive.. Anyway.. AMY is something I would have loved to have had a chance to play on, if only from the point of view of the challenge of driving it with a cruddy 6502, but I can't see any point in resurrecting it now.. Though Candle no doubt already has an FPGA design for one

Neither.. The original is a great piece of music, composed by an accomplished composer that made the tune he wanted, how he wanted.. The other is some 5 minute imported abomination where the person that clicked import has not the faintest musical clue..

I hadn't listened to it, assuming it was going to be another out of tune tortured cat disaster, but on reading the description by Macgoo, I had to listen.. My mistake... He's right.. You are doing POKEY no favours at all with these abominations

It's cool, I like it, and to some degree it's bound to sound like the others In case you've not already come across it, you might be interested in the recently released Sidreloc since you could probably very easily extend that to change the address of the SID hardware registers, in addition to relocating the driver and data to whereever you need.. Currently it can do about 91% of the entire HVSC (40,000+ tunes), and is a great bit of programming actually edit: And the Sidreloc actual webpage is here: http://www.linusakes...reloc/index.php

Heart pumping moment this morning, slip through the door from the postman, "postage due on item"! Heart beat races! Could it be! A hungover zooom to post-office, give it to me, give it to me... Bah!! Only the bank sent some stuff and bizarrely somehow managed not put any stamp or frank on it ( Next time

Is there an exe ? Sounds 'like' Aleksi Eebens VIC-20 Sid Vicious ?? And Emkay.. Again.. The maximum fundamental is 3.9KHz.. That doesn't mean there's no harmonic content higher than that.. A pulse waveform with a duty cycle of 75% has harmonics that are only slightly below the fundamental in level.. So for example, a 3.9KHz pulse waveform at 75% duty cycle has the fundamental at 0dB at 3900Hz.. And a 2nd harmonic at 7800Hz only -2dB down from the fundamental..

I was only curious after seeing these breakdowns of the 800 vs 400 and they looked, kind of, similar http://www.the-liberator.net/site-files/retro-games/hardware/Atari-800-Rev-A-PAL/atari-800-rev-a-pal.htm http://www.the-liberator.net/site-files/retro-games/hardware/Atari-400/atari-400-rev-1-16k-pal.htm I only asked because having a 400 in front of a TV is for me is the real gaming experience second only to the VCS..

One for sure, although 2 if there's any hope of it working in a 400 ?

No matter how much I bite my lip and say no: 15 Trillion dollars of debt... Roflmaololollolouchouchmyribs!!! You are the next Greece I reckon..

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The internet is a sad place, and even worse, I know the picture you are talking about I need "brain bleach". Sadly, I don't have any photo-editing software with me, otherwise I'd have posted stockinged geezer with his joystick plugged into port-2 by now

Dunno, I recall a picture of a mentaller getting intimate with an exhaust pipe on a Range Rover many years back.. If anyone's going to do it with a 64, I reckon it'll be him

Nothing beyond the fact that I was looking to reduce my A8 fleet to a sensible count, not increase it even further

Hmmm, I don't care about the drive issues, but I don't want 3 A8s each with a unique CPU.. One 6502, one 6809, one 65816.. That's too much for me.. I guess I'll be skipping this then..

Silly question time, but are there any plans for a simple way to swap the 65816 out for a real 6502 ? Either through an adapter or something, or even a full-blown 6502 emulation on the FPGA ? Just wondering because current software that uses *any* illegal opcodes is going to fall flat on it's face running on a 65816 out of the box.. Or is that not a concern for this ?

Cock! I'm sure the post above changed whilst replying.. My fault for not quoting

Do you really need tools ? I mean, for every great idea I've had, I never really relied upon tools to deliver, if it was that important.. Tools came later.. No programmer ever waits on tools for something they've got a hard-on over.. It's paradoxical..

Will Sloopy be assembling them ?

I just enjoy the playing with sounds like that because I find it inspiring to see how sometimes incredibly simple sound sources can be warped beyond all belief into something far bigger than the sum of it's part say it should be.. And it's all good ammunition to have when it comes to writing new sound stuff.. The ToL title track is, I believe, also different when the song is restarted or left to loop.. I mean compared to what you hear the first time you listen through it on a run.. I've never heard it myself, simply because I don't have enough time to listen to a 10 minute track over and over and check for the differences, but apparently the later parts are changed randomly.. I don't recall where I heard this, but it's burned into the brain from way way back for some reason.. And that's exactly it, it's the style of it that implies a guitar, but since there's 2 other voices in use for other parts it's never going to sound like one, and I doubt that it ever was supposed to be one.. We're all clear that when Mr.Galway had 3 voices to him, and wanted to make a definitive attempt at guitar noises he succeeded very well, as in the Wizball game-over tune.. Which ironically I can't find on youtube, but I think we all know what it sounds like.. Listening to anything coming from the era of simple analog and early digital synths it's clear that they're not powerful enough to deliver a full emulation of traditional instrument X, but what they do so well is being able to go places no other instruments can, and if they choose to use the nuances and performance styles of other instruments then all the better for mind-fucking us in the process.. Personally[1], for me, Isao Tomita and his rendition of The Planets from 1976 is a great example of this.. Yes all the instrumentation is a bit far out, but the idea is clear from the start, and rather than thinking this doesn't sound like a French Horn or a Clarinet, or that's not a real person doing some ahh'ing, you just enjoy for what it is, a fantastically well put together piece of music, and one where the instruments speak differently to their normal methods, where everything you hear is because that's how the musician decided it was going to be given the limitations of the hardware available to them.. And, of course extra lashings and lashings of Roland Space Echo as well, which is always a good addition when synths are involved and that space cadet feeling The same could equally apply to his 1978 album Kosmos.. Actually, perhaps more so, because he covers rather more genres of music on this, in particular the Hora Staccato.. A brilliant use of the limited technology of the time, though it's audibly apparent that music technology has moved on some huge steps since 1976.. It was also this album that on hearing, when my dad bought it back then, blew my mind about the idea of synthesisers, and set about the desire to find out how I can make a Microtan 65 make sounds, so for me this album was the starting point of it all for me with an immediate annexing of my dads Microtan65, and an instant crash course in 6502 assembler And in fairness, I guess his 1974 album Snowflakes are Dancing meets all of the above criteria as well, although I think it differs a little in that he explores the real-time expressiveness of the individual instrumentations more so here than in his later creations.. Ooops, Tomita ramble.. Sorry But to get marginally back on topic, as much as I can manage anyway, Galway for me was the master of just doing what he wanted and doing it well, and utilising every ounce of expression he had available to him, be it melody wise, or implied melody and syncopation with the other continuously controllable parameters, namely the pulse width and filters .. I find it surprising that so few other composers made the choice to do away with the traditional percussion tracks of the time as Galway more often did.. And what often comes out of his compositions is something where the total of it is just a brilliant piece of music in its own right, regardless of platform.. Just go to remix.kwed and check out all the remixes of the Wizball title music, or bang wizball into spotify.. It's a hard tune to fuck up, and quite literally timeless.. That's not to says that his tracks with percussion are lesser by any stretch at all.. Since this has turned into a super ramble, I might as well mention a little tale of how funny the universe can be when it chooses to take the biscuit totally.. A few weeks ago I pulled into the services off the motorway for a 2am burger on the way home, and all the kids with their cars were there as usual, dub-step booming towards the stars from their stupidly large sound systems, and I pull in, Parallax title music in full flow[2] and rather loud.. As the universe would see fit at that point, I came to the attention of the boom-car-kids as I parked up, and found myself joined by two of them at the window, with them wondering "what the fuck is that racket!!".. They stayed and listened to the rest of it, seemingly liking what they heard, and information passed on as to who and what it was.. Figured that was it.. When I came out the services and headed back to my car, what do I hear coming from one of the cars at unearthly levels and a volume of bass that could level small buildings ? It's only Game Over coming from the car those 2 were with earlier, looking happy as larry in their pressure vessel of bass, doomed ear drums, and a very smoky environment, and a big thumbs up from them.. Anyway, it's all about appreciating the music, as the musician intended it to be heard, not about who can make the best worst impression of traditional instrument X or Y.. [1] Although you could equally replace this with Carlos, Moog, Kitashoji or any of the founders of this genre.. For the record I've deliberately left Jarre out because I don't think he really qualifies as a founder in this department.. Oooo, can't have a post without a potentially contentious issue can we ? [2] About 5% of my driving playlist is SID tunes, not the entire thing like you might think!

Because it's a bit of fun.. Isn't it ? Anyway, here you go.. The original SID with a few FX.. Just a 5 minute hatchet job.. Think I might have messed the timing up in the 2nd part, no matter, and I think I went a bit silly with the lead line there as well.. I'm still not convinced it's actually even supposed to be a guitar in the first place, but it works and triggers the release of copious amounts of endorphins into my brain, whatever it it's meant to be sites.google.com/site/andym00/files/Untitled_mixdown.mp3 sites.google.com/site/andym00/files/Untitled_mixdown_lead.mp3 Anyway, I used to enjoy taking apart Galways song because they're simply magnificent pieces of music regardless of what platform they're on, and it's been long overdue.. If you really want to hear a better attempt by Galway at guitar shenanigans, .. I think that's one of the best tracks ever in any computer game.. At about 6.20 in he starts to go into major wingly wangly guitar mode, that said the whole song is awesome up loud, and is a great showcase for some of the really subtle SID subtleties, and the lovely bit at 3.20 always sets the hairs on the back on my neck tingling..

No thanks, it's not going to fix the fundamental wonky notes is it.. edit : lol.. I did make the mistake of pressing play actually.. Fuck that's awful!!! Have fun with your POKEY "e-guitar"...

Then why post a version of it drowning in Reverb, saying this is what a guitar sounds like ? Anyway, you call it what you want.. If you're convinced that that's supposed to be an "e-guitar" in the original song then fine, carry on.. But I guess you'd better ask Galway really, because when he chooses to do a guitar, he does it..

And how do you exactly do you think the version by our bespectacled friend sounds completely dry, and with not a jot of reverb or other effects ? That could be a kazoo under all that reverb, and it'd still sound awesome..

http://www.youtube.com/watch?v=Z-qmW2MDmZQ