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Merry Christmas & Happy New Year, everyone! I've been working on a little project for the past several months and it is finally ready to be shared. Introducing the new and improved Intellivision Music Tracker v1.5. Just what is an "Intellivision Music Tracker"? It's a software library that allows you to play specially crafted music files in your own Intellivision games. These files are similar in nature to the classic tracker module (MOD) format employed in many old school platforms. Originally written by Arnauld Chevallier and released to the public domain many years ago, this new version includes many changes, enhancements, bug fixes, and fully comprehensive documentation. This entire project started as part of the demo Voyage: An Intv Journey. The original idea was to take Arnauld's tracker and enhance it to support the additional sound processor in the ECS, and fix a few latent bugs. I then took it upon myself to reverse-engineer the entire tracker and document in exhaustive detail the data format in order to add new features to it. The result is not only a comprehensive user manual and technical guide, but an improved and highly-optimized version of the tracker. Plus it plays some of the best kick-ass drums you've ever heard on an 8-bit sound chip. Below is a list of the most important features of the Intellivision Music Tracker: Pattern-based song sequencing, with support for an unlimited number of patterns. Supports up to six independent sound channels, updated and playing simultaneously. Full 6-note polyphony; 5-note polyphony, with one drum channel; or 4-note polyphony, with two drum channels. 64-point user-defined software envelopes. 4-step pitch effects (e.g., arpeggios). Vibrato effects configurable with 3 levels of depth. Simple programmable drum sound synthesizer. Supports up to 85 individual instrument definitions with independent envelopes, and pitch and amplitude modulation effects. Supports over 40 individual drum instrument definitions per song. Global master volume control. Dynamic active channel selection. (New!) And if all of that wasn't enough, in a fantastic twist of fate, this new version includes support for IntyBASIC integration, making it dead-simple to incorporate the tracker in your own IntyBASIC games! The standard distribution includes everything you need: Tracker v1.5 User Manual & Technical Guide. Tracker library and dependency modules. Interface modules for both Assembly Language and IntyBASIC programs. A global music definition file with useful predefined envelopes, effects, and drum sounds. Eight sample songs, including a cool drums solo showcasing the new drum sounds. Along with the standard distribution, I include below an "IntyBASIC SDK" project with an example program illustrating how to use the tracker from IntyBASIC. Current Revision #4 (2021-03-07) Tracker v1.5 User Manual & Technical Guide.pdf - User Manual trk-distro-rev4.zip - Standard Distribution trk-demo (IntyBASIC).zip - IntyBASIC SDK Project And for those who do not want to build or compile the project to check it out, below are some MP3s exported from the emulator playing the sample songs: butterfly-remix.mp3 - Flight Of The Butterfly - By @carlsson demo-remix.mp3 - Demo Song (Remix) - By @Arnauld drums-demo-808.mp3 - Drums Demo (Funk My Drum Machine) - By @DZ-Jay space-music.mp3 - Journey Through The Stars (Space Music) - By @carlsson voyage-remix.mp3 - Voyage Theme - By @carlsson beatit-remix.mp3 - Beat It (Remix) - By Michael Jackson (originally tracked by @Nyuundere, remixed by @DZ-Jay) One of my goals in documenting the data format so thoroughly was to enable the creation of MOD-to-Inty or MIDI-to-Inty programs to convert standard music files to the Intellivision Music Tracker format. I hope others will take inspiration of this project and contribute to this effort. Let us enrich the musical library of the Intellivision and expand the pool of musicians working on it. Many thanks to Arnauld Chevallier for the original software and for his many contributions to this community. Now, go make some cool music! Cheers! -dZ. Latest Version Release Notes: NEW: Instrument envelopes now recycle indefinitely, by backtracking a number of sample points from the end. The backtracking offset is configurable with a global constant. FIXED: Optimized the code for size and speed to compensate for additional code brought in by recent enhancements. FIXED: Changed the behaviour of "NULL" events that include instrument changes, to reset the channel counter. The old behaviour is believed to be a bug. FIXED: Included the latest version of IBN-to-IMT conversion tool. UPDATES: 2021-01-10: Updated attachments of library distribution to revision #1. 2021-01-22: Updated attachments of library distribution to revision #2. 2021-02-03: Updated attachments of library distribution to revision #3. 2021-03-07: Updated attachments of library distribution to revision #4.

I've been a fan of Herb Alpert since I was a kid. We just about wore out the Tijuana Brass Christmas Album playing it every year. Then for some reason, in my early teens, I started really getting into their music. I'm not sure why, other than it was probably because I was getting into collecting records at the time (the Monkees), my folks already had a number of TJB records at home, and I was playing trumpet in band at school. And, well, the music was fun and catchy. It was already at least a dozen years out-of-date by then, but it was so unique, listenable and undeniably happy, myself and a couple of friends really got into it. Non-ironically, too. But I really didn't know anything about Herb or the TJB. In fact, when I went to ask our high school band director if we could play some Herb Alpert music, he said, "We already are." Little did I know, Herb had just had a massive hit with the #1 song Rise, and we were playing 1980 - the opening track on that album (you should be able to guess the year this all happened ). I don't think Rise ever got any play on the radio station I was listening to at the time, which was AM top 40. I certainly don't remember hearing it before getting the album. (If Rise sounds familiar to you young 'uns out there, this was sampled by Biggie Smalls and became a hit all over again, generating even more royalties for Herb. Nice work if you can get it.) But at that point I started following Herb as a solo artist, and each new album was... Well, hang on. I've already written this somewhere. Let me find it. It's here somewhere... It's really too bad Categories don't exist in the blogs here anymore. It would make this a lot easier. Gimme a minute... Okay, here we go. So I've written about Herb's solo career here: https://atariage.com/forums/blogs/entry/1311-time-marches-on/?tab=comments#comment-2826 And here: https://atariage.com/forums/blogs/entry/6419-mutton-beef-and-trout/ And here: https://atariage.com/forums/blogs/entry/8097-new-old-music-part-4/ And here: https://atariage.com/forums/blogs/entry/13004-new-old-music-parts-8-9-10/ And here: https://atariage.com/forums/blogs/entry/15180-new-old-music-parts-13-14-15/ And even then, there have been two more albums released since then that I haven't reviewed yet. The point is he's recorded a lot of music. Not counting Greatest Hits compilations, I have 47 of his albums (which are all of the ones I'm aware of), 30 of which were recorded after he disbanded the TJB. And he's continually changing what he's doing. He never stands still, and rarely does the same thing twice. Always exploring. Following his instincts. Creating what sounds good to him, not necessarily what he thinks will be a hit. Plus, Herb's a painter. And a sculpter. And a very wealthy philanthropist. You see, the TJB earned him a lot of money. He sold over 72 million records. That includes 15 gold records, 14 platinum records, several #1's, and 9 Grammy awards. He was also the "A" in A&M Records. He and co-founder Jerry Moss sold that to PolyGram in 1990 for $500 million. Not bad for a couple of guys who started in a garage with a tape recorder. So, from this unassuming trumpet player playing "happy music", to a multimillionaire industry giant, to a remarkably humble artist and generous philanthropist. This is all stuff that I learned over many years of following him, reading articles here and there, and of course piecing things together on the internet. Now of course, you can look up a lot of this on Herb's website or Wikipedia. One-stop shopping. But that doesn't really show you who Herb Alpert is. (How's that for a segue? Even after months off, you're still getting the same quality writing you've come to expect from my blog! Note that I didn't say "good" quality. Just "same" quality.) But this new documentary does. Herb Alpert Is... was originally intended for a theatrical release, but the Coronavirus pretty-much took care of that. But you can get it on various streaming platforms. In my case, I bought it on iTunes. Even though I knew much of the information factually, when you can see and hear Herb talk about his career, and watch vintage performances, hear first-hand accounts and interviews, it becomes a far more engaging and engrossing story. More than half of the documentary focuses on Herb's early career and years with the TJB and A&M. Of course, that's where people know him from. It largely skims over his solo years, stopping briefly to focus on some work he did with Hugh Masekela, the recording of Rise, and his collaboration with Jimmy Jam and Terry Lewis, but it doesn't really do a thorough job of showing how much music he's recorded as a solo artist. That said, this is more of a biography than a discography, and it does show who Herb Alpert is... as a person, an artist, and how he's arrived at who he is now: a vibrant, passionate, committed husband, artist, philanthropist and musician. At the age of 85. There are a few fun facts it would've been nice for them to touch on - Herb playing at the Super Bowl, or being an extra in The Ten Commandments, but it still covers a remarkable amount of ground. For my money, it could've easily gone another 30 minutes. I would've loved to have heard more about his creative process with the TJB and his solo career. Maybe they'll release some bonus footage or an extended cut someday. Still, it's a compelling and inspiring story. It's positive and uplifting. And the music is still happy. Right now, we could use pretty-much all of that. Herb Alpert Is... a 9/10. (There's also a BBC documentary from ten years ago, which covers much of the same ground. It's only an hour long, and the approach is more factual and less personal, but it's still very good.)

I started looking at a disassembly of Melody Blaster, after I became curious as to which ECS games supported tape expansions. My hope is to create virtual tape images for jzintv that can be used to allow extra music into the game. As an intermediate step, I'll try creating a ROM hack with new music in it. The ROM follows the standard memory map for 12K Mattel games: 8K in the $5000-6FFF range, and 4K in the $Dxxx range. Most of what's in $6xxx is the Help text, and it overflows a little into $D0xx. After that is the 11 tunes. There are a bunch of calls in the code to functions at $40xx and $41xx, so the ECS "Executive ROM" must be located there. The ECS does have onboard RAM, and I'm pretty sure tunes are loaded there and then parsed by the ECS EXEC. The list of pointers to the starting addresses of each tune starts at $57E7 (cartridge ROM), with the low-order byte listed first, and the starting address for the current tune is loaded into $354 (16-bit system RAM address). The game allows for one extra tune to be loaded into memory, either from a tape or by playing a tune (one channel only). I hope tape tunes aren't limited to a single channel, but I don't know yet. All the music data fits into 8-bit words, probably because that's the width of the ECS RAM. As for the tunes, the first 18 bytes comprise the title. I looked at the first 2 tunes so far, which both had a 9-byte signature starting with 0 1 1 9 6 6 9 4. After that was the data for each of the 4 channels used by the game (2 sprite-based notes per channel). The channels' lines are listed separately, in order from low to high, and not all of them are used. The music data consists of byte pairs: a note ($18 is Middle-C) or $80 for a rest, and then a duration in "ticks". In most cases, channel data is separated by the signatue 1 1 $80 1, but I found an exception in Tune 2 "ROW,ROW THE BOAT". That signature appears twice in a row in Tune 1 "BLASTER'S BLUES" because one channel is not used. In many cases, channels' music data is prefaced with a rest, because another channel has a starting pick-up. The first channel for BLASTER'S BLUES is the left-hand harmony line, which has a small pause to allow the pickup in the right hand melody line. Then the channel-separator signature appears twice, followed by the melody line. Strangely, the fourth channel has a series of rests which add up to 234 ticks, where it is then used to play a second note in the right hand at the tune's end. There are a total of 9 consecutive rests here, the first 8 of which are 25 ticks each ("$19"), and the last of which is 34 ticks ("$22"). There's a little more data here which I haven't yet deciphered. ROW,ROW THE BOAT is played as a round, with the harmony line picking up a measure behind the melody line. The same value $18 is used for the C note in their respective octaves, which leaves me to believe that the ninth byte in the signature following the title contains bits to tell us which channels have octave offsets (in other words, are meant to be played by the left hand or the right hand). The end-of-channel signature is also absent at one point, so maybe the header signature tells us which channels are not used at all? That's as far as I got so far. I'll take the time to study the other tunes later today. Another interesting point is that there will sometimes be tiny spaces between notes at what appear to be arbitrary points: a note played for 2 ticks followed by a 1-tick rest in one hand and for the full 3 ticks in the other hand. That indicates to me that the music data was created by a device that a MIDI keyboard was connected to, and that data was only moderately cleaned up afterwards to get a consistent tempo across all channels.

Hello, all! I just recently got an Atari Jaguar and I'm happy to be a part of the community! I was hoping you guys could possibly help me with an issue. I ordered a few games since the tail end of June, and one I really looked forward to having was Zool 2. I just got it today, but when I tested it out there was no music playing at all. Sound effects played in levels, however. I thought I could fix it in Options, but there was no way to toggle the audio. I think it's a problem with the cart because my other games (Cybermorph, DOOM) worked fine, audio and all. I had a cartridge issue with my Jaguar before, as I was getting the Red Screen with my copy of Iron Soldier, and it finally worked after I cleaned the contacts and lifted the cartridge up slightly. But even after giving the contacts a light cleaning with some rubbing alcohol, my copy of Zool 2 still has the same problem. Did anyone else ever experience this with a Jag game?

Is there any MIDI software that uses BANK SELECT on the Atari ST? I used to use Master Tracks Pro 3.6 back in the mid-90s with a Yamaha PSS-795. The software can only handle up to 128 programs (patches) and was published in 1990 which was before General MIDI was introduced. So with newer keyboards that have much more than 128 patches, there is no way to assign a certain instrument unless the software supports "bank select" which is standard with General MIDI 2. My new keyboard uses the newer MIDI protocols and sadly, MTP 3.6 doesn't seem compatible. Is anyone using Atari software with keyboards from the late 1990s or newer? Thanks, Steve

A little something produced about 20 minutes ago. Free for anyone to take+use for whatever project they have. I thought it sounds like something that might show after a level/board is cleared, or maybe on a loop (modified slightly from this) when time is running low in a clock-based game. Enjoy. songproto-BonusFrenetic1.bin songproto-BonusFrenetic1.cfg songproto-BonusFrenetic1.bas Mode 0,1,0,1,0 Wait Border 1,0 Scroll 4,4,0 For borderNew=0 to 200 Step 20 : Poke $200+borderNew, $2000: Poke $213+borderNew, $2000 : Next borderNew Wait Wait Print At 21 Color 7 , "Frenetic" Print At 41 Color 7 , "Bonus" Print At 141 Color 5 , "Start: Top side" Print At 161 Color 6 , "Exit: Bottom side" MusicPage = MusicPage ecsCheck = peek($4000) Poke $4000 , ecsCheck + 1 If Peek($4000) = ecsCheck + 1 then Print At 101 Color 4 , "PSG+ECS" Else Print At 101 Color 4 , "PSG only" End If Wait Play Simple Wait : Wait Goto PlayLoop PlayLoop: Wait If Cont.B0 Then Wait : Play Off : Wait : Play MusicInit : Play FrenBonus If Cont.B1 Then Goto ExitThis If Cont.B2 Then Goto ExitThis Wait Goto PlayLoop ExitThis: Wait Print At 213 Color (Rand and 7) , "Bye." For spinWait = 0 to 5 Wait Next Play Off Goto ExitThis MusicInit: Data 5 Music - , - Music - , - Music - , - Music - , - Music Stop FrenBonus: Data 5 Music G3#X , - Music S , - Music F3# , - Music F3# , C3#W Music G3# , B2X Music S , S Music F3# , C3W Music F3# , - Music G3# , - Music S , - Music F3# , C3# Music F3# , - Music A3# , B2 Music S , S Music F3# , C3# Music F3# , - Music G3# , - Music S , - Music F3# , - Music F3# , C3# Music G3# , B2 Music C3# , S Music F3# , C3# Music F3# , G3# Music D3 , S Music - , S Music F3# , D3 Music F3# , A3W Music A3 , - Music - , - Music G3 , - Music S , - Music S , - Music S , - Music S , - Music Repeat (Yes, I'm back, kind-of)

I fell for an ad... It looked so nice on the web page. Thomann sold a Novation Launchpad Mini Mk2 for €58. Writing music is a very melodic thing for me. I sit by my piano and play something. Record it to MIDI and convert it to HandyMusic SASS format. But for the next game I kind of need a bit more electronic, main stream music so I thought I could learn something by trying out the Launchpad with the software Ableton Lite. It was a very educational experience. I sat by my computer banging on the pad till past midnight. Unfortunately most of the samples are analog so there is not much I could do for making Lynx music. But the pad was super. I tried to run some launchpad libraries but they did not recognize the tablet. So I just started to bang on the tablet socket and within 30 minutes I had full control of the keys and the leds on the tablet. The Ableton interface was much too complicated for practical Lynx work. But I liked some of the concepts. At the top of the pad there is a row of buttons labeled 1 2 3 4 5 6 7 8 The first 4 columns will represent the Lynx sound channels. 1 2 3 4 5 6 7 8 o o o o . . . . A o o o o . . . . B o o o o . . . . C o o o o . . . . D o o o o . . . . E o o o o . . . . F o o o o . . . . G o o o o . . . . H Every button "o" will contain a one or two bar clip. It can be any kind of instrument. You can activate only one button per column at a time. To mute/unmute a channel you can press the number pad on the top row. The next thing I liked a lot was the rightmost column of letters. Pressing a letter A..H activates the entire row (all 4 channels) In order to visualize the rhythm the letters A..H light up one at a time in the tempo of the music. Which brings me to the next problem. How to set the tempo? For this purpose I decided to use button 7. You change the tempo by tapping button 7. There is just two LED's per button (red + green) with 2 bits for intensity of one LED. red = 0, green = 0 -> black (no data in this button) red = 3, green = 3 -> yellow (there is a playable clip in this button) red = 0, green = 3 -> green (this clip is currently playing) Then I need to be able to present a clip library with pre-defined drum beats, bass lines, licks, riffs, counter rhythms, breaks. For browsing through the library I plan to use columns 5 and 6. Both columns are independent from each other. By pressing button 5 you get the next page of clips in column 5. Same for column 6. 1 2 3 4 5 6 7 8 . . . . o o . . A . . . . o o . . B . . . . o o . . C . . . . o o . . D . . . . o o . . E . . . . o o . . F . . . . o o . . G . . . . o o . . H So for browsing the clip library you just press any button in column 5. It may contain pretty much anything for one or two bars. If you like the clip and want to copy it to a channel you press the clip button for a long time till it starts blinking. Now you can press any button in columns 1..4 and it will be copied in place for performace. To delete a clip you copy a cell without content and paste it. Then we have the problem with the melody. There is still two columns unused and that will be our piano. We have space for one octave. The # keys are the black keys on a piano. + is for octave up. - is for octave down. The instrument can be dropped in the box 'o' between the black keys. 1 2 3 4 5 6 7 8 . . . . . . + C A . . . . . . # H B . . . . . . # A C . . . . . . # G D . . . . . . o F E . . . . . . # E F . . . . . . # D G . . . . . . - C H OMG. We have obviously wasted one button. The button 8 has no function. So we allocate that one for changing the operation mode for the whole Launchpad. It will toggle between the clip mode you have just seen and the build mode where you put together the clips from individual sounds. The code will run on a Raspberry Pi. The Launchpad is attached to an USB port. I also plan to use another USB port for an USB->serial conversion using FT232. This allows me to communicate with ComLynx at full speed. I am currently writing this in Python 3. Everything will be recorded to json files so you can playback your creation later. There is no "record" button. From this recording I plan to write some kind of music conversion into Handy Music format. ... to be continued ... The colours of the Launchpad are usable. Not "amazing". Here you can see the "piano" to the right. The beat counter is running down (at B just now). Plus there is two active channels. Channel 1 is playing clip nr 3. The "piano" is also green (row E, button 7). I still have not written the Lynx software that plays the actual clips. But that part should be fairly easy to do.

Hi guys! Waiting for something better I've re-done (or rather re-covered) one demo music from Raster Music Tracker for Atari 8 bit. Attached .lnx and .lyx files, .ogg file recorded from mednafen and even its source in Chipper (set program to 480Hz to play this one properly). Enjoy! ? freedom.zip

I'm opening a thread where people can post requests for new SAP conversions. In other words, if you can't already find it in the ASMA, and you would like an SAP version of the music in a game, demo or other program, post it here and I or someone else can take a crack at converting it. Here's an example conversion:

I got a new piano for 2020 as a surprise from my wife. It is an absolutely adorable Nord Grand. Compared to the Lynx it sounds like a dream come true. While reading the manual I found out that you can create your own instruments from your own samples. This led to ideas of how to connect the kbd to the Lynx etc. But after a while I realized that the optimal Handy Music composer could be easier to create on a tablet! The plan is to record the good sounds of the instruments from a real Lynx. Like the sounds that are used in my games. The goal is to create loop sounds that can be repeated. There would be three levels in the composer. Top level: Tempo Compose level: Blocks to play Block level: Interactive drums for creating sfx and interactive piano for melody patterns. Once the blocks are complete you could create small loops like with The output format would be SASS source that can directly be compiled and used in games. Anyone interested to join in on developement?

How good are you at recognizing and remembering Christmas tunes? Compete against a family member or friend if you have one, or take on the computer in three difficulty levels in this memory game where you match 10 pairs of songs. In two player mode, you can choose to use one or two controllers. Hopefully mostly bug free, though one never knows for sure... Computer difficulty levels: 1 - Beginner, will pick tiles randomly regardless or not if those have been flipped before. 2 - Intermediate, will pick the first tile randomly. If it matches a previously seen tile, it has 50% chance of picking that one, otherwise it picks another random one. 3 - Advanced, will pick the first tile randomly. If it matches a previously seen tile, it will always pick that one which means after a while it will more or less clean the board. Download the ROM here: merry.rom

Hello all! I'm releasing another piece of Apple II software. Buzzbox Tracker Buzzbox Tracker is a very simple tracker software for the Apple II. It lets you create sound effects/music which can then be easily used in games or other pieces of work. Some features: Note engine able to replicate (most) standard piano notes, at 7 volume levels Sequencer, so able to place 32 patterns together in 128 combinations Easy "keyboard piano" interface for making music Fully ProDOS compliant, so works with self-booting disks or ProFile disks with subdirectories, etc. Fairly self explanatory text GUI. "Raw mode" so you can create sound effects for games. Conversion utility so you can convert the song files (.BBT) into ca65 assembler source. Buzzbox on Gitlab Download disk images here: Buzzbox v1 (ProDOS self-booting 5.25 floppy and ProFiler image) There's still a fair amount of bugs in this release but I want to go ahead and get it out there so people can play with it. I have just one example song at the moment, but if you create anything neat I would love to hear it and I am willing to include it into future versions as more demo songs!

This is a pretty decent rendition of the Charlie Brown "Peanuts Theme" by Vince Guaraldi. This version is "fat" because it is not using the newer MUSIC GOSUB functionality in IntyBASIC. So a follow-up "thin" version will be here for comparison. Enjoy. SongProto-Peanuts-fat.bas SongProto-Peanuts-fat.binSongProto-Peanuts-fat.cfg Mode 0,1,0,1,0 Wait Border 1,0 Scroll 4,4,0 For borderNew=0 to 200 Step 20 : Poke $200+borderNew, $2000: Poke $213+borderNew, $2000 : Next borderNew Wait Wait Print At 21 Color 7 , "Peanuts" Print At 41 Color 7 , "(fat)" Print At 141 Color 5 , "Restart: Top side" Print At 161 Color 6 , "Exit: Bottom side" MusicPage = 0 Wait Play Full Wait Play PeanutsFat Wait Goto PlayLoop PlayLoop: Wait If Cont.B0 Then Wait : Play Off : Wait : Play PeanutsFat If Cont.B1 Then Goto ExitThis If Cont.B2 Then Goto ExitThis Wait Goto PlayLoop ExitThis: Wait Print At 213 Color (Rand and 7) , "Bye." For spinWait = 0 to 5 Wait Next Play Off Goto ExitThis PeanutsFat: Data 4 Music - , - , - Music - , - , - Music - , - , - Music - , - , G2#X Music - , - , - Music - , - , D3# Music - , - , - Music - , - , G3# Music - , - , - Music - , - , G2# Music - , - , - Music - , - , D3# Music - , - , - Music - , - , G3# Music - , - , S Music - , - , S Music - , - , - Music - , - , G2# Music - , - , S Music - , - , S Music - , - , - Music - , - , D3# Music - , - , - Music - , - , F3 Music - , - , - Music - , - , G2# Music - , - , - Music - , - , D3# Music - , - , - Music - , - , F3 Music - , - , S Music - , - , S Music - , - , - Music - , - , G2# Music - , - , S Music - , - , S Music - , - , - Music - , - , D3# Music - , - , - Music - , - , G3# Music - , - , - Music - , - , G2# Music - , - , - Music - , - , D3# Music - , - , - Music - , - , G3# Music - , - , S Music - , - , S Music - , - , - Music - , - , G2# Music - , - , S Music - , - , S Music - , - , - Music - , - , D3# Music - , - , - Music - 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, - , - Music G5# , C6 , D3# Music S , S , - Music S , S , G3# Music S , S , S Music S , S , S Music S , S , - Music S , S , G2# Music S , S , S Music S , S , S Music S , S , - Music S , S , D3# Music S , S , - Music S , S , F3 Music S , S , - Music S , S , G2# Music S , S , - Music S , S , D3# Music S , S , - Music S , S , F3 Music - , - , S Music - , - , S Music - , - , - Music C5 , G5# , G2# Music S , S , S Music S , S , S Music - , - , - Music D5# , A5# , D3# Music - , - , - Music G5# , C6 , G3# Music S , S , - Music S , S , G2# Music - , - , - Music G5# , C6 , D3# Music - , - , - Music D5# , A5# , G3# Music - , - , S Music C5 , G5# , S Music S , S , - Music S , S , G2# Music - , - , S Music D5# , A5# , S Music S , S , - Music S , S , D3# Music S , S , - Music S , S , F3 Music - , - , - Music C5 , G5# , G2# Music S , S , - Music S , S , D3# Music S , S , - Music S , S , F3 Music S , S , S Music S , S , S Music - , - , - Music D5# , G5# , B2 Music S , S , S Music S , S , S Music S , S , - 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, - , - Music D5# , G5# , B2 Music S , S , S Music S , S , S Music S , S , - Music S , S , F3# Music S , S , - Music S , S , B3 Music - , - , - Music D5# , A5# , B2 Music - , - , - Music D5# , A5# , F3# Music S , S , - Music S , S , B3 Music S , S , S Music S , S , S Music S , S , - Music S , S , B2 Music S , S , S Music S , S , S Music S , S , - Music S , S , F3# Music S , S , - Music S , S , G3# Music S , S , - Music S , S , B2 Music S , S , - Music S , S , F3# Music S , S , - Music S , S , G3# Music - , - , S Music - , - , S Music - , - , - Music C5 , G5# , G2# Music S , S , S Music S , S , S Music S , S , - Music S , S , D3# Music S , S , - Music S , S , G3# Music - , - , - Music D5# , A5# , G2# Music - , - , - Music D5# , A5# , D3# Music S , S , - Music S , S , G3# Music S , S , S Music S , S , S Music S , S , - Music S , S , G2# Music S , S , S Music S , S , S Music S , S , - Music S , S , D3# Music S , S , - Music S , S , F3 Music S , S , - Music S , S , G2# Music S , S , - Music S , S , D3# Music S , S , - Music S , S , F3 Music S , S , S Music S , S , S Music S , S , - Music S , S , G2# Music - , - , S Music - , - , S Music - , - , - Music - , - , D3# Music - , - , - Music - , - , G3# Music - , - , - Music - , - , G2# Music - , - , - Music - , - , D3# Music - , - , - Music - , - , G3# Music - , - , S Music - , - , S Music - , - , - Music - , - , G2# Music - , - , S Music - , - , S Music - , - , - Music - , - , D3# Music - , - , - Music - , - , F3 Music - , - , - Music - , - , G2# Music - , - , - Music - , - , D3# Music - , - , - Music - , - , F3 Music - , - , S Music - , - , S Music - , - , - Music - , - , G2# Music - , - , S Music - , - , S Music - , - , - Music - , - , D3# Music - , - , - Music - , - , G3# Music - , - , - Music - , - , G2# Music - , - , - Music - , - , D3# Music - , - , - Music - , - , G3# Music - , - , S Music - , - , S Music - , - , - Music - , - , G2# Music - , - , S Music - , - , S Music - , - , - Music - , - , D3# Music - , - , - Music - , - , F3 Music - , - , - Music - , - , G2# Music - , - , - Music - , - , D3# Music - , - , - Music - , - , F3 Music - , - , S Music - , - , S Music - , - , - Music - , - , G2# Music - , - , - Music - , - , - Music - , - , - Music C4 , G4# , C4 Music S , - , - Music D4# , A4# , D4# Music S , - , - Music C5 , - , G4# Music - , - , - Music C5 , G5# , C5 Music S , - , - Music D5# , A5# , D5# Music S , - , - Music C6 , - , G5# Music - , - , - Music C6 , G6# , C6 Music - , - , - Music A6# , - , D6# Music - , - , - Music C6# , - , G6# Music S , - , - Music S , - , D6# Music S , - , - Music S , - , C6 Music - , - , - Music G6# , C6 , D6# Music S , S , S Music S , S , S Music - , - , - Music D6# , A6# , - Music - , - , - Music C6 , G6# , D3# Music - , - , - Music D6# , A6# , G2# Music S , S , - Music S , S , D3# Music S , S , - Music S , S , G3# Music - , - , - Music C6 , G6# , G2# Music S , S , - Music S , S , D3# Music S , S , - Music S , S , G3# Music S , S , S Music S , S , S Music S , S , - Music S , S , G2# Music S , S , S Music S , S , S Music S , S , - Music S , S , D3# Music S , S , - Music S , S , F3 Music S , S , - Music S , S , G2# Music S , S , - Music S , S , D3# Music S , S , - Music S , S , F3 Music S , S , S Music S , S , S Music - , - , - Music D6# , A6# , G2# Music S , S , S Music S , S , S Music S , S , - Music S , S , D3# Music S , S , - Music S , S , G3# Music - , - , - Music C6 , G6# , G2# Music S , S , - Music S , S , D3# Music S , S , - Music S , S , G3# Music S , S , S Music S , S , S Music S , S , - Music S , S , G2# Music S , S , S Music S , S , S Music S , S , - Music S , S , D3# Music S , S , - Music S , S , F3 Music S , S , - Music S , S , G2# Music S , S , - Music S , S , D3# Music S , S , - Music S , S , F3 Music S , S , S Music S , S , S Music - , - , - Music D6# , A6# , G2# Music S , S , S Music S , S , S Music S , S , - Music S , S , D3# Music S , S , - Music S , S , G3# Music - , - , - Music G6# , C6 , G2# Music S , S , - Music S , S , D3# Music S , S , - Music S , S , G3# Music S , S , S Music S , S , S Music S , S , - Music S , S , G2# Music S , S , S Music S , S , S Music S , S , - Music S , S , D3# Music S , S , - Music S , S , F3 Music S , S , - Music S , S , G2# Music S , S , - Music S , S , D3# Music S , S , - Music S , S , F3 Music S , S , S Music S , S , S Music S , S , - Music S , S , G2# Music - , - , S Music - , - , S Music - , - , - Music - , - , - Music Repeat It's easy to tell when I am procrastinating when it comes to making something, because I tend to make something else.

Hello all! I thought I would post a project I've been working on. It's a small animated thing that pays homage to Hideaki Anno's anime, Neon Genesis Evangelion. I was a bit chuffed to learn that they dropped the Frank Sinatra song from the end credits, so I decided to make my own rendition on the Apple II. ? Requires: Apple II Plus or higher, 64KB of RAM (as it runs under ProDOS only). Real hardware tested on: Apple //e (64kB early, with 6502), Apple //e Enhanced (128KB w/ 65c02). It should work on the rest, though I'd love to hear your experiences! Location to download (including source code): Evangelion A.2 You can watch what it does in this video recording (made with AppleWin): https://www.youtube.com/watch?v=X4U1Gg--7JU

Not all that rough, but it is shortened to fit in ROM "as is". Slightly incomplete as I did not add any percussion. Requires the ECS. ecsLook = CONT3 'Tickle IntyBASIC to use the ECS. Mode 0,0,0,0,0 Wait Border 4,0 Wait Print At 21 Color 3 , "Prince:" Print At 61 Color 2 , "Raspberry" Print At 86 Color 2 , "Beret" Print At 181 Color 3 , "Top side bttn" Print At 201 Color 3 , "to restart song" Wait Play Full Wait Play MusicRaspBeret Wait Goto PlayLoop PlayLoop: Wait If Cont.B0 Then Wait : Play Off : Wait : Play MusicRaspBeret If Cont.B1 Then Goto ExitThis If Cont.B2 Then Goto ExitThis Wait Goto PlayLoop ExitThis: Wait Print At 213 Color (Rand and 7) , "Bye." For spinWait = 0 to 5 Wait Next Play Off Goto ExitThis MusicRaspBeret: Data 5 Music - , - , - , - , - , - , - , - Music - , - , - , - , - , - , - , - Music - , - , - , - , - , - , - , - Music A2W , S , A5Y , - , S , C6#X , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , - , - , S , S , S , - Music S , S , A5 , - , C6#W , - , S , - Music S , S , - , - , - , - , S , - Music - , S , G5 , - , - , B5 , S , - Music - , S , S , - , S , S , S , - Music G2 , S , S , - , S , S , S , - Music S , S , - , - , S , S , S , - Music S , S , C6# , - , A5 , - , S , - Music S , S , - , - , - , - , S , - Music S , S , B5 , - , - , G5 , S , - Music S , S , - , - , S , - , S , - Music - , S , F5# , - , S , D6 , S , - Music - , S , S , - , S , S , S , - Music F2# , S , S , - , S , S , S , - Music S , S , S , - , S , - , S , - Music S , S , E6 , - , S , - , S , - Music S , S , - , - , S , S , S , - Music S , S , C6# , - , S , S , S , - Music - , S , - , - , S , S , S , - Music F2# , S , B5 , - , S , F5# , S , - Music - , S , S , - , S , S , S , - Music F2# , S , S , - , S , S , S , - Music S , S , - , - , S , S , S , - Music S , S , C6# , - , S , S , S , - Music S , S , - , - , S , S , S , - Music S , S , A5 , - , S , - , S , - Music S , S , S , - , S , - , S , - Music S , S , F5# , - , S , S , S , - Music - , S , S , - , S , S , S , - Music G2 , S , A5 , - , S , F5# , S , - Music S , S , - , - , S , S , S , - Music S , S , G5 , - , B5 , - , S , - Music S , S , - , - , - , - , S , - Music S , S , A5 , - , - , F5# , S , - Music S , S , - , - , S , - , S , - Music S , S , B5 , - , S , G5 , S , - Music - , S , - , - , S , - , S , - Music G2 , S , A5 , - , S , F5# , S , - Music S , S , - , - , S , S , S , - Music S , S , B5 , - , G5 , - , S , - Music S , S , - , - , - , - , S , - Music S , S , B5 , - , - , G5 , S , - Music - , S , - , - , S , - , S , - Music - , S , A5 , - , S , F5# , S , - Music S , S , - , - , S , - , S , - Music G2 , S , G5 , - , S , B5 , S , - Music S , S , - , - , S , S , S , - Music - , F2#W , F5# , - , A5 , - , S , - Music - , - , - , - , - , - , S , - Music G2 , - , G5 , - , - , B5 , S , - Music S , S , - , - , S , - , S , - Music - , A2 , C6# , - , S , A5 , S , - Music - , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music E2 , - , S , - , S , S , S , - Music S , - , S , - , S , S , S , - Music - , F2# , S , - , S , - , S , - Music - , S , - , - , S , - , S , - Music E2 , - , - , - , S , S , S , - Music S , - , S , - , S , S , S , - Music - , A2 , A5 , - , S , C6# , S , - Music - , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , - , - , S , S , S , - Music S , S , A5 , - , C6# , - , S , - Music S , S , - , - , - , - , S , - Music S , S , G5 , - , - , B5 , S , - Music S , - , S , - , S , S , S , - Music G2 , - , S , - , S , S , S , - Music S , S , - , - , S , S , S , - Music S , S , C6# , - , A5 , - , S , - Music S , S , - , - , - , - , S , - Music S , S , B5 , - , - , G5 , S , - Music S , S , - , - , S , - , S , - Music - , S , F5# , - , S , D6 , S , - Music - , S , S , - , S , S , S , - Music F2# , S , S , - , S , S , S , - Music S , S , S , - , S , - , S , - Music S , S , E6 , - , S , - , S , - Music S , S , - , - , S , S , S , - Music S , S , C6# , - , S , S , S , - Music - , S , - , - , S , S , S , - Music F2# , S , B5 , - , S , F5# , S , - Music - , S , S , - , S , S , S , - Music F2# , S , S , - , S , S , S , - Music S , S , - , - , S , S , S , - Music S , S , C6# , - , S , S , S , - Music S , S , - , - , S , S , S , - Music S , S , A5 , - , S , - , S , - Music S , S , S , - , S , - , S , - Music S , S , F5# , - , S , S , S , - Music - , S , S , - , S , S , S , - Music G2 , S , A5 , - , S , F5# , S , - Music S , S , - , - , S , S , S , - Music S , S , G5 , - , B5 , - , S , - Music S , S , - , - , - , - , S , - Music S , S , A5 , - , - , F5# , S , - Music S , S , - , - , S , - , S , - Music S , S , B5 , - , S , G5 , S , - Music - , S , - , - , S , - , S , - Music G2 , S , A5 , - , S , F5# , S , - Music S , S , - , - , S , S , S , - Music S , S , B5 , - , G5 , - , S , - Music S , S , - , - , - , - , S , - Music - , S , B5 , - , - , G5 , S , - Music - , S , - , - , S , - , S , - Music S , S , A5 , - , S , F5# , S , - Music S , S , - , - , S , - , S , - Music G2 , S , G5 , - , S , B5 , S , - Music S , S , - , - , S , S , S , - Music - , F2# , F5# , - , A5 , - , S , - Music - , - , - , - , - , - , S , - Music G2 , - , G5 , - , - , B5 , S , - Music - , S , - , - , S , - , S , - Music A2 , S , C6# , - , S , A5 , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , - , S , - Music S , S , - , - , S , - , S , - Music S , S , - , - , S , S , A5W , - Music - , S , S , - , S , S , - , - Music A2 , S , A4 , - , S , C5# , C6# , - Music S , S , S , - , S , S , - , - Music S , S , S , - , S , S , C6# , - Music S , S , - , - , S , - , - , - Music S , S , C5# , - , S , A4 , D6 , - Music S , S , - , - , S , - , S , - Music - , S , A4 , - , S , F4# , B5 , - Music - , S , - , - , S , - , - , - Music G2 , S , G4 , - , S , B4 , B5 , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , - , - , - Music S , S , A4 , - , S , - , B5 , - Music S , S , - , - , S , S , - , - Music - , S , D5 , - , S , F4# , B5 , - Music - , S , S , - , S , S , - , - Music F2# , S , S , - , S , S , B5 , - Music S , S , - , - , S , S , S , - Music S , S , E5 , - , S , S , S , - Music S , S , - , - , S , - , S , - Music S , S , C5# , - , S , - , - , - Music - , S , - , - , S , S , - , - Music F2# , S , B4 , - , S , F4# , A5 , - Music - , S , S , - , S , S , S , - Music F2# , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , - , - , C5# , S , S , - Music S , S , - , - , - , S , S , - Music S , S , A4 , - , - , - , - , - Music S , S , S , - , S , - , - , - Music S , S , S , - , S , S , A5 , - Music - , S , - , - , S , S , - , - Music G2 , S , - , - , S , S , B5 , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , - , - Music S , S , B4 , - , S , G4 , B5 , - Music S , S , - , - , S , - , - , - Music S , S , A4 , - , S , F4# , B5 , - Music - , S , - , - , S , - , S , - Music G2 , S , G4 , - , S , B4 , - , - Music S , S , - , - , S , - , - , - Music S , S , A4 , - , S , F4# , A5 , - Music S , S , - , - , S , - , - , - Music S , S , B4 , - , S , G4 , A5 , - Music - , S , S , - , S , S , S , - Music - , S , S , - , S , S , S , - Music S , S , - , - , S , - , S , - Music G2 , S , G4 , - , S , B4 , S , - Music S , S , - , - , S , - , S , - Music - , F2# , F4# , - , S , A4 , S , - Music - , - , - , - , S , - , - , - Music G2 , - , G4 , - , S , B4 , - , - Music S , S , - , - , S , - , S , - Music - , A2 , A4 , - , S , C5# , S , - Music - , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music E2 , - , S , - , S , S , S , - Music S , - , S , - , S , S , S , - Music - , F2# , - , - , S , S , S , - Music - , S , - , - , S , - , S , - Music E2 , - , S , - , S , - , E5 , - Music S , - , S , - , S , S , S , - Music - , A2 , A4 , - , S , C5# , - , - Music - , S , S , - , S , S , - , - Music S , S , S , - , S , S , C6# , - Music S , S , - , - , S , - , - , - Music S , S , C5# , - , S , A4 , C6# , - Music S , S , - , - , S , - , S , - Music S , S , A4 , - , S , F4# , - , - Music S , - , - , - , S , - , - , - Music G2 , - , G4 , - , S , B4 , B5 , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , - , - , - Music S , S , A4 , - , S , - , B5 , - Music S , S , - , - , S , S , - , - Music - , S , D5 , - , S , F4# , B5 , - Music - , S , S , - , S , S , - , - Music F2# , S , S , - , S , S , B5 , - Music S , S , - , - , S , S , - , - Music S , S , E5 , - , S , S , A5 , - Music S , S , - , - , S , - , - , - Music S , S , C5# , - , S , - , A5 , - Music - , S , - , - , S , S , - , - Music F2# , S , B4 , - , S , F4# , A5 , - Music - , S , S , - , S , S , S , - Music F2# , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , - , - , C5# , S , S , - Music S , S , - , - , - , S , S , - Music S , S , A4 , - , - , - , - , - Music S , S , S , - , S , - , - , - Music S , S , S , - , S , S , E5 , - Music - , S , - , - , S , S , - , - Music G2 , S , - , - , S , S , B5 , - Music S , S , S , - , S , S , - , - Music S , S , S , - , S , S , B5 , - Music S , S , S , - , S , S , - , - Music S , S , B4 , - , S , G4 , B5 , - Music S , S , - , - , S , - , - , - Music S , S , A4 , - , S , F4# , B5 , - Music - , S , - , - , S , - , S , - Music G2 , S , G4 , - , S , B4 , S , - Music S , S , - , - , S , - , S , - Music S , S , A4 , - , S , F4# , - , - Music S , S , - , - , S , - , - , - Music - , S , B4 , - , S , G4 , A5 , - Music - , S , S , - , S , S , - , - Music S , S , S , - , S , S , A5 , - Music S , S , - , - , S , - , S , - Music G2 , S , G4 , - , S , B4 , S , - Music S , S , - , - , S , - , S , - Music - , F2# , F4# , - , S , A4 , S , - Music - , - , - , - , S , - , S , - Music G2 , - , G4 , - , S , B4 , - , - Music - , S , - , - , S , - , - , - Music A2 , S , A4 , - , S , C5# , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , - , - , S , S , S , - Music S , S , - , - , S , - , S , - Music S , S , S , - , S , - , E5 , - Music - , S , S , - , S , S , S , - Music A2 , S , C5# , - , S , A4 , - , - Music S , S , S , - , S , S , - , - Music S , S , S , - , S , S , C6# , - Music S , S , - , - , S , - , - , - Music S , S , C5# , - , S , A4 , C6# , - Music S , S , - , - , S , - , S , - Music S , S , A4 , - , S , F4# , - , - Music - , S , - , - , S , - , - , - Music G2 , S , B4 , - 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Given how much interest there is in POKEY music in other threads, I'm surprised I've never seen mention here on AtariAge about this album, released about 2 months ago. I first heard it referred to on a recent episode of the ANTIC Podcast. Forget the other threads and their technical programming nuances - this is just good chiptune magic right here, and recorded from with an 800XL. I've played this record dozens of times since I first heard it.

Instead of a game, I decided to make a music cart for the Atari 2600 this time, based of the ten years old song of Amorphis, Silver Bride. https://www.youtube.com/watch?v=wVfoET8fLvg This is where I'm now, done the instrumental part and the indicator. It's unexpanded system, no DPC+, so I have two channels, but I tried my best to mimic four. The lyrics will be played through the Kid Vid, so I think this will be the third ever made ROM for that device. I have other ideas, because I have a lot of space left, so stay tuned. https://youtu.be/l76vFF9hRPA Silver_Bride_0.15NTSC.bas.bin Silver_Bride_0.15PAL60.bas.bin vocals2.wav

Hi all I'm thinking about releasing the OST of Sydney Hunter and the Caverns of Death (when the game is released for Colecovision), but I want to make a very high end release even if is only digital. My first idea was a Caverns Of Death OST with the music of every port of the game. But I think "Why not making a ENORMOUS RELEASE with the music of Sacred Tribe too and with music of at least 6 systems, an acoustic track and a bonus ROM with serial for the first 25 orders?". Basically like 60 tracks (or more) So, my idea is the next one: Sydney Hunter Definitive OST! - Sydney Hunter and the Shrine Of Perils music of Intellivision - Sydney Hunter and the Sacred Tribe OST music of Intellivision, MSX, NES. - Sydney Hunter and the Caverns of Death OST music of Colecovision, Sega Master System FM Sound, Gameboy. - A special acoustic song of Sydney Hunter and Sacred Tribe. - First 25 orders gets a ROM with the OST of both games for Intellivision. (Yes, even the Caverns Of Death music!) - Digital release, high quality FLAC files without compression. - Physical release? If the people wants, sure! Any ideas? Anybody is interested? Thanks for reading c:

I have written a program which converts MIDI files into MUSIC lines which can be used in an IntyBASIC program. Depending on the number of voices in the MIDI file, it can generate code either for the Intellivision alone, or for the Intellivision with ECS. MIDI Program Change messages can be used to select among the four instruments that IntyBASIC supports. I have also attempted to support drums (on MIDI Channel 10). The source code and README are available on GitHub: https://github.com/ppelleti/inty-midi Binaries for Mac OS X, Linux, and Windows are available on the "Releases" tab on GitHub, but I've also attached the binaries to this message. inty-midi-0.1.0.0-bin.zip

A different kind of song than I have posted in the past: Two versions: one plays on the ECS and one for stock Intellivision. I hear some "popping" on the ECS version. I can guess why, but how to fix it I definitely don't know. All ideas appreciated. songproto-EastBoundAndDown-small.bas songproto-EastBoundAndDown.bas 3-voice version: 6-voice ECS:

Hello. A quick introduction: I'm new to this forum, my name is Michael. Looking forward to meeting you. I started writing and recording music in 1991 where I've experimented with various genres, eventually getting into NES audio development in 2016. Last month, I started working with TIATracker. (Thank you Kylearan!) I've really been enjoying the experience, it's been a dream of mine to create music for the Atari 2600. Here are a few of the songs I've created: WarlockSum - TIA-01.bin WarlockSum - TIA-02.bin WarlockSum - TIA-04.bin TIA-03 isn't listed because now it's part of a full length album/cartridge I'm working on. I'm eager to gain more experience working with this machine, so please don't hesitate to contact me if you're in need of music or want to start conversations about working with TIATracker. OK, thank you, enjoy the rest of your day. - WarlockSum

Howdy all. So after hearing the amazing music on the Stella's Stocking and Mappy carts, I was wondering how that was done and if that programming wizardry would be possible on the 7800. I think it would be a great way to improve the quality of the 7800 sounds, without requiring an extra chip on the cart.

Peter Tork passed away last week at the all-too-young age of 77. I didn't used to think 77 was young. But the older I get, and the more people I know who live and live well in their 80's and even 90's, 77 seems too young. Peter played the bass player on the TV show The Monkees (returning soon to MeTV). Peter also played bass in the band The Monkees. And . And . And . And . Of the four members of the group, Tork was easily the most musically accomplished. But on the TV show, he played . Micky was the wacky one. Davy was the heart throb. Mike was the leader. They were all playing roles, but of the four, Peter's was the furthest from the truth. But as the dummy, he was funny. And it was a TV show. That's what you do on a TV show - you play a role. As I wrote when Davy passed away almost seven years ago, the lines between roles and reality got blurred with the Monkees. It really wasn't until the show had been off the air for years, and books were written, and interviews given, and time and perspective were gained, that a picture of who these guys really were started to emerge. It seemed that in the wake of Davy's passing, the surviving members had finally all come to terms with their time as Monkees. Nesmith had eschewed it for years, but started doing some reunion tours with Micky and Peter, and the three of them even put out an excellent album during the group's 50th anniversary. Sometimes they'd tour as a trio, or just Micky and Peter, but almost always Peter was there. After the 2016 anniversary tour though, Peter stopped touring with the Monkees to spend more time working with his own band - Shoe Suede Blues. But then as Micky and Michael set out in 2018 for their first-ever tour as a duo, rumors started swirling about Peter's health. He'd had cancer in 2009 - which took a toll on his voice - but he kept on keeping on. He fought the good fight for a decade, but then last Thursday, he lost the battle. In the days since his passing, I've been re-listening to his music. He didn't sing lead on very many Monkees songs. In fact, someone familiar with only their TV show would be hard-pressed to find more than a few. He did the novelty-like (which was actually intended to be in the style of the Rolling Stone's ), and sang co-lead on and . And... that was about it. But if you dig deeper, he sang backing vocals on many of the tracks, and played instruments a lot on their songs (once they had wrested control away from Don Kirshner). The piano opening to ? That's Peter. That's him on piano again on . And on banjo on - the first track on the first album they did as an actual band. Those, and many other songs wouldn't be the same without him there. And something anyone would've heard watching the show in reruns is the second season's closing theme song: . Even though it was sung by Micky, Peter wrote it and that's him playing the iconic guitar intro. Largely absent from their fifth album - The Birds, The Bees and The Monkees - Peter made his biggest impact on their next (and shortest) album, the soundtrack from their movie Head. There were six songs in the film: Carol King co-wrote two of them, Harry Nilsson wrote one of them, Nesmith wrote one, and Peter wrote two of them: and (sung by Micky). In addition to writing a third of the songs for their film amidst some pretty impressive company, he absolutely killed it on their live performance of . And yes - that really was them playing live. By that point, they were a band. And then, Peter left. All he'd wanted to do, from the outset, was be in a band. The times they were in the studio as a band were his happiest moments. But that was all-too-brief, as the others' interests diverged, and everyone musically started going their own ways. And so in December 1968, Peter became the first ex-Monkee. Considering he was the first to leave, Peter sadly had the littlest output as a solo artist. While he released a couple of singles after the Monkees, it wasn't until 1994 that he released his first proper solo album: Stranger Things Have Happened. Why? Well... probably for the same reason he didn't sing lead much in the Monkees. He didn't have what you'd call a commercial voice. It was a bit thin. His pitch wavered. Even on that first solo album, it seems strained at times. Which is too bad... because he loved music. You can hear it in the lyrics of the songs he wrote. You could see it when he played on stage. When he talked in interviews about it. But there were times... when the stars aligned... where you could hear it. Known more for his folk music leanings at the time, he came out of seemingly nowhere with the hard rocking (On the Deluxe Edition of the Head soundtrack there's also a rare earlier version where his voice has an even harder edge to it.) At the other end of the spectrum in the aforementioned , after Davy sings the first verse, Peter takes over and his voice captures the song perfectly - emotional, melancholy, somber. Haunting. There are other examples, but if I were to pick one album to hear Peter at his absolute best, it would actually be a duet that he did with James Lee Stanley: Two Man Band. It's just the two of them, alternating singing lead, and playing acoustic guitars. Their voices blend effortlessly. Peter seems perfectly comfortable in this setting, and his performance reflects that. This is how Peter could sing, given the right songs, the right arrangements, and the right collaborator. One of the highlights is a song Peter wrote about a car he once owned: . There's sincerity and wistfulness in the lyrics, and an ease and joy in the way he sings it, as if he's just sitting down and telling the story to a friend. The album is capped with an acoustic version of . One of the best pop songs ever written. One of the best performances of it ever recorded. Peter wasn't the dummy of the group. Not by a long shot. Peter was the of the group. And now, sadly, the world has one fewer of them. Edit: I'd forgotten about these videos Peter recorded for Paste Magazine in 2011. So I've added them here. I would've loved to have heard an entire album of these. Edit (4/27/19): Paste magazine has posted the entire performance, featuring more songs and an interview: