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Found 141 results

  1. More than a few months ago I started working on a tool to compress VGM music files, such as those found at http://www.smspower.org/, so they could be used on the TI. A few weeks ago, I finally had everything working to my satisfaction, and released it. Today I am also releasing a ColecoVision version of the playback code, as I also like to do Coleco work. The compressor itself runs as a Windows command-line application - I am still considering Linux, since it should port easily enough. For those who want to get right to the important stuff, it's at http://harmlesslion.com/software/vgmcomp The tool is capable of merging up to 16 VGM files into a single output file, applying a variety of tricks to pack it down. While not quite as tight as gzip, it's usually within 10%, and does not require a decompression buffer to play back. In addition, the player optionally supports 30hz playback instead of 60hz, and sound effects with priority (also optionally). The player code is written in C and compiles to under 1k of ROM, and uses from 120-220 bytes of RAM (depending on whether you have enabled the sound effect code). A sample app is available both in the full download, and as standalone at the above link. It is tested on hardware and in BlueMSX. VGMs compatible with the Coleco can be sourced from the Master System, Game Gear, and of course other ColecoVision games (although I think Antarctic Adventure is the only Coleco VGM I ever saw). In addition, the tracker tool Mod2PSG2 can export VGM (although the website at www.kontechs.com seems to be down, there is this alternate http://www.smspower.org/Music/Mod2PSG2). Of course, I can also list my Protracker MOD converter at http://harmlesslion.com/software/modconvertpsg
  2. Hello Im looking for an Atari ST virtual synth vst for mac, I can only find one for P.C is anyone one here aware if one exist's for mac? many thanks
  3. We would like to invite the Atari community to a little online competition we organize each year called Retrospectiva. There are three categories in the competition: - BASIC games (any BASIC variant, so you can make your game in the standard BASIC or if you like any BASIC expansion) - Graphics - Music The competition is open to all 8-bit platforms, the only exception we make is for the TI-99/4a. The competition started on May 14th, but you have more than ten months to submit your entry. Thanks to the collaboration of Fundación Museo ICATEC (an Argentine Computer Museum) there will be prizes awarded to the first place of each category. You can read more here: http://rsp.retrocomputacion.com/?lang=en (Note: Many thanks to Albert who granted me permission to post this as my first message on AtariAge forums)
  4. https://www.dropbox.com/s/e0kt2uihubvd3h9/dbASF.mp3?dl=0 https://www.dropbox.com/s/2xqr51wq3f8rivs/dbAS.bin?dl=0
  5. DUCKTALES 1987 THEME SONG (All-in-one archive) : DUKETALES1987.zip This archive contains the Ducktales theme song I've composed a few days ago. This archive is also updated to contain both PAL and NTSC versions, technically making it sounds just fine regardless if you are using the NTSC or PAL ColecoVision game system. WARNING! The music may play at the wrong speed if you are using a modded ColecoVision or an emulator. For example, setting 50Hz on BlueMSX but still using the NTSC ColecoVision BIOS results into a slower theme song. If you are curious, unzip everything in a single folder, modify one of the ASM source files, and double-click the "compile.bat" file to generate a new ROM file (if the modification is valid). Anyway, enjoy the new ROM file with all the files to make it. PS.: I know, I've called the project DUKETALES on my computer... why? I don't know, I just did it that way.
  6. I get messages asking how do I compose music for the ColecoVision. I hope this will answer your questions. SCREENSHOTS The only softwares I'm using to compose music for years now. VIDEO The music playing on BlueMSX at 50Hz clock And that's it. I'm not using any music tool nor a midi keyboard which I would like to use; I use my imagination and start coding with time and dedication, trials and errors. STORY TIME Late April 2018 With the positive comments received about my CV Commando music-box, and not yet decided about a game project to do, I wanted to compose another CV song during the last week of April. After watching multiple videos of beloved 80s music, and some videos about a SNES ROM hack called GrandPooBear World filled with music, I've finally selected Africa by Toto. I was a bit afraid to not be able to make it sounds good after hearing the Commodore 64 version I've found that I didn't like much, but the song repeats enough and uses an interesting rhythm variation that I love composing with a drum beat (usually when we *clap* our hands) at every 3/4 per bar (measure), like in Commando and many other songs I've composed so far. April 28, 2018 I went babysitting to help a friend who desperately needed someone for an hour or two. On my way back home, I've stopped at a coffee shop to compose my vision of the ColecoVision version of this music. After many hours calculating and tweaking what each sound channel should do to get a pretty good version of the chorus part, and probably looking like a weirdo moving my hands in the air to the music nobody was hearing, I've decided to stop there, send an email, and let my ears relax. My calculations surprised me to see that power of 2s cycles per note were ideal for the PAL version and so I've decided to go with it. FILE: toto-20180428.zip April 29, 2018 Encouraged by what I've started, I've composed the music intro (riff part) which added the xylophone instrument and a reverb voice effect. But hearing both parts back to back felt a bit off. After some tweaking by reducing the duration of the drum sounds to give more time for the bass notes, both parts sounded finally great together (uniformity of the rhythm). Then I got a call; my friend needed my help again. Back home, I've composed a verse by using the same trick as in Time Pilot by playing the same note on 2 channels but slightly different to get almost the same effect as singing on multiple tracks. (save) FILE: toto-20180429.zip April 30, 2018 After dinner, I've started to compose pretty much everything else which added the flute (recorder) instrument, with the help of some music sheets. I've also tweaked the high pitched notes in the chorus part to not be that loud compared to the rest of the song. I had to stop before completing the solo part; my eyes were redder than ever, it was time to sleep. As a surprise and email test, I've sent this file to some Coleco homebrewers and fans; got a bunch of emails bouncing back but some reached destination. FILE: toto-20180430.zip May 1st, 2018 At lunchtime, I took a moment to complete the solo. Finally! Time to share it online! I've created this post on AtariAge and sent a message on Twitter about it. (save) FILE: toto-20180501.zip Not bad, isn't it? I've even muted one of the 3 tones channels to use its frequency to play bass notes on the noise channel. And keep in mind the sound chip has fewer possibilities than many other sound chips of the time, no triangle wave, no PCM sample, nothing. Simulated instruments: drum *clap*, maraca, bass, keyboard, guitar, flutes, xylophone, voice, chorus. Share and Comment :-)
  7. 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 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 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 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 , - 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 Music - , - , S Music - , - , - 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 - , - , - Music - , - , - Music - , - , - Music - , - , - Music - , - , - Music - , - , - Music - , - , - Music - , - , - Music - , - , - Music D6# , - , - Music S , - , - Music G4# , D5 , - Music - , - , - Music D6# , - , - Music S , - , - Music G4 , C5# , - Music - , - , - Music G6 , - , D3# Music S , - , S Music S , - , S Music - , - , - Music G6 , - , G3 Music S , - , S Music G4 , C5# , S Music - , - , - Music D6# , - , G3# Music S , - , S Music - , A5# , S Music - , - , - Music G5 , - , A3 Music S , - , S Music G4 , C5# , S Music - , - , - Music A5# , - , A3# Music S , - , S Music - , C5# , - Music - , - , - Music - , - , B3 Music - , - , S Music G4 , C5# , S Music - , - , - Music G6 , - , C4 Music S , - , S Music - , D6# , S Music - , - , - Music - , - , D4# Music - , - , S Music F4 , B4 , S Music - , - , - Music F6 , - , C4# Music S , - , S Music S , - , S Music - , - , - Music F6 , - , C4# Music S , - , S Music F4 , B4 , S Music - , - , - Music C6# , - , B3 Music S , - , S Music - , G5# , S Music - , - , - Music - , - , A3# Music - , - , S Music - , - , S Music - , - , - Music F4 , B4 , G3# Music S , S , S Music S , S , S Music - , - , - Music - , - , A3# Music - , - , S Music F4 , B4 , S Music - , - , - Music D6# , - , F3 Music - , E6 , S Music F6 , - , S Music - , - , - Music F6# , - , C3# Music - , G6 , S Music E4 , - , S Music - , - , - Music D6# , - , C3 Music - , E6 , S Music - , S , S Music - , S , - Music - , S , C3 Music - , S , S Music E4 , A4# , S Music - , - , - Music F6 , - , E3 Music S , - , S Music - , C6 , S Music - , - , - Music G5# , - , C3 Music S , - , S Music F4 , B4 , S Music - , - , - Music C6# , - , C3# Music S , - , S Music S , - , S Music - , - , - Music A5# , - , F3 Music S , - , S Music - , B5 , S Music - , - , - Music A6# , - , G3# Music S , - , S Music - , D5# , S Music - , - , - Music G5 , - , C4# Music S , - , S Music - , F5 , S Music - , - , - Music D6# , - , D4# Music S , - , S Music - , G6 , S Music - , S , - Music - , S , D4 Music D6# , - , S Music F5 , G4 , S Music - , - , - Music G6 , - , C4# Music S , - , S Music F5 , G4 , S Music - , - , - Music - , - , C4 Music - , - , S Music - , - , S Music - , - , - Music G4# , D5 , B3 Music S , S , S Music S , S , S Music - , - , - Music - , - , A3# Music - , - , S Music G4# , D5 , S Music - , - , - Music F6 , A6# , G3# Music - , S , S Music G4# , D5 , S Music S , S , - Music S , S , G3 Music S , S , S Music - , - , S Music - , - , - Music G6 , A6# , D3# Music S , S , S Music S , S , S Music - , - , - Music F6 , A6# , F3 Music S , S , S Music G4 , C5# , S Music - , - , - Music F6 , A6# , G3 Music - , S , S Music G6 , S , S Music S , S , - Music S , S , D3# Music S , S , S Music G4 , C5# , S Music - , - , - Music G6 , A6# , F3 Music S , S , S Music S , S , S Music - , - , - Music F6 , A6# , D3 Music S , S , S Music - , - , S Music - , - , - Music F6# , - , D3# Music - , - , S Music G6 , G4 , S Music S , - , - Music D6# , - , E3 Music S , - , S Music - , F4 , S Music - , - , - Music A5# , - , C3# Music S , - , S Music - , B5 , S Music - , - , - Music A6# , - , F3 Music S , - , S Music - , F4 , S Music - , - , - Music D6# , - , F3# Music - , C6 , S Music G5# , - , S Music S , - , - Music S , - , G3 Music S , - , S Music - , F4 , S Music - , - , - Music - , - , G3# Music G5# , - , S Music - , C6# , S Music - , - , - Music F6 , - , A3 Music - , G6# , S Music C6# , - , S Music - , - , - Music F6 , - , A3# Music - , C6# , S Music F4 , - , S Music - , - , - Music F6 , - , B3 Music - , E6 , S Music F6 , E4 , S Music - , - , - Music G6 , - , C4 Music S , - , S Music - , D6# , S Music - , - , - Music - , - , G3 Music - , - , S Music D6# , G6 , S Music - , S , - Music E6 , S , C3 Music S , S , S Music E4 , A4# , S Music - , - , - Music C6 , - , G3# Music S , - , S Music - , F4 , S Music - , - , - Music F5 , - , C4# Music S , - , S Music S , - , S Music - , - , - Music F6 , - , G3# Music S , - , S Music - , D6# , S Music - , - , - Music C6# , - , C3# Music S , - , S Music - , F4 , S Music - , - , - Music D6 , - , A3 Music S , - , S Music - , F4# , S Music - , - , - Music A6 , - , D4 Music S , - , S Music S , - , S Music - , - , - Music F6# , - , A3 Music S , - , S Music - , D6 , S Music - , - , - Music A5 , - , D3 Music S , - , S Music - , F4# , S Music - , - , - Music D6# , - , A3# Music S , - , S Music - , G4 , S Music - , - , - Music F6 , - , D4# Music S , - , S Music - , D6# , S Music - , - , - Music A5# , - , A3# Music S , - , S Music - , G4 , S Music - , - , - Music D6# , - , D3# Music S , - , S Music - , A5# , S Music - , - , - Music G5 , - , A3# Music S , - , - Music S , - , D3# Music - , - , - Music C5 , G5# , G2# 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 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 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 , - 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 Music - , - , S Music - , - , - 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.
  8. Not quite as polished as "Course 2", but now any programmer that needs a base for the first level of their platformer (or other frenetic game), here it is. Enjoy. As it turns out, it is hard to create content with just two voices, saving the other 1 and the sound channel for game effects, and still have something that can be looped as a background tune. PlatformerCourse1.bas platformercourse1.rom
  9. On the Retro Hour podcast this week, they are visited by Scottish musician Barry Leitch. Fast forward to about 30 minutes into the podcast if you only care about that part. Among the interesting bits Barry talks about, he mentions that when he moved to the US, he was given Amigas from people who didn't know what to do with them, some kind of strange combination of a computer that is both rare and obscure at the same time. http://www.theretrohour.com/the-retro-hour-episode-23-lotus-2-and-top-gear-with-barry-leitch/
  10. I have code that plays a sound by reading DATA and sending the values to the PSG via the SOUND2 statement. A decision is made, a Procedure is called via GOSUB, and then a return. This "feels" very synchronous to me, and I am thinking about the capability to have a sound played "fire and forget" without blocking the caller until a sound play is completed. Is this possible, or am I way off? Thanks.
  11. Some years ago, I wrote some PHP code to convert YM files originally created for the Atari ST to an Intellivision format, along with a CP-1610 assembly player. I was recently asked to share this code, so I thought it would be better to make a public release here, in case other people are interested. The PHP code is pretty bad and not especially fast, but it gets the job done. A YM file basically consists of a large dump of the AY-3-8910 registers, compressed with the LHA algorithm. I'm using this program to unpack the data (the Windows built is included in the archive). The PHP script processes the raw data and re-compress it into the final Intellivision format. The output of this process is a .asm data file which is compatible with the player. If the 5th argument of the ymToIntv::process() method is set to true, it will also attempt to generate the player ROM file, provided that as1600 is available in the path. Again, a Windows environment is assumed, but it should be very easy to have it running in another OS (see ymToIntv::generateRom()). Some YM files include information about special PSG effects. Most of them rely on high-frequency interrupts. These effects are ignored, as the Intellivision would not be able to render them anyway. Consequently, not all YM files can be properly converted. YM files sometimes come in several versions. If possible, choose a version without Digidrums and without SID Voice. The following tunes are included as examples: Best part of the Creation by Gunnar Gaubatz Chambers of Shaolin by Jochen Hippel Crapman Anthems by Joe Maarten de Man Cuddly Demos / Big Sprite by Jochen Hippel Custodian by David Whittaker Decade Demo / Giga-Dist by Nic Alderton Ghouls'n Ghosts Theme by Tim Follin Hystanders 2 by Doclands Leaving Teramis by Jochen Hippel Line of Fire by Tao Primus by Scavenger Rectangular Waves by Nils Feske R-Type Intro by Wally Beben Sharpness Buzztone by Jean-Sébastien Gerard Virtual Escape by Furax Zynaps #1 by Dave Rogers ymToIntv.zip
  12. Hey there, im looking for a programmer familiar with intellivision basic . to write a very simple program that is basically like a modded ,more in depth version of the intellivision synth stock program that comes on the ECS . i use and love whats there by default but i would love to cycle through some more sounds to play . and if it could be made to load through the tape data slot on the ECS that would be awesome as well ,as there is not a valid multicart out anymore . id be willing to pay a bit and it would also be helping the community as well . thanks . !!
  13. So a couple weeks ago Matt Scott, a friend of mine who developed Lynx music for tons of released and unreleased games sent me some Lynx ROMs he found on floppies. This stuff always gets me excited. One was the Simpsons digitized sound demo the other was 720WS.ROM. I knew that 720 was in development while I was there (the coin op was in my office) and I got very excited thinking we might have an unreleased partially done ROM but you can't just run unprotected ROMs in Handy. I asked for some help in another thread and LX.NET introduced me to Harry_Dodgson. They helped me preview the ROMS in Handy and I now understand that they are both already in circulation. The 720WS.ROM is a silent display of just the skateboard character in the center of the screen rotatable with the joypad, but what happened next was awesome... Some of you may recall that I went to great lengths to recover the RoadBlasters, Toki, and S.T.U.N. Runner source materials in 2011 (http://atariage.com/forums/topic/188836-some-pretty-awesome-graphics-for-the-lynx/page__st__25?do=findComment&comment=2413123). After recovering those materials I recovered other batches of Amiga floppies with adfread, cleaning disks with alcohol, adapting my ruby script to extract files and folders from the various versions of Quarterback used to create the opaque disk images, and after all that I had the source code and .bin files for all the technology prototypes I developed. I wanted to view the prototypes on Handy but they were in BIN format. For 22 years, the only way to see these demos was on a single VHS tape I made of them in 1991. Harry gave me a tool he wrote to convert .BIN to .O which Handy can read, but it didn't work, so he sent me the source. It was done a long time ago in a unix/mac/pc cross platform dialect of C that Visual Studio didn't like but the code was straight forward, well written and documented so I ported it over to standard C. I discovered that Handy jumps to the first byte loaded from a .O file and my code was written using several blocks with the start address typically somewhere in the middle, so I added code to patch the binary adding a 3 byte JMP START at the beginning of the code where needed (along with a couple other technical tweaks) and VOILA! My demos were now runnable on the Lynx! I can't tell you how exciting it is for me to see these demos come to life. These were all exploratory Lynx technologies I wrote for game concepts or just for fun that never found their way into released products (other than the sound drivers). Here are the highlights of my exploits... abtest0.bin.o was a true 3D drawing test (as opposed to pseudo 3D used in RoadBlasters and S.T.U.N. Runner) for a game idea called Alien Brigade, that temporary artwork is my head. The source is dated 11/20/91. fractest0.bin.o, fractest2.bin.o, and fractest3.bin.o are fractal tests. I loved Rescue at Fractalus and wanted to do a terrain based game but that code was too slow. Source dated 11/18/91 polytest.bin.o is a combination of my triangle rendering routine and my Quartet digitized sample midi music driver, press a button to start the music. quartest.bin.o is a simple sprite test and my Quartet digitized sample midi music driver, press a button to start the music. rottest0.bin.o a sprite rotation test. Sprites can be skewed vertically and horizontally which is all that is needed to pseudo rotate a sprite up to 45 degrees. it is undated but was probably done around the time I did RoadBlasters. showfroggy.bin.o shows a full color picture of a frog by multiplexing 4 bit (16 shade) red, green, and blue images. It looks better on LCD, I wish Handy had a "phosphor" setting that would simulate LCD ghosting. If I were to try to do it again, I would do it a different way. testspri2.bin is a simple sprite test with my multivoice 7 bit digitized sound driver I wrote for Al Baker 7/12/1990, either for Pit Fighter or Bill & Ted. Pressing any button plays voices saying "replay", button A plays at subsequently higher pitches, B plays subsequently lower pitches. textdemo.bin.o is a text demo I used to explore trying to improve text appearance by attempting to take advantage of the color masked pixels on the LCD to try to effectively triple the horizontal display resolution. Windows clear type does this for LCD displays now, I should have patented that one (http://www.microsoft...arTypeInfo.mspx). It is undated, I was inspired when I put the LCD into an unsupported monochrome mode - it looked terrible otherwise. :-) DScottWilliamsonLynxTechTests.zip
  14. Greetings, I've just been trying to load this program on my 800XL from a disk image available here: http://jaskier.atari8.info/# - It's TMC2.atr It loads for a minute and then displays a DOS-looking prompt. I'm new to Atari 8-bit comps, so I don't know what the problem is. I thought with these machines the prog would load automatically when the machine powers on. Does the same in an emulator, and I have a disk full of games that loads just fine. The amount of time I've spent on this is starting to get ridiculous, so I'm hoping someone can just tell me in 5 seconds what it is I need to do Thanks!
  15. Hiya, does anyone have an instruction booklet for RMT or can they please attach a text-file detailing the keys and functions. I would be most appreciative if someone can.
  16. Hello World! Four years have passed after the last release of Fading Twilight. I did mention this for a long time but finally I did move my ass to finish off the FADING TWILIGHT DUAL LAYER DVD edition (no excerpts!). The last few month were full of pretty much work. Who really knows if the result is perfect but I think it's an amazing effort for over 13 years of work. You should read my DIARY to get a slight feeling how much work I put into it. Some Facts: -The archive features over 11000 tunes in many different formats -We feature over 360 musicians from all over the planet -More than 200 tools for all the major platforms (Atari, Amiga, Windows, Mac, Linux) -Nearly all modules size-optimised (That means I removed unused Samples and Instruments) -OVER 13 (THIRTEEN) YEARS OF WORK! -A very nice ST 96k-tro in cooperation with Britelite and Bracket from RAVE NETWORK OVERSCAN (RNO) http://pouet.net/prod.php?which=60821 http://pouet.net/prod.php?which=60867
  17. There have been many people asking how to create music on the Intellivision and each thread is addressed individually. There is some good information on the IntelliWiki, but the format of the tracker is not described in detail. This thread endeavors to describe the tracker format in all its gory detail. The information in this article was originally provided to me by Arnauld Chevallier, author of the tracker library for the Intellivision. I have adapted and expanded it for publication. I've attached to this article an archive containing the source code for the Intellivision Tracker library, along with the original demo song provided by Arnauld Chevallier. I've also included a simple song taken from the Christmas Carol game for further illustration. Intellivision Tracker Lib.zip Technical Overview The Intellivision Master Component includes a General Instruments AY-3-8914 sound chip, commonly referred to as the Programmable Sound Generator, or PSG. The PSG contains three separate square-wave tone generators, each of which can be programmed individually to control its frequency and volume. The chip also includes a noise generator, which can be mixed with any of the three tone channels. All three channels, potentially modulated by the noise generator, are then mixed and fed to the TV for output. The PSG also contains a hardware envelope generator to shape the output sound-wave. Any of the three channels can be processed through the envelope generator, but only one envelope is available to all channels at a given time. The inability to shape each tone individually reduces the versatility and usefulness of this feature, often forcing the programmer to generate and manage discrete envelopes in software. Programming the PSG manually is certainly possible, but requires a significant volume of insight into the technical details of the chip, and the mathematics involved in calculating musical tones and note periods from raw frequency counter values. For this reason, it is common to use library modules that abstract these properties. The Intellivision Music Tracker Intellivision games designer and programmer Arnauld Chevallier, has implemented a tracker library to play specially-crafted music files on the Intellivision. He has been gracious enough to donate his code to the public domain so that all Intellivision programmers may benefit from it. Because it is freely available--and because it is so exceptionally useful and easy to integrate--it has become the de facto method to play music on Intellivision home-brew games. Using the tracker in your own games is a matter of including the library, defining some needed variable labels, and adding a call to update the tracker state periodically from your game loop. You also need to create your own music files in the appropriate data format. Tracker Data Format The format used in Arnauld's tracker has a lot in common with the classic MOD format of old Amiga tracker modules: a song defines a series of patterns, which describe musical sections, and specifies in which order they are to be played. More precisely, the data layout is closer to the later XM format introduced by Fast Tracker II, which added the notion of instruments. The most notable difference, of course, is that no digital samples are used at all. All instruments in the Intellivision tracker are software-generated tones. Below is the general structure of the tracker data layout, which I'll describe in detail further on. Root | +-- Pitch Effect #1 (...) +-- Pitch Effect #N | +-- Envelope #1 (...) +-- Envelope #N | +-- Drum #1 (...) +-- Drum #N | +-- Song #1 | | | +-- Header | +-- Pattern Sequence | +-- Pattern #1 | | | | | +-- Length of pattern | | +-- Sub-pattern for channel A | | +-- Sub-pattern for channel B | | +-- Sub-pattern for channel C (...)(...) | +-- Pattern #N | | | +-- Instrument #1 | | | | | +-- Pitch | | +-- Vibrato | | +-- Envelope (...)(...) | +-- Instrument #N | | | +-- Sub-pattern #1 | | | | | +-- Notes (...)(...) | +-- Sub-pattern #N | +-- Song #N Root Objects defined in this section are common to all songs. This may include pitch effects, envelopes and even drum patterns for a rudimentary percussion track implementation. Pitch Effects Some rather simple pitch effects are supported by the tracker, such as tremolo or fast arpeggios. The format is as follows: DECLE D[0], D[1], D[2], D[3] Where D[x] values are expressed in half-tones and are added to the current standard pitch of the note, on every frame, with the following formula: FinalPitch = StandardPitch + D[frame % 4] A frame is every game cycle where the tracker state is updated. Presumably, this would be 60 times a second, on standard NTSC Intellivision consoles. The result is that the tone is modulated, four frames at a time, by the number of half-tones defined for each frame, producing a tremolo effect. For example, pitch01: DECLE 0, 0, 0, 0 ; No modulation: |_|_|_|_| pitch02: DECLE 0, 0, 12, 12 ; half-modulation: |_|_|-|-| pitch03: DECLE 0, 12, 0, 12 ; fast-modulation: |_|-|_|-| The first pitch effect will play the note at its standard pitch without modulation. The second one will play the standard pitch for two frames, then increase the pitch by an octave (12 semi-tones) for another two frames, and repeat this throughout the length of the note. Finally, the third one will alternate the note between its standard pitch and one octave higher on every frame. Envelopes The tracker library does not use the hardware envelopes of the PSG. Instead, it relies on software envelopes defined in this section. The format of the envelope definition is as follows: DECLE SPEED DECLE WORD_00, ..., WORD_15 Where SPEED is in the range of [0..3] with 0 being the slowest and 3 the fastest. Each WORD_xx value is a hexadecimal value in the form $ABCD, where each nibble describes the volume level to be output. The tracker does not currently support loops within an envelope. Consequently, they are applied only once on each note. Consider an envelope as a 64 x 16 matrix, where each point defines the volume to be applied to an instrument on a given frame. Below is an example of a rather exaggerated envelope, in order to illustrate its layout: ATTACK DECAY SUSTAIN RELEASE .--------|---------------------|-------------------------------------------------------|---------------------------------------| F -|. . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E -|. . . . # # # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D -|. . . . # . . # # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C -|. . . . # . . . . # # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B -|. . . # . . . . . . . # # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V A -|. . . # . . . . . . . . . # # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . O 9 -|. . . # . . . . . . . . . . . # # # # # # # # # # # # # # # # # # # # # # # # # # # # # . . . . . . . . . . . . . . . . . . . . L 8 -|. . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . # . . . . . . . . . . . . . . . . . . . . U 7 -|. . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . # . . . . . . . . . . . . . . . . . . . M 6 -|. . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . # . . . . . . . . . . . . . . . . . . . E 5 -|. . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . # . . . . . . . . . . . . . . . . . . 4 -|. . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . # . . . . . . . . . . . . . . . . . 3 -|. # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . # # . . . . . . . . . . . . . . . 2 -|. # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . # # # . . . . . . . . . . . . 1 -|# . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . # # # # # . . . . . . . 0 `+-------+-------+-------+-------+-------+-------+-------+-------+-------+-------+-------+-------+-------+-------+-------+------ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 3 7 B F E E D D C C B B A A 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 7 5 4 3 3 2 2 2 1 1 1 1 1 0 0 0 0 0 0 0 ; Envelope definition DECLE 1 DECLE $137B, $FEED, $DCCB, $BAA9 DECLE $9999, $9999, $9999, $9999 DECLE $9999, $9999, $9999, $7543 DECLE $3222, $1111, $1000, $0000 The SPEED value influences how the tracker applies the envelope over time. For instance, a speed value of 0 will cycle through the matrix one point at a time. While a value of 1 will skip every other point, and so on. The envelope position for each frame is computed using the following formula: envelope_x = (frame / 2speed) Below is another, more common example. This one is for a simple envelope with a short attack, immediately followed by a linear decay in volume, all the way to zero. ATCK DECAY .----|---------------------------|---------------------------------------------------------------------------------------------- F -|. . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E -|. # . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D -|# . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C -|. . . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B -|. . . . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V A -|. . . . . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . O 9 -|. . . . . . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . L 8 -|. . . . . . . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . U 7 -|. . . . . . . . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M 6 -|. . . . . . . . . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E 5 -|. . . . . . . . . . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 -|. . . . . . . . . . . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 -|. . . . . . . . . . . . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 -|. . . . . . . . . . . . . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 -|. . . . . . . . . . . . . . . . # . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0 `+-------+-------+-------+-------+-------+-------+-------+-------+-------+-------+-------+-------+-------+-------+-------+------ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | D E F E D C B A 9 8 7 6 5 4 3 2 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ; Envelope definition DECLE 2 DECLE $DEFE, $DCBA, $9876, $5432 DECLE $1000, $0000, $0000, $0000 DECLE $0000, $0000, $0000, $0000 DECLE $0000, $0000, $0000, $0000 Drums Drums are a special kind of instrument that are defined globally. A drum is a short and fixed sequence of tones with optional noise modulation. No pitch effects, vibrato, or envelopes are applied to drums. The drums section includes the patterns for each drum instrument, along with the instrument definitions themselves. A drum instrument pattern is a series of eight instrument definitions that describe the sound of the drum over time. This allows the shaping of the drum sound with varying measures of tones and noise, resulting in a richer sound. The library includes the macro Drum() that facilitates the definition of drum sounds. The macro is used as follows: Drum(TONE_PERIOD, NOISE_PERIOD, TONE, NOISE, VOLUME) ; #1 Drum(TONE_PERIOD, NOISE_PERIOD, TONE, NOISE, VOLUME) ; #2 ... Drum(TONE_PERIOD, NOISE_PERIOD, TONE, NOISE, VOLUME) ; #8 TONE_PERIOD: Corresponds to a 16-bit value describing the period of the tone to use. NOISE_PERIOD: Corresponds to a 16-bit value describing the period of the noise to apply. TONE: Declares whether to use the tone generator for this drum instrument: 1 = On 0 = Off NOISE: Declares whether to use the noise generator for this drum instrument: 1 = On 0 = Off VOLUME: Corresponds to a value in the range [0..15] describing the volume of this drum. Below is an example of a simple hi-hat cymbal instrument definition: @@hithat DRUM($380, $04, 0, 1, $D) DRUM($380, $04, 0, 1, $6) DRUM(0, 0, 0, 0, 0) DRUM(0, 0, 0, 0, 0) DRUM(0, 0, 0, 0, 0) DRUM(0, 0, 0, 0, 0) DRUM(0, 0, 0, 0, 0) DRUM(0, 0, 0, 0, 0) Song A song is a collection of patterns describing the notes and instruments to be played. The song definition includes a header, the sequence of patterns to play, and the pattern definitions. Header The song header describes the overall definition of the song, and takes the following format: DECLE SPEED, PATTERNS, INSTRUMENTS SPEED: The playing speed, expressed in frames. It actually represents the number of frames that each row in a pattern will last. PATTERNS: A pointer to the pattern definitions table. INSTRUMENTS: A pointer to the instrument definitions table to be used. Pattern Sequence The pattern sequence describes the order in which the patterns will be played. The sequence is comprised of the definition index of each pattern in the sequence. The pattern sequence is the actual musical sequence of the song, so only those patterns included in it will be played. The sequence may be terminated by a negative value identifying a looping point. The tracker will then backtrack that many patterns and repeat the sequence from that point. If the song is to terminate without looping, the magic constant $F000 may be use to tell the tracker to stop playing and clear its registers. Below is an example of a pattern sequence: DECLE 0, 1, 0, 1, 2, 3, 2, 4, -4 The above will play the patterns listed in order, and loop indefinitely through the last four patterns. Replacing -4 with $F000 will instead cause the tracker to stop playing at the end of the song. Patterns A pattern is defined by its length, followed by pointers to sub-patterns for all three channels. The length of a pattern is expressed in rows, where a row represents a discrete musical event in time. (The speed of the song defined in the header corresponds to the number of frames between each pattern row.) It is important to think of patterns not in terms of beats and measures like a musical score, but as rows of tracker events that alter the output of a particular channel over time. The format of patterns is as follows: DECLE length, sub_pattern_a, sub_pattern_b, sub_pattern_c Where the length is the number of rows in the pattern, and sub_pattern_a, sub_pattern_b, and sub_pattern_c are pointers to sub-pattern definitions for channels A, B, and C, respectively. NOTE: The tracker assumes that all patterns have the same length. You are advised to ensure this is the case, or else Bad Things may happen during execution. Instruments This section holds all song instrument definitions. Each instrument includes information about pitch effects, optional amplitude modulation (vibrato), and an envelope. The instrument definition takes on the following format: DECLE PITCH, VIBRATO, ENVELOPE PITCH: A pointer to a pitch effect object previously defined in the global header. VIBRATO: The amount of vibrato effect to apply, in the range of [0..3]: 0 = no vibrato 1 = low 2 = medium 3 = high ENVELOPE: A pointer to an envelope object previously defined in the global header. Up to 15 different instruments can be defined. Sub-Patterns A sub-pattern indicates the actual notes to be played in a pattern, the instrument to be used for each note, and its volume. A note in this context describes a discrete tracker event which alters the output produced by a channel over a series of rows. The tracker library includes the macro NOTE() to define notes. For standard instruments (i.e., not drums), the macro takes as argument a string in the form: NOTE("NnO IVL") N = Musical note (from A to G) n = # for sharp; - for regular O = Octave (from 1 to 7) I = Instrument (from 1 to F, with '0' meaning no change) V = Volume (from 0 to F) L = Length, in rows (from 0 to F) The length is the number of rows to wait before the next event, and corresponds to the length of the note minus 1. For instance, a length of 7 corresponds to a note lasting for eight rows: the tracker will apply the note event on the current row, and wait for seven more until the next event. For drum instruments, the "NnO" parameter is replaced by the "DRM" keyword: NOTE("DRM IVL") I = Drum instrument (from 1 to F) V = Volume (from 0 to F) L = Length, in rows (from 0 to F) The library also includes the macro NOTES(), which defines four notes at a time. Any unused arguments can be padded with empty strings. For example: @@p003 NOTES("A-5 3F7", "G-5 3F7", "E-5 3F7", "F-5 3F1") NOTES("E-5 3F5", "", "", "") The "NnO" parameter may also be replaced by the "NUL" keyword, which means that no note change has occurred for this event. This makes it possible to define notes with a length greater than 15. EDIT: Corrected typos and edited for clarity.
  18. 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:
  19. 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 , - 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Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , - , - Music S , S , C5# , - , S , A4 , - , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , E5 , - Music S , S , S , - , S , S , S , - Music S , S , G4 , - , B4 , - , - , - Music S , S , S , - , S , - , - , - Music S , S , S , - , S , S , A5 , - Music S , S , - , - , - , S , - , - Music - , A2 , A4 , - , - , C5# , C6# , - Music - , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , - , - , S , - , S , - Music S , S , C5# , - , S , A4 , S , - Music S , S , - , - , S , - , S , - Music S , S , A4 , - , S , F4# , S , - Music S , - , - , - , S , - , - , - Music G2 , - , G4 , - , S , B4 , B5 , - Music S , S , S , - , S , S , S , - Music 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# , A5 , - Music - , S , S , - , S , S , S , - Music F2# , S , S , - , S , S , S , - 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# , S , - 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 , - , - , - , A5 , - 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 , S , - Music S , S , - , - , S , - , S , - Music S , S , A4 , - , S , F4# , S , - Music S , S , - , - , S , - , - , - Music - , S , B4 , - , S , G4 , A5 , - Music - , S , S , - , S , S , S , - Music S , S , S , - , S , S , - , - Music S , S , - , - , S , - , - , - Music G2 , S , G4 , - , S , B4 , B5 , - Music S , S , - , - , S , - , S , - Music - , F2# , F4# , - , S , A4 , - , - Music - , - , - , - , S , - , - , - Music G2 , - , G4 , - , S , B4 , B5 , - Music - , S , - , - , S , - , S , - Music A2 , S , A4 , - , S , C5# , S , - Music S , S , S , - , S , S , - , - Music S , S , S , - , S , S , A5 , - 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 , - , - Music S , S , - , - , S , - , - , - Music S , S , S , - , S , - , S , - Music - , S , S , - , S , S , S , - Music A2 , S , C5# , - , S , A4 , C6# , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music S , S , - , - , S , - , S , - Music S , S , C5# , - , S , A4 , S , - Music S , S , - , - , S , - , S , - Music S , S , A4 , - , S , F4# , S , - Music - , S , - , - , S , - , - , - Music G2 , S , B4 , - , S , G4 , B5 , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , - , - Music S , S , - , - , S , S , - , - Music S , S , A4 , - , S , S , B5 , - Music S , S , - , - , S , S , - , - Music - , S , D5 , - , F4# , - , A5 , - Music - , S , S , - , S , - , S , - Music F2# , S , S , - , S , S , S , - 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# , S , - 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 , - , - , - , S , - Music S , S , S , - , S , - , S , - Music S , S , S , - , S , S , A5 , - Music - , S , - , - , S , S , S , - Music G2 , S , B4 , - , S , G4 , - , - Music S , S , S , - , S , S , - , - Music S , S , S , - , S , S , B5 , - Music S , S , S , - , S , S , - , - Music S , S , S , - , S , S , B5 , - Music - , S , - , - , S , - , - , - Music G2 , S , B4 , - , S , G4 , B5 , - Music - , S , S , - , S , S , S , - Music G2 , S , S , - , S , S , S , - Music S , S , S , - , S , S , - , - Music S , S , S , - , S , S , A5 , - Music S , S , S , - , S , S , - , - Music S , S , S , - , S , S , A5 , - Music S , S , - , - , S , - , - , - Music S , S , B4 , - , S , G4 , A5 , - Music - , S , - , - , S , - , - , - Music G2 , S , B4 , - , S , G4 , B5 , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music - , S , - , - , S , - , - , - Music F2# , S , A4 , - , S , F4# , A5 , - Music S , S , S , - , S , S , S , - Music S , S , S , - , S , S , S , - Music - , S , - , - , S , - , - , - Music A2 , S , A4 , - , S , C5# , A5 , - Music A2 , S , A4 , - , S , C5# , A5 , - 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 , S , - Music - , - , - , - , - , - , - , - Music - , - , - , - , - , - , - , - Music - , - , - , - , - , - , - , - Music Stop RaspberryBeret.bin RaspberryBeret.cfg
  20. 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
  21. 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?
  22. 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.
  23. Hello, In my aim to make the Intellivision Music Tracker useful and increasing its appeal to IntyBASIC programmers, I want to make sure it at least offers at a minimum any critical features that the IntyBASIC music player has. One thing that was missing, and that some have already asked me about, is the ability to disable channels in the tracker so that you can use them for sound effects. Unfortunately, the Intellivision Music Tracker messes with all PSG channels during playback, even if it's just to re-assert silence. I added a simple enhancement that allows the programmer to configure the tracker at runtime to leave some PSG channels untouched. It works by organizing the channels into a prioritized list, and only using the number of channels requested, starting from the one with the highest priority. In order to emulate something like "PLAY SIMPLE" in IntyBASIC, I chose to assign the lowest priority to the third channel of each PSG. The priority list then looks like this: A (Main PSG) - Highest priority B (Main PSG) D (ECS PSG) E (ECS PSG) F (ECS PSG) C (Main PSG) - Lowest priority +-----------+-----------+ | MAIN PSG | ECS PSG | +---+---+---+---+---+---+ | A | B | C | D | E | F | +---+---+---+---+---+---+ | 1 | 2 | 6 | 3 | 4 | 5 | +---+---+---+---+---+---+ So, for example, if you are only using the main PSG without the ECS, and you request 2 active channels, the tracker will use "A" and "B" and leave "C" untouched. Likewise, if you plan to take advantage of the ECS extra PSG to play additional music channels, you can request 5 active channels and the tracker will use "A", "B", and the three ECS channels, and still leave "C" untouched. That allows you to predictably reserve "C" for sound effects, and still take advantage of the extra sound channels of the ECS for the tracker, just like when using "PLAY SIMPLE" in IntyBASIC. However, in contrast to "PLAY SIMPLE," you are not constrained to just reserving one or two channels; you can configure the tracker to use anywhere from 1 to 5 channels, disabling the rest and reserving them for external use. All you need to do is use the macro "SET_ACTIVE_CHANNELS(n)" where "n" is the number of channels to use. The default is 6, letting the tracker use them all. ' Enable 5 channels for tracker use. ' This reserves channel "C" for other things. SET_ACTIVE_CHANNELS(5) ' The song will start playing immediately. CALL TRKLOADSONG(VARPTR MYSONG(0)) (Obviously the feature is available using the native Assembly Language interface of the Intellivision Music Tracker as well.) The full set of channel priority configurations are as follows: +------------------------+-----------+-----------+ | | MAIN PSG | ECS PSG | +------------------------+---+---+---+---+---+---+ | SET_ACTIVE_CHANNELS(n) | A | B | C | D | E | F | +------------------------+---+---+---+---+---+---+ | 1 | X | - | - | - | - | - | +------------------------+---+---+---+---+---+---+ | 2 | X | X | - | - | - | - | +------------------------+---+---+---+---+---+---+ | 3 | X | X | - | X | - | - | +------------------------+---+---+---+---+---+---+ | 4 | X | X | - | X | X | - | +------------------------+---+---+---+---+---+---+ | 5 | X | X | - | X | X | X | +------------------------+---+---+---+---+---+---+ | 6 | X | X | X | X | X | X | +------------------------+---+---+---+---+---+---+ LEGEND: [ - ] => Inactive [ X ] => Active One important thing to note is that, because channels "A" and "D" are the only ones in which the tracker supports drums, we may want to keep those at a higher priority, or else you lose the ability to use drums when using less than the full set of channels. What do you guys think? I know it is a useful feature to be able to reserve some channels for non-tracker use, but is this a good interface? Would it be helpful, or is it too confusing? Is the priority order too wonky? Any feedback will be welcomed! -dZ.
  24. 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:
  25. 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.
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