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  1. Boys of the Lough, an Irish Reel, is the first score in book, Traditions by Maggie Sansone, for the hammered Dulcimer. It is also the first to use the slide technique. "Slide - A slide is marked as two grace notes and is accomplished by sliding the hammer from the top grace note through the second grace note to the primary note." It can be heard in the middle of the second phrase or seen in the MIDI Music System file. Voice 31 - Measure 5 A5E. RS (breath pause) A5T (start of slide) B5T A5S G5E F#5E G5E F#5E E5E The miniEngine USB comes in handy while editing the errors made during note input. I happened to spin the data wheel and ended up changing the Program to #22 Harmonica. After that, the Dulcimer was forgotten in favor of something reminiscent of a cowboy campfire scene complete with an orchestra (#48 String Ensemble 1) for the harmony. Just like in the movies. Boys of the Lough - MIDI Engine - 80 BPM.mp3 The String Ensemble, in Voice 2, was a little thin. With a little bit of experimentation, it was found that Voice 3 could contain a jump to Voice 2 after a 1/32 Rest (RT). Voice 2 was played on channel 2 and Voice 3 on channel 3. Both channels would play the content of Voice 2 bout that slight delay added a few instruments to the orchestra. Just be sure to add a RETurn to the end of Voice 2 to make the song end as it should. Boys of the Lough.atr BOYSA.MUS - sheet music BOYSB.MUS - added Cord BOYSC.MUS/INF -MIDI Engine Reminded me of cowboy camp fire movie V1 S22 V2 TRU12, S48 Created breath pauses for harmonica BOYSD.MUS/INF - Added V3 played V2 with 1/32 delay to fill out string section Recorded using Audiotonic - 80 BPM. cleaned up line noise with Noise Reduction reduced high end with Base and Treble
  2. At least once a year a giant used book sale happens in a town near me. Gone are the days when you could find a table full of computer books to look over. Now even the music section is not large enough to keep me busy while my wife looks over the gazillion books that could end up in her shopping bag(s). This year three books were carried to the car. John Brimhall's Adult Piano Course Complete (going to take more then 20 min. every 3 months), Johnannes Brahms Complete Shorter Works for Solo Piano (already in the box for book re-donations), and Traditions by Maggie Sansone for Hammered Dulcimer. Traditions is a collection of Irish, Scottish, English, American, and French-Canadian Folk music for Hammered Dulcimer. The music includes Tremolo, Valley Roll, Grace note, Slide and Roll embellishments that give the dulcimer its unique sound. Programming them into the MIDI Music System (MMS) may present a a bit of a challenge. Not all these techniques are used in any one song and it should be possible learn the sequence of MMS commands. The Hunt - 2000.mp3 The Hunt The Hunt - looked like a fairly easy Irish Hornpipe to get started. I rarely find triplets in my sheet music but a quick look at the MMS manual to jog my memory got me through the first three notes of the song. Once the Melody was in, a base/harmony was programed into Voice 2. This was programed using one note of the cord triad shown for guitar accompaniment. This proved to be a very dull song and started the task of looking for a song a little more Irish sounding. Then this was found 10 pages beyond The Hunt. Made those changes and then looked for a synth patch that sounded close to a dulcimer. On the Proteus 2000 synth "gtr:The 12String" - Cmpsr,7,51 ended the search. It's all here in in the .MUS files for MMS. THEHUNT5.MUS without the control changes for the Proteus 2000. HUNT2000.MUS has the controls and sets patch. Maybe you can find better dulcimer. The Hunt .atr Files: THEHUNT.MUS - Part A and base - as written. THEHUNT2.MUS - THEHUNT + Part B THEHUNT3.MUS- {PartB and Base) V1PB.V01 - #3 as voice files V2.V02 - THEHUNT4.MUS - voice files and part A - complete as written. THEHUNT5.MUS - changed to dotted rhythm. HUNT2000.MUS - Added settings for Proteus 2000 gtr:The 12String - Cmpsr,7,51 (0-4,32-7,S-51) MIDI Channel 1
  3. The Korg NTS-1 has 29 CC#s assigned to different parameters that get modified to define a patch. There are patch editor and librarians for the PC but none for the Atari 8. I feel the need for a patch editor that will adjust, save, load and transmit the CC# values to the NTS-1. It would also be nice to be able to save them into MIDI MUSIC SYSTEM voice files for importing them into MMS music projects. There is one missing thing on the MTS-1 that the Atari MIDI interface needs to make this so much easier, a 5-pin DIN - MIDI OUT port. Or, a USB MIDI interface. Or maybe I could read the USB midi data from the NTS-1 on the PC and then retransmit it to the Atari MIDI interface through a USB to MIDI interface with the 5-pin DIN. Where's the fun in that. Below is some information I've picked up while pondering the project specifications. Some of it is useful, even if you own an NTS-1 and don't have any plans to hook it up to your Atari. A "MIDI to 3.5mm Cable - TYPE A" will need to be purchased or built. A 3.5mm stereo cable and an inline 5 pin DIN Male connector (left over from making monitor cables) found within my spare parts Inventory has allowed the connection to be made directly into the computer's MIDI interface. 3.5mm TRS jack ---------- 5pin DIN Tip<---------------------------->Pin 5 Ring<-------------------------->Pin 4 Sleeve------------------------->Pin 2 Chris Lody has made avalible 50 interesting custom sounds and nicely designed patch worksheets. All the information on the sheet can be found on the owner's manual if an explanation is needed. These sheets are worth having when designing patches. A link to the files is in the video description. Korg NTS-1 - 50 Custom Patches with Downloads - Megademo "Korg NTS-1 Patch Sheet A-Main" has the controls grouped by function. Which button to push, what knob to turn, the CC# for the control, and space for the meta data are all provided. If you write down the knob settings, you are well on the way to reproducing the sounds the next time the NTS-1 is turned on. "Korg NTS-1 Patch Sheet B - Custom Oscillator and Effects Details" are to document settings for custom oscillator and effects. I haven't worked much with any custom types, but I do know that adding them with Korg's NTS-1 digital librarian will change the control change (CC) data ranges that set the TYPE. Now the problem becomes converting the NTS-1 display data and/or sheet data to CC data values. The values for each of the CC# will need to be converted from the display data. The CC value to make the desired change is never directly displayed on the NTS-1. Some settings are never displayed, and some displays need to be scaled to a range of 0-127. The settings can be estimated by using the USB port and MIDI monitor software. MidiView is a free bare bones app from the Windows Store. It seems to be a little unstable at times but if you keep it running then you can view the CC# commands as they are changed. Finding a better option might be to your advantage. The NTS-1 outputs a MIDI timing command 24 times/quarter note. MidiView does not have a way of filtering out data so, 24X/quarter note you will see a $F8(248). The way around watching your CC values scroll off the screen is to put a TS 3.5mm jack (mono) into the sync in. This automatically switches off the clock output and only the CC values will be listed to the screen. I will make a quick attempt to translate one of Chris Lody's patches into CC values and then use the MIDI MUSIC SYSTEM to program a series of CC commands (P(cc#),value) to set the patch. "Massive Monks" looks like an easy one. All of the readings on the worksheet marked "-" have no effect when set. CC sheet value CC# value Determination OSC type VPN 53 75 Monitor Shape 30% 54 38 127*.3 Alt. 1/20(n/20) 55 0 (127/20)*(n-1) LFO: Depth 0 26 63 center Filter:type LP2 42 0 Monitor Cutoff 100% 43 127 127*1.00 Reso. 0% 44 0 127*0.00 Sweep:Depth 0 45 63 center Envelope:type ADSR 14 0 Monitor Attack 100% 16 127 127*1.00 Release 100% 19 127 127*1.00 Tremolo: Depth 0 21 0 (127/100)*n Mod Effect:type Ens 88 50 Monitor Time 50% 28 63 127*0.50 Depth 100% 29 127 127*1.00 Delay:type Off 89 0 Monitor Reverb:type Riser 90 84 Monitor Time 50% 34 63 127*0.50 Depth 100% 35 127 127*1.00 All type values will change when custom oscillators and Effects are downloaded to the NTS-1. There are slots for 16 OSCs, 16 MODs, 8 DELAYs, and 8 REVERBs. Two hours later - The CC settings were programed into MIDI MUSIC SYSTEM software. They were then played into the NTS-1 to set up the patch. I was surprised that the sound was very close to the one on the video when using my monitor speakers. The disk has the MASMONK.MUS and MASMONK.V01 files, if you want to see the MMS data or try out your NTS-1. MASMONK.atr Bonus Program - CCADJUST.BAS. This program will send out data to any CC# using a joystick to adjust the value. Bootup with the M: device autorun file and run CCADJUST.BAS. Enter the Channel number 1-16 and then the CC#. Move the joystick up or down to change the controller data. Press the trigger to increase the rate of change. Now, on to writing the NTS-1 patch editor from this humble beginning.
  4. Shortly after the Atari was sync-ed up with the PO-33 using the joystick port clock output, the Atari MIDI output was connected to the PC MIDI input to monitor the data stream. I wish I could remember why. That's when I noted that there was a MIDI clock ($F8) being sent from the Atari. I guess the manual wasn't lying. There was never much use for a MIDI clock to sync my arpeggiatorless MIDI equipment. Now I can see where it might be handy to sync the Korg NTS-1's and/or MicroKorg's arpeggiator using the Atari MIDI clock. This is what was learned about programming the Korg NTS-1 arpeggiator. There are 3 controls assigned to the NTS-1's arpeggiator and one that is set with the B-knob. CC117 - type, CC118 - Chord, and cc119 - length (number of notes in the sequence). When an external clock signal is not autodetected ARP-Knob B is used to set the arpeggiator's tempo. If an external clock signal is autodetected the knob is used to set up the step duration of 16th, 24th, 32nd, 48th, or 64th. This you will have to set while the NTS is receiving a clock. Also be aware that changing the Atari clock temp during a song is autodetected after and may take a note or two to set. Note: if you want to turn off the NTS-1's internal clock, a mono 3.5mm jack can be plugged into the SYNC-IN plug in the rear of the unit. Good for watching the CC changes using a MIDI monitor. These CC's values were derived from watching the CC changes using a MIDI monitor. I'm not sure if they will change when custom programs are added but there are no slots for custom arpeggiator types. If there are errors, the Length table is the one that is most likely to have them. ARPEGGIATOR TYPE (cc117) TYPE VALUE UP 0 DOWN 12 UP-DOWN 24 CONVERGE 36 DIVERGE 60 CONVERGE-DIVERGE 72 DIVERGE-CONVERGE 84 RANDOM 96 STOCHATIC 127 ARPEGGIATOR CHORD (cc118) Cord Button Value Octave OSC 0 Major Triad FIL 21 Major Suspended EG 42 Major Augmented MOD 63 Minor Triad DEL 84 Minor Diminished REV 127 ARPEGGIATOR LENGTH (cc119) Length Setting Length Setting 1 0 13 64 2 7 14 69 3 13 15 76 4 17 16 81 5 23 17 86 6 28 18 91 7 31 19 98 8 39 20 102 9 44 21 107 10 48 22 113 11 53 23 118 12 59 24 124 MMS - controlling arpeggiator example A couple of chord progressions were programed into MIDI MUSIC SYSTEM. With the arpeggiator off, Voice 21 plays notes C-A-D-G and Voice 22 plays the notes C-A-F-G. When the arpeggiator is turned on an arpeggiation in the key signature will play. Voice 21 plays C major-A minor-D minor-G major and Voice 22 plays C major-A minor-F major-G major. Play Voice 1 to sequence the music. The tempo and arpeggiator CC#s are set and then the Loop plays V21 and V22 four times. The NTS-1 was recorded. The first loop was played with the arpeggiator off. The APR button was pressed just before the second loop started. The oscillator and effect settings were not changed from their cold start default settings. The music was played before recording to adjust the step duration to 1/16. The tempo also needed to be auto detected and then auto adjusted. The last tempo detected will be used at the start of the next play through. This was annoying. Its something to remember when making tempo changes during play. NTS1 ARP EX.mp3
  5. Have you ever thought about learning to play a Tin Whistle? Me ether, until I found one at the local gift/chocolate shop. Noting that the whistle had but 6 holes, I thought it might be easier to learn then a 9 hole flutophone. Turns out that having 3 less finger holes didn't prove to be any less of a challenge. So I have recruited my Atari 8bit-MIDI Music System software-MIDIMAX-Synth to help me practice. Musical Instrument | For All Your Music Needs | Waltons Music I purchased a Waltons Tin Whistle Pack that contained a tin whistle in the key of D and The Irish Tin Whistle Tutor Instruction Book. The book contains a short section on reading music, playing the whistle, and a selection of 12 practice songs. The notes of the 12 tunes were entered into the MMS software and saved to disk. Now, a song can be played at a Tempo that is compatible with your skill level. As low as 32 beats/min and up to 290 beats/min. Slides and trills were not programmed into the music files. Waltons.atr The practice tunes have the fingering for each note as they are written on the staff. Having the written music to follow makes practice a lot easier. The bad news is that a newer version of the instruction book has replaced my version that is no longer readily available. The good news is that Waltons has granted permission to scan the written music so that it can be used with the MMS files. Tin Whistle Tutor - Tunes.pdf Now think about how much fun a Tin Whistle Flash Mob would be at your next Atari conference? ---------------------------------------------------------------------------------------------------- You knew that I would be unable to start my tin whistle practice sessions without using the Data wheel on the MIDIPLUS miniEngine Synth. The following is O'Neill's March played with the Steel Drum, Sitar for the harmony, and a 2-measure drum sequence. ONEILL-S March.mp3 O'Neill's March If I recorded my whistle playing, you would soon realize why I need the Atari.
  6. Changing presets/patches/voices/instruments/programs on your MIDI gear was rather easy in the early 80's. Having more the 128 instruments on a digital synth was unbelievable. So unbelievable that the original MIDI standard got a special command number( 192+channel #-1 ) and a 7bit number (0 - 127) to made the change. The MIDI Music System software provided the command Sn to accomplish this. Insert Sn between two notes in a voice and the patch magically changes. Then the future happened and synthesizer manufacturers added banks of 128 instruments. The MIDI controller 32 was assigned the task of controlling the least significant number and controller 0 as the most significant number to designate 128 banks of 128 banks of 128 patches. That's 128*128*128=2097152 patches. Accessing that many instrument voices in MMS requires these commands P32,LSB P0,MSB Sn It is pretty simple as far as MIDI standards are concerned. But..... it seems every manufacture displays patch codes in their own way and deriving these numbers may require a close examination of the manual. I've gone through my MIDI equipment and documented how to calculate the numbers from the front panel displays of the patch information. Your equipment will more then likely be different but you may find this of interest and I'll be able to use it as reference when next I forget. -------------------- MIDIPlus miniEngine USB- a simple midi device with MIDI standard instruments, 127 possible sounds. Three digit display shows sound number. The miniEngine is supplied with a card with the MIDI numbers and names of the patches. MMS command: Sn where n = 0 to 127. Could it be any easier? -------------------- KORG - MicroKorg - This MIDI device contains 128 user definable patches. The patches can be accessed by setting the Dial(bank select) , A/B button(bank side) and the 1-8 buttons(program numbers). These 3 settings define a 7 bit number that sets the patch. The patch displays as (A/B bank side)(Bank Select Dial)(Program button). display = (A/B) (X) (Y) n = (A=0 or B=64)+((X-1)*8))+(Y-1) MMS command: Sn ------------------ Yamaha TG33 - There are 5 banks of 64 voices. 1 - internal programable, 2- Card (card can hold 1 or 2 banks), and 2 - presets. Controller Command 00 and 32 are used to set MSB and LSB for bank. Voice Display = (bank)X.Y Name Set bank (page 104) bank Voice Mode Multi Mode (?) Internal 0 10 Card 1 1 11 Card 2 4 14 Preset 1 2 22 Preset 2 5 25 MMS commands P0,0 MSB P32, bank LSB Sn ,where n = (X-1)*8 + (Y-1) Have not worked with Multi Mode. ----------------- E-MU Proteus 2000 - The Proteus 2000 ships with 4 banks of USER programable memory and 7 banks of COMPSER presets. More programed ROMs can be added. Display: preset location, preset numbers, bank number, name (page 19) MMS command: P0,n Preset location (MSB) USER = 0 COMPSR = 4 more ROM = ? P32,n Bank (LSB) USER = 0-3 COMPSR = 0-7 Sn 0-127 ----------------- KAWAI K1r - Patches can be made as Single(a combination of 4 wave forms) or Multi(a combination of 4 samples. Changing between internal memory and external (card M8) is done on the front panel(I,i,E,e). Single = 0, Multi = 64 Capital letter = 0, Lower case = 32 (I = internal, E = external) A=0,B=8,C=16,D=24 Number = n-1 Single iB-6 = 0 + 32 + 8 + (6-1) = 45 Command S45 Multi IC-4 = 64 + 0 + 16 + (4-1) = 83 Command S83 Switching between internal and card memory during MMS play - unknown how/if it can be done. ----------------- This data is correct until I learn otherwise.
  7. The program I am about to describe should be considered a beta version - of a beta version. I was using it to test out some Ideas for inputting drum patterns so they could be saved as VOICE data files to load into MIDI MUSIC SYSTEM(MMS) projects. It has the capabilities of setting up a 4/4 pattern and then outputting to a MMS voice file. What it doesn't do is play the pattern or check for any kind of error. Most of the patterns are from books, I haven't experimented with rhythms. But I have found many errors in the program that need to be avoided. These two links are the foundation for this program. A8 MMS programing drum tracks - Out of the Pack - AtariAge Forums A8 MMS Voice File Data Explanation - Out of the Pack - AtariAge Forums Underneath the hood of this program may be one of the ugliest programs I have ever written and allowed to see the light of day. The idea of using the joystick input is from Your Atari Computer (YAC). Joystick input Page177 and subroutine 4-33 on page 165 (included on disk). YAC was the only resource needed. Pages on string manipulating have become a little more frayed. If you use the program, try to limit the number of instruments played on the 1/16 notes to 4. You may start to hear a delay when more are played. There is nothing to prevent you from trying to play them all. When naming files, the device "Dn:" is required. Standard Atari DOS filenames are used. The extension must be ".Vnn. Where nn is a number from 01 to 99. MMS automatically saves voice files with the V and then the voice number being saved. When importing the data to MMS the filename requires entry of the file extension but then asks which voice it should be loaded into. Also remember MMS will append the file at the end of anything already in the tracks. The program has zero error protection. There shouldn't be any errors entering the pattern. Make sure a formatted disk is in the drive and file naming rules are followed. If there is an error use "? FNAME$" to see if that is the problem. Sorry but the easiest way to recover from an error is to just type RUN and start over. I think I have found an error in timing caused when the program creates an incomplete Triplet. You can be off by one ^Z and not have it show up in the beats/measure (it gets lost in the round up). It has only happened once, but I was so busy editing the pattern in MMS I forgot to write down what I did. The last thing (that I know of) to considered is that all MIDI drums may not be play back the same. I didn't program in the use of the sustain controller but some synths may need it. It did seem to change up when I switched from the MIDIPlus-miniEngine USB to the Proteus 2000. After the file has been written, the program ends. "RUN" the program to reset the variables and display for the next measure. It's still easier than doing the work by hand. Program: -MMSDRUM.atr Instructions: Design or find a Drum pattern. Load MMSDRUM.BAS Use a joystick to move the cursor within the grid. Press trigger to toggle on or off instrument hit. When done press START and then input file name as "Dn.filename.Vnn". "nn" must be a number between 1 and 99. After the program has saved the pattern, it will end. Re-"RUN" the program to reset the variables for the next 4/4 pattern. To Play: Load MIDI MUSIC SYSTEM software. Press "A" and assign the midi channel for the track you will be programing the drums on(1-20). Press "L" to load voice. Input Filename. If load successful it will ask which Voice to put it in. Voice 21 to 99. Load all your patterns into different Voices. Choose your drum voice track and enter a series of Jumps (Jn) to the voices in the order you wish them to play. Return to menu and press "P". You should hear the Drums if all went well. DRUM200.ATR holds some examples from the book. The .V31, .V32, and .V33 is the voice data created with MMSDRUM. The .MUS, MMS Files, can be loaded and played (be sure to set the midi channel for your setup). DRUM200.atr The following is a simple pattern that was used to photograph the screen. I never saved it but if you try it out, you will agree………. it needs "MORE COW BELL." Modifying the program: If you are going to change an instrument in the drum set, the grid can be changed in Lines 2000 to 20090. Change the name but make the grid line up with the rest of it. The MIDI note to play can be changed in line 2103 to 21140. If you want to change the Velocity setting, they are in line 21010. No accent VELLO = Low velocity. Accent VELHI = High velocity. MMSDRUM program was used to create the drum track for "You Can Take It Back"
  8. Using MIDI MUSIC SYSTEM software to build music compositions seems to fit my skill set. I'm not proficient at reading music but I can translate it. My latest arrangement was a Celtic folk song for flute and drums. Music was entered into MMS and a simple drum pattern was added. It sounded terrible. Turns out that a synthesized flute doesn't need to breath and sounds very mechanical without those breaks. Selected notes were shortened and rests were inserted to maintain timing and give the illusion that a breathing person was playing the flute. Sounded much better but it was tedious work. Then I started to think I might have saved a Voice file and used a program to make the changes. Then import the voice back into MMS. Then it dawned on me that I was going to have to figure out the file structure of a voice file and what the data means. At this time I want to share what I think I know about how to create a voice file to import into MMS. Then someday someone (or myself) might write a useful program to create those files. File header and data structure: First thing that was done was to take a look at what a voice data file contained. A few notes were entered in a voice and then the voice was saved. This short program was written to list the content to the screen. Simply change the filename to match the one you wish to view. Use the cntl-1 key to stop and start scrolling. 10 TRAP 100:COUNT=0 20 OPEN #1,4,0,"D:TEMP.V01" 30 GET #1,A:? A;" "; 33 GET #1,A:? A 37 FOR X=1 TO 3 40 GET #1,A 45 COUNT=COUNT+1 50 ? (A), 56 NEXT X 60 ? :GOTO 37 100 ? "COUNT=";:? COUNT This short voice file listing demonstrates the format of the voice file. You may want to build your own voice files and check the results. 24,0 250,0,0 10,48,0 85,48,0 75,48,0 87,48,0 250,0,0 165,48,0 245,51,255 COUNT= 24 It became apparent that the first two bytes will be the number of instructions in the file. LSB - MSB format. Then the instructions are listed. At the end of the a count of the instruction sets is displayed. This should match the 16 bit number at the beginning of the file. An instruction consists of three numbers. The first designates the specific instruction and the next 2 are for any required data. I am assuming that if the data byte is not required by the instruction then MMS does not clear them to zero. That's the only explanation I have for some of numbers I have seen. The first instruction will always be a measure marker(250). Every voice has a measure marker at the beginning. Check it out. Rests and Notes Rest Rn - 0,LSB,MSB n=0 - 65535 cycles In MMS the duration of the rest is its clock value. In MMS you would most likely assign a clock value as W,H,Q,E,S, T, or Z. Their clock values are listed on page 22 of the manual. The "." and " .. " are used to adjust the number of cycles required for the additional durations. There is also the option of setting the duration by entering the clock value as ^n. Keep in mind that meter will determine the clock value in a measure and to keep all the voices synced the total clock value must remain the same for all measures in a composition. (But you don't have to.) Note instructions are between 1 (C1) and 108(G9). If a tie is used bit 7 will be set making the value above 128. To calculate: MMS note number = (MIDI note number - 23) + (128 * IF tie) The duration is set by the next two numbers much the same as for rests. The Table The rest of the instructions are to manipulate the MMS music settings or MIDI instrument. For more information check the manual. If I missed any I'll add the information if I ever find a need to use them. If the Second or Third number's has not been determined then ND has been placed in the table. In fact, it may not have a purpose. Function MMS Input Byte 1 Byte 2 Byte 3 Rest Rn 0 LSB MSB Note (C1-G9)n MIDI# 24-127 MIDI#-23 (+128 if tie) LSB MSB Tempo Tn 240 35-290 ND Sound Sn 241 0-127 ND Program (CC) Pn,x 242 Controller number Setting 0-127 Repeat REPn 243 0 = forever 1-255 ND End Repeat ENDR 244 ND ND Jump to Voice JMPn 245 1-99 ND RETURN RTN 246 ND ND Change Channel Velocity /CHn VELn 247 247 Channel-1 0-127 255 0 Transpose UP TRUn 248 0-127 ND Transpose Down TRDn 248 Start +256 - n LSB * ND Transpose Zero TRZ 249 ND ND Measure Marker M 250 ND ND Tempo up TUn 251 0-127 ND Tempo down TDn 251 Start +256 -n LSB * ND Pitch Wheel High PWHn 253 ND ND Pitch Wheel Low PWLn 253 ND ND Pitch Wheel Zero PWZ 253 0 ND *= I Think ND = not determined Table edited 11/9/21 I hope this is a good start to understanding voice files. There are going to be some revisions to this table if I find a need to write a program that will import and export MIDI MUSIC SYSTEM Voice files. That may happen If I find that the M: device driver for the MIDIMax will work with Diamond GOS. I'll incorporate the changes when they are brought to my attention.
  9. I have yet to input music into the MIDI MUSIC SYSTEM (MMS) software and have it correct the first play through. I can hear the error as it is played but MMS gives no indication of which measure it might be in. One solution requires an Arduino, MIDI shield with a THRU port, and numeric display. The plan was to program a MMS voice to out put a MIDI command once per measure on an unused channel and have the Arduino count the number of times the command was received. I really didn't put two much effort into figuring out the best way to accomplish this. It worked with what parts were avalible with as little time as possible. It was one of those projects not worthy of documentation until it took me longer to find my notes then to rebuild and use. Now I'll at least have this for reference. ------------------------------------------------------------------------------------------------------------- On the ATARI The MMS software was easy to program. A loop was made to repeat one measure with a couple of SOUNDn commands and channel 16 to output a 0 or 1 to toggle the input to the arduino. The below example is in 4/4 time. For this piece of music, VOICE 20 was programed with the following information. Be sure to {A}SSIGN VOICES from the main menu to the your MIDI channel of choice. Repeat X86 Sound #1 RS Sound #0 RE. RH. EndR The Sound #n command is a 2 byte command. Simple and fast. The Arduino will receive the command and will turn on a digital pin when 1 and off when 0. The REST is a 1/16 beat and gives the display enough time to register a change in pin status. The rest of the Rests make up the 4 beat measure. -------------------------------------------------------------------- The Arduino First prototype In this case the Arduino is an interface between MMS and a digital counter. Turn on pin three and the optocoupler grounds the counter plus lead. Turn off pin 3 and counter is incremented. A push button is also provided to reset the counter. The LED on pin 2 is an indicator that the Arduino is receiving the measure pulse. /* MMS Measure Counter * * Working with MIDI MUSIC SYSTEM it is often hard to know which * measure you are listening to while editing a song. An Arduino can be * programed to accept MIDI data on Channel 16 that will cause a counter * increment. A Voice channel in the MMS can be programed to output * a signal to reset or increment the display of a $1.00 step meter. * * This program will look for a midi program change command on channel * 16 (207). Then read data * 0 for off * 1 for count * */ int ledPin = 2; int countPin = 3; byte midiCommand = 0; byte midiData = 0; byte programChange = 207; //number representing channel and Command // 192(program change)+15(channel 16) void setup() { pinMode(ledPin,OUTPUT); pinMode(countPin,OUTPUT); digitalWrite(ledPin,LOW); digitalWrite(countPin,LOW); Serial.begin(31250); } void loop() { while(Serial.available()<1){}//wait for data midiCommand = Serial.read(); if (midiCommand == programChange){ // Note On - Channel while(Serial.available()<1){}//wait for data midiData = Serial.read(); switch (midiData) { case 0: // Turn off pins digitalWrite(ledPin,LOW); digitalWrite(countPin,LOW); break; case 1: // increment counter digitalWrite(countPin,HIGH); digitalWrite(ledPin,HIGH); break; } } } ------------------------------------------------------------------------------------------ The counter and display unit The counter/display is left-over from a challenge to find something in the dollar store to hack. It turned out to be a step meter. The step meter has two swiches. A sensor switch that is a weighted spring that makes contact as your hips sway and a reset button. If you have a cheep step meter, you can carefully open the case. The case holds the internal parts together and will need to reassemble it. Solder wires to replace switches with external switches and reassemble. Now you should be able to short the wires to see which does what. One pair resets the counter and the other increments the counter. Build the circuit with the Arduino, modified step meter, reset button, 2-330ohm resisters, LED and optocoupler IC. I put it on a prototype board cause I knew it would get used again (and again). The only reason you need the circuit is for the use of the step meter. You may be better off using another display method. --------------------------------------------------------------------------------------------------------------------------------------- Connect your Atari-MIDI interface MIDI Output to the MIDI Input on the Arduino shield and the Arduino Shield THRU to your synth MIDI Input. Press the reset button and start the music. As you listen to the music jot down the measure numbers when you hear something unexpected. Now you have a good starting point for searching out the cause of the discord. Find your own method for counting measures. What ever you come up with will probably be better then my old PLAY-MEASURE-1,10 and PLAY-MEASURE-10,20 and etc. (to the end of time).
  10. Found a good example for using the JUMP command in MIDI MUSIC SYSTEM. Once the notes were entered, I started trying out the patches during playback and found one that seemed to brighten an otherwise dreary day. Of course bells and strings can make any music sound like it was meant for the coming holiday's. This is FIVE PART CANON by Michael Praetorius(1571-1621). Five Part Canon.mp3 -------------------------------------------------------------------------------------- MIDI MUSIC SYSTEM (MMS) has options that can make it easier to work with then its predecessor ADVANCED MUSIC SYSTEM (AMS). The JUMP command is one of them. It works like the GOSUB in BASIC. Voices 1 to 20 are used to output to their assigned MIDI channel 1-16. Voices 21 - 99 can be used to hold sections of music or sequences that can be called from voices 1-20. You can use these sequences by inputting Jn (Jump to voice number n). Just like any subroutine, the music in voice n will play until a RET (return) is encountered. You can expect the same kind of results that might result might get from forgetting to enter a RETURN at the end of a BASIC subroutine. I like to keep it simple but… you can Jump to any one of the voices at anytime from any voice. Things can get pretty messy when you have 5 voices JUMPING around. One subroutine with and extra note can really screw up the timing. (There's a story behind that statement.) The .ATR contains the files for the cannon. Five part cannon.atr I found the music for a FIVE PART CANON by Michael Praeturius in the book "ENJOY YOUR Recorder: The Trapp Family Singers' New complete method of Instruction for the Recorder". Instead of inputting the music in each of the 5 voices, the 10 measures were programed into V21. Then Voices 1 to 5 were used to play the 5 parts. Rests were placed to assure that the music for that voice would come in at the right time. The music as represented by the printed sheet music is in the file FIVEPA21.MUS. CANNON01.MUS developed the music to the next save point. The rest in V21-measure eight was unsettling. A B4Q was put in its place. I wanted v1 to play through 1X before the other 4 voices entered. V22 was programed with 10 whole rests; then V2-5 jumped to V22 before starting. A tie was placed on the last note of music in V21. It is barely noticeable until the end where the extra quarter note is added to the last note played in V2, the last voice to stop playing. The last thing that was done to this file was to transpose the V2 up an octave, V4 down an octave, and V5 down 2 octaves to give it some depth. CANNON02.MUS started out having all the notes beginning at the same time, which made it sound very robotic. No human can play to that accuracy. A slight delay rest was added to 3 voices to make it seem a little less then perfect. V2 was delayed RZ (1/64), V3 got RZ + R^1, and V4 got a RZ+RZ delay. I hope the results are pleasing. CANNON02.MUS was saved and recorded. The Yahama TG-33's P1-13 SP*BelSt preset was used for all voices with only a slight amount of #5 delay effect from the mixer. --------------------------------------------------------------------------------- I have found many MMS music files and 99.9% seem like they may have been converted from AMS files. MMS can do so much more.
  11. I never really thought about it but a drummer has 2 hands and 2 feet; that's 4 percussion instruments that can be struck at the same time. But are they really? I'm no drummer so the best place to start programming drum patterns was using a book of drum patterns. I chose to start with 200 Drum Patterns by Rene-Pierre Bardet and a chart of the standard MIDI note number for the percussion instruments. MIDI Music System was loaded up and a drum pattern was entered. Two or three voices were used for each pattern - A, B, Break. Then three more MIDI VOICEs were needed to sequence the pattern. I've avoided entering more until now. Trying to understand a voice file data has forced a much deeper understanding of note duration and clock cycles. Notes with the standard duration can be inputted as W, H, Q, E, S ect. or you can input a "^" followed by a 192, 96, 48, 24, 12 ect. clock cycles. As it turns out the drums can be programmed with duration of 1 clock cycle. Play them with a fast tempo and the drum instruments will sound like they were struck at the same time. Of course, MIDI is serial so nothing is played at the same time. "Fast enough" is a rather loose term. The clock cycle is constant for a given note duration. A quarter note is 48 clock cycles. The tempo is used to to set the speed at which the music is played. This a clock cycle period can change from 0.03571 seconds per cycle at 35 beats per minuet to 0.00431 sec/cycle at 290 BPM. Say you want to play a base and snare drum at the start of a 1/16 note. The base and snare are played for 1 cycle and a rest for 10 cycles. That's the 12 cycles required for a sixteenth note. C2^1, D2^1, R^10 or C2^1, D2^11. I have put together a couple of drum solos. RNB1.MUS was without using the ^ duration settings. ROCK1.MUS and RANDB1.MUS were hand coded into MMS voice 51-53. Voice 1 was then programmed with a series of jumps to the patterns. Change up the tempo and hear for yourself when the delay between strikes becomes noticeable. drumtest.atr Now I have a method of programming drum patterns and an understanding of the MMS voice file format. If the M: device works under Diamond GOS I can start automating the task of programming drum patterns.
  12. When I started the Computer Blues Project I really thought there was no way to program the MIDI MATE from BASIC and that using the RS232 port was an option. If you don't have a MIDI Mate or MIDI Max, it is an option. If you do, there are ways of programing BASIC MIDI applications for them. I am just now starting to discover those methods. That’s at the end of this blog story. Where to start? Once upon a time….. I wasn't going to replace the MIDI Mate I sold after getting the ST but when the opportunity arose, I could only resist for about 3 months. The Wizztronics MIDI Max arrived and I was soon looking for my old MIDI Music System(MMS) song files. I unarced the song files and played some. It was like hitting the 25 year rewind. There was also a file named PD.ARC. I read over the MMS documentation again but this time the Command Summary seemed to be a little hard to read. Lots of commands on a 4.25X5.5 inch page. Retyping the chart helped me reconnect to the long term memory paths and the larger format makes for a little less eye strain. MIDI MUSIC SYSTEM comand summary.pdf I started entering some drum patterns from the book 200 Drum Machine Patterns by Rene-Pierre Bardet. That was fun but it made me realize how much effort it would take to make me an adequate drum programmer. It ain't going to happen. I'm playing with the drum kit on the Casio CTK-481. Not sure if anyone can use them. I will post the MMS files at a later date. Curiosity got the better of me and the PD.ARC file was unarched. The XMO file extensions makes me think that these are Public Domain files downloaded from Compuserve just before putting away the A8. I don't even remember reading/running them. The original XMO extensions have been changed to reflect the content of the files. PD PROGAMS atr.zip MIDIDR.DOC (MIDIDR.XMO) MIDIMate Software Interface Documentation 5/21/1985 By Hybrid Arts, Inc. This file contains technical information on the MIDIMate hardware and a listing of the fig-FOURTH source code for the driver software. (also compatible with the MIDIMax). (There are hardware schematics of midi interfaces that use the cassette motor control line to turn on and off the midi circuits. It would seem reasonable that these home brewed interfaces could be compatible with the Hybrid Arts MIDI software. (One more thing to find out.) MIDIDEMO.BAS MIDITRACK III simulated DEMO By Charles Faris This is a tutorial program for the MIDITRACK III software. It explains the screen data and most of the commands of the MIDITRACK software. HANDLR.ARC (contains HANDMIDI.DOC and HANDLER.MID) HANDMIDI.DOC The M: device. Documentation By James Dillow 1987 Released through Bitwise Computer Services This (kind of) explains the MIDI driver software that can send/receive MIDI data using standard I/O commands. It creates a M: device. It can be programed using BASIC command OPEN, CLOSE, PRINT, INPUT, etc. Or any language. (There are problems in the listed BASIC example that will make the information useless. More information and better example below). HANDLER.MID Compiled driver software. This is the binary load file that creates a M: device. Load from DOS or Rename to AUTORUN.SYS to auto boot. PATCHER.BAS CZ-101 Voice Patcher by Greg Kopchak Load and Save voice patch data to the CZ-101 MIDI keyboard. PORGAN.XMO Numeric data file - may be patch data for CZ-101 from PATCHER program????? DRTCVR.BAS (DRTCVR.XMO) Dr. T Patch Format To Patcher by Greg Kopchak Converts Dr. T tone data file to 16 PATCHER data files and a text file of patch names. HACVRT.BAS CZ-Patch Format to Patcher by Greg Kopchak Converts Hybrid Arts CZ-PATCH tone data to 16 Patcher data files and a text file of patch names. CZMIX.BAS CZ-101 Voices By Greg Kopchak I think this is a voice mixer? for the CZ-101. I had a CZ-101s but never used this program to edit voices. SSBMID.BAS (SSBMID.XMO) Star Spangled Banner by Francis Scott Key Program by Greg Kopchak 11/86 BASIC program to play Star Spangle Banner. Says "Requires Midimate and CZ-101". There are Program Change messages that call specific voice patches on the CZ-101 which may or may not sound good on your synth. There is a 270 byte machine language routine and a lot of poking into the IO routines. Have yet to figure out how the program works. Disk IO did not work after program is stopped using the break key. ------------------------------------------------------------------------- The M: device - HANDLR.ARC This file called to me and I had to give it a try. The resulting program is in an zipped .ATR image. MTEST.BAS will play middle C three times, if the driver is loaded and your MIDI system is attached. midi device test atr.zip The MIDI Device Test.ATR is in 720 sector format with DOS 2.0s and MEM.SAV. The HANDLER.MID is the binary load file that installs the M: device onto the computer. The M: device can then be accessed like other devices within a given language. The HANDMIDI.DOC is the documentation on the M: device and example program. The BASIC example program has several errors and will not be of much help. AUTORUN.SYS is a copy of the HANDLER.MID file and sets up the M: device driver at boot up. MTEST.BAS/.BTX is the Atari BASIC test program. 10 REM OPEN CHANNEL-START CONCURENT 20 OPEN #1,13,0,"M:" 30 XIO 40,#1,0,0,"M:" 40 REM PLAY NOTES - NOTE ON 45 FOR Y=1 TO 3:REM PLAY NOTE 3X 50 REM NOTE ON:MIDDLE C:VEL=100 60 PUT #1,144:PUT #1,60:PUT #1,100 70 FOR X=1 TO 50:NEXT X:REM DELAY 80 REM NOTE OFF:MIDDLE C:VEL=0 90 PUT #1,128:PUT #1,60:PUT #1,0 100 FOR X=1 TO 50:NEXT X:REM DELAY 110 NEXT Y 120 CLOSE #1 130 END There are three problems with the example given in the .DOC file that needed to be addressed to get middle C to play. a. The AUX1 in the OPEN Command should be 13. "13" is the same number used to set up concurrent in and out mode on the 850 interface. b. The AUX2 is missing from the XIO command. AUX2 = 0. This is a syntax error if you enter this line in Atari BASIC. c. The Note on and Note off MIDI commands require 3 bytes. The command number+channel, note number, and velocity. The example only shows 2 bytes being sent. Once these changes were made, the note came on and turned off 3 times. The CLOSE #channel and END commands are to made sure the program ended properly. Try it on your MIDI setup. Or better yet, write the nxt-gen MIDI game.
  13. Had some fun recording this one. MP3 audio file batsam_mp3.zip
  14. A second Atari8 running SYNDRUM3.BAS was added to the MIDI chain without timing problems. There didn't seem to be a delay between the sounds from the two computers when playing 2 drum sounds on the same beat. Listen to the drum patterns and judge for yourself. Two Drum mp3s.zip THE SECOND DRUM Since the SYNDRUM program only allows one percussion sound, I pulled my first 130XE out of storage to be used as a second percussion sound source. The broken keyboard was replaced with a Transkey back in early 90s. One of the guys at the user group was so disturbed by the hole left from the missing keyboard that he made me a vacuum formed insert. It’s the computer I want to be buried with. I had forgotten that the SYNDRUM3 program displayed a title screen and required a "press any key" to continue. It was easier to edit the program then find a keyboard to plug into the Transkey. A line was inserted to bypass this holdup. 30085 RETURN A second Arduino interface was built with a Arduino Uno(clone), MIDI shield with an IN, OUT, and THRU port, and optocoupler circuit. This time, a prototype shield was used as the base for the optocouplers. It’s a little more permanent. The original circuit was moved to the 130XE because a joystick cable was used to make the connection, the DB-9 plug used on the second setup had the wings on the sides and could be used on the 800 without modification. The THRU port is an important feature when using more then one MIDI Sound Module. All data that is coming into the MIDI IN port from the control computer is passed on to the next MIDI device through the THRU port. MIDI OUT data from the sound module is not added to the data stream or passed to the next sound module. Both MIDI/Arduino interfaces receive the same data stream but are programed to look for data specific to the MIDI Channel they are programed for. In this case Channel 10 and Channel 11 was used for the SYNDRUM computers. Drum Patterns Two Drum MMS_MUS_ATR.zip Three drum patterns from the book "200 Drum Machine Patterns" by Rene-Pierre Bardet where modified to be played by the two Atari8s. The patterns consist of a Part A, Part B and BREAK. Using the MIDI MUSIC SYSTEM(MMS), each part of the pattern was programed into different Voices. Six total MMS voices were used with one measure in each voice. MMS uses Voice 1 to 20 as output voices. 2 voices were used to make the calls to play the voice segments in the pattern: A-B-A-Break. This was repeated 5 times. The 2 voices were also assigned to MIDI Channels 10 and 11 before playing. The audio outputs were patched into the mixer, combined and recorded. The EQ was used to drop the high frequencies and the bass was increased. Then the audio inputs were panned slightly left and right to give them a little separation. (I don't know if this is typical. I found that the gain setting for the 130XE needed to be much lower then the 800.) Several different TEMPOs were recorded and one with the FX generator. Loosing much of my hi frequency hearing has effected the way I hear music and when I'm doing the recording it probably effects what you hear. I've been using headphones that have a great bass response to set up the mixer for recording. So, I'm not sure what your hearing when you listen to these MP3 files. What's next? I want to get away from the solder fumes and the technical end of this and just try to use the available equipment/software to be musically creative. Of course my first two creative thoughts require solder fumes and programming.
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