Jump to content

Search the Community

Showing results for tags 'music'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Atari Systems
    • Atari General
    • Atari 2600
    • Atari 5200
    • Atari 7800
    • Atari Lynx
    • Atari Jaguar
    • Dedicated Systems
    • Atari 8-Bit Computers
    • Atari ST/TT/Falcon Computers
  • Classic Consoles
  • Classic Computing
  • Modern Consoles
  • Gaming General
  • Marketplace
  • Community
  • Community
  • Game Programming
  • Site
  • PC Gaming
  • The Club of Clubs's Discussion
  • I Hate Sauron's Topics
  • 1088 XEL/XLD Owners and Builders's Topics
  • Atari BBS Gurus's Community Chat
  • Atari BBS Gurus's BBS Callers
  • Atari BBS Gurus's BBS SysOps
  • Atari BBS Gurus's Resources
  • Atari Lynx Programmer Club's CC65
  • Atari Lynx Programmer Club's ASM
  • Atari Lynx Programmer Club's Lynx Programming
  • Atari Lynx Programmer Club's Music/Sound
  • Atari Lynx Programmer Club's Graphics
  • The Official AtariAge Shitpost Club's Shitty meme repository
  • The Official AtariAge Shitpost Club's Read this before you enter too deep
  • Arcade Gaming's Discussion
  • Tesla's Vehicles
  • Tesla's Solar
  • Tesla's PowerWall
  • Tesla's General
  • Harmony/Melody's CDFJ
  • Harmony/Melody's DPC+
  • Harmony/Melody's BUS
  • Harmony/Melody's General
  • ZeroPage Homebrew's Discussion
  • Furry Club's Chat/RP
  • PSPMinis.com's General PSP Minis Discussion and Questions
  • PSPMinis.com's Reviews
  • Atari Lynx 30th Birthday's 30th Birthday Programming Competition Games
  • 3D Printing Club's Chat
  • Drivers' Club's Members' Vehicles
  • Drivers' Club's Drives & Events
  • Drivers' Club's Wrenching
  • Drivers' Club's Found in the Wild
  • Drivers' Club's General Discussion
  • Dirtarians's General Discussion
  • Dirtarians's Members' Rigs
  • Dirtarians's Trail Runs & Reports
  • Dirtarians's Wrenching
  • The Green Herb's Discussions
  • Robin Gravel's new blog's My blog
  • Robin Gravel's new blog's Games released
  • Atari Video Club's Harmony Games
  • Atari Video Club's The Atari Gamer
  • Atari Video Club's Video Game Summit
  • Atari Video Club's Discsuuions
  • Star Wars - The Original Trilogy's Star Wars Talk
  • PlusCart User's Bug reports
  • PlusCart User's Discussion
  • DMGD Club's Incoming!
  • DASM's General
  • AtariVox's Topics
  • Gran Turismo's Gran Turismo
  • Gran Turismo's Misc.
  • Gran Turismo's Announcements
  • The Food Club's Food
  • The Food Club's Drinks
  • The Food Club's Read me first!
  • The (Not So) Official Arcade Archives Club's Rules (READ FIRST)
  • The (Not So) Official Arcade Archives Club's Feedback
  • The (Not So) Official Arcade Archives Club's Rumor Mill
  • The (Not So) Official Arcade Archives Club's Coming Soon
  • The (Not So) Official Arcade Archives Club's General Talk
  • The (Not So) Official Arcade Archives Club's High Score Arena
  • Adelaide South Australia Atari Chat's General Chat & Welcome
  • Adelaide South Australia Atari Chat's Meets
  • Adelaide South Australia Atari Chat's Trades & Swaps
  • KC-ACE Reboot's KC-ACE Reboot Forum
  • The Official Lost Gaming Club's Lost Gaming
  • The Official Lost Gaming Club's Undumped Games
  • The Official Lost Gaming Club's Tip Of My Tounge
  • The Official Lost Gaming Club's Lost Gaming Vault
  • The Official Lost Gaming Club's Club Info
  • GIMP Users's Discussion

Blogs

There are no results to display.

There are no results to display.

Calendars

  • AtariAge Calendar
  • The Club of Clubs's Events
  • Atari BBS Gurus's Calendar

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website


Facebook


Twitter


Instagram


YouTube


eBay


GitHub


Custom Status


Location


Interests


Currently Playing


Playing Next

Found 134 results

  1. Hi everyone c: I did this conversion of "Despacito" for MSX/Colecovision/Intellivision tonight, and I wanted to show it to all of you. I add the .bas file to compile on Intybasic and listen on your Intellivision. Enjoy. I will post here more of my works later. Check more of them on http://adan.eu.pn/ Despacito.bas
  2. Many moons ago and being member of the Dallas Computer Clubs I played around and sold Music Studio for Casio and Yamaha keyboards. I would like for anyone who has Music Studio song files to get in touch with me. I also would like to know how to make a copy of the 3,5 inch original disk that I have and took forever to find, any clues appreciated. I also have a 5,5 inch floppy of Music Studio. Also would like to know if anyone has a copy in 3.5 inch format of Music Studio or knows how I can get a back up copy. Just real reluctant to use the only copy I have until I have a back up. In the future I will be reproducing Music Studio song files.
  3. Hello everyone! There are quite a few musicians already making some great tunes on the Intellivision using IntyBASIC, but I want to invite them to give the Intellivision Music Tracker a chance. Not because it's better (IntyBASIC is great!) or easier (the tracker is a lot harder!), but because I think it offers some truly remarkable capabilities that allow for more expressive and nuanced compositions. To ease the transition from IntyBASIC Notation (IBN) to the tracker format (IMT), I've created a program that converts music data from one to the other, called IBN-to-IMT. The idea is that anybody can take an IntyBASIC song, convert it into the tracker format, and from there extend it and alter it with additional instruments, channels, patterns, effects, etc. I wanted to illustrate this process myself, so I asked @Nyuundere for a sample of one of his tunes. In the end I wanted to showcase his song transformed with all sorts of bells-and-whistles and give him and others an idea of what can be done. He graciously agreed, and I went to work. Having secured his permission, I will now share the results with everyone. The song chosen for this demonstration is Beat It by Michael Jackson, tracked originally by @Nyuundere for the IntyBASIC Music Player, transformed and remixed for the Intellivision Music Tracker by yours truly, @DZ-Jay. Original IBN: First, here's the original song, as tracked by @Nyuundere. I took the liberty of annotating it by hand, just to provide context on how each part relates to their corresponding sections in the transformed file. beatit-ibn.mp3 beatit-ibn.bas Transformed IMT: Second, here's the converted song, as processed by IBN-to-IMT. I also annotated the file by hand, so that anybody could follow the provenance of each pattern to the original IBN source. Notice that the instruments are merely approximations (although rather close) and that there is no percussion. IBN-to-IMT does not translate the percussion sounds from IntyBASIC, so it is left to the user to add drum and percussion sounds in the final IMT version. That said, the drums capabilities of the Intellivision Music Tracker are much more sophisticated and one of its key differentiators, so this is something you would probably do in any case. beatit-imt.mp3 beatit-imt.asm IMT Remix: Third, with the converted song on hand, I proceeded to create a cool remix by extending the song, changing the instrument sounds, and adding a proper drums track. I based the structure of the song and the drum sounds on the original Beat It track from Michael Jackson's album Thriller. I tried to reproduce the original drums track, complete with handclap accents, and used a "buzzy" bass sound to take the place of the guitar. As with the others, the source includes annotations relating each channel and section to their original counterparts. beatit-remix.mp3 beatit-remix.asm beatit-remix.rom I took the liberty of extending the remix to use the full six channels available with the ECS -- but even when played without the expansion module, it still retains the same feel; only that the extra drum accents and instrument overlay effects are missing. beatit-remix-3ch.mp3 Beat It - Remix.mp4 Information on the Intellivision Music Tracker and the IBN-to-IMT conversion tool can be found in their respective discussion threads: Intellivision Music Tracker IBN-to-IMT: Converting IntyBASIC songs to tracker format Thanks again to @Nyuundere for going through the trouble of tracking the song originally for IntyBASIC, and for begin so gracious in sharing it with me. -dZ.
  4. 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:
  5. Merry Christmas & Happy New Year, everyone! I've been working on a little project for the past several months and it is finally ready to be shared. Introducing the new and improved Intellivision Music Tracker v1.5. Just what is an "Intellivision Music Tracker"? It's a software library that allows you to play specially crafted music files in your own Intellivision games. These files are similar in nature to the classic tracker module (MOD) format employed in many old school platforms. Originally written by Arnauld Chevallier and released to the public domain many years ago, this new version includes many changes, enhancements, bug fixes, and fully comprehensive documentation. This entire project started as part of the demo Voyage: An Intv Journey. The original idea was to take Arnauld's tracker and enhance it to support the additional sound processor in the ECS, and fix a few latent bugs. I then took it upon myself to reverse-engineer the entire tracker and document in exhaustive detail the data format in order to add new features to it. The result is not only a comprehensive user manual and technical guide, but an improved and highly-optimized version of the tracker. Plus it plays some of the best kick-ass drums you've ever heard on an 8-bit sound chip. Below is a list of the most important features of the Intellivision Music Tracker: Pattern-based song sequencing, with support for an unlimited number of patterns. Supports up to six independent sound channels, updated and playing simultaneously. Full 6-note polyphony; 5-note polyphony, with one drum channel; or 4-note polyphony, with two drum channels. 64-point user-defined software envelopes. 4-step pitch effects (e.g., arpeggios). Vibrato effects configurable with 3 levels of depth. Simple programmable drum sound synthesizer. Supports up to 85 individual instrument definitions with independent envelopes, and pitch and amplitude modulation effects. Supports over 40 individual drum instrument definitions per song. Global master volume control. Dynamic active channel selection. (New!) And if all of that wasn't enough, in a fantastic twist of fate, this new version includes support for IntyBASIC integration, making it dead-simple to incorporate the tracker in your own IntyBASIC games! The standard distribution includes everything you need: Tracker v1.5 User Manual & Technical Guide. Tracker library and dependency modules. Interface modules for both Assembly Language and IntyBASIC programs. A global music definition file with useful predefined envelopes, effects, and drum sounds. Eight sample songs, including a cool drums solo showcasing the new drum sounds. Along with the standard distribution, I include below an "IntyBASIC SDK" project with an example program illustrating how to use the tracker from IntyBASIC. Current Revision #2 (2021-01-22): Tracker v1.5 User Manual & Technical Guide.pdf - User Manual trk-distro-rev3.zip - Standard Distribution trk-demo (IntyBASIC).zip - IntyBASIC SDK Project And for those who do not want to build or compile the project to check it out, below are some MP3s exported from the emulator playing the sample songs: butterfly-remix.mp3 - Flight Of The Butterfly - By @carlsson demo-remix.mp3 - Demo Song (Remix) - By @Arnauld drums-demo-808.mp3 - Drums Demo (Funk My Drum Machine) - By @DZ-Jay space-music.mp3 - Journey Through The Stars (Space Music) - By @carlsson voyage-remix.mp3 - Voyage Theme - By @carlsson beatit-remix.mp3 - Beat It (Remix) - By Michael Jackson (originally tracked by @Nyuundere, remixed by @DZ-Jay) One of my goals in documenting the data format so thoroughly was to enable the creation of MOD-to-Inty or MIDI-to-Inty programs to convert standard music files to the Intellivision Music Tracker format. I hope others will take inspiration of this project and contribute to this effort. Let us enrich the musical library of the Intellivision and expand the pool of musicians working on it. Many thanks to Arnauld Chevallier for the original software and for his many contributions to this community. Now, go make some cool music! Cheers! -dZ. UPDATES: 2021-01-10: Updated attachments of library distribution to revision #1. 2021-01-22: Updated attachments of library distribution to revision #2. 2021-02-03: Updated attachments of library distribution to revision #3.
  6. Introducing IBN-to-IMT: A program to convert music data from IntyBASIC Notation (IBN) to Intellivision Music Tracker format (IMT). Description: The program will translate a music module composed in IntyBASIC Notation (IBN), into the data format used by the Intellivision Music Tracker (IMT). The result is an assembly source file with the original song represented in the target format. The output file includes instrument definitions that attempt to reproduce the IntyBASIC sounds. By default, IBN-to-IMT will produce output to support 6 channels, following the default configuration of the Intellivision Music Tracker. It will also try to determine automatically the most optimal length of patterns to use, removing duplicate patterns across all channels. The default behaviour can be altered with command line options. How It Works: The crucial problem that IBN-to-IMT attempts to address is how to identify patterns, and how to determine an optimal pattern length in which to split the song data. The solution it employs is actually to apply brute-force. First, the program scans the original BASIC source file and identifies all the labels and music player commands, extracting a stream of note events (the song stream) and splitting them into channels. Any music subroutines encountered via the command "MUSIC GOSUB" are unrolled and included inline as part of the song stream. Throughout this entire pre-processing step, the volume and active instrument of each channel in the original source are tracked. Then, operating on each extracted channel in turn, the program splits the song stream repeatedly into patterns of various row lengths. At each split, it attempts to deduplicate re-occurring patterns across all channels, and computes an estimate of the size of the data needed to reproduce it. When all lengths are tested, the program compares the relative sizes of the data for each iteration, and chooses the smallest one. This is assumed to be the optimal length with a balance between rows and data size. The selected pattern split is then rendered in the Intellivision Music Tracker (IMT) format by emitting the sequence of reused patterns, the channel patterns, and their individual note event sub-patterns. Any patterns corresponding to a labeled section in the original, will include a comment with its corresponding label for reference. Caveats: You must ensure that the source file contains only song statements in valid IntyBASIC Notation (IBN). Variable song speed is not supported by the Intellivision Music Tracker. Therefore, the "MUSIC SPEED" command simply sets the speed for the entire song. The program works best when the original song is naturally organized into repeating groups of notes or musical passages of the same length. Because the implementation of the Intellivision Music Tracker synthesizer is different from that of the IntyBASIC music player, the instrument sounds will only be approximations. The commands "MUSIC STOP" and "MUSIC REPEAT" are interpreted as the end of the song. Therefore, any following statements will be ignored unless referenced in some other way. You should take care to ensure that control-flow commands such as "MUSIC JUMP" and "MUSIC GOSUB" follow a coherent and logical flow. Chaotic jumping around in your song may not translate correctly. Be very careful when exiting a subroutine prematurely via a "MUSIC JUMP" command. This may result in unbalanced "GOSUB/RETURN" pairs. Because pattern extraction occurs independently of label positioning, there is a chance that labels wil not line up with the start of a pattern. Consequently, determining the backtracking from the target of a "MUSIC JUMP" command may fail. In such event, the program will default to an end-of-song marker. Known Issues & Limitations: Error checking is superficial at best. (What can I say, I'm an optimist. And lazy.) Drum arguments are read and extracted, but completely ignored during processing. The control-flow command "MUSIC JUMP" is treated in a special way: If it points forward into the song stream, it will skip all notes until that point If it points backwards to a previously encountered label, it will signal the end of the song and set the target as the repeat offset for backtracking at the end of the sequence. If a target pattern cannot be determined for some reason, it will default to the end-of-song marker. The performance command "MUSIC SPEED" will override the actual speed of the entire song, not just of the following sections. How To Use: For details on how to use IBN-to-IMT and for a comprehensive description of its features and available options, please see the User's Manual included with the program. Requirements: IBN-to-IMT is implemented as a Perl script. Therefore, you need an installation of the Perl programming language in your computer. On Mac, Unix, or Linux systems, Perl is usually included automatically in the standard operating system distribution. For Windows PCs, you may need to download one and install it. There are many distributions out there, most of them free for non-commercial use. One I've used in the past is ActivePerl from ActiveState. Acknowledgements: This program would not have any reason to exist if it were not for the fabulous work by Arnauld Chevallier (@Arnauld) and Oscar Toledo (@nanochess), respective authors of the original Intellivision Music Tracker and IntyBASIC. I would also like to thank @Nyuundere and @First Spear for suggesting the idea for this tool, and for providing sample files from their own personal repertoires on which to test. Most of my initial testing was done on a few sample IBN files I found in this forum, which happen to be published by @First Spear. Download: IBN-to-IMT is now included as part of the Intellivision Music Tracker distribution package. You are encouraged to get the latest version of the tracker from its dedicated thread. Nonetheless, below is the conversion program on its own, along with a copy of the user's manual. trk-utils.zip ibn2imt-manual.txt
  7. 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.
  8. EDIT: Updated to version 1.3 TIATracker is a tool for making Atari VCS music on the PC and a new sound routine for the VCS. It features ADSR envelopes, up to 7 melodic and 15 percussion instruments, customizable pitch guides for optimizing the number of in-tune notes, a size-optimized and configurable replayer routine and much more. The Windows binaries for version 1.3 as well as the manual are attached. Included are also three example songs, a few basic instruments and an example pitch guide. For Linux and OS X, use "wine" or compile the sources (they use Qt and SDL). The sources can be found here. Pouet link is here. I'm open for bug reports, feature requests or curses. TIATracker_1.3.zip TIATracker_manual.pdf
  9. 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
  10. Great news for all fans of POKEY sound chip! The Atari SAP Music Archive has been updated with 273 new songs, bringing the total to whooping 5281 POKEY tunes. The update includes lots of added information and bugfixes. Download the archive at the official ASMA homepage.
  11. I've been a fan of Herb Alpert since I was a kid. We just about wore out the Tijuana Brass Christmas Album playing it every year. Then for some reason, in my early teens, I started really getting into their music. I'm not sure why, other than it was probably because I was getting into collecting records at the time (the Monkees), my folks already had a number of TJB records at home, and I was playing trumpet in band at school. And, well, the music was fun and catchy. It was already at least a dozen years out-of-date by then, but it was so unique, listenable and undeniably happy, myself and a couple of friends really got into it. Non-ironically, too. But I really didn't know anything about Herb or the TJB. In fact, when I went to ask our high school band director if we could play some Herb Alpert music, he said, "We already are." Little did I know, Herb had just had a massive hit with the #1 song Rise, and we were playing 1980 - the opening track on that album (you should be able to guess the year this all happened ). I don't think Rise ever got any play on the radio station I was listening to at the time, which was AM top 40. I certainly don't remember hearing it before getting the album. (If Rise sounds familiar to you young 'uns out there, this was sampled by Biggie Smalls and became a hit all over again, generating even more royalties for Herb. Nice work if you can get it.) But at that point I started following Herb as a solo artist, and each new album was... Well, hang on. I've already written this somewhere. Let me find it. It's here somewhere... It's really too bad Categories don't exist in the blogs here anymore. It would make this a lot easier. Gimme a minute... Okay, here we go. So I've written about Herb's solo career here: https://atariage.com/forums/blogs/entry/1311-time-marches-on/?tab=comments#comment-2826 And here: https://atariage.com/forums/blogs/entry/6419-mutton-beef-and-trout/ And here: https://atariage.com/forums/blogs/entry/8097-new-old-music-part-4/ And here: https://atariage.com/forums/blogs/entry/13004-new-old-music-parts-8-9-10/ And here: https://atariage.com/forums/blogs/entry/15180-new-old-music-parts-13-14-15/ And even then, there have been two more albums released since then that I haven't reviewed yet. The point is he's recorded a lot of music. Not counting Greatest Hits compilations, I have 47 of his albums (which are all of the ones I'm aware of), 30 of which were recorded after he disbanded the TJB. And he's continually changing what he's doing. He never stands still, and rarely does the same thing twice. Always exploring. Following his instincts. Creating what sounds good to him, not necessarily what he thinks will be a hit. Plus, Herb's a painter. And a sculpter. And a very wealthy philanthropist. You see, the TJB earned him a lot of money. He sold over 72 million records. That includes 15 gold records, 14 platinum records, several #1's, and 9 Grammy awards. He was also the "A" in A&M Records. He and co-founder Jerry Moss sold that to PolyGram in 1990 for $500 million. Not bad for a couple of guys who started in a garage with a tape recorder. So, from this unassuming trumpet player playing "happy music", to a multimillionaire industry giant, to a remarkably humble artist and generous philanthropist. This is all stuff that I learned over many years of following him, reading articles here and there, and of course piecing things together on the internet. Now of course, you can look up a lot of this on Herb's website or Wikipedia. One-stop shopping. But that doesn't really show you who Herb Alpert is. (How's that for a segue? Even after months off, you're still getting the same quality writing you've come to expect from my blog! Note that I didn't say "good" quality. Just "same" quality.) But this new documentary does. Herb Alpert Is... was originally intended for a theatrical release, but the Coronavirus pretty-much took care of that. But you can get it on various streaming platforms. In my case, I bought it on iTunes. Even though I knew much of the information factually, when you can see and hear Herb talk about his career, and watch vintage performances, hear first-hand accounts and interviews, it becomes a far more engaging and engrossing story. More than half of the documentary focuses on Herb's early career and years with the TJB and A&M. Of course, that's where people know him from. It largely skims over his solo years, stopping briefly to focus on some work he did with Hugh Masekela, the recording of Rise, and his collaboration with Jimmy Jam and Terry Lewis, but it doesn't really do a thorough job of showing how much music he's recorded as a solo artist. That said, this is more of a biography than a discography, and it does show who Herb Alpert is... as a person, an artist, and how he's arrived at who he is now: a vibrant, passionate, committed husband, artist, philanthropist and musician. At the age of 85. There are a few fun facts it would've been nice for them to touch on - Herb playing at the Super Bowl, or being an extra in The Ten Commandments, but it still covers a remarkable amount of ground. For my money, it could've easily gone another 30 minutes. I would've loved to have heard more about his creative process with the TJB and his solo career. Maybe they'll release some bonus footage or an extended cut someday. Still, it's a compelling and inspiring story. It's positive and uplifting. And the music is still happy. Right now, we could use pretty-much all of that. Herb Alpert Is... a 9/10. (There's also a BBC documentary from ten years ago, which covers much of the same ground. It's only an hour long, and the approach is more factual and less personal, but it's still very good.)
  12. About two-and-a-half years ago, I had to gang up three Herb Alpert reviews in one, because he'd been putting out music faster than I could review it. Since then, he's actually released four more albums. Not bad for a guy who's 83! I'm only reviewing three of the four at this point, but I'll catch up on the other one (a Christmas album) later in the month. 2016: Human Nature In late 2016 Herb released Human Nature. It was originally presented as more of an EP than an album, but even with just 9 tracks, it still clocks in at a respectable 31 minutes - as long as many of the Tijuana Brass albums he did back-in-the-day. Human Nature breaks stylistically with the previous few albums Herb had done - a little less acoustic, a little more electronic. Still centered around the same band he's had for years, there's a notable increase in keyboards, synths, and more of a pop driven feel to some of the tracks. While still owing to the previous jazz-driven albums, this album is the beginning of a departure, and stands apart from the previous albums enough to have its own identity. Herb's playing throughout is excellent and ageless. Playing this for someone unfamiliar with Herb's career, I don't think anyone could guess Herb's age, or for that matter, what year (or decade) this was recorded. Although clearly modern, it could've been recorded probably anytime in the last 30 years, and would fit in just as well as it does now. There's a great mix of up-tempo and quieter, almost melancholy tracks. From the oft-recorded Alfie, to Michael Jackson's "Human Nature", to the Tijuana Brass staple "Don't Go Breaking My Heart" (not the Elton John song), Herb chooses melodies that are timeless to him, and makes them uniquely his own. The sequencing is excellent, and everything fits together remarkably well. Of his recent work, I keep going back to this one more than most. Human Nature gets a 7.5/10 2017: Music Volume 1 Music Volume 1 is a pretty radical departure from Herb's work of the last decade. Rather than being centered around his long-term group of musicians, it's effectively just him and synth programmer Jochem van der Saag. Herb takes a dozen classic songs from Gershwin's "Strike Up The Band" to the Beatles' "Michelle" and strips away everything except his trumpet playing and minimal accompaniment. That accompaniment ranges from synthesized strings and samples to drum machines, but it isn't used in a heavy-handed, modern approach. Rather, it's all rather subdued, and at times is "aged" sonically, with noise and equalization added to make the recordings sound artificially old. To me, the results of those effects are kind of mixed - if you're going to make something sound antique, I'd prefer it be done authentically using vintage instruments and recording equipment. But it's not obtrusive, and since it sits largely in the background, it does what it's supposed to do: supports Herb's playing and really lets him shine. If anything, Herb is actually getting better with age. His playing on this album is excellent and completely, uniquely his own. Nobody else sounds like Herb, and he's as instantly recognizable here as he was 50 years ago. Herb's intent with this album was, in his own words, "To make up-lifting music in a time when the whole world feels like it could use some." He succeeded brilliantly. This is the perfect antidote for having a bad day, and it's hard not to be put into a good mood listening to this album. The one piece that breaks from that is John Lennon's "Imagine", which closes out the album. It's performed so quietly and introspectively, that it actually ends the album more on a wistful note than a joyful one. As a former trumpet player myself, I also have to share Herb's excellent video for "I'm Yours" from Music Volume 1: Music Volume 1 gets a 7/10 Along that same sort of theme, earlier this year Herb released a cover of "What A Wonderful World", featuring a bevy of international musicians. I expected this to be on his next album, but it turned out to be just a one-off track. Still, it fits in nicely with Music Volume 1 as a follow-up, and proceeds from it* benefit the Louis Armstrong Educational Foundation, which is never a bad thing. Here's the video from it: *Note: I have yet to figure out how to actually buy the track. 2018: Music Volume 3 - Herb Alpert Reimagines The Tijuana Brass Most recently, Herb released Music Volume 3 - Herb Alpert Reimagines The Tijuana Brass. So, what happened to Volume 2? Well, that was released in 1963. Music Volume 3 consists entirely of reworked Tijuana Brass tracks, including "The Lonely Bull", "Spanish Flea", "A Taste of Honey", and others which would be almost instantly recognizable to any Tijuana Brass fan. But this album isn't designed to appeal so much to us original fans, but rather to introduce the TJB to a younger, modern audience. Like Volume 1, Herb works with Jochem van der Saag again, but on several tracks adds additional brass players to fill out the sound. Some of the arrangements are completely new and offer fresh takes on the originals, but a few of the tracks just sound like the original tracks were remixed with a heavy beat, and nothing really interesting was done with them. Herb did something similar with a remixed version of Whipped Cream & Other Delights about a dozen years ago, although Music Volume 3 has more in the way of newly recorded material, and is more consistent because he only worked with one producer. This is far from the first time Herb has revisited songs he had recorded before - I counted well over a dozen others he's recorded multiple times over the years. The thing is though - usually he genuinely reimagines those songs when he re-records them. With Volume 3 - much of it sounded all-too-familiar. Yes - they had a modern twist of sorts, but much of the original arrangements, tempos and instrumentation seemed held over from the Tijuana Brass versions. There are a few notable exceptions, but for the most part, it was less reimagining than recycling. Even the crowd noises from the original recordings of "The Lonely Bull" and "El Presidente" were reused. Also, four of the tracks were already revisited once before on the aforementioned remixed Whipped Cream album, so comparisons there are inevitable. That said, there are a few tracks that really break from tradition, notably "Wade in the Water" and "America" (from West Side Story). "America" is played almost mournfully, much like "Imagine" at the end of Music Volume 1. A complete contrast from the Tijuana Brass' original joyful, celebratory version. When I buy a new Herb Alpert album - I look forward to it because I expect something new. This is a guy who for over 50 years has never stood still. Even during the Tijuana Brass years, the sound changed and evolved. During his solo career, he rarely did the same thing twice. So Music Volume 3 is a bit disappointing in its familiarity. But still, I'd say it was certainly listenable and enjoyable enough to recommend... except for one thing... The bass. When I listen to this on my home stereo, or in my car, or any system with speakers that have good bass response, the album becomes insufferable. The drum machine or synthesized bass, or whatever it is that's thumping away, is dull, loud, repetitive, and obnoxious. It just pounds away with a booming "thud, thud, thud, thud" that absolutely drives me up the wall. Clearly, this album was mixed for a generation of kids who have already lost most of their hearing by having earbuds endlessly jammed into their skulls. The whole album sounds like it was designed to be played on one of those overpowered car stereos that rattle your home's windows when they drive by - several blocks away. And no... it's not my stereo. I carefully calibrate all of my sound systems, and the 7,876 other songs that I play on those systems all sound just fine, thank you. Does this make me old? No, my age makes me old. This makes me selective about the kind of music I want to listen to. And what I don't want to listen to is something so bass-heavy that it completely overwhelms any musicality that may be buried underneath. The only place I can listen to this album is on my computer, because my desktop speakers don't have very good bass. Even though this was meant to appeal to a new generation of listeners, frankly, I can't recommend this one to any generation. Herb has far too many other good albums to waste your time on this one. If you really want something of his to listen to, pick up Main Event - Live. Or Midnight Sun. Or Fandango. Or Beyond. Or Under A Spanish Moon. Or Rise. Or... well, you get the idea. Just not this one. Because the volume has to be turned down to a 3 to listen to it, and because it's not very imaginative, Music Volume 3 - Herb Alpert Reimagines the Tijuana Brass gets a 3/10. Sorry Herb. But I am looking forward to your next album. Just please leave the synth programmer out of it.
  13. After being delayed for several months, Herb Alpert's new album - Anything Goes (featuring his wife - Lani Hall) is finally here! Recorded live during a brief tour last year, this is Herb's most jazz-centric album since 1992's Midnight Sun (currently out-of-print, unfortunately). There's nary a trace of the Tijuana Brass years here, and yet Herb's playing is as instantly identifiable as ever, as is Lani's singing (in case you're unfamiliar, she was the lead vocalist for Sérgio Mendes's Brasil '66). Anything Goes is mostly a collection of standards, but they're treated in Herb and Lani's own unique style, so while certainly respectful to the originals, they aren't merely retreads of something done before. Lani sings a couple of numbers in Portuguese (sadly, no translation was included in the booklet), and there a couple of original compositions by the band's pianist - Bill Cantos. Yet despite the variety of material, the whole album has a very cohesive feel to it. The musicians are all first-rate and blend together as if they've been playing together for years. What's rather amazing is that Herb and Lani have rarely collaborated musically, and yet they mesh together effortlessly, and the result is an intimacy to the music that's really a delight to listen to. There's romance, humor, and such a strong connection between them, that there's a real sense that everyone involved is just thoroughly enjoying the music - and it's contagious. I find myself enjoying this album the more I listen to it, and at times almost feel like I'm sitting in the room with them. Lani's voice doesn't sound like she's aged a day, and Herb's playing (at 74!) is equally timeless. Lani has a terrific voice, from handling the rapid-fire lyrics of Pararaio to the sultriness of Anything Goes, from the playfulness of Morning Coffee to the wistfulness of Who Are You?, she shows an amazing breadth of talent and expressiveness. Herb's improvisational skills have always been, in my opinion, highly underrated, and he excels here. His identity as a trumpet player is completely his own - there's nobody else that sounds or plays like him. The word "effortless" comes to mind again, as he weaves in and out of the melodies and improvisations. He's never flashy or showy, but thoughtful - making every note count in much the way that Louis Armstrong would. If I had a least-favorite track on the album, it would probably be The Trolley Song, where the cloth mute Herb is using oddly muffles the sound. Elsewhere though, Herb makes very effective use of a Harmon mute (which makes a soft, "buzzing" sound) on a number of tracks, including on It's Only A Paper Moon, where he uses a specially built double-belled trumpet nicknamed "The Mutant" to switch between an open bell and the mute with the flick of a rotary valve. The net effect is that it almost sounds like he's playing both parts of a duet. My favorite track though is the closer - Laura. Besides it's inherently beautiful melody, this arrangement is a joy to listen to as it changes tempos, moods, and gives Herb and the band a chance to really showcase their playing. It's a great way to end a live show, and this CD. Herb and Lani are touring again this year, playing with the same group and performing many of the songs from this album. I missed the chance to see them in concert last time around. I won't make that mistake again. Herb has always made the music that he wanted to make. Sometimes to the chagrin of die-hard Tijuana Brass fans who'd rather listen to "A Taste of Honey" for the six-thousandth time, than be challenged by or treated to something musically new and different. But that's their loss. I haven't been a fan of everything Herb has released, but I always look forward to his next album because I know it's never going to be the same thing he did that last time. And while I'll admit sometimes I wish he'd do more of one thing or less of another, I admire and respect his willingness to go out on a limb and create something simply because he wants to. This is an excellent album, an excellent jazz album, and yet another re-invention of Herb Alpert as an artist. Never one to sit still or live in the past, his musical stylings have changed radically over the years from the Tijuana Brass years, to disco, funk, R&B, orchestral, latin, pop, easy listening... and yet underneath it all, has always been Alpert's first musical love - jazz. Here, he unabashedly gets to celebrate his love of jazz, his love of his wife, and the joy of working together with the both of them. Track listing: Fascinating Rhythm Para-Raio (Pah-dah-hi-yoo) The Trolley Song That Old Black Magic Dinorah (Gee-no-rah)/Morning It's Only A Paper Moon Let's Face The Music And Dance Morning Coffee I've Grown Accustomed To Her Face Who Are You? Besame Mucho Anything Goes* I've Got You Under My Skin Laura Anything Goes gets a 9.5/10 (It would've gotten a 10, but apparently the Japanese release gets a bonus track that we're denied!) Here's a promotional video for the album: *Note: The title track is some obscure version by a guy named "Cole Porter" , rather than the version we're all more familiar with.
  14. It's been awhile since I wrote reviews for Herb Alpert's music. But that doesn't mean he's stopped making it. Previously, I reviewed a pair of duet albums he did with his wife (here and here). Since then, Herb (still going strong at 81) has cranked out a new album every year for the past three years. 2013: Steppin' Out 2014: In The Mood 2015: Come Fly With Me I'm going to review these together because... well, they're all very similar. Which for Herb, is kind of an oddity. Even his Tijuana Brass work, which always had identifiable underlying style to it, evolved over the course of its thirteen year run. But his solo career which followed was constantly changing. Music has been a moving target for Herb, exploring different styles, genres, cultures, moods, instrumentation and arrangements. From melancholy and introspective to bright and cheerful, from disco to hip hop, Latin to orchestral, soft jazz to electronica, you'd be hard pressed to define him as a particular type of musician, other than "trumpet player". With Steppin' Out, In the Mood, and Come Fly With Me, the album titles themselves (taken from vintage songs) imply retrospection, and Herb does revisit many classic songs in the albums. From Irving Berlin to the Beatles, or from Duke Ellington to, well... Herb Alpert and the Tijuana Brass (reimagining his original hit - "The Lonely Bull", along with a few others). On the Sunny Side of the Street, Danny Boy, America The Beautiful, Ol' Man River, and a host of other familiar titles pepper the three albums. Herb has said he's drawn to classic, memorable melodies. A good song is a good song. But then he puts his own spin on them. There are new songs as well, so it's not all a trip down memory lane, except that even then, a lot of it feels oddly familiar. Where in previous solo efforts, Herb would usually stick to a particular style throughout a given album, many of the tracks on these albums feel like they're taken from another time - as if he were revisiting some of his earlier solo work stylistically. Some of this has to do with who he worked with on some of the tracks - Randy Badazz Alpert (his nephew) produced some of his work in the early 80's (notably Rise), and Jeff Lorber produced some of his more jazz-oriented work in the mid-90's. They have distinctive styles that reassert themselves in the tracks they arranged or produced on the three new albums. Other tracks have the orchestral feel of his album Under A Spanish Moon (The Lonely Bull, Europa - from Steppin' Out; Ol' Man River - from In The Mood), or the more haunting, melancholy feel of his first solo LP - Just You and Me (Oblivion - from Steppin' Out, Love Affair - from Come Fly With Me). Our Song (from Steppin' Out) sounds like it could have come off of his soft jazz album Midnight Sun. The tracks featuring his wife Lani Hall sound like they could have come from either of their two collaborative efforts. And there are other tracks which seem reminiscent of various other albums of his as well - although after a solo career spanning 40 years and over two-dozen albums, there's bound to be some familiar ground that gets covered from time to time. I suppose with Herb, since he's tried so many different things musically over the years, when he stays in one place for awhile, it seems kind of strange. Many artists make entire careers out of never moving from one spot. And that's not to say all of Herb's previous efforts have been completely to my liking - but I can always find some tracks on each album that I really like, that mark those albums as unique. Still, on these three albums, there are some tracks which defy attempts to neatly categorize. La Vie En Rose (from Steppin' Out) and Let It Be Me (from In The Mood) are almost completely stripped down to just Herb and some minimal accompaniment. Elsewhere, Herb samples one of his own Tijuana Brass songs (Summertime - from the album Summertime) as the hook for Don't Cry (from In The Mood), turning into a completely new track. Night Ride (from Come Fly With Me) is one of my favorite tracks, since it's a completely different style altogether (it actually reminds me a little of some of Michael Nesmith's Rays), and Herb does a slowed-down version of Take the "A" Train that Duke Ellington would be hard-pressed to recognize. Confused yet? Well, this may help explain why I haven't reviewed these albums until now. I just couldn't (and still can't) pin them down. It feels like I've got Herb's solo career on random shuffle when I listen to them. I'm not saying this to be critical of the music - all of which is very good. Some of it's excellent. Herb's playing sounds great, and his band is top-notch. There aren't really any skip-worthy tracks on the albums. The problem is more sequencing than anything. As they stand now, the albums feel largely disjointed. I think taking all of the tracks from the three albums (45 in total), and carefully reshuffling them, would probably result in three different, yet overall more cohesive albums. What lends consistency to it all is, first and foremost, Herb. His playing is the very definition of timelessness. Some trumpet players do not age well, and lose their chops. But Herb has never been one for what I call "trumpet heroics". He's not a high-powered, high-speed, high-note player. That was never his thing. He is completely comfortable with, and true to his own unique style of playing, and if anything, he's actually getting better at it. Miles Davis once said, "You hear three notes and you know it's Herb Alpert". He plays with great feeling and thought. Every note counts. The second thing which helps with consistency is the instrumentation. Apart from a few additional strings and sidemen, he's still using the same band he's been recording and touring with now for ten years. This is his most persistent line-up since his Tijuana Brass days. And the fact is - it's working for him. They are a tight-knit group, and they make great music. Taken as a whole, the albums make a solid, enjoyable collection of music. The problem is, taken as individual albums, they each lack a unique identity. Apart from Come Fly With Me, (which has the benefit of a self-titled track), I have a hard time remembering which tracks belong to which album. I'm listening to one of them as I type this, and I honestly couldn't tell you which album it is without looking. There aren't any tracks which really define any of the albums for me. Even for the music videos (see below) that he made to promote two of the albums - I still have to look to see which is from which. It's not that I don't enjoy the music... it's just that I wish each of the albums were more unique unto themselves. Herb (reportedly) has another new album coming out September 30th. I'm looking forward to it. I always welcome new albums from him. I know it will be good. But I'm hoping it will be great. Come Steppin' Out In The Mood And Fly With Me gets a 7/10.
  15. Hi guys! Waiting for something better I've re-done (or rather re-covered) one demo music from Raster Music Tracker for Atari 8 bit. Attached .lnx and .lyx files, .ogg file recorded from mednafen and even its source in Chipper (set program to 480Hz to play this one properly). Enjoy! 🤠 freedom.zip
  16. 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.
  17. 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 /CHn 247 1-16 ND 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 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.
  18. 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?
  19. Hiiiiiiiii guyyyyyyyyyyyyyyyyyz! Well, after, like, 8 mounts of silence, I give You a new chiptune song made with ATARI 520ST computer (the YM2149 chip). https://soundcloud.com/yerzmyey/yerzmyey-temple-of-asherah It's a 3 channels track made with the MusicMon editor. Merry Christmas! Yerz PS: And probably I'd find something new for the New Year too.
  20. Hi everyone, I started a little project to get funds to attend RUMSX at Winter 2018 at Barcelona, Spain. So I decided to edit the music of Mecha-8 and Mecha-9 together in a single CD. Nanochess said to me "Include too the PSG music", because I only I had included the FM music present on the MSX version of the game, so, the final result is a 56 tracks CD with a beautiful cover in a vinyl style CD into a very nice CD box. This is a limited edition, because of that, I'm only releasing 50 copies of Mecha OST (right now, just 45 because I sold 5 at past weeks), if you want one, welp, you can order here, just sent me a PM and you will get the details c: Also, I'm selling the OST of "Sydney Hunter & The Sacred Tribe" featuring the 9 tracks of the Game Of The Year for Intellivision with the original art of the game-box! Right now just have 46 copies of the OST, hurry up to get yours! Some history In 2011 I started composing music for MSX for a fortuity, my brother needed music for a game called Zombie Near that was going to send to the MSXDEV 10, which ended in second place. In 2012 I composed music for Mecha-8, a vertical scrolling shooter that ended in fourth place in MSXDEV 2011, and later, thanks to MATRA Corp, went on sale in an improved version in physical version (cartridge) and had an excellent reception with Spanish/Dutch MSX community. And shortly after it was published in Colecovision by part of Team Pixelboy, resulting in a great success within the Canadian community. In 2014, the Mecha-8 license was sold to AtGames, and the game was included in the ColecoVision Flashback console as a special addition with other greatest original hits. This console was sold in the United States and Canada in stores such as Walmart, Sam's Club, Dollar General and others. In 2015, the enthusiasm generated by Mecha-8 made Mecha-9 possible, edited with luxury on ColecoVision/MSX by Team Pixelboy in Canada and MATRA Corp/Bitwise in Spain/Holland. The FM soundtrack that I compose is my great pride, also, the Japanese translation by B. Shigeru (which made it possible to enter the MSX homebrew market in Japan) makes the game a must-have for any MSX fan. In 2016, I was called to make the Sydney Hunter & The Sacred Tribe soundtrack, a new CollectorVision game for Intellivision. The game was voted the best game of 2016 (GOTY = Game Of The Year) by the community of AtariAge and its first edition finished quickly. Shortly thereafter, a conversion was made for ColecoVision/MSX, becoming the first commercial game to go on sale for Colecovision after 15 years! Sydney Hunter & The Sacred Tribe will also be released for the Sega Master System under the Acclaim brand, and ports for NES, Gameboy Advance and probably C64 are being prepared. That makes me the first Mexican to have made a soundtrack present in six different consoles! (Intellivision, MSX, Colecovision, Sega Master System, NES, Gameboy Advance). Other projects I have participated in have been Remember The Flag for Colecovision and I also collaborated with the music in the game Corrupted Data for PC, an RPG that celebrates the seventh anniversary of Miku Hatsune, the Vocaloid diva. Thanks for reading, guys. Later!
  21. Another work in progress. Mode 0 , 0,0,0,0 Wait Print At 0 Color 7 , "Greensleeves (1)" Print At 80 Color 4 , "Press top side" Print At 100 Color 4 , "button to" Print At 120 Color 4 , "restart music." Print At 160 Color 1 , "Press bottom side " Print At 180 Color 1 , "button to exit." Wait Play Full Wait Play mymusic Wait Goto PlayLoop PlayLoop: Wait If Cont.B0 Then Wait : Play Off : Wait : Play mymusic If Cont.B1 Then Goto ExitThis If Cont.B2 Then Goto ExitThis Wait Goto PlayLoop ExitThis: Wait Print At 235 Color (Rand and 7) , "Bye." For spinWait = 0 to 5 Wait Next Play Off mymusic: Data 5 Music - , - Music - , - Music A4Y , - Music - , - Music A4Y , - Music - , - Music A4 , - Music S , A4Y Music C5 , S Music S , C5 Music S , S Music S , S Music D5 , S Music S , D5 Music E5 , S Music S , E5 Music E5 , S Music F5 , E5 Music E5 , F5 Music S , E5 Music D5 , S Music S , D5 Music S , S Music S , S Music B4 , S Music S , B4 Music G4 , S Music S , G4 Music G4 , S Music A4 , G4 Music B4 , A4 Music S , B4 Music C5 , S Music S , C5 Music S , S Music S , S Music A4 , S Music S , A4 Music A4 , S Music S , A4 Music A4 , S Music G4 , A4 Music A4 , G4 Music S , A4 Music B4 , S Music S , B4 Music S , S Music S , S Music G4 , S Music S , G4 Music E4 , S Music S , E4 Music S , S Music S , S Music A4 , S Music S , A4 Music C5 , S Music S , C5 Music S , S Music S , S Music D5 , S Music S , D5 Music E5 , S Music S , E5 Music E5 , S Music F5 , E5 Music E5 , F5 Music S , E5 Music D5 , S Music S , D5 Music S , S Music S , S Music B4 , S Music S , B4 Music G4 , S Music S , G4 Music G4 , S Music A4 , G4 Music B4 , A4 Music S , B4 Music C5 , S Music S , C5 Music S , S Music S , S Music B4 , S Music A4 , B4 Music S , A4 Music G4# , S Music S , G4# Music G4# , S Music F4# , G4# Music G4# , F4# Music S , G4# Music A4 , S Music S , A4 Music S , S Music S , S Music S , S Music S , S Music S , S Music S , S Music A4 , S Music S , A4 Music S , S Music S , S Music S , S Music S , S Music S , S Music S , S Music A3 , S Music S , A3 Music S , S Music S , S Music S , S Music S , S Music S , S Music S , S Music A2 , S Music S , A2 Music S , S Music S , S Music S , S Music S , S Music S , S Music S , S Music S , S Music S , S Music S , S Music S , S Music S , S Music S , S Music Stop
  22. A proto-song. Just the beat line of a song that I can imagine working in a platformer type of game. Only using one voice, waiting for someone creative to add other voices to make it a good full music loop. Mode 0 , 0,0,0,0 Wait Print At 0 Color 7 , "Platformer Beat" Print At 80 Color 4 , "Press top side" Print At 100 Color 4 , "button to" Print At 120 Color 4 , "restart music." Print At 160 Color 1 , "Press bottom side " Print At 180 Color 1 , "button to exit." Wait Play Simple Wait Play PlatformerBeat Wait Goto PlayLoop PlayLoop: Wait If Cont.B0 Then Wait : Play Off : Wait : Play PlatformerBeat If Cont.B1 Then Goto ExitThis If Cont.B2 Then Goto ExitThis Wait Goto PlayLoop ExitThis: Wait Print At 235 Color (Rand and 7) , "Bye." For spinWait = 0 to 5 Wait Next Play Off PlatformerBeat: Data 3 Music A2Y , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music E2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music A2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music E2 , - Music S , - Music E2 , - Music - , - Music A2 , - Music S , - Music S , - Music S , - Music A2# , - Music S , - Music B2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music F2# , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music B2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music F2# , - Music S , - Music F2# , - Music - , - Music B2 , - Music S , - Music S , - Music S , - Music E2 , - Music S , - Music A2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music E2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music A2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music E2 , - Music S , - Music E2 , - Music - , - Music A2 , - Music S , - Music S , - Music S , - Music A2# , - Music S , - Music B2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music F2# , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music B2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music F2# , - Music S , - Music F2# , - Music - , - Music B2 , - Music S , - Music S , - Music S , - Music E2 , - Music S , - Music A2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music E2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music A2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music E2 , - Music S , - Music E2 , - Music - , - Music A2 , - Music S , - Music S , - Music S , - Music A2# , - Music S , - Music B2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music F2# , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music B2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music F2# , - Music S , - Music F2# , - Music - , - Music B2 , - Music S , - Music S , - Music S , - Music E2 , - Music S , - Music A2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music E2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music A2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music E2 , - Music S , - Music E2 , - Music - , - Music A2 , - Music S , - Music S , - Music S , - Music A2# , - Music S , - Music B2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music F2# , - Music S , - Music S , - Music S , - Music - , - Music - , - Music - , - Music - , - Music B2 , - Music S , - Music S , - Music S , - Music - , - Music - , - Music F2# , - Music S , - Music F2# , - Music - , - Music B2 , - Music S , - Music S , - Music S , - Music E2 , - Music S , - Music Repeat
  23. Just running around on the scale. Play with the tempo and instruments to see what you like. Extract a part of it and put it in your next IB game. Mode 0 , 0,0,0,0 Wait Print At 0 Color 7 , "Chord Progression" Print At 80 Color 4 , "Press top side" Print At 100 Color 4 , "button to" Print At 120 Color 4 , "restart music." Print At 160 Color 1 , "Press bottom side " Print At 180 Color 1 , "button to exit." Wait Play Simple Wait Play MyMusic Wait Goto PlayLoop PlayLoop: Wait If Cont.B0 Then Wait : Play Off : Wait : Play MyMusic If Cont.B1 Then Goto ExitThis If Cont.B2 Then Goto ExitThis Wait Goto PlayLoop ExitThis: Wait Print At 235 Color (Rand and 7) , "Bye." For spinWait = 0 to 5 Wait Next Play Off MyMusic: Data 7 Music C5X , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music F5 , - Music A5 , - Music E5 , - Music G5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music G5 , - Music B5 , - Music E5 , - Music G5 , - Music D5 , - Music F5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music F5 , - Music A5 , - Music E5 , - Music G5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music D5 , - Music F5 , - Music C5 , - Music E5 , - Music E4 , - Music C5 , - Music F4 , - Music D5 , - Music G4 , - Music E5 , - Music E4 , - Music C5 , - Music F4 , - Music D5 , - Music G4 , - Music E5 , - Music E4 , - Music C5 , - Music F4 , - Music D5 , - Music G4 , - Music E5 , - Music A4 , - Music F5 , - Music B4 , - Music G5 , - Music C5 , - Music A5 , - Music G4 , - Music B4 , - Music D5 , - Music A4 , - Music C5 , - Music E5 , - Music B4 , - Music D5 , - Music F5 , - Music C5 , - Music E5 , - Music G5 , - Music D5 , - Music F5 , - Music A5 , - Music E5 , - Music G5 , - Music B5 , - Music F5 , - Music A5 , - Music C6 , - Music G5 , - Music B5 , - Music D6 , - Music G4 , - Music B4 , - Music D5 , - Music A4 , - Music C5 , - Music E5 , - Music B4 , - Music D5 , - Music F5 , - Music C5 , - Music E5 , - Music G5 , - Music C5 , - Music D5 , - Music E5 , - Music D5 , - Music E5 , - Music F5 , - Music E5 , - Music F5 , - Music G5 , - Music F5 , - Music G5 , - Music A5 , - Music G5 , - Music E5 , - Music C5 , - Music G5 , - Music D5 , - Music B4 , - Music F5 , - Music D5 , - Music B4 , - Music E5 , - Music C5 , - Music A4 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music F5 , - Music A5 , - Music E5 , - Music G5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music G5 , - Music B5 , - Music E5 , - Music G5 , - Music D5 , - Music F5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music F5 , - Music A5 , - Music E5 , - Music G5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music D5 , - Music F5 , - Music C5 , - Music E5 , - Music E4 , - Music C5 , - Music F4 , - Music D5 , - Music G4 , - Music E5 , - Music E4 , - Music C5 , - Music F4 , - Music D5 , - Music G4 , - Music E5 , - Music E4 , - Music C5 , - Music F4 , - Music D5 , - Music G4 , - Music E5 , - Music F5 , - Music A5 , - Music C6 , - Music E5 , - Music G5 , - Music B5 , - Music D5 , - Music F5 , - Music A5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music F5 , - Music A5 , - Music G5 , - Music B5 , - Music A5 , - Music C6 , - Music B5 , - Music D6 , - Music C5 , - Music A5 , - Music B4 , - Music G5 , - Music A4 , - Music F5 , - Music G4 , - Music E5 , - Music C5 , - Music D5 , - Music E5 , - Music D5 , - Music E5 , - Music F5 , - Music E5 , - Music F5 , - Music G5 , - Music F5 , - Music E5 , - Music D5 , - Music G5 , - Music E5 , - Music C5 , - Music G5 , - Music D5 , - Music B4 , - Music F5 , - Music D5 , - Music C5 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music D6 , - Music C6 , - Music G5 , - Music E5 , - Music C5 , - Music G4 , - Music E4 , - Music C4 , - Music E4 , - Music G4 , - Music C5 , - Music E5 , - Music B5 , - Music G5 , - Music D5 , - Music B4 , - Music G4 , - Music D4 , - Music B3 , - Music G3 , - Music B3 , - Music D4 , - Music G4 , - Music B4 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music F5 , - Music A5 , - Music E5 , - Music G5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music B4 , - Music D5 , - Music C5 , - Music E5 , - Music D5 , - Music F5 , - Music E5 , - Music G5 , - Music D5 , - Music F5 , - Music C5 , - Music E5 , - Music E4 , - Music C5 , - Music F4 , - Music D5 , - Music G4 , - Music E5 , - Music E4 , - Music C5 , - Music F4 , - Music D5 , - Music G4 , - Music E5 , - Music E4 , - Music C5 , - Music F4 , - Music D5 , - Music G4 , - Music E5 , - Music A4 , - Music F5 , - Music B4 , - Music G5 , - Music C5 , - Music A5 , - Music G5 , - Music B5 , - Music D6 , - Music A4 , - Music C5 , - Music E5 , - Music B4 , - Music D5 , - Music F5 , - Music C5 , - Music E5 , - Music G5 , - Music D5 , - Music G5 , - Music B5 , - Music E5 , - Music G5 , - Music C6 , - Music F5 , - Music B5 , - Music D6 , - Music G5 , - Music B5 , - Music D6 , - Music G4 , - Music B4 , - Music D5 , - Music A4 , - Music C5 , - Music F5 , - Music B4 , - Music D5 , - Music G5 , - Music A4 , - Music C5 , - Music F5 , - Music E5 , - Music D5 , - Music C5 , - Music B4 , - Music A4 , - Music G4 , - Music F4 , - Music E4 , - Music D4 , - Music C4 , - Music Stop
  24. Something to play at the end of your great IntyBASIC game where you have to complete a "Boss Battle". Mode 0 , 0,0,0,0 Wait Print At 0 Color 7 , "Boss Tension" Print At 80 Color 4 , "Press top side" Print At 100 Color 4 , "button to" Print At 120 Color 4 , "restart music." Print At 160 Color 1 , "Press bottom side " Print At 180 Color 1 , "button to exit." Wait Play Simple Wait Play MyMusic Wait Goto PlayLoop PlayLoop: Wait If Cont.B0 Then Wait : Play Off : Wait : Play MyMusic If Cont.B1 Then Goto ExitThis If Cont.B2 Then Goto ExitThis Wait Goto PlayLoop ExitThis: Wait Print At 235 Color (Rand and 7) , "Bye." For spinWait = 0 to 5 Wait Next Play Off MyMusic: Data 6 Music C3X Music A2# Music D2# Music F2 Music C2 Music C2 Music C3 Music A2# Music D2# Music F2 Music C2 Music C2 Music - Music - Music Repeat
×
×
  • Create New...