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'st-01:popsnare1',0,0,0,0,0,0,0 dc.w 2000/2,0064,0000,0002/2 dc.b 'st-01:popsnare2',0,0,0,0,0,0,0 dc.w 4000/2,0064,0000,0002/2 dc.b 'st-01:popsnare3',0,0,0,0,0,0,0 dc.w 2700/2,0064,0000,0002/2 dc.b 'st-01:pulse',0,0,0,0,0,0,0,0,0,0,0 dc.w 6400/2,0064,0000,0002/2 dc.b 'st-01:richstring',0,0,0,0,0,0 dc.w 6900/2,0064,3540,2982/2 dc.b 'st-01:ringpiano',0,0,0,0,0,0,0 dc.w 9900/2,0064,0000,0002/2 dc.b 'st-01:roombrass',0,0,0,0,0,0,0 &dc.w 4600/2,0064,0000,0002/2 dc.b 'st-01:rubberbass',0,0,0,0,0,0 dc.w 9000/2,0064,0000,0002/2 dc.b 'st-01:shaker',0,0,0,0,0,0,0,0,0,0 dc.w 2300/2,0064,0000,0002/2 dc.b 'st-01:shamus',0,0,0,0,0,0,0,0,0,0 dc.w 9000/2,0064,0000,0002/2 dc.b 'st-01:sinecz',0,0,0,0,0,0,0,0,0,0 dc.w 3900/2,0064,2178,1684/2 dc.b 'st-01:sixtease',0,0,0,0,0,0,0,0 dc.w 8400/2,0064,1120,6680/2 dc.b 'st-01:slapbass',0,0,0,0,0,0,0,0 dc.w 4900/2,0064,0000,0002/2 dc.b 'st-01:smash1',0,0,0,0,0,0,0,0,0,0 &KIn dc.w 3500/2,0064,0000,0002/2 dc.b 'st-01:smash2',0,0,0,0,0,0,0,0,0,0 dc.w 4400/2,0064,0000,0002/2 dc.b 'st-01:snare1',0,0,0,0,0,0,0,0,0,0 dc.w 2000/2,0064,0000,0002/2 dc.b 'st-01:snare2',0,0,0,0,0,0,0,0,0,0 dc.w 1900/2,0064,0000,0002/2 dc.b 'st-01:snare3',0,0,0,0,0,0,0,0,0,0 dc.w 3800/2,0064,0000,0002/2 dc.b 'st-01:snare4',0,0,0,0,0,0,0,0,0,0 dc.w 2000/2,0064,0000,0002/2 dc.b 'st-01:snare5',0,0,0,0,0,0,0,0,0,0 dc.w 4000/2,0064,0000,0002/2 dc.b 'st-01:softbass',0,0,0,0,0&+,0,0,0 dc.w 4900/2,0064,0000,0002/2 dc.b 'st-01:soundtrack',0,0,0,0,0,0 dc.w 9900/2,0064,0000,0002/2 dc.b 'st-01:squares',0,0,0,0,0,0,0,0,0 dc.w 9900/2,0064,0000,0002/2 dc.b 'st-01:stabs',0,0,0,0,0,0,0,0,0,0,0 dc.w 7400/2,0064,0000,0002/2 dc.b 'st-01:steinway',0,0,0,0,0,0,0,0 dc.w 6900/2,0064,0000,0002/2 dc.b 'st-01:strange',0,0,0,0,0,0,0,0,0 dc.w 7000/2,0064,0000,0002/2 dc.b 'st-01:strings1',0,0,0,0,0,0,0,0 dc.w 8900/2,0064,0000,0002/2 dc.b 'st-01:strings2',0,0,0,0,0,0&i],0,0 dc.w 9700/2,0064,4462,4156/2 dc.b 'st-01:strings3',0,0,0,0,0,0,0,0 dc.w 8500/2,0064,1992,6130/2 dc.b 'st-01:strings4',0,0,0,0,0,0,0,0 dc.w 9700/2,0064,1220,3410/2 dc.b 'st-01:strings5',0,0,0,0,0,0,0,0 dc.w 9900/2,0064,0000,0002/2 dc.b 'st-01:strings6',0,0,0,0,0,0,0,0 dc.w 9900/2,0064,1972,6634/2 dc.b 'st-01:strings7',0,0,0,0,0,0,0,0 dc.w 9900/2,0064,0500,8750/2 dc.b 'st-01:strings8',0,0,0,0,0,0,0,0 dc.w 8100/2,0064,0000,8040/2 dc.b 'st-01:sweep',0,0,0,0,0,0,0,0,0,0&@w,0 dc.w 7300/2,0064,0000,0002/2 dc.b 'st-01:synbrass',0,0,0,0,0,0,0,0 dc.w 4000/2,0064,0000,0002/2 dc.b 'st-01:synclaves',0,0,0,0,0,0,0 dc.w 1000/2,0064,0000,0002/2 dc.b 'st-01:synthebass',0,0,0,0,0,0 dc.w 7900/2,0064,0000,0002/2 dc.b 'st-01:synthpiano',0,0,0,0,0,0 dc.w 5500/2,0064,0000,0002/2 dc.b 'st-01:techbass',0,0,0,0,0,0,0,0 dc.w 5100/2,0064,0000,0002/2 dc.b 'st-01:theegg',0,0,0,0,0,0,0,0,0,0 dc.w 9900/2,0064,0000,0002/2 dc.b 'st-01:tinewave',0,0,0,0,0,0,0,0 dc.w&,q 9900/2,0064,0000,0002/2 dc.b 'st-01:tunebass',0,0,0,0,0,0,0,0 dc.w 4800/2,0064,0000,0002/2 dc.b 'st-01:touch',0,0,0,0,0,0,0,0,0,0,0 dc.w 9200/2,0064,0000,0002/2 dc.b 'st-01:voices',0,0,0,0,0,0,0,0,0,0 dc.w 9900/2,0064,0000,0002/2 dc.b 'st-01:wabberstring',0,0,0,0 dc.w 3900/2,0064,0254,2546/2 dc.b 'st-01:woodblock',0,0,0,0,0,0,0 dc.w 1200/2,0064,0000,0002/2 dc.b 'st-01:wowbass',0,0,0,0,0,0,0,0,0 dc.w 5000/2,0064,0000,0002/2 pend: 2 dc.b 'st-01:sweep',0,0,0,0,0,0,0,0,0,0$ 99 #2,d2 mulu #30,d4 lea.l pointers-4,a1 move.l 0(a1,d2.l),04(a6) ;store sample-address move.w 0(a3,d4.l),08(a6) ;store sample-len in words move.w 2(a3,d4.l),18(a6) ;store sample-volume move.w 2(a3,d4.l),08(a5) ;change chanel-volume clr.l d3 move.w 4(a3,d4),d3 ;** calc repeatstart add.l 4(a6),d3 move.l d3,10(a6) ;store repeatstart move.w 6(a3,d4),14(a6) ;store repeatlength cmp.w #1,14(a6) beq chan2 ;no sustainsound ! move.l 10(a6),4(a6) ;repstart = sndstart move.w$ԫӭ 6(a3,d4),8(a6) ;replength = sndlength chan2: cmp.w #0,(a6) beq chan4 ;no new note set ! move.w 22(a6),$dff096 ;clear dma cmp.w #0,14(a6) bne chan3 ;no oneshot-sample move.w #1,14(a6) ;allow resume (later) chan3: move.w (a6),16(a6) ;save note for effect move.l 4(a6),0(a5) ;set samplestart move.w 8(a6),4(a5) ;set samplelength move.w 0(a6),6(a5) ;set period move.w 22(a6),d0 or.w d0,enbits ;store dma-bit move.w 18(a6),20(a6) ;volume trigger chan4: rts ;---------$*k--------------------------------------- ; used varibles ;------------------------------------------------ ; datachx - structure (22 bytes) ; ; 00.w current note ; 02.b sound-number ; 03.b effect-number ; 04.l soundstart ; 08.w soundlenght in words ; 10.l repeatstart ; 14.w repeatlength ; 16.w last saved note ; 18.w volume ; 20.w volume trigger (note on dynamic) ; 22.w dma-bit ;------------------------------------------------ datach0: dc.w 0,0,0,0,0,0,0,0,0,0,0,1 datach1: dc.w 0,0,0,$0,0,0,0,0,0,0,0,2 datach2: dc.w 0,0,0,0,0,0,0,0,0,0,0,4 datach3: dc.w 0,0,0,0,0,0,0,0,0,0,0,8 pointers: dc.l 0,0,0,0,0,0,0,0,0,0,0,0,0,0,0 notetable: dc.w 856,808,762,720,678,640,604,570 dc.w 538,508,480,453,428,404,381,360 dc.w 339,320,302,285,269,254,240,226 dc.w 214,202,190,180,170,160,151,143 dc.w 135,127,120,113,000 muzakoffset: dc.l 0 lev6save: dc.l 0 trkpos: dc.l 0 patpos: dc.l 0 numpat: dc.w 0 enbits: dc.w 0 timpos: dc.w 0 data: blk.b 0,0 n4: rts ;---------& 0,0,0,0 dc.w 1400/2,0064,0000,0002/2 dc.b 'st-01:dangerous',0,0,0,0,0,0,0 dc.w 7000/2,0064,0000,0002/2 dc.b 'st-01:detune',0,0,0,0,0,0,0,0,0,0 dc.w 5700/2,0064,2410,2414/2 dc.b 'st-01:deepbass',0,0,0,0,0,0,0,0 dc.w 8200/2,0064,0000,0002/2 dc.b 'st-01:digdug',0,0,0,0,0,0,0,0,0,0 dc.w 3100/2,0064,0000,0002/2 dc.b 'st-01:digiharp',0,0,0,0,0,0,0,0 dc.w 4000/2,0064,0000,0002/2 dc.b 'st-01:dreambells',0,0,0,0,0,0 dc.w 9200/2,0064,0000,0002/2 dc.b 'st-01:dxbass',0,0,0,0,0,0,0,& 9 0,0,0 dc.w 2700/2,0064,0000,0002/2 dc.b 'st-01:dxtom',0,0,0,0,0,0,0,0,0,0,0 dc.w 4000/2,0064,0000,0002/2 dc.b 'st-01:electom',0,0,0,0,0,0,0,0,0 dc.w 3000/2,0064,0000,0002/2 dc.b 'st-01:epiano',0,0,0,0,0,0,0,0,0,0 dc.w 8000/2,0064,0000,0002/2 dc.b 'st-01:exbells',0,0,0,0,0,0,0,0,0 dc.w 3500/2,0064,0000,0002/2 dc.b 'st-01:faerytale',0,0,0,0,0,0,0 dc.w 8900/2,0064,0000,0002/2 dc.b 'st-01:filterbass',0,0,0,0,0,0 dc.w 5900/2,0064,0000,0002/2 dc.b 'st-01:funbass',0,0,0,0,0,0,& g2x0,0,0 dc.w 6500/2,0064,0000,0002/2 dc.b 'st-01:funkbass',0,0,0,0,0,0,0,0 dc.w 5300/2,0064,0000,0002/2 dc.b 'st-01:gato',0,0,0,0,0,0,0,0,0,0,0,0 dc.w 5000/2,0064,0000,0002/2 dc.b 'st-01:great',0,0,0,0,0,0,0,0,0,0,0 dc.w 5000/2,0064,0000,0002/2 dc.b 'st-01:hallbrass',0,0,0,0,0,0,0 dc.w 9400/2,0064,0000,0002/2 dc.b 'st-01:heaven',0,0,0,0,0,0,0,0,0,0 dc.w 6600/2,0064,0000,0002/2 dc.b 'st-01:heavysynth',0,0,0,0,0,0 dc.w 9800/2,0064,0000,0002/2 dc.b 'st-01:heifer',0,0,0,0,0,0&M`(,0,0,0,0 dc.w 2600/2,0064,0000,0002/2 dc.b 'st-01:hooman',0,0,0,0,0,0,0,0,0,0 dc.w 6500/2,0064,0000,0002/2 dc.b 'st-01:horns',0,0,0,0,0,0,0,0,0,0,0 dc.w 2500/2,0064,0000,0002/2 dc.b 'st-01:hihat1',0,0,0,0,0,0,0,0,0,0 dc.w 1400/2,0064,0000,0002/2 dc.b 'st-01:hihat2',0,0,0,0,0,0,0,0,0,0 dc.w 2000/2,0064,0000,0002/2 dc.b 'st-01:jahrmarkt1',0,0,0,0,0,0 dc.w 9800/2,0064,0000,0002/2 dc.b 'st-01:jahrmarkt2',0,0,0,0,0,0 dc.w 9800/2,0064,0000,0002/2 dc.b 'st-01:jetes',0,0,0,0,0,& o0 dc.w 7800/2,0064,0000,0002/2 dc.b 'st-01:aligator',0,0,0,0,0,0,0,0 dc.w 2700/2,0064,0000,0002/2 dc.b 'st-01:analogstring',0,0,0,0 dc.w 8800/2,0064,3326,4970/2 dc.b 'st-01:asia',0,0,0,0,0,0,0,0,0,0,0,0 dc.w 8200/2,0064,0480,5362/2 dc.b 'st-01:bassdrum1',0,0,0,0,0,0,0 dc.w 1100/2,0064,0000,0002/2 dc.b 'st-01:bassdrum2',0,0,0,0,0,0,0 dc.w 3000/2,0064,0000,0002/2 dc.b 'st-01:bassdrum3',0,0,0,0,0,0,0 dc.w 3400/2,0064,0000,0002/2 dc.b 'st-01:bassdrum4',0,0,0,0,0,0,0 dc.w 3&+500/2,0064,0000,0002/2 dc.b 'st-01:bigbow',0,0,0,0,0,0,0,0,0,0 dc.w 7800/2,0064,0000,0002/2 dc.b 'st-01:blast',0,0,0,0,0,0,0,0,0,0,0 dc.w 9900/2,0064,0000,0002/2 dc.b 'st-01:blubzing',0,0,0,0,0,0,0,0 dc.w 1300/2,0064,0000,0002/2 dc.b 'st-01:breath',0,0,0,0,0,0,0,0,0,0 dc.w 3800/2,0064,0000,0002/2 dc.b 'st-01:call',0,0,0,0,0,0,0,0,0,0,0,0 dc.w 8000/2,0064,0000,0002/2 dc.b 'st-01:celeste',0,0,0,0,0,0,0,0,0 dc.w 8000/2,0064,0000,0002/2 dc.b 'st-01:chink',0,0,0,0,0,0,0,0,0,0&ծN$,0 dc.w 5900/2,0064,0000,0002/2 dc.b 'st-01:cinema',0,0,0,0,0,0,0,0,0,0 dc.w 4500/2,0064,0000,0002/2 dc.b 'st-01:claps1',0,0,0,0,0,0,0,0,0,0 dc.w 2300/2,0064,0000,0002/2 dc.b 'st-01:claps2',0,0,0,0,0,0,0,0,0,0 dc.w 1400/2,0064,0000,0002/2 dc.b 'st-01:claves',0,0,0,0,0,0,0,0,0,0 dc.w 3000/2,0064,0000,0002/2 dc.b 'st-01:closehihat',0,0,0,0,0,0 dc.w 1200/2,0064,0000,0002/2 dc.b 'st-01:conga',0,0,0,0,0,0,0,0,0,0,0 dc.w 1600/2,0064,0000,0002/2 dc.b 'st-01:cowbell',0,0,0,0,0,$ ;The Ultimate Soundtracker Replay-Routine ; Version 27 All bugs removed ; Update 29.03.1988 ; Written 1987/88 by Karsten Obarski ; ; START_MUZAK: move.l #data,muzakoffset ;** get offset init0: move.l muzakoffset,a0 ;** get highest used pattern add.l #472,a0 move.l #128,d0 clr.l d1 init1: move.l d1,d2 subq.w #1,d0 ini$Axt2: move.b (a0)+,d1 cmp.b d2,d1 bgt init1 dbra d0,init2 addq.b #1,d2 init3: move.l muzakoffset,a0 ;** calc samplepointers lea.l pointers,a1 mulu #1024,d2 add.l #600,d2 add.l a0,d2 move.l #15-1,d0 init4: move.l d2,(a1)+ clr.l d1 move.w 42(a0),d1 lsl.l #1,d1 add.l d1,d2 add.l #30,a0 dbra d0,init4 init5: move.w #$0,$dff0a8 ;** clear used values move.w #$0,$dff0b8 move.w #$0,$dff0c8 move.w #$0,$dff0d8 clr.w timpos clr.l trkpos clr.l patpos init6: move.l muzakoff$`8oset,a0 ;** initialize timer irq move.b 470(a0),numpat+1 ;number of patterns move.l #240,d0 sub.b 471(a0),d0 mulu #122,d0 move.b #$0,$bfde00 move.b d0,$bfd400 lsr.w #8,d0 move.b d0,$bfd500 move.b #$81,$bfdd00 move.b #$11,$bfde00 move.l $78,lev6save move.l #lev6interrupt,$78 rts STOP_MUZAK: move.b #$1,$bfdd00 ;** restore timer & dma move.l lev6save,$78 move.w #$0,$dff0a8 move.w #$0,$dff0b8 move.w #$0,$dff0c8 move.w #$0,$dff0d8 move.w #$f,$dff096 rts lev6interru$wopt: movem.l d0/d1,-(sp) ;** jump bsr REPLAY_MUZAK move.b $bfdd00,d0 move.w #$2000,$dff09c movem.l (sp)+,d0/d1 rte ;------------------------------------------------ ; replay-routine ;------------------------------------------------ REPLAY_MUZAK: movem.l d0-d7/a0-a6,-(a7) addq.w #1,timpos cmp.w #6,timpos beq replaystep ;------------------------------------------------ ; time left to handle effects between steps ;------------------------------------------------ chaneleffe$׸Z%cts: ;** seek effects lea.l datach0,a6 cmp.b #0,3(a6) beq.s ceff1 lea.l $dff0a0,a5 bsr.s ceff5 ceff1: lea.l datach1,a6 cmp.b #0,3(a6) beq.s ceff2 lea.l $dff0b0,a5 bsr.s ceff5 ceff2: lea.l datach2,a6 cmp.b #0,3(a6) beq.s ceff3 lea.l $dff0c0,a5 bsr.s ceff5 ceff3: lea.l datach3,a6 cmp.b #0,3(a6) beq.s ceff4 lea.l $dff0d0,a5 bsr.s ceff5 ceff4: movem.l (a7)+,d0-d7/a0-a6 rts ceff5: move.b 2(a6),d0 and.b #$0f,d0 cmp.b #1,d0 beq arpreggiato cmp.b #2,d0 beq pitchbend$r" rts ;------------------------------------------------ ; effect 1 arpreggiato ;------------------------------------------------ arpreggiato: ;** spread by time cmp.w #1,timpos beq.s arp1 cmp.w #2,timpos beq.s arp2 cmp.w #3,timpos beq.s arp3 cmp.w #4,timpos beq.s arp1 cmp.w #5,timpos beq.s arp2 rts arp1: clr.l d0 ;** get higher note-values move.b 3(a6),d0 ; or play original lsr.b #4,d0 bra.s arp4 arp2: clr.l d0 move.b 3(a6),d0 and.b #$0f,d0 bra.s arp4 arp3:$ow move.w 16(a6),d2 bra.s arp6 arp4: lsl.w #1,d0 clr.l d1 move.w 16(a6),d1 lea.l notetable,a0 arp5: move.w (a0,d0.w),d2 cmp.w (a0),d1 beq.s arp6 addq.l #2,a0 bra.s arp5 arp6: move.w d2,6(a5) rts ;------------------------------------------------ ; effect 2 pitchbend ;------------------------------------------------ pitchbend: ;** increase or decrease clr.l d0 ; period every time move.b 3(a6),d0 lsr.b #4,d0 beq.s pit2 add.w d0,(a6) move.w (a6),6(a5) rts pit2: clr$ uav.l d0 move.b 3(a6),d0 and.b #$0f,d0 beq.s pit3 sub.w d0,(a6) move.w (a6),6(a5) pit3: rts ;------------------------------------------------ ; handle a further step of 16tel data ;------------------------------------------------ replaystep: ;** work next pattern-step clr.w timpos move.l muzakoffset,a0 move.l a0,a3 add.l #12,a3 ;ptr to soundprefs move.l a0,a2 add.l #472,a2 ;ptr to pattern-table add.l #600,a0 ;ptr to first pattern clr.l d1 move.l trkpos,d0 ;get $ 4vptr to current pattern move.b (a2,d0),d1 mulu #1024,d1 add.l patpos,d1 ;get ptr to current step clr.w enbits lea.l $dff0a0,a5 ;chanel 0 lea.l datach0,a6 bsr chanelhandler lea.l $dff0b0,a5 ;chanel 1 lea.l datach1,a6 bsr chanelhandler lea.l $dff0c0,a5 ;chanel 2 lea.l datach2,a6 bsr chanelhandler lea.l $dff0d0,a5 ;chanel 3 lea.l datach3,a6 bsr chanelhandler move.l #400,d0 ;** wait a while and set len rep1: dbra d0,rep1 ; of oneshot to 1 word move.l #$8000,d0$ Rj or.w enbits,d0 move.w d0,$dff096 cmp.w #1,datach0+14 bne.s rep2 clr.w datach0+14 move.w #1,$dff0a4 rep2: cmp.w #1,datach1+14 bne.s rep3 clr.w datach1+14 move.w #1,$dff0b4 rep3: cmp.w #1,datach2+14 bne.s rep4 clr.w datach2+14 move.w #1,$dff0c4 rep4: cmp.w #1,datach3+14 bne.s rep5 clr.w datach3+14 move.w #1,$dff0d4 rep5: add.l #16,patpos ;next step cmp.l #64*16,patpos ;pattern finished ? bne rep6 clr.l patpos addq.l #1,trkpos ;next pattern in table clr.l d0 mo$ [Ζve.w numpat,d0 cmp.l trkpos,d0 ;song finished ? bne rep6 clr.l trkpos rep6: movem.l (a7)+,d0-d7/a0-a6 rts ;------------------------------------------------ ; proof chanel for actions ;------------------------------------------------ chanelhandler: move.l (a0,d1.l),(a6) ;get period & action-word addq.l #4,d1 ;point to next chanel clr.l d2 move.b 2(a6),d2 ;get nibble for soundnumber lsr.b #4,d2 beq chan2 ;no soundchange ! move.l d2,d4 ;** calc ptr to sample lsl.l"1"bt man an jedem 16tel, wo es gespielt werden soll, eine eins in der zweiten Stelle der Steuerungsreihe an. Will man z.B. einen Akkord mit den Noten C-2, F-2 und A-2 simulieren, dann sieht das so aus: C-2 3159 --- 0159 --- 0159 --- 0159 --- 0000 Es wird also der Sound #3 mit der Note C-2 angeschlagen, dann wir"td immer wieder die Tonhoehe gewaechselt zwischen C-2 plus 5 Halbtoene, C-2 plus 9 Halbtoene und dem Originalton C-2, bis der Sample ausgeklungen ist. (3). Belegung der Sondertasten. ------------------------------- F1 Schaltet die Oktavenaufteilung um auf 1&2. Das bedeutet auf der unteren Tastenreihe liegt Oktave #1 und auf der oberen Tastenreihe liegt Oktave #2. F2 Schaltet die Oktavenaufteilung um "^auf 2&3. Das Bedeutet auf der unteren Tastenreihe liegt Oktave #2 und auf der oberen Tastenreihe liegt Oktave #3. F3 Wenn der Cursor ueber einer Notenreihe auf dem Pattern steht, wird mit SHIFT/F3 diese Spur geloescht. F4 Wenn der Cursor ueber einer Notenreihe auf dem Pattern steht, wird mit SHIFT/F4 diese Spur in den Buffer copiert. F5 Wenn der Cursor ueber einer Notenreihe auf dem Patter"-_Wn steht, wird mir SHIFT/F5 der Buffer in diese Spur copiert. F6 Positionieren des Cursors am 16tel #0 in dem momentan angezeigten Pattern. F7 Positionieren des Cursors am 16tel #16 in dem momentan angezeigten Pattern. F8 Positionieren des Cursors am 16tel #32 in dem momentan angezeigten Pattern. F9 Positionieren des Cursors am 16tel #48 in dem momentan angezeigten P"'fattern. F10 Positionieren des Cursors am 16tel #63 in dem momentan angezeigten Pattern. (4). Bedeutung der Cursorfarben. -------------------------------- Weiss: Ist Standart. Purpur: Editor wartet auf Tasteneigabe. Blau: Sie befinden sich im EDIT-Modus. Gelb: Pattern oder Song wird gerade gespielt. Gruen: Ladetaetigkeit. Rot: Abbruch Tastatureingabe oder eine Datei nicht gefunden. Anhang A. Tip" s zum Selbersamplen. ---------------------------------- Samples fuer den Soundtracker sollten 9900 Bytes nicht ueberschreiten. Beim Samplen von Musikinstrumenten (z.B.Synthesizern) sampled man ein 'F' in der gewuenschten Oktave mit einer Samplerate von 11200. Dadurch sind die Samples immer richtig gestimmt und haben noch eine gute Qualietaet bei gleichzeitig bester Ausnutzung der Oktave. Beim Spielen wird ein Sample fuer jeden Ton mit einer anderen Periode (Ges"!"chwindigkeit) abgetastet. Darum wird ein 'F' gesampled, um den Sample innerhalb einer Oktave verschieben zu koennen, ohne das sich der Sample stark anders anhoert. Die besten Erfolge hatte ich beim Samplen mit einem FutureSound-Digitizer. Der fertige Sample wird dann als sogenannter Dump abgespeichert. Zum Nacharbeiten eignet sich fast jede Software. Allerdings setzen DSound und Futuresound noch sechs Bytes fuer interne Zwecke vor dem Dump. Darum ist es am besten""7K wenn man den Sample mit der 68000er-, PerfectSound- oder Audiomaster-Software nachbearbeitet, um unnoetige Bytes zu entfernen oder einen guten Looppunkt zu finden. Anhang B. Einbau der Replay-Routine. ------------------------------------- Das Aufrufen der Replay-Routine funktioniert wie folgt: 1. REPLAY_START aufrufen des Songs (der Song wird geloopt) 4. REPLAY_STOP abschalten des Songs Die Samples muessen in den 'Blocks' "snd1" bis "snd2" bereitgeste"#6.Pllt werden. Das Lied muss in dem 'Block' "muzakdata" abgelegt werden. Wenn Sie in ihren Sourcecode nicht 'blocken' wollen, gibt es noch eine weitere Moeglichkeit. Laden Sie den Song an eine allocatete Adresse und aendern die 'lea.l muzakdata,irgendwas' in 'move.l muzakdata,...'. Uebergeben Sie den Zeiger auf Ihren allocateten Speicherbereich an muzakdata. Dann laden Sie die einzelnen Samples, indem Sie die benuzten Samplenamen aus dem Header des geladenen Songs "$ژUholen, und schreiben die Startaddressen jedes Sample in die Tabelle 'Sounds' im Quellcode. Anhang C. Aufbau der eines Songs. ---------------------------------- 000 20 Bytes Name des Songs 020 22 Bytes Name vom Sample #1 042 1 Wort Bytelaenge des Samples/2 044 1 Wort Volume 046 1 Wort Repeat additive 048 1 Wort Repeat Laenge . . 14 * 30 Bytes fuer die 14 weiteren Sounds . 470 1 Byte "u?b Anzahl der Patterns fuer diesen Song 471 1 Byte Frei 472 128 Bytes Pattern Positionen 600 1024 Bytes Pro Pattern eitere Moeglichkeit. Laden Sie den Song an eine allocatete Adresse und aendern die 'lea.l muzakdata,irgendwas' in 'move.l muzakdata,...'. Uebergeben Sie den Zeiger auf Ihren allocateten Speicherbereich an muzakdata. Dann laden Sie die einzelnen Samples, indem Sie die benuzten Samplenamen aus dem Header des geladenen Songs " &" PRESET Hier kann man sich aus einer mitgelieferten Bibliothek die USE PRESET Einstellungswerte fuer den gewuenschten PresetSample in den momentan angewaehlten SOUND copieren. Mit der Maus werden einfach die Plus oder Minussymbole angeklickt um ein PRESET auszuwaehlen. Beachten sie bitte welcher von den 15 Sounds pro Song gerade angewaehlt ist. Danach einfach USE PRESET anklicken und mit 'U' auf der " 'N# Tastatur bestaetigen. (nicht vergessen zu laden) SOUND 15 freie SOUND-Plaetze hat man in einem Song fuer Samples. VOLUME Wobei man den jeweils angewaehlte Sound im Direktmodus monophon auf der Tastatur spielen kann. Die abzuspielende Laenge eines Sounds ist gleichzeitig auch die Ladelaenge. Mit VOLUME kann man die benutzten Sounds in der Lautstaerke aufeinander abstimmen, um ein ausgelichenes und " (cM professionelles Klangbild zu erhalten. (PLST.ED) 'OneShotSamples' nennt man Sounds, die pro Anschlag nur einmal ueber die angegebene Bytelaenge abgetastet werden. Das ist immer der Fall, wenn die Wiederhollaenge (REPLEN) auf zwei, und der Wiederholstart (REP) auf null gesetzt ist. 'RepeadHiSamples' sind geloopte Sounds, die solange laufen bis ein anderer Sound angeschlagen wird, oder man STOP " )\D anklickt. Wobei REPEAT die Anzahl von Bytes angibt, die zum wirklichen Startpunkt dazuaddiert werden, um den Start des Wiederholteils im Sample zu erhalten. REPLEN gibt in diesem Falle an, Wieviel Bytes von diesem berechneten Punkt aus vom Sample abzutasten sind. SONGNAME Zum aendern des Namen einfach das Feld anklicken. Der Songname und die Namen der 15 Sounds werden in jedem Song mit abges"* peichert. Die Ausgabe des PRESET-Namen und des SOUND-Namen erfolgt im gleichen Bildschirmbereich. Je nachdem, ob man zuletzt PRESET oder SOUND durchgewaehlt hat. Will man eigene Samples benutzen, muessen sich diese auf der Datendiskette, oder jeder anderen Diskette mit dem Namen 'ST-01' bis 'ST-99' befinden. Ausserdem muss dann die Presetliste (PLST) mit dem PLST-ED aktualisiert werden. "+X PATTERN Das aktuelle Pattern aendert man durch Anklicken des PLAY unteren Bereichs auf dem Bildschirm. Dann gibt man STOP eine Zahl zwischen 0 und 63 ein, und das neue Pattern wird aufgebaut. Klickt man nun PATTERN an, wird das im unteren Teil sichtbare Pattern abgespielt. Durch Anklicken von PLAY wird der gesammte Song gespielt, wobei die Position im Song durch POSITION und PATTERN staen",Sydig angezeigt wird. Ausserdem wird der Song an der Stelle gestartet, die im Moment POSITION anzeigt. Mit STOP wird der Song oder das Pattern gestoppt, und alle Tonkanaele angehalten. LOAD SONG Alle drei Funktionen haben die gleiche Eigenart wie SAVE SONG auch USE PRESET, naemlich das man sie mit dem Anfangs- LOAD SAMPLE buchstaben bestaetigen muss um Fehler zu vermeiden. Mit LOAD SONG wird der Hauptspeicher geloescht"-l und der mit SONGNAME definierte Song von der Hauptdiskette aus der Directory 'songs' geladen. Danach werden die einzelnen Samples fuer diesen Song von der Datendiskette geladen. Bei SAVE SONG werden alle Patterns, angefangen bei Pattern #0, bis zur hoechsten benutzten Patternnummer auf der Hauptdiskette abgelegt. Also die Patterns moeglichst mit aufsteigender Nummer benutzen. ".oz: Mit LOAD SAMPLE wird nur ein Sample von der Datendiskette geladen. Und zwar derjenige, der im moment bei SOUND angezeigt wird. Egal ob die Einstellungen von Hand, oder mit USE PRESET gemacht wurden. EDIT Mit Anwahl des EDIT-feldes gelangt man in den Edit-Mode. Mit den Cursortasten kann man sich nun beliebig im Pattern bewegen. Die jeweils linke Haelfte der vier Spuren ist fuer die Noten"/S reserviert, wobei die Aufloesung des Patterns aus 16tel Noten besteht. Drueckt man nun eine Taste, so wird der momentan aktuelle SOUND angeschlagen und der der Taste zugeordnete Notenwert in die Spur eingetragen. Das koennte etwa so aussehen: C-4 1000 xxx xxxx xxx xxxx xxx xxxx | |||| notenwert |||parameter1 ||parameter2 "{x |effektnummer soundnummer Die eine Eins stellt die Soundnummer fuer diesen Ton dar. Die drei weiteren Stellen sind fuer Effekte reserviert. Mit der 'DEL'-Taste koennen gesetzte Noten wieder geloescht werden, aber nur wenn man sich in einer Notenreihe befindet. Lesen Sie bitte auch den Teil (3) ueber die Belegung der Sondertasten hierzu. Fuer das Appregiato gi1xǥ????????????????2]41????????????? 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THE MUSIC WAS DONE BY PCSU OF TRILOGY, THE CHARSET WAS DONE BY THE TEACHER TEAM ESPECIALLY FOR TRILOGY ONLY, ALL PROGRAMMING DONE BY THE AMIGA FREAK OF TRILOGY. 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