AmigaFormat030Suppliment-Sound&Vision.pdf

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AMIGA MUSIC AND GRAPHICS FREE
WITH THE JANUARY 1991 ISSUE OF
aster the
rt ""
t
cs
Worlcsho
!
The Gr
How to get the most out of your full
music-making package worth £89!
I
Ideas and instructions to unleash
the
potential of your full £79 paint package!
The whole world of computer music
revealed and just waiting for you!
The tricks, tips and techniques behind the
top animations all explained and exploded!
T
enew
. -supportmg
ePa··
............
___
-
o more
t
an
De
turn a
ew ea_
s.
........,
-®
•
It
will
also
turn th
em
in
side
out,
up
side
dow n,
spin
tl1e1n
on
an axis,
or
meta morphosise
them
int
o
hair
y
rock
sta
rs before
you
can say "Tutankhan1 en ".
With Hold And Modif
y (HAM)
video
111de, Delux
ePaint
IV
offer s
o
a
st
aggerin
g
4096
colours.
Thi
s
mean
s
gradi
ent s
that arc
s1
nootl1
er,
mo
re
versat
ile
an d
easier
to
detin
e.
Not
on
ly
can
you
paint in HAM,
you
can
ani
1
11ate in it, too.
In1agin
e
brillian t images, rend
ered
in
4096 colours,
moving
effortl ess
ly across
the
scree
n.
Delux
ePaint
IV
makes an in1ation
easy
for
you.
The
special
LightTablc fea
ture
allows
you
to
review tl1e
last
fran
1e
of
animati
on
whi
le
preview ing th
e
n
ex
t.
Or
choo se
two different i111a
es
-
say
a
caterpillar
and
a
butterfly
-
g
and
DeluxePain
t
IV
will
carry
out
an
am azin g
n1etan1orpho
sis
between them
in as many
fran1es
a you wis
l1.
All these
features
are
directed
from
a
new
video
-style
Animation
Cont
rol
that
mak
es
anin1at
in
g as easy
as pres ing
a
butto11.
So whether painting
or an
imatin
g, you can
now
acl1ieve
sn1oot
h,
sea
n1less
effects
of
unbeli
evab
le
subtlety.
But
don
'
t tak
e
our word
for
it.
Steve Franklin, Managing
Director
of
Commodo
re
Business
Ma
cl1ines,
de
scrib ed
Delux
ePaint
IV
as
"a
stunning innovationand
probablythe bestsoftwarepackagefor this market".
Available
27th
September
1991
£89.99
-
-
.
-
ELECTRON
IC
ARTS
11/ 49
S
t
a
ti
o
n Road La n
gley Be
rk
s S
LJ
SYN , En gl and.
TO UPGRADE
fron1 previous
versions
of
DcluxePaint, ~end
the front
cover or your
11
anu al 1vilh a
1
C"
hequc
or
pos1
order
1 the Direct
Sales
Dcpann1en1 a1
Elec1r
al
0
onic
Ans
Lid.
An ungradc
(ron1
Dc
luxcPi\hJ
l
co51s
£65.
from
11co~ls£55
and
fron1
Ill
C45.
C;ill
0753
549442
for d
r1ail, of 1h1\
and the
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~pt•cial
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nos
1HEBEST
SUPPORT
FOR
THE
BEST
MUSIC
SORWARE
N
1
THEWORID
I>
I
ST
R.
I
B
U
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1
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--
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MUSIC
's
SOFTWARE
Upgrade your COVER
DISKof Sequencer
1
to
Dr T's
KCS3.5,
the most powerful sequencer
on the Amiga for only
£
179*.
Owners of
MusicX can upgrade to
KCS3.5
for
£149*.
AM/GA FORMAT
flle
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tt
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••
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Dec 1991
This new Dr
T offering is o real heavyweight
ond
is
on o par
with those
found
in
the
Apple Moc ond Atari
STWorlds.
The
environment
offers the some
type
of
integration
ond
ease
of
use as
thot found on
the Moc. lhis
is going
to please
the
vost
numbers of Amigo MIDImusicians who
hove been
waiting far
something stunning ond professionally
useful
to
happe
n
in
the
Amigo
music world.
Oct 91 Amigo User lnternotionol
If your're
serious
about
creating music then KCS3.5
is probably
,
the
most comprehensive Rexibleand
powerful
sequencingand
,
editing
system you con
buy.
Maff
Evans DEC91 Amigo Format
(Gold
Aword
92%1
We Didn't Say It TheMagazinesDid
KCSnot
only
offer
the best MIDI Music
environment
/
available for
the
Amigo at the present time, but provides o
work
station potential which is powerful enough
to
challenge
some
of the established
heavyweights of the
STworld.
Paul Overroo
,
Sound On Sound
Oct.
91
The
whole KCS3.5 package
is
o
very comprehensive
and
powerful set of
musical tools, ond
one
thot gives the
user
o
vast choice
in the approa
ch
he
or she might wont
to toke
to
.
.
music sequencing.
Dec
91 Amigo Shopper
(fun(tion
5
stars
Jon Bates
Overall .. stars)
.......
ond as
for our
upgrade policy:
•
Now for the omoz.in9
bit
....
Zone ore prepared to
let
ony
owner of
ony
version
of
Music
X,
Moster
Tro(ks
Pro
to
upgrade
for just £149
.
They
ore olso prepared to let
owners of
Sequencer One, MRSot
TigerCub
to
upgrade for
£
179
.......
this deal represents on
offer thot
is
simply
too good to miss.
Poul Overoo Oct 91
Amigo
User lntemotionol
IMPORTANT
MESSAGE
ZONE Distribu~on, specialists
in
computer
music software, are
exclusive UK
distributors for Dr T's
Music Softwore. All R~istered UK
Users receive o full technical support
service from
e~rt
staff.
REMEMBER
unles.s you buy from on authorised
dealer we cannot provide that
support
and you ore unprotected.
•
SERVICE
••
SUPPORT
• • •
TECHNICAL
HELP
• • • •
Only
from
ZONE
5
,
Abbeville
Rd London
SW4 081
766
6564
AfJAN
Please odd
£3
p
& p
to all
orders
.
ALL DEALER
ENQUIRES
W
ELCOME
Electronics musicis a way of life
in
these days, but how can you get
involved?
Maff
Evans
lifts
the lid of the musicbox.
THO
E
O
F YOL'
old enough 10 remember
Tomorro"
·,
\\'or/ii
in
the 1970..
ma}
recall ·re,olu-
uon~ · mu,a.-ian,
Krall"
erJ..,ho"'
ing off
their ne"'
breed
ol elec:trun"
n1u,K The
idea"
in,
ohed
1nay
ha,e ,eemcd
rc1narl.ablt a1 the ume.
but to
the
youth
of
1o<la).\\h(,
ha,e gro\\n up \\Ith
tune~ in,o
lving
~yn·
the,1~"- ,ampler,
unJ -equencc"
a, a
inaner
of
cour.e.
Kratt"
err..·, r;irucular
brand of
quirky
Europe.in
blcctt, mu,1
,eem
po,ilively
archaic.
The
rc,oluuon In ek..:tronic
mu,ic
has
been
,urpri,
-
ingl}
rapid. "'11h
!IC"
and improved
technology
appearing
,u,1 3bout e,ei:
month.
The,e
ne\\
machine,
ha,e :il,o brought abou
t
a change in the
appro.i.:h
11,
cre.111n~
mu,ic.
1'0
longer i, the pop \\Orld
onl) open 10
tho-e
that
ha, e
,pent
)ear; mastering an
1n,1rumen1or the
u,ual crop
of fresh-faced
'here
toda).
gone tOITI{'IITO\lo
· ,1nge"
that get snapped
up
by
the
record
,-ompan1e,
The,e da) s anyone
with
a
liule
1mag1nauon
and a
,mall a1nount of
money
can get
in,ohed
than
i..,
to
the
adven
t
of
home
compu
ter.
and
:-.1
,1cal
ln,trumcn1
Digital
Interface
or si111
ly M IOI.
u
p
In
the m1d-10-late70,. before the da,,n
of
:'\IIDI.
a (c\\
,equenccr, \\Cre alread) available The..c \\orked b)
,ending puhc, of electricit} 10compatible
in,1rumc111,.
the
,oltage
of
the
bursts controlling 1he note
to
be
played.
TI1i, wa,
a rathe
r
pri1niti,e
") ,1e111
and
n1u,ician, began
crying ou1 for a
1nore
effective way of
conu·olling
their
~ynth~
and drum
boxe,.
The ,olution
wa,
the
introduct
ion of
MID!.
So whut
i<,this MIDI
thin£
?
11·,
actual!\
.
a co111111u-
nication
,io
ndurd
"hich
allo\\, in,trument,
11
,end
1
mc,,age, 10
each other.
so
that )
ou
can pla) ,ong, on
one
J..c)board
(or
con,truct them
on a
,cqucncerl and
actuall) u,e
,
ound, on
another
machine.
To begm ,, 11h
it "a'
,11npl)
u,ed b} mu\lcian, 10 build up banJ..,
ol
,ound, u,ing "ariou, 1nach1ne,,.allo"
ing
them
to
cre-
ate
complex
Jaye"
of
mu,1c.
Although dedicated ,equencer module, \\ere a,ail-
ablc <such a,
the Roland
\I
C500l
1he big leap fof\,ard
111
1'1101wa, 1he relea,e
of
the
Atari ST.
TI1e
fact
that
the
ST
had
a built-in
MIDI
interface
put fof\1ard
the
idea
that
you could
use
con1puter, for
,cquencing
.
Soon eno
ugh.
add-on
MIDI
interface, for j
u,1
about ull
other compu
ters
began
to
appear,
enabling almo,t any
-
one
10 ,tan
creating
electron
ic
n1u,ic (a, long n,
the)
had a 1'1IDI
keyboard
and a computer).
\Vi1h the
po" er of
the
Am1ga at ) our control. you
ha,e the hean
of a potentiall)
po"crfu
l
mu,ic
')'te1n
.
up
A chc.ip
t-1101 ke)board
can
be
p1cJ..ed for under
~
C:!00.
an interface costs le,, than
£30
and
there,~
a
:'\IIDI
,equencing package
on
the
co
,er
of
1h1, ,er)
1,,uc.
If
)Ou're intere
,t
ed in creating
mus1c.
then
read
the folio"
ing
pages to
find 0111
ho"
) ou can use )
our
Amiga
to
bccon1e
an
electronic
mac,tro
.
\Ve
will
1
cll
you
ho" 10
get
into
bo1h
1\
1
1
0111111,ic
create
hot
and
,
ounds
by
ju,
t
u,ing
the
Amiga
-
"ithout any cxpen-
,i,c add-on~.
If
mu,ic
be
the food
of
love. plug in
your amplifier
and jack
the volume
RIGHT
up!
W
1
2
3
How would you like to win
a
MIDI Interface and a
£50
record
token? Get a chance
by entering
this
simple compo. You may notice tllat our headlines
are
quotes
from songs.
So
what are
they?
Join the
rhythm of machines
.
I need a unit
to
sample and hold
.
Take a
beatbox.
9
SEQUENCE
OF EVENTS
The idea behind
the
,cq
uence r is to
allow
you
to
co
n-
truct and
\lore
song,
clcctronically.
Using
a
,equencer
}OUcan al,o edit
the
note,
of a so
ng.
sh
ift
panem,
around and
try
different combinat
ion~
of instrument,
-
all
before you commit an)
thing to tape.
All
you
have
to
do
Is
write In and
tall us
where
any one of these
quotes
comas
from. Jot down
the
name of
the
song
along
with
the artist
and
send It In
to
'I
know more
than Paul Gambaccln
l
Comp
',
Amlga Format, 29 Monmouth
Street
,
Bath
BA
1 2AP by 21 January
1992.
_
...
MIDI TERMINOtO
G¥
.,
The world of MIDI is littered with Jargon. Here is
a guide to the various terms used:
AnlRTOUCH
Tills cootrols what happens after a
note
has been
st
ruck
.
Mostly
It refers
to the effects of pressing harder on a
key fter
It
has been hit or using
the
modulation wheel of a
keyboard
.
{PROGRAM
CHANGI
Thi s
Is
a
MIDI message
that causes
your
souna
source
to
select
a
new
sound
,
set by entering a number from
1
to 128. regardless of
the
numbering
sys
te
m
used on your
sound sourc
e.
RIAL TIMI
Record
ing
onto a sequencer
In real
time simply
Involves
.h
itting
the
Record option and playing the notes
llve.
The
sequencer then
records
tl)e
notes In
the
same way as a tape
recorder
,
but stores them as data.
CONTROL CHANGI
These
messag es
send
Informati on
such as pitch bending and aftertouch
via
MIDI,
allowing you to
record
data
correspo
tcii
ng
to what you do
as
you
are
pla
Ing notes
.
PITCH BIND
This
Is
when
a note
Is shi
fted
up or
do
~
n
In
pi
tch
as
It
lays
.
You can
ra
a control on
adJ
st pitch-bending
tr
a
synthesiser
,
but
some
sequencers
allow
you to directly ed
it
p1tch-bend
STIP TIMI
Record
ing
onto a sequencer
In
step
time
Involves
enter
ing notes
one by
one
,
rather than playing
'llve
'.
•
IVINTS
All
MIDI
Information Is
transmitted as
events. 'These
control
the
eia Ing
and
releas
ing
of notes
,
pitch bendrng and
codes
to
carry out special effects.
MIDI IN/ OUT/ THRU
NOTION
/
Off
In order
to play
a no
te fro
m
a
seqllencer
f
two events must be used.
A
NOTE ON
event
start a note playin g
at a
particular pitch. Th
s la
followed
by
a
NOTE OFF message
,
wh
ich
stops
the
note from playing
.
To pass
MIDI
lnformat
ron
fro
m
one
machine to another
three
types of
MIDI socket are used
.
MIDI
JN
receives
data
,
MIDI
OUT sends data
and the
MIDI THRU
port echoes the
data arriving at the IN socket
,
so
that
you can chain machines
together
PRISSURI
This
Is
a specific type
of
Aftertouch
(see
explanation)
,
and
reads
how
hard you are pressing
on a
key
after
the
Initial
striking
of the note
.
I
""ODULATION
This
Involv
es
sending
a
stream
of
eve
ts
corresponding
to
the
action of
a
keyboard
's
modulation
wheel.
The
effect
depen
tls
on
the
synthesiser or
samp
ler
being used and can contr
'ol
reverbJ Vibrato
and other effects such
as
m) xlng
between sounds
,
SONG POSITION
Th
fs Is
a marker telling you
where-
a6oufi
l_
a
cequence
you are. You
n
can usua ly
sto
re
lists of posltlons
,
called eltfier Song position
Pornters
or Cue
Points
,
You can use these to
JI.Imp
straight to a
specific
part of
your
comyosltlon
.
SMPTI
This
actually stands
for
Society of
Motion
Picture
and
Television
Engineers
and
a
a
'tlmecode '
used
for
keeping
sequencers and tape
recorders playfng
In
I me.
VELOCITY
Depending your
keyboard
's
specl fl·
cations
,
MIDI
can tell
how
hard
a note
has been played.
Th
rs
sends
a value
from 1
(soft)
to 127
(har
d.)'
and
con-
tro
ls
the way that a sound
Is layed
,
.:.:,....
-
AMIGA FORMAT
&

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