Instrument 3.01
(C) Andrey Litvinov 1995
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Today we will talk about creating musical compositions with digitized sound using the program Instrument 3.01. Digitized sounds sound more realistic compared to regular sounds, as in SoundTracker. However, digitized sound also has some drawbacks that limit its use:
1. During melody playback, it is virtually impossible to run other procedures. In most cases, the only procedure that can work during playback is keyboard polling.
2. The sound coming from the AY-3-8910/12 port is not very clean. A cleaner sound can be achieved with special peripheral devices (Covox, etc.). But these devices are not widespread yet, and there is no software written for them.
The program Instrument 3.01 is a tool for creating compositions with digitized sound. It cannot be fully called a music editor, as its editing capabilities are very limited. However, the presence of some options allows for easy conversion of melodies from the well-known music editor Asc Sound Master (ASM).
Brief characteristics of the Instrument 3.01 program:
- composition length - 2048 notes, which equals 32 patterns of the ASM editor with 64 notes in each pattern;
- 7 loadable instruments (samples);
- built-in converter for melodies from ASM;
- the ability to transpose each of the seven samples, i.e., raising or lowering samples by several semitones;
- a convenient system for loading/saving both melodies and samples;
- Instrument has a wide range of controls: keyboard S, X, O, P, SPACE, SINCLAIR & KEMPTSON JOYSTICKS, KEMPSTON MOUSE;
- a convenient window interface and icon menus provide comfort when working with the program.
This list of Instrument's advantages does not end here, but they will not be considered separately. Now let's move from theory to practice.
Creating a composition.
Required hardware and software:
- ZX-SPECTRUM 128K with a disk drive, musical coprocessor AY-3-8910/12.
- INSTRUMENT 3.01 with a set of samples for it.
- Music editor ASM 1.11 with an ASM-format disk for unloading melodies.
The following instructions are for those who are at least somewhat familiar with the ASM music editor.
Making a melody in ASM.
First, you need to load ASM. Next, by entering the ASM sample editor, indicated by the option SM. XX (do not confuse ASM samples with INS samples!), you need to create 7 arbitrary samples numbered from 1 to 7. The samples should not be identical; their structure depends on your taste. Later, during conversion, ASM samples will be replaced with INS samples. You can also (but it is not necessary) enter the ornament editor (option IM. XX) and create several ornaments. They will only be needed for convenience in creating a composition in ASM and do not play any significant role.
After creating the samples and ornaments, they need to be saved to an ASM-format disk as a melody, not as separate samples. This file can be used in the future when writing subsequent compositions.
The next step is to write the melody in ASM. I will not go into detail about this. I will just make a few remarks and limitations:
1. The range of the composition should not exceed 4 octaves. This is due to the characteristics of the Instrument. The most common intervals are LARGE, SMALL, 1-ST, and 2-ND octaves.
2. You cannot use commands PORT, GLIS, SPEED, etc. They will be ignored by the Instrument converter.
3. The pause (PSE) retains its effect in the Instrument.
4. It is advisable to use only the 7 created samples and any number of ornaments.
After creating the composition, it should be saved to an ASM-format disk for further debugging. Then, by entering ASM-COMPILER, compile the resulting melody and save it to a TR-DOS disk. The creation process is complete.
Conversion.
After successfully saving the compiled file to disk, you need to load Instrument 3.01. Entering the disk operations menu (icon in the shape of a floppy disk), select the Import ASM block option. Using it, load the created file with the composition. A table (Conversion table) will appear.
At the top of the table is a row of numbers from 0 to 31. They are ASM samples. Next to each number, separated by a colon, is a digit from 0 to 7, a dash, or nothing. The digit indicates the number of the INS sample. A dash indicates ASM samples that "lack" Instrument samples. If you wrote a composition in ASM using the above method, there should be no dashes. By pointing the arrow at the INS sample number and pressing FIRE, you can change it. The INS sample with number 0 is not used.
In the lower third of the screen is a list of ASM octaves. Similarly to the sample table, the octaves of the Instrument are indicated here through a colon. The octave with number 0 is not used. A dash may appear if your composition exceeds four octaves. A dash also occurs when the composition is not located in LARGE, SMALL, 1-ST, and 2-ND octaves, but its range does not exceed four octaves. In this case, you can simply point the arrow at the dash and use the FIRE button to set the desired octave. If your composition occupies more than 4 octaves, you can, by operating the arrow and the FIRE button, assign one INS octave to several ASM octaves. Similarly, you can do with samples, i.e., assign one INS sample to several ASM samples. This is done by pointing the arrow at the dash and pressing FIRE.
To the right of the octave table is a channel table. It allows you to exchange AY channels at your discretion.
After finishing work with the table and exiting it using the OK option, you need to select INS samples by ear, loading them and playing the melody with the icon in the shape of a dynamic head. The distribution disks contain a large number of samples. Their variety should be enough for your melody. Loading is done by pointing the arrow at the area of the screen to the right of the sample numbers (the upper left quarter of the screen) and then pressing FIRE. A catalog of samples will appear, indicating their length. Each instrument is reserved 16384 bytes. However, the 6th and 7th samples are placed in the areas of the 4th and 5th samples, respectively. This means that a pair of samples (4 and 6, 5 and 7) only gets 16384 bytes each. Because of this, you need to carefully monitor memory usage. The most bulky instruments should be placed first. For debugging, you will have to enter the CONVERSION TABLE multiple times, so it would be advisable to save the table to disk (disk operations menu, option "SAVE CONV. TABLE"). To enter the CONV. TABLE, you need to perform "IMPORT ASM BLOCK" again.
And finally, when the instruments are selected, you can enjoy the composed piece. Now you just need to save the composition to disk using the "SAVE TUNE" option.
If you found this instruction unclear (due to my fault), or you want to hear something about ZX-SPECTRUM music, write to the editorial office of the magazine "ZX-FORMAT" addressed to Andrey Litvinov (LAV).
I wish you success in creating music.
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Contents of the publication: ZX Format #02
- IS-DOS
Announcement of a school-ready hardware-software complex by Iskra Soft and Peters, featuring a networked computer class setup on ZX Spectrum with IS-DOS.
- IS-DOS - Владимир Елисеев
Explanation of command line monitor and text editor restart in IS-DOS using mon.com utility as an example.
- IS-DOS
Introduction to IS-DOS system utilities, covering functions like help, user menu, file viewing, editing, and file operations.
- IS-DOS
Detailed description of the eliminat.com program for freeing memory from resident tasks and drivers, featuring interactive mode and command-line keys. Specific channel numbers allocated for task and driver types. Includes usage options and color customization.
- IS-DOS Window System - Владимир Елисеев
Exploration of IS-DOS window system restarts for printing text in windows and absolute screen coordinates. Examples of restart implementations such as lwt, adrwt, lenwt, prstr, str, and lnstr. Continuation to cover auxiliary restarts in next issue.
- Assembler
Introduction to assembly language basics, focusing on flags, arithmetic operations, and register manipulation. Discusses addition, subtraction, and complex operations like multiplication and division through examples. Highlights specific assembly commands and their functions for ZX Spectrum.
- Hardware
Discussion of hardware modifications for Scorpion ZS-256-Turbo, including the implementation of a Turbo/Normal switch. Pros and cons of software-based switching methods. Advice on soldering and circuit adjustments.
- Hardware
Discussion of a new music add-on for ZX Spectrum by X-TRADE and HACKER STINGER, called 'ZX GENERAL SOUND', offering high-quality audio and minimal processor usage.
- Hardware
Discussion on hardware innovations and marketing strategies, focusing on mouse and keyboard interfaces for ZX Spectrum. Critique of competitor's misleading advertising and analysis of serial versus passive mouse technology. Author questions necessity and cost of advanced features.
- Hardware
Discussion of hardware acceleration methods for ZX Spectrum, focusing on turbo-modes and their effects on performance and compatibility.
- Toys
Fantasy tale about magical creatures battling human intrusion. Main character recruits allies for a quest to restore the land's former glory. Challenges include finding tools, overcoming obstacles, and reviving companions.
- Toys
Review of 'Carrier Command' game, focusing on its strategic and simulation aspects. Includes detailed gameplay mechanics, controls, and objectives. Highlights strategies for success and unique features like managing resources and autonomous systems.
- Interview
Interview with Sergey Zonov and Andrey Larchenko discussing their experience with microprocessors and ZX Spectrum development, including the creation of the Scorpion ZS 256 computer.
- Information
Contact information and staff list of ZX-Format No. 2 (1995) including editor, coders, and designers.
- Information
Editor's address to readers of ZX Format, discussing the positive feedback, past errors, and the quest for a cartoonist, with future plans for the magazine.
- Information
Discussion on the new interpretation of the 'PULLDOWN' window menu system for ZX Spectrum, focusing on interface updates and user interaction enhancements.
- Information
Discussion about companies illegally distributing ZX Format, emphasizing the benefits of purchasing official copies.
- Competition
The article discusses the lack of participation in ZX Format's competition, detailing the rules and prizes, and encourages readers to engage with new ideas.
- Let's Relax
A humorous account of a software vendor's challenges dealing with clueless customers, illustrating the nerve-wracking nature of his job.
- Mailbox
Overview of hardware components and prices for ZX Spectrum enthusiasts with ordering details.
- Mailbox
Reader letters section in ZX Format #02 discusses reader feedback, addresses issues with ZX Format features, and offers future improvements.
- Premiere
Guide to Digital Studio v1.12, a music editor for ZX Spectrum, including features, menu navigation, and the use of Digital Studio Compiler.
- For Programmers
Exploration of tools that extend the standard Basic 48, including Renumber for Basic 128, Trace & Speed, Blast Toolkit, and ZXeditor, highlighting their functionalities and utilities.
- Various
History of Amiga computer models and their evolution from A1000 to A4000/60T with specifications and unique features. Explanation of technical terms and differences between chip and fast memory. Mention of new developments like AGA chipset and models for different needs.
- Miscellaneous
The article presents upcoming ZX Spectrum software releases and reviews game innovations like 'Adventures of Winnie the Pooh' and 'UFO 2: Devils of the Abyss'. It highlights features, creators, and technical requirements. It also includes announcements from SOFTLAND and Cracked Masters Group.
- Systems
Discussion of creating music with Instrument 3.01, focusing on digitized sound. Analysis of program's capabilities and conversion from ASC Sound Master. Instructions for composition and conversion.
- What's New
Review of new ZX Spectrum games entering the St. Petersburg market in late 1995. Detailed game descriptions, memory requirements, controls, and music/graphics evaluations. Highlights include Night Hunter, Extreme, Grell & Falla, and more.
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