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RightHD@E@D@xC@0D@0I@L@xK@I@K@0I@xH@I@L@P@D@E@D@xC@D@I@L@xK@I@K@0I@xH@I@L@P@E@I@K@xN@Q@U@W@x_@]@\@Z@xX@W@Z@U@xT@W@Q@P@xN@Q@L@K@xN@I@H@K@xE@D@G@E@D@E@D@xC@D@I@L@xK@I@K@I@xH@I@L@P@D@F@D@xC@D@I@L@xK@I@K@I@xH@I@L@P@xK@L@K@J@xK@S@R@P@xO@X@W@U@xS@R@P@O@xR@P@S@J@xL@K@P@F@xI@G@K@C@xF@D@C@D@xD@P@D@H@I@xB@N@B@H@I@xA@0M@H@I@xB@N@H@I@x=@I@B@E@ bk#(aP.y !Bap!X.!1AY&F!SXJaAS><a b<a \@a V@0QP!Aa=aaa2a"aa:ga`a\`NsFenny28z;fRyz;gNuBxz<gR<pg< g,J8fb< gB<mg<tgΰ<dg<bg<ag<8f1<2f1<6f1<4f1Nua AaBxVpr$<H>hQJ1HMR*NHp"<aLhE4aL`Jf*N ]HaѪJ8Jf PA:a`*aaRL` x|gaJgPJJfJg`a~A.` CONGRATULATIONS You have found a totally pointless bit of Interphase. There now follows a selection of some of the objects in this game. I hope you enjoy them. While I'm here, I'd like to thank: Dean Lester, Danny Emmett, Simon Knight, Martin Day, John Cook, Mark Coleman, John Dale, and Realtime Games. Fenny, by the way, is my cat./V|V}f((H@xhxh(H@xjxj Nu(H@xlxl(Hy>p NupaPtpr$<H>h!h1lBxnB8prazPpraZpr aLhEaTAaJJxngjRxn xJa]`rSxnAhCr~0P| op |lp@P@0Q y>poy@>pJAf ,x,MCApah,x,MCAaXAa]T`4 y>ply@>pLh@ APB@ABHha aaBxaDg$Aankr0HN`````ar`aj1t`Jxtk0ta$08tgbAU2 Cook  00@ N R $ ( ,0"xD   "0&AU2ăk^fd`AU2adf`AU2 CookfR! 11@!F!J!$!(!,1CX""""2`1Pn`#^$J` #]J1nBxV88tra`prta(`This disc is write protected.This disc does not contain a valid Interphase game.This disc needs formatting.J8ga`aa0a1a(a a&aaR08gapraTQ3fAoafNuC2Nu/V|V}f(H@x(H@x NuJ8f((Hg Q@D@yfZ0)Jik,2jDA|l ,x,M%Aa,x,M%A`J@k,x,M%A`,x,M%A`x8f@|m,x,MA<<`,x,M> A <|        ? @@?  p?aa@aSWfTNu# aB8B8B8p`?# an0Pp1r~|JGf| x AfCtG4aZC4@tGa(Ha@aaLQQNu~|JGf| x AfC4tGaHaaVaLQQNu 0 0 0 0 0 0 0 0:<@<<@><H!d08@V@Az12;343@r @1A( p!^CEO~$QCdEO~$Q x @f0ax?@0K@B@0E@x@@0L@D@G@xD@P@G@L@xD@0P@H@I@xB@N@H@I@xA@M@H@I@xB@0N@H@I@xA@M@H@K@xB@0N@G@K@xE@Q@G@L@G@xD@P@G@L@xD@P@H@I@xB@N@H@I@xA@M@H@I@xB@N@H@I@z=@!I@B@E@z?@K@B@E@z@@L@D@G@xD@P@G@L@wD@2P@H@I@vB@/N@H@I@ K@6|W@N@Q@yI@U@N@Q@xI@5U@K@0N@xH@T@K@"N@yH@T@K@"N@xH@3T@K@0N@yH@9T@K@IN@zG@ N@  S@K@3N@yG@1S@K@ N@K@cF@&R@F@ K@N@sF@R@K@N@xE@4Q@K@N@yE@Q@K@1N@|E@5Q@"K@ N@vH@9T@K@3N@xG@2S@K@/N@G@!xS@K@N@ K@ F@8yR@K@N@yF@2R@K@N@yE@>Q@K@4N@yE@9Q@"K@N@wD@2P@K@N@D@E@D@xC@0D@0I@L@xK@I@K@0I@xH@I@L@P@D@E@D@xC@D@I@L@xK@I@K@0I@xH@I@L@P@E@I@K@xN@Q@U@W@x_@]@\@Z@xX@W@Z@U@xT@W@Q@P@xN@Q@L@K@xN@I@H@K@xE@D@G@E@D@E@D@xC@D@I@L@xK@I@K@I@xH@I@L@P@xL@K@L@K@xJ@K@N@Q@N@yM@N@M@L@zM@P@U@I@J@I@H@xI@&N@Q@N@{M@N@+M@yL@M@P@U@P@yN@P@N@yM@N@Q@U@Q@zP@Q@P@O@xP@T@W@yP@Q@P@O@P@zX@W@V@U@xT@S@R@Q@zP@O@N@xL@N@L@K@L@xX@W@V@yU@T@S@R@Q@yP@OON@wP@94]@\@  Z@[@Z@wY@X@W@V@yU@T@S@R@wQ@P@O@{N@M@L@K@J@xI@H@G@F@xE@D@C@B@#zA@@@?@z8@Q@P@X@L@wN@L@U@I@zK@I@P@D@vQ@P@X@L@N@yL@U@I@yK@I@P@D@xE@D@L@@@B@z@@I@=@?@z=@D@8@x?@=@D@8@z?@=@E@9@w?@=@D@8@x?@=@C@7@x?@=@D@8@?@y<@D@8@E~D@F@B<D@)I@K*K@4&I@nM@P@{N@eM@n*K@fM@gEI@D@-F@G@72F@2K@?4M@5N@kM@^K@aXM@o*I@H@  I@  K@ I@ qM@K@1K@`D@F@B<D@)I@K*K@4&I@nM@P@{N@eM@n0K@74M@K@!J@pM@gSI@sD@s5F@G@72F@2K@?4M@5N@kM@^K@aXM@o*I@C@D@ F@wM@K@K@I@P@0D@F@ F@H@fF@GDE@{F@B>H@$D@FT@{R@P@L@I@ |F@7:P@}?@H@'F@EBE@!xF@??K@"zD@F@iI@%!H@F@"D@F@H@pF@$!D@AI@D7K@@M@P@N@`M@eK@96M@  K@ J@ K@ kM@jOI@ {D@{AF@fG@  I@kG@*&F@80K@9M@:N@jM@`K@eM@bI@C@  D@FF D@ gM@K@0K@I@P@-D@F@H@9F@+.E@uF@Er@H@46@ABCIA@!@EOr Bx>BBx`!zpaA>8Gb~RG$<0H&HC0@@@C@@D@rKC&aUSxg>Nu"x28(i4jDA|m>|m6)CJBjC1(<8FBk08@11aaEG>)&08$i 28,i46ppЀH@8jD@|m|mD0<JDjD@pp҂ҁHA46ppЃЀppҁЩ ҩ!$!,<8Fi&F|mF|mFDD|nFDDDjF11a` 0)jD@|@dV0)(J)*g 28$i `28(i4@jDB|@eJ8g&@jDA|@da #?h `NuaDpA n`6KAOJ00kNu00000tHB6KCOz)AOE00P8LdD|b<FFgHB4| f pPQNufHBf Bf BHB B; )8g@pA`b 8`"84BBgHA2 AO28A20fH@f @f @H@ @!28;1pAи x(gRx68SC8LED`n%b%b%b%bQ$$$$NuCD g4 n, Y"$08S@1`#Y#Y#Y#YQBNNuCOpYJVg )WNuJ@Nu2P1 aHQA p `848jNuag4ag11AAO00Hd@HN`````````~`~`v`v`f``F`N`````R`N`J`F`B`>`:`6`2`.`*`&Aa`A"a`A`D20IIAaB`AM`nA`fPA`QAaP<8a!N45|NuAa4`PpA.a`AJ8gAapAha`Great. You've got me risking life and limb, to retrieve a pokey recording of your retarded mind, only to get me back out into the street without the Track.We made it! Let's go for a cup of tea, I'm famished.This isn't it! Take me to another vault. Quick!!I've got it!! Now get me out of here.There are power terminals in this room. It might be worth checking this circuit out.This is a manufacturing area. Examine the circuits to see if they'll be any help.This is an electrically sealed door. You'll have to open it for me.I'm at a junction. Which way?I'm stepping onto a pad on the floor. Here goes...I'm in the lift. Operate the mechanism to take me to the next floor.I'm in the lift. Operate the mechanism to take me back down a floor.CC28|ft""QQAP1XPA1# #rJ9g #hALa!,pra48l0rE^a <"<$<H>hAaP3@fAah3#@fAaX 8Zfa` @pr aaKaaBNXg<gn1m < lxa$gA~aNrapkLN@`N``4```08XkQ@1X`08XxlP@1X`xaaA`N`aaA`Na`|?08pk@g?ta201pkta8Nu pa00Ad 8 a"a:XaaPpxg(8g JgA3AfpraZ`Nu8g( 8g""@68a8 Q4f|8a` Q0na3@(Nu|Q28>AAE$r.<Rg E.JRjpNuL L8 jDnޔjDnpNuF8fa x^r(J8g(!`QNu 8g"@0|fBQ#> `|f4 xnJxQ@K@4N@yE@9Q@"K@N@wD@2P@K@N@D@E@D@xC@0D@0I@L@xK@I@K@0I@xH@I@L@P@D@E@D@xC@D@I@L@xK@I@K@0I@xH@I@L@P@E@I@K@xN@Q@U@W@x_@]@\@Z@xX@W@Z@U@xT@W@Q@P@xN@Q@L@K@xN@I@H@K@xE@D@G@E@D@E@D@xC@D@I@L@xK@I@K@I@xH@I@L@P@xL@K@L@K@xJ@K@N@Q@N@yM@N@M@L@zM@P@U@I@J@I@H@xI@&N@Q@N@{M@N@+M@yL@M@P@U@P@yN@P@N@yM@N@Q@U@Q@zP@Q@P@O@xP@T@W@yP@Q@P@O@P@zX@W@V@U@xT@S@R@Q@zP@O@N@xL@N@L@K@L@xX@W@V@yU@T@S@R@Q@yP@OON@wP@9.\@[@Y@X@W@V@yU@T@S@R@wQ@P@O@{N@M@L@K@J@xI@H@G@F@xE@D@ Lethal to anything crossing it. Tends to fuse after triggering.ASCENDING ELEVATOR Shaft leads through to floor above.DESCENDING ELEVATOR Shaft leads through to floor below.POWER SOURCE Controls local energy supplies.WORKSHOP Fabrication plant for manufacturing purposes.DREAMTRACK Digitised recording of brain patterns. Looks not too dissimilar to a late 20th Century 3.5 'inch' (88.9mm) floppy disk.Nur8pAIt hi@ANuLx `kak|n|nIA@NupNuH@6aQ` LNua0Hd@H ;g @aLNu4H\p\v0^^0vBgCG:0aJSjNuL0;2;4; 6;0` "<Vh ,Nx                                                                                   D2@I@A:;<;`::(<:,DEDF>8 `"H@HA@A`pa x^0r@A0N````X```*`Nu0a`LH@HAHBHCEk FkE| lF|l @UBkAUCj`LH@HAEF6HCBC䫶m$Ha:nL @`\4HBBBԃJfHB6HaL @`2LH@HAHBHCEFEFHaL`/ HLH@HAHGEFa4L(_`HL/H@HA@Aa _L``Nu|mv:<6<@| lC|l C|lCGxKI02H@HAEFC?D45@64@BCHBHCEFH?aL6JDfNu@@@UUUUUUf  PRESSURE  PAD  ON@@@@```  `  OFF@@@@```  `  HIGH ( VOLTAGE h POWER  WORK  SHOPTTTT@-K-KH3>BC0$I02D@DA22OG22G22G22LxHxa LNu!J!Na$BxVp"<$<H>h1Hp"<NERp2<txlB1la 8Ng @aPprNprNt xJa4.aaVJ8|g`ܜ0aڊrv@H@@0HC@JgR@fH Bh*Bh,A.NuMA N0<BQ<=@=@=@A2E ~$| $<!@:<&Ha@<|0nEar|f(H8ft:<Qp`$<aL|0xB0rH!A rH!ABh,A.Q|0L H G.H@HAHBk kkD@DADBH"1| (Bh,A.Q0lBh*Bh,aX!@ !| PaH!@!K"A.:8@gpp$<aSEg0T|o0XBh*a !@ Ba!@B"Bh&Bh*Bh,A.SEg0LBh*a!@ Ba!@B"Bh&Bh,A.SEg0dBh*B"aؠ!@ !|aؐ!@Bh,A.UEo`0\Bh*ar!@ 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j:o jGBֳ j r|t 8n}qDW#6YXK 0Sdkxp ,fDq%rw8D3 9zvK*Gpk ^|{0\Qq%w p b/ - <YKtsV!))yGkVF.UWkudw?oqj&> J8',(H#B&5K]>1/}yh%+lEUk6{WJ D _</O#o)E8pK!U ph c<}e3l?\K "<5Kd/f;HMJOHt= mdh:%`< qe3R`*k $8}1a/f2YN_< :U{hULf< nn9Zlk 6) mL rOQt$IX #Flhjmj{< ttET_ f QHNm# %^)Cuhy^+<GZT q\G  J><[4Tt G?(5IhpB[rTYa); >A9TAp z!5o>^hMTn]ITJnD5T"-\.J|hZW!nx T>sKeTdq 3tR5V/kk-GUxIT8of[mi PQzX'\a3wXqJ w_kk/y8\aYTZ5W*|*/y`e |T{z?GX VWhY5z_n]vp(L_@&&MzJl mdmx9kjB# VZBqJ Sn`|jFaYO AM\lvc%pxsO64YXSN5JynQ^^JC,)-,)t_`u3JP3( >[n*%p>ZPAE!H}N9!} M u @0 P  o.2In'|8_cgl?J*}wEx?e9+@ :+@ :0@ :4@ +@/@2@<0@ <4@ <+@ -@`=4@ =+@ =0@ ?0@ ?4@ ?+@ @0@ @4@ @+@ @+@`@A2@ @A/@ @A+@ @B0@ @B4@ @B+@ @C+@ @C/@ @C2@ @D+@ @D/@ @D2@ @E0@@E*@@E-@@E&@0+@4@0@2@`0@`4@`+@`H.@ H0@ H+@ H4@ I/@I2@I+@J+@ J/@ J2@ 2@/@+@L4@ L0@ L+@ M/@M2@M+@R +H&R +H&R +H&R +H&R +H&R  +H& R  +H& R  +H& R  +H& R  +H& R +H&R +H&R +H&6 Section `x?Q  PNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC. *  xzf Ҋ"Someday I'll love youxzR 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pointjoiH1n robounceHm^0 robounceHn1 robounceHn2 robounceHot3 robounceHp&4 robounceHp5 robounceHq6 robounceHr<7 robounceHr8 robounceHs9 shape1faHr shape2toHp shape9ptH s shapelisHt thing4faHpr trav1joiHWDn vomtowerH1 vomtowerH2 vomtowerHې7@`4@`7@`4@`5@`7@`<@ 5@.@003@05@007@0P8@2@007@09@00;@0P<@<@`8@08@`3@`5@`/@`.@03@`3@03@`.@0.@@3@03@03@`.@0.@@3@`2@`3@03@`2@`3@`',@ (.@ 7@07@07@0:@0:@`9@08@08@0:@00:@0P8@7@07@07@06@006@0P7@`5@`4@`3@003@03@@8@008@05@`8@`3@`3@03@`.@`.@3@03@`1@00@,@7@`4@`7@`4@`5@`7@`7<@ 5@.@003@05@007@0P8@2@007@09@00;@0P<@<@`8@08@`3@`5@`/@`.@`7@`8@`7@R Bass 2 7@0+@07@`+@`7@`+@`+@0+@0*@`)@)@+@`+@0.@00-@00+@ ,@0,@00,@0)@@.@x0@00@00@0.@0.@`0@`)@.@ '@ ,@+@ 0@5@05@05@`.@`,@`(@`'@ 7@0+@07@`+@`7@`+@`+@0+@0*@`)@)@+@`+@0.@00-@00.+@ ,@0,@00,@0)@@.@x0@00@00@0.@0.@`0@`)@8.@ 9'@ ,@;+@ 0@5@05@05@`.@`,@`(@`?'@R V6R V7R V8R  V9R  V10R  V11R  V12R  V13R V14R V15R V166 Section ` x?Q   PPRNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC. * <@b"Jesu Meine Freunde<R Sop 1 @x0C@C@0C@E@00G@H@`G@0L@00J@0H@J@G@0H@xJ@L@J@H@xG@H@J@H@xG@E@C@B@xC@G@E@H@xG@J@I@L@xJ@00E@0J@0J@J@`I@`J@E@0J@00H@0J@00E@0G@xG@0L@00J@0L@00G@0H@E@0J@G@0I@00J@0J@00I@0J@00E@0J@L@J@xH@G@0H@00J@0L@00N@0O@N@`O@pG@0L@00J@0H@00G@0E@00G@H@xG@00I@K@L@ @K@`L@`00C@C@0C@0E@00G@0H@G@0L@00J@0H@J@G@H@xJ@L@J@H@xG@H@J@H@xG@E@C@B@xC@G@E@H@xG@J@I@L@xJ@I@J@L@xN@xL@K@L@xG@I@J@G@xL@00E@0J@00H@0G@H@E@G@xH@J@H@G@xE@G@C@E@xG@H@G@E@xC@E@B@C@xE@C@B@xC@0C@0E@00G@0H@`G@0G@0L@00J@0H@00G@0E@00C@0B@00C@E@xC@00E@G@xH@00J@H@xG@E@>@0J@0J@J@`I@`J@J@0O@H0N@0L@00J@0H@G@E@xG@H@E@G@xH@J@H@G@xE@G@C@3 vomtowerH4 vomtowerH&5 vomtowerH`6 vomtowerH7 vomtowerH8 vomtowerH9 bluethinH|gy cradballHs1 cradlejoHin energyjoHin fly2centHm(re gnd3insiHHde helidragH10 helidragH11 helidragH ,12 helidragH l13 helidragH 14 helidragH 15 otlpyramHzid redpyramHz8id robounceHtR10 robounceHu11 shape2bpHts shape2cpH$ts shape2dpH\ts shape2epHts shape2joHhin shape2maHin shape2riHse shape2toHFpa shape2toHpb shape6joHin shape9joH>P||PP99PPP  P",XPzzPOOPPPPPP,XMMPP%%PPPPP++PN,XPPPPPPP77P,XPPP,,PP99PPFFPz,XPRRPPSSPPQQPPRRP,XPP)P)t)tP)PiiP)P)^)^P),XZZPPnAnPAAPAP{{PAPAgAgPA<,X<@0J@00H@0G@`E@`C@xG@0I@0I@0J@0J@0D@00M@0L@00J@0H@`G@0C@`E@`G@`G@0L@00O@0N@00L@0K@00G@I@xJ@xJ@0H@00H@0G@00E@0C@00B@0@@xF@0G@`I@`B@00J@0O@N@0L@00O@0N@xN@0G@0G@0L@K@0L@00N@0O@N@0J@`L@`N@G@0J@00I@0G@00F@0G@`L@`B@G@0J@`I@`G@R Sop 2 @ 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POWER CIRCUITRY TO FIRST FLOOR LIFT CIRCUITS Control elevator system to the next floor above. LIFT SHAFTSMALLPRINT Thanks to John Cook for game ideas SURVEILLANCE CAMERA Infra-red motion detector. Feeds through to the SCA droids. ELEVATOR DOOR SYSTEM Seals elevator complex from main office areas. ]MAIN pRECEPTION 4fELIFT TYaSECURITY RgCLEARANCE \mAREAn 6? xTHE DREAMTRACK <CORPORATION )#7BLUEPRINT TO:- %+LEVEL 01 | SURVEILLANCE CAMERA |~" SURVEILLANCE |" CAMERA !uc INTERPHASE (C) IMAGEWORKS 1989/90"k)d)d)d5d5"k5"k5"k) C-ALWAYS READ THE PF SMALL YBPRINT 2lCUP %\ STREETP%cz%cz%c%oz%c%W\        W ~  W "  6m------------------\ ------------r###`#######LIFT OUT Leads to level 3. LIFT CIRCUITRY LIFT DOORS WORKSHOP AREA For manufacturing purposes. WORKSHOP CIRCUITRY For manufacturing system. ROBOT TURNTABLE. Redirects security droids according to orientation. PRESSURE PAD. Part of system surveillance. Likely to trigger security droid(s). SECURITY DOORS. POWER ROOM. ROBOT GUARD DEPOT. Waiting area for droids. POWER CIRCUITS. Supplying Level 2. LIFT IN. CONFERENCE AREA. Meeting and lecture centre. SECURITY DOORS. HIGH VOLTAGE FLOOR Lethal to anything travelling across it. Tends to short-circuit after triggering though. r 0Pr9POWER 1Ou6ROOMU ioROBOT irGUARD iuDEPOT wp ELECTRIFIED xW FLOOR ] XWORKSHOP "LIFT 9a TURNTABLE 2JOLEVEL 02 H CODE BY ADRIAN STEPHENS H DESIGN BY DEAN LESTER AND SIMON KNIGHT H 3D SHAPES COURTESY OF DANNY EMMETT 7%THE DREAMTRACK CCORPORATION.*LbrLbrLbrYrY.*Y.*Y.*Lb ju GENERATES CLONES (SCONFERENCE AREA lLIFT DOWN  UP!vzN ~ ~ 3y      Ѐ  }   V   7 " &Z@>@0>@0@@00B@0C@HB@0G@00E@0C@E@B@C@xE@G@E@C@xB@C@@@B@xC@B@C@E@xG@00B@`C@0E@00C@0B@00>@>@00B@HE@0H@00J@H@xG@H@G@xE@H@0G@00@@0>@>@x>@0@@0@@0A@0A@0;@`@@H@@x;@;@`<@`6@B@0C@`H@`G@xG@H@@00@@@@0@@B@`G@HG@xB@0@@=@0;@`@@0>@`E@HE@>@0G@0G@0E@0E@0C@00E@0C@00B@0@@`B@B@`;@00=@0>@00B@0G@@@0>@00=@0;@`C@`=@xC@0>@00@@0B@00@@0>@`R Tenor @07@7@07@9@00;@<@;@@@00>@0<@>@;@<@x>@@@>@<@x;@<@>@<@x;@9@7@6@x7@;@9@<@x;@>@=@@@x>@009@0>@0>@>@`=@`>@00=@0>@009@0;@`;@0<@;@<@>@x@@00>@0<@00;@09@>@<@>@>@0C@0C@C@`B@HC@>@0;@00>@07@009@02@6@0;@0;@09@09@9@09@07@07@6@007@02@00>@0>@9@07@009@02@00@@@@x@@09@006@07@009@0@@009@0;@007@09@H009@0>@00<@0;@009@07@006@04@007@6@x7@9@;@x<@;@9@x;@`4@`p;@0@@00>@0<@00;@09@00;@<@x>@`@@<@>@x;@>@<@;@x9@007@09@`7@00;@0@@00>@0<@00;@09@007@06@007@9@x7@6@`7@006@07@009@0;@00=@0>@00B@@@xB@xC@@@B@x;@0^7@7@07@09@00;@0<@;@0@@00>@0<@>@;@<@x>@@@>@<@x;@<@9@;@x<@>@<@;@x9@;@7@9@x;@<@;@9@x7@9@7@6@x4@`2@;@0@@00>@0<@00;@09@007@9@x;@x7@9@;@x<@;@<@>@x@@<@>@@@x9@00>@<@x;@00<@;@x9@002@09@0>@00<@0;@<@9@;@x<@009@0>@`7@009@0;@009@;@x<@`;@`;@09@09@9@09@0@@`8@`9@`B@0C@0&1B@@@`'B@?@0@@00>@0<@`6@x;@;@004@09@009@9@)1B@;@=@0;@`B@*B@@=@0;@`H@@x@@`>@xB@@@00@@@@0>@B@C@0,1B@@@00?@0=@x=@0>@`C@`.B@hC@0;@`B@/B@@@H@@x@@00B@6@H6@`R Bass @02@2@02@04@006@07@6@0;@009@07@9@6@7@x9@;@7@9@x6@7@9@7@x6@4@2@1@x2@004@06@7@4@6@x7@5@9@;@9@x7@6@4@3@x4@7@6@9@x8@9@6@8@x9@;@9@<@;@x9@7@6@4@x6@002@07@6@04@`2@`H0/@04@002@00@00/@0-@00/@0@x2@00+@07@9@;@x<@`;@`p4@09@007@06@004@02@004@6@x7@6@`7@`H02@2@02@04@006@07@6@0;@009@07@9@6@7@x9@;@9@7@x6@7@4@6@x7@9@7@6@x4@6@3@04@x6@7@6@4@x3@00/@04@04@4@`3@x4@ .LLIFT IN. PRESSURE PAD. PRESSURE PAD. WORKSHOP. TURNTABLE. O :3mSENTRY ZONE lXHJAUXILLARY qi 7 >% 6 C 5 I 4 +I 3 3I 2 FK ZERO V`Z ;I~ 1k^k^k^^k O0 OR "ON YOUR TOES" DO LIFTO FRUUP =vs ON YOUR MARKS pFyx STARTING BLOCKK l qLIFTP l uDOWN aLEVEL 04ensL= ^ > > V; [ ~ = =  > ^ ? 7    ; 7;= = Ӏ > S; 73: Ӏ    U;  ] = - ,pLEVEL 05+QMMMM+Q+Q+Q uJ4 YOU'RE ON YOUR OWN [ gdLIFT DOWN .*LIFT 0.*UPx8Aijklmno3~ Ѐ; \\    \\  ; ؀^ ] ;????7 ^;?????7;?????7 ;?????7{  7  ܀   ܀  ]! 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ACCOMPANIST - A 16 Voice Sequencer -" Contents 1. Introduction 2. Features 3. The Desktop 4. Menus 5. Dialogues 6. Glossary 1. Introduction - This manual describes how to use this 16 Voice Sequencer. Key concepts, such as the Map, start with a capital letter, and are explained in the glossary at the end. Numbers such as tempo, time signature, channels etc are all changed by Rolling the mouse. Read the glossary section on Rolling first. In Dialogues, all shadowed boxes are text, i.e. not selectable. All other boxes may be selected to change values, make choices etc. 2. Features - 1. Multi-Voice recording using seperate MIDI channels or programs, split MIDI keyboards and/or velocity ranges. 2. Variable resolution Map of 8 Voices on Desktop contin- uously, the Mouse is used for most movement around music. 3. Mouse click sampling of any music in the Map. 4. Simple editing using mouse and MIDI keyboard on blocks down to hemi-demi-semi-quavers, with no MIDI event lists! 5. Sections for naming passages plus setting Time signature, tempo, and local quantization. 6. Variable resolution metronome on any MIDI channel, program, note, velocity. May be driven by external MIDI clock. 7. Full Voice/Block copy, move, quantize, randomize, transpose, velocity update. 8. Filtering of controllers, note ranges and velocity ranges on input, output or by direct manipulation. 9. Undo/Redo on all operations that change the music. 10. Through channel specification for each voice. 11. All MIDI notes/channels/programs may be input from a MIDI keyboard. 12. MIDI channels and progam numbers base may be selected to be 0 or 1. 3. The DeskTop - The Desktop has 7 main areas:- 1. The Menu bar (top). 2. 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The Map box (top right). 4. The Commit box (bottom left). 5. The Conductor box (bottom mid-left). 6. The Play/Record box (bottom mid-right). 7. The Punch-In box (bottom right). 8. The Title box (under Play/Record box) 3.1. The Menu Bar This drives the program in the normal GEM manner. See below how to use these menus. 3.2. The Voice Box This contains information about 8 of the 16 Voices. Each Voice has a number and a name. A Voice is selected for recording and most other manipulation by clicking on its name, which will then appear inverted. If the Voice has no name, then you are prompted for one. Normally only one Voice may be selected for Recording etc. This may be overridden by selecting the MV (Multi-Voice) Icon at the bottom of the Voice-box. Whilst this is selected, i.e. appears inverted, any number of Voices may be selected simultaneously, e.g for Multi-Voice recording, or for Multi-Voice copying. The only, or most recently selected, Voice may have its properties such as MIDI Channel and MIDI Program, updated by selecting Change in the Voices menu, see below. The Voice number of the most recently selected Voice appears inverted. Clicking directly on the Voice number changes it to light grey ,or back to black. Black indicates that voice will play, grey that it is silent. This may be changed while the music is playing. Other Voices can be displayed in the Voice-box either by clicking on the arrows at the bottom left of the Voice-box, or by selecting the number on the left of the arrows and Rolling it to a new value (1-9). The Percentage figure at the bottom right of the Voice-box shows what percentage of the Voice memory has been used so far. The /** in the top right of the Voice-box shows the resolution of the Map, see below. The CONDUCTOR Voice represents the commands set up with the Conductor in the Voice-menu. The CHORUS Voice represents the contents of all Voices, including those not currently showing in the map. Selecting CHORUS immediately selects all Voices. This is useful when using AUTO.AUD (See Punch box). 3.3. The Map box This shows the contents of each Voice to the resolution shown in the top right of the Voice-box. The default resolution, /** is one bar per '-'. i.e. any bar with at leat one Midi event in it will be represented by a '-' , otherwise a space. The resolution can be Rolled(see Glossary) up to /96. If the Map-box is not wide enough to show the whole song at a particular resolution, then the slide-bar at the top of the Map-box shows which part of the song is showing on the Map. This slide-bar may be used to move between different parts of the song. Whenever the Marker is changed(see below), the Map is adjusted to ensure that the Marker is showing. The vertical position of each '-' in a Voice can vary. At higher resolutions this gives an indication of how the notes go up and down. Bar numbers are shown under the slider. At the bottom of the Map-box are two further boxes. The upper shows the position of the Marker,see below, and the lower shows the position of the Sections defined so far. The Map box shows the current Fragment (see below) as an inverted box. 3.4. The Commit box. Various operations such as Record, Quantize, Clear can be UnDone if the result does not sound right. When such an operation has been selected, the Commit-box shows the current state of the operation. This is indicated by DONE or UNDONE. The box showing REDO or UNDO may be selected any number of times, followed by PLAY to listen to the result. When you have decided on whether to keep the result, or not, select COMMIT to finish the operation. If you forget to select COMMIT, before selecting another operation, then a Dialogue box will appear asking you to complete the previous operation. 3.5. The Conductor box. This shows the current Music-Time while playing. It also shows the current Time-signature, Tempo, and Metronome resolution. Selecting either of the two arrows under the Tempo, while playing, causes the Tempo to be changed accordingly. The Tempo of the current Section is updated automatically. 3.6. The Play/Record box. Selecting PLAY causes music to be played from the current Marker Music-Time, which is shown under PLAY. Selecting RECORD causes recording to take place from the Marker, for those Voices selected in the Voice-box. When recording, a Count-In is given of a number of bars, as specified in the current Section. If the Marker is not at the start of a bar, the Count-In always starts from the beginning of a bar. 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D0wk'B' _Z0Ϯ/P͒p?KJn0F #PS9'H'__`g ߫7@ޕtJ |Yh+gP?oP{X_/ oW,'Y$@ݠ/j$Ԑ_P_d?Ϡ/ʟ@7O'p7S-5#^?ͻ_?Pȑ7Ȥ^f6ӣ=uO??0ԏ@o`7ԯg0 迺hϟ8;[`OoT\ o@迧_O?0rgk?pftkЛ7`((OP'`@O?_??mg˿8``(cj*!r{7'O /oP _H?xϟT>H9 _@?@po9?(Sz8[cPw`%D=X_pcRGPS;#_(dooSj$'`g`sW_[$O`f/20Wb4+0]WUs?@_owjk 7hlp/PPsMo?5Mnzg?]o?G+EX_p@_?grG88/|H@?)Lh(o;_?\?Oc1@ WX-`p/N0 ,OOL'BOV@?* ?P??@@*wh$% ? 't/g218˙; /7M?_oh`Ҁ?pPv$ J/{(@@O7 h`ˀ_%̌;?PO@WSc @/_`w@ S?gxO@OS?`X /eljP0԰S H  %-TuW$!?QlTW`ZPnh(HĀO,o^ [6;\wYUSdr, subject to the overall limit of 32 notes being input simultaneously. It is human nature to be inaccurate in playing a MIDI keyboard, particularly in playing the first note, which sometimes gets pressed a few beats before the Marker time. To allow for this, a recording tolerance may be defined in each Section, e.g. /32, which opens the recording window a few beats earlier, avoiding the loss of the first note. RECORD should be used for the initial input phase as it wipes out all previous contents of the Voices after the Marker. RECORD is confirmed or undone by using the Commit box. There are three Icons in the Play/Record box that may be selected to set the Marker. The three right-hand arrows move the current Music-Time showing in the Conductor box to the Marker. This is very useful when reveiwing and editing. The three left- hand arrows set the Marker to the start of the first bar. The two left-hand arrows move the current Punch-In time to the Marker. When recording more than one Voice simultaneously, each input MIDI note and subsequent event is allocated to a particular Voice, by examining each selected Voice in numerical order. The Voice chosen is the first to satisfy one of the following criteria, which are also applied in order. a. Both the Voice input Channel and the Voice output Channel are **. b. The Voice input Channel is **, and the Voice output Channel equals the note Channel, and the Voice program is either ** or equals the the current program for the note Channel. This allows Multi-Voice recording from a single MIDI Channel by using Program Changes while playing. c. The note Channel equals the Voice input channel , and the note pitch/velocity is within the Voice range. This allows Multi-Voice recording from a single MIDI channel with split keyboards. 3.7. The Punch-In box. This is used to sample/edit a Fragment of previously recorded Voices. The Fragment is defined by the Punch-In(above) and Punch-Out(below) Music-Times shown in this box. The Fragment may also be specified by dragging a box in the Map with the mouse. This causes an inverted box to appear, and sets the times accordingly. It also selects the Voice chosen. Simply clicking in this area produces a single width Fragment. Selecting PUNCH causes music to play with Count-In as for RECORD. Recording takes place in the selected Voices only between the Punch-In and Punch-Out times, allowing for the recording tolerance (see RECORD). PUNCH is confirmed or undone by using the Commit box. AUDIT plays only the selected Voices from the Punch- In time, with Count-In if previous Punch-In has just taken place. AUD.CHORUS plays all voices from the Punch-In time with Count-In as for AUDIT. Selecting AUTO.AUD switches Auto-Audition on and off, (on when inverted). When Auto-Audition is on, any new Fragment created by dragging or clicking in the Map-Box, is immediately played as though AUDIT had been selected. This is a very useful way of reviewing, then editing a song. Selecting AUTO.PUN allows very simple editing of a single note or chord. The Fragment must have been previously defined to cover a single note or chord, for a particular Voice. The Map resolution will need to have been increased to crotchets(/4), or quavers(/8), etc. After selecting AUTO.PUN, play a note or chord on the MIDI keyboard. This will automatically be punched into the start of the Fragment, with duration the length of the Fragment. AUTO.PUN times out after about 10 seconds, if a note has not been played. Selecting the two right-hand arrows sets Punch-In from the Marker. Selecting the three right-hand arrows sets Punch-In from the current Music-Time showing in the Conductor box. Selecting the left-hand arrow sets Punch-In and Punch-Out to the start of first bar. Selecting the two downward arrows sets Punch-Out to the next bar after Punch-In. 3.8. The Title box Selecting the Title box opens a text field for editing a title for the current song. This should be terminated by RETURN. 4. The Menus - There are 5 menus:- 1. File menu. 2. Voice menu. 3. Block menu. 4. Option menu. 5. Section menu. 4.1 File Menu This provides various operations for manipulating files of music. LOAD copies a whole piece from a disk file. MERGE merges the MIDI events of a file with existing Voice data. SAVE saves to a file that has been previously LOADed. SAVE AS saves to a file with a new file name. CLEAR clears ACCOMPANIST back to its initial state. 4.2 Voice Menu. This provides various operations to change the properties and contents of each Voice. CHANGE displays a dialogue-box showing the properties of the most recently selected Voice. CONDUCTOR allon@ }>@' HWh_TBp/@_H@P@@OT/_d`pC Dl[[h+X0h$o`%_GV_Pf=&@ǠzX$/@K@O;DG`@5@χjb7OK@_P(,@?Wx_dyo`-"t3h?|`CݽW(uPSP@J;+GD]hۄ`6k42@O;yjPP?;0_jӏh@i^[:PWؤhrT@00#@ @OGle@@m/)knE1H7oo@;P@;w&#@b[G_;0Wꃷ(+h`q/ K%@=ԓ? _LZ oԭmƸWPW3_r@ו/ /Heώs_w  Z0w `dyͻ6/ Mg/h'04,?OseKSA7X'T- c/@;56$`[Hߺc?oQ3 8/tGxGnK '\@/"wW_5 O}fKɆjGk6$v? BkM/w ,a(s__#Nj/_.E70^Wx\G_a/PG 8* e-FM_$cӴ;O4LwzɈ_ <#W`XuV=_C1hS? k [׳  k;$ I4i_Ty kN1!Wtyߋ'!!>D/`lY],6@/:^lz?`ߊ@_ ?r|@  ϗB-Wbm|hkH_x>0HźpO?M/h sv@oi`4]O/`4Wdahg@uyk8mtp; kVp/Xu ?0Xgptum p~~U щy@_ do rjcd5 J`H~З @^'|OeP~o (W+ _`_0Пup_{~w h@2@ @o7{[//$~P"p'<%*o MG!_<[5$ ]("POHɽQJ_ !I,PL'? Pw;0/Z;OSB3+E%0GMx?' HE.?aa _ \>h.+Η/#ϳC%NXV7 G1 `i_2d.so +@gK?7˝)0/G/+]]Y G: jtF,6/'ԴPiX@I700;;_F7pice_<"p@Dkoo 7T1qU>p}@ @yjv@mؗWB3`⧷,(X Ler~ߧ_ m]C5䯽/ ųW_fl}v_C7%4諐o_dkdx)4kR73'[ ɡ`lsoRx-@|ws Time-signature, Tempo etc to be set at arbitrary bars (see Conuctor-Dialogue below). MOVE moves all details and MIDI events of a particular Voice number to a different Voice Number. COPY copies the MIDI events of one or more Voices, or part thereof, to a different Voice (overwriting, or merging). FILTER-IN/OUT specifies filters to be used on a MIDI event during recording or playing. These filters are switched on and off in the CHANGE dialogue. CLEAR reinitialises Voices. 4.3 Block Menu This provides various operations for manipulating the MIDI events for each Voice. For each such operation, All Voices, currently selected Voices (i.e. with inverted names), or a single numbered Voice, can be selected for manipulation. Also ,the whole Voice, or a selected Block, may be specified to be operated on. Selecting the upward arrow Icon, causes this region to be set to the current Fragment times. All operations in this menu are confirmed or undone by using the Commit box. QUANTIZE allows the start times and/or durations of selected Voices/regions to be quantized to specified resolution. The /1 is a divisor, which may be changed to quantize 3rd's, 5th's etc. RANDOMIZE does the inverse of QUANTIZE. COPY copies the selected Block in each Voice to another Time in the same Voice. The receiving area must be empty, and have the same time signature. MOVE moves the selected Block in each Voice to another Time in the same Voice. This serves for both deleting and inserting Time. CLEAR clears the selected Block in each Voice. TRANSPOSE transposes the notes in the selected Block in each Voice. VELOCITY changes the velocity of notes in the selected Block in each Voice FILTER causes the selected Block in each Voice to be filtered according to the current output filter of each Voice, irrespective of whether the output filter is switched on. 4.4 Options Menu METRONOME displays a Dialogue box for defining the MIDI charactistics of the Metronome. The Metronome can be assigned to any MIDI Channel/Program/Note/Velocity. (The default channel is 13 which is one of the ATARI channels, the others being 14 & 15) So, by default, the Metronome sounds from the ATARI sound system. An external clock can be selected, in which case the tempo is set by the driving clock in your rhythm generator. When the internal clock is being used, appropriate MIDI real time messages are sent to other devices which can be driven by an external clock. MIDI BASE 0 specifies how MIDI channel and program numbers appear. If it appears with a small tick sign on the left then the Midi Base is 0, otherwise it is 1. AUTO COMMIT may be selected when an operation such as AUTO.PUN is being used repeatedly. When selected, AUTO COMMIT appears with a small tick sign on the left. When an operation is used again, the previous operation is committed automatically if AUTO COMMIT has been selected. Once selected AUTO COMMIT stays on until selected again or a different operation, using commitment, is begun. 4.5 Sections Menu This provides for creation,change, and deletion of Sections. OPEN displays a dialogue box to define a new Section. Typically Sections are used for some bars of music with a paticular Time signature and/or Tempo. The name of each Section appears at the bottom of the Map box. CHANGE displays the data for the current selected Section, chosen by clicking on the Section name in the Map box. All except the first Section may be moved to a different time. DELETE removes the currently selected Section. 5. Dialogues - 5.1 Conductor Dialogue This is entered by selecting Conductor in the Voice Menu, It is used to specify Time-Signature, Tempo, Pause, and Synchronize. At the moment, Repeat is not implemented. The Conductor is typically used for specifying changes of short duration, which dont merit a Section being defined. Each time this dialogue is used it will carry out one operation, e.g. insert, change, delete, if OK is selected. To insert a new conductor operation, select the operation you require, e.g. TIME SIGNATURE, or TEMPO, then specify the particulars of that operation. Then, specify the time range in which the operation is to take place, by changing the two Music- Times at the top. Finally, select INSERT followed by OK. Time signature ranges should not cross Section boundaries. Selecting SCAN allows the scanning of the already defined Conductor operations, by selecting NEXT or PREVIOUS. The left Music-Time may be Rolled to set the start time for scanning. 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Would you please supply me with following information. The original type of ST, eg 520 STE, any memory upgrades, TOS release if known, any other hardware mods, Run-Time error #, and a detailed list of actions leading to the error. Acknowledgements - This product was developed using Modula-2/ST, 0272-7422796(UK), (214)349-4942(USA). Recent developments have been carried out using MAXIDISK. This is a PD RAM Disk which survives Resets, and also compresses files so that space is increased by about 20%. The author is Max Boehm, Im Engelbrauk 5, 4670 Luenen, West Germany. The RAM Disk is loaded at Boot up time using UPLOADER. This PD utility comes from Jon Ellis, Scisys Software, 29 Ashridge Drive, Bricket Wood, St Albans, Herts, AL2 3SR. I would also like to thank Paul Gilby, Deputy Editor at Sound on Sound, Martin Russ,a prolific Sound on Sound Contributor, and Lou Nisbet, proprietor of the the ST Matrix, for their help and encouragement in bringing Version 2.1 into the Public Domain. Autobiography - I developed this program as an accompanist for my wife's singing. A recent illness left me only able to play my piano with one hand, so I replaced the piano with a CASIO HT-3000 attached to my 1040. The program was developed over the last 3 years. It has proved a great therapy after having to retire from 15 years working in the computer industry. Henry Cosh 31, Dukes Wood Crowthorne Berkshire RG11 6NF UK  Permission To Copy - The Author grants permission for clubs and other non-profit organizations to copy this program and documentation subject to the following conditions. 1. No price is to be charged for either the software or documentation. However, a distribution charge not to exceed 7 pounds total may be imposed for covering the cost of the disk. 2. The software and documentation are not to be modified in any way, and both are always distributed together. 3. Club members are encouraged to send donations to the Author. Disclaimer - The Author shall in no event be liable for incidental or consequential damages resulting from the use or inability to use this program or documentation. The Author is not responsible for errors or defects in the program or documentation, even if the Author has been notified of same. Users will use this program at their own risk. Choir Music - I have a small library of classical choral music (about 40 pieces), which I have recorded using ACCOMPANIST for my wife's choir. If you are interested, please let me know. Thought For The Day - World peace will only happen when we each find our own inner peace. .RNC.RNC.RNC.RNC.RNC.RNC.RNC.86$f Xf PLAY STOP >127 00127OK <<000 C#3 >>127 C#3 000127 C#2 C#3 NAME MIDI CHANNEL IN PROGRAM PLAY ^LeTqrz™uȼhoQ3%"(3=jr~f^fymm<'6.OWnwVD-0-;22'-5cy]^mzʺ¨̼vF%$5Eio~ontzc. AN{zdbMRQH ?K}ppZlzΥǫ~zvsrtvy{~zurqqrsv|zsooruxz|ytqpppsxzvsqoprv|wplkmpu{{upoqv|~|xtsw|~|}yuvwxy|~smlia^cp}wrniedgpzvniddhsxsnhbbiu{ribabfimrx~yqic`birwz}xtw|~vru}||{{ywtrtx|{slecbckx|sopsuuvz~|~~}|}tkc_`ix{uqrusqoqxnYKEHNZn½uS94?O_rsg_ZY]fot{sbVXbgciz~mcbgkfbl~|xohgjlkluzsoqrmmxxiSIQ]djq|qXLXluneh{eSIKR]huj]\]ZUVcyͺ{^C+"0DLYzwwxoZ?7H`pտg9*Tz³eG)0Tri[VUT\jxvhfpwk^]hrw~e`hldVJTeqm[NO[dgvsbOC?BQ_^\pžz_J/ !,Jz}moqmmldZQTczĒnM/&&1Khw߷N!0Ln«W36VtwiM+0Xhaqs_NXnrlm{pnh^RNKDPrݻ{YDJVRATosziWYfinšra]X?010PW^rk^rkELyʯS758+$DlxslS<:dvcYQGNpt_HXjsg`ro_Zbma]vm+2pחsS'5vٶf/2lC.UǟrDFSLn᳇[-$AXnjNRuӧyhvynez{mz]`ntnjktuzY;>;+*Zşxvde|rlhWDCTpwզzV5B|ҿt{glu_ILSG7PO @m26R^jկȿaP>Nx{]G*HDž7PۅΝnrvKI SBjU%7#j8`_hDC0t H{hW-8|wTݛ7P;h0̏ lWf˦?8›PST/(u0[HLj٭lP]Dxj',p|a׻O@Y[4H@a_K0P_l$/@|/_glS8po`{?@ ,`P?@@_X;@h_ @׀?/  '7X?@?o@/(-l O/\?Ap@:777:;,$&gRIVtbvfȵ{wy}}qYC7OPF_rpL_uPPRTtV<1{z|{}`Lsbcjt\VVsR7Uxzusz|V]Wk{~UV^~cHGzxmnyTr\Ocs|{V[Y_iPKoelrt~rtdLa}v_[ewZOclnkzhKSqzzSZ^eP_rikuzȆuRIg~va[Ut_e^fvsyǘ~`O_}wsQVoxdsXliq|z|y|}pTW}yoTYUhudngpnz{ozwf\|~ttiOWtzgZuqponƠnm{yg}vuqlLY{uXkiwmmo֮nt\lmtow}vyoeRd˨]Jb]lo{햅ik|T[gP=L_ڠgajyrv`@Tt_JFQ]P9Ms̖xb_kypXKb~fVDALTK=Zɕ|xe_hz|zoXENo}bVJINC;9[y|slq}~jQ:Qyd\P;IW@4Ej{p~{T7Kbyypwm\WVdMQYmkbihoj[Z=NS0_uvxzmkXfb]-Zf87*c|mON OFF LOCK ON OFF INPUT FILTER ON OFF ON OFF INSTRUMENT/VOICE VOLUME RANGE NOTE RANGE THRU CHAN OKCANCEL00OUT00 36C 3 096 C 8 96C 8 OFF ON 00 - 127 001270000 SHIFT 0SAXOPHONE _ X OUTPUT FILTER OKRG11 6NF, UKAddress: 31 Dukes Wood,CrowthorneAuthor: Henry Cosh  ACCOMPANIST Version 2.2 METRONOME NEXT PREVIOUS NONE CHANGE ERASE INSERTSCAN TRACK 03 1 CHANNEL 01 01CANCEL OK CONDUCTOR  PROGRAM 23 PROGRAM 0 NOTE 56 A# VEL. 64 60C 5 NOTE 64 NONE CODE 7 123 112 CODE 0 0 0 AT 0001:01:001000101001 TO 0001:01:001000101001 / 44 TIME SIGNATURE 2 TIMES. EXIT BARS BEFORE 1 1 REPEAT S SYNCHRONIZE NONE 1 / PAUSE 4 1 / 4 TEMPO 1120S. TIME SIGNATURE / 44 TEMPO 60 METRONOME COUNT IN (BARS) ON OFF 01 SYNCHRONIZE ON OFF RECORDING TOLERANCE SECTION _ _ X 0001:01:001NNNXNNXNNNX001000101 QUANTIZATION / 16 TIME CANCELOK/ 16 / 4 1 Desk File Voices Blocks Options Sections Information... - Desk Accessory 1  Desk Accessory 2  Desk Accessory 3  Desk Accessory 4  Desk Accessory 5 Desk Accessory 6  Load...  Merge... - Save...  Save as... - Clear... - Quit...  Change... - Conductor... - Move...  Copy...  - Filter-In... Filter-Out... - Clear...  Quantize... Randomize... - Move... Copy...  Clear... - Transpose... Velocity... Filter... Metronome... Midi Base 0 Auto Commit Open... Change... - Delete TRACK COPY CANCEL01/32 44 BE UNDONE.BLOCK FILTER CANNOT BEWARE ! BE UNDONE. BEWARE ! 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( @ Z7uUU`?PU( BoH*  @*OZgQ wX@?PTU$aD_T^j? zP/1M}UUE\??@!0U_ :.,?PQ o0xUoUV? @  hu} T?ꊂҫ  T"ߨYwgEpW@P Cx(E}T00( (J7$4#롣YP?Q_\ ЅTڐa8}ʏ/(/  P l@ _7oEu@ !]_R ./+o.?՚*\_PxPT@@ ITWW2[ :/¾ +0_ Ϡ @pߋ}^_UQPGw S$$q]_{ {( ?? *m wW_U@TP`o TXPUU9 ꯪ(7`>^ *Wu}WQU@f?QAU]ğn*ꮾ*4 C AX UEU]tWT@9]UEz*+ /@ =U|U@?q`uUW_** 5p0B ;UEU@D@;q5UUu_.**?8JꫪTUD@c@%u_]8 uU@Q@%W]* 1@ B~=PTPEX~a?W_w " ,w@?¯]=P@TP9@e_8 ( "007O TP0pϐ1_0:8@E8`]Uj" UQ}W|+ B@@@_wd " ?E*EQUP@?wUW_w2 * ?hUPEUDq7 UUjȀ */;^]UP_D@? w_@ / @? ??UT@W? ACCOMPANIST Tutorial - This is a tutorial document which gives a gentle introduction to ACCOMPANIST. Introduction - ACCOMPANIST is a MIDI Sequencer. It is a program that runs on the Atari ST, and controls one or more MIDI boxes. There are many different kinds of MIDI box, but most of us have just one Keyboard + Synthesiser. This has a simple keyboard, together with some clever electronics to produce different kinds of sounds. It may also have some built-in drum sequences. From now on, I shall use the word Synthesiser to refer to your MIDI box. If you haven't bought your MIDI equipment yet, you can still have fun with ACCOMPANIST by using the ST sound channels for output. Skip to Start-Up. Choosing MIDI equipment is not easy, so I have included a few hints at the end of this tutorial. Connecting Up - The first task is connect the ST to the Synthesiser, using two MIDI leads. Connect the MIDI OUT socket on the ST to the MIDI IN socket on the Synthesiser, and the MIDI OUT socket on the Synthesiser to the MIDI IN socket on the ST. A further MIDI box, such as an Expander, which has no keyboard, would need a third MIDI lead, which should connect the Expander's MIDI IN socket to the MIDI THRU socket of the Synthesiser. Start-Up - Start ACCOMPANIST by double clicking on SEQUENCE.PRG. After a few seconds ACCOMPANIST'S desktop appears on the screen, see Fig 1. Switch on your Synthesiser, and play a few notes to check that the Volume is turned up to a hearing level. Load & Play - Now you can listen to some music. Use the mouse to select Load in the File Menu. Use the standard File Selector to select a piece of music in the MUSIC Folder. If you have a Synthesiser connected, choose any piece, otherwise load the Entertainer, or Well Temper'd Clavichord, which only use the ST sound channels. You will see lines of music appear in the Map box at the top right of the screen, see Fig 2. Click on PLAY in the Play/Record box at the bottom centre of the screen. You will hear the Metronome coming from the ST Monitor, which 'burps like a frog', according to ST Format's reviewer Jon Bates! Your Synthesiser should start playing. If not, check the connections and volume levels. If this still fails, your Synthesiser may be set up to recieve on a different MIDI Channel, see below. Changing the start point - You can start the music playing anywhere by changing the start time, called the Marker. This is under the PLAY icon. Click on the bar number, which is the left hand number, and roll the mouse while holding the left button down. Try different directions and see what happens. You will see the bar number changing, and the Time Cursor moving across the Map box. When you release the mouse button, you will see the litle Marker box move under the Map.  Alterations while Playing - You can change the Tempo while playing. Click on the up or down arrows in the Conductor box to the left of the PLAY icon, and hold the button down. You can also switch Voices off and on, by clicking on the Voice number to the left of its name. When the number is dark, the Voice plays, and when it is feint, the Voice is silent. Now Load and Play some of the other pieces of music. Simple Recording - Now you've heard ACCOMPANIST playing, you will want to record your own music. First clear out what you have previously loaded, by selecting Clear in the File Menu. Now select the first Voice in the Voice box at the top left of the screen, by clicking on its name. It appears inverted. Click on RECORD, wait for the Metronome to sound the one bar count-in, then start playing. When you have finished, click on STOP. You will see some music lines in the Map box. If not, check the connection between the ST's MIDI IN socket and your Synthesiser's MIDI OUT socket. Click on PLAY to hear what you recorded. If you like what you hear, then click on COMMIT in the Commit box, at the bottom left of the screen. Otherwise, click on UNDO then COMMIT. This allows you to choose whether to keep what you have recorded. Many different operations in ACCOMPANIST can be viewed before and after, by clicking on UNDO/REDO. When you have finally chosen which you like, then click on COMMIT. Quantization - When you have recorded something that you like, you can tidy it up by selecting Quantize in the Blocks Menu. A Dialogue box appears, see Fig 3. If you have been playing crotchets and quavers, then click and roll the /4 in the bottom left box to /8, in the same way that you changed the Marker's bar number. Click on OK. When the Dialogue box has disapU@@ . (??o]UATW^@??DU_UZ  * @$UU_?pU}R8 誂 *?k ")@ wWP@?  UPuV    z * ?@UTW PTEuT  @"/GU]UW TePWU jU]w@U uUt@xuU* Z^@DUUt @E^U UuUoUR *@ pꃻUePU@] Eu@_UD 0 QXUUP| h}@U}UP "ꂰ**jE@P{PU?_ ˄UD&( !9 @@?p(* EToU0Ш]_UA(/@(j @Q?@]Uw  s@  PeSwWWʨ?3P`? @?P_U?? UUP+@@? ^ _P?W W@U7  ? Lc UW_  ]TJ(+ ?  袥P]`Z _U]__+?` WBܼ ( `G/D W_X_ WUS__ @/PWUR? ??*5PW_ @VJ b]UA_@/WD~ T._ S|AA_u?? P+E,~peared, click on PLAY to hear the result. If you like it, click on COMMIT as before. Editing Music - What usually happens to me, is that after Quantizing, the music sounds much better, except for a few bad patches. These are where my playing was so bad that the Quantizer moved the notes the wrong way, or I have forgotten that there were some semi- quavers, and I have quantized into quavers. If there are several wrong notes in a bar, the simplest way to change them is to play the bar again using PUNCH in the punch box, at the bottom right of the screen. Before you do this, you have to set the start and stop times for the time interval to be replaced. Click on the music line in the Map for the Voice to be changed under the bar number to be replaced. A black box, called the Fragment appears, and the Punch-In & Punch-Out times below the PUNCH icon change. If you get it wrong, try again. Try dragging a box as well. Now click on PUNCH. The Metronome counts in the bar before the Punch-In time, also playing what you have recorded previously. When it reaches the start of the bar you want to change, play it again. To hear the result, click on AUDITION, and if you like it then click on COMMIT. Otherwise UNDO it, and have another go. Editing Notes/Chords - If only a single note or chord is wrong, then AUTO-PUN(CH) is a simple way to change it. If the note is a quaver, then change the Map resolution by rolling the /** at the top of the Voice box to /8. The Map expands. Click on AUTO-AUD(IT) in the Punch box. Now click on the line of music in the Map box, where you think the bad note is. The Fragment's black box appears, and the times in the Punch box change. You hear the Fragment being played. Keep clicking on the line of music until you have found the Note/Chord that is wrong, then click on AUTO-PUN(CH). Now play the correct Note/Chord. Use AUDITION, as above, to hear the result. Sections - Under the Map, you see the word Section. Click on this, then select Change in the Section Menu. The Section Dialogue box appears, see Fig 4. You can alter the Time signature, Tempo as you wish, by clicking and rolling the mouse. Try changing the Time signature, click on OK, then PLAY. You will see the new Time signature in the Conductor box. Some pieces of music have several sections with different Time signatures and Tempi. You can open a new Section for each one. Voice Copy - It is often convenient to make a copy of a Voice in order to try something new. To do this, select Copy in the Voice Menu, see Fig 5. Set the source and destination Voices on the left hand side, then click on OK. Use UNDO/REDO as required before COMMIT. You can merge many Voices into one, and copy parts of one Voice to another. Block Editing - The Block Menu contains various features for copying, moving, transposing all or parts of a piece of music. Select Transpose, and put the music up a tone by changing the To note at the bottom to D. MIDI Channels - You should be able to get quite a long way without having to worry about MIDI channel numbers. However, if your Synthesiser wont play, then it may be because it is set up to recieve on a different MIDI channel. All ACCOMPANIST's music uses channel 0. Also, you may have a Multi-Timbral device, which means that it can play several different instruments at the same time. You can change the MIDI channel that a Voice outputs, by clicking on the Voice name, and selecting Change in the Voice Menu. The Voice Dialogue box appears, see Fig 6. The output MIDI channel is at the top right, and is currently set to **, which means use the input channel. Click and roll to get channels from 0 to 15. Unfortunately, different people talk about MIDI channels in different ways. Some use 0 to 15, others use 1 to 16. Selecting Midi-base in the Options Menu allows you to tell ACCOMPANIST which to use. More about MIDI - If you want to learn more about MIDI, the Sound on Sound magazine gives a good coverage of the MIDI scene. They also have an excellent list of books about MIDI and related matters. You can contact them on 0480 61244. Buying a Synthesiser - If you are thinking of buying a MIDI Synthesiser, prices for new models start at under 200. You will be overwhelmed by jargon, and its worth clarifying a few terms here:- Polyphony - this means how many notes can be played at the same time. Multi-timbral - this means that more than one instrument can be played at once using different MIDI channels, eg my CASIO HT3000 is 3-Timbral. I can play 4 notes together on a Piano, plus 3 notes on a Harpsichor  Q }[]4QQ@ ( ꮿ *?U_APU_*_Uu_yTUU O~"*__U~~@ޑ@PUJ?  J*|UWEUP; ?R* _UW@A_UTV>x Ѐ_U*W?SUTg`o P ,gwWUW`-TUVL~?@* ;?]UW |/UUT` x:GCUU?UPUPU@x?**<UUU,@??>UUUB9*V`~i? t* }UU_k4?UUQ@UPԥՅ*z(UjZ|U_U=5@+QUPUTOo j_xz(ʢb"]UU P= @ReEU Q-HWe|?z+B2kP+]U_@'?M 5, EUPjqQ{qQ{:_RV󲨃]U_ò"EkU _]U@ U\?QU$"UVUW?])a PURS+_WK UP P * )TZ[yT_ _zXP*RQ䞊=` _,?Au l0P8-_DZ {_D_~k?H )+D\.@7.? 7S@? 8hOUz?h_U@ ae WD/w/pKE ↄ/ਢnOo~_* /GBVc'//@@ jZ  )!( RaE P4T@+CЂנק (Xh( YI/_/40 'Rr Wjh` ke rO_ ϯ5 t0P9^y_8j: OG{?Ⱦ0 7AP??P ЂO#ڿ_g߿   F1W_? ?@/#%k?e _@]G_Pw     " 9%e @ *UJ@ QU"  `@*_P}W~0P @TU*,Ϯ(( `GUU4 TT  *0 *D|h_$(@U@!@*2 :_U ?? U@@9???% ?U?@U@@ ?U_?@U@@?" `U?@Q@T ?? UUd, plus 1 note on a Bass. So, in total it has a polyphony of 8. This is fixed polyphony. Some Synthesisers can allocate notes to channels flexibly, as required. Velocity Sensitive - this means the harder you hit the keys, the louder it sounds. Weighted keys - this means that the keys should feel like proper Piano keys (they never quite manage it). You must decide what combination of these features you want. Needless to say, the more you want, the more it will cost! Conclusion - This tutorial has introduced the basic features of ACCOMPANIST, and should allow you to have a lot of fun. Now you can try other features such as Filters, or changing the Metronome. If something unexpected happens and you can't work it out, then as the saying goes 'If all else fails, read the instructions!'. The manual is in the MANUAL.TXT file on the disk. Good luck. RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC. ACCOMPANIST - A 16 Voice Sequencer. -# Version 2.2 September 1990 - - ACCOMPANIST has been through a number of versions since version 2.1 entered the Public Domain in September 1989. There have been quite a few bug reports and suggestions for enhance- ments. This is a special version of ACCOMPANIST. It contains fixes for most of the bugs that have been reported since ACCOMPANIST version 2.1 was released. These are listed below. The latest version is 4.2, and is available to anyone who writes and asks for it (see READ.ME). The enhancements it contains are listed after the bug fixes. Bug Fixes - 1. Recording a lot of chords no longer gives timing errors after a number of bars. 2. MIDI Thru no longer crashes when the Voice Output Channel is set to **. 3. When driven by an external MIDI clock, ACCOMPANIST waits until the rhythm unit starts, instead of starting at the first MIDI input, e.g Active Sensing, MIDI Clock. 4. When driving an external rhythm unit with ACCOMPANIST'S clock, ACCOMPANIST now works correctly, even if the rhythm unit is sending its own MIDI Clock output (eg as on a YAMAHA HS4 Organ). 5. When driving an external rhythm unit with ACCOMPANIST'S clock, and the Tempo is changed while playing, using the arrows in the Conductor box, ACCOMPANIST and the rhythm unit now stay synchronized correctly. 6. The Conductor Dialogue now scans correctly after updating the time. 7. Updating times for Conductor commands in the Conductor Dialogue now works correctly. 8. Selecting SCAN in the Conductor Dialogue immediately scans to an existing Conductor operation. 9. Quantize at less than /16 now works correctly. 10. The Resource file is now searched for in the correct folder, ie the one from which loading took place. 11. The Map is now displayed correctly in high resolution, with the lines of music properly aligned with each Voice. 12. Quantize no longer crashes with a divisor of 25 or more. 13. Switching from an External MIDI clock back to the internal clock, now starts immediately PLAY is selected, instead of waiting for MIDI input. 14. The desk accessories menu is now correctly set up. 15. Recording with an External MIDI Clock now works correctly. 16. When Voices cannot be distinguished for recording, the correct Voice names are now given in the error message. 17. Randomize uses the correct values, not those left by the previous Quantize Dialogue, if any. 18. Save Dialogue now correctly picks up the File name previously used for Save-as. Bugs Remaining - 1. Changing a Section's time, so that it is after another Section, causes timing errors when playing music. 2. No check is made that there is enough space to load a piece of music. (All the pieces on this disk load easily on a 512K ST.) Enhancements in Version 4.2 - 1. MIDI File Standard (MFS) format is used for input and output. Version 2 files may still be read in Version 3+. This allows you to share music with users of other MIDI sequencers, or even different hardware (eg MAC, PC). It also allows you to upgrade to a commercial sequencer, eg NOTATOR, and take your music with you. 2. Repetition. A sequence of bars may be repeated a number of times, with early exit a number of bars before the end of a repeated sequence. 3. Insert and Delete. These allow a number of bars to be inserted or deleted, with all music and Sections being moved appropriately. They are primarily intended to simplify the addition and deletion of Repeats with 1 or more exit bars. 4. 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Program numbers are no longer limited to 96, but may be specified up to 127. 7. MIDI Thru works when the sequencer is inactive (ie not playing or recording). 8. ACCOMPANIST optionally initialised by a small text Configuration File. 9. Magnified Text to help the partially sighted. Any object on the desktop, or in each Menu and Dialogue, can be magnified into a large font by pressing either shift key while clicking on the object. This is optional, and is specified in the Configura- tion File. 10. Specification of the amount of MIDI Event memory used by ACCOMPANIST. This is specified in the Configuration File. 11. Specification of the amount of memory to be left free for use by other software. This is specified in the Configuration File. 12. Block Move and Copy more forgiving about handling blocks containing Time Signature changes. 13. Double clicking on a Voice name enters the Voice Change Dialogue immediately. 14. Double clicking on a Section name enters the Section Change Dialogue immediately 15. Clicking on an unselected Section causes the Marker to be moved to that section. 16. Double clicking in the Marker slider box moves the Marker to that position. HELP - The enhancement for people with partial sight was done in response to a phone call. The caller, a middle aged man, asked me whether I could help him to see the small numeric fields. At the time, I could not see any way to help, so after a friendly chat, the phone call ended, and I expected to get a letter asking for an update. About a week later I had a simple idea for producing magnified text, and feverishly set about implementing it so that I could send it to him when his letter arrived. However, the letter never came! Do you know this man? He works in the medical profession, and obviously owns an ST. If you know anyone who fits this description, please ask him whether he is the right man, and if so, please get him to contact me. 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Desk Options Special Format Info MEGAFORM Megaformat - Desk Accessory 1 Desk Accessory 2 Desk Accessory 3 Desk Accessory 4 Desk Accessory 5 Desk Accessory 6 Format Disk Erase Disk - Copy Disk Scan Disk - Test Drive - Quit  Sectors for FAT  Sectors for FAT - Repair Track Copy Track Connect Drive B Fastload Format MS-DOS Format User Format - AVAILABLE IN V 2.0 Powerdisk MS-Transformer Dedit Prolock Start Copy Format Destination Use Bootsector Info Convert Multi CopyDestination DriveSource Drive Cancel YES NO YES NO ON OFF YES NO A B A B 80818283FASTSLOW9101112SIDESSECTORSTRACKS FDCCOPYScan Drive A B Scan Mode DEEPFAST Sides 2 1 Scan Disk Scan Track Cancel BULK ERASE Erase Drive A B Sides 2 1 Erase Disk Erase Track Cancel ..Enter Track : __XX Cancel ON OFF 1 2 A B 9101180828183 Start Format SectorsTracks Verify SidesDriveFORMAT PARAMETERCOPY PARAMETER CREDITS Directory O   <c    5 `88<&F;?q `` ` 00 `8p0?= `8STnA AAA A AA   A SXYZ_`0mste u}~e e A A AA A A ! 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In version 1.9 you get the following functions : - Format Disk - Copy Disk - Test Disk - Fastload Format - Scan Disk - Erase Disk - Connect Drive B Format Disk ~  *** ATTENTION ***  Use this option only when you're sure that you've inserted the correct disk into your drive, because when you click on START FORMAT the formatting of your disk starts immediately. You can format your disk with different capacitys. It is possible to format 9,10 or 11 sectors, 80 - 83 tracks, single- or double sided and with or without verify. ( This is useful for 11 sector disks, because you need good disks for that format !! ) If you use 83 tracks, 11 sectors and 2 sides you will get about 925 Kb free. So you'll gain about 200 Kb more on every disk !! A file is created on the disk that contains information about the format : MEGAFORM.INF 0 02-10-80 00:00 This shows how many sides(02),sectors(10) and tracks(80) the disk has. Copy Disk ~  This copy gets all information out of the bootsector of the source disk. So you don't have to worry about the format on disk. All you have to do is to set the drives,the multicopy-option and the convert option( This option converts normal disks into fastloading disks. But this works only with 9 sector disks ). This copy can't copy any protections and also no weird formats on disk. The Tracksnumbers have to count from 0 - 82 and the sectornumbers from 1 to 11. Otherwise you will receive error messages. If there are errors on disk an alert box will occur and you have the following options : - Read again Try to read this sector again. - Next Track Continue reading on the next track, sector 1. - Continue Continue reading on the next sector, same track. The destination disk must not be formatted. If there are write errors an alert box occurs also with these options : - Write again Try to write this sector again - Format formats the track and then writes the sector - Cancel Abort writing If you know that your destination disk is not formatted you can also set the FORMAT Destination button to YES. So you won't have to click on format in the alert box if you get write errors 'cause the disk is not formatted. If you've set the MULTICOPY option, you can choose the destination drive, and if you've finished writing to the destination disks you have to click STOP. Then reading continues (if there was not enough memory to read the complete disk into the ST) or you turn back to the copy dialog. You can also turn off the BOOTSECTOR INFO, so that you can make your own settings. ( Maybe you have a disk that contains information on both sides but in the bootsector it is set to single sided ) !Test Disk ~  You can test, how many tracks could be formatted on your drive without receiving an error. Please use a new or empty disk for that, cause all information on the last ( 80 - 83 ) tracks will be erased. Fastload Format ~ This formats a disks with 9 sectors in a special way, so that you'll gain double speed on loading and saving on this disk. If you copy a fastload disk without CONVERT set to YES, you'll lose the fastload format. There's also a file created : FASTDISK.MEG 0 01-09-83 00:00 This has the same meaning as above. Scan Disk ~  This scans disks and looks for errors on them. If the program detects errors you'll get a message, and a description of the error. Mostly you'll get these two errors : - Sector not found This sector is not on disk. - CRC Data error The sector is on disk, but the data is corrupted. Erase Disk ~  *** ATTENTION ***  This feature erases your complete disk. BE SURE that you've inserted the correct disk into the drive, because all data, also the format of the disk will be erased. There will be nothing on the disk after having erased it. ( The disk is not formatted !!! ) Connect Drive B ~  This happens always to me : you switch on drive A an your computer and sometime later you need drive B. But this drive wasn't switched on during booting ( what a pity !! ). What you'll get is the nice dialog window ' Please insert disk B into drive . '. ( ... Shit ... ) Now you can connect drive B at any time . But don't forget to turn the power on and don't connect drive B if you don't have one. OK !?!  Have fun working with MEGAFORM Peter Maier P.S. : I would be happy hearing from you. The next version will include : Harddisk Scan / Backup Copy from side 1/2 to 1/2 Disk Info Directory 10/11 Sector fastload formatting MS-Dos Copy and Format C.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC..  W/7..  W/7STARSTRKACC 0W7 STARSTRKDOC 4W7 \-Struck from the desktop -$ Star-Struck can be run at any time from the desktop, or from many GEM programs. Just click on it's name in the desk menu, and then let go of the mouse within 2 seconds (if you don't stop moving the mouse, Star-Struck will detect the mouse movement and bring back your original screen immediately!). The first time you invoke Star-Struck this way, a little welcome message will appear - this will not appear on succeeding times. To return to your original screen, just press any key or move the mouse. Star-Struck will also automatically start to run if you don't touch the mouse or the keyboard for 3 minutes, . Again, pressing any key or moving the mouse will return you to your original screen. Changes from V1.3 - Version 1.3 of Star-Struck had a bug which caused it to crash after it had been running for a while, due to it gradually eating up memory. This bug, which was due to my commenting out a line of code for testing and then forgetting to put it back in again for the release version (who's a silly boy then), has been fixed in V2.0. My thanks to the Sygornaxians - that's Daron Brewood (Stun BBS), Julian Lewis Booth, and others - for their assistance in tracking down this bug, and for their help in testing out V2.0 - thanks guys. Comments, etc. - If you have any comments, bug reports, etc. please let me know via Scary Monster BBS - Fnet Node #1003 - 0734 320297. =Tony Sanson 810 February 1990 RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.RNC.