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N^NuNVÿþUBgBgB§Hy©¾aþ&=_ÿþ nÿþfaÿFN^NuNVÿðHçphBgB§N¹§ "m€ )«g |`NBg?<HnÿøN¹„(nÿø"l<"®B.ÿðCîÿð$lœ$‰"lœ3|)/.ÿøN¹ÚU/.ÿøBgN¹¥64Bÿ2HÁ`ÂvNuvNuHxHy©ÂHxÈ/,TN¹^ìi쬛ìQ¬ƒ"lœ"®/.-- What should have been in the .LZH file ------------------------------------ ¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹ ReadThis.1st This file. Sounc2dLac0b.TOS The sample editc2orc0 progc2rac0m, versionc2 1c0.1. c2 c0 c2 c0 Souc2ndc0Lab.Cc2OL c0 c2Thc0ec2 cc0oc2lor c0datc2a fic0le. c2 c0 c2 c0 c2 c0 c2 c0 c2 c0 Sounc2dLac0b.c2MOc0Nc2 c0 c2Thc0ec2 mc0oc2noc0cc2hrc0oc2mec0 c2dac0ta fic2lec0. c2 c0 c2 c0 c2 c0 c2 c0 c2 c0 c2 c0 SoundLc2abc0.c2HLc0Pc2 c0 c2Thc0ec2 hc0ec2lpc0 c2fic0lc2e.c0 c2 c0 c2 c0 c2 c0 c2 c0 c2 c0 c2 c0 c2 c0 c2 c0 Souc2ndLac0b.Mc2AN c0 Tc2he c0inc2stc0rc2ucc0tic2ons c0for Sc2ound c0Lac2b. c0 c2 c0 c2 c0 c2 c0 c2 c0 SndLab11.MAN Manual supplement for new features in version 1.1. SoundLab.PRF A preferences file. Example.AVR An example sample (the Bushwhacker speaks). The filenames are shown in upper/lower case for your convenience; they're also stored in the .LZH this way. All the names will become upper case when you extract files from the archive, though. You should print out the file SoundLab.MAN. (It's over 40 pages.) I'd recommend at least skimming through it before using Sound Lab, especially if you're new to digitized sound. Although the program is not at all difficult to use, you'll miss out on some of the best features if you don't read the manual. You should also print SndLab11.MAN, as it covers all of the features added in this new version. If any of the files are missing, please leave a message wherever you got this file stating that the .LZH is incomplete. A complete version can be obtained from me if you send a blank disk (and a note) to the address below. -- What this is -------------------------------------------------------------- ¹¹¹¹¹¹¹¹¹¹¹¹ This is Sound Lab, dmj software's popular sample editor. It has plenty of features, and its edit functions are _very_ fast. You can play and record samples from 5KHz to 30KHz, use samples in .AVR, .SPL, .SAM, .WAV, .SND, and .SMP formats, and it's easy to use. (Recording samples requires either the ST Replay cartridge or DigiSound cartridge, or a cartridge compatible with one of them.) Although this program does run in only 512K (by placing it in the AUTO folder and booting it) that only leaves you with about 30K to use for samples. You really do need a meg or more to make good use of the program. -- Shareware notice ---------------------------------------------------------- ¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹ If you thought I was just giving this program away you're dumber than Atari's marketing practices. This program is Shareware, and can be registered by mailing just $20(!!) and the serial number from the "Shareware" dialog to: (US / Canada) (Europe) Damien M. Jones Damien M. Jones PSC 8 Box 657 Postfach 657 APO AE 09109 6541 Flugplatz Hahn U.S.A. GERMANY If you do live in Europe, please send œ15 or DM30. I prefer checks or money orders to cash, and please make them out to "Damien M. Jones"; this makes things simpler at the bank. In return for registering, you will receive a customized, registered version of the program, a printed manual, free disk updates, and a nice, warm, fuzzy feeling. When updates become available, you will be notified by mail; you would then send back your registered disk to have it updated. Replacing the disks every time an update is made would increase the cost of the program. Major revisions will be available for a modest fee (probably $5 or less, to cover costs of the manuals). -- If you've already registered... ------------------------------------------- ¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹ ...then an announcement is already en route to you. Basically it just tells you to send your program disk back to me for a free update. If you've already sent your disks to me, don't panic; I've been hanging on to them while I finish up the new version, and now they're on their way. Thanks for your support--it makes upgrades like this possible. -- A note about this program ------------------------------------------------- ¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹ I started writing Sound Lab because I didn't have a sample editor that would do what I wanted it to do. Once I started, though, I began to see all kinds of possibilities, and people tell me this is now the best non-commercial sample editor currently available. Now if only the Shareware registrations would reflect that (hint, hint!) Come to think of it, I never DID get around to doing the project that started it all... One of the things I _do_ like about Sound Lab is that it's fast. I tested Sound Lab, an ST Stereo Replay Demo, and Pandaal's DaataSound. All tests were performed with the same 471K sample, at 14.985KHz, on a stock 8MHz 1040ST; times are in seconds, rounded off to the nearest second. The ratio shown is how many times faster Sound Lab is over the ST Stereo Replay software. Function ST S. Replay DaataSound Sound Lab Ratio -------------------------------------------------------- Reverse 34 2 2 17 Echo 90 6ø 18 5 Volume x3.02 126 6ø 2ùù 62 Fade In 126 18 2ùù 62 Overlayù 47 -- 8 6 Speed x1/2 48 4 2ùù 24 Speed x2/3 73 -- 18 4 Speed x3/2ù 188 -- 18 10 øDaataSound doesn't allow you to set this option; you take it the way Daata Sound does it or you don't get it at all. The volume change is about a 25% boost. ùI didn't have enough memory to do this operation on the whole 471K sample, so I cut it in half, performed the task, and then doubled the time. ùùThese are new, faster times for Sound Lab 1.1. Version 1.0x times were 4, 4, and 3, for volume, fade, and speed, respectively. When you run the program, you'll notice the Shareware dialog contains a serial number. This tells me where you got the program. At the moment, there are customized versions for GEnie and Delphi; if you run a BBS or a users' group, and you want your own customized version, please let me know. (This will not exempt you from registering, though.) -- Thanks -------------------------------------------------------------------- ¹¹¹¹¹¹ It might have been possible to write Sound Lab (and to update it) without anyone's help. Maybe. But it sure was a lot easier with the help! The following people have shown their support in many ways. More thanks go to them than I can adequately repay (in this lifetime, anyway): Marc Lombardo Troy Cheek Tom Hayslett Rob Glover Steve Deitz Greg Kopchak Michael Parrott -- Feedback ------------------------------------------------------------------ ¹¹¹¹¹¹¹¹ If you're like most people, you can't help criticizing a program the instant it loads. "It takes too long." "The colors are blech." "The screen is confusing." Relax. It's normal. I suffer an acute case of this myself. But if you have something to say, _say_it_. It costs only 29› and a few minutes of your time to make your voice heard. Please, send me your comments, questions, suggestions, or ideas; what may seem trivial to you may actually be important. And even if it is trivial, it'd be trivial to fix it. Just about ALL of the additions in version 1.1 are based on users' suggestions--make yourself heard and mold this program to fit your needs! -- dmj software -------------------------------------------------------------- ¹¹¹¹¹¹¹¹¹¹¹¹ Here are some more of my programs you should be able to find on GEnie, DELPHI, or your local BBS. If you can't find these, just send me a blank disk with a note as to what it's for to the address above. o DMJ GIF - Converts GIF images to Spectrum, DEGAS, or Tiny, and will use either the ST or STe palette. o Spc Thumb - Create catalog images of your entire picture collection. Fit up to 25 pictures on a single screen, in grey scale or even full color! VERY fast, and easy to use. o MHz - Mega STe users can now switch between 8MHz and 16MHz with your choice of hot key! o Spc-3375 - A Spectrum slideshower that everyone can use! Shows STe pics, in full color, on an ST, slows down Mega STe's, and even fixes sync problems! o BoinkSave - Actually two screen savers, one a fractal faze, and the other a bouncing, spinning ball. A little more exciting than generic black screens. o MoireSave - Monochrome users need a screen saver too, so here's one that draws moire patterns on the screen. o ReNameIt! - Rename ANYTHING, in ANY RES, using ANY letters (even lowercase), as program, ACC, or TTP, on ANY ST or TT! -- Revision History ---------------------------------------------------------- ¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹ - Version 1.1, February 1, 1993: This will be the last update before Sound Lab 2, except for fixing any bugs that may appear. I've added a few useful features to the program; for full details, see the SndLab11.MAN file. As usual, this update is later than I'd hoped... but I've really been busy lately. Really. And some of these features were *not* easy to add! o Access to accessories was added. o An option to use the GEM fileselector (and thus UIS) was added. o You can now install Sound Lab as an application, and drop icons onto it in TOS 2.06 or NeoDesk 3, to have Sound Lab load files automatically. (See documentation!) o An option to use either ST Replay or DigiSound hardware was added. (Earlier versions permitted only ST Replay.) o If you load a sample faster than 30KHz, Sound Lab will give you to option to convert it to a speed Sound Lab can handle. (Proper support up to 50KHz will be in the next version.) o .WAV files (commonly used on PCs) are now supported, as are DigiSound and SoundOff! .SND files. Sound Wizard .SMP files are also supported for use with GEM Sound. o An option to save .AVR files as signed or unsigned was added. (Earlier versions would load either, but only save .AVR files as unsigned.) o When loading a file, Sound Lab now checks to see if it's an .AVR, .WAV, or .SMP file, regardless of the extension. (Earlier versions checked only the extension.) o An option to save files with odd extensions as either .AVR, .WAV, .SPL, or .SAM files was added. (Earlier versions would assume an .SPL save unless the extension was .AVR or .SAM.) o You can now right-click on the arrow buttons on the sample window to move the display to the start or end of the block. o Right-clicking any slider will "snap" it to that location instantly. o Clicking on the "Zoom" indicator at the top of the sample window will toggle between Max and 1x zoom. o Clicking on the "Speed" indicator at the top of the sample window will bring up the "Speed" dialog. o All assembler routines were optimized; while all functions experienced a speed gain from this, only volume, fade, and speed halving/doubling showed noticeable improvement. (I noticed because I was using the computer as a stopwatch.) o I've touched up some of the monochrome displays a bit, particularly blocks and sample/wave previews. o If you "Clear" or "High Bit" a block of less than eight bytes, the program no longer crashes. (This is a bug fix.) o The program is about 10K bigger. (There's not much I can do about it at the moment.) o I've started using VT52 graphics in my ReadThis.1st files. They only show up on a color system, and only if your text viewer of choice (the Desktop and NeoDesk are just fine) properly handles it. If your favorite text viewer can't handle the graphics, bug its author to fix the problem! - Version 1.04, August 21, 1992: I fixed Sound Lab's bomb handling. Before, if a bomb occurred (very rare), it would lock the entire system up. Now, if a bomb occurs, the program will catch it and exit (somewhat) gracefully. I also touched up the graphics a bit more, and replaced the mono and color title screens with better ones. (No more yucky balls!) - Version 1.03, June 30, 1992: I fixed an annoying bug that only showed up if you auto-booted the program in monochrome (the system font in the Fileselector wouldn't display). I also generally improved the monochrome display so the text is a bit easier to read, and I replaced the dull title screen with a slightly more exciting one. This will probably be the last revision for a while. - Version 1.02, June 25, 1992: There was a little glitch with the Cut function--it completely, totally, and absolutely bombed the ST whenever it was used. Even though that sounds drastic, it was a really minor problem. About three weeks ago there was an accident with the Sound Lab source code--a rather nasty accident. I almost lost three months of work on it (silly me procrastinated my hard drive backups, so I was just asking for trouble) but managed to recover the source after eight hours of work. One of the consequences of the recovery process (which was a tad complicated to go through here) was that some lines that had been comments suddenly became executable code, with the expected results. Since I looked through 10,000+ lines of GFA BASIC code before releasing the program to make sure this sort of thing didn't happen, it's not surprising that I missed one. It's also possible that there are more. But these glitches are easy to fix. - Version 1.01, June 11, 1992: A glitch with the auto-booting that slipped past me was fixed. Sound Lab now will properly auto-boot. - Version 1.0, June 7, 1992: First release version of Sound Lab, after extensive beta testing. - Version 1.0, January 31, 1992: What, TWO 1.0's? Yes, this is the infamous beta version that wasn't supposed to be released, as it was only half-done and it had no docs. There do still seem to be copies of this floating around, particularly in Europe. It even managed to make it onto the cover disk of ST Format--four months AFTER 1.04 was available. My apologies to all who may have acquired that version; I don't release crippled programs with no instructions. -- More to come -------------------------------------------------------------- ¹¹¹¹¹¹¹¹¹¹¹¹ If I keep this up, I'll get a reputation for REALLY long README files... I'm quite busy at the moment, working on DMJ GIF 4. I wish it weren't taking so long, but rather than release a weak product prematurely, I want to release a complete, bug-free package that will perform quickly and reliably. (By the way, currently it's producing some pretty startling pictures, including 32,000-color images that will display on a REGULAR ST. They flicker, yes, but only as bad as PhotoChrome displaying 4000-color pictures on an ST.) Speed, speed, and more speed is a prime concern--without losing the quality of image you've come to expect from DMJ GIF. This doesn't mean that Sound Lab 2 is on the back burner. I won't even start coding that until DMJ GIF 4 is done, but at the moment it's in the design stage. This means I'm working on arranging dialogs and menus, drawing icons, and figuring out how the interface is going to work. I spend quite a bit of time on this, because I believe it's worth it. Any twit with an assembler can write a fast program that does a lot of nifty things; what takes REAL talent is to do that and keep the program usable. That's why more than half of my programs are the interface programming; it takes more time to design and program that than anything else. Just so your mind is buzzing, let me briefly list a few things I expect to add in version 2.0 of Sound Lab: o Sampling speeds up to 50KHz. o Stereo sampling (and stereo F/X, like cross fades...) o 16-bit sampling. o Multiple files in multiple windows. o Multiple buffers for Cut/Copy. o Direct-to-disk recording (no Falcon required). o Support for more sampling hardware. o Falcon support (including that awesome 16-bit digitizer!) o Eight new effects, and expansions on the effects currently available. o Fast Fourier Transforms (FFT) and filters. o Automatic Join for seamless editing. o Even faster edit routines (IS IT POSSIBLE?) o Edit any sample, regardless of RAM size (virtual memory--on an ST). o GEM (& MultiTOS) compatibility. That's not everything, but it's enough for now. I'll try to let people know how the work is going. -- So what have I been doing for the past two months? ------------------------ ¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹¹ Gee, I wish I could tell you. Let's just say the project I've been working on (with DMJ GIF 4 and Sound Lab 1.1) has been undergoing some rather intensive beta testing--more than any of my programs has ever undergone before. Of course, it's been performing quite well; some testers have been using the program for four months now with no trouble. I've been using it for six, but I'm the programmer; I can live with a few quirks here and there. The quirks are all gone now, though, and it works quite smoothly. It will be out soon, I expect... -dmj N¹¡˜?<B§N¹§ Jm†ªg62-†ªSAv?¶Wb&24éAÒBåACí…HxBHqN¹|N¹tRCdÖT"m€ )ÛVÁDAÿüx"m€|ÿö"m€B)ÿô2-€¶SAv?¶Wb´r2$éÒ‚Ò"m€ÞCñJ)g’B)xJ) g Hx HQaþ"rÿ²©gd"9½@Ò©&A/ EîÿÊ/ ?<.N¹ <" t.Ò‚/U?.ÿæN¹~HxZHnÿjN¹ÿºU/ .ÿüHxZHnÿjB'N¹W8ŸJTg?aî@UaïFJg6-€¶RCdÿJT JgÖU?<?<B§Hy©¾a¶ _f¸2-€¶SAv?¶Wb¦r2$éÒ‚Ò"m€ÞCñJ) g Hx HQaýBrÿ²©gd"9½@Ò©&A/ EîÿÊ/ ?<.N¹ <" t.Ò‚/U?.ÿæN¹~HxZHnÿjN¹ÿºU/ .ÿüHxZHnÿjB'N¹W8ŸJTg?aí`UaîfJg6-€¶RCdÿXT | | | | || | | | || | | | | | | ///#|| | | | || //# //# | |//# | | | | //#//#| | | || | || || //# | //# || ||//# || | | ||| | || //####|///#|//#//#////# |////# | //# | ////#////#| || | || __|||__|__||_#///#|//#//#//#//#//#//#//#//#_|_//#_|_//#//#//#//#__||__|_||____ || | ||##//#//#//#//#//#//#//#//#//#| |//#| |//#//#//#//#| || | | || | //#//#//#//#//#//#//#//#//#//#| |//#| |//#//#//#//# || | #///###///###///##//#//##////#| |/////##////#////## | |#### #### |#### ###### #####| ######|########## | | | ||| | ||| | | | | | | | | Version 1.1 Manual Update February 1, 1993 by Damien M. Jones dmj software PSC 8 Box 657 APO AE 09109 Sound Lab 1.1 Update Page 2 --- Introduction This update only covers the features that were added with Sound Lab 1.1. You should have read the complete manual before reading this. Sound Lab 1.1 is here because there were several features that were requested by a number of registered users. Since I will not be able to do Sound Lab 2 until the spring or summer of 1993, I thought a small upgrade would be appropriate to provide the seemingly most urgent additions that were required. The version you now have is an unregistered version. Since this takes some effort to do on my part, do your part and show support for Shareware. --- If You've Been Using the Old Version If you have previously used Sound Lab 1.0x, then you will need to be sure to use the correct files. Replace the old SOUNDLAB.TOS, SOUNDLAB.COL, SOUNDLAB.MON, and SOUNDLAB.HLP with the new files. Your old .PRF is still good, but you will probably want to set the new options and re-save your preferences. --- Sound Lab as an Installed Application You can now install Sound Lab as an application from the Desktop, sort of. What this does is tell TOS that whenever you click on an .AVR file (if that's the extension you installed it with), Sound Lab will load, and then Sound Lab will load the sample. The problem is, with early versions of TOS (1.62 or before), TOS doesn't set the path for the program. This means Sound Lab won't be able to find its data files (.PRF, .COL, .MON) unless your .AVR files are all in the same folder as SOUNDLAB.TOS. This seriously limits the usefulness of this feature. If you have TOS 2.06, though, things get better. You can install SOUNDLAB.TOS as an application; I'd suggest using .AVR and .WAV as your extensions, if you don't have those installed on another program. Make sure you set the option for the path to "Application", not to "Top Window", so Sound Lab can find its data files. Then set the "Parameters" option to "Full Path", so Sound Lab can find the sample file. And remember to save your Desktop. (You don't know how many times I've forgotten to do that!) Once installed, not only can you just double-click on an .AVR or .WAV file and have Sound Lab load and then load the file, but you can also drag Sound Lab 1.1 Update Page 3 any sample file icon onto the icon for SOUNDLAB.TOS (even if it the file isn't an .AVR or .WAV file) and Sound Lab will still load it. This same feature is available in NeoDesk--install the application the same way as for TOS 2.06. While you're at it, if you only have a meg you'll most likely want to set NeoDesk to unload for the execute. If you leave a SOUNDLAB.TOS icon on the desktop you'll probably find the drag-and-drop method very handy. Although I don't have the new TOS, I do have NeoDesk, and I can tell you it makes a big difference. If, for some bizarre reason, you run Sound Lab from a CLI, this also means you can pass a sample file to it as a parameter. Amazing how many things one little change can cover, huh? When you auto-load a sample in this way, Sound Lab's title screen will only appear for two seconds. You can still bypass it completely (and thus free up 20K of sample RAM) by holding down the ALT key. --- New Interface Features It has been pointed out that finding the start or end of the block can be a slightly annoying task at higher magnifications. To help with this, if you click the right mouse button on the left slider arrow at the bottom of the sample window, Sound Lab will find the start of your block for you. Similarly, if you right-click on the right slider arrow, Sound Lab will display the end of the block. You can also right click anywhere in the slider, and it will "snap" instantly to that location. It's a lot faster than dragging the slider to the same place with the left mouse button. Although I added this feature earlier (I think in v1.03), I apparently didn't document it. This will work with ANY slider in the program, not just the one on the sample window. Two more features were also undocumented. Clicking on the zoom indicator at the top of the sample window will switch between Max zoom and 1x zoom. And clicking on the speed indicator will bring up the "Speed" dialog. As with the slider right-click, these were added earlier but not documented. --- MIDI Current versions of Sound Lab do not have any MIDI capability. If the program detects any MIDI activity, it will ask you to shut off or disconnect it shortly after the Sound Lab 1.1 Update Page 4 title screen disappears. This is the ONLY time it will check the MIDI; should you later turn the equipment back on or reconnect it, you will find that any MIDI input from the equipment (i.e. note events or MIDI clock) will stop the playback of sound, just as a keypress would. This is because of how the MIDI and keyboard interrupts are set up on the ST. Later versions of Sound Lab will have some MIDI capability. I mention this because, even though I had programmed this in, I'd forgotten about it. I loaded Sound Lab and then switched on my keyboard, getting ready to see if I could sample some sounds. Naturally it was also connected via MIDI cables, and my keyboard pumps out a rapid MIDI clock signal; it took me several minutes to figure out why Sound Lab wasn't able to play or record anything! --- New Sample Formats When you load a file, Sound Lab will check to see if it's an .AVR, .WAV, .SMP, or .SND file, regardless of its extension. If it is one of these files, the speed (and various other items) will be set for you. If the file isn't recognized as being in one of these formats, Sound Lab will check the extension, to see if it's .SPL or .SAM, and act accordingly. Extensions with numbers (such as .080 or .8K) are interpreted to mean the speed of the sample (.080 would mean 8KHz, as would .8K). It *IS* remotely possible that an .SPL or .SAM file will be mistaken for one of these formats (usually an .SND file) but this is rare; the worst that will happen is that the speed will be wrong. Also note that due to DigiSound's method of playing samples, the speeds may not be absolutely perfect when imported into Sound Lab. .WAV files are from PC's. These were added at the request of Greg Kopchak, who very thoughtfully provided the file format specifications along with his request. You can save in this format, as well as load. .SMP files are "Sound Wizard" samples; Sound Lab will load this format for use with GEM Sound. You can also save in this format, but you must use the .SMP extension. Also, since I do not have complete information for this format (maybe someone can help with that?), Sound Lab saves all samples with the speed listed as 12.5KHz (no problem for GEM Sound). If your sample isn't at 12.5KHz and you try to save in Sound Wizard format, Sound Lab will warn you the speed will be incorrect (but will still let you proceed, if you insist). .SND files are DigiSound or SoundOff! files. Sound Lab will load these files, but not save them. .### and .#K (numbered extensions) can be loaded as well as Sound Lab 1.1 Update Page 5 saved; I've seen them used in several places. You may need to use the "High Bit" button on some of these samples. You can save in this format, but only if your preferences are set that way (see below). If you attempt to load samples recorded at speeds above 30KHz, Sound Lab will give you the option of converting to 30KHz, converting to half the speed, doing nothing. The 30KHz limit is actually due to the ST hardware; STe and cartridge output is perfectly capable of speeds up to 50KHz. This limitation will be fixed in the next major upgrade for Sound Lab. Sound Lab 1.1 will not take too kindly to 16-bit samples. They will probably sound utterly useless. This will also be fixed in the next major version. --- File formats, STe playback, and High Bit There seems to be some confusion as to which sample format should be used for what, so I'll try to make things a little more lucid. .AVR files contain all the information any program needs to correctly use the sample. This includes how fast the sample should be played, whether or not it's in stereo, if it's signed or not, if it's an 8-bit or 16-bit file, and which portion of the sample (if any) should be looped. You should always save in .AVR format unless you have a specific reason not to. (.WAV or .SMP files fall in this category, too.) .SPL files are called "raw data", because that's what they are. There is absolutely NO INFORMATION(*) in the file other than the raw sound itself. Because of this, any program using an .SPL file has to make assumptions about the speed, and should assume it's a mono, 8-bit, unlooped, unsigned sample. The only reason you should use this format is if you plan to import a digitized sound into a program that only supports unsigned raw files. .SAM files are just like .SPL files, except it is _signed_ raw data, rather than unsigned. Sound Lab plays out through the STe DMA without requiring you to make any alterations to the sample. Just select "STe DMA" as the "Output" option from the "Prefs" dialog. Apparently I confused some people when I mentioned the STe hardware requires signed samples, so I'd better un-confuse people. When Sound Lab loads any file, .AVR, .SPL, or .SAM, it stores it in memory as unsigned because of how I wrote all the fast editing routines. Played through the ST hardware, the sound is converted to the warped form needed by the YM2149 sound chip. Played through the STe hardware, the sound is Sound Lab 1.1 Update Page 6 converted to a signed sample. Both of these conversions are done on the fly, and do not require you to change ANYTHING. Sound Lab assumes, if you load a file that doesn't end in .AVR, .SPL, or .SAM, that the file is an .SPL file. Since .SPL is an unsigned file, if the data was in fact signed, it's obviously not going to sound right. That's what the "High Bit" button is for. All it does is change the DATA between signed and unsigned. It doesn't change how Sound Lab handles the sample--it just changes each byte from signed to unsigned, or vice versa. It has absolutely no knowledge of whether the sample is signed or unsigned, and it doesn't care. Whenever you save in a signed format (.SAM), Sound Lab converts the entire sample to signed form (so it will save properly), saves the data, and the converts the entire sample back to unsigned format so it can properly use the sample in memory. You do NOT have to hit the "High Bit" button when saving in a signed format--Sound Lab effectively does (and then undoes) this for you. If you simply mess with sound for the fun of it, I'd recommend saving in .AVR or .WAV format. I'd personally recommend .AVR format, since it contains more information that .WAV, and it's an ST format, not a PC format. (grin) If your intent is to use digitized samples in your own programs (registering Sound Lab will provide you with GFA BASIC, C, and assembly code for doing so), you can use any format you like. However, you should be aware that many routines to play through the ST hardware (including mine) expect unsigned samples, but the STe hardware expects signed samples. If you plan to support both options--which is highly recommended--I suggest using signed samples, and adjusting the ST player routine to use signed samples as well. This will save you having your program convert the samples as needed. As a final note regarding file formats, most tracker programs (like NoiseTracker) expect signed samples, and don't accept .AVR samples. If it is your intention to use Sound Lab to edit samples for this sort of application, use .SAM format to save files. The notable exception to this is TCB Tracker, which expects unsigned samples; use .SPL format for TCB Tracker. (*) Actually, some .SPL files do contain a one-byte code indicating which of the 8 ST-Replay speeds the file is at. However, there is no other identifying code in the file, and this code can't handle the wide range of speeds Sound Lab is capable of. For this reason, Sound Lab does NOT use this code when it saves an .SPL file; it does a RAW DATA save. Sound Lab 1.1 Update Page 7 But if Sound Lab encounters the one-byte code in an .SPL file, it WILL use it. --- Accessories In the "Desk" menu there is now an "Accessories" item. Click this, and a GEM menu bar will replace the custom one used in Sound Lab. From here you can select and use accessories. The first item in the "Desk" menu will change to "Done with ACCs"; select this when you're finished using accessories. This is not as convenient as selecting the accessory directly, but since I'm not using a GEM menu system for Sound Lab, it was the best I could do. Proper accessory support will hopefully appear in later versions. In order to use this feature, Sound Lab must be renamed to SOUNDLAB.PRG and run from the Desktop in ST medium or ST high resolution. If Sound Lab has to switch the resolution, if it was run from the AUTO folder, or if it was run as a .TOS program, the "Accessories" item will be greyed out. (If you run Sound Lab from inside an alternate desktop, like NeoDesk, it doesn't matter if it has a .TOS extension or not--you'll always be able to get to the accessories.) --- New Preferences In the Prefs dialog is a new button in the bottom left corner labeled "More Prefs". This will bring up a second Prefs dialog containing the five new options for Sound Lab 1.1. This was the simplest way to add new options; with Sound Lab 2 I will consolidate all the Prefs into one place. The new preferences for version 1.1 are "Input", "Fileselector", "Load format", "Save format", and "Save .AVR". "Input" indicates which digitizing hardware Sound Lab should use; choose either "ST Replay" or "DigiSound". "ST Replay" will use an ST Replay mono 8-bit cartridge or a Stereo Master cartridge (but only in mono). "DigiSound" will use Alpha Systems' DigiSound cartridge. If you have a sampling cartridge that won't work with either setting, see if the manual for it has any info on programming it; if it does, send the info to me and I'll see what I can do. "Fileselector" has two options, "Custom" and "GEM". Selecting "Custom" will use Sound Lab's custom fileselector. Selecting "GEM" will use the standard GEM fileselector, or a replacement if you have one loaded. This option is only valid under the same conditions that "Accessories" as available; if the accessories aren't available, you will have to use the custom fileselector. Also note that after using the fileselector, the entire screen will be redrawn; this is because at its heart Sound Lab is NOT a GEM program, and it Sound Lab 1.1 Update Page 8 doesn't take kindly to working with GEM dialogs like the fileselector. For this reason, you'll also notice the screen redraw after you use accessories. This will be fixed in later versions of Sound Lab, which will be more cooperative with GEM. "Load format" refers to what Sound Lab will assume if you load a sample that isn't .AVR or .WAV. If you click ".SPL", Sound Lab will assume it's an unsigned sample; clicking ".SAM" will force Sound Lab to assume it's a signed sample. Select whichever suits your needs--if you use a sample tracker program other than TCB Tracker, you'll probably want .SAM, otherwise use .SPL. "Save format" refers to what format Sound Lab should save in if you don't explicitly state through the extension. Select ".AVR", ".WAV", ".SPL", ".SAM", ".###", or ".#K". You can override the default setting by using an extension of .AVR, .WAV, .SPL, or .SAM. When using the ".###" or ".#K" options, you will not need to provide an extension; Sound Lab will determine the proper numbered extension for you. "Save .AVR" has two settings, "Signed" and "Unsigned". Since .AVR files contain information on whether the sample data is signed or unsigned, any program that claims to support .AVR samples should interpret the data correctly. However, for your convenience, you can select the format here. This affects ONLY .AVR files. These new preferences, along with the position of the "More Prefs" dialog, will be saved when you click "Save" from the main "Prefs" dialog; they wouldn't be much use otherwise. Although Sound Lab 1.1 will read 1.0 .PRF files (so it's easy to move to the new version), you obviously can't read a 1.1 .PRF file with Sound Lab 1.0x. Makes sense, right? --- Finishing Up This revision is an example of how user input makes a difference. Although I use almost every program I write on a daily basis, I'm a programmer; by definition, that makes me a warped person with truly bizarre needs. So I need you, who use the programs, to let me know when I haven't covered something that normal people need. Accessory and GEM fileselector support were added because users wanted to be able to get to disk utilities and UIS III. File-type checking (ignoring the extension) was added because people didn't always use the proper extensions (particularly with the .BAK files created by Sound Lab itself, which I never use). DigiSound recording was added because not everybody uses an ST Replay cartridge. And more sample formats were added because they were ASKED FOR. Sound Lab 1.1 Update Page 9 Although I'm not actually programming Sound Lab 2 yet, it IS in the design stage. That means I'm trying to figure out what options and capabilities need to go into the program so that I can design an intelligent, regular, simple interface without getting too far from the original Sound Lab layout. This isn't easy, and can take quite a bit of time and ingenuity. If you think it's too late to let me know what you want, think again. If you don't think your idea is worth anything, think again. If you think I'm not going to listen to your idea because my opinions are carved in stone, think again. YOUR INPUT MAKES A DIFFERENCE. Don't waste an opportunity to make yourself heard. Éÿü`/. 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Please include this number:€#GEnie.003 €'In return for registering, you'll get a€&printed manual and free updates to the€program. Here's the address:€,Damien M. Jones, PSC 8 Box 657, APO AE 09109ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Only $20? Unbelievable! ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€*This program could not have been completed€-without these people's help. Many thanks to:€(Marc Lombardo, for help with the Timer A€& B assembly routines;€'Tom Hayslett, for his Mega STe testing;€&Rob Glover, for not losing my address;€.All my DMJ GIF registered users, for reminding€me it's really worth it.ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€You're welcome... á Œ Ðÿÿ,ÿû ® ò Œ Ðÿÿÿþ  ® ò Œ Ð ÿÿÿþ  ® ò  Œ Ðÿÿÿúÿÿ ® ò Œ Ðÿÿÿúÿÿ ® ò-40-20-200 0 ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ STe ControlMaster Volume: Left Volume: Right Volume:Bass:Treble: Œ ® Œ ® Œ ® Œ ® Œ ®ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Playÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Okayÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Cancel»¼½¾¿ÀÁ áÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿSelect Help Topicÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Tour of Screenÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Playing & Recordingÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Loading & Savingÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Marking Blocks & Zoomingÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Block Functionsÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Adding Effectsÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€ Using Menusÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Keyboard Shortcutsÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Cancelÿÿÿÿÿÿÿÿÿÿ áÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿMore PreferencesInput:ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€ ST Replayÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€ DigiSound Fileselector:ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Customÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€GEM Load Format:ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€.SPLÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€.SAM Save Format:ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€.AVRÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€.SPLÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€.###ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€.WAVÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€.SAMÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€.#K Save .AVR:ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Signedÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Unsignedÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Okayÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Cancel¨>Ëâf!"ðòò` R R R Rf¸ X¨Â4öä Ú"&üJ)Fª-ð61&’?¸6Aî`DN(GvGvÔHJàI*ÚJfMj¤NÒNà¤T„0V´ÎW‚îXpŒ[üÞ\Ú_òÔbÆ€hF iRlk¾k¾Ôq’¼uNÀ{ô€\‡^ÎŒ,Ì”øP˜H^›¦<žâòŸÔü Ðþ¡Îª¤x\¦Ô⧶ «® ¯N´¶ü¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¸þ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ú+-ÈPThe Fileselector appears any time you need to tell Sound Lab which file to use. -ÈHThis title bar tells you what you should be using the Fileselector for. -ÈHThis line tells you which path, or folder, you're currently looking at. -ÈZThe filenames appear in this box. Folder names will appear with a > symbol to their left. -ÈŒTo select a file, just click on its name. Then click on the "Okay" button. You can also double-click on the filename inside the white box.#$-ÈtTo abort the file selection (and the function that required you to select a file) just click on the "Cancel" button. "-ÈfYou can enter the filename directly here, as well. You will only be allowed to enter legal filenames. !-È‚If there are more than twenty-four files and folders in the current directory, you can use the slider here to scroll through them. -ȨYou can click on a folder's name to see what's inside it. The folder's name will appear at the end of the pathname line, showing that you've changed your current path.-ÈbYou can click this button to back out of the folder you're in, returning you to the previous one.  -ÈNYou can also click on any folder name shown on this line to go directly to it.-ÈHThis button can be used to re-read floppy drives when you switch disks. -ÈThis button is used to switch drives. To use it, click and hold the mouse button over the drive letter; the drive letters A-P will appear below the mouse pointer. Move the mouse until the desired drive is shown, then release the button. You can also press A-P to switch drives.-ÈThis button brings up the search mask dialog, which allows you to control which files are shown in the Fileselector. Normally you won't need to change this, but if you need to see all of the files in a directory, the search mask dialog allows you to do that. ¹KPThat's the Fileselector. For more help, please consult the manual (pp. 29-31).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.,)P-ÈXThe Search Mask dialog allows you to select which files will appear in the Fileselector.P2È6Use these buttons to select the search mask you want.  P2ÈjThis first search mask is provided by the program. It contains all of the filetypes Sound Lab recognizes. P2È:This mask is the normal wildcard, and will show all files.P2ÈxThese eight other masks are for you to enter your own search masks. These will be saved when you save your preferences.  P2ÈBUse this button to exit the dialog and return to the Fileselector.¹KXThat's the Search Mask dialog. For more information, please see the manual (pp. 30-31). ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.Ã88–RUse the Speed dialog to set the speed for the Play, Listen, and Record functions.  8–LThese buttons allow you to quickly choose a common speed. Just click on one. U–$Use this button to double the speed,U– this button to halve the speed, ÂU–Pand these two buttons to raise or lower the sample by a single musical halftone.c–(Use this slider to fine tune the speed. Z–dYou can even enter the speed directly here. Remember that speeds must be from 4.915KHz to 30.72KHz.d–\This button can be used to play the sample at the new speed before making the change final.  Ân–(Click here to okay the change in speed. Ân–(Click here to abort the change in speed.Ì –"Click here to convert the sample from its old speed (specified in the window title bar) to the new speed (specified in the dialog). Normally if you change the speed, the sample will sound different; clicking "Convert" instead of "Okay" will make the sample sound the same at the new speed.¾PNThat's the Speed dialog. For more information, look in the manual (pp. 8-9).  ÿÿªŒ,ŽThis dialog is asking if you want to exit the program. Any unsaved work will be lost if you click "Yes"; click "No" to return to the program.ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.™ ™‡N~This is the Volume dialog. It allows you to adjust the volume for your sample--whichever part is currently marked as a block.Âd™‡N8You'll see that part displayed here, in the Preview box.™‡NœYou can use the slider to adjust the amount you want to raise or lower the volume. You can select ranges from 4 to ¬ of the volume of the original sample. ™‡N*You can also enter the exact amount here. ™‡NŒAs you change the volume, the Preview box will be redrawn, showing you how the volume change (dark) compares to the original sample (light).™‡N`You can playtest the change without having any effect on your sample. Use this button to do so. ™‡N–Use this button to actually change your sample. If you don't use this button, your sample will NOT be changed--even if you've used the "Play" button.™‡N2This button, of course, cancels the volume change.¹KXThat's the Volume dialog. For more information, please consult the manual (pp. 18-19).  ÿÿªŒ,–You don't have enough memory to copy the block you've marked. Try with a smaller block, or reload Sound Lab with fewer AUTO programs and accessories.ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ª‘,tYou don't have enough memory to insert the block stored in the buffer. You're going to have to sacrifice something. ª‘,hIf you select this button, Sound Lab will insert the entire buffer--and chop off the end of the sample.  ‘‘^œSelecting this button will cause Sound Lab to insert the entire buffer, without losing any of your sample. You'll lose the contents of the buffer, though. ª‘,BClicking here will insert only as much of the buffer as will fit.  ª‘,2"Cancel", of course, aborts the Insert operation. ¹KPThat's the Insert dialog. For more information, please see the manual (p. 14).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.‘bfThis is the Overlay dialog. It allows you to "merge" two samples together so that both can be heard.  ‘bZYou can use this to overlay either the Cut buffer or another sound file onto your sample.  ÌZ‘bpThis Preview box will contain some waves to give you a rough idea of how you're mixing the two sounds together.  ‘b:This slider allows you to adjust the volume of the block. ‘bPThis slider allows you to adjust the volume of the Cut buffer or separate file. ‘bnYou can also enter those values directly here. A value of 1 indicates full volume; 0.5 would be half volume.    ‘bžThese buttons allow you to set the length of the Overlay. Choose either Block (the size of your block), Buffer (the size of the buffer), or Longer or Shorter. ‘bšThese two buttons allow you to choose whether or not to use repeated copies of the Buffer if the Overlay is longer than the Buffer. Choose "Yes" or "No". ‘brThis button confirms the Overlay. Remember that Overlay does not change your Cut buffer or file, only the block. ‘bLThis button aborts the Overlay, so that no changes are made to your sample. ¹KXThat's the Overlay dialog. Please consult the manual (pp. 16-17) for more information.  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.‡bxThis is the Fade dialog. It's used to apply a fade effect (either fade in or fade out) to your currently marked block.  Ì_‡b¬This Preview box will show you your original block (light) and your block after the fade is applied (dark). The light lines in the Preview box show the shape of the fade. ‡bThis button brings up some new options added in Sound Lab 1.1.#ÜÈUse this button to save all of these Preferences settings, the positions of all the dialogs, and the masks in the Fileselector's Search Mask dialog. These will be loaded every time you run Sound Lab.#ÜRUse this button to keep the changes you've made, without saving them to the disk.  #ÜdUse this button to abort the changes in the Preferences settings and restore the previous settings.  ¹K\That's the Preferences dialog. For more information, please look in the manual (pp. 27-28). ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.–ŒÈDThis alert box is asking you when you want to start recording sound.–ŒÈNSelecting "Wait" will cause Sound Lab to wait for the sound before recording. úŒÈFSelecting "Start" will cause Sound Lab to start recording right away. TŒ´*Selecting "Cancel" will abort the record. ¹KPThat's the Record alert. For more information, please read the manual (p. 10).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ÜK܇ÈJThis is the Rename File dialog. It's used to enter a new name for a file. ܇È*This shows the name of the original file. ܇È2This is where you enter the new name for the file.܇ÈHUse this button to confirm the new name and change the name of the file. ܇È$Use this button to abort the rename.¹KNThat's the Rename dialog. Please see the manual (p. 22) for more information. ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ªŒ,hYou've tried to save over a file that already exists. Sound Lab is asking what you want to do about it. ªŒ,FClicking here will erase the old file and replace it with the new one. ‘Œ^¢Selecting this button will rename the old file so its extension is .BAK (erasing any previous backup file) and then save the new file with the name you provided. ªŒ,0"Cancel", of course, aborts the Save operation. ªŒ,^If you set your Existing Files Preference to "Erase" or "Rename", this dialog will not appear. ¹KXThat's the Existing Files dialog. For more information, please see the manual (p. 11).  ÿÿ‘Œ^ÂYou've got some problem with the disk. The alert tells you what the error is, and you have the option of fixing the problem and "Retry"ing, or "Cancel"ling the operation that caused the error. ÿÿ‘Œ^ÎYou're about to delete a file or files. The alert shows you the path and name you've selected, and is asking you to confirm the delete. DELETES ARE PERMANENT. Click "Okay" to proceed, "Cancel" to abort. ÿÿ‘Œ^ÈYou've just been told how many bytes are free on a certain disk drive. You can check other drives by selecting them from the menu, or by holding the Alternate key down and pressing the drive letter. ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ÜI܇ÈFThis is the Format Disk dialog. It's used to set the format options.  ª‡,’Use these two buttons to choose which drive to format a disk in. If you only have one floppy drive connected, you can't format a disk in drive B.ª‡,€Use these two buttons to set how many sides the disk will have. If you only have a single-sided drive, do NOT select two sides. ª‡,šUse this button to confirm the format options. You will then be given one more chance to abort the Format, since formatting a disk erases it completely. ܇È$Use this button to abort the Format.¹KHThat's the Format dialog. For more help, please see the manual (p. 23). ÿÿ‘Œ^’There isn't enough room on the disk for the file you've tried to save. Use a different disk, delete files from this disk, or format a fresh disk.ÿÿ‘Œ^ÀYou've selected Remove, which removes the block from your sample. Since this can't be undone, you're being asked if you're sure. Answer "Yes" or "No". For more info, see the manual (p. 15). ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.x2pThe idea of Shareware has been around for a while. Basically, if you use the program often, you are legally bound to pay for it. Many Shareware authors offer printed manuals, faster versions, or other incentive to "register", as paying for the program is called. Even if these incentives are not offered, you are still required to pay for the program if you use it. x2`The benefits of Shareware are many. First, you can try the software before you pay for it, to make sure it fits your needs and performs up to your expectations. Second, because there is no fancy packaging or expensive advertising, the cost of Shareware is ridiculously low when compared to similar commercial products. And there are other benefits. x2pIn Sound Lab's case, you are asked to pay a small $20 registration fee if you use it often. In return for registering, you will receive a printed manual, some additional sound utilities, and information on how to use digitized sound in your own GFA BASIC, C, or assembly programs. Compare this price to what you'd pay for a commercial package with the same features. xF So please, register this program. Your registration insures that improvements will be made. After all, it's only $20. (European users may send œ15 or DM 35.)ÿÿx7`It seems I may have left a few names out. Mostly they're the beta testers for Sound Lab, who have done an incredible job of ferreting out bugs and making excellent suggestions. So thanks a heap (or is that a stack?) to Marc Lombardo, Rob Glover, Troy Cheek, Michael Parrott, and Tom Hayslett for being absolutely essential to Sound Lab's completion. xF°Also thanks to many short-term beta testers, including John McLennan, Allen Jones, Danie Davis, Byrd Sexton, and Randy Pouliot; these helped me track down a truly elusive bug. ÿÿ‘Œ^¼You're just about to format a floppy disk. Since this completely erases what's on the disk, Sound Lab wants to make sure you really mean it. Select "Okay" to proceed, "Cancel" to abort. ÿÿ‘Œ^ÜYou're about to convert a sample from one speed to another speed. Since this reduces the quality of the sound a bit, Sound Lab is asking you to make sure you really mean it. Click "Okay" to proceed, "Cancel" to abort. ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ª‘,LThis is the Clear dialog. You can decide what it is you want to erase here. x‘¾This button will erase only the part of your sample that you have marked as a block. If you have your entire file marked, Sound Lab will clear the entire memory area, except the Cut buffer.‘‘^”Clicking here will erase only the Cut buffer. If you have a large sample stored in the buffer, you may want to do this before recording new sounds.ª‘,dThis button does exactly what its name implies--it clears everything. This includes the Cut buffer. ª‘,@"Cancel", of course, exits the dialog without clearing anything. ¹KRThat's the Clear dialog. For more information, please look in the manual (p. 18). ÿÿ‘Œ^ÌYou've tried to load a sample into the buffer that is too large. Sound Lab is asking if you want to erase the last part of your sample to make room for the file; click "Yes" if you do, "No" if you don't.ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ª‘,\This is the Looping dialog, which allows you control of the looping functions of Sound Lab.  ª‘,XThis button sets the loop points to match your block markers. It also turns looping on.  ª‘,€This button moves the block markers to match the loop points (useful for adjusting the loop points). It, too, turns looping on. ª‘,`Clicking here will turn looping on or off, without moving the loop points or the block markers.  ª‘,B"Cancel", of course, will exit the dialog without doing anything.  ¹KJThat's the Looping dialog. For more help, please see the manual (p. 15).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.‘Œ^–The file you have loaded is just a part of the original; you've selected the original file to save as. Sound Lab wants to know what you mean by that.ªŒ,XClicking here will save this part of the sample back to its original place in the file.  ªŒ,†Selecting this button will save this part as the whole file; this may erase the old file, depending on your Existing Files Preference. ªŒ,&"Cancel", of course, aborts the save. ¹KVThat's the Save Partial dialog. For more information, please see the manual (p. 26).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.·‘‘^žThis is the STe Control dialog. It is only useful on an STe, when using the STe DMA Output option. Use it to adjust the sound settings of the STe DMA sound.ª‘,`This slider adjusts the overall volume of the sound; -80 is the lowest volume, 0 is the highest. ª‘,ZThis slider adjusts the volume for the left channel; -40 is the lowest, 0 is the highest.   ª‘,tThis slider adjusts the volume for the right channel; as with the left volume, -40 is the lowest, 0 is the highest.  ª‘,JThis slider adjusts the bass; use -12 for a little bass, or +12 for a lot. ª‘,LThis slider adjusts the treble; as with bass, -12 is a little, +12 is a lot.  ª‘,0Remember you can enter the values directly here. ª‘,zYou can use this button to playtest the changes. Remember that these only work on an STe with the STe Output option set.  ª‘,fUse this button to confirm the settings. These settings are saved whenever you save your Preferences. ª‘,PUse this button to exit the STe Control dialog and restore the previous values.  ¹KXThat's the STe Control dialog. For more information, please look in the manual (p. 27). ÿÿxŒúYou've got some MIDI equipment sending data to your ST. Sound Lab doesn't get along too well with MIDI equipment, so you'll have to either disconnect it or shut it off. If you don't, you'll lock up the system as soon as you play or record a sound. ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ªŒ,fYou've clicked on "Load" with a block marked; Sound Lab is asking exactly what type of load you mean.  ªŒ,bClick here if you meant to load a complete new file, throwing out the one you already have loaded. ªŒ,FClick here if you meant to load a file over the block you have marked. ªŒ,*Clicking here, of course, aborts the Load.¹KRThat's the Load File/Block dialog. For more help, please see the manual (p. 25).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.@ 2ú@This title bar tells you the program's name, version, and date. @2ú Inside you will find the menus.   ^úÐThis tells you how much memory you have for editing samples. It may be shown in bytes or seconds, depending on your Preferences. If it is shown in seconds, the time will be different for each sampling rate. 2(È:The window's title bar tells you the name of your sample, @( "the zoom level and sampling rate, XÌ( and the block size. Èd(ȘYou may also see the file size and "offset" (the distance between the start of the sample and the current block), if your Preferences are set that way.  22dF¤VThis is the sample window. In it you'll see a graphic representation of your sample. N2Nd2d22@Ÿªs,NThis is the window slider. Use it to move around the sample after zooming in.2°ª‚,BThese twenty-four buttons activate most of Sound Lab's functions. N°ªs,ˆThere are also ten "right-button" functions; activate these by pressing the right mouse button. Notice that the buttons' labels change.€>°ªP,^That's the main screen. For more information, consult other Help topics or the manual (p. 7). ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.}´4To play the sample in memory, just click on "Play". €iÈjClicking on "Play" with the right mouse button gives "Play Buf", which plays the sample in the Cut buffer.sÈr"Monitor" provides a display of the sound coming into the digitizer cartridge, allowing you to adjust the volume. €iÈŽClicking on "Monitor" with the right mouse button gives "Listen", which plays the sound coming into the digitzer at the current sampling rate.2¥T,To record a sample, just click on "Record". 2iÈlUse the "Speed" button to set the speed for the sample. You can choose any speed from 4.915KHz to 30.72KHz.¾PtThose are the play and record functions. For more information, consult other Help topics or the manual (pp. 8-10).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.®‘È.To load a sample, click on the "Load" button. ®iÈvSound Lab recognizes .AVR, .SPL. and .SAM types of sound files. Anything else is assumed to be an .SPL type of file.  ®iÈ‚If you load an .AVR file, Sound Lab will set the speed for you. Otherwise, you'll have to do it yourself with the "Speed" button. ®‘È.To save a sample, click on the "Save" button. ®iÈzRemember that Sound Lab expects you to use an extension of .AVR, .SPL, or .SAM. Anything else is assumed to be .SPL type. ®sÈlIf you want to save the speed of the sample and looping information, you will need to use an .AVR extension. €®UȶClicking on "Load" or "Save" with the right mouse button gives "Load Buf" and "Save Buf". These can be used to load a sample directly into the Cut buffer, or save directly from it. JA,FIf there isn't enough room for the file in the buffer, Sound Lab will ask if you want to cut off the last part of your sample to fit the file into the buffer. Answer "Yes" or "No". If you answer "No", you will be presented with the "Load Partial" dialog, where you can choose which part of the file to load into the buffer. ¹KlThose are the Load and Save functions. For more information, please consult the manual (pp. 8, 11, 17, 25). ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.2dªU,\Normally, your entire file is your block. Any operations you do will affect the whole file.ª7,*To mark off a smaller block, you need to move the block markers. To do this, just click the mouse inside the sample window. Use the left mouse button to move the left edge of the block (the left block marker) or the right mouse button to mark the right edge of the block (the right block marker).NdªU,ˆYour block will be displayed in the familiar black. The parts of your sample that aren't in your block will be displayed in light blue. 2iÈzYou can zoom in on the sample for more precise positioning of the block markers. And, of course, you can zoom out again.  €2sÈhBy clicking on "Zoom In" or "Zoom Out" with the right mouse button, you can zoom in or out all the way.  2UÈšThis button allows you hide the block temporarily, selecting your entire file as the block. You can click it a second time to restore the block markers.  ¹KZThat's how you mark blocks. For more information, please consult the manual (pp. 12-13).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.–_È The "Cut" button is used to "cut" your block from the rest of the sample. This chunk of sound is then saved in the "Cut buffer", so that you can use it later.  –sÈpThe "Copy" button also saves your block in the "Cut buffer", but doesn't remove it from the rest of the sample.  –_È–The "Insert" button takes the chunk of sound in the Cut buffer and inserts it at the left block marker. You can insert the same block several times.  –_È–Sometimes there isn't enough memory for you to insert the sound in the Cut buffer. If this happens, Sound Lab will ask what you want to do about it.   –}ÈZThe "Overlay" function allows you to merge two samples together so that both can be heard.€ –UÈÀYou can also insert or overlay directly from a file; to do this, click on "Insert" or "Overlay" with the right mouse button. Then use the Fileselector to select the file to insert or overlay.ÈAÈäThe "Remove" button is just like the "Cut" function, except it doesn't save the block in the buffer. It just cuts it out. This is useful if you don't want to erase what's in the buffer; it's also faster than the Cut function. €ÈAÈäThe "Trim" button (activated with the right mouse button) allows you to trim off the light blue parts of your file (those that aren't in your block). This is useful for cleaning up samples that have "pops" at the start and end.È_ÈžThe "Loop" button allows you to choose a part of the sample to play repeatedly. This is very useful for creating long musical tones from a very short sample.¹KVThose are the block functions. For more help, please look in the manual (pp. 13-17).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.¹K˜To add an effect, mark off the part of your sample you want to add an effect to, by moving the block markers. Then click on one of the effects buttons. ÈsÈRThe "Clear" button can be used to erase your block, the Cut buffer, or everything.€ÈKȬThe "Gap" button (activated with the right mouse button) allows you to insert a gap in the sound. A gap, the same size as your block, is inserted at the left block marker.  úiÈfThe "Volume" button allows you to change the volume of a sample, from ¬ to 4 times the current volume.,AÈÄThe "Fade" button allows you to apply a fade effect from one end of your block to the other. You can fade in or out, set the start and end volumes, and select from four different shapes of fades.,‡ÈBThe "Echo" button allows you to apply echo effects to your block. ,}ÈXThe "Reverse" button allows you to flip a sample end to end, so that it plays backwards.¹KTThose are the effects. For more information, please consult the manual (pp. 18-21). ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.¹KtThe menus in Sound Lab are not used to edit sound. Rather, they contain some information and a few disk utilities.  < < ´ȈThis is the Desk menu. In here you can see only one item, "Info". This item has a submenu, allowing you to select what info you want. < Œ úÈHThis is the File/Disk menu. This contains the file and disk utilities. ŒúȪThe "Rename File" item allows you to change the name of a file. Use the Fileselector to choose a file, click on "Okay", and then enter the new name in the Rename dialog. ŒúÈúThe "Delete File(s)" item allows you to delete a file or files from the disk. Select the file in the Fileselector, then click "Okay". Sound Lab will ask you to confirm the delete. You can enter wildcards, like *.*, for the filename, so be careful.Œ%úÈðThe "Create Folder" item allows you to create a folder on the disk. Select the path where you want to add the folder with the Fileselector, and enter the new folder's name in the "Filename" blank of the Fileselector. Then click on "Okay". Œ-úÈ®The "Remove Folder" item allows you to remove an empty folder from the disk. Select the folder with the Fileselector (leave the "Filename" entry blank) and click on "Okay". Œ8úÈìThe "Free Space" item allows you to quickly check the free space on any connected disk drive. Just select the drive letter from the submenu and Sound Lab will check the free space and tell you. (Hard drives do not take long to check.)Œ@úÈìThe "Format Disk" item allows you to format a disk. You can select drive A or B (if you have two floppy drives connected), and one or two sides. You will be asked to confirm the format, since formatting erases everything on the disk. ŒKúÈ‚The "Quit" item here is just like the "Quit" button on the main screen: it exits the program. You will be asked if you are sure.  ŒPŒP¹KLThose are the menus. For more help, please look at the manual (pp. 22-23).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ª‘,lYou don't have enough memory to insert the file you selected. You're going to have to sacrifice something.  ª‘,fIf you select this button, Sound Lab will insert the entire file--and chop off the end of the sample.  x‘¸Selecting this button will cause Sound Lab to insert the entire file, and will overwrite the Cut buffer as well. You may still not have enough room to insert the entire file, though. ª‘,@Clicking here will insert only as much of the file as will fit.  ª‘,6"Cancel", of course, aborts the Insert File operation.¹KXThat's the Insert File dialog. For more information, please see the manual (p. 14, 17). ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ª‘,`You don't have enough memory to convert the block. You're going to have to sacrifice something. ª‘,~If you select this button, Sound Lab will convert the entire block, but will chop off the end to avoid erasing the Cut buffer. x‘°Selecting this button will cause Sound Lab to convert the block, but will erase the Cut buffer as well. You may still not have enough room to convert the entire block, though.ª‘,BClicking here will convert only as much of the block as will fit.  ª‘,2"Cancel", of course, aborts the Convert operation.¹KdThat's the Insert (from Convert) dialog. For more information, please see the manual (pp. 14, 21).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ª‘,nYou don't have enough memory to insert the gap you've requested. You're going to have to sacrifice something. ª‘,dIf you select this button, Sound Lab will insert the entire gap--and chop off the end of the sample. x‘¶Selecting this button will cause Sound Lab to insert the entire gap, and will overwrite the Cut buffer as well. You may still not have enough room to insert the entire gap, though. ª‘,>Clicking here will insert only as much of the gap as will fit. ª‘,."Cancel", of course, aborts the Gap operation.¹KPThat's the Gap dialog. For more information, please see the manual (p. 14, 18). ÿÿxŒàYou've selected Trim, which removes the sample around your block, leaving behind just the block. Since this can't be undone, you're being asked if you're sure. Answer "Yes" or "No". For more info, see the manual (p. 15). ÿÿxŒêYou've just loaded a stereo sample. Since stereo samples don't play well in mono, Sound Lab is asking if you want to convert the sample to mono, so it will sound much better. Select "Yes" to convert it, or "No" to leave it as it is.ÿÿxŒìYou've just inserted a stereo sample. Since stereo samples don't play well in mono, Sound Lab is asking if you want to convert the sample to mono, so it will sound much better. Select "Yes" to convert it, or "No" to leave it as it is.ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.‘Œ^¼The file you've selected to overlay is a stereo sample. These usually don't sound very good in mono, so Sound Lab is asking if you want to convert the sound to mono as it's being overlaid.ªŒ,LClick here if you want to convert the sample to mono as it's being overlaid. ªŒ,NClick here if you want to overlay the sample as it is, without converting it.  ªŒ, Click here to abort the Overlay.¹KPThat's the Overlay Stereo dialog. For more help, please see the manual (p. 17). ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ªŒ,fYou've clicked on "Save" with a block marked; Sound Lab is asking exactly what type of save you mean.  ªŒ,bClick here if you meant to save your entire file, including those parts that aren't in your block. ªŒ,6Click here if you meant to save only the marked block. ªŒ,*Clicking here, of course, aborts the Save.¹KRThat's the Save File/Block dialog. For more help, please see the manual (p. 25).  ÿÿ‘Œ^ÐYou've tried to format a disk in drive B, but you don't have a drive B connected. Naturally Sound Lab is complaining about that. Unless you have a drive B connected, you'll need to format disks in drive A. ÿÿxŒÜYou're in the middle of formatting a disk. You've pressed a key or held the mouse button down, and now Sound Lab is asking you if you want to stop the formatting. Click "Yes!!!" to stop, or "No" to continue formatting.ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ªŒ,The file you've chosen to overlay isn't at the same speed as the one you have in memory. Sound Lab wants to know what you want to do about it.  ªŒ,˜Clicking here will convert the file to the proper speed while it's being overlaid. It won't change the file on the disk, just how it's used in memory. ªŒ,\Selecting this button will cause Sound Lab to use the file as it is, without converting it.  ªŒ,8"Cancel", of course, aborts the Overlay File operation. ¹KjThat's the Convert (from Overlay File) dialog. For more information, please see the manual (pp. 17, 20).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ªŒ,ŠThe file you've chosen to load is too fast for this version of Sound Lab to handle. Sound Lab wants to know what you want to do about it. ªŒ,rClicking here will convert the file to 30KHz. It won't change the file on the disk, just how it's used in memory. ªŒ, Selecting this button will make Sound Lab convert it to half its speed. This is usually much faster than converting to 30KHz, but may not be as high a quality. –ŒTÌ"Cancel" will not change the sample in any way. This will not abort the load (the sample has already been loaded) but it will leave the entire sample intact. It will probably sound strange when played. ¹KTFor more information on converting fast files, please see the 1.1 supplement (p. 5). ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.ú #ÜjThis is the More Preferences dialog. You can use it to set some options that were added in Sound Lab 1.1. #Ü€This first set of buttons allows you to choose which type of cartridge you want to use with Sound Lab. Select either ST Replay, #Üor DigiSound. #ÜnThese two buttons allow you to choose which fileselector you want to use. Select either the custom selector,  #Ü¢or the GEM fileselector. If you have an alternate fileselector installed (like UIS), selecting this button will choose it, rather than the original GEM selector.#Ü´The next two buttons let you decide whether to assume a file is a signed or unsigned sample, if Sound Lab can't tell what type of file it is. Select ".SPL" for an unsigned sample,#Üor ".SAM" for a signed one. #ÜÎThese six buttons allow you to choose what format to save files in. You can explicitly set the type by entering a filename ending in .AVR, .WAV, .SMP, .SPL, or .SAM; doing so will override this preference.   #ÜÊThese two buttons determine how .AVR files will be saved. Choose "Signed" or "Unsigned". "Unsigned" is faster; any program that properly supports .AVR files shouldn't care about which option you use. #È8Click here if you're happy with any changes you've made.#È"Click here to cancel any changes. ¹KhThat's the More Preferences dialog. For more information, please look in the 1.1 supplement (pp. 7-8).  ÿÿ¹KzPress the left mouse button to advance; HELP key to pause; press any other key or the right mouse button to exit the Help.‚Œ|ÌYou have tried to save a file in SoundWizard format (used for GEM Sound), but it is not at the 12.5KHz speed GEM Sound expects. Sound Lab is just warning you that this may not have the result you expect.ªŒ,~Click here if you're aware of the consequences (you'll get a very strange-sounding sample) and want to proceed with the save.  ªŒ,†Click here if you want to abort the save for now. You might want to convert the sample to 12.5KHz first and then try the save again.  ¹K\For more information on saving SoundWizard files, please look in the 1.1 supplement (p. 4).  ÿÿRìN¹0˜X?<åå/<‡eC!?<Bg???.B§/.ÿü?< N¹'HOïJ@g(?HyRîN¹0˜\/.ÿü?<IN¹'†\0<ÿÿ`š GfX?<åå/<‡eC!?<?<???.B§/.ÿü?< N¹'HOïJ@g&?HyS N¹0˜\ | | | | || | | | || | | | | | | ///#|| | | | || //# //# | |//# | | | | //#//#| | | || | || || //# | //# || ||//# || | | ||| | || //####|///#|//#//#////# |////# | //# | ////#////#| || | || __|||__|__||_#///#|//#//#//#//#//#//#//#//#_|_//#_|_//#//#//#//#__||__|_||____ || | ||##//#//#//#//#//#//#//#//#//#| |//#| |//#//#//#//#| || | | || | //#//#//#//#//#//#//#//#//#//#| |//#| |//#//#//#//# || | #///###///###///##//#//##////#| |/////##////#////## | |#### #### |#### ###### #####| ######|########## | | | ||| | ||| | | | | | | | | Version 1.0 May 2, 1992 by Damien M. Jones dmj software PSC 8 Box 657 APO AE 09109 Sound Lab 1.0 Page 2 --- Copyright Sound Lab and this manual are Copyright 1992 Damien M. Jones, All Rights Reserved. You may not modify this program in any way; however, you may copy it as you wish, provided all of the files listed in READTHIS.1ST are included. You may not charge for these copies, except reasonable charges to cover the cost of the media it is distributed on (as in Public Domain/Shareware distributors). This charge should not exceed $10. --- Shareware This program is Shareware. If you like it and use it, please send $20 to the address on the front cover. In return for registering you will receive a printed manual, information on how to use digitized sound in your own programs (GFA BASIC, C, and assembly), and free disk updates. Updates to the manual (which usually occur only with major revisions) will be available for modest ($5 or less) cost. If you got this program through a Public Domain/Shareware distributor, you haven't paid for the program; you've just paid the distributor to put the program on a disk and send it to you. Please show your support by registering. --- Disclaimer I am not in any way responsible for damage to your equipment, reputation, or mental or physical health caused by the use or misuse of this program. --- About This Manual The text for this manual was created entirely with ST Writer Elite 4.2. --- About the Program Sound Lab was written mostly in GFA BASIC (over 10,000 lines), with the high-speed editing routines (almost 2,000 lines) in assembly. The graphics were designed with a custom paint program. --- Feedback It's always been my experience that the best improvements to software always come from its users. My beta testers reinforced that belief. So if you have any comments or questions, please let me know! Sound Lab 1.0 Page 3 --- Table of Contents Introduction . . . . . . . . . . . 4 What Is Digitized Sound? . . . . . . . 4 Using This Manual . . . . . . . . . 5 The Basics . . . . . . . . . . . 6 Installing Your Digitzer Cartridge . . . . . 6 Loading (or Copying) Sound Lab . . . . . 6 The Main Screen . . . . . . . . . 7 "Help" and "Quit" . . . . . . . . 7 Loading and Playing Sounds . . . . . . . 8 File Formats . . . . . . . . . . 9 Recording Sounds . . . . . . . . . 10 Saving Sounds . . . . . . . . . 10 Blocks . . . . . . . . . . . . . 12 Marking Blocks . . . . . . . . . 12 Playing and Recording a Block . . . . . . 12 "Hide Blk", "Zoom In", and "Zoom Out" . . . 12 "Cut", "Copy", "Insert", and "Play Buf" . . . 13 "Remove" and "Trim" . . . . . . . . 15 Looping . . . . . . . . . . . 15 "Overlay" . . . . . . . . . . 16 Inserting or Overlaying a File . . . . . . 17 Loading or Saving the Buffer . . . . . . 17 Effects . . . . . . . . . . . . 18 "Clear" and "Gap" . . . . . . . . 18 "Volume" . . . . . . . . . . . 18 "Fade" . . . . . . . . . . . 19 "Echo" . . . . . . . . . . . . 20 "Reverse" . . . . . . . . . . 20 "Convert" . . . . . . . . . . . 20 Menus . . . . . . . . . . . . 22 /Info/ . . . . . . . . . . . . 22 /Rename File/ . . . . . . . . . 22 /Delete File(s)/ . . . . . . . . . 22 /Create Folder/ . . . . . . . . . 22 /Remove Folder/ . . . . . . . . . 23 /Free Space/ . . . . . . . . . . 23 /Format Disk/ . . . . . . . . . . 23 /Quit/ . . . . . . . . . . . 23 Tips for Using Sound Lab . . . . . . . . 24 Moving Dialogs . . . . . . . . . 24 Bypassing the Title Screen . . . . . . . 24 Choosing a Sampling Rate . . . . . . . 24 "High Bit" . . . . . . . . . . . 24 Loading and Saving Blocks - Partial Files . . 25 Loading .BAK Files . . . . . . . . . 26 Echo Effects . . . . . . . . . . 26 Background Sounds . . . . . . . . . 26 Preferences . . . . . . . . . . 27 Using the _Fileselector_ . . . . . . . . 29 If Something Goes Wrong... . . . . . . . 32 Quick Reference & Keyboard Shortcuts . . . . . 34 Index . . . . . . . . . . . . 40 Sound Lab 1.0 Page 4 -------- Introduction Digitized sound: you've undoubtedly heard it. These days you can find digitized sound in games, demos, and even music. It's the only way to twist the ST's sound chip into producing more than three limited tones. If you're not interested in how digitized sound works (or if you already know) then please skip this next section. --- What is Digitized Sound? Before explaining digitized sound, let me explain how a speaker works. As the electric current provided to the speaker changes, the speaker itself moves in and out. This movement makes the air next to the speaker move as well, creating sound waves that we can actually hear. Computers, however, don't record things (like the current provided to a speaker) in a steady stream. They handle things in a digital fashion--lots of little bits that, when put together, make up the whole. Whereas an analog tape records the current to the speaker in a continuous wave, digitized sound records the current many times per second. The more times per second you record the current, the better your approximation of the actual sound wave. Compact discs work like that; they record the current 44250 times per second; this is so fast (and so precise) that it sounds even better than audio tape (which is an analog recording). The quality of digitized sound is measured in three ways: sampling rate, resolution, and the number of channels. Sampling rate refers to how often you sample--or record--the current applied to the speaker. This is usually specified in Hz (times per second) or KHz (how many thousands of times per second). Thus a CD has a sampling rate of 44250Hz, or 44.25KHz. Usually a sampling rate of 7.5KHz to 10KHz is adequate; 20KHz can be used for exceptionally high quality. The second way to measure the quality of digitized sound is resolution. This refers to how precisely the current to the speaker is measured. A CD has a resolution of 16 bits--the current has 65,536 possible values. A home computer (as in the ST) usually uses 8-bit resolution, measuring the same range of current as a CD, but with only 256 values. You'd be hard-pressed to tell the difference in most sounds. The third way to measure sound quality is the number of channels. This is simply how many sounds are played simultaneously. Compact discs are in stereo--two channels (like the STe). Most digitized sound is mono--one channel, although this is beginning to change. Now that you know basically how digitized sound works, let me explain what Sound Lab is capable of. You can record and playback at sampling rates from 4.9KHz to 30.72KHz, on a Sound Lab 1.0 Page 5 single (mono) channel at 8-bit resolution. This is perfectly sufficient for use on the ST. --- Using This Manual Sound Lab makes extensive use of the mouse, alerts, dialogs, and menus. Throughout this manual, buttons will always be referred to like this: "Button". Dialogs will always be referred to like this: _Dialog_. Menu items will be referred to like this: /Menu/. The manual has been organized as a tutorial; you should be able to read it straight through. For help with a specific item, use the Table of Contents or the Index to find it. Sound Lab 1.0 Page 6 -------- The Basics This section will get you started using Sound Lab. It covers installing cartridges, loading and copying Sound Lab, the main screen, loading and playing sounds, file formats, recording sounds, and saving sounds. --- Installing Your Digitizer What? You don't have a sound digitizer? Well, go get one! This software works with both the ST Replay cartridge and Pandaal's DaataSound cartridge. Others have not been tested. To install your cartridge, turn your ST off. Insert your cartridge into the ST's cartridge port, label side up. It should go in firmly. When fully inserted, turn your ST back on. You can connect the input jack (the only jack on the DaataSound) to the output of any small sound source--the headphone jack of a portable cassette recorder or CD player are good examples. Unless you want to see smoke curling from the innards of your computer, you should never connect the input jack to the high-power output of a stereo or other amplifier; doing so may damage your stereo, digitizer, and ST. To remove your cartridge (which may be necessary on occasion) just turn off your ST, gently pull the cartridge straight out (don't wiggle it) and turn your ST back on. UNDER NO CIRCUMSTANCES SHOULD YOU INSERT OR REMOVE YOUR CARTRIDGE WITH THE ST'S POWER ON. Doing so can very, very easily damage your ST, as well as the cartridge. For further information, consult the instructions for your cartridge. --- Loading (or Copying) Sound Lab There's nothing really to this. Just double-click on SOUNDLAB.TOS from any ST resolution. If you want to copy Sound Lab to another folder (as in, on your hard drive) you'll need not only SOUNDLAB.TOS but also these files: SOUNDLAB.COL Dialog information for MEDIUM resolution. If you want to run the program using a color monitor, you'll need this file. (Sound Lab switches to medium res if run from low res.) SOUNDLAB.MON Dialog information for HIGH resolution. If you want to run the program using a monochrome monitor, you'll need this file. SOUNDLAB.HLP The help file. If it's not present, there will be no online help. SOUNDLAB.PRF This is the preferences file; without it, all of Sound Lab's options will be reset to the default settings. Sound Lab 1.0 Page 7 If there isn't enough memory for Sound Lab to run, or if it can't find the appropriate data file for the resolution you're in, it will tell you what went wrong and then exit to the Desktop. If nothing goes wrong, the program will load and display the title screen. Press any key, and you're ready to begin. It is possible to put Sound Lab in an AUTO folder. If you're using a 512K machine, this is recommended, since it will give you more memory for using samples. To run Sound Lab from an AUTO folder, rename SOUNDLAB.TOS to SOUNDLAB.PRG and copy it into the AUTO folder. You can put any other things in there that you want, but remember that you must put them in before you put SOUNDLAB.PRG in, or they won't run until after you exit Sound Lab. Also remember that other AUTO folder programs will probably consume valuable memory. All the other files (.COL, .MON, .HLP, and .PRF) should go in the root directory. To run Sound Lab, just boot the disk. If you use Sound Lab with a monochrome monitor, you obviously won't see any of the colors described in the manual. Light blue on a color monitor corresponds to medium grey on a monochrome monitor; dark blue shows as dark grey. --- The Main Screen At this point (program loaded, ready to use) I'll give you a tour of the screen, since there's quite a bit here. At the top you'll see the program's name, version, and completion date. You'll also see, over to the right, the "Memory size"; this is just how big Sound Lab's area for editing samples is. Below this title area is a large window, covering about three-fourths of the screen. In the title bar you will see some information. Inside the window you'll see a black line across the middle; this is where you can see a visual representation of the sample. The bottom border of the window has a slider, used to move around the sample. Below the window are twenty-four buttons, which are your main control panel for using Sound Lab. --- "Help" and "Quit" Of the twenty-four buttons at the bottom of the main screen, two are very important. The first is "Help", the top button on the far right. You can either click this or press the HELP key to access the online help; should the online help fail to give you the information you want (which it shouldn't), you can always refer to the manual. You can press HELP anywhere. The other important button is "Quit", the bottom button in the right-most column. Select this to exit the program. You'll be asked if you're sure; if you are, click "Yes", or click "No" if you've changed your mind. Sound Lab 1.0 Page 8 You can also find the "Quit" option in the menus. To access the menus, just move the mouse pointer into the "Sound Lab" box at the top left of the screen. The menus will appear under the mouse. You'll find Quit at the bottom of the File/Disk menu. Please note that if you have any desk accessories loaded, you will not be able to access them; Sound Lab is a TOS program (I bet you forgot that) and accessories only work from GEM (.PRG) programs. From here on, click on all buttons with the left mouse button, unless specifically told to do otherwise. Some of the buttons at the bottom of the screen have dual purposes. To see the names of those buttons, move the mouse to the very bottom of the screen, so it's not over any of the buttons. Then hold down the right mouse buttons. You'll see several of the buttons change. These are the functions that are accessed with the right mouse button. Use it just like you would the left. --- Loading and Playing Samples Digitized sound is what Sound Lab is all about, so it wouldn't hurt to know how to load some samples in. To load a sample into Sound Lab, click on "Load" (seventh column). The _Fileselector_ dialog will appear, allowing you to select a sample to load. You can load .SPL, .SAM, and .AVR files into Sound Lab. (Only these types will appear in the _Fileselector_.) Just click on the sample you want, then click on "Okay", or double-click on the filename. (See the _Fileselector_ section for more help; see the File Formats section for more information about the different file types.) Once the sample is loaded, you'll see several things change. First, the sample window's title bar will change to show you information about the file you've just loaded. The name will change, as will the file size, offset, zoom level, speed, and block size. You'll also see the sample displayed in the window. Now that it's loaded, let's make sure it's at the correct speed. If you loaded an .AVR type file, Sound Lab will automatically change the speed for you. The other file types, .SAM and .SPL, don't tell the proper speed of the sample, so you have to guess. Click on "Speed" (second column). A dialog will appear with a large number of buttons: eleven with numbers, four labeled "x2", "x«", "Tone Up", and "Tone Down", and four more labeled "Convert", "Play", "Okay", and "Cancel". Between the top set of buttons and the bottom set is a slider and a text field. The text field in this dialog shows the current speed, in KHz. You can change this speed in many ways; the easiest to click on one of the eleven preset speed buttons. These Sound Lab 1.0 Page 9 include some ST Replay 4 speeds, some Macintosh speeds, and some STe speeds. You can double or halve the speed by clicking on the "x2" or "x«" buttons. With the "Tone Up" and "Tone Down" buttons, you can change the speed to the next musical tone up or down. You can adjust the speed with the slider, or you can enter the speed you want directly into the text field. The digitized sound routines used by Sound Lab (and most every other sample editor or player) use the timers built into the ST. Because of this, not every speed can be used. Sound Lab will automatically round off any speed you enter to the nearest speed available. Also, Sound Lab only allows speeds from 4.915KHz to 30.72KHz. After setting your speed, you can click on the "Play" button inside the dialog to hear the sample at the new speed. You can either wait for it to finish by itself, or press the space bar or mouse button to stop the sound early. If you want to keep the new speed, click on "Okay"; otherwise you can click on "Cancel". Don't worry about the "Convert" button for now. Well, the speed has been set. You can now use the "Play" button on the main screen to play the sound, if you want. You can use the space bar or mouse button here as well to stop the sound. If you do stop it early, a flashing vertical bar will show you where it stopped (this will be handy later). The bar will disappear as soon as you click on another button, press a key to activate another button, or select a menu item. --- File Formats Sound Lab recognizes three types of digitized sound files. They are .AVR, .SPL, and .SAM. The .AVR file type is the kind used by the newer ST Replay software. If you want to save the speed of the sound, as well as any looping information (more on that later), you'll need to save in .AVR format, as only this type of file records that information. For the same reason, Sound Lab also sets this information when you load an .AVR file. Usually you will use .AVR format files when loading or saving. The .SPL file type is called "raw data". It contains only the sound, the whole sound, and nothing but the sound. This is a good format if you know the speed of the sound, and you want to include it in your own programs. The last type, .SAM, is similar to .SPL. The difference is that .SAM is signed data, whereas .SPL is unsigned. Signed data is stored as a series of bytes, ranging from -128 to Sound Lab 1.0 Page 10 127. Unsigned data records the same information in the range 0 to 255. If you're not sure which to use, just try one; if the sample ends up sounding very noisy, use the other. --- Recording Samples If you have a digitizer cartridge, this section will tell you how to use Sound Lab to record sounds from it. It's not difficult at all. First of all, you need to insure that the volume is properly adjusted. Click on "Monitor" (first column). You'll see a moving display right over the sample window. Adjust the volume on your sound source so that the display shows strong movement, but isn't clipped much at the top or bottom of the display. Clipped points will stick briefly to the top and bottom of the display, making it easy to see when clipping occurs. A little clipping is all right, but a lot of clipping will result in distorted sounds. Press any key or mouse button to exit Monitor. If you want to hear the quality of your sound before recording it, click on "Monitor" with the RIGHT mouse button; you'll see it change to "Listen", which will then begin. Now you'll be able to hear exactly what the digitized sound would be like, without having to actually record anything. This is a good way to find out which speed to record at. Press the space bar or mouse button to exit Listen. What you're really interested in, though, is recording sound. To do this, click on the "Record" (first column) button. An alert will appear, asking whether to wait for the sound, start recording, or cancel. Selecting "Wait" will cause Sound Lab to wait for an incoming sound before beginning to record. The mouse pointer will flash while Sound Lab is waiting for a sound. Selecting "Start" will start recording right away. "Cancel" will abort the record. Recording, naturally enough, erases the previous sample. It's like recording over an old audio tape. Sound Lab will stop recording as soon as the sound fills up the memory; how quickly this happens depends on your selected speed and the amount of memory you have. You can also stop the recording by pressing the space bar or mouse button. You'll hear the sound while it's being recorded, as with Listen. For some help on choosing a sampling rate to record at, see the Tips section. --- Saving Sounds After recording a sound, you'll probably want to save it. This is simple. Just click on "Save" (seventh column) and the _Fileselector_ will appear. Enter the filename you want to use for your file, and click on "Okay". "Cancel" will, of Sound Lab 1.0 Page 11 course, abort the save. If nothing went wrong, your file will be saved to disk. There are three very simple things that might go wrong, but aren't really a big deal. The first thing that might go wrong is that the disk is full. Since samples can get very large, this can happen a lot; if it does, you'll have to use another disk. If you don't have another formatted disk handy, see the Format Disk section for information on how to format a disk. The second thing that might go wrong is that you might have left the write-protect tab in the wrong place. You can't save to a disk that's write-protected; either select "Cancel" from the alert, or fix the problem and select "Retry". The third thing that might go wrong is that you tried to save your sample with a name that's already being used. The alert that appears will give you three options: "Erase", "Rename", and "Cancel". The first option, "Erase", simply erases the old file and saves your new file with that name. The second option, "Rename", is a bit more complicated; it renames the old file so that it ends in .BAK (erasing any file that had the .BAK name), and then saves your file with the name you requested. An example will make this clearer; if you try to save MCHAMMER.AVR, and there is already an MCHAMMER.AVR on the disk, the alert will appear; you select "Rename". The MCHAMMER.AVR on the disk is renamed to MCHAMMER.BAK, and any MCHAMMER.BAK that was there is erased. Then your new sound is saved as MCHAMMER.AVR. Keep in mind that since samples can be very large, you can run out of room _very_ quickly if you keep a lot of backup (.BAK) files, even if you're using a hard drive. The "Cancel" button from the alert cancels the save, of course. Sound Lab 1.0 Page 12 -------- Blocks Sound Lab is more than just a sound loader, player, recorder, and saver. It's also a sound editor. You can cut and paste sections of sound much like you would cut and paste text in a word processor; you can also do much more. --- Marking Blocks In order to do anything with your sound, you must tell Sound Lab which part of the sound to use. To do this, you will need to mark off a block of the sound. This is really quite easy to do. First, load up a sound. Then move the mouse pointer into the sample window, right over the sample. Click the left mouse button. All of the sound to the left of where you clicked has now turned light blue; the remainder, to the right, has stayed black. The black part of the sample is your block; what you've just done is to position the left block marker with the left mouse button. Logically enough, you position the right block marker with the right mouse button. Just click the right button with the mouse pointer somewhere between your left block marker (the boundary between the light blue and black sample) and the right edge of the screen. Voila! You now have a small block marked. You've probably noticed that a vertical bar appears while you're holding down the mouse button. This bar will follow the mouse pointer as long as the pointer is inside the sample window. This can help you position the block markers more accurately. --- Playing and Recording a Block Just about every single function that does anything in Sound Lab only works on the currently marked block. "Play" and "Record" are no exceptions. After marking off a block, click on "Play". Notice that you only hear the part you've marked? This makes it very easy to isolate a particular sound from a longer sound. "Record" works the same way--it will only record over the section of block that you have marked. --- "Hide Blk", "Zoom In", and "Zoom Out" Although blocks are very useful (you'll find out just how useful shortly), marking them can be a nuisance. So these three buttons have been included to make things simpler. The first button, "Hide Blk" (third column), simply repositions your block markers at the beginning and end of the entire sample. After clicking on it, you'll notice that it seems to stick in place; if you click on it again, it will come unstuck, and restore your block markers to their previous positions. Sound Lab 1.0 Page 13 The other buttons, "Zoom In" and "Zoom Out" (second column), change the magnification of the sample in the window. Normally, the magnification is set to "Max", which means the entire sample is displayed in the window, regardless of its size. With large samples, this can make the accurate positioning of the block markers difficult. "Zoom In" comes to the rescue; just click on it. Now you've switched to 16x magnification, in which each pixel across the screen represents 16 bytes of digitized sound. The slider at the bottom of the screen will now change to reflect how much of the sample is actually being displayed; you can move it around, and the screen will display the corresponding portion of your sample. You can click "Zoom In" again, to zoom in to 8x; then again, to 4x, and then 2x and 1x, in which each pixel on the screen represents exactly one byte of digitized sound. You can click "Zoom Out" again to back out a zoom level. At the very bottom of the window, just above the slider, you'll notice that a very thin line changes as you mark your blocks. It starts out as a solid white line, but after marking a block, the white portion shrinks--roughly to the same place on the screen as your block markers! This white line shows you how much of your sample has been marked as your block. It's sized to match the slider right below it. When you're at maximum magnification, it's not needed, since you can always see both ends of your block. When you start zooming in, though, you won't always be able to see your block markers; you can use that thin line as a guide to positioning the slider. That way, you can use maximum magnification to quickly place your block markers in the general area you want them; then zoom in, move the slider, and fine-tune your positioning. Zooming in and out all the time can get repetitive. Usually 1x is the best for positioning block markers, but you have to hit "Zoom In" five times (with a reasonably large sample) to get to it! That's where "Min Zoom" and "Max Zoom" come in. You've probably noticed that those buttons don't appear at the bottom of the screen. That's because you need to use the right mouse button to get to them. They're "under" the "Zoom In" and "Zoom Out" buttons; just click on "Zoom In" with the right mouse button, and it will change to "Min Zoom". This will take you to 1x magnification, without seeing any of the in-between zoom levels. Using the same technique, click on "Zoom Out" with the right button to get "Max Zoom", which takes you back to maximum magnification. --- "Cut", "Copy", and "Insert" Now that you know how to mark blocks, let's do something with them. Your basic block functions are "Cut", "Copy", and "Insert". Sound Lab 1.0 Page 14 "Cut" takes your block out of the sample and stores it in the buffer. This buffer is a section of memory marked off for blocks that have been cut and copied; for the rest of these instructions, it will always be called the buffer. Once "Cut" has taken out your block, the rest of your sample is moved down to fill in the gap. An example should make this completely clear. Let's say you have a sample of George Bush saying "Read my lips." You set your block markers so that only "my" is marked. Click on "Cut". That chunk of sound has just disappeared! Click on "Hide Blk" so that the entire sample is marked; now click on "Play". George Bush now says "Read lips." The "Copy" button works very similarly to the "Cut" button. It also copies your block into the buffer, but unlike "Cut", it does not remove the block from the sample. Since it doesn't remove the block, it is possible that you won't have enough memory to make a copy of the block. If this happens, an alert will appear to tell you. Once you have a block stored in the buffer, you can then "Insert" it. That will take the block and insert it where your left block marker is. Going back to our George Bush example, let's say your block is "my". You "Copy" the block to the buffer, and then "Insert" it. Your left block marker was still before "my", so when you insert "my", George Bush says "Read my my lips." I had no idea he had a stuttering problem. As with "Copy", it is possible that you don't have enough memory for an "Insert". When this happens, an alert will appear, giving you four options. Before explaining them, let me explain that the buffer, where cut or copied blocks are stored, is the last part of the memory area. If you have a memory size of 400K, then you can have up to 400K of digitized sound in memory. If you load a 200K sample into memory, that leaves 200K for cutting and copying blocks. And if you were to cut a 20K chunk from that 200K sample, it would be stored in the _last_ 20K of the memory. That explained, the options presented when you have insufficient memory for an "Insert" are "Lose Sample", "Lose Buffer", "Insert to Fit", and "Cancel". "Lose Sample" means that the entire buffer will be inserted, but the end of your sample (whatever doesn't fit) will be lost. "Lose Buffer" means that the entire buffer will be inserted, and all of your sound will be saved, but the start of the sample in the buffer will be lost. "Insert to Fit" will insert as much of the buffer as will fit without losing the buffer. "Cancel", of course, aborts the "Insert". Phew! I realize that took a bit of explaining, but hopefully it's much better than having Sound Lab say "Insufficient Memory for Insert" and then do nothing. Sound Lab 1.0 Page 15 After cutting or copying a block into the buffer, you may want to play the buffer again, to remind yourself what's in there. To do this, click on "Play" with the right mouse button. You'll see it change to "Play Buf", and the buffer will be played, instead of the block. --- "Remove" and "Trim" These are two buttons you may find useful. They are both in the fifth column, but "Trim" is "under" the "Remove" button; by this, I mean you use the right mouse button to select it, instead of the left. "Remove" is very similar to "Cut". The only difference is that the block is not stored in the buffer; it's just removed from the sample. This is much faster, since then Sound Lab doesn't have to rearrange the data. Since this can't be undone, you will be asked if you are sure. "Trim" is a special function, useful after a sound has been recorded. Often you'll find "pops" at the beginning and end of sounds. Using "Cut" or "Remove" to get rid of them would require that you isolate the pops, by carefully positioning the block markers, and cutting them out. Instead, you can position the block markers around the sound you want to keep. Then click on "Trim" (by clicking on "Remove" with the right mouse button) and everything before and after your marked block will disappear. Since this, like "Remove", cannot be undone, you will be asked if you are sure. --- Looping Looping is a very useful technique when you use digitized sound in music. What it does is let you choose a part of your sample to play repeatedly. So if you had a short sample of some stringed instruments playing a single note, you could loop the last part of the sound, so that they seemed to play the note forever. Looping is most useful in this fashion. To loop a portion of your sound, mark the part you want to loop with the block markers. Then click on "Loop" (fifth column). An alert will appear, with four options: "Set Loop", "Reset Block", "Loop On/Off", and "Cancel". "Set Loop" is the one you want, as this will set the loop to your current block markers. You'll see your loop segment framed in a dark blue box. Click on "Play" to hear the looped sample. (While looping is on, the entire sample will be played, with looping; your block markers are ignored during "Play".) More than likely you will need to adjust your loop to remove the "pops" when the sample loops. Just move your pointers and click on "Loop" again. Select "Set Loop" again. Sound Lab 1.0 Page 16 The other options have other uses. "Reset Block" will move your block markers to the current loop settings; that way, you can mark other blocks, edit more sound, and still be able to go back to adjust your loop easily. "Loop On/Off" will turn looping on or off, without changing where the loop or block markers are. ("Set Loop" and "Reset Block" both turn looping on automatically.) "Cancel" will do nothing. If you want to save the looping information with your sample, you will need to save in .AVR format, as only this format saves the looping information. --- "Overlay" Overlaying is a technique used to superimpose one sample over another. You can use "Overlay" to take the sample stored in the buffer and overlay it onto the block. To do this, just click on "Overlay" (fourth column). And don't panic when you see the dialog. Despite its imposing look, the _Overlay_ dialog isn't that bad. At the top you will see the dialog's title; directly underneath is a large white box, showing you some waves. On the left and right sides of this box are two sliders. Underneath the box are two text fields, labeled "Block Volume" and "Buffer Volume", and four buttons labeled "Length". These are "Block", "Buffer", "Longer", and "Shorter". At the bottom are two buttons labeled "Repeat Buffer", called "Yes" and "No", and two other buttons, "Okay" and "Cancel". The large white box is the "Preview" box. This shows you some waves to give you a general idea of what will happen in the overlay. The light blue wave is your block, and the dark blue wave is your buffer. The black wave is the final result of the Overlay. These waves are not your actual sample, just representations for your convenience. When you overlay two samples, you can adjust the volume of each. Normally you'll want both at full volume, but this can sometimes cause distortions in the final sound, especially if you start with loud samples. In this case, you should lower the volume for each sample. Use the left slider to change the volume of the block; use the right slider to change the volume of the buffer. Note that you can also enter the numbers in the text fields directly. Also note that whenever you change the volumes, the Preview box is redrawn, allowing you to see the change. Underneath the box you'll see the four "Length" buttons. These let you choose how much to overlay. "Block" uses the block's length, "Buffer" uses the buffer's length, and "Longer" and "Shorter" use the longer or shorter sample. This way you don't have to worry about making your block the Sound Lab 1.0 Page 17 same size as the buffer. Below the "Length" buttons is "Repeat". If you use the "Block" as the length (or if you choose "Longer", and that ends up being the block), Sound Lab may run out of buffer sample before finishing the Overlay. Sound Lab gives you the option of starting over on the buffer (setting "Repeat" to "Yes") or using silence (setting "Repeat" to "No"). Once you've set your options, click on "Okay", and the overlay will be done. Clicking on "Cancel" will abort the Overlay. Overlays may take as much as ten seconds with long samples. --- Inserting or Overlaying a File Many times you will wish to insert or overlay a sound, and that sound isn't in memory. You can load it into the buffer and do it (see the next section), but you can also insert or overlay right from the file. To do this, click on "Insert" or "Overlay" with the right mouse button. The buttons will change to "Ins File" and "Ovly File". A fileselector will appear, allowing you to choose the file you want to use. What happens next depends on which button you used. If you clicked on "Ins File", the insert will proceed as though you had the file in the buffer. You might not have enough memory, so the same options as "Insert" will apply. If the file you insert is an .AVR type, and it's not at the same sampling rate as the rest of your sample, Sound Lab will ask you if you want to convert it. If you clicked on "Ovly File", the _Overlay_ dialog will appear. The entire file will be read when you click on "Okay", to overlay it. Everything else will proceed like a normal overlay. --- Loading or Saving the Buffer You can load or save directly to the buffer. To do this, just click on "Load" or "Save" with the right mouse button; the buttons will change to "Load Buf" and "Save Buf". Then select the file you want to load or save to. Remember that you can play the buffer by clicking on "Play Buf" (under "Play"). Sound Lab 1.0 Page 18 -------- Effects In addition to editing sounds, Sound Lab lets you modify the sound itself. These are called Effects. They let you add spice to your sounds. Remember, though, that these functions modify the sound information itself. Except where noted, you _cannot_ undo these functions. Always save your sample before adding an effect, so that you can reload it if the effect doesn't sound right. Also, effects only change the part of your sample that is marked as your block. --- "Clear" and "Gap" "Clear" (fourth column) lets you clear samples from memory. When you click on "Clear", an alert will appear with four options in it. They are "Block", "Buffer", "Everything", and "Cancel". "Block" will clear the sample between the block markers, replacing it with silence. "Buffer" will erase any sample you have stored in the buffer. "Everything" means just that--selecting this will erase everything in memory. "Cancel", of course, aborts the operation. "Gap", which is under "Clear", can be used to insert a gap into your sound. To use this, set the left block marker at the point where you want to insert the gap. Then use the right marker to show how big a gap you want; the size of the gap will be the same as the size of your block. Then click on "Gap". If there isn't enough memory to insert the gap, you'll get the same options as for "Insert". Something special happens when you select "Gap" and the left block marker is at the end of your sample. As much memory as is available will be added to the end of your sound; you should then mark how much you want to keep (including the original portion of the sample) and select "Trim". This way you can make a sample longer, leaving blank space at the end for echoes. To use this, switch to Max zoom, move the mouse pointer all the way to the right side of the screen, inside the sample window; then click the left mouse button. Then click on "Gap". All of the remaining memory will then be added to your sound. --- "Volume" This incredibly useful effect allows you to change the overall volume of a sound. First mark off which section of the sound you want to change; then click on "Volume" (fifth column). A dialog will appear, similar to the _Overlay_ dialog, but not as complicated. At the top is the same Preview box, but only one slider, on the right side of the Preview box. Also, the Preview box contains a sample, not a wave. Below is a single text field labeled "Amplify", and three buttons: "Play", "Okay", and "Cancel". Sound Lab 1.0 Page 19 Use the slider on the right to adjust the amplification. "Amplify" of 1 means keep the same volume; 0.5 is half volume, and 2 is double volume. As you change the volume with the slider, you'll see the Preview box change as well. The light blue sample is your original sound; the black sample is the sound with the volume change. Don't forget that you can also enter the volume change directly into the text field. If you want to hear the volume change, click on the "Play" button; "Okay" confirms the change, and "Cancel" aborts it. After clicking on "Okay", the change will be made to the sample. With large samples (over 500K) this may take more than five seconds, so don't panic. One thing to be careful about is boosting the volume too high. It's always a good idea to pretest the volume change with the "Play" button; when you boost the volume (especially more than double) you introduce some distortion to the sound, and using the "Play" button lets you hear that distortion before you put it into your sample. --- "Fade" This effect allows you to fade the sample in or out. To use it, mark off the part of the block you want to fade. Then click on "Fade" (sixth column). Another large dialog appears, similar to _Volume_ and _Overlay_. It has the preview box, sliders to the left and right, two text fields labeled "Start" and "End", and six buttons: "Shape", "Play", "Fade In", "Fade Out", "Okay", and "Cancel". Basically, this dialog lets you set the beginning and ending volume of the fade. The slider on the left sets the start volume, and the slider on the right sets the end volume. You can also enter the volume directly. Clicking on the "Fade In" or "Fade Out" buttons will reset the values to those defaults. "Okay" confirms the fade, and "Cancel" aborts it. The "Play" button lets you hear the fade before making it final, and the "Shape" button brings up a small dialog, allowing you to choose the shape of the fade (flat line, curve opening up, curve opening down, or S-curve). With the _Fade_ dialog, you'll see an extra item in the preview box--a light blue line showing you the fade boundaries. It's hard to express in words, but when you see it, it will be quite obvious what it's for. This also shows you the difference between the different fade shapes. As with volume, large samples take time to fade--about the same amount of time as volume. Sound Lab 1.0 Page 20 --- "Echo" Echo effects add depth to sound. They make samples sound like they're in a place, rather than in a sound room. Sound Lab allows you a great deal of control over echo effects. As with the other effects, you need to mark off your block first. Then click on "Echo" (sixth column). A dialog will appear, containing three slider/text field pairs, labeled "Echo Fade Rate", "Echo Spacing", and "Maximum Echoes". At the bottom are four buttons labeled "Load", "Save", "Okay", and "Cancel". (Echo is too complicated to "Play" before making the change final.) The three sliders and text fields allow you to set the echo. The first, "Echo Fade Rate", refers to the volume of each echo. A value of 0.5 (the default) causes each echo to be half the volume of the previous one. The second item, "Echo Spacing", refers to how far apart (in seconds) the echoes are. The last item, "Maximum Echoes", simply specifies the number of echoes to add. The bottom four buttons are in two groups. In the first group are "Load" and "Save"; these two buttons allow you to load and save the settings in the _Echo_ dialog from or to an .EKO file. Use the _Fileselector_ to specify the file. The other two, "Okay" and "Cancel", confirm or abort the adding of echoes. Echo is a complicated function. Don't be surprised if large samples take about twenty seconds to do. --- "Reverse" "Reverse" (sixth column) simply takes your marked sample and reverses it, so that when you use "Play", it will sound backwards. This is a very fast option--even large samples can take less than three seconds. If you don't like the reversed sound, you can reverse it again, thereby restoring your original sample. --- "Convert" This is not an effect, really. It's the "Convert" button in the _Speed_ dialog. To use this, just use the _Speed_ dialog to set the new speed for the sample; then click on "Convert". An alert will appear, telling you the old speed and the new speed, and asking you to confirm the conversion. Click on "Okay" to begin the conversion, "Cancel" to abort. If you clicked on "Okay", the conversion will begin. Sound Lab uses two techniques to convert samples to different sampling rates: "infinite oversampling", and linear interpolation. When you convert to a slower speed, Sound Lab Sound Lab 1.0 Page 21 uses the "infinite oversampling" technique to preserve as much of the original sound data as possible, as slower speeds have less information. Higher speeds, though, require more information; the linear interpolation technique is then used to try to "fill in" the missing data. These two techniques have two things in common: they can be slow, and they are only approximations. Samples that are noisy (like voices with "f" or "s" sounds, or music with lots of drums) will sound muffled when converted using either technique. And large samples can take almost twenty seconds to convert. To help alleviate the speed problem, Sound Lab also has special optimized routines to convert to half or double speed. These routines are very, very fast, so if you can, convert to double or half speed. If you chose to convert to a higher speed, then the sample will grow in size; you may not have enough memory for this. If you don't, Sound Lab will show you the familiar _Insert_ dialog, allowing you to choose what to do. Sound Lab 1.0 Page 22 -------- Menus Sound Lab does have menus. Usually they're tucked away, out of sight, but they can be called up very easily by moving the mouse to the top left of the screen. The menus will appear under the mouse, allowing you to select an item. If you don't want to select an item, move the mouse out of the menus and click the left mouse button. The menus will be re-hidden, and you can go back to editing your sound. These menus are not used for any of Sound Lab's sample editing functions. Rather, they contain information, and several disk utilities for your convenience. --- /Info/ The /Info/ item, in the /Desk/ menu, has a submenu attached. Just move the mouse into the submenu and select the item you want. /Sound Lab/ brings up the title screen; /Shareware/ brings up information about how to register the program; and /Thanks/ lists some people who helped in the completion of this program. What you won't find under the /Info/ item are the desk accessories. Despite appearances, Sound Lab is a TOS program, and does not cooperate with accessories in the least little bit. --- /Rename File/ This item, in the /File/Disk/ menu, allows you to rename a file. After selecting /Rename File/, the _Fileselector_ will appear, allowing you to choose which file to rename. Click on "Okay". Then a small dialog will appear, showing the old name, and allowing you to enter the new name. Click on "Okay" to confirm the change, "Cancel" to abort it. (You will not be allowed to enter an illegal filename; use other utilities to do that.) --- /Delete File(s)/ This item allows you to delete files from the disk. The _Fileselector_ will appear, allowing you to choose which file to delete. You can also enter a wildcard (like *.*). Click on "Okay". An alert will appear, showing you which file or wildcard you entered, and asking you to confirm your delete. Click on "Okay" to delete the files, or "Cancel" to abort. In either case, you will be returned to the _Fileselector_, so you can delete more files. Click on "Cancel" when you're done deleting files. --- /Create Folder/ This item allows you to create a new folder on the disk. The Sound Lab 1.0 Page 23 _Fileselector_ will appear; choose where you want to create the folder, and enter the folder's name in the "Filename" part of the _Fileselector_. Click on "Okay" to create the folder, or "Cancel" to abort. --- /Remove Folder/ This item allows you to remove an empty folder from the disk. The _Fileselector_ should be used to choose the folder; the "Filename" area of the _Fileselector_ should be left blank. If the folder is not empty, it cannot be removed; use /Delete File(s)/ to empty it. Otherwise, the folder will be removed when you click on "Okay". "Cancel", of course, aborts the operation. --- /Free Space/ This item allows you to check the free space available on any connected drive. Just move the mouse pointer to the desired drive shown in the submenu and click the button. The free space will (quickly) be checked, and then displayed, in both bytes and kilobytes. Click on "It does, does it?" when finished. --- /Format Disk/ This option allows you to format a disk. After selecting /Format Disk/, a dialog will appear, allowing you to choose drive A or B, and one or two sides. Click on "Okay" to begin formatting or "Cancel" to abort. You will be asked to confirm the format, since formatting erases everything on the disk. While the disk is being formatted, you can press any key to interrupt. All disks are formatted 80 tracks, 10 sectors per track. --- /Quit/ For completeness, I'll also mention /Quit/. It's found at the bottom of the /File/Disk/ menu, and serves the same purpose as the "Quit" button--it exits the program. Sound Lab 1.0 Page 24 -------- Tips for Using Sound Lab You now know how to use Sound Lab, mostly. What follows could be called "Miscellaneous"; it covers special features of the program, techniques you can use, and some overall advice. --- Moving Dialogs Most dialogs (_not_ alerts) can be moved in Sound Lab. To do this, click AND HOLD the left mouse button on the title bar of the dialog. Then drag the hollow rectangle to the dialog's desired position, and release the mouse button. The dialog will be moved to the new position; every time you bring up that dialog (until you exit the program) it will appear where you last positioned it. You can save the dialogs' positions when you save your preferences in the _Preferences_ dialog. --- Bypassing the Title Screen If you don't like the title screen appearing, just hold down the Alternate key while the program is loading until the main screen is displayed. If you bypass the title screen, you free up 20K of memory for samples; you can also press Alternate-Tab to free up that memory after the program is loaded. --- Choosing a Sampling Rate Whenever you record sounds, it's important to choose a sampling rate that fits your purpose. The higher the sampling rate, the higher the quality--and the more memory used. If you're using the digitized sound in other programs, good speeds are 7.68KHz (for voice) and 9.6KHz (for music). If you have the memory, though, you should record your samples at a higher speed--15.36KHz or 19.2KHz. These give you much better quality. You can then convert these samples to half their speeds. Although Sound Lab allows you to convert from any speed to any speed, you're best off sticking with doubling or halving the speeds. There are two reasons for this: first, Sound Lab has special routines for doubling/halving that are much faster than any other conversion, and second, repeated conversions can "muffle" the sound, especially if you don't always use doubling/halving. --- "High Bit" This special button allows you to convert samples from signed format to unsigned format. Sometimes you'll get a sample in a format that Sound Lab does not recognize. Usually these formats consist of a small header (a few bytes) followed by Sound Lab 1.0 Page 25 the sample in raw form. Just load up these sounds and play them. If all of the sample sounds very loud and noisy, just click on "High Bit" (seventh column) to convert it to an unsigned sample. Then play it again. If it doesn't sound any better, I can't help you; something has altered the sound. If it does sound better, except for some noise at the beginning, that's probably the header--just cut the noise out. Since Sound Lab recognizes .AVR, .SPL, and .SAM files, you probably won't need this button very often. But in case you do, it's here. --- Loading and Saving Blocks - Partial Files Sound Lab does not require you to load and save entire samples at once. You can load or save just blocks of samples. To load a block, just mark off the section of your sample that you want to load over. Then click on "Load". An alert will appear, asking if you want to load over your entire file (as with normal "Load") or just the marked block. Select "Block". Note the title of the _Fileselector_ changes to show you are loading a block, not an entire file. (If you select "File", note that Sound Lab selects the "Hide Blk" button for you.) Select the file you want to load, and click on "Okay". What happens next depends on whether your block is longer than the file. If the block is longer than the file, then the file is loaded over the first part of the block; the remainder of the block is unchanged. If the file is longer than the block, though, the _Load_Partial_ dialog will appear. This dialog allows you to choose which part of the file to load. Use the slider, or enter the Offset (the amount of bytes to skip) in the text field. Click on "Okay" to load that portion, or "Cancel" to abort the load. Whether or not you see the _Load_Partial_ dialog, the file you load may not be at the same sampling rate as the rest of your file. If it isn't, Sound Lab will ask you if you want to convert it. Sound Lab keeps track of which files have been loaded to make maximum use of the _Load_Partial_ dialog. If you load an entire file, then mark off a block, and try to load that file back, it's obviously not going to fit. But Sound Lab sees that the block filename (the one you've just chosen) is the same as the sample filename, and will automatically set the _Load_Partial_ dialog to exactly the portion of the file you have marked. So if you accidentally damage a segment of the sound, you can reload it easily. Sound Lab 1.0 Page 26 Also, if you try to load an entire sample that is too large for memory, Sound Lab will then show you the _Load_Partial_ dialog. And next time you try to load from that same file, it will automatically remember where you last loaded from. (This is separate from the block remember feature.) So you can load in consecutively different parts of a very large sample for editing work. All of this load partial business wouldn't be much good if it couldn't be saved the same way. So naturally, you can save partials as well. Just click on "Save" as you normally would; if you try to save back to the same file you loaded a partial from, Sound Lab will ask you if you want to save it back to the same place it came from. (This only works when entire files have been loaded as partials, not just blocks.) Click on "Partial" to save the file back to the proper part, "Whole" to erase the old file and save this segment as the new file, or "Cancel" to abort the save. If you click on "Save" with a block marked, Sound Lab will ask you if you want to save the entire file (as with normal "Save") or just the marked block. Select your choice; "Cancel" will, of course, abort. --- Loading .BAK Files Sound Lab has the option to rename old samples to ones with extensions of .BAK if you try to save over them. This can prevent you from accidentally erasing a sound. To re-load these samples, you should use the /Rename/ option in the /File/Disk/ menu to rename the file to its proper extension (.AVR, .SPL, or .SAM), or else Sound Lab won't recognize the file type. --- Echo Effects The "Echo" option in Sound Lab is quite potent. Use the enclosed .EKO files as a guide for setting options. A very interesting effect can be obtained by reversing the sample, adding an echo effect, and reversing the sample again. Thus the sample plays in the proper direction, but the echoes precede the sound. You can make other interesting effects by using Echo Fade Rates of 1 or nearly 1. You should only try this with relatively quiet samples, though; loud samples will be distorted if you also add loud echoes to them. If you want to hear the echoes at the end of a sample, you should use "Gap" with your left block marker at the end of your sample (see "Gap"). This will add blank space at the end of your file. Sound Lab 1.0 Page 27 --- Background Effects The "Overlay" option in Sound Lab is more powerful than it may first look. You can use it some recorded background sounds; then overlay them at low volume (.2 or .3) onto a louder sample. Use the repeat option to add the same sound over and over. This gives "atmosphere" to a sample, especially if you use echo effects as well. You can overlay sounds even if they're too large to fit into RAM; just use "Ovly File". You can also get an interesting effect by overlaying the same sound onto silence several times in slightly different locations. --- Preferences Sound Lab has no intentions of restricting you to its way of doing things. You can configure many of the options to your own preferences. Clicking on "Prefs" (eighth column) will bring up the _Preferences_ dialog. In this are nine options for you to set. First is "Output", which lets you choose how you want the digitized sound played. "Sound Chip", the default, refers to the ST's sound chip; it's present in all ST's, and produces moderate quality sound. "STe DMA" is only useful on STe's and TT's; it selects the STe's digitized sound chip, which creates exceptional quality sound. "Cartridge" plays the sound through the ST Replay cartridge's output. When you click on the "STe DMA" button, a small dialog will appear with three sliders. These sliders control the overall volume (from -80 to 0), the left and right volumes (from -40 to 0), and the bass and treble (-12 to +12). You can click on "Play" inside the dialog to test the adjustments. Click on "Okay" to confirm the settings, or "Cancel" to restore them to their previous values. Clicking on "Cancel" here does _not_ abort the STe DMA output option--just the volume/bass/treble settings. (If you don't have an STe, selecting the "STe DMA" button will just use the ST output.) The second option is "Window Title". This lets you choose what you want in the title bar of the sample window. The default is "Pathname", which shows you the full path of the current file, the speed, magnification, and block size. "Info" shows only the filename of the current sample, leaving enough room to show the file size in kilobytes and the offset in bytes. This second option can be extremely useful to programmers. The third option in the _Preferences_ dialog is "Window Display". This chooses how you want to have the sample displayed in the window. You can choose from "Points" (the Sound Lab 1.0 Page 28 fastest-drawing option), "Outline" (the default, also the slowest), and "Solid" (a good compromise). The Preview boxes in the _Overlay_, _Volume_, and _Fade_ dialogs all follow this option, as well as the main window. The fourth option is "Dialog Preview". It specifies whether to use the actual sample ("Sample", the default) or generic waves ("Wave") in the _Volume_ and _Fade_ dialogs. The _Overlay_ dialog always uses waves, since using the actual samples makes for a complete mess in the dialog. The fifth option, "Sizes In", refers to which units are used in the window title bar. The default is "Bytes", but you can also select "Seconds". Note that this means only the window title bar; it has no effect on items inside dialogs. The sixth option is "Menus". It allows you to choose between "Drop-down" (ST-type, the default) or "Pull-down" (Macintosh-type). The seventh option is "Zoombox". With this, you can turn the "zoom" on ("Yes", the default) or off ("No"). This "zoom" appears both before and after all dialogs, if turned on. Eighth is "Existing Files". It allows you to choose what Sound Lab will do when you try to save over an existing file. You can choose "Erase", which erases the old file to make way for the new; "Rename", which renames the old file so its extension is .BAK, then saves the new file; or "Ask" (the default), which asks this question every time the situation occurs. The last option is "Default Speed". Normally this is 9.6KHz, but clicking here will bring up the _Speed_ dialog, allowing you to choose any speed as the default. At the bottom of the _Preferences_ dialog are three buttons: "Save", "Use", and "Cancel". "Save" will save your preferences (and the positions of all dialogs) to the file SOUNDLAB.PRF, in the same directory as you ran Sound Lab from. If you ran Sound Lab from an AUTO folder, the preferences file will be saved to the root directory, not the AUTO folder (don't panic, that's where Sound Lab will look for it when it loads). If you ran Sound Lab from a floppy, make sure your Sound Lab disk is in the drive when you hit "Save". "Use" will keep the changes you've made, but won't save them; this is most useful if you've called up the _Preferences_ dialog only to adjust the "STe DMA" buttons. "Cancel", of course, aborts the changes and restores the previous settings. Sound Lab 1.0 Page 29 -------- Using the _Fileselector_ Sound Lab uses the custom dmj software file selector. It's really quite simple to use. If you have an alternate file selector loaded (like the Universal Item Selector, or the Little Green Selector) you won't be able to use it, since Sound Lab is a TOS program, and alternate file selectors work in GEM programs. At the top of the file selector is a line of text telling you what file you're supposed to be selecting with the file selector. By "grabbing" this bar with the mouse (i.e. move the pointer to it, press, and hold the left button down) you can drag the entire file selector to a new spot on the screen. The file selector will appear at this same spot every time you use it, until you leave the program. Below this line, you will see a line of text containing the pathname. You cannot change this line directly. More on this later. Below the pathname is the major component of the file selector: the filenames. This large white box contains up to 24 filenames at a time. To select a filename, just click on it. Then click on the "Okay" button, which you will find in the lower right hand corner of the file selector. You can also just double-click on the filename and skip clicking on the "Okay" button; it will do the same thing. Below the white filename box you will see the name of the currently selected file. This filename can be edited with the keyboard. You can use the left and right arrow keys, BACKSPACE, and DELETE to edit this filename. You will not be able to enter an illegal filename. You can press ESC to erase the filename completely; CTRL and the left or right arrow key will move the cursor to the beginning and end of the filename, respectively. In the lower right hand corner of the file selector you will find two buttons, "Okay" and "Cancel". Selecting "Okay" confirms the choice listed in the "Filename" area in the lower left hand corner of the file selector. Selecting "Cancel" aborts this selection process. Pressing RETURN on the keyboard is the same as selecting "Okay"; pressing UNDO is the same as selecting "Cancel". Directly to the right of the white filename box is a vertical slider. This is only useful when there are more than 24 files in the current folder. You can use the up and down arrow buttons to scroll the names; you can click above or below the slider itself to move the slider in that direction quickly; or you can drag the slider to a new position directly. Sound Lab 1.0 Page 30 You may have noticed some of the names in the white filename box have a small > symbol to their left. These aren't files; they are folders. You can click on a folder's name (just once) to change the current folder and see what's inside it. The pathname line directly above the white filename box will reflect the change--the new folder name will be added on the end. To exit back out of the folder, you can either select the "<-" button in the upper right hand corner of the file selector, or click on the part of the pathname that you want to go to. For example, if your current folder is "D:\SAMPLES\AVR\" and you wanted to go back to the SAMPLES folder, you could either select the "<-" button, or click on the word "SAMPLES" in the pathname line. You can jump back several folders at a time with just one click. In the example above, you could click on "D:\" and go to the main directory of the disk, whereas it would take two clicks of the "<-" button to do the same. There are three other buttons in the upper right hand corner of the file selector. One has a drive letter on it; another has a disk icon on it; the third has "*.*" on it. The drive letter button allows you to quickly change the current drive. Just click and hold the mouse button down on the drive letter. Move the mouse pointer to the drive you want to use, and release the mouse button. You will not be able to select a drive that does not exist--this also means drive B, so if you have a single floppy drive, forget about drive B. The disk icon button serves no other purpose but to tell the file selector that you have inserted another disk, and you would like to reread the disk's directory. The "*.*" icon, however, will require some explanation. This button calls up another dialog that allows you to select the "search mask". The search mask is how you tell the file selector which files you want to see in the white filename box. You shouldn't normally need to use this. Before explaining about the search mask dialog, a little explanation about search masks themselves is necessary. Search masks are just filenames with wildcards in them. There are two wildcard characters that are used: the asterisk (*) and the question mark (?). The question mark represents any letter--but only one letter. The asterisk represents any number of letters. Here's some examples to make things clearer: the wildcard SND?.AVR would match SND1.AVR, SND2.AVR, and SNDZ.AVR, but not SOUN.AVR, SND.AVR, or SND23.AVR. The wildcard SND*.AVR would match SND1.AVR, SND2.AVR, SNDZ.AVR, SND.AVR, SND23.AVR, and SNDTHING.AVR, but not SOUND.AVR or SOUND19.AVR. See? That's why the wildcard "*.*" is used to mean all files--because it matches all filenames. Any number of characters, of any type, match the first *. Then there's the period, which separates the name from the extension. The last * matches any extension, no matter how long it is. The catch here is that GEMDOS takes a Sound Lab 1.0 Page 31 shortcut when it comes to "*.*". That wildcard shouldn't match the filename "TEST", because it doesn't have a period in it. But because GEM doesn't actually record the period on the disk, it assumes it is there. So when GEMDOS checks for files, "TEST" comes out to be "TEST.", and so fits the wildcard. You've undoubtedly used wildcards before. In the GEM File Selector, the wildcard appears at the end of the pathname. Many programs make use of wildcards to mask out files you don't need to worry about. For example, when selecting a picture from SPC-3375 (a Spectrum picture viewer), it uses a search mask of *.SP?. This allows all files to appear in the GEM File Selector, as long as the first two letters of the extension are "SP". So anything with an extension of "SPC" and "SPU" will show up. Unfortunately, anything with an extension of "SPX" or "SPQ" will also show up. It would be nice if there was an easy way to allow only the extensions "SPC" and "SPU". The dmj software file selector allows you to do just that. It allows you to take several wildcards and chain them together to make one mask; a file only needs to fill one of the wildcards to appear in the white filename box. You separate wildcards with the vertical bar character, |. So to display just Spectrum pictures, you'd use the mask "*.SPC|*.SPU", instead of the less precise "*.SP?". Of course, you don't use pictures in Sound Lab; that's why the default mask is "*.AVR|*.SPL|*.SAM"--it shows only .AVR, .SPL, and .SAM type files. Now that the enhanced wildcards have been explained, I can explain how to use the "*.*" dialog. You will see ten lines in the dialog, each with a different search mask. To select one of these search masks, just select its button, which can be found at the left side of the dialog. You can select "Ok" to confirm your choice, or double-click on your choice to avoid the "Ok" button. You can press F1-F10 in place of click on the selection buttons, and you can press RETURN in place of clicking on the "Ok" button. If you want to change one of the search masks, click on the mask you want to change. Then use the arrow keys, BACKSPACE, and DELETE to edit the search mask on that line. Remember that simply editing a mask does not select it; you must choose its button on the left hand side. Also note that you cannot edit the top two lines. These are reserved. The top line has the mask provided when the fileselector was called up; the second line has the catch-all "*.*". This fileselector is very similar to the one used in DMJ GIF. The difference is that you can now press F1-F10 in the fileselector itself, without having to call up the search mask dialog; you can also use ALT-A through ALT-P to switch or reread drives. Sound Lab 1.0 Page 32 -------- If Something Goes Wrong Inevitably you will, at one point, find that things are not going well for you. Here's a list of common things that might go wrong, and brief explanations of how to fix them. --- Sound Lab won't load. Hopefully it told you what was wrong; if so, fix it. Otherwise, it's possible that you have a damaged file (not likely) or that Sound Lab doesn't like one of your accessories or AUTO programs. If this is the case, fiddle around with them and see if you can get Sound Lab to load; if you figure out which one(s) Sound Lab doesn't like, please tell me, so I can pass it on to other users. --- Mouse won't move during play/record functions. That's normal. When you move the mouse, it grabs time from the processor, and that screws up the timing for those sound routines. So the mouse is disabled whenever timing is critical. --- No sound during playback. Turn up your monitor's volume. Or (if you're using the STe sound) turn up whatever the STe's speaker ports are connected to. The same goes for the Cartridge output. It's also possible that you don't have a sound loaded. If you see a flat line in the sample window, then no sound is loaded! --- No sound during record/listen. Turn up the volume on your sound source. Use the Monitor function to check the volume, and adjust it correctly. Also make sure that your cartridge is connected, and you have a sound source connected. Neither the ST Replay nor Daatasound cartridge amplify the sound source, so most microphones cannot be connected directly to the cartridge. Use a cassette recorder or portable CD player for best results. --- Sample is very noisy, hard to hear. You may have a signed sample. Try using "High Bit" to fix it. (See Tips.) --- Record/Listen are noisy. Make sure you're using either ST Replay or Daatasound cartridges. Other cartridges are not proven to work; I make no claims for them. Also, use only high quality connections between your sound source and cartridge; one bad connector can ruin an otherwise good setup. Sound Lab 1.0 Page 33 --- Samples don't load at the correct speed. Use .AVR format when saving files. This records not only the sample, but also the speed of the sample and any looping that may go with it. --- Loading or Saving produces errors. It's possible that a disk could be damaged. If Sound Lab has a problem with a disk, it will tell you what it is. If the disk is damaged, you will need to save to another disk. If you don't have another disk formatted, you can use Sound Lab's /Format/ option to format a disk for you. You may also need to do this if your disk gets full. --- GFA BASIC Errors You're up late one night, fiddling with your finest sounds, and you get an alert saying, "GFA BASIC Error". Ugh. Hopefully this won't happen to you. Sound Lab has been extensively tested with a wide variety of AUTO programs on a large selection of STs. On the off chance that something does go wrong, I'd like to know about it. Please tell me what happened, what you were doing just before it happened, and which accessories and AUTO programs you're using. Seriously--the more information I have, the better the chance that I can figure out what went wrong. It wouldn't hurt to tell me what kind of computer you're using, either. Sound Lab 1.0 Page 34 -------- Quick Reference & Keyboard Shortcuts This section lists all of the capabilities of Sound Lab, with a brief description of them and their keyboard equivalents. Throughout these descriptions, "Block" refers to your marked block; "File" or "Sample" refers to the entire sample loaded into memory; and "Buffer" refers to the area of memory set aside by Sound Lab to store chunks Cut or Copied from the sample. All keyboard equivalents are in lower case, except where "Shift" is noted. "Play" Plays the current block at the current speed. Space bar also activates this option. If the "Play" button appears inside a dialog, the space bar activates it there too. "Monitor" Displays the input from the sound cartridge over the sample window, allowing the volume of the sound source to be adjusted. The display should show a wide range of motion, but should not appear clipped at the top or bottom. ("M") "Record" Allows the recording of sound, but only over the current block. If the entire file is marked as the block, then you can record into the entire file area (as shown by "Memory size"). You can choose to "Wait" for the sound or "Start" immediately. (Return) Sound Lab works with the Pandaal DaataSound cartridge, and the ST Replay (non-stereo) cartridge. "Speed" Allows the adjustment of the current speed. Brings up a dialog, with 11 preset speeds, the ability to double or halve the speed, go up or down a tone (as in music), adjust the speed with a slider, or enter it directly. Valid speeds range from 4.915KHz to 30.72KHz. (The ST's sound chip can't go faster than that.) You can "Play" the speed right in the dialog; "Okay" confirms the change, "Cancel" aborts it. Keyboard equivalents are F1-F10, F20, "D", "H", up arrow, down arrow, space, Return, and Undo. The function keys can also be used at the main screen. ("P") The "Convert" button is used to convert the sample from the current speed to the newly selected speed. "Zoom In" These keys adjust the zoom level. Max zoom "Zoom Out" shows the entire file; 1x means each pixel on the screen is one byte in the file. Max, 16x, 8x, 4x, 2x, and 1x are the available zoom levels. "Z" and "A" are the equivalents. "Hide Blk" This will temporarily hide the selected block, selecting the entire file. The button (which can be activated by "H") will "stick"; click Sound Lab 1.0 Page 35 on it again to reveal your block. "Cut" Cuts the block from the file, pulling the remaining sample down. This block is then stored in a buffer (the "Memory size" will change to reflect the change in available space). ("X") "Copy" Like Cut, except it won't remove the block from the file. ("C") "Clear" When you hit this button, an alert will appear, asking what you want to clear. You can clear your "Block", which will replace your marked block with silence; you can clear your "Buffer", giving you more memory for recording and such; or you can clear "Everything", which erases _all_ of your sample and buffer. If you elect to clear your block, and your block is the whole file, then Sound Lab will reset to the way it was when it was loaded (all memory, except the buffer, available for recording). Note that if you "Record" while your whole file is marked as a block, you can record as much as you have RAM for, so this is not really necessary. (Home) "Insert" Inserts the block stored in the buffer (with Cut & Copy) into the sample before the left block marker. If there isn't enough room for the Insert, you'll be presented with four options: Lose Sample, Lose Buffer, Insert to Fit, and Cancel. Lose Sample will cause the end of the sample to be lost; Lose Buffer will preserve all of the sample, but trashes the block in the process; and Insert to Fit will insert as much of the buffer as will fit. ("I") "Overlay" Brings up the Overlay dialog. In this three waves are displayed; light blue is the block, dark blue is the buffer, and black is the result of merging the two together. The slider on the left adjusts the block volume, and the slider on the right adjusts the buffer volume. The "Length" buttons allow you to choose which sample (block or buffer) you want as the length to Overlay with; the "Repeat" buttons allow you to choose whether or not to repeat the buffer if the Overlay is longer than the buffer. Click on "Okay" to overlay the samples, or "Cancel" to abort. ("O") "Volume" Allows the volume of the block to be changed. In the dialog, you can use the slider to set the volume change, or enter it directly. Valid values are from 0.25 (volume x 1/4) to 4 (volume x 4). The diagram shows the original sample (blue) and the proposed change (black). You can use the "Play" button to test the Sound Lab 1.0 Page 36 change, hearing any distortion that will be introduced because of the change. Clicking on "Cancel" after the "Play" _will_ abort the change; you _must_ click on "Okay" for the change to take effect. ("V") "Remove" This is like Cut, except it doesn't copy the block to the buffer first. Since there is no undo of this, you will be asked if you are sure. (Delete) "Loop" Allows the setting or clearing of a loop. Brings up an alert with four buttons, "Set Loop", "Reset Block", "Loop On/Off", and "Cancel". "Set Loop" sets looping to the current marked block. "Reset Block" moves the block markes to the current loop settings. "Loop On/Off" turns looping on or off (without changing the loop or block markers), and "Cancel" does nothing. While looping is on, "Play" will play the entire sound with looping, regardless of any marked block; "Set Loop" and "Reset Block" both turn looping on. ("U") "Fade" Allows the fading of the block. Don't let the dialog scare you, it's only slightly more complicated than the Volume dialog. This time you have two sliders, one for the start volume, and one for the end volume. You can click on the "Fade In" or "Fade Out" buttons to set the sliders to the appropriate default positions; "Play" will pre-test the fade before making it final, and "Shape" will bring up a small dialog, allowing you to choose the shape of the fade. In this dialog (or the main _Fade_ dialog) you can use F1-F4 to change shapes. ("F") "Echo" This also looks worse than it is; it allows you to add echo effects to your block. The top slider is the volume of each echo compared to its predecessor (0.5 is a good number). The second slider is how far apart--in seconds--the echoes should be. (The current speed is crucial to the accurate figuring of this.) And the number of echoes is just that: how many echoes should be added to the block. Click on "Okay" to confirm, "Cancel" to abort. Usually echo spacings of .125 and .062 are good, and three or four echoes are plenty. Use "Load" and "Save" to load and save echo settings. ("E") "Reverse" Flips the block so it plays backwards. ("R") "High Bit" Used to toggle between signed samples (.SAM) and unsigned samples (.SPL). .AVR files may be of either type; Sound Lab uses unsigned samples. If the sample looks and sounds very Sound Lab 1.0 Page 37 noisy, try toggling the high bit. When signed samples (.SAM or .AVR) are loaded, Sound Lab automatically toggles the high bit for you, so you shouldn't need this button very often. ("B") "Load" If you have your entire file marked as your current block (as with the "Hide Blk" function), the entire file area is cleared and a new file is loaded in (as specified by the fileselector that pops up). If you don't have your entire file marked, the file you specify will be loaded over the sample you currently have in memory, up to the length of the block you mark. If you aren't sure which way the Load is going to work, look at the fileselector's title bar. If there isn't enough room for the load (because either your block or file area is too small) Sound Lab will bring up the "Load Partial" dialog; this allows you to choose exactly which part of the sample to load. Use the slider in the dialog or enter the amount of bytes to skip, then select "Okay". "Cancel" will, of course, abort the load. "Load" uses the standard dmj software fileselector, but now you can press ALT-A through ALT-P to switch drives (and re-read that drive), and F1-F10 can now be pressed for the search masks without calling up the search mask dialog. ("L") "Save" This saves the currently marked block. (You'll note the fileselector title reflects whether or not the block is the entire file.) The extensions .SPL (raw data, unsigned), .SAM (raw data, signed), and .AVR (raw data and header info) are all supported. ("S") "Help" This button brings up the help system. Since the Help is self-explanatory, I won't go into details here. Help can also be activated by pressing the Help key; this key can be pressed _anywhere_ to get help with whatever you're doing. "Prefs" This brings up the Preferences dialog. ("?") In this, you will find you can set several items. The first, "Output", refers to how you want the digitized sound to be played; choose "Sound Chip" (for regular ST's), "STe DMA" (for STe's), or "Cartridge" (if you have an ST Replay cartridge with output). Clicking on "STe DMA" will also bring up the _STe_ dialog, allowing you to adjust the volume, bass, and treble. Next is the "Window Title", which sets what is to be displayed in the sample window title bar; choose "Pathname" (which Sound Lab 1.0 Page 38 displays the full pathname of the file, at the expense of some other information) or "Info" (which displays the filename only, leaving room for the other info). The third item refers to how to draw the display; choose "Points", "Outline", or "Solid". Next is "Dialog Preview", which sets the display inside the _Fade_ and _Volume_ dialogs; "Sample" uses the actual sample(s) involved, whereas "Wave" uses generic waves. The next option refers to what units to display sample sizes in; choose seconds or bytes. The next item, Menus, refers to how you access the menus; "Drop-down" is like the typical GEM menus, but "Pull-down" requires you to press and hold the mouse button to access the menus (like Macintosh menus). Next is "Zoombox", which allows you to turn on ("Yes") or off ("No") the zooming boxes on dialogs. Last is the "Existing Files" preference, which sets what Sound Lab will do if you try to save over an existing file; choose "Erase" (which clobbers the old file), "Rename" (which renames the old file to .BAK, killing any previous .BAK of that name), or "Ask" (which asks which of the two you want to do every time the situation comes up). The only other item here is "Default Speed", which sets the default speed when Sound Lab first loads. When you're done setting your preferences, click on "Save" (which saves the settings to SOUNDLAB.PRF), "Use" (which keeps the settings but doesn't save them), or "Cancel" (which restores the settings to their previous values). "Quit" Exits the program. You will be asked if you are sure. In addition to these twenty-four buttons, there are ten more functions that can be accessed by clicking on one of the twenty-four buttons with the _right_ mouse button. While the right mouse button is down, you will see the buttons change their labels to reflect the change in functions. Each is placed "under" the most logical button for it. "Play Buf" Plays the sample currently stored in the buffer (from Cut or Copy) at the current speed. (Shift space) "Listen" Plays the input on the digitizer cartridge through the monitor speaker, at the current sampling rate. This allows you to hear the quality of the digitized sound before actually recording anything. (Shift "M") "Min Zoom" Zooms in to 1x magnification. (Shift "Z") Sound Lab 1.0 Page 39 "Max Zoom" Zooms out to Max magnification. (Shift "A") "Gap" Inserts a chunk of silence before the left block marker; this chunk is just as long as the marked block is. If there isn't enough memory for this, the Insert dialog will appear, asking what you want to do about it. ("G", Shift "G") "Ins File" Like Insert, but inserts a file instead of the buffer. The fileselector will appear, allowing you to select the file to be used. (Shift "I") "Ovly File" Like Overlay, but overlays a file instead of the buffer. (Shift "O") "Trim" Like "Remove", except that it removes everything from the file that _isn't_ between the block markers. This is useful if you have just recorded a sample, and there are "pops" at the start and end. Just mark the block so that you can't hear any "pops", and select Trim. This also requires confirmation. ("T") "Load Buf" Allows you to load a file directly into the buffer. If there isn't enough room for the file, Sound Lab will ask you if you want to overwrite the end of your sample to try to fit in the buffer. Answer "Yes" or "No". If you answer "No", Sound Lab will present you with the "Load Partial" dialog, allowing you to choose which portion of the file to load. (Shift "L") "Save Buf" Allows you to save the contents of the buffer to disk directly. Other than that, it works just like Save. (Shift "S") There are also some other keyboard shortcuts that you should be aware of. From the main screen, you can press F1 through F10 and F20 to set the speed. Use ^N, ^D, ^C, ^R, and ^F to select the /Rename File/, /Delete File/, /Create Folder/, /Remove Folder/, and /Format Disk/ options; Alt-A through Alt-P check the free space on that drive. ^I, ^S, and ^T can be used to select the /Sound Lab/, /Shareware/, and /Thanks/ options from the /Desk/Info/ submenu. In all alerts and dialogs, Return is "Okay", "Yes", or "Retry", and Undo is "Cancel" or "No". Sound Lab 1.0 Page 40 -------- Index AUTO Folder 7, 28 Folder Background 26 AUTO 7, 28 Backup Files 11, 26, 28 Create 22, 39 Block 12 Remove 23, 39 Clear 18, 35 Format Disk 23, 39 Convert 20, 34 Free Space 23, 39 Copy 14, 35 Gap 18, 39 Cut 13, 35 Help 7, 37 Echo 20, 36 Hide Block 12, 34 Fade 19, 36 High Bit 24, 32, 36 Gap 18, 39 Info 22 Hide 12, 34 Insert 14, 35 Load 25, 37 File 17, 39 Loop 15, 36 Listen 10, 38 Mark 12 Load 8, 33, 37 Play 12, 34 Block 25 Record 12, 34 Buffer 17, 39 Remove 15, 36 Echo 20, 36 Reverse 20, 36 Partial 25 Save 26, 37 Sound Lab 6, 32 Trim 15, 39 Looping 9, 15, 36 Volume 18, 35 Menus 22, 28, 39 Buffer 13, 34 Monitor 10, 34 Insert 14, 35 Moving Dialogs 24 Load 17, 39 Overlay 16, 35 Overlay 16, 35 Background 26 Play 14, 38 File 17, 39 Save 17, 39 Play 9, 34 Cartridge 6, 32 Block 12 Installing 6 Buffer 14,17,38 Playing Through 27, 37 in Fade 19, 36 Clear 18, 35 in Speed 9, 34 Copy 14, 35 in STe 27 Create Folder 22, 39 in Volume 19, 35 Cut 13, 35 Preferences 27, 37 Delete File(s) 22, 39 Preview Echo 20, 36 Fade 19, 36 Techniques 26 Overlay 16, 35 Effects 18 Sample 27, 38 Fade 19, 36 Volume 18, 35 File(s) Wave 27, 38 Backups 11, 26, 28 Quit 7, 23, 38 Delete 22, 39 Record 10, 34 Formats 8, 9, 25, 33 Block 12 Insert 17, 39 Speed 24 List of 6 Remove 15, 36 Load 8, 33 Folder 23 Overlay 17, 39 Rename File 22, 39 Rename 22, 39 Reverse 20, 36 Save 10, 33 Sampling Rates 4 Fileselector 29 Choosing 24 Sound Lab 1.0 Page 41 Save 10, 33, 37 Block 26 Buffer 17, 39 Echo 20, 36 Partial 26 Speed 8, 34 Convert 20 Tips 24 Title Screen 7 Bypassing 24 Trim 15, 39 Volume 18, 35 Adjusting 10, 32 Window 7 Display 8, 27, 38 Title 7, 8, 27, 38 Zoom 12, 34, 38, 39 MOVE.W D1,(A0)+ MOVE.W D2,(A1)+ MOVE.W D4,(A2)+ ADDQ.W #2,D2 ADDQ.W #2,D4 DBF D0,CONTINUE MOVE.L TABLE1(PC),A0 MOVE.L TABLE2(PC),A3 MOVE.L TABLE6(PC),A1 MOVE.L TABLE3(PC),A2 MOVE.W #$0274,D2 MOVEQ #$00,D4 MOVE.W #$0138,D0 DOMORE MOVE.W (A0)+,D1 ADD.W (A0)+,D1 MOVE.W 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Please include this number:€#GEnie.003 €'In return for registering, you'll get a€&printed manual and free updates to the€program. Here's the address:€,Damien M. Jones, PSC 8 Box 657, APO AE 09109ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€Only $20? Unbelievable! ªªUUÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ€*This program could not have been completed€-without these people's help. 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                                                                                                                                                                                                                                                                                                                    µD´BµD´BDesk Done with ACCs ------------------123456%3Desk„ Info... * Sound Lab Shareware Thanks - Accessories File/Disk Rename File Delete File(s) - Create Folder Remove Folder - Free Space * A B C D E F G H I J K L M N O P Format Disk - QuitSOUNDLAB.COLCan't find SOUNDLAB.COL. It should be in the same folder as SOUNDLAB.TOS,or in the root if SOUNDLAB.PRG is in the AUTO folder.SOUNDLAB.MONCan't find SOUNDLAB.MON. It should be in the same folder as SOUNDLAB.TOS,Need AT LEAST another K to run Sound Lab.Press any key to return to the Desktop.Loading, please wait...Error with file Press any key to exit.SOUNDLAB.PRFSoundLab1.0PrefsSoundLab1.1Prefs UNTITLED.AVRUNTITLED.EKOSaved from Sound Lab 1.1, program 2 72 7 12 7 22 7 32 7 42 7 52 7 62 7 72 7 82 7 92 7 102 7 112 7 132 7 142 7 152 7 161 3Overlay which sample?*.AVR|*.SPL|*.SAMBlock: bytesBlk: File: Offset: Max16x8x 4x 2x 1x KHzMemory Size: 4.9156.26939.610.97112.53814.98519.81921.94224.57630.72KHz to [1][ Convert block? (from | ][ Okay | Cancel ][1][ Not enough memory | for Convert. ][ Lose Sample | Lose Buffer | Convert to Fit | Cancel ][^M|b|c|a][1][ Record over entire file, or | just the marked block? ][ File | Block | Cancel ][^M|b|a][1][ Wait for sound or | start recording now? ][ Wait | Start | Cancel ][^M|s|a][1][Not enough memory|for Copy.][ Oops, sorry, my mistake! ]Insert which sample?*.AVR|*.SPL|*.SAM|*.SMP|*.SND|*.WAV|*.#|*.#K[1][ Not enough memory | to Insert File. ][ Lose Sample | Lose Buffer | Insert to Fit | Cancel ][^M|b|i|a][1][ This is a stereo | sample. Convert | it to mono? ][ Yes | No ][1][ Not enough memory | for Insert. ][ Lose Sample | Lose Buffer | Insert to Fit | Cancel ][^M|b|i|a][1][ Convert file? (from | ][ Yes | No | Cancel ][^M|n|a][1][ This is a stereo sample. | Convert it to mono? ][ Yes | No | Cancel ][^M|n|a]Load which echo?*.EKOSoundLabEchoSave echo as...?[3][ Diskette is full. | Please try another disk. ][ Oops, sorry, my mistake! ]KHz [1][ Not enough memory | for the Gap. ][ Lose Sample | Lose Buffer | Insert to Fit | Cancel ][^M|b|i|a][1][ Clear what? (No UNDO!) ][ Block | Buffer | Everything | Cancel ][^M|b|e|a]Untitled[1][ Remove this block? | (No recovery!) ][ Yes | No ][1][ Trim this block? | (No recovery!) ][ Yes | No][1][ Do what with looping? ][ Set Loop | Reset Block | Loop On/Off | Cancel ][^M|r|l|a]Load which sample into buffer?Load which sample?[1][ Load entire file, or just | the marked block? ][ File | Block | Cancel ][^M|b|a]Load which sample as a block?[1][ Overwrite last part | of sample? ][ Yes | No ] [1][ This sample is too | fast - KHz. | Convert it to... ][ 30KHz | Half | Cancel ][^M|h|a]Save buffer as...?Save sample as...?[1][ Save entire file, or just | the marked block? ][ File | Block | Cancel ][^M|b|a]Save block as...?[1][ Save partial back to file, | or erase file and make | this the whole file? ][ Partial | Whole | Cancel ][^M|w|a]000[1][ This sample is not | at 12.5KHz. Save in | SoundWizard format | anyway? ][ Yes | No ]WAVEfmt SoundLab.HLP|Space|m|Return|p|z|a|h|x|c|Home|i|o|v|Delete|u|Edit Functions|Play|Monitor|Record|Speed|Zoom In|Zoom Out|Hide Blk|Cut|Copy|Clear|Insert|Overlay|Volume|Remove|Loop|f|e|r|b|l|s|Help|?|Undo|Space|M|Z|A|g|I|O|Fade|Echo|Reverse|High Bit|Load|Save|Help|Prefs|Quit|Play Buf|Listen|Min Zoom|Max Zoom|Gap|Ins File|Ovly File|t|L|S|F1-F10|F20|||^I|^S|^T|^N|^D|^C|^R|^F|A-P|Trim|Load Buf|Save Buf|4.915-24.576KHz|30KHz||Menu Items|Sound Lab|Shareware|Thanks|Rename File|Delete File(s)|Create Folder|Remove Folder|Format|Free Space|[1][ Really want to quit? ][ Yes |No]ž°® ’¡¢£—¤¥¦²±˜™1 1 11 1 21 1 32 12 22 42 52 84.9152Sound Lab 1.1 February 1, 1993:\*.*Rename which file?Delete which file(s)?[1][Delete file(s):||(No recovery!)][ Okay | Cancel ]Create folder...Remove which folder?That folder is not empty. Please empty it. Diskette is full. Pleasetry another disk...Drive : has | bytes (K) free. ][ It does, does it? ][1][ Format disk? | This will erase all of | the files on the disk! ][ Okay | Cancel ][1][ Stop format now? ][ Yes!!! | No ]This disk formatted from Sound Lab 1.0, [1][ You don't have | a drive B. ][ Oh, yeah... ][1][ Please disconnect or shut | off your MIDI equipment. ][ All right... ]ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789?*_ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789?*_.|[3][I'm unable to locate the Help|file! SOUNDLAB.HLP should|be in the same folder you|ran Sound Lab from...][ Let me find the docs... ][^M][LEFT] [1][ A file with that name | already exists. ][ Erase | Rename | Cancel ][^M|r|a]BAK[ Insert a disk, or | remove write-protect. ][ I'm having trouble with | the disk. It may be | damaged... ][ That disk is | write-protected! ][ That's not the | right disk... ][ I can't find the | file you want... ][ I can't find the | folder you want... ][ There are too many | files open at one time. ][ I can't change | that file. ][ Unexpected end | of file. ][ Unrecognized GEMDOS | error (#)... ][ Retry | Cancel ][2][ GFA BASIC Error # | Write: Damien M. Jones | PSC 8 Box 657 | APO AE 09109 ][ I'll do it now. ][][LEFT]Please notify the author: Damien M. JonesPress any key to exit... Z j " 2 ´Æ: , ² ’â B": 6b(\hú,2,2f l*¬:40,>2&<¶ž¨ž¨ì&®j"" €88 r8&€ d$~| $$ &|V  "F$64444B~V..zf R(">. "Ìl$ô,vJ62"¸x –  ¦4 fB@ 4  Bf<&’¶R4nRT  4, Š2 Z." 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Hacked version! Programmed by Jan 01 1995 Version 9.99à User Send us your complete name, address, email address, thetype of your computer system and the version number of 525(see 'about 525') by mail or email:Harald Sch”nfeld, Lerchenstrasse 2, D-90587 Veitsbronn, GermanyEmail: Harald.Schoenfeld@rzmail.uni-erlangen.deSend $15 (œ10, DM20) by EuroCheque or international moneyorder or use a remittance order to the banking account:H. Sch”nfeld, Sparkasse im Ldk. Frth, BLZ 76250110, KTO 5117726You'll then get the key. Call for registration FIVEFIVETORegistration______________________________XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX___________________________________PPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPP Register 525525 525 File about Five to Five... ------------------------ Desk Accessory 1 Desk Accessory 2 Desk Accessory 3 Desk Accessory 4 Desk Accessory 5 Desk Accessory 6 Convert... ^O Quit ^Q CancelAnalyseConvert SampleMaximize volumeFade in/outConvert frequencyLow pass filterExportImport Info OK Type :Format:Length:Time :Freq. : 00:00.00 Peak :Select FormatHzFrequencyFormat Cancel OK ATARI 8195 9834 12292 16390 19668 24585 32778 49170 PC 11025 22050 44100 MAC 11127 22254 ETC 8000 CD DAT Analysing Sound Data... Keep MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO DVSM WAV SND AVR RAW MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO MOTOROLA-UNSIGNED-DELTAPACK-STEREO OK Register H. Sch”nfeld & B. Spellenberg OK Name:Key:ARGSARGS%05ld Stereo-SterMono-MonoSigned-SignUnsigned-16 Bit-Motorola16MotIntel16Int8 Bit8 Stereo-æ-law Stereo-æ-law Mono-æ-law Mono-æ-law Stereo-Deltapack Stereo-Delta Mono-Deltapack Mono-DeltaJul 18 1995Version 2.11[2][|Save Registration?][ Cancel | OK ]*Select Input SampleAnalysing Sound Data...%ld Hz%ld KB%02d:%02d.%02d%4.1fdB (%5.1f%%)%s.Select Export File@£× =p£× @€@  %s %ld Hzr[1][|Export file already|exists!][ Cancel | OK ]Scanning Sound Data...Converting Sound Data...r$525.%03d *.\[3][|Not enough|memory!][ Cancel ][3][|No import file|selected!][ Cancel ][3][|Unsupported|file type!][ Cancel ][3][|Unsupported|file format!][ Cancel ][3][|Error while|opening input file!][ Cancel ][3][|Error while|opening export file!][ Cancel ][3][|Error while|writing export file!][ Cancel ][3][|Registration|failed!][ Cancel ][1][|Registration|successfull][ Ok ][3][|Error while writing|registration data!][ Abbruch ][3][|Unknown error!][ Cancel ]rbPRGSelect programr+b?ÿ€@€@ÉÜëú?ÿ€@þFþHhHÐIJTkkHÐIJTkk%/Kú/Ö00¦k)k-2æ56¶7Rk1k6AòC2DâE~F´k:kB@Kú@æA(A¾kFkJ1Kú1Ö22²kNkR8:*:’:Î>¾kVk[KjKúKÄk_kckgkhAIFFAIFAIFF-CubaseAIFAVRAVRDVSMDVSFORTUNECITHSNHSNSNDSNDWAVEWAVRawRAWrbrbrbwb2BIT2BIT.snd.snd &j0@LÔ` € À DVSMCLCK@€?þ€DVSMIt$RIFFWAVEfmt dataRIFFWAVEfmt dataHSNDHSNDHSND1.0 &j0@LÔ` € ÀFortuneFortune V01Fortune V01.00It$AIFCAIFFCOMMNONESSNDFORMAIFFCOMMSSNDCFÿþ?ÿ€@þ?ÿ€@þ?ÿ€CFÿþ?ÿ€@þ?ÿ€?ÿŠÔÆD·-íé?ÿŠÔÆD·-íémTmTmTm¤ÿÿ0ô1 2 3 4 ‡üˆˆ€ÿÿˆˆ*ˆ,€ÿÿˆ.ˆCˆE€ÿÿˆGˆ\ˆ^€ÿÿˆ`ˆuˆw€ÿÿˆyˆŽˆ€ÿÿˆ’ˆ§ˆ©€ÿÿˆ«ˆÀˆÂ€ÿÿˆÄˆÙˆÛ€ÿÿˆÝˆòˆô€ÿÿˆöˆøˆú€ÿÿˆüˆþ‰€ÿÿ‰‰+‰-€ÿÿ)À 0     0ÀÀ 0     0ÀÀ 0È'ä'ä'ä'äÈ 0ÀÀ 0È'ä'ä'ä'äÈ 0ÀÀ 0     0À 0ÀÀ 0È'ä'ä'ä'äÈ 0À 0ÀðxàÀÀàxððxàÀÀàxððxãÇÏóÏóãÇxððxãÇÏóÏóãÇxððxãÇÏóÏóãÇxðàxððxàÀÀàxðàxðoŽo¦‰/ o¾oÖ‰1 oîp‰3 pp6‰5 pNp^‰7pnp~‰9pŽpž‰;p®p¾‰=ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàUUV ªªªª UUV ÿÿÿÿà€ € € € € € € € € € € € € € €þ €‚A €þ € € ÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿà€ ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿ€àÿÿ}¾àÿÿ€àÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿà€ ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿ€àÿÿ}¾àÿÿ€àÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿà€ ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿ€àÿÿ}¾àÿÿ€àÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàˆ ¨ ˆ ÿÿÿÿà€ € € € € € € € € € € € € € € € €~? € € ÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàUUV ªªªª UUV ÿÿÿÿà€ € € € € € € € € € € € € € € ÿÿÿÿà€ € € ÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿà€ €à€à€à€à€à€à€à€à€à€à€à€à€à€à€àÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿà€ €à€à€à€à€à€à€à€à€à€à€à€à€à€à€àÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿà€ €à€à€à€à€à€à€à€à€à€à€à€à€à€à€àÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€ÿÿÿÿàˆ ¨ ˆ ÿÿÿÿà€ € € € € € € € € € € € € € € ÿÿÿÿà€ € € ÿÿÿÿàÿÿÿÿ€ÿÿÿÿ€súsFxæx2qÞr’‰?00{¶vÊw~‰H00{Ìèèèèèèèèèèèè   ööö Ê Ê ÊÊÊ ÊÊÊÊ ÿÿ  ÿÿÿÿpÎÿÿÿÿpðÿÿÿÿqÿÿÿÿq4ÿÿÿÿqVÿÿÿÿqxÿÿÿÿqš ÿÿÿÿq¼ ÿÿÿÿ!{â ÿÿÿÿ! | ÿÿ@  ÿ ÿÿÿÿ@n"ÿÿÿÿ@n>ÿÿÿÿ@nZÿÿÿÿ@nvÿÿÿÿ@n’ÿÿÿÿ@n® ÿÿÿÿ@nÊ ÿÿÿÿ@næ ÿÿÿÿ@oÿÿÿÿ@o  ÿÿÿÿ@o:ÿÿÿÿ@oV @ÿÿÿÿÿ@ÿÿÿÿÿ‰Qÿÿÿÿ‰fÿÿÿÿ'‰oÿÿ,ÿÿÿÿ‰rÿÿÿÿor(ÿÿÿÿ'‰ˆ"„.…6†þ0‚0Œ0ª0Ê0Ø0àôôô   A:\ASSIGN.SYSŠ°ŠµŠºŠ¾ŠÂŠÆŠÊŠÎabSRGU:\PIPE\DRAGDROP.AA  DIALOG FENSTERObjekt ausw„hlen [AbbruchOKBitte Namen eingeben:OK[3][Keine Workstation mehr|frei!][Oh Je]$WPT$$WPT$.*.[1][Schon 10 Dialogboxen|sind ge”ffnet!][ OK ][1][Schon 10 Dialogboxen|sind ge”ffnet!][ OK ]Objekt ausw„hlenSCRAP.TXTSCRAP.TXTFont w„hlen[1][Nicht mehr genug Speicher|zur Fontauswahl!|Nehme Systemfont.][ OK ]A:\ASSIGN.SYS UNDOHELPBSPDELINSCLRESCTAB .\AKP\AKP.DAT%s@ %s@ %s@ .\AKP\AKP%d.DAT   èèè‡þˆˆ:‰BŠZŠšŠÚŠøŒŽ:ŠÚŠøŒŽ:r®  j" *"   ^&       N\ (*&, $>zˆH       (       (  l$6  "* :  .    & ,    *      6  ~ . ""     BP& 6(*&d>         &$l(Z         (@ \   †Z:& "> ,  &B$"$  0 4     .  @  28,&* (<$ <$ "H,0 0Ž. $ ´ V  Ž< `  8¼4   $*   J  $ h   ( Ð<*4 †| „$ 4† ,0  Ü&   D    2D  (   H.B*: D&,& x".  ‚P*6    2   4    P 0L&nT’jJf * ‚€ VF*R ê„^6V0T *<0ø<*¤&ò8 4B @ (& ò.* Jf0 4 & t ‚ÀÄÊ   vØ*$*,.b 8F ˜`"ª¦  Æ ’@F0R"<*&. $$F42  0TN 2 ( ª..ZP0 V (  2 0 " @ 4"  ( <   :"(2  : Z( 6D >8 8h Rh@*h*¬*(Š&.  (¾(:*:*:*:&H $>(>(>(>2 "0  >„ 6¢ $"6b  V„>P  > TR2>X&`|>:$Ž l*<@üf ¢&h2$*"Ph”& j2&"d&J”0H  &R*"(P     .       * (<2&:>zr n00(X:0 4 B .*@$6z8  ®jš Ž ¾: 00\,0 $:.t(LP  . ,&> @ > ®$@"@6$X JVb ( : ( && &0 †RJ & 8>0d Î,  Â8B0:  :*@ F˜   0:F,(   (DR00<  4> 6~|t2 " $& D   4 ¨B$4B&2 &  "(Z($*t&$$ 4D  .0 $  ,$îhH0000000000000000H00 `Æ         FÄV8HH0 6¾†k3gž©¿y834ÛMÌÅ@Óé¡dyøv …è'˜;“¸$iÖSzýñ 7Fùù'ì7E³>¡ö^!T.ÿÚ3”Y¾Í±Ÿò×"ãØšü÷OÄj(\ïÓÍœLg\εÎ<³I¯… ÆYÝ®èºpO Þµ¢µû¤ ?NµÃó?Gy?å©øÚ&ãù9Á÷ÍâÖzäSþ[Åå?7ýbÅ–;†ëë3­ó*óû”»úÔ+Ezá]åXm-N½ á8ëmÜà¼îO|JË«ZfjÕk Ø°@c,r-ŸV·XÕí8óužaäã`âßSš §h‹óy¤ôØ¸Þ Êž¤)qmehöy3ü‡ñ©á,Pè›~d¢xÌPª× ÞeÛñ¼Æáædžº»ðŽMAÁHM‘ŸŸÜÝÂÁ¬0: Length of a packed block*/ } DVSMHEAD; followed by cookies and the sound data. The sample frequencies 0 to 7 correspond to the following frequencies: sam_freq[8]={8195,9834,12292,16390,19668,24585,32778,49170}; For further information refer to the WinRec documentation or take a look at the article series 'Sound Sample Formate' in the german magazin ST Computer (3/94 - 6/94). 5. Known Bugs None. 6. Release History 04/12/93: Version 0.9 04/12/94: Version 0.91 - Correction in DVSM import 05/05/94: Version 1.0 - AES 4.02 3D support - Copyright Maxon 11/27/94: Version 2.0 - Complete re write of the program. - New file types: CIT (Fortune) HSN (CrazySounds) - Fade in/out time seperately adjustable - Correct volume maximation in connection with fading - Visual progress indicator - Drag&Drop 02/01/95: Version 2.01 - New file type: AIFF (Mac, ATARI) AIFF-Cubase (Cubase) - Iconize bug with MultiTOS in monochrome mode fixed - Bug in user defined message handling corrected 03/05/95: Version 2.01 for OS/2 03/12/95: Version 2.02 for ATARI - Shareware registration dialog - Icon for desktop resource file included 04/17/95: Version 2.1 for ATARI - Frequency conversion - Adjustable low pass filter - User break during conversion by pressing ESC or UNDO - The program can now be hidden using MagiC - Bug in command line parameter handling corrected - Correct file delete of the export file during 'disk full' on MTOS/MagiC 07/18/95: Version 2.11 for ATARI - Check back if export file already exists - Bugfix in dialog memory management - Problem with export status bar fixed - Bug in registration dialog fixed - Bug in DVS-Import/Export with frequency conversion fixed 07/18/95: Version 2.11 for OS/2 - Functionally equivalent to the ATARI version 2.11 - First German release 7. Future Plans - More formats .AIFC compressed .WAVE 4Bit .ADPCM .Yamaha - Additional platforms .Macintosh .DEC Alpha (OSF/1-Digital Unix) UÍâG«‘µ·ÄÉnf³ñD‡ýI^Ù‡ä1̹ žd…+s)ꀂú•õ.|ˆ@ZõZ9<|+þ{0~†KÕíj=“ÃíéÞåÜ_°öø£S™à„ÞƒªC0f@ã¤ÃËç²üµÄ›b’þQ¦¢KþF²ždP¤üDÀ8Ú`R6ós¸WfN€Òfa‡'ï ‰È «Œ%g0+S:fGt“hžì[‡3¯äd¤|’¶ mR±‚—½27CsÎ^&Êu“yeØÍ“ÆÅéI§ªi±Q9¸w3Ê–Ž>祽źyX \’q±I’í·9‰”å Î§ýMú¨œ±n¨Çsvþ¤­_÷Nñ^÷‹ÞçïÓ›`ñÜ"ÝÍóCPžâ+‘èKþÑåY?ú`zywÙwY~áÊÜzÀ §ñîBž^óeÞ}y \À¼ï‹”þ1|í2‹~HJ1ãâÎqìWåšãÈ-"ܳX£Eø”]fæï9‘™1‹YÑ©}t y$j°”A0tÀmV41¨