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It allows you to play a kind of music in real-time using 5}a joystick, or a mouse from ATARI ST (strongly recommended). FunMusic doesn't require any knowledge of music-theory (only a b6}it of sense). All you need is a bit of patience and this manual. Beside of this main function, you can also compile the mus7}ic to be used in your own programs. But FunMusic is NOT a real music-editor. If you are able to write good songs for example 8}in MUSIC PROTRACKER 2.4 or CHAOS MUSIC COMPOSER, then you should do so - you'll get much better results. However, if you can'9}t compose music with the "real" music-editors, FunMusic gives you a chance to create a kind of medium-quality music easily.:} FunMusic is Freeware - you can make copies, give them to your friends (recommended) etc., as long as no changes are done to;} the program. Note: If you're a musician, you'll probably find some insufficiencies in both the program and this manual. S<}ince my knowledge of music-theory is rather weak, I had to set some things by experimenting, and I really don't know how to c=}all these things in correct English. FunMusic was NOT written for advanced musicians. Beside of this, also my English isn't t>}he best... WHAT'S ON THE SCREEN Now let's look at the main screen of FunMusic. The screen is divided into several?} windows. All functions are done by moving the cursor (the small flashing arrow) into a window and pressing the controller's @}button ("click"). In the upper part of your screen you can see a large grey window, that allows you to control the basic liA}ne of your music. Another four windows are below - each of these is connected to one of the four sound-generators of your cB}omputer. In these windows you'll set the instruments, the background melodies, and also the real-time playing will be done heC}re. The main settings are at the left edge of the screen. These do affect several things - also in the other windows. D} MAIN SETTINGS The main settings are the small fields at the left edge of the screen. The first of them (at the top of E}the column) allows you to select number of the sound-channels you want to use. When you select a number less than 4, some of F}the sound-channel windows will disappear. The number of voices is of course limited, but you can select from more and better G}instruments. The second from the top is the basic tone of the whole music. Set it where you want... It's possible to matchH} the range of used instruments better, by changing this setting. The third setting is the tempo (9 is the fastest). If youI}'re recording a music to be compiled, it's recommended to set a slower tempo while playing in real-time (to get a better chanJ}ce to click on the single tones exactly in the right time), and then change the tempo before the compilation. The next fieK}ld is a small picture of a floppy-disk. If you click on this field, the main screen will disappear, and the FunMusic CompilerL} will begin its work. (Look at the "Compilation" part of this manual.) The last (and largest) field at the bottom of the lM}eft column shows the configuration of controllers. You can see two joysticks (or mouses), with a symbol of the I/O connector N}in the middle. You can connect a joystick or ATARI ST mouse into each of the connectors (the second controller is only used iO}n the real-time playing mode, when you've selected it for some window). When you start the program, it's configured for twoP} joysticks. If you're using mouse(s), just connect it and move a bit - the mouse should appear into the configuration automatQ}ically. But however, if you want to change the controllers, you must change the configuration yourself. To correct the configR}, just click on the controller-field. In the case that you can't move the cursor (because of a bad configuration), you can alS}so change the config by pressing numbers "1" or "2" on the keyboard. It's also possible to control FunMusic from keyboard, T}but this is not very comfortable - it's good just for the first tries, when you've no controller handy at the moment. You shoU}uld disconnect any controllers from the first port, and set it into the joystick mode. Now you can control the cursor with thV}e keys with arrows (or the 1200XL F-keys), and click with the RETURN key. SOUND-CHANNEL WINDOWS Each sound-generaW}tor may be used for a background voice, or for the real-time played melody. To select the mode of a channel, just click on thX}e small field at the left end of its window. You'll see a chip for a background voice, or a face with controller-number for aY} real-time melody. The setting is independent for each channel. The second field from left allows you to select the instruZ}ment. At the top of this small field there is a picture of a sine-wave, followed by a number and possibly a letter above the [}number. The number shows the selected waveform (poly-counter) - in other words the kind of sound (clean/noisy, hard/soft etc.\}). The letter above this number is the mode of sound-channel's clock. (No letter = 8-bit counter, "H" = 8-bit counter with 1.]}79MHz clock, "D" = 16-bit counter.) All you need to do is to click here, until you hear the sound you want. You must know t^}hat the scale of possible modes is affected by the other channels - only two instruments with "H" or "D" may be selected at a_} time, and each "D" require one channel to be removed. (So with 4 channels you can't select any "D", with 3 channels only one`} "D" is possible, and with 1 or 2 channels you can select from the full scale of instruments.) Below the waveform, there isa} the volume-indicator. It allows you to select the volume for the channel (in four steps). At the bottom of this small instb}rument-field, there is another selection - you can select the instrument-type ("bell" with a stroke, or "trumpet" with soft bc}egin), and length of the sound (larger symbol = longer sound). At the top of the largest part of a Sound-channel window, yd}ou can see a line with some colorful bars. This line shows the scale of tones possible for the selected instrument. The greene} bar is for the best tones, blue is for a bit worse ones, and red tones are rather bad (not exact at the right, or too noisy f}at the left); the tones shown as a thin line (without of colorful bars) doesn't exist for that instrument. Below the line, g}there is another bar (yellow) - this is the scale for playing. You can move it by clicking, and so select how high the channeh}ls will play. The yellow bar may run into the thin line a little bit, but since this reduce the scale for playing, it's not ri}ecommended. For the real-time melody, you should select the green tones; for background voices also blue tones are mostly usaj}ble, if you've selected short instrument with low volume. (The red tones are just for the worst case, if you haven't too goodk} ear for exact tuning.) On this indicator you'll see what are these "H" and "D" modes good for: "H" moves the possible scall}e to higher tones, and "D" gives a greatly wide scale of green tones. Below the scale-indicator bars - in the main part ofm} a Sound-channel window - two different things may appear. When the channel is switched into the background-voice mode, youn}'ll see the definition of background melody for that channel. Clicking on this field, you can place tones (you'll also hear to}hem); to remove a tone, click on it again. A channel in the real-time melody mode shows a double horizontal line with greep}n and blue bobs. When you click into this field, the real-time playing begins. The cursor(s) appear to these line(s), and youq} can move it only left or right. All the background voices begin to play - the currently played tones are highlighted. Also tr}he upper Basic line window come into life, but about this I'll talk later. Clicking on the bobs, you can play tones of yours} melody. (The last played tone is indicated by a large yellow bob above the line.) The green bobs are good for long and signit}ficant tones, while the blue ones are just to run-over. At the begin of each background period, a tone is played even if you u}didn't click. If there are more real-time melodies, some bobs may disappear sometimes to prevent collisions between the melodv}ies. To stop the real-time playing, you should move the cursor far away to left, and click somewhere in the Main settings aw}rea. Another way to exit from the real-time playing is to press the ESC key. BASIC LINE WINDOW The grey Basic linx}e window looks like the sound-channel windows a bit. It does control changes of the scale for playing - just try it and you'ly}l hear what I mean... Also this window may be switched to any of the two controllers, or into automatic mode, just like the sz}ound-channel windows (the small field at the left end). In the automatic mode, you can define the line of your music in the{} same way as the background melodies (clicking in the main part of the window). After placing a point in the Basic line windo|}w, the background voices will play for a while (so you'll hear the effect of your selection - It'll play till the next click,}} or till the whole background-period is finished). When the Basic line window is switched to a controller, the real-time pl~}aying begins once you click here. (It'll also begin when you click on the empty field second from left - the Arrow-field - th}is is the way how to enter the real-time playing, when you've all channels in the background mode.) In the real-time playi}ng mode, the Basic line window become empty (when it's switched to a controller of course), and you can select the background} changes by moving your controller up/down. An arrow will appear into the second field from left, showing your command; at th}e begin of the next background-period, the scale will be changed (and the arrow will disappear). Your background-line will be} recorded into the window, so you can later use (and edit) it in the automatic mode. COMPILATION The music played} in the real-time mode is allways recorded into a memory-buffer (the capacity is 64 background-periods - that's two times ove}r the Basic-line window - later the music isn't recorded anymore). When you like the music you've just played, you can compil}e it to be used in your own programs. Only whole blocks will be compiled (4 background-periods each - see the vertical lines }in the Basic line window). Before the compilation, you can change the tempo. This is the only thing you can change at this }point - other changes have no effect to the recorded music, and some changes even erase it (all changes that affect instrumen}ts, scales, and channel-modes). To compile your music, click to the picture of a floppy-disk at the left edge of the scree}n. Now the colorful main screen disappears, and a common blue text-page returns for a while. You've just entered the FunMusic} Compiler. Now you must enter (from keyboard) the memory-address, where the music will work in your program (more about thi}s later), and the filename (use the DELETE key for corrections). Then, the music will be stored into the specified file (in t}he form of a program-module), and the main screen of FunMusic returns. While editing the address and filename, you can hear} your music - exactly the same as it'll be in your program. If you want to return to the main screen (the music isn't what yo}u expected...), just press ESC. In the Compiler, there are also two special "hot-keys": CONTROL+X allows you to reset all s}ettings to the default (the same effect as loading the FunMusic program again), and with CONTROL+Q you can leave FunMusic an}d return to DOS. Both the functions contain the well-known question "Are you sure?". MUSIC IN BASIC-PROGRAMS If y}ou want to use the music for a program in AtariBasic or TurboBasic, you'll probably place the music-module to the upper part }of memory. In the FunMusic Compiler, try to type the address $9000 ($B000 for TurboBasic), but don't press RETURN and look }at the ending address shown beside. When it is lower than $A000 ($C000 for TurboBasic), everything is OK. In the case that it} is not lower, try to change the address to $8000 ($A000), or even $7000 ($9000). Once the ending address is OK, remember the} starting address, and continue with the compilation. (If you want to start your Basic-program again after pressing the RESET}-key, without of re-loading of the music module from disk, then the ending address must be lower than $9C20 ($BC20 for TurboB}asic).) In your Basic-program, you must first reserve a part of memory for the music-module. The reservation must be done }again when you restart the program after RESET. It looks like this:POKE 106,x : GRAPHICS y You can select any graphics m}ode, but the "x" value depends on the address of the music module: $7000 -> 112 $8000 -> 128 $9000 -> 144 $}A000 -> 160 $B000 -> 176 (The value must be allways a multiple of 16, otherwise you may encounter problems with displ}aying some graphics modes.) The next step is loading of the music module into memory. There are several ways how to do thi}s. In the TurboBasic you should type:BLOAD "D:filename" In the AtariBasic there isn't any command like this. If you're u}sing BW-DOS, or SpartaDOS, you can type:CLOSE #1:XIO 40,#1,4,128,"D:filename" Possibly it'll work also with MYDOS, but t}he correct syntax for this DOS is:CLOSE #1:XIO 39,#1,7,0,"D:filename" Another method is long and slow, but works with an}y DOS and both the Basic versions:10 OPEN #1,4,0,"D:filename":GET #1,A:GET #1,B:IF A<255 OR B<255 THEN ? "ERROR":END20 GET} #1,A:GET #1,B:PLAY=A+256*B:GET #1,A:GET #1,B:C=A+256*B30 FOR A=PLAY TO C:GET #1,B:POKE A,B:NEXT A:CLOSE #1 There are als}o other methods (fast and universal, with a subroutine in machine code), but the length of this manual is limited... When }you've the music-module loaded in memory, you can use the commands:A=USR(address,1) ... Start the musicA=USR(address,0) ..}. Stop the music The "address" is the same as you've used in the FunMusic Compiler. In TurboBasic, you can type for exampl}e "$A000" just like you did in the Compiler, but in AtariBasic you must use the decimal mode: $7000 = 28672 $8000 = 3276}8 $9000 = 36864 $A000 = 40960 $B000 = 45056Note: The music may be started again (that is: from its begin) without of} stopping it, and also stopping the music twice isn't error. When no parameter is after the address, the music will stop; any} extra parametetrs will be simply ignored.For more advanced programmers: The music-module works only when the system VBI ro}utine isn't disabled. It uses the VVBLKD vector ($224,5). The music-module works also together with other routines installed }in that vector, but you can't change the address when the music is playing (stop it first). If you want to install VBI-rout}ines with music playing, you must allways jump to the previous address (the music) at the end of your routine. In this case, }the VBI-routine of music-module will not be removed when you stop the music, so don't overwrite the module! MUSIC IN} ASSEMBLER The music-module is stored as a binary file. At the begin, there are a few things for you:PLAYER+0 ... The ro}utine for BASICPLAYER+3 ... InitializationPLAYER+6 ... VBI routinePLAYER+9 ... Volume (4 bytes) You need to call the i}nitialization first (JSR PLAYER+3), with the parameter (1=Start 0=Stop) in the register A. The VBI routine should be called (}JSR PLAYER+6) 50 times in a second. At the address PLAYER+9 you'll find the volume for all 4 channels (Read only!) - for the }case that you want to create a kind of equalizer-graphics. An other way is to call the player in the same way as from Basi}c:MUSICON LDA #1 ;The parameter PHA LDA #0 ;High byte PHA LDA #1 ;Number of para}ms. 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