Amiga Computing - Commodore Is Awesome
Amiga Computing - Commodore Is Awesome
Amiga Computing - Commodore Is Awesome
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K, so you've finally decided to<br />
take the plunge. You've bought<br />
yourself a Midi keyboard and a<br />
Midi interface for your <strong>Amiga</strong>, now all<br />
that remains is to buy yourself a<br />
suitable sequencer package.<br />
But which is the right one for you?<br />
After all, they all seem to do basically<br />
the same job.<br />
To help you make the right buying<br />
decision, <strong>Amiga</strong> <strong>Computing</strong> takes a<br />
look at the current cut of the crop of<br />
<strong>Amiga</strong> sequencers. This month we see<br />
what the market has to offer the<br />
"professional" musician. And for those<br />
of you with less demanding<br />
requirements, next month we'll be<br />
reviewing the range of budget<br />
sequencers.<br />
KCS 3.0/DR.T<br />
E299/071-724 4104<br />
Dr.T's software offer the most complete<br />
range of MIDI software available for the<br />
<strong>Amiga</strong>. Their catalogue includes a vast<br />
range of patch editors, sequencers to<br />
suite all budgets, SMPTE hardware and<br />
software, and even a range of Copyist<br />
tools for the production of scores from<br />
sequencer files.<br />
KCS 3 is available in two versions.<br />
Levels 1 and 2. Level 2 has an extra<br />
Programmable Variations Generator<br />
that applies mathematical techniques to<br />
create rhythmic cycles. The heart of<br />
KCS 3.0 is a powerful 48 track realtime<br />
MIDI recorder providing similar<br />
recording options to Musick Sequence<br />
editing is carried using a MIDI data<br />
stream editor only — there's no fancy<br />
graphic editors here.<br />
KCS is indeed a powerful sequencer,<br />
but it is rather unfriendly to amateur<br />
users. If some kind of graphic editing<br />
were included, then KCS would have<br />
been far more approachable. As it<br />
stands, it remains a tool for the<br />
hardened professional.<br />
KCS - not the easiest to use<br />
120 AMIGA COMPUTING November MO<br />
MUSICX/Microlliusions-The<br />
Software Business/E230/<br />
0480 496497<br />
musicx is generally regarded as the<br />
number one sequencer currently<br />
available for the <strong>Amiga</strong>. Unlike the rest<br />
of the pack, MusicX was developed on<br />
the <strong>Amiga</strong> specifically for the <strong>Amiga</strong>, as<br />
a result it boasts easily the most friendly<br />
and well designed user interface of all.<br />
The 250 tracks of real time MIDI<br />
MusicK's editor takes some beating<br />
recording offers such features as punch<br />
in/out, multichannel record, track<br />
merging and splitting, plus a lot more.<br />
Editing is via a friendly piano roll-like<br />
bar editor and a more conventional MIDI<br />
stream editor. The current release does<br />
not offer any form of score editing, but<br />
MicroIllusions have promised both this<br />
and lots more in a future release.<br />
Also worth a mention is MusicX's<br />
powerful filters page which acts like a<br />
dedicated MIDI patchbay, allowing you<br />
to redirect MIDI events and even assign<br />
events to individual keys using the<br />
keymap editor.<br />
For those of you with synthesisers,<br />
MusicX offers a powerful librarian page<br />
to store synth patch data. Also included<br />
are a range of patch editors for various<br />
synths including the Roland D50.<br />
FOR most programmers, composing<br />
tunes for their gaming creations meant<br />
only one thing — Sound Tracker. During<br />
its brief history, Obarski's music editor<br />
has become famous among both<br />
crackers and demo writers.<br />
Chances are that even the games<br />
you buy contain tunes produced using<br />
Sound Tracker, However, due to its<br />
legal position — nobody seems to know<br />
whether Sound Tracker is now PD or<br />
not — the program has been almost<br />
impossible to obtain.<br />
A new (legal) contender for Sound<br />
Tracker's throne is TFMX from the<br />
German software house of<br />
DemonWare. As the manual goes to<br />
great lengths to stress, TFMX was<br />
designed exclusively for the production<br />
of music for Demonware's own game<br />
titles, After realising what a good<br />
product TFMX was, Demonware have<br />
kindly made TFMX available to a much<br />
wider audience.<br />
It uses a pattern-based editing<br />
MASTER TRACKS PRO/<br />
Passport/E289/071- 724<br />
4104<br />
Until recently, Master Tracks Pro was<br />
Passport's only release for the <strong>Amiga</strong>.<br />
Although it is not that well known in this<br />
country, the Americans love it Master<br />
Tracks is available on a number of<br />
different systems, including the Mac,<br />
<strong>Amiga</strong> and ST. All share a common,<br />
graphical-orientated user interface<br />
based around the Mac Finder system.<br />
Master Tracks offers 64 tracks of<br />
realtime recording, complete with some<br />
of the most powerful editing options<br />
available within an <strong>Amiga</strong> sequencer.<br />
The main workhorse editor is the step<br />
editor, which is almost identical to the<br />
MusicX bar editor. The program also<br />
has a unique song editor which can be<br />
used to built up songs from patterns.<br />
Other editing tools include a useful Fit<br />
Time option which can be used to<br />
compress or expand a sequence to fit a<br />
particular time space — very useful<br />
when providing music for video. Also on<br />
offer is a humaniser that attempts to<br />
make sequences more human by<br />
making them less rigid.<br />
Master Tracks is a powerful music<br />
composition system that gives MusicX a<br />
run for its money — a studio proven<br />
system that is well worth investigating.<br />
system very similar to conventional<br />
drum machines. Songs are constructed<br />
by building up patterns that are then<br />
combined to form the final song.<br />
Individual patterns are constructed by<br />
entering hex values representing the<br />
note to be played and the sample<br />
macro with which it is to be played. You<br />
can specify both the volume of the<br />
sample and which channel it is to be<br />
played through , a handy facility for<br />
creating stereo bounce effects.<br />
Directly after a note has been entered<br />
it is followed by a further command that<br />
specifies whether another note is to be<br />
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