Creative sound monthly 5
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CREATIVE SOUND MONTHLY
A Monthly Magazine For Sound Blaster and
Sound Blaster Pro Enthusiasts.
Issue 5
September/October 1992
Edited and Published By: Allan DibTable of contents
- From The Editors Desk
- How To Contact Me
- Included Files
- Readers Questions and Comments
- Advertisements
- Commercial Game Review- The Dagger Of Amon Ra
- Creative Labs Release Three New Products
- Shareware/Public Domain Game Review- Jill Of The Jungle
- How To Write and Edit .MOD Files (Part Three)
- That's All Folks
- Credits
You may freely distribute/copy this and all the included files, to whomever you wish, as long as you don't profit from it, and that all files that have been included are distributed. You may not in anyway modify this text file or any accompanied files/programs. You may not in part or whole re-publish or include any part of this text file into your own work without permission of the editor (Allan Dib).
From The Editors Desk
Well people welcome to issue #5 of Creative Sound Monthly, hope you all like the material we've selected for this issue. We've got a couple of especially interesting articles this month, including the third part in Gordon Craick's series on how to write .MOD files, we also have an article about the release of three new products by Creative Labs, well anyway I know you'll all be dying to rip into this month's issue of CSM so I'll leave you to it....... Enjoy......
Allan Dib.
How To Contact Me
Please feel free (even encouraged) to write me mail about queries or problems you may have regarding your Sound Blaster or Sound Blaster Pro. The mail that I think should be published, will be in the next possible issue of Creative Sound Monthly under the "Readers Questions and Comments" section. ALL mail that is sent to me will be answered. You may send me mail, leave me a message at any of the Bulletin Boards listed in the text file NODELIST.TXT or ring me by voice.
Mailing Address:
CREATIVE SOUND MONTHLY
c/o Allan Dib
19 Ondine Drive, Mulgrave
Melbourne Vic 3170
Australia.
Telephone:
(61-3) 560-3963 - Outside Australia
(03) 560-3963 - Within Australia
Ask for Allan Dib.
NOTE: See the text file NODELIST.TXT for a full list of all the bulletin boards in SBC-Net. Leave me a message at ANY one of the bulletin boards listed in NODELIST.TXT for a prompt answer (usually between 1-5 days).
Included Files
I have included the following files inside the archived file that this magazine came in.
NOTE: You may not distribute this magazine if all accompanied files aren't distributed with it, it must also be in it's original archive which is, CSM-005.??? Where ??? is ZIP, ARJ, PAK, ZOO, or ARC
CSM.005 - This magazines main text file (Your reading it !!!!).
VIEW.EXE - Views text files.
CSM-005.EXE - Views CSM.005 with VIEW.EXE.
RATINGS.DOC - The rating and comments form for Creative Sound Monthly. (simply print it out, fill it in and send it to me).
NODELIST.TXT - This is a full list of all the Bulletin boards in SBC-Net. You may leave me mail at anyone of them for a reply taking 1-5 days.
Readers Questions and Comments
From Adrian Patterson..........
Hi Allan,
I have read the first three issues of your magazine and would like to congratulate you on a a great effort! I have a Sound Blaster card, but unfortunately not a modem, so I rely on a friend who does have a modem to give me a copy of your magazine every time we meet, now I don't get to see him all that often and when I do finally get my hands on a copy, it last months or even the month before that. Now I was wondering do you have some sort of subscription scheme going that I could subscribe to? If so how much is it?
I also I have a fair bit of knowledge about the Sound Blaster and the way it operates and I would love to help out with your magazine. I don't program in any language just yet, but could help with perhaps the testing of a software or hardware product. Well Allan keep up the good work and best wishes from me and all my mates,
Adrian.
Reply From Me..............
Adrian,
Thank you for taking an interest in Creative Sound Monthly, in regards to what you wrote about subscribing to CSM, we do not have anything like that organised at the moment, however if you send me a disk(s) by mail I would be more than happy to copy the latest issue(s) of my magazine for you, or better still send me a box of twelve disks and that will be enough for one years worth of Creative Sound Monthly magazine. At the start of every month I can automatically copy you that months issue of the magazine and pop it in the mail. The reason I don't have subscriptions is that I would like to keep Creative Sound Monthly a non-profit project firstly because it would be unfair, me receiving payment for my work when other writers and proof readers put in just as much. The second reason for not having a subscription scheme is that I would like to reach as many readers as possible and don't want anyone to miss out because they haven't or can't subscribe.
Thank very much for offering a helping hand with the magazine. You said that you'd want to help in the testing of software and hardware, this presents a problem, we review quite a bit of commercial software, now for you to test it, I would have to send you a copy of the software and as you probably already know, copyright laws do not permit me to do so and I do not wish to engage in any illegal practices. Now the part about the hardware; it is not exactly wise to be sending sound cards and stuff around through the mail. What would be a really great help is if you could just write some general Sound Blaster article(s), especially ones aimed at beginners, if you get stuck for idea on something to write just give me a call and we'll come up with something or better still ask some of the readers, it's totally up to you......
Thanks heaps for your input,
Allan Dib.
Advertisements
This section is provided for anyone wanting to advertise a bulletin board or hardware they want to sell (NOTE: all hardware for sale must be sound or multimedia related, e.g. Sound Blaster Pro or Video Blaster card etc). Advertising doesn't cost anything, all you have to do is send me on disk or via modem your ad in ASCII (text) format. If your advertising a bulletin board, mention what you specialise in, phone number, maximum baud rate etc.
Are you:
- Looking for a good sound support BBS?
- Looking for new software?
- Wanting to get in contact with other sound related users?
- Looking to get in contact with Creative Sound Monthly?
Then Why not give us a call? We are:
The Communications Barrier BBS
Our Objective: Sound and Sound related support.
Sysop: Craig Hart (Merlin).
Rates: V21 300, V22 1200, V22bis 2400, V32 9600 bps
V42 & MNP 2-4 Error Correction, V42bis & MNP 5 compression.
Times: 24 Hrs, except 3:50 to 4:50 network mail hour (EST).
- Home of Creative Sound Monthly.
- Victorian JAM .MOD File distribution Point.
- Sound Blaster Connection Network Victorian distribution HUB.
- Home of Rebellion demo writing team.
- 42 Meg (Archived) of .MOD files - grows weekly.
- 25 Meg (Archived) of VGA+Sound Blaster demo's - grows weekly.
- Currently 120 meg (1,500) worth of sound material (Archived) online.
- Programming information and source codes (C, Assembly and Pascal).
- OS/2 utilities and related material.
Our BBS is set up with the Sound Related user specifically in mind. We provide you, the user, with the latest on Sound related files, with our importing sources scanning worldwide on a weekly basis. The Sound Blaster Connection and Creativity Demo networks provide contact with some of the big names in Sound - Mark Cox, Ultra force, Rebellion, Allan Dib, Janne Pettril and others you may know....
No file ratio's are imposed, and download limits start at a generous 1400k per day for 9600 bps callers. The BBS is totally free to use, and all we ask is that you write a few messages about yourself and your experiences/interests in the sound world so that everyone can get to know everyone else a little better.
Basically, if it's sound you're wanting, we've got it!
Commercial Game Review- The Dagger Of Amon Ra
Written By: Gordon Craick
Latest off Sierra's long production line, comes the Dagger of Amon Ra. The Dagger of Amon Ra follows the 1990 release, "The Colonel's Bequest", a murder mystery set in the 1920's. Many people criticised the Colonel's Bequest at the time with complaints about bugs, poor storyline, mediocre sound-track, and not enough interest. Similarly, I had to agree with them. All of this has been thankfully fixed though in "The Dagger of Amon Ra". Maybe now Sierra will get the great response they had hoped for in the first release of the series. Anyway, enough with the background, more about the game.
Set in the 1920's, you are Laura Bow, a young journalist trying to make a name for herself in the newspaper industry. On the side you are also a bit of a private detective, trying to solve crime whenever the opportunity arises. As with most Sierra games, an animation piece provides the background of the story. The game begins when the Dagger of Amon Ra, a priceless Egyptian ceremonial dagger, is stolen from the Leyendecker Museum in New York. Hearing of the story, and you being the 'ace' reporter you are, travel to New York to investigate.
The start of the game is mostly spent wandering around the town, questioning people about the suspects. Later on as the game progresses you are led to the museum for a banquet. Here you search for clues and interview the people who have a motive for stealing the dagger. This is where the fun begins! Soon people start dropping off like flies all over the place. Daggers in the chest, Peradaptyls through the heart and death by Porcupine, are all just some of the gruesome murders that occur. While this is all happening, your main job is to find the killers, their motives and how this is connected with the theft of the dagger.
Unlike other Sierra games, you aren't given a points score for how well you are progressing. The idea is to basically gather as many clues from the museum and find out who stole the dagger and why. There are several 'acts' (like stage acts) with regular intervals throughout the game. At the end of each act you are given a rating as to how good your investigating is going. If you pick up lots of clues, you are awarded a better rating. At the last stage you find out who stole the dagger, and why. If you've been investigative enough, you should have already worked out the thief by then, if not, its wise to restore your game and search a bit harder. At the end of the game you are given an overall rating for how well you've attempted the case.
Besides this, the game is just like any other Sierra Adventure, with the familiar 'point and click' interface. The graphics are up to the usual high quality, with hand painted 20's scenery which fit in well with the game. The sound is equally good, with a swinging sound-track that suits the atmosphere perfectly. There are also a few sampled sound effects, such as earie foot steps, the sound of doors opening and closing and some well timed screams by Laura during apt parts of the game. What I didn't like was the annoying method used to question people about things. To ask somebody about something, you have to click on that subject in your notebook. This isn't bad once or twice, but when you need to ask a suspect heaps of things (as is often the case), it gets very tedious. Also, people who don't really like murder/mysteries may find this too much more of the same and a bit boring. I must say though, I'm not really a great fan of those types of movies myself, but somehow the Dagger of Amon Ra managed to maintain my interest. What I really did like was the sort of 'solve it for yourself' type attitude, rather than the normal Sierra points system. It's not too difficult to pick up the clues, but then again, its not too easy. After playing the game for a while I had managed to pick up enough clues to be heading in the right direction as to 'who did it'. Even if you get stuck during some part of the game, another clue often 'pops up' to get you going again.
Great sound, excellent graphics, cool intrigue and well worth the money. Think you'd like to play 'detective' for a while? try this!
Retail Price:
$89.95 (Australian)
Sound Capabilities:
Synthesised Music: Sound Blaster/AdLib (or compatible), Game Blaster, PS/1 Audio/Joystick Card, Roland MT-32, MT-100, LAPC-I, CM-32L or CM-64, General MIDI sound driver (for most MIDI systems), Tandy 3 voice and PC Speaker.
Digitised Sound: PS/1, Sound Blaster (or compatible), Pro Audio Spectrum, Disney Sound Source or Covox Speech Thing (or compatible) and Tandy.
Note: Synthesised devices play the musical sound-track. Digitised devices play any sampled sound effects or speech. eg: A Roland card for the musical sound-track and a Sound Blaster for sampled sound effects.
Graphics Capabilities:
256 colour VGA, grey scale VGA, 16 colour EGA
RATINGS
Sound Blaster Sound:
************************************
|---|---|---|---|---|---|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10The music fits in perfectly with the atmosphere.
Sampled speech was used sparingly but effectively.
Graphics:
*************************************
|---|---|---|---|---|---|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10You can't get much better than these!
Game Play:
***************************
|---|---|---|---|---|---|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10The questioning method is greatly annoying.
Creativity:
***********************************
|---|---|---|---|---|---|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10The graphics, sound and game-play blend well.
Originality Out Of Ten:
*******************************
|---|---|---|---|---|---|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10There aren't too many murder mysteries for the PC but it still follows the general Sierra style.
Overall Value Out Of Ten:
*************************************
|---|---|---|---|---|---|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10A great mixture of hand-painted art, roaring 20's sound-track, and rip roaring intrigue.
Creative Labs Release Three New Products
Written By: Allan Dib
They won't give us break will they ? We just finish documenting and writing programs for the new Sound Blaster Pro and Sound Blaster Pro 2, only now are programs are becoming more abundant for the Sound Blaster Pro and what do Creative Labs have to go and do ? You guessed it, once AGAIN, more new products are coming your way from Creative Labs these are the - Sound Blaster 16, MIDI Blaster, and Port Blaster !
Well here we go, the following is a description of each and specifications -
Sound Blaster 16
Yet another card has been added to the Sound Blaster series this is the Sound Blaster 16. Finally a true 16 bit sound card, now this one will have CD quality sound. It has 16 bit sampling with a sampling rate of 44.1 Khz in Stereo !! It also has many other added features which were lacking in the Sound Blaster Pro (Version 1 and 2), these are 32 level volume control, tone control (both treble and bass) and also new Windows 3.1 compatible software. The following is a full list of specifications for it -
* Stereo Digital/Analog Mixer for Multiple Audio Sources (with 32 level)
- Microphone
- CD-audio
- External line-in
- FM music
- Digitised voices
- PC-speaker-in
* Advanced Digitised Sound Processing
- 8 bit / 16 bit audio stereo/mono recording & playback from 5 to 44.1 Khz.
- Auto dynamic filtering.
- Real-time ADPCM compression/decompression in mono/stereo.
- Multiple source recording.
* Stereo Music Synthesiser
- Enhanced 4-operator FM technology (OPL 3).
- 20 Voice full stereo.
* Built-in CD Interface
- Full duplex MPU-401 UART and Sound Blaster MIDI Mode.
* Built-in CD Interface
* Full User Control of:
- Tone (Treble/Bass)
- Gain (Mic, Line-In, Line-Out)
- Volume
- Channel switching
* Power Amplifier
- 4W per channel stereo amplifier
* Hardware Configuration
- I/O Port: 220, 240, 260, 280 (Hardware selectable).
- Interrupts: 2, 5, 7, 10 (Hardware/software selectable).
- 8-bit DMA channel: 0, 1, 3 (Hardware/software selectable).
- 16-bit DMA channel: 5, 6, 7 (Hardware/software selectable).
* Downward compatibility with Sound Blaster Pro.
* Windows 3.1 and MPC compatible.
MIDI Blaster
The MIDI Blaster is small black box (not a card like the Sound Blaster), it is a powerful unit that can be used sequencing, adding an extra sound source for both musicians and multimedia enthusiasts and it can also as an extension to the Sound Blaster Pro. I heard the sound from it and it is superb ! Personally I think it's a lot better than the Roland, for two reasons first of all I've heard the sound from both a MIDI Blaster and a Roland and I believe that the MIDI Blaster actually sounds better and secondly because the MIDI Blaster is made by Creative Labs meaning it will better support and a much bigger variety software for it not long after it's release. It's possible to use it together with a Sound Blaster Pro card giving stunning sound. Well anyway here are all the specifications on it -
* Polyphony : 20 (sounds + drums).
* Channels : 16.
(MIDI channels 1 to 9 and 11 to 16 : sounds).
(MIDI channel 10 : drums).
* Preset : 128 (sounds), 33 (effects), 55 (drums).
* Synthesis : Mixed PCM/FM.
* Audio Output : 1V RMS 10 k Ohm.
* Frequency Range : 10 - 80 Khz.
* Sampling Rate : 44.1 KHz.
* S/N : Over 80 dB.
* MIDI Interface : General MIDI.
* Power Supply : 9V 300 mA (AC adapter).
* Current Draw : 150 mA.
* LED Indicator : Power and MIDI communications.
* Front Panels : Volume knob, Power ON/OFF.
* Connectors : Phones.
In (RCA pin) x 2 (Left/Right).
Out (RCA pin) x 2 (Left/Right).
MIDI (IN, THRU).
DC In.
* Others : Bundled Software.
Port Blaster
The Port Blaster is yet ANOTHER new addition to the "Creative Multimedia Family" which brings quality PC sound to more people. Many people can't have a Sound Blaster Pro on their computer because it's a card and they don't have a free slot, or they have a laptop or notebook computer where it's not possible to put in a card or their computer for some reason is non-standard or some other reason, the Port Blaster solves this. It is a small (dark blue) box (smaller than the MIDI Blaster). As far as I know it is basically a Sound Blaster Pro 2 that plugs into your parallel port. It offers Sound Blaster Pro 2 emulation. Don't quote me on this but I have a feeling that the emulation is done through some TSR that redirects the information/music that would normally go to a Sound Blaster card to your parallel port. Well anyway here are the specifications -
- Enhanced 4-operator FM Stereo Music Synthesiser (OPL3).
- 8-bit Stereo Digitised Sound Output.
- Microphone input with AGC (mono).
- Stereo Mixer with Digital Volume Control.
- Built-in Full Duplex MIDI Interface.
- Output Power Amplifier.
- Internal Speaker.
- Auto Power Off When Unplugged.
- Power Supply- Battery or AC/DC Adapter.
- DC-DC Converter for Regulated Power Supply.
- Windows 3.1 compatible and offers Sound Blaster Pro emulation.
Well this pretty interesting stuff, it'll be something to look out for in the near future.
A word of advice to anyone going to buy a sound card, WAIT until the above mentioned are released !! There are is a MAJOR difference, especially with the Sound Blaster 16. If anyone is in any particular hurry to buy a sound card and can't wait for the release of the Sound Blaster 16, then I strongly suggest that you go for the Pro Audio Spectrum 16, by Media Vision, it is a brilliant sound card, MUCH better than the Sound Blaster Pro 2. It can samples in 16 bits at 44.1 Khz in stereo !!! This is CD quality, it is VERY similar to the Sound Blaster 16, the ONLY drawback I've seen in the card is that it is not fully compatible with the Sound Blaster Pro even though it uses the same Yamaha OPL3 chip. When I say it is not FULLY compatible is that it will work in Sound Blaster Pro compatibility mode in some applications/games but not others depending on how the card is used by the game or program your running. However it is fully Sound Blaster compatible, and that basically covers nearly every game/program that supports a sound card. More on this card and many others in our next issue, just look out for the article called "Various Sound Card Comparison". We'll be doing a big comparison on nearly every known sound card.
Shareware/Public Domain Game Review- Jill of the Jungle
Written By: Gordon Craick
A new force has emerged from the shareware swamp of ideas, Epic MegaGames. This is the first game from a group of shareware publishers who are hoping to put their stamp on the shareware gaming world, challenging the kings themselves, Apogee software. Epic, knowing this, have also had a bit of a go at Apogee during the game with comments such as: "In a shock announcement, B. Blaze has retired from the gaming world. These Epic MegaGames people are just too good!". By the looks of their first attempt at a 'professional' looking platform game, Apogee had better watch their backs.
You are Jill, a jungle woman and your task is to travel through the forest, avoiding the monsters along the way. Admittedly, not the greatest of story lines, but it doesn't really matter in these sort of games. The main attraction is the game play.
Nasties such as frogs (yikes!), crocodiles, fire birds, bees, jellyfish, and many more try to block your path as you run, climb, jump, and hack your way through the jungle. For every monster that is killed, Jill gains several points. Bonus points can also be found by jumping on some objects. To kill any creatures, daggers can be obtained in various places which can be thrown at them. These daggers return to you every time they are thrown. It is also possible to have more than one dagger at a time. In some levels, you can obtain whirling blades which you can also use to hack monsters and blast some rocks to bits. The blades also have a sort of 'curve-ball' effect and the direction of them can be changed while in flight.
Jill has a bar of life points which decrease if she is hit by anything. These can be restored with apples which can be found plentifully around all of the levels.
There are sixteen levels to conquer in Jill of the Jungle, plus a bonus level which can be found in the course of the game. To pass a level, a certain number of gems have to be found. Once they have been found, you can advance to the next level. Between the levels is also the map level which leads to the other levels.
Several times in the game you come across several metaporphasis devices. These allow you to change in to a variety of different monsters, the fire bird, the fish and the frog. Your usual controls are replaced by flap and shoot (or whatever is appropriate for the creature). Great fun!
Although the game can be played in the lower graphics modes, the 256 colour VGA graphics are used to their fullest, providing true arcade quality. An ex-Nintendo animator has even been put at work for the animation, putting most shareware publishers to shame. The sound is no let down either, with a cool Sound Blaster sound-track plus various sound effects used brilliantly. Nearly every level is accompanied by a different swinging jungle beat. Sound effects include several screams by Jill, bird noises, screeching blades, shattering rocks, a weird 'Yeah!', plus many more.
The graphics and Sound Blaster music used in Jill of the Jungle are some of the best I've ever seen in a shareware or public domain game. Much smoother and more detailed than most of the Apogee games (except for Apogee's Wolfenstein 3D). It almost has a 'Prince of Persia' type feel and it is easy to see a great deal of care has been taken. One complaint about the graphics is that the sprites could have been quite a bit larger. Also, the back-ground scenery could have been quite a bit more detailed. Sound wise, the digital channel of the Sound Blaster is used quite a bit more than any of the other shareware games, "Jill Of The Jungle" can accurately claim 'full' Sound Blaster support (it doesn't even support AdLib!). The greatest fault of the game probably is the easiness of completing it. It only took me about an hour to complete all sixteen levels plus the bonus level. If the save and restore aspect had been taken out, and a certain number of lives introduced, it would have made the game a lot more challenging. Judging by part one, it shouldn't be to hard to complete the whole trilogy in well under one afternoon. Therefore the $49 price tag is a bit unreasonable. Despite this, the rest of the game is fine.
Jill of the Jungle is well thought out with some interesting ideas not found in any of the other shareware or public domain releases. Look out for more excellent shareware releases by Epic MegaGames!
Retail Price:
All three episodes:
Jill of the Jungle,
Jill goes Underground,
and
Jill saves the Prince.
for $49 (Australian),
or $30 (US).
Sound Capabilities:
Sound Blaster (or compatible), PC Speaker.
Graphics Capabilities:
CGA, EGA, 256 colour VGA.
Extra Information:
AT compatible with 512k+ of RAM.
DOS 3.0 or greater.
Joystick optional.
RATINGS
Sound Blaster Sound:
**************************************
|---|---|---|---|---|---|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10Cool Sound Blaster tracks and digitised effects!
Graphics:
***********************************
|---|---|---|---|---|---|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10Game Play:
*****************************
|---|---|---|---|---|---|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10Too easy!
Creativity:
*************************************
|---|---|---|---|---|---|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10Originality Out Of Ten:
*********************
|---|---|---|---|---|---|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10There are plenty of these platform type games.
Overall Value Out Of Ten:
******************************
|---|---|---|---|---|---|---|---|---|---|
0 1 2 3 4 5 6 7 8 9 10How To Write and Edit .MOD Files (Part Three)
Written By: Gordon Craick
The topics covered in part 3 include:
- Part 3!...
- What you'll need...
- What style of .MOD file might you want to create?...
- Some useful pointers to remember...
- Writing your own module...
- Sounds no good?- How you may have gone wrong...
- Part 4...
PART 3!
Hi from me again, and welcome to the third of a comprehensive series of articles on how to write and edit .MOD files on your PC. Previous articles in the series have been on the following topics: General .MOD file writing, overview and sampling (CSM issue #3). Transcribing music into a .MOD file (CSM issue #4). It is well advisable to check these out so you can get the general idea of what I'm talking about (and learn something at the same time). Part 2 detailed how to make a .MOD file from existing music, this one is devoted on how to compose your own from nothing but your own ideas (plus a little help from me!). First of all.....
WHAT YOU'LL NEED:
To write your own .MOD file, you'll need these things: (See part 1 of this series in CSM issue #3 for a complete overview of essential hardware and software required.).
- ModEdit or any other module editor.
- At least SOME idea of what sort of module you would like to write.
- Some samples or the ability to record samples.
- Quite a lot of patience (this takes a long time to master).
That's all!
WHAT STYLE OF .MOD FILE MIGHT YOU WANT TO CREATE?
Like there are many styles of music, there are also many different styles of .MOD files. For instance you can have Dance, Rap, Rock, Blues, Soul and many more just under the heading of "rock 'n roll". In module writing you can also have those sorts of things (see later on in this article) but there are two main types (or styles). There are no actual formal names for these classes of .MOD files but I've chosen a couple to make it easier to describe -
a. The Musical .MOD File:
This style of module writing just has sampled musical instruments played at different pitches to create music. Because sampled voice can take up a lot of room, and an instrument only needs one note to play at different pitches throughout the piece, they are almost always smaller than the "voice-over" .MOD files.
b. The Voice-Over .MOD File :
These styles of modules have the instruments of a musical .MOD file but also have a few sampled voices also. To record whole voice in a .MOD file would require so much room than it is practically impossible (the .MOD file format also has some limitations). Therefore, the "voice-over" .MOD files are probably mostly related to dance music with short voice "cuts" placed over a funky beat. Many of the dance groups (eg: 2 Unlimited) use sampled instruments themselves. The arrival of such wonders as digital music (which has been mostly due to the growth in computers in the last 40 years) make this all possible. If you can create a good "voice-over" .MOD file, you are virtually creating your own dance music! A good "voice-over" .MOD file is also probably the hardest to make, considering you need to be good at writing some music AND placing the voice samples skilfully. Likewise, it can also sound the best of the two styles.
Although there are those two styles, there is no set rule as to what can and can't be done in each. For instance, musical .MOD files can have mostly music but a couple of voice samples. Similarly, a "voice-over" .MOD file can have nearly all voice samples and only one or two sampled "instruments". It largely depends the to writer as to what he or she (we aren't sexist here!) feels like doing at the time. Some module writers just stick to "voice-over" or "musical", others change over regularly. It is really just a question of personal preference.
What style is the best to start with? you may ask. After pondering that question for a while, I must say I'm not quite sure myself! (useful, NOT!). Alternatively, I'll give you a few good and bad points on starting with each style -
a. If you start with the "musical" variety, you can get fairly good at it you later want to experiment by adding voice samples.
b. Then again, if you start with the "voice-over" variety, you don't need to have as much musical knowledge to do so.
c. To do a "voice-over" module, you will probably want to sample your own voices to make your .MOD file sound original. This will require you to have an output device that can record (such as the Sound Blaster) and some previous experience in sampling.
d. Starting with the musical type means that it is very easy to "rip" instruments from other modules. Your module will still sound original even if you use their instruments because it is YOU that decides how that instrument is used (such as pitch, placement, etc).
Considering all of these options, hopefully you can decide which one will best suit your needs. If you are very un-musical, try the "voice-over" type. If you are a bit musical, cannot sample, think you would like to write one, or don't think you like the "voice-over" type, choose the "musical type". Conclusively, the musical type seems to cover the larger number of budding .MOD file writers. If you're not quite sure yourself, I recommend the "musical" type.
Now that you've chosen what "style" of module you would like (either "musical" or "voice-over"), you need to decide what SORT of .MOD file you might write. The sort of music usually follows general music guidelines (not .MOD file music). Below is a list that is applicable for .MOD file writing e.g. -not rap (due to it being mainly lyrics/speech, which as before mentioned is impossible to do as a .MOD file) -
a. Dance Music - Has a heavy beat, lots of different samples and often voice "cuts". Easy to create in a module because there are very little vocals (voice).
b. General Rock - Many different styles. Fast to slower sounding. Usually flows smoothly. A large variety of soft to medium-loud instrumentals. Because the main element of general rock is vocals it is harder to create since modules can't handle "full vocals".
c. Jazz Music - Large number of brass sounding instruments. Has a sort of "swinging" beat. This can sound good in a module because many jazz pieces have no vocals.
d. Heavy Metal - A usually fast, strong sounding beat with lots of loud cymbals, hihats, drum-rolls. Has very strong electric/electric bass guitar with lots of riffs, distortion, etc. Not as many other instruments.
e. None of The Above - Can be just about anything, a mixture in-between one or the other or none of the above! Although not common in general music, it is probably the most used in module music.
These are just about all the sorts that a module can be written as. Some music is very hard to classify into one group or another, others are easier. Pick one that you either enjoy listening to yourself or would like to write. If you feel that the thing you want to create doesn't really fit into any of the categories, don't worry! Just keep the idea on the sort of music and use it in your module.
By now you should know whether you want a "musical" or "voice-over" type module, what sort of music you would like to do it in, and maybe even some ideas as to what samples you could use for best effect. Now comes the time when you need to write your music. But next, some useful things to remember just before you start......
SOME USEFUL POINTERS TO REMEMBER:
a. Try and use all four module tracks most of the time.
There are four tracks available when you are writing a module and if you don't use all of them the song can sound a bit "bare". If you don't think you need a track, copy one of the other tracks (preferably the lead) into the spare one. Then if you like you can transpose the copied track down or up a couple of semitones. Make sure the two similar tracks don't end up drowning the other tracks. There are some parts in your song of course that probably don't require all tracks and obviously during those parts you won't need to be using all of the four tracks.
b. Keep a constant volume.
Unless you are fading in or out emphasising an instrument, try and keep the song at the same volume throughout. Make sure that all of the tracks are balanced evenly. If one track drowns one or more other tracks, try reducing the volume in the effects field next to the notes.
c. Choose the right samples.
The right choice and use of samples can greatly mean the difference between a good and a bad module. Choose samples that will fit in with the mood of the piece you are trying to write. If you change the mood a bit you can always change the samples later. Be sure that the samples are at about the same volume. If they aren't, fiddle around with the samples volume until they are at the same loudness. If one sample is too loud it can drown out the other samples. Don't put in any samples that you're only going to use once or twice, this only needlessly makes the module larger.
d. Don't repeat a pattern too many times.
Although repeating a pattern once or twice is fine, playing it more than that can make the module boring. If you think that you would like to play it more, copy it to a new track and modify it slightly to give it some originality. This way you can still keep up the interest without creating a whole new pattern.
e. Try and be original.
When creating your module, try and make it different to everybody else's. Experiment with the effect fields, different sounding samples or anything else to add some originality to your music. There is nothing worse than creating a module and then finding out that it is very alike to someone else's.
That's just about all you need to remember to create your own great sounding, original and interesting modules. A good way to find what and what not to do is to check out other module files. Listen to them and see where they either went right or wrong. Another way is to pass your module onto someone else for scrutiny. They can tell what they like or dislike about your creation. You can hopefully use this information to improve it or remember it for your next .MOD file you make. For some other good points to remember see Part 2 in this series, under the section "Entering in the Music" (CSM issue #3).
WRITING YOUR OWN MODULE:
This is where you get to enter your music into a module editing program. I prefer ModEdit 2.00 (by Norman Lin) for this but the real-time recording of some .MOD file editors is also quite helpful (eg: Scream Tracker 2.25). Real-time recording allows you to enter the notes as the editor scrolls down the pattern. This gives you a more "instrument feel" to entering the notes. It can also make composing trickier so it's up to you to decide whether you want to use it or not.
I would say the easiest way to find out how to compose your own module is to check out other people's achievements. Take note of the sorts of samples they use, the different styles used, special effects or anything else of interest. The majority of module writers start this way, just by looking at existing modules and experimenting with the different styles, ideas and thoughts involved. Most of the module creating is mainly up to you now, but what I can do is describe what to place in the different tracks.
In your module you have four tracks to use and there is usually a set format as to what sort of instruments are placed in each. Following this format, your module should sound like proper music, not just a collection of randomly played samples. It is also a good way to decide what to fill up your music with. When I say track(s) I mean plural as there can be more than one of those types of tracks (not more than two usually). Here they are:
a. The Percussion Track(s)
This is where you place all the percussion instruments (samples). Percussion instruments are instruments such as drums, clapping, cymbals, high hats, glockenspiel, etc. The percussion track(s) are usually pretty repetitive, playing the same beat for most of the song. They aren't completely repetitive though with things such as drum rolls, changing of beats and solos. The percussion tracks provide most of the timing and rhythm for the whole song.
b. The Bass Track(s)
This is the track where you place all of the bass instruments. These are usually deep sounding instruments (samples) such as bass guitars. It is usually fairly repetitive, playing the same track through-out most of the song. The bass and percussion tracks usually interact with each other to form the "backbone of the music".
c. The Lead Track(s)
The lead track is mainly what your piece of music will sound like. It is non-repetitive (except in some parts) and controls where the piece of music is heading. The bass, percussion, and any other tracks may be change to reflect the mood of the lead. Lead tracks can be in any number of different instruments and can often change.
d. The Other Track(s)
Track(s) other than the bass, percussion and lead tracks can be used for a number of different things. It can be used for voice samples, sound effects, or just about anything else. Other tracks may be copied into these to give the module extra musical "richness". For example: you could copy a lead track onto an extra track and then modify the extra track a bit (such as transposing) to make the lead sound clearer (or better). What you use the extra track(s) for is really your own choice.
The best way I find to start a module is to write the percussion track first. If you're just starting your first module, a simple bass-drum, snare beat should be adequate. Later on, as you get better you can experiment with other more interesting beats. When you are writing the percussion track, make sure you keep an even beat. There is nothing worse than a beat that goes all over the place. If you're fairly pleased with your drum track, the next track I recommend to start is the bass track.
For starters, choose a fairly typical bass sample (instrument) such as a bass guitar. Place it in about a pattern of bass track notes and see what it sounds like with the percussion track. It should blend well with your drum beat and hopefully accompany it. If it doesn't, you might need to change the bass track to fit in better.
Next comes the lead track, which is probably the hardest to do. The lead should fit in with both your percussion and bass tracks but also be quite different. The easiest way is just to think up a simple tune and elaborate on that during the module. Basically it is up to you.
Lastly you need to feel the other tracks. If you've so far made one percussion, one bass and one lead (three out of a four possible tracks), this will leave you only one track to play with. If you are creating a voice-over module, this is where you put your voice samples. If not, here you can place another instrument to accompany your lead track.
When you have completed all of your tracks, have a listen to them and see what the whole thing sounds like. If you are satisfied with it, organise all of your patterns into a logical order that makes it sound more like a piece of music than just a collection of notes. This can be very important and can often set the mood of the piece.
If you think you have finished your module, now, if you like, you can change the sample names in the module into a message for any listeners. I always think that it is better to know who has written the module, whether it is good or bad is irrelevant. Include your name, any contact address and where about you live (which state if you don't want to be too specific). Since your module can also be distributed all around the world, it might also be wise to add your country. All of this information is not essential, but there are so many anonymous .MOD files out there, it's not funny. By leaving your name in your modules, you can also get the recognition you deserve, (then again if nobody likes it, it might be wise to omit your name!). Do whatever you feel is right.
As mentioned in part 2 of this series, distribute your finished module(s) everywhere! Give it to your friends, upload it to bulletin boards, send it to us here at CSM, use it in a demo, advertise it, whatever! If you upload it to an SBC-Net bulletin board it will surely be distributed right around the world. Show everyone that you are as capable module writer as anybody else. If you get good enough, people will soon be asking for more modules from you!
If the whole module or parts of it sound rather strange or out of time, you may need to check the following section: How you may have gone wrong.
HOW YOU MAY HAVE GONE WRONG:
a. The module sounds cramped.
Keep the notes a uniform distance away from each other. If the notes are placed straight under each other, the sample that is being played won't have enough time to play the full note, giving a cut-off sound. Too many notes too close together can also make your module sound jumbled. Space the notes a bit further apart (also be careful not to space them too far). Slowing down the module might also help fix this.
b. The module sounds boring.
You probably haven't written enough varied patterns to keep the module interesting. Try writing some more patterns that are reasonably different but still stay with the general tune or mood of the piece.
c. The module sounds un-organised.
You have probably not placed the right patterns in the right places. Experiment with a different pattern order.
d. The module sounds out of time.
The notes on the different tracks should be on the same beats. Delete or insert note places to keep them together.
e. There are gaps during some parts.
Fill up the whole of the pattern, don't leave notes off the end of the pattern just because you are starting another one. Also try reducing some of the spaces between the notes.
f. Some samples or tracks sound too soft.
Reduce the volume of the sample(s) or tracks that tend to make the others hard to hear.
If all of this doesn't help, send your module or queries into CSM and I or Allan Dib or someone else should be able to tell you what you are doing wrong. Whatever you do, don't give up, keep persevering and soon you will end up getting it right. Nobody gets it right the first time!
PART 4:
That is just about it from me for part 3 in this series. From the last three articles you should have a good idea of what is required in writing and editing your own .MOD files. At the moment I'm not quite sure what I am going to do for article 4 (although I have lots of ideas). Watch out for it soon in CSM issue #6! Send in any ideas for future articles, problems or tips you would like to share with me about .MOD file writing via the SBC-Net (to Gordon Craick) or to CSM's editor, Allan Dib.
That's All Folks
Well everyone that's about for this month, look out for the big article on different sound cards we compare next month. We're going to be giving detailed information on every sound card we know of starting from the original AdLib through to the Sound Blaster 16. See you all then......
Allan Dib.
Credits
Gordon Craick - Gordon did both reviews for us this month and the article by him we always look forward to; "How To Write and Edit .MOD Files", look out for part four in next months issue of CSM.
Adrian Patterson - Adrian took the time to write in to us and offered to lend a hand in future issues, thanks man !
Craig Hart - Wrote up the advertisement for the Communications Barrier Bulletin Board (Home of CSM).
A special thanks goes out to all the people who have sent in the "Ratings and Comments Form" and also everyone who has taken the time to send in any mail to me.....
Send All Mail To:
CREATIVE SOUND MONTHLY
c/o Allan Dib
19 Ondine Drive, Mulgrave
Melbourne Vic 3170
Australia.
Telephone:
(61-3) 560-3963 - Outside Australia
(03) 560-3963 - Within Australia
Ask for Allan Dib.
