Softmuse Auto Composer

Computer voltage control for up to eight synths, and much more!

A special feature for owners of the oft-neglected Sinclair Spectrum. There's an update for E&MM's original MicroMIDI interface board, plus patch dump software for two MIDI Poly-synths, the SCI SixTrak and Yamaha DX7.

In the first part of a major new series, Jim Grant attempts the impossible by trying to explain the workings of the Fairlight CMI in terms that mere mortal musicians can understand. In-depth simply isn't the word...

Some Spectrum software for our music control micro-peripheral project, published in E&MM June '83. Explanations by the project's designer, Jim Grant.

Second instalment of Jim Grant's five-year mission into the unknown, or what goes on inside the world's most popular computer music tool.

Two alternative hardware modifications for adapting our music control micro-peripheral for use with the BBC B.

Part three, and Jim Grant outlines the basics of sound sampling.

Jim Grant gives an outline of how the Fairlight CMI copes with performance effects.

More on Kim Ryrie's CMI, the instrument that started it all, from the pen of Fairlight-user Jim Grant.

After a two-month absence, Jim Grant returns to the fold with some notes on CMI waveforms, lightpens and interpolation.

More scintillating graphics displays as our CMI series comes to Page 6. Jim Grant puts the text in between the pictures.

Software writer Jim Grant and hardware designer Tim Orr begin our two-part coverage of a new interface that can connect an MCS1 to a BBC Micro using non-MIDI codes

A utility program enabling storage of MCS1 sound samples on a BBC disk drive, among other things. Jim Grant and Tim Orr take us through it step by step.

Another world first for E&MM: Jim Grant takes us through the creation of a sound without using the CMI's sampling facility.

Delving ever further into the Computer Musical Instrument from down-under, Jim Grant samples the delights of Page 9's real-time sequencer.

An introduction

PART 1: Digital Signal Processing is rapidly becoming more familiar to musicians and home recordists as digital effects become ever more commonplace. Nevertheless, the technology and principles behind it remain a mystery to most. In this new series Jim Grant offers a straightforward explanation of how DSPs work.

PART TWO: Basic Effects

PART 2: Carrying on from last month's explanation of the basic principles of digital signal processing, Jim Grant explains how to put these into practice and create some useful and familiar effects.

Digital Filtering

PART 3: In this final part, Jim Grant builds upon the basic DSP operations of arithmetic and delay, covered in the previous articles, and concentrates on some modern day applications.