sark02 wrote:
I was never really into sounds effects and music back in the 80s, and whenever I'd try to do something on the 8-bit Atari, I tended to get little more than a farting sound. I was often amazed at what people could do with trackers.
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-)
I didn't do anything meaningful with sound in the 80s either, the music editor project would have been in the mid-late 90s.
My memories of early sound programming are two things: First, going through the BASIC examples and typing in the various programs that would go "bing" in slightly different ways; and then later on piping audio into the SID chip's audio input and trying to read it out with PEEK commands. (That didn't work.)
Off topic: It arguably wasn't really a tracker project either, strictly speaking, but I suppose that depends on the definition. A tracker, as I've always understood it, arranges music into multi-channel patterns and then lets you string together those patterns in a sequence.
There is also another flavor of music editor that was (less) popular, which instead would use single-channel patterns of variable length, and let you do transposition of those in addition to defining the sequence in which they played, for each channel independently. This saved memory compared to doing things the tracker way, where you might manually copy a drum track into multiple patterns, or copy-and-transpose a bass line.
I believe this style originated on 8-bit systems; at least Rob Hubbard's music routine for the C64 did something very similar. He would have banged in music data as hex values in a machine code monitor though, no editor needed!
That was that style of music editor I was going for.
Somewhat back on topic, C= Hacking issue 5 (1993) did have a commented disassembly of Hubbard's routine. For someone who grew up on C64 music, this was like finding the holy grail!
http://www.ffd2.com/fridge/chacking/c=hacking5.txt