Type P for Play and listen to the sound. As its name suggests, it is a "ping" sound. This one, quick, pure tone sound may be adjusted for a longer duration. Move the cursor down to ENVL PER COARSE, using the down arrow key or Control-J and type 8. Type P for play and listen to the change. Try a few more changes to this value, type 20, type 2, etc. Notice that the larger the value typed, the more drawn out the ping is. 

Conversely, if a smaller number is entered, the ping becomes a plunk; not only is it shorter in duration, but one might suspect that it is a different sound altogether. The difference between the sounds is relatively minor. It is characterized by a change in the rate of decay or gradual decrease in volume. The difference between the decays of ping and plunk is similar to the difference between rolling a ball down an incline and pushing the ball off the back, which is a cliff-like drop. The ball rolling down the incline takes longer to reach the ground than the ball dropping off the back. 

2-5
Let's find out what fixed level amplitude sounds like. Change the ENVL PER value back to 4 before proceeding. Move the cursor up to AMPLITUDE. Using the right arrow key, move it to column A and type 10. Play the sound. Type R to stop the sound or type 0 to turn off the volume. This time the sound was piercing. The pitch was high and irritating. Move the cursor to Tone Period Fine tune to lower this pitch. Move the cursor to the A column and type 244. This value is a C note in the fourth octave (middle C). A chart of TONE PER values for each note is provided in Appendix E, page A-6. 

Our ping sound can also be altered by changing the amplitude pattern or the ENVL SHAPE. We have already adjusted the length of a decaying sound, but a sound which decays is only one of 8 possible patterns from which you may choose. The diagram below illustrates the different patterns we may select. Try each one to establish a relationship, in your mind, between the sound pattern and its picture. VALUE
(DEC)	

GRAPHIC REPRESENTATION

8

9

10

11

12

13

14

15

Let's load a noise sound and play with it. Type L for Load, and type EXPLOSION. Type P to play. The ping sound is gone. We now hear a powerful blast. What parameters are required to make an explosion? Move the cursor down to ENVL SHAPE. Notice the ENVL SHAPE is set to 0. Do not take 0 to mean that this parameter has been shut off! There is a sound pattern associated with a value of zero. This pattern is not included in the diagram above because it is the same pattern as for a value of 9. Change ENVL SHAPE to 14, and listen to your new sound. You are hearing the ocean, and all we had to do was change one parameter! 

2-6
Move the cursor up to ENVL PER COARSE and type 10. Type P to play and listen to the difference. The ocean roar changed to a swish. Continue to reduce the value until you reach 1. This is a train sound. By changing only two parameters, we have created a wide range of special effects: explosions, ocean roars, swishes and trains. Finally, let's listen to a sound which has both tone and noise. Type L for load and type ENGINE. The screen will display: SPEAKER 1
REGISTER	MAX	CHANNEL
NAME	VAL	ALL	A	B	C
TONE PER FINE	255	0	0	0	0
TONE PER COARSE	15	0	5	5	5
NOISE PERIOD	31	10
ENABLE	63	0
AMPLITUDE	16	0	10	10	10
(FIX=0-15/VAR=16)
ENVL PER FINE	255	0
ENVL PER COARSE	255	0
ENVL SHAPE	15	0
Type P to play the engine sound. Tones are set at a coarse tune of 5 and noise is set at 10. The fixed amplitude is set to a moderate level of 10. MOCKINGBOARD is capable of generating six different sounds at once. The three channels on each chip permit various combinations of tone and noise to be generated separately.

The ENABLE parameter will allow you to designate whether a tone, noise, or a mixture of both is to be produced through each channel. A chart in Appendix C, page A-4 contains values for the different possible combinations of sound. You may also find the proper ENABLE value in the Sound Utility by typing Control-E. Enable is currently set at 0, let's find out what a zero setting means. Type Control-E, type 0 and type a return. A prompt will appear on the screen 
ENTER 40 TO 63 OR 'S' TO SCROLL = >
The chart just above this prompt tells you that all three channels are open for both tone and noise. If you type 63, all the channels are turned off. No sound will be generated. 

2-7 
Press the ESCape key and the cursor will return to where you typed Control-E. Type 63 and P for play. MOCKINGBOARD is silent. To hear just the tone component of the engine, type 56 for ENABLE. Verify that this umber is for tone only in all three channels. Type Control-E again and enter 56. Press ESCape to return to ENABLE. Type P to play and listen to the result. The sound is a low pitched buzz. Now type 7 for ENABLE and press P to play noise only in all three channels. MOCKINGBOARD is producing a sound like television static.

MOCKINGBOARD will allow you to mix these sounds just like an audio engineer. You make make either tone or noise dominant by restricting the other to one channel only. for example, type 28 for ENABLE. The tone sound is now generated in channels A and B, while noise is restricted to channel C. Experiment with other possible combinations, and listen to the difference. Further discussion and detail is given in the next two sections on developing noise only sound effects and tone only sound effects (musical notes). 

NOISE ONLY SOUND EFFECTS
You will have an opportunity to hear the difference between tone and noise, and the effects that can be created with them. We will begin with a noise effect - the sound of a train. Using the Sound Utility, move the cursor to NOISE PERIOD.

The Noise Period value ranges from 0 to 31 . The value represents the amount of noise compressed within a period of time. The larger the value, the less noise compressed. The smaller the value, the more noise compressed. The result is similar to the sound of steam escaping from a kettle. The steam makes a high frequency hissing sound because the steam is trapped and is being compressed. If the lid is opened, the hiss immediately becomes lower in frequency because the steam is not being compressed. The sound of a train is a soothing sound which is neither a high nor low frequency sound. Let's try a middle value. Type 16 next to NOISE PERIOD. 

2-8
TURN ON NOISE ONLY
Sounds produced by MOCKINGBOARD are routed through a passage, called a channel, to the speaker. Each sound chip on MOCKINGBOARD has three such channels for generating three seperate sounds. MOCKINGROARD orchestrates the three sounds and sends them out to a speaker. Since MOCKINGBOARD has two sound chips, it is capable of producing six different sounds, simultaneously, through two speakers. Each channel may produce tone only, noise only or both. 

A single value entered for ENABLE will set each of the channels according to its representation. A chart in Appendix C, page A-4, provides the values associated with all the possible combinations for three channels. We will work with three of the six channels to generate a train sound and designate each for noise only. The Sound Utility also provides this information if you request it. Move the cursor to ENABLE. Type control-E and the following will appear in the open box area near the bottom of the screen: ENABLE	NOISE	TONE
VALUE	C	B	A	C	B	A
ENTER #0 TO 63 OR 'S' TO SCROLL = >
Type S and the following will appear:
ENABLE	NOISE	TONE
VALUE	C	B	A	C	B	A
0	ON	ON	ON	ON	ON	ON

PRESS SPACE TO CONT/ESC TO RETURN
C
Press the space bar once and the A channel for TONE will change to OFF. Continue to press the space bar until all TONE channels are turned OFF and all NOISE channels are ON The corresponding ENABLE VALUE is 7. Type ESC and the cursor will return to ENABLE at the top half of the screen or to where you typed Control-E. Now type 7. 

2-9
SETTING AMPLITUDE
Move the cursor to AMPLITUDE. In order to hear the train sound, volume (or loudness) must be added. Amplitude levels can be set by either of two methods, a fixed level amplitude and variable level amplitude. With fixed level amplitude, a specific level of volume is selected and held constant until it is shut off or changed. This is similar to the volume control on a television set. 

You can adjust the volume to a comfortable listening level and then listen to that level for the rest of the evening. If you wish to change it, you must get up to adjust it. The fixed level is selected by setting AMPLITUDE to a level within a range of 0 to 15. Variable level amplitude is more dynamic. That is, the loudness is not constant and may be altered at any time. Natural sounds are dynamic; each has recognizable characteristics. 

A bird's chirp cannot be mistaken for a dog's bark nor the patter of rain on a window. The chug of a train is also distinguishable from the whirl of the helicopter or the blast of a gunshot. It is a steady sound but not constant. The train sound is characterized by a variable amplitude. The variable level is selected by setting AMPLITUDE to 16. Type 16 in the ALL column and all three channels will be set to 16. When the cursor is moved away from AMPLITUDE the value in the ALL column will revert to zero. 

WHAT MAKES A TRAIN SOUND NOT A GUNSHOT?
Change in amplitude distinguishes one sound from another. Amplitude may vary in any of three ways or modes, It can get louder (attack), it can hold at a particular level of loudness (sustain) and it can get softer (decay), Attack, sustain and decay are terms used to describe the amount of energy a sound gains or loses. For example, if you blow up a balloon and release it, the sound is very loud just as it is released. Almost immediately it begins to fade as the air escapes. The amplitude pattern of the train sound (chug, chug) evenly increases and then decreases in volume; there is the same amount of attack as there is decay. 

If we were to draw a picture of this amplitude pattern, it would look like a zigzag. In contrast, a gun shot sound does not repeat itself. It is one quick blast. It starts out very loud, and then fades (decays). Conveniently, we do not have to create these patterns from scratch. MOCKINGBOARD can generate several common amplitude patterns. These patterns, called Envelope Shapes or ENVL SHAPE, range from 0 to 15, but the actual number of different patterns is 8. 

2-10
These eight different patterns are illustrated in Table 2-1 and also in Appendix D on page A-5. Shapes 0-7 generate only one cycle of any sound. Although they are usable, they may be uninteresting. Concentrate on shapes 8-15. VALUE
(DEC)	GRAPHIC REPRESENTATION

8

9

10

11

12

13

14

15

Table 2-1 Envelope Shape Patterns
Shape 14 describes the zigzag patter n of a train sound; it starts soft, gets loud, then soft and continues until it is changed or shut off. Set ENVL SHAPE to 14. 

HOW FAST IS THE TRAIN GOING?
The envelope establishes the basic amplitude pattern of a sound, but it is the duration of one cycle of the pattern which generates the effects. A train may be speeding along or slowing down. If the zigzag pattern of the train is compressed it will simulate a speeding train. A very loose zigzag will create the impression of a train moving slowly. The duration of a cycle is called an Envelope Period. Move the cursor to ENVL PER COARSE. ENVL PER COARSE stands for Envelope Period Coarse Tune. The envelope period range is from 0 to 65,535; this is broken down into fine tune (0-255) and coarse tune (0-255). 

Fine and coarse tuning may be thought of in terms of minutes and seconds. It takes 60 seconds to equal one minute. Similarly, a value of 256 for fine tune equals one unit of coarse tune. The coarse tune will determine general duration of one cycle of a particular envelope and the fine tune will define the exact duration. 

2-11
The envelope period of a speeding train is short, so set the ENVL PER COARSE to 1. Let's listen to it. Type P for play. Stop it by typing R for reset. Now, type P again, but this time do not type R. Experiment by typing in different values for ENVL PER COARSE and ENVL PER FINE to change the train's speed. Type P each time you wish to hear the result. 

CHANGE A TRAIN INTO A HELICOPTER
Move the cursor to ENVL SHAPE and change the pattern to I 2. TYPE P to play. Listen, it sounds like a helicopter. A helicopter sound does not have a zigzag amplitude pattern. As the blade of the helicopter whips around, the sound builds from soft to loud and quickly drops back to soft. This sound pattern is an example of attack, there is no decay; the pattern resembles the outline of a sawtooth. If you wish to slow the helicopter down, increase the ENVL PER COARSE.
 
CHANGE A HELICOPTER INTO A GUNSHOT
Type 0 for ENVL SHAPE and move the cursor to ENVL PER COARSE. Type P. It sounds like something dropped. Type 10 and type P. It sounds like a gunshot. A gunshot is a single burst of sound which does not repeat. It does not appear to use the ENVL SHAPE, only the ENVL PER COARSE. But in fact, the envelope shape, when set to 0, is an example of a decaying sound; it starts loud and fades in one cycle. Shape pattern 0 is a duplicate of shape 9. The ENVL SHAPE and ENVL PER COARSE and FINE are turned off only by a fixed AMPLITUDE setting of 0 to I 5. Try it. 

Most of the sounds heard on this disk can be loaded using the Sound Utility. Type L for load and type the name of the sound or C for catalog to see the list. Each sound parameter will be displayed and can be changed. If you develop a sound you would like to save, type S for save and type a descriptive name. Do not use the same name used to load the sound, save it under another name. If you save it under the same name, you will lose the original sound and replace it with your new sound. 

TONE ONLY SOUND EFFECTS
MOCKINGBOARD has a six channel sound capability and wide frequency range. Its full eight octave range makes it an ideal instrument for music com- position. Two three note chords can be played at the same time, allowing you to compose songs with full accompaniment. 

2-12
Our train sound was made up of noise only. It was generated by setting the Noise Period to some value from 0 to 31. In contrast, musical notes consist of pure tone sounds. They are generated by setting the Tone Period. The Tone Period value ranges from 0 to 255 for fine tune and from 0 to 15 for coarse tune. Tone Period values represent the amount of compression or expansion of pure tone sound within a period of time. The smaller the Tone Period value the more compressed the sound; and therefore, the higher the pitch. 

Conversely, if the value is larger, the tone sound is expanded and the pitch is lower. Fine and coarse tune are MOCKINGBOARD's tuning pegs. It is important to be able to obtain the frequency or the particular note desired, because sour notes are easily identified. 

In order to adjust the pitch on your MOCKINGBOARD, use the coarse tune to get the general frequency range and the fine tune to get the desired pitch. The relationship behind the fine and coarse tune is like the example given for Envelope Period. Coarse tune represents minutes of accuracy, fine tune allows us to deter mine the seconds. A fine tune of 256 is equal to 1 coarse tune. 

A chart of the TONE PER values for each note is provided in Appendix E on page A-6. The fourth octave of this chart has been reproduced in Table 2-2 so you can easily select a few notes to play. Let's begin with the C-note. The decimal equivalent is 244. 

TONE PERIOD
NOTE	(DEC)
NOTE	OCTV F REQ	CRSE	FINE
C	4	261.624	0	244
C#	4	277.184	0	230
D	4	293.664	0	217
D#	4	311.128	0	205
E	4	329.624	0	193
F	4	349.232	0	183
F#	4	369.992	0	172
G	4	391.992	0	163
G#	4	415.304	0	153
A	4	440.000	0	145
A#	4	466.160	0	137
B	4	493.880	0	129

Table 2-2 Equal Tempered Chromatic Scale: Fourth Octave 2-13

START FRESH WITH A CLEAN SCREEN
The screen is still set for a noise sound and must be cleared before we begin making tone sounds. Type X for clear and respond Y, for yes, to the prompt appearing in the box at the lower half of the screen. All the values previously set have been returned to zero. Move the cursor up to TONE PER FINE by typing Control-K (or the up arrow key). Move the cursor over to the right once to channel A, by typing the right arrow key. Type 244. 

TURN ON TONE ONLY
Move the cursor to ENABLE and type Control-E. The box in the lower half of the screen will prompt you to enter either a number or S for scroll. Type S to scroll and press the space bar until only channel A for tone is ON; all other channels should be OFF. The Enable value is 62. Type ESC and the cursor will return to ENABLE. Type 62 to enable channel A for tone only. 

SET THE AMPLITUDE
AMPLITUDE or volume of a sound may be set in two ways. The first way is to generate a fixed level amplitude, which produces a sound with a constant volume. The sound will remain at the same level until it is changed or shut off by an R for reset (stop). Fixed level settings range from 0 for no volume to 15 for maximum volume. Move the cursor to AMPLITUDE and press the right arrow key to move the cursor to channel A. Set the AMPLITUDE to fixed mode by typing 15. Type P to play and listen. Type R for reset to stop the sound. The sound is a tone or a musical note but the constant flow of the sound is annoying. Let's try to set the AMPLITUDE in another fashion. 

CREATE MUSICAL NOTES
Variable level amplitude is controlled by a preset pattern of loud and soft levels. Variable level is selected by setting AMPLITUDE to I 6. Under variable level amplitude, control is passed to the envelope shape and period controls. The changes in amplitude which distinguish one sound from another are called the envelope. This amplitude pattern describes the shape of the envelope (ENVL SHAPE). Appendix D on page A-5 shows the 8 different patter ns available on MOCKINGBOARD. 

2-14
The duration or envelope period (ENVL PER) of each pattern may also be controlled to create different effects. For example, a zigzag pattern, one which evenly glides up to loud and glides down to soft, may be compressed tightly so that the result is a tense and pulsating sound. The same zigzag pattern may be expanded. The sound is now calm and rolling. 

PLAY A NOTE
You may make the sound stop automatically, by setting AMPLITUDE to variable level and the ENVL SHAPE to a one cycle pattern. The pattern should start loud and glide down (decay) until no sound can be heard (pattern 0 or 9). The rate at which the note decays may be determined by the ENVL PER value. This capacity to control a note's rate of decay allows you to define the note as whole, half, quarter, eighth, etc. 

Set AMPLITUDE for channel A to variable by typing 16. The ENVL SHAPE should be set to a decay pattern since musical notes naturally decay after an initial burst. A strike of a piano key or a pluck of a guitar string starts loud and fades as the vibration subsides. You may leave ENVL SHAPE at 0; patterns 9 and 0 have the same decay pattern. Move the cursor to ENVL PER COARSE and set the period to 20. This period value will play the musical note just long enough to a low it to decay rather than end abruptly. Type P for play.

-end of part 4-