TweetFollow Us on Twitter

Sound Made Simple
Volume Number:2
Issue Number:2
Column Tag:Pascal Procedures

Mac Sound Made Simple

By Alan Wootton, President, Top-Notch Productions, MacTutor Contributing Editor

This month we will attempt to coax some sounds from the Mac. We will try all three of the sound producing modes on the Mac. And, since there is a problem, I will present what I think is a better Pascal interface to the Sound Driver. Finally, I will introduce a method of saving sound effects in a standard form for later use.

The Sound Driver

The first source of information should be the Sound Driver chapter of Inside Macintosh. The first apparent fact about the Sound Driver is that it supports three different forms of synthesis. All three modes are reached by calling PROCEDURE StartSound( synthRec : Ptr ; NumBytes : LONGINT ; completionRtn : ProcPtr ) with synthRec set to the proper values. Since StartSound is defined in all three Pascals we are likely to use (Lisa Pascal, TML Pascal, and MacPascal; On-Stage Pascal was not available at the time of this writing), we will work in MacPascal and assume that our work is easily transportable to the others. As a driver, the Sound Driver will accept standard Device Manager control calls. There are predefined routines that make the driver calls for us in most cases. The Sound Driver is in the ROM and never needs an Open call (or a Close). As drivers go, it is fairly simple to deal with, so we won't go into extreme detail. Advanced users will want to use completion routines and other driver features.

Before we start making our first sound, it will be worthwhile to acknowledge how it is that the Mac can make sound at all. There is a special area in RAM where sound information is stored (much as there is a designated area of RAM that holds the screen information). Every time the video circuitry has completed painting one line on the screen, a byte is fetched from the sound RAM, and sent to a digital-to-analog converter. From there, the analog signal is sent to the speaker. A sound byte is processed 370 times for each 1/60th of a second. There are 60 'ticks', and also 60 frames of Mac video every second. This means that every second, 60*370=22,200 bytes, are processed by the sound circuitry. The Sound Bytes are meant to represent an output voltage at the speaker, with 255 being greatest and 0 being smallest (we will use 128 for a neutral point). So you see, the Mac is not much of a synthesizer at all. All it really can do is play back data. Any other functions desired will have to be provided for in software. Every tick the same 370 bytes in memory are used, so unless we want to hear the same thing over and over, 60 times per second, we will have to replace all 370 bytes repeatedly. If we had to do this ourselves we'd be talking assembly language now. Fortunately, the Sound Driver is in assembly language and it will do this for us. And it will do it three different ways.

Our main goal is to simply get program shells of the three sound modes in action, and to defer until later those data structures and routines one may use in a complex application.

The Square Wave mode

The square wave mode of synthesis appears to be the simplest. All the Sound Driver has to do, 60 times per second, is fill the sound buffer (370 bytes) with alternating values. If every other byte were 0 and 255, then we would get the loudest sound and the highest note (370/2 alternations per tick* 60 ticks per sec = 11,100 Hz). If one tick the 370 bytes were all 128, and the next tick they were all 129, we would get a very quiet note at 30 Hz. (You probably couldn't hear it from the Mac speaker). I don't think this is actually how the Sound Driver does it, but you get the idea.

Here is a MacPascal program that should get some different tones using the Square Wave Mode.

program Square_Wave_Scale;
   const
      notecount = 31;
   var
 i : integer;
 MySWSynthRec : record
 mode : integer;
 tones : array[1..notecount] of record
        count, amplitude, duration : integer;
         end;{ of tones }
   end;{ of mySWSynthRec }

begin
   with MySWSynthRec do
 begin
    mode := SWMode;
    for i := 1 to notecount do
    with tones[i] do
 begin
    count := i * 64 + 256;
    amplitude := 255 - i * 8;
    duration := 30;{ 1/2 sec. }
 end;
    StartSound(@MySWSynthRec,  sizeof(MySWSynthRec), nil);
    ShowText;
    Writeln('press mouse to stop');
    repeat
    until button;
 end;
   StopSound;
end.

The problem is that Square_Wave_scale does not work. The SWSynthRec is filled out correctly; the mode is set, and the tones are filled in. All is well, but there seems to be something wrong with StartSound. The likely culprit is the CompletionPtr parameter. According to the MacPascal manual, you pass the address of a procedure if you want that procedure to be executed when the sound is done. MacPascal will (currently) not allow you to get the address of any of its procedures. If you want the sound to start, and then finish before the program resumes, you are to use pointer(-1). When I did that the Mac locked up, and I had to reboot. If you want the sound to start, and then for the program to resume before the sound is done (seems like a good idea), use nil. When I did that nothing happened. Perhaps we should junk StartSound.

This brings up an interesting point. Clearly the point of this completion routine business is to be able to splice two sounds front to back with no seam. If our program has to wait for the first sound to finish, then there will be a delay (especially in MacPascal) before the next sound can be started. StartSound is going to have to make a Device Manager call (in this case PBWrite) to start the sound. To do that it will need to use a Parameter Block Record. What happens to that record when a second sound is started if the first is not done?

What must be done is to create our own version of StartSound. We will use two parameter block records. That way one can be filled out and then passed to the device managers I/O queue while the other is busy. Our sounds will follow one another naturally without much fuss or muss. The predefined procedure 'Generic' will be used to make a Device Manager call. Let's cover this strategy in more detail.

First, declare the procedure. We will call it myStartSound, and use the same parameter list, even though completionRtn will not be used.

Second, the Parameter Block Record. Instead of using the entire record declaration, found in the Device Manager chapter of Inside Macintosh, we will use an array of integers and use BlockMove to move data into the record. Note that the numbers used alongside the Device Manager routine descriptions must be divided by two to get an index into the array of words. Only ioRefNum, ioBuffer, and ioReqCount are used, so this is reasonable. You must declare the parameter blocks at the outermost level possible, ie. they must not go away because the procedure they are defined in is done. Also, note that MacPascal erases them to zero for us. In another Pascal you should do that during initialization.

Third, find a method of choosing which parameter block to use. The boolean variable AUsed is used to indicate which Parameter block was used last. It is toggled with every call. Once we know which block we are using, its ioResult field is checked to make sure it is done before modifying it.

Finally, we need a method of making a Device Manager Write call. The Sound Manager chapter tells us to set ioRefNum to -4, to set ioBuffer to point to the SynthRec, and to set ioReqCount to NumBytes. To make the call we declare an array of 13 longints which Generic will use to set the 68000 registers (A0 to A4 then D0 to D7. See Advanced Mac'ing, MacTutor, Vol.1 No. 5 for the introduction of Generic) for the toolbox call. The first longint in the array is A0 and that is set to the address of the Parameter Block. The number of the PBWrite toolbox routine is $A003, and we add $400 to it which causes asyncronous operation.

If you add the following to Square_Wave_Scale then it will work properly.

{ These two types are needed by MyStartSound }
   type
      Ptr = ^integer;
      ParamBlockFake = array[0..30] of integer;

{ put these variables in with the rest of the global var's }
{ var }
 blockA, blockB : ParamBlockFake;{ for myStartSound }
 AUsed : boolean;{ for MyStartSound }

{ use this procedure everywhere you might }
{ otherwise use MySound }
procedure MyStartSound (SynthRec : ptr;
               numbytes : longint;
     CompletionRtn : Ptr);
 { CompletionRtn ignored }
   var
 regs : array[0..12] of longint; { for generic }
 BlockPtr : ^ParamBlockFake;
   begin
 if Aused then
    BlockPtr := @BlockA
 else
    BlockPtr := @BlockB;
 Aused := not Aused;

 while BlockPtr^[8] <> 0 do { wait for ioResult to clear}
 ;
 BlockPtr^[12] := -4;{ set ioRefNum }
 BlockMove(@SynthRec, @BlockPtr^[16], 4);{ ioBuffer }
 BlockMove(@numbytes, @BlockPtr^[18], 4);{ioReqCount}

 { The following two lines do PBWrite(BlockPtr,true) }
 regs[0] := ord(BlockPtr);{ set A0 for Generic }
 Generic($A403, regs);{ Write,async }
   end;

Please note that all the previous technical talk you just encountered is for the sole purpose of creating a new version of StartSound. If you didn't understand it, don't worry. Just use myStartSound everywhere you would use StartSound, and set completionRtn to nil. What we have actually done is to simplify the situation, with the small cost of having to paste myStartSound into your sound programs.

The Four Tone mode

The Four Tone mode is a little more complicated. It provides a more complex synthesis function as well. The idea is that you provide a waveform table of bytes for each of four sounds. The Sound Driver will move through the tables, at a rate you specify, sum the four values for each byte, and place the result in the 370 byte sound buffer. Since it must sum 370*4 bytes 60 times per second, in addition to calculating which byte from which table to use, this takes about 1/120th of a second. When the Mac is making four tone sounds it appears to run at half speed.

The waveform tables are 256 bytes long. You may put into them any numbers you wish, thereby producing different sounds. We will talk more about waveforms later. The Sound Driver does not simply put the first byte in a wave table into the first byte of the sound buffer, and the second in the second, etc. What it seems to do is add the fixed (fixed numbers have an integer in the upper half, and the lower half is a fraction) quantity Rate to the (fixed?) quantity Phase, and then to take the result mod 256 as the index into the wave table. This means that a Rate of 2 will use every other byte in the wave table and a Rate of 1/2 will use every byte twice.

From a programming point of view all you have to do is fill out the data structures and call StartSound. The application point of view is left up to you. Let me now present a program that will make a single, pure tone using the Four Tone mode.

Program  Four_Tone_Test;
   uses
 Sane;
   type{ for MyStartSound }
 Ptr = ^integer;
 ParamBlockFake = array[0..30] of integer;
   var
 rate1 : integer;
 MyFTSynth : FTSynthRec;
 myFTSound : FTSoundRec;
 SinWave : packed array[0..255] of char;

 blockA, blockB : ParamBlockFake;{ for myStartSound }
 AUsed : boolean;{ for MyStartSound }

{ Paste myStartSound here }

{ Fill the array SinWave with bytes (chars) }
{ representing one cycle of a sine wave }
{ note that numbers are from 0 to 255 so that }
{ 128 is 'zero' }
   procedure FillSinWave;
 var
     i : integer;
    f, pi : extended;
   begin
 pi := arcTan(1) * 4;
 f := 2 * pi / 256;
 for i := 0 to 255 do
    SinWave[i] := chr(Num2Integer(sin(i * f) * 120 + 128));
   end;

begin { of main }
   FillSinWave;
   ShowText;

   MyFTSynth.mode := FTMode;
   MyFTSynth.SndRec := @MyFTSound;
   { Note that all MacPascal Records are initialised }
   { by the system to zero.  In another Pascal you may }
   { have to remember to initialize everything }
   { ie. when we start all rates are 0 }

   with MyFTSound do
 begin
    Duration := 1000;
    Sound1Wave := @SinWave[0];
    MyStartSound(@MyFTSynth, Sizeof(MyFTSynth), nil);
    rate1 := 1024;
 repeat
    Duration := 1000;
    Sound1Rate := FixRatio(rate1, 256);
    rate1 := rate1 + rate1 div 16;
    writeln('The rate is', rate1, ' div 256, = ',
                                             FixRatio(rate1, 256));
    if rate1 >= 2048 then
 rate1 := 1024;
 until Button;
    end;
 StopSound;
end.   

The Sane function Sin which you might normally think of as being used to find the vertical component of an angle (the angle is in radians, ie. 2*pi=360°, where pi is the ratio of the diameter to the circumference of a circle) is also used to produce the numbers required for a pure musical tone. Certain California Types might wax philosophical about this duality of function in nature, but we won't do that here (do California Types eat quiche?, do Real Programmers wax philosophical?). If you divide 2*pi by 256 and then multiply by a loop index that goes from 0 to 255, then you will get numbers corresponding to one complete waveform. This is what it looks like graphically (see fig. 1 top of next page).

Note that when you are using Four Tone mode, you don't have to call StartSound over and over if you don't want. If you keep the duration large then you can simply change the values for each of the four tones 'on the fly'. Remember, that while the sound is still going, the data structures belong to the Sound Driver. You may modify them, but do not delete them (like if they were declared inside a procedure that ended, or if you allocated them on the heap and then later disposed of them). When you are done, call StopSound, and all records being used are released.

Now that we have the Four Tone synthesizer working, try this program for a more interesting result. Sorry, but unlike graphic programs, there is no easy way to publish what the output of these programs is like. You have to type them in and see (I mean hear) for yourself.

program Four_part_sound;
   uses
 sane;
   const
 BaseNote = 1024;
   type
 Ptr = ^integer;
 ParamBlockFake = array[0..30] of integer;
   var
 rate1, rate2, rate3, rate4 : integer;
 MyFTSynth : FTSynthRec;
 myFTSound : FTSoundRec;
 SinWave : packed array[0..255] of char;

 blockA, blockB : ParamBlockFake;{ for myStartSound }
 AUsed : boolean;{ for MyStartSound }

{ Paste myStartSound here }

{ Paste FillSinWave here }

begin
   FillSinWave;
   ShowText;

   MyFTSynth.mode := FTMode;
   MyFTSynth.SndRec := @MyFTSound;

   with MyFTSound do
 begin
    Duration := 1000;{ will be made infinite later }

    Sound1Wave := @SinWave[0];
    Sound2Wave := @SinWave[0];
    Sound3Wave := @SinWave[0];
    Sound4Wave := @SinWave[0];

    MyStartSound(@MyFTSynth, Sizeof(MyFTSynth), nil);

    Rate1 := BaseNote;
    Rate2 := BaseNote;
    Rate3 := BaseNote;
    Rate4 := BaseNote;
    repeat
 begin
    Duration := 1000;{ keep going forever }
    Rate1 := Rate1 + Rate1 div 8;
    Sound1Rate := FixRatio(Rate1, 256);
    if Rate1 > 2 * BaseNote then
 begin
    Rate1 := BaseNote;
    Rate2 := Rate2 + Rate2 div 8;
    Sound2Rate := FixRatio(Rate2, 256);
    if Rate2 > 2 * BaseNote then
 begin
    Rate2 := BaseNote;
    Rate3 := Rate3 + Rate3 div 8;
    Sound3Rate := FixRatio(Rate3, 256);
    if Rate3 > 2 * BaseNote then
 begin
    Rate3 := BaseNote;
    Rate4 := Rate4 + Rate4 div 8;
    Sound4Rate := FixRatio(Rate4, 256);
     if Rate4 > 2 * BaseNote then
 Rate4 := BaseNote;
 end;{ rate3 }
 end;{ rate2 }
 end;{ rate 1 }
    end
 until button;
   end;{ with MyFTSound }
   StopSound;
end.

You may find it interesting to experment with different waveforms in this program. Those musical types among us will probably be able to modify the numbers and get a proper musical scale.

The Free Form mode

With the Free Form synthesizer you are able to play a digitized sound of almost any length and composition. The data used is simply an array with the sound bytes in it. Astonishingly realistic sounds can be produced. Some popular games for the Mac use this mode to create sound effects that are derived from recordings of real sounds.

In the examples I present we will calculate the data to produce and entire second of sound, ie. 22,200 bytes. Since it can take some time to calculate so many bytes, we will break the task into two parts. One program will calculate the bytes, and another will be used to play them. Once you have spent a long time producing a complicated sound effect it would be nice to have a place to put it until you want it again. The natural place would be the Scrapbook. In order to get to the Scrapbook it is necessary to first make it to the clipboard. In the Oct. 85 (Vol.1, No.11) issue of MacTutor I presented a routine to save Quickdraw pictures of type 'PICT' on the clipboard. The name of this was 'Pict_to_Clip'. Allow me to present Wave_to_Clip. You will find it embedded in the following program that calculates one second of a pure tone.

program FFSine_Wave_to_Clip;
   uses
 Sane;
   const
 WTSize = 22200;{ 370*60=one second of sound }
   type
 ptr = ^integer;
 Handle = ^ptr;

 MySynthH = ^MySynthP;
 MySynthP = ^MySynthRec;

 mySynthRec = record
    mode : integer;
    rate : fixed;
    WaveBytes : packed array[0..22199] of char;
 end;

   var
 waveH : MySynthH;
 i, n, ticks, samples : integer;
 pi, Freq : extended;

   procedure Wave_to_Clip (waveH : MySynthH;
          name : str255);
 var
    TheType, llength, lll : longint;
    str : str255;
 { The Hlock that is predefined does not work!!! }
 procedure Hlock (H : Handle);
    var
    regs : array[0..12] of longint;
 begin
    regs[0] := ord(h);{ set A0 }
    Generic($A029, regs);
 end;{ of Hlock }
   begin{ of Wave_to_clip }
 lll := LinlineF($A9FC);{ ZeroScrap }
 str := 'WAVE';
 BlockMove(@str[1], @TheType, 4);{ TheType:='WAVE' }
 llength := GetHandleSize(waveH);
 Hlock(pointer(ord(waveH)));
 lll := LinlineF($A9FE, llength, theType, waveH^);
 { PutScrap}
 Hunlock(pointer(ord(waveH)));

 llength := Length(name);
 str := 'TEXT';
 BlockMove(@str[1], @TheType, 4);{ TheType:='TEXT' }
 lll := LinlineF($A9FE, llength, theType, @name[1]);
 { PutScrap}
   end;

begin
   waveH := NewHandle(WTSize + 6);
   waveH^^.mode := FFMode;
   waveH^^.rate := FixRatio(1, 1);

   pi := arcTan(1) * 4;
   Freq := 2 * pi / 22200 * 1024;{1024 Hz }

   ShowDrawing;
   textmode(srcCopy);
   i := 0;
   for ticks := 1 to 60 do
 begin
    moveto(1, 256 - n);
    for samples := 1 to 370 do
 begin
    n := num2integer(sin(i * Freq) * 64 + 128);
    waveH^^.WaveBytes[i] := chr(n);
    lineto(samples, 256 - n);
    i := i + 1;
 end;
    DrawString(Stringof(ticks));
 end;
   Wave_to_Clip(waveH, 'Simple tone');
   DisposeHandle(waveH);
end.

The program FFSine_Wave_to_Clip first allocates, from the heap, a handle to some data of the correct size. The mode and rate fields (rate works the same as in Four Tone mode) are set and then a sine wave for 22,200 bytes is calculated. The sine wave calculation is much the same as when we calculated a wave table for Four Tone mode. The index, i, changes from 0 to 22199 and is multiplied by a frequency to obtain exactly 1024 full cycles. The purpose of using two nested loops, one for the samples, and for the ticks, is so that we can present a graphical depiction of what is happening (one ticks worth at a time). When the WaveBytes array is filled we pass it to Wave_to_Clip.

The first thing Wave_to_Clip does is to empty the clipboard of any prevoius data. This is the purpose of the ZeroScrap call (refer to the Scrap Manager chapter of Inside Mac). Then a BlockMove is done to move the ASCII bytes for 'WAVE' into a 4 byte data structure (ResType=packed array [0..3] of char is not assignable in MacPascal). In another Pascal you could just say TheType:='WAVE'. Then the length of the data is found and the data is put into the scrap, using PutScrap. When I first started doing this I ended up with lots of Scrapbook items of type 'WAVE', and the Scrapbook window would say "no data of type TEXT or PICT is available". There was no way of knowing what each Scrapbook item was. Then I found that if you put some TEXT on the scrap, then it would go along for the ride. This way the WAVEs in your scrapbook can have names. Therefore, when you call Wave_To_Clip you pass a string that will used to identify that wave.

Now that we have a sound in our Scrapbook let's look at a program to play it.

program Play_Clip_Wave;
   type
 Ptr = ^integer;
 ParamBlockFake = array[0..30] of integer;

 MySynthH = ^MySynthP;
 MySynthP = ^FFSynthRec;

   var
 waveH : MySynthH;

 TheType, offset, Size : Longint;
 str : str255;

 blockA, blockB : ParamBlockFake;
 AUsed : boolean;

{ Paste MyStartSound here }

begin
   ShowText;
   waveH := NewHandle(12);
   str := 'WAVE';
   BlockMove(@str[1], @TheType, 4);{ TheType:='WAVE' }
   size := LinlineF($A9FD, waveH, TheType, @offset);
 { GetScrap }

   if size > 0 then
 begin
    repeat
 myStartSound(waveH^, size - 6, nil);
    until button;
    StopSound;
          DisposeHandle(waveH);
 end
   else
 writeln('no scrap of type ''WAVE'' is available');
end. 

As you can see there is hardly anything to it. Once TheType is set up we call GetScrap which fills the handle with the data and returns the size of the data. If no data was returned then size is zero. This happens when you forget to copy the sound from the Scrapbook before you start.

I found two important things in the development of this routine. First of all, unless the length of the sound is an exact number of ticks, there will be a nasty click between each StartSound. This is because if the Sound Driver runs out of data, part way through the 370 bytes it is filling, it does not get the next sound right away. It waits until the next tick to pull the next sound command from the Device Managers I/O queue. Secondly, the examples in the Sound Driver chapter always pass sizeof(waveH^^) to StartSound. This is very wrong. You should pass the length of the actual sound data and not include the mode and rate field in the length. This is why we pass size-6 to myStartSound. Between the two of these I underwent a lot of grief (and missed my deadline) just to get the smooth, seamless, tone that FFSin_Wave_to_Clip and Play_Clip_Wave will make together.

Want to make a different sound? Just change the calculation. If you put this (below) in the nested loops you get a loud hiss, like the inside of a jet, or an FM radio tuned to nothing.

 n := random mod 256;
 waveH^^.WaveBytes[i] := chr(n);

I tried a different version of this that is much less wild. Instead of purely random numbers this (below) produces a wave form like a 'drunks walk'.

 repeat
    n := n - (random div 8192);
 until (n >= 0) and (n <= 255);
 waveH^^.WaveBytes[i] := chr(n);

Surprisingly, it sounded almost the same as the first, only softer. Also, since no provisions were made for the wave to end at the same value at which it started (it wanders all around), there is a faint click every second. Various combinations of random noise and pure tones might produce interesting effects. Also, you could use these methods to test methods of digital filtering (although not exactly in real time), or novel forms of music synthesis. Novel waveforms could also be used, and tested, in the Four Tone mode.

Fig. 1 Sound Representation

As a final exercise I have attempted to produce the "endless scale" effect. The effect is supposed to be one of a sound continuously increasing in pitch without ever going off the scale. A sort of aural illusion. The way you produce it is to combine many tones, some high, and some low. When they all are mixed (added) together they sound like one single noise. Then, as they all smoothly move together upward in pitch, the higher notes are faded out as new low notes are faded in. In my attempt I use one pure tone for each of 5 octaves (musically, two tones are an octave apart if the frequency of one is twice the frequency of the other). I had to work quite a while on the math to get it so that the last few cycles of the wave exactly match those of the first few. I did it, but the result is a less compelling illusion than I had hoped. Even though there is no definable place where the sound starts again, or drops lower. If you want to see for yourself then try the following program. Be warned, it takes 105 minutes to do the entire calculation. It would be much faster if I had used tables for the sine calculations.

I hoped you enjoyed this months expedition into the world of Macintosh sound, and I'll see you next month.

program FF_Endless_Scale_to_Clip;
   uses
 sane;
   const
   WTSize = 22200;{ 370*60=one second of sound }
   type
 ptr = ^integer;
 Handle = ^ptr;
 MySynthH = ^MySynthP;
 MySynthP = ^MySynthRec;

 mySynthRec = record
    mode : integer;
      rate : fixed;
      WaveBytes : packed array[0..22199] of char;
 { WTSize bytes }
 end;
   var
 waveH : MySynthH;
 j, n, ticks, retraces : integer;
 i, pi, pi_div2, pi_div2_5, T : extended;
 angle, inc, Octave, period, Period_div2 : extended;

 { Paste Wave_to_Clip here }

begin
   waveH := NewHandle(WTSize + 6);{ size of mySynthRec }
   waveH^^.mode := FFMode;
   waveH^^.rate := FixRatio(1, 1);

   pi := arcTan(1) * 4;
   pi_div2_5 := pi / 2.5;
   pi_div2 := pi / 2;
   Period := 1 / 22200;
   Period_div2 := period / 2;
   inc := 2 * pi / 22200 * 256;{ 256 cycles/sec }
   angle := 0;

   ShowDrawing;
   textmode(srcCopy);
   n := 128;
   for ticks := 0 to 59 do{ 60 ticks }
 begin
    moveto(0, 256 - n);
    for retraces := 0 to 369 do{ 370 retraces }
 begin
    i := retraces + ticks * 370;
    angle := inc * (i + (i * i + i) * period_div2);
    T := 0;
    Octave := Log2(1 + i * period) * pi_div2_5 - pi_div2;

    for j := 0 to 4 do
 begin
    T := T + Sin(angle) * (1 + Sin(Octave));
    angle := angle + angle;
    Octave := Octave + pi_div2_5;
 end;

 n := num2integer(T * 32 + 128);
 waveH^^.WaveBytes[num2integer(i)] := chr(n);
 lineto(retraces, 256 - n);
    end;{ of retraces loop }
 DrawString(Stringof(ticks));
   end;{ of ticks loop }
   Wave_to_Clip(waveH, 'Endless Scale Waveform');
   DisposeHandle(waveH);
end.
 

Community Search:
MacTech Search:

Software Updates via MacUpdate

pwSafe 4.0.1 - Secure password managemen...
pwSafe provides simple and secure password management across devices and computers. pwSafe uses iCloud to keep your password databases backed-up and synced between Macs and iOS devices. It is... Read more
WALTR 1.5.4 - Drag-and-drop any media fi...
WALTR is designed to make it easy to upload and convert any music or video file to an iPad or iPhone format for native playback. It supports a huge variety of media file types, including MP3, MP4,... Read more
Audio Hijack 3.1 - Record and enhance au...
Audio Hijack (was Audio Hijack Pro) drastically changes the way you use audio on your computer, giving you the freedom to listen to audio when you want and how you want. Record and enhance any audio... Read more
PopChar 7.1 - Floating window shows avai...
We're also selling a 5-license family pack for only $25.99! PopChar helps you get the most out of your font collection. With its crystal-clear interface, PopChar X provides a frustration-free way to... Read more
BBEdit 11.1.1 - Powerful text and HTML e...
BBEdit is the leading professional HTML and text editor for the Mac. Specifically crafted in response to the needs of Web authors and software developers, this award-winning product provides a... Read more
Picasa 3.9.139 - Organize, edit, and sha...
Picasa and Picasa Web Albums allows you to organize, edit, and upload your photos to the Web from your computer in quick, simple steps. Arrange your photos into folders and albums and erase their... Read more
Mac DVDRipper Pro 5.0.5 - Copy, backup,...
Mac DVDRipper Pro is the DVD backup solution that lets you protect your DVDs from scratches, save your batteries by reading your movies from your hard disk, manage your collection with just a few... Read more
NetShade 6.2 - Browse privately using an...
This promotion is for NetShade and 1 year of Proxy and VPN services NetShade is an anonymous proxy and VPN app+service for Mac. Unblock your Internet through NetShade's high-speed proxy and VPN... Read more
CrossOver 14.1.3 - Run Windows apps on y...
CrossOver can get your Windows productivity applications and PC games up and running on your Mac quickly and easily. CrossOver runs the Windows software that you need on Mac at home, in the office,... Read more
Little Snitch 3.5.3 - Alerts you about o...
Little Snitch gives you control over your private outgoing data. Track background activity As soon as your computer connects to the Internet, applications often have permission to send any... Read more

Block Fortress has a Big New Update for...
Block Fortress is a survival-style game that's as fun as it is blocky. It's also just gotten a rather sizeable update that adds a lot more cool stuff. [Read more] | Read more »
Simple and Surreal Star Base Sim rymdkap...
I really like rymdkapsel. Not just because I'm a sucker for games that are cleverly simple or highly stylisitc, but because it's fun and challenging. Actually it's extremely challenging, which is why I was excited to learn that it's getting a couple... | Read more »
Check out the anticipated Angel Stone in...
Fincon has finally revealed Angel Stone in action in the first ever official gameplay trailer for the anticipated hack and slasher. Angel Stone is set in a post-apocalyptic world in which humanity is in danger of being wiped out by the demonic... | Read more »
Moleskine Timepage is an All-New Calenda...
Moleskine Timepage is a bit of a departure for the notebook manufacturer (since it has little to do with notebooks), but it certainly carries their simple and elegant style quite well. [Read more] | Read more »
Jog on Over and Check Out the New Runtas...
Runtastic has put out a fair number of apps to help you sleep, track excercise, and train various parts of your body. Now it's time for your legs to have their own time in the spotlight with Runtastic Leg Trainer. [Read more] | Read more »
It's Lights Out in the Upcoming Pla...
Ember’s Journey is a stark puzzle platformer with a twist: the entire game is played in darkness. The only light you can see by is the one emanating from your own character. [Read more] | Read more »
MooVee - Your Movies Guru (Entertainmen...
MooVee - Your Movies Guru 1.0 Device: iOS iPhone Category: Entertainment Price: $1.99, Version: 1.0 (iTunes) Description: MooVee helps you effortlessly manage your movies, on your iPhone. | Read more »
Geometry Wars 3: Dimensions (Games)
Geometry Wars 3: Dimensions 1.0.0 Device: iOS Universal Category: Games Price: $4.99, Version: 1.0.0 (iTunes) Description: Enjoy the next chapter in the award-winning Geometry Wars franchise and enjoy stunning, console-quality... | Read more »
CHAOS RINGS Ⅲ (Games)
CHAOS RINGS Ⅲ 1.0.0 Device: iOS Universal Category: Games Price: $19.99, Version: 1.0.0 (iTunes) Description: The newest addition to the popular smartphone RPG series is finally here! ・CHAOS RINGS Overview | Read more »
The Popular Insight Series of Travel Gui...
Getting around in a country when you can't understand the primary language can be tough. Fortunately there are several options available to help wold travellers with the important stuff like giving directions to a cab driver or asking where the... | Read more »

Price Scanner via MacPrices.net

Top Markets Saturation To Slow Global Smartph...
According to a new mobile phone forecast from the International Data Corporation (IDC) Worldwide Quarterly Mobile Phone Tracker, smartphone shipments are expected to grow 11.3% in 2015 — down from 27... Read more
Apple refurbished 2014 13-inch Retina MacBook...
The Apple Store has Apple Certified Refurbished 2014 13″ Retina MacBook Pros available for up to $400 off original MSRP, starting at $979. An Apple one-year warranty is included with each model, and... Read more
What Would the ideal Apple Productivity Platf...
For the past four years I’ve kept a foot in both the Mac and iPad camps respectively. my daily computing hours divided about 50/50 between the two devices with remarkable consistency. However, there’... Read more
PageMeUp 1.2.1 Ten Dollar Page Layout Applica...
Paris, France-based Softobe, an OS X software development company, has announced that their PageMeUp v. 1.2.1, is available on the Mac App Store for $9.99. The license can be installed on up to 5... Read more
Eight New Products For USB Type-C Application...
Fresco Logic, specialists in advanced connectivity technologies and ICs, has introduced two new product families targeting the Type-C connector recently introduced across a number of consumer... Read more
Scripps National Spelling Bee Launches Buzzwo...
Scripps National Spelling Bee fans can monitor the action at the 2015 Spelling Bee with the new Buzzworthy app for iOS, Android and Windows mobile devices. The free Buzzworthy app provides friendly... Read more
13-inch 2.5GHz MacBook Pro on sale for $120 o...
B&H Photo has the 13″ 2.5GHz MacBook Pro on sale for $979 including free shipping plus NY sales tax only. Their price is $120 off MSRP, and it’s the lowest price for this model (except for Apple’... Read more
27-inch 3.3GHz 5K iMac on sale for $1899, $10...
B&H Photo has the new 27″ 3.3GHz 5K iMac on sale for $1899.99 including free shipping plus NY tax only. Their price is $100 off MSRP. Read more
Save up to $50 on iPad Air 2, NY tax only, fr...
B&H Photo has iPad Air 2s on sale for up to $50 off MSRP including free shipping plus NY sales tax only: - 16GB iPad Air 2 WiFi: $469 $30 off - 64GB iPad Air 2 WiFi: $549.99 $50 off - 128GB iPad... Read more
Updated Mac Price Trackers
We’ve updated our Mac Price Trackers with the latest information on prices, bundles, and availability on systems from Apple’s authorized internet/catalog resellers: - 15″ MacBook Pros - 13″ MacBook... Read more

Jobs Board

*Apple* Retail - Multiple Positions (US) - A...
Job Description: Sales Specialist - Retail Customer Service and Sales Transform Apple Store visitors into loyal Apple customers. When customers enter the store, Read more
Program Manager, *Apple* Community Support...
**Job Summary** Apple Support Communities ( discussions. apple .com) helps customers get the most from their Apple products and services by providing access to Read more
Senior Data Scientist, *Apple* Retail - Onl...
**Job Summary** Apple Retail - Online sells Apple products to customers around the world. In addition to selling Apple products with unique services such as iPad Read more
*Apple* Solutions Consultant - Retail Sales...
**Job Summary** As an Apple Solutions Consultant (ASC) you are the link between our customers and our products. Your role is to drive the Apple business in a retail Read more
*Apple* Watch SW Application Project Manager...
**Job Summary** The Apple Watch software team is looking for an Application Engineering Project Manager to work on new projects for Apple . The successful candidate Read more
All contents are Copyright 1984-2011 by Xplain Corporation. All rights reserved. Theme designed by Icreon.