One Must Fall     BATTLECAST


Editors Note
A new year dawns on the One Must Fall:Battlegrounds community. Read More...

Publishers Corner
A short note from the Diversions Publishing President this month on conferences and a recent survey. Read More...

Making Music for Battlegrounds
With the help of Saul Bottcher, contributing editor Ashley Kampta takes the first post-release look at building new game content. Read More...


Pillar of Scorch.

Walls of Flame.

Katana Smacked.

Warlord Getting Slammed.

Editors Note

- Wayne Frazee


2004 is here at last and to kick off the brand new year, the Battlegrounds community is in for a treat. The Battlecast will be kicking off the new year with coverage of a Battlegrounds release tournament, run by the Battlecast's own Wouter "Viper" van Dongen. Look for details soon to crop up on the message boards as the tournament gets organized and ready to play in February. Get your teams together now as you dont want to miss out on this opportunity to win medals, One Must Fall memoribilia, and the chance to publicly let the world know that your clan beat another down thoroughly. Get those HARs polished up, get your practice time in, the clan on clan ladder rumbling is about to begin!

The team recently went out to the CyberX Gaming conference and tournametns and although the conference itself ran into some problems, the One Must Fall botth was fine! Kevin, Juan, Judy, and Darcy were all on hand to greet and train gamers as they visited the Diversions Entertainment booth. The event was a glowing success as many of the gamers there, bereft of the tournaments they had come to compete in, took some time out to check out the game and watch it played on the big screen. Pictures from the event and Judy's thoughts are availible to you at

Are those screenshots the same as last months? Yep. Why? Because we want yours! This month, the screenshots have been left alone in order to promote a new feature in the OMF Battlecast newsletter: We want YOUR screenshots for next months' issue! Send your game screenies to with the name that you would like credit given to. Please try to minimize the text that appears in the screenshot. Also understand that you are submitting content for Diversions Publishing to publish. Submissions become the property of Diversions Publishing to be republished royalty free in any media Diversions uses to promote the One Must Fall:Battlegrounds products. Send your cool screens in, get noticed in the community!

Publishers Corner

- Judy Elam


One Must Fall: Battlegrounds has been released to store shelves throughout the world. Publishers in North America, Europe, and Austrailia have released the game to retail, making it availible in a store near you.

One Must Fall: Battlegrounds is just the beginning for this new, unique genre. The future holds plenty of time to host tournaments and enjoy the One Must Fall games. For those interested in running tournaments featuring One Must Fall:Battlecrounds, we would like to support our community with posters, t-shirts, and OMF:BG medals as prize support. Contact to get more information on prize support.

The Diversions conference booths in Washington and Las Vegas proved to be very successful. We showed hundreds of people just how to play One Must Fall: Battlegrounds. We also enjoyed the opportunity to see how real world gamers responded to our game.

We will soon have a demo out that will rock the gaming industry. It is being tweaked to perfection.

Composing Battlegrounds Music

- Ashley Kampta


DirectMusic Producer (DMP for short) is a program created by Microsoft for the purpose of creating dynamic music – so it makes sense that OMFBG uses it for the creation of the dynamic music tracks in the game (or else I wouldn’t be writing this tutorial). Part of the OMFBG mod tools specification is that it allows you to add in your own music tracks, whether they are as an accompaniment to the supplied game, or to a mod that you may be working on. However, in order to actually be able to create your own music for OMFBG, you’ll need to learn to use the tools of the trade. In this tutorial, I will be showing you exactly that. By the end of this tutorial, you will have learnt how to get around the most commonly-used features in DMP, as well as learning how to use the composing tools provided in the program. In this tutorial, I’m going to show you how to compose a 24-measure loop. So, without further ado, let’s get started!

If you haven’t already got DMP, you can download it from Microsoft's Download Site. Once you’ve downloaded it and installed it, fire it up. After it has finished loading, you will see something similar to this screen. This is what you’ll be seeing all the time that you’re working in DMP. Looking underneath the toolbars and menus, the white strip on the left is called the “Project Tree”, and this area is where all the files related to your composition are shown for easy accessibility. The large, textured area on the right of the Project Tree is the Edit Window, and this will change depending on what you have currently selected in the Project Tree. (You will get the picture as we start using DMP.)

Now, find the icon that looks like a MIDI port, and click on it. You’ll see the MIDI/Performance Options dialog box pop up. The only thing in this window that concerns us lies in the bottom right, in the frame marked “Download Status”. For the purposes of this tutorial (and OMFBG), you should have set up that area as it is in the screen shot. That is to say, the “GM Set” option should be set to “Unload”, and the “Custom DLS Sets” should be set to “Download”. This will ensure that we don’t hear any wrong sounds while composing our masterpiece! (Let’s face it, would you rather hear a feeble bleep, or the monstrous bass sound that you want to hear?) Click OK, and we’re done with that screen.

Before we start on making something cool, I figure you’re going to need some sounds to work with. For this tutorial, I’ve gathered up a small collection of sounds which will be quite adequate to compose something with. (This tutorial only uses the samples I have provided.) You can grab the ZIP file of all the samples here. Unzip it somewhere and we’ll get down to business.

Click “File” then “New” to start a new project. You’ll now see the Create New File(s) dialog box. Make sure “Project” is selected. Now, uncheck the “Use Default Names” box, type in a name for your project, and click OK. It will now show up in the Project Tree.

Songs are created using Instruments, Bands, and Segments. This creates a pretty logical workflow. You create the instruments, then you make the band to play the instruments that you made, and then you make segments which tell the band which notes they have to play, using the instruments you told the band to play.

So, let’s start with creating an instrument. This one will be a synthesized bass. Right-click on your newly-created project in the Project Tree. Select “New”, then “DLS Collection”. Uncheck “Use Default Names” and type in a suitable name. Now expand the “.dlp” file in the Project Tree, and you’ll see two folders, “Instruments” and “Waves”.

To make an instrument, you need to import the wave file(s) for the instrument and then create a reference to each wave file, so that it can be played in a segment. The wave files go in the “Waves” folder, and the references to the waves (the “instruments”) go in the “Instruments” folder.

Right-click the “Waves” folder, and click “Insert Wave…”. Now navigate to where you unzipped the provided samples and import the “SyBass.wav” file. For convenience, it’s best to right-click the newly-inserted wave file and rename it to something more useful, such as “Synth Bass”. Now, right-click the “Instruments” folder and click “Insert Instrument”. Rename the instrument, too.

You will get a screen that looks something like this. Now, you may be a little worried at the mass of information that has just been presented to you, but I’ll go through what we need. The stuff that we will need for this tutorial is all in the “Region” frame. Instruments are made out of regions, and there can be any number of regions in an instrument. Some instruments may have only one region (for example, our bass sound) whereas others (for example, a drum kit) will have several regions. (This all makes sense when you consider that only one wave can be assigned to any one region.)

We will only need three things in the “Region” frame. “Wave” is the name of the wave that you wish to assign to the region you are currently working on. “Root” is the note at which your sample plays at its original pitch. (If you’re confused, this will become clearer later, once we get onto crafting a drum kit.) Finally, “Note Range” is where you set the boundary points of your region. The sample you have assigned to the region will not play if you strike a note that is outside of the note range that you set.

Now, we’re going to apply all this to our bass sound. Firstly, make sure the name of your bass sound appears in the “Wave” box. Now, since you don’t usually play bass notes in the middle of a keyboard, it would make more sense to take the root note lower down the keyboard. Try setting it at C3. We’re also not going to want to play our bass sound across the whole keyboard, because after a certain point, it just starts to sound horrible. So, reduce the Note Range to something more sensible, such as from G2 to C4. The instrument should now look something like this.

So, we have our bass instrument set up. Before we start composing, however, we will need to make a band, and tell it to play the instrument we’ve just created. Right-click on your project name, and select “New”. Select “Band, and give it a name in the same way you named everything else. You should now see something looking like this screen. (The grid and track displays will show different things for you than it does in the shot.)

Right-click on the first row and select “Properties”. You should now see the PChannel(s) Properties box. Make sure the “Instrument” box is ticked (we will be using an instrument, after all). Now click the button under the word “Instrument” and select the bottom-most option: “Other DLS”. You should now see your bass sound in the box in the “Instruments” frame. So, select it, and click OK. When you’re back at the channel properties box, tick the “Vol” box and whack it up to 127 to ensure it will be the loudest it can possibly be. (We can always reduce the volume later.) Now close the channel properties and let’s get onto what we’re all here for!

With all the instrument and band set-up bits out of the way, we can start on crafting a bass line. Right-click on your project and choose “New”. Select “Segment” and give it a name. The Segment Length dialog box will now appear. Set “Number Measures” to 24 (because we’re composing a 24-measure loop). You will now see the Segment Designer window behind the Add New Track(s) dialog box. Add a Band track, a Tempo track and a Sequence track by holding Ctrl and clicking on each of the track types in the list. Click OK, and we should have them all in the Segment Designer window.

First of all, expand the “.bnp” file for our band (if it is not already expanded). Now, drag the actual band (the entry underneath the “.bnp” file) into the start of the first measure of our Band track. This will ensure that we hear the correct sounds when we come to play our loop back.

Right-click on the Sequence track and select “Properties”. Rename the track from “Sequence” to something more useful, like “Bass”. Exit the Properties box and then double-click the bass track to make a grid appear into which we can enter some notes. Now, try and see if you can copy this bass line into the grid, using the following method: Click where you want to place a note, and a grey block will appear where you click. Press the Insert key to insert a note at the position of the grey block – the grey block will change to a blue one. If you want to lengthen or shorten the added note, then simply click and drag the right side of the note. If you want to adjust the velocity of the note (how hard a key is pressed, which basically amounts to how loud the resultant note is) then you can drag the top edge of any of the blue bars up or down. Oh, by the way, even though it looks like there’s only one note stretching from measure 1 into measure 2, it is in fact two notes – one reaching the end of measure 1, and the other starting at the start of measure 2. Blame DMP for not making it clearer.

You can enter each note manually if you wish, but the way I did it was this: I composed one measure of the pattern, then copied it three times to give a four-measure loop. (Just select the parts you want to copy, and go to “Edit”, then “Copy”. Then click anywhere at the start of the next measure and go to “Edit”, then “Paste”.) I then selected the entire last measure and positioned my mouse cursor over the centre of one of the selected notes (so that the mouse cursor changed to an arrowed plus sign). I then clicked and dragged everything up one row on the grid. Now hit the Play from Start button to hear our lovely bass line. Before we move on to setting up the drums, select our entire four-measure bass pattern and copy it right up to the end of the segment. If the music doesn’t sound fast enough when you play it back (it didn’t sound fast enough for me), then right-click your Tempo track in bar 1 of your segment and go to its properties. Now change the box next to “Tempo” from 120.00 to something a little higher than that. (Just for the record, I eventually settled on 144.)

(A quick word to all the more experienced composers: you probably are already following your own agenda, but if not, you’re free to do so. However if you’re stuck for inspiration, or just want to follow my tutorial to the letter, then by all means use my example patterns.)

Now, go back to our DLS Collection. Right-click the “Waves” folder and insert all the waves except “rezolead.wav”. (It’s best to load the waves in one by one to stop you getting confused.) Rename each wave as you load it. These are all the drum sounds we want. Insert a new instrument and rename it. As you know from setting up the bass, we already have a region. But we will need more. However, let’s set up this first (provided) region as the kick drum. Make sure your kick drum sound is the “Wave”. Since drum sounds are typically only played on one key, we are going to set the note range to only one key (naturally), so set the kick drum’s note range from C3 to C3. Click on the C3 key (the one with the 3 on it), and listen. The sound is too low. Therefore, we must also set the kick’s root note to the same note we are playing the sample from. Both note range boxes and the root note box should all be saying the same thing. Now expand the drum kit instrument (if it isn’t already), right click on the “Regions” folder and select “New Region”. Use the same principle given above to put the clap sound on D#3, the closed high hat on F#3, the open high hat on A#3 and the sonar hit on E4.

Before we create the drum part, we have to tell our band to play the drums! So, go into our band file and right-click on track 10. (Track 10 is the standard track for drum parts.) Go into the track properties and set up the drums in the same way you set up the bass earlier. Now we’re ready to put down a drum part.

Open up our segment again. Right-click anywhere and select “Add Tracks” (it should be near the bottom of the menu). Make a sequence track and go to its properties. Rename this track, and make sure its PChannel is set to 10, so that it matches up with the setting in our band.

Double-click the new sequence and lay down a “four-to-the-floor” (one hit per beat) pattern on the note C3 - our kick drum (the bottom sequence in the shot is the one that shows this). Make one measure of it and then copy that measure seven times to make an eight-measure loop.

But, it would be pretty boring if the kick drum were playing this pattern all the way through the loop, wouldn’t it? So why not “dress up” the kick part a little? Add a few extra hits in between the ones we already have, to make the part sound less boring. Adjust the velocity of some of the notes, if you want to. Just as a reference, this is what I did. (It’s just your standard dance kick drum pattern).

Now, to add in the rest of the drum parts that make the basic pattern. The claps (D#3) are easy. All you have to do is stick one with every second kick drum. The high hats (F#3 and A#3) are just as easy. It’s as simple as putting a closed high hat on every kick drum, and an open high hat right in the very middle, between one kick drum and the next. You may want to lengthen the open high hats, if you want, because according to your taste, they may sound too short. Personally, I went for a mix of short and long open high hats, which allows the track to sound like it’s “bouncing” a little.

So now we have an eight-measure drum loop. Copy this entire loop twice more until we have the drums playing throughout all 24 measures. But, there’s one instrument we haven’t used. What the heck, I’ll let you have a little bit of fun with this one. Using the “sonar hit” sound (on the note E4), come up with an interesting rhythm. Now, make it play from measure 9, all the way up until the end of the loop. Just for reference, here’s mine. (It’s the line of blue bars just under the “No CC Tracks” text.)

Now, set up a new instrument using the “rezolead.wav” sound. Go to the band window, and right-click on channel 2, setting this channel up to use the instrument you’ve just created. Go back to our segment and add in a new track, setting it to use channel 2 (if you don’t know how to do this, refer back to earlier in the tutorial). Now, enter this lead line from measure 9 to measure 12, and copy it into the next four measures as well. You may wish to elaborate on the pattern, or you can just leave it as it is, if you don’t feel adventurous. End the pattern by copying the first note in measure 9 into the start of measure 17.

I feel like showing you something spiffy. Go back to our band, and set up another resonant lead instrument on channel 3, and make the volume of the track to around 75 or so. (You can adjust this value to your taste, later.) Now copy our lead line from track 2 into track 3, so that you have the same thing in both tracks. However, shift the entire pattern on track 3 to the right two grid spaces, so that the pattern starts in the middle of the first beat in measure 9. Have a listen, and you should hear a slight echo, or a trailing sound. Spiffy, huh? And yes, how I’ve done it is exactly how Saul does it, too.

Because this is a linear piece of music, it plays through from start to finish and then stops. However, if you wanted to make it loop (which will be especially useful if you wanted to compose a linear piece of music for OMFBG), you would be able to do so using something called a Jump Table, which is a table of links that will basically do the job of pointing the segment back to itself once it has finished, so that it just keeps playing over and over. (I will be teaching you all about Jump Tables when I go through making a dynamic piece of music for use in OMFBG.)

Hmm… this track needs to be messed with more, though. But I’ll leave that up to you. You may want to add in more instruments, or mess with volumes or “Pan” positions (that is to say, where the instruments are placed between your left and right speakers). If you want to add in more bars (to make the loop longer), go back into the segment’s properties, and make sure you’re in the “Segment” tab. Next to “Length”, you’ll see a button with the current length of the segment on it. Click that button and change “Number Measures” in the same way we did earlier in the tutorial.

By the way, if you want to listen to my version of the track I have just helped you compose, then listen away! (All I’ve done to my version is add a little harmony to the second copy of the lead line, and take out all the drums in the last bar except for the first hit. Maybe I might just add more sometime…) If you’d like to download all the source files that were made in this tutorial, then here they all are, too.

Well, now you know how to compose songs in DMP. It may have taken some time to follow this tutorial, but the processes involved are really pretty simple, and the more you practice, the faster you’ll get at moving around in DMP.

Oh, and watch this space, because the next tutorial is going to be something even more special.

Judy Elam
Executive Producer
Wayne Frazee
Editor In Chief
Juan Villegas
Media Editor
Andrew Pay
Contributing Editor
Ashley Kampta
Contributing Editor

( O O O   O O O )

You have recieved this newsletter because you subscribed to receive battlecast at
If you wish to Unsubscribe, please Click Here.

Copyright © 2003 Diversions Entertainment Inc., All Rights Reserved. Please contact if you would like to republish any content contained herein.

To unsubscribe from this list visit this link

To update your preferences visit this link

powered by phplist v 2.2.1, © tincan ltd