Published for the C64 and Amiga machines by Electronic Arts, Instant Music was a unique auto-corrective composition program. By use of either preset or created templates, complex symphonies can be arranged by the musically ignorant, without worry for ‘bum’ notes, bad timing and erroneous key changes. As such, decent tunes can be produced by plotting patterns across the map. Greater control can be gained by drawing the sequencer tracks on a smaller scale but despite this most users seem content to merely amend the example tunes included with the software.

The sequencer requires no musical knowledge to operate, though apparently the ‘artificial intelligence’ can be disabled for use by the musically proficient. Thanks to its compatibility with MIDI by one way or another, it is possible to ‘pick and mix’ semi-completed and contrasting templates, then edit and compile them using a MIDI workstation. Such a method will not reduce the Instant Music user to the limited range of sounds emitted by the original computer, as well as help free him from the maximum 4-track limit. This ultimately means that the old program pitched mainly at non-talented laymen can still be integrated into a modern studio environment.

The program on its own does have other limitations. For example, there is no function to print out properly notated scores, no MIDI-in, no real-time editing using the keyboard overlay (though you do get ‘Jam Mode’), no saving of MIDI files to disk directly from the program and too rigid a template system. Nor are there capabilities to cater for MIDI functions such as velocity, after-touch, pitch bend, timecode trigger and synchronisation, or mid-tune program change. Of course such features would overload and overcomplicate what is supposed to be an idiot-proof way of making good music, but nor is there a method to ‘bounce’ tracks and projects together. This can greatly constrict technical freedom when wanting to compose using I.M. alone. (However, greater flexibility can be gained by running the same template through two or more computers concurrently, then changing each one to suit the other(s), or amending the template on a single machine and saving under a new name).

And there is no function to toggle between realtime MIDI and SID output on the Commodore 64 version, something which can be both a curse and a blessing. The C64 version sometimes suffers from a tendency to slow down slightly during playback of the most heavily notated sections, though the scheduled timing of the piece itself does not vary. This is due to the heavy processing required in calculating two sets of output data at the same time. Although this can cause frustration when trying to sequence a collection of I.M.-sourced MIDI templates elsewhere, it also has the benefit of sounding more human. (Happily, this drawback can be countered when multi-track compiling by solo-ing each channel in turn and making separate passes into an outboard audio/MIDI recording unit.)

In context, Instant Music is a powerful musical toy. Not only can it allow good music to be made by those who feel unable to grasp the art, but also more seasoned musicians can use it to inspire them and provide foundation or embellishment for their own original work. And for more advanced users, the program’s restrictions can be largely ignored as the MIDI documents themselves can be suitably mastered using other programs.