Commodore Free 21/Commodore_Free_Issue_21_2008_Commodore_Computer_Club.d64/t.music editor 3

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Making music with DMC
PART 3

Commodore Free would like to thank
Richard Bayliss for his permission to
reprint this guide Many users would
like to make more of there machines,
we all have various talents and if you
felt inspired to create music on a
C64 where would you begin, in this
guide you are lead through the various
options, for creating music with
versions of DMC music editor The Guide
has been broken down in sections the
disk image that accompanies this
series is available from here

www.redesign.sk/tnd64/DMC%20Music
 %20Editors%5BTND%5D.zip

the disk contains:

DMC V2.1 (GRAFFITY), DMC V4.0
(GRAFFITY) + Docs (By Richard), DMC
V5.0, DMC V5.0+ (CREAMD/C64.SK), DMC
V5 PACKER, DMC V5.0 SCANNER and DMC
V7.0 (GRAFFITY+UNREAL)

2.2.4 Filter

If you want use filters, you have to
define which filterset should be used.
First you have to create an own
filterset in the Filter editor (take a
look later at this chapter). The number
of filterset should be written down
below F parameter. To activate the
filter - take a look into FX Chapter.

2.2.5 Vibrato

Vibrato can be controlled by V1 and V2
parameter. For V1 xy values, x
represent the pause before the vibro
should start. y sets the value of
range, in which the pitch should swing
around. V2 xx can be used for
modulation with V1 y parameter. V2
allows a higher range.

2.2.6 FX

FX is a 8 bit value to control several
flag:

The Low Nibble (4 bits right)
represent following parameter:

Bit 0: DRUM EFFECT(pitch will be
ignored in sector editor, in WT: pitch
values will step in higher range)
Bit 1: NO FILT RES(for every played
note filter will not be resetted
anymore)
Bit 2: NO PULS RES(for every played
note pulse will not be resetted
anymore)
Bit 3: NO GATE FX(holds your note
down, until a GATE is set)

The High Nibble (4 bits left)
represent the waveform type:

Bit 4: HOLDING FX(Note will not be
released)
Bit 5: FILTERFX(activates FILTER,
which is defined by F)
Bit 6: DUAL EFFECT(playes Wavetable at
half speed)
Bit 7: CYMBALFX(adds short noise in
front of a sound)

The variations of x values (Low
Nibble) or y values (High Nibble) can
be combined for mixed use. So a 2A
will activate Bit 5 (activating
filter) and Bit 1 + Bit 3 (no filter
reset + no gate), because 2 is the
high nibble and gets a binary value of
0010 and A is the low nibble and gets
a binary value of 1010. ok?

2.3 Filter Editor

We change back to main menu and go
into the Filter Editor. In that view,
we can't copy and paste, but it's
still possible to store different
filtersetups. You can switch
between the different settings with +/-
keys.

Before we start to create an own
Filter, first we need to adjust an
instrument in Sound Editor. You have
to choose a filterset number (F)
between 0..F and then we activate the
filter (FX: 20) for that instrument.
Then we go in Filter Editor again & we
choose the same number of F for (FLT)
and define following parameters:
Test it by pushing the space key. It
should sound very filtered. If you use
a 6581 SID Chip (you will find them
mostly in a breadbox, not that flat
case) you should try instead for number
(##) 5 a higher values.

Notice that all these setting are
different for using both SID Types
(6581 /8580). You have to choose
higher values on the 6581, otherwise
the filtered instruments sound to deep.
Pay attention if you work with a 6581,
that you have to set filtered sounds
only in one channel!

If you use 8580 chips then a
simultaneous use of filtered sounds in
all three channels is possible.
Composing a tune for 6581 or a
compatible tune for both types should
only be filtered in one channel at same
time.

2.3.1 Parameters

Ok, now is time to clear up the meaning
of parameters. From left to right:

R:Resonance / Rate
T:Filter Type
 Bit 0: Low Pass
 Bit 1: Band Pass
 Bit 2: High Pass

##CutOff Frequency (frequency, where
filter are take effect)
RT:Repeat Step-Position (01..05)
ST:Stop at a defined frequency step,
if that step is reached
S1 X1:S (frequency steps up/down) and
X (duration)
...
S6 X6

Rate / Resonance defines how much
effect a filter will take effect (F is
max). The SID allows you to set up and
to combine 3 different filter types:
Low-, Band- and High-Pass. In our quick
example we only used Low Pass, but you
can combine Low- and Band-Pass by
writing a 3 instead 1 too (e.g. 7 will
activate all 3 filter types). The next
value below ## represents the CutOff
Frequency. If you havn't write a number
there, you won't hear anything.

2.3.2 Filter Envelope

If you want to use filter envelops or
create LFOs, then the next parameters
can be configured in different ways.
The first two params (RT and ST) are
only useful if there is filled up the
6-table (Sx Xy).

An example:

The Sx Xy parameter will pass through
in a chronical order. You should always
start with the first (S1 X1). That
example runs through that filter
envelope in a form of a LFO. For
understanding, you have to notice that
Sx always represents the frequencies,
which will steps up or down. Here, it
will first steps up & then steps down
at the end of envelope (S6 X6). Then it
will start again with S1 X1. The
direction and the amount of steps
for a position will be defined in Sx:

00:nothing
01-7F:up (slow..fast)
80:mid
FF-81:down (slow..fast)

Xy defines the duration of that
position. After that the next position
will be processed. You can see in
example above, that the values of steps
are facing each other (01<->FF). For a
Triangle LFO, we should use the same
duration and same step amount for going
up and down. So 01 will increase with 1
step & FF will decrease in 1 step too.

The example above shows a LFO with a
longer pause between gliding up or
down. Xy adjust the duration of a step-
position (S1,S2...).

That example below will run in more
weighten steps. Insteed of 1 step it
will raise and sink with 2 steps. We
are able to influence the repeats of a
LFO too. That example will pitch up:

We can influence the length of an
envelope too. That following example
will stop the envelope, if the step
value reached 1D (ST). Notice that the
cutoff value have to reach that hex
number, otherwise it will be ignored.
1D will be reached, because we always
steps 3 values up and then 2 down:
In that last example below the
envelope will be repeated to S3 X3
after every pass. Higher values than
RT = 06 shouldn't be used. Seems it
will not have any functionality or will
set a wrong state.

Please notice, if an overflow occurs,
all counter routines of a byte will
start again at 00. If we decrement a
byte value e.g. at position 00, the
next value will be FF. If we increment
FF, next value will set to 00.

2.4 Track Editor

The Track Editor will be shown if we
leave the main menu or all submenus by
pressing RETURN. That Editor handles
the arrangement for sectors and shows
all your
defined sectors in a sequential order
for every channel seperatly. If you
start it the first time, everywhere
will be placed a 00 value. SID is
concepted with 3 Channels,
so there are 3 Tracks available.


2.4.1 Channels

Every Track contains an index number
(postion) and a sector number, which
can be filled up with a special sector
(they will store the playing
sequence). Additional we are able to
set special commands, like setting a
global transposing value, contolling
the end or controlling repeats of a
track. The duration of a played sector
is dependent of the sector length. So
every channel can be played in an
asynchronous duration too! If we start
composing, we should learn to define
synchronous routines. More information
about that are described in chapter:
Sector Editor.

2.4.2 Options

If we want to play our tune, we can
start it by pushing F1. If nothing is
defined before we won't hear anything.
F3 will stop and F5 will continues the
playroutine. F7 winds forward a played
music. In DMC7 your are able to trace
the complete routine to have a better
overview of played sectors in every
channel. Simply press '.' If you
want use different player types, you
are able to choose between: NORMAL
Player (C= + 1), DOUBLE Player (C= +
2), TRIPLE Player (C= + 3), , QUADRO
Player (C= +4) and QUINTUPLE Player (C=
+ 5). Notice that the play routine will
be set to $1006 instead $1003 in higher
modes as NORMAL.

If we want to test how your instruments
sound, by playing in realtime, you can
switch into the "SYNTHESIZER MODE" by
pushing F8. If we stay in that mode, we
are able to change instruments with +
and - and to set a transpose value
between 0 and 7. F6 will activate the
record mode. The recorded sequence can
later be placed in any sector in DMC7
(Notice that DMC4 will record in
current sector!). If you paste a
recorded sequence, notice that you have
to place an additonal END! command in
your sectors. SYNTHESIZER and RECORD
MODE can be turned off by pushing
RUN/STOP.

By pushing SHIFT + C we can copy a
complete track to another track
position (1,2,3). SHIFT + X will
exchange a track with another one.
HOME steps to the first line and CLR
(SHIFT + HOME) clears a track. There is
also a COPY / PASTE functionality
integrated.  Arrow (Copy - part of the
screen flicker in green) and @ (Paste -
part of the screen flicker in red).
Tracks will be copied only to a -END-
Command in Tracks (Everything behind
that will be ignored).

DEL deletes, INST (SHIFT + DEL) inserts
a line.

A complete tune can be initialise by
pressing SHIFT + I. The keys SHIFT + T
will switch into the tune menu. Here
we can choose which tune should be
edited (DMC 4 / 7 can store up to 8
tunes). At least with SHIFT + RETURN we
can edit a selected sector. If we step
to a 00, Sector 00 will be edited. If
we write another number on that
position, then Sector xx will change to
that.

2.4.3 Commands

There are 3 Commands to control the
tracks:

TR+ or TR-Global transpose up or down
for that track -END-Jump playroutine to
X position STOP!Stop playroutine

Relative transpose settings can by
change by + or - keys with a value in
front of following sectors. The
playroutine will registered that
command and jumps to the next position.

-END- Command will set a jump mark in
track (SHIFT + E). The playroutine
will jump to a specific position (have
to be written below -END-) and repeats
the whole track area again. Sadly, that
functionality was forgotten in DMC7.
It jumps only back to the first line.

STOP! Command stops a current playing
track (C= + E). No jumps or repeats
are possible.

That example above will play only the
first channel. The 2nd and 3th are
stop by STOP! Command. The first
channel uses Sector 00 and Sector 01
(2 times, but in different tone pitch,
because a TR Command is used in front
of that sectors. The -END- Command
loops to the first line back. There is
a TR+00 needed to reset the standard
transpose. But before you can test this
example you have to read that following
chapter about sector editing.

2.5 Sector Editor

If we stay on a number in track, then
we are able to switch in a specific
sector by pushing SHIFT + RETURN. For
example, the first position of track1
contains a 00.

Then we will get into the Sector 00 on
the right side. First we will see an
empty sector:


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