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MIDIbox SID V2 User Manual

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MIDIbox SID V2 User Manual


Chapters
Hardware Options Frontpanel Installation First Steps Lead Engine Bassline Engine Drum Engine Multi Engine Ensembles SysEx Editor CV Options SwinSID Review V1->>V2 Upgrade MIDIbox SID V2 Parameter Chart MIDIbox SID V2 CC Implementation Chart MIDIbox SID V2 SysEx Implementation Known Issues and Troubleshooting Tips

Last update: 2009-06-20 Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- Hardware Options

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MIDIbox SID V2 User Manual --- Hardware Options


MIDIbox SID V2 can be extended successively from the minimal configuration to the complete control surface with up to 8 SIDs. The overall hardware costs mainly depend on the quality of components, and on the availability of the SID chip. Costs can be reduced by organizing group orders in the MIDIbox Forum!

Minimal Setup

The picture above shows the minimum hardware requirements to get the SID synthesizer running. In this low-cost configuration, the sound parameters are only accessible via SysEx (*). With an additional BankStick, 128 patches can be stored and recalled via Program Change (up to 7 BankSticks are supported for patch storage). The estimated price for this setup is ca. 30..50 EUR (price mainly depends on the availability of the SID chip). (*) at this time, MIDIbox SID V2 is in beta stage, and a SysEx editor is not available yet. It is planned to provide a platform independent, Java based editor like known from MIDIbox SID V1

Stereo Setup
With MIDIbox SID V2, two SID chips can be controlled from a single core. The firmware provides many features which simplify the creation of stereo effects. If you have the choice between building two separate MIDIbox SIDs, or just to control the two SIDs from a single core, I would strongly recomment to go for the stereo setup.

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MIDIbox SID V2 User Manual --- Hardware Options

In following demo, some preset patches are played with a stereo setup - except for a limiter, no additional external effects have been used:

The same sequences have been recorded again with a Mono setup - direct download (e.g. for comparison with headphones): Stereo Mono Another advantage of the stereo setup: in multi mode 6 polyphonic voices/instruments can be played from a single core:

In following demo, one core controls two basslines - more infos can be found in this forum posting. Warning: >8 MB, very repetive stuff!

Multi SID Setup


If you like the SID sound so much (like me), and if you are planning to play multiple patches in a song without the need for overdubbing (recording the sequences separately with a single synth), especially for finetuning the sounds so that they fit together, then you could consider to build multiple MIDIbox SID V2. It is possible to control up to 3 additional synths from the same frontpanel. The first core, which also manages the control surface, will act as a "master", and the remaining cores are handled as "slaves". Communication is realized over a fast CAN interface, this approach is called MBNet. MBNet is a separate communication channel, which works much faster than MIDI and allows bidirectional data exchange over a single wire. The CAN protocol is normaly used in automotive and industrial applications, where reliability does matter. So, it is not just a "tinkering solution", it's a professional approach. This schematic shows, how the cores have to be connected together. Each core module needs a unique MIOS device ID in the network. This ID is burned into the "PIC ID header" together with the Bootloader. The master should get the ID 00, the slaves ID 01, 02 and 03. If you bought a preburned PIC, e.g. from SmashTV or Mike, and forgot to specify the right MIOS Device IDs, you can change them later with the "change_id" application, which can be downloaded from this page. There are prepared .hex files (device_id_01.hex .. device_id_03.hex), which you can use without rebuilding the application. As uploading an application requires a bidirectional MIDI connection to the slaves, you temporary need to attach the MIDI Out port of your MIDIbox SID to the slave MIDI outs. Alternatively you can plug the PIC18F4685s which should work as slave temporary into the master socket and upload (and especially test!) the applications from there. Once MIOS and the MIDIbox SID V2 application has been installed, you don't need to repeat this time consuming procedure for firmware updates anymore, as a "cloning" mechanism is available, which allows you to transfer the firmware of a master to all slaves via MBNet. This should be done after every firmware update - just press the MENU button during power-on, until the Cloning message appears on screen.

SID chip selection


There are two different SID derivatives: the 6581 (first version, initially used by C64 in the "brown breadbox case"), and the 8580 (later version, used by C64 in the flat gray case). There is also a 6582, which was sold as replacement for defective 8580s, and which sounds very similar (or identical?). Main difference between the two derivatives is the supply voltage and filter caps. 6581 has to be supplied with 12V and requires 470pF caps, 8580 and 6582 with 9V and requires 22nF caps. This has to be considered when building the MBHP_SID module.

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MIDIbox SID V2 User Manual --- Hardware Options

But there are also sound differences. It is difficult to say, which one sounds better, as both have their advantages... the filter of 6581 sounds more moody and dirty, whereas the filter of 8580/6582 sounds more precisely. Resonance has nearly no effect on the 6581, some mixed waveforms are not working, and it has a much higher background noise (see also demo samples in the Lead Engine chapter), therefore the 8580/6582 is normaly the prefered choice, especially for filtered basslines.

Power Supply Unit (PSU)


Two different voltages are required for the digital and analog domain. All digital chips require 5V, whereas the SID requires 12V (6581) or 9V (8580/6582) in addition. For a minimal setup a single AC or DC PSU which delivers ca. 12V for CORE/SID module with 8580, or 15V for CORE/SID module with 6501 works fine. It should deliver up to 500 mA. Although normaly 6-9V are recommented for supplying the core module in order to avoid that the 7805 regulator gets too hot, it can be supplied from the same PSU like the SID due to the low power consumption. Once you add a LCD with backlight, the power consumption increases so much that this solution doesn't work anymore. The 7805 gets much hotter, and you will propably also hear a silent 50Hz/60Hz buzz at the Audio Out. A separate PSU for the SID module helps here, or the "optimized C64 PSU circuit. I did some experiments with different PSU and regulation circuits, and finally found out that re-using the power supply which came with the C64 is the best solution. Not only that most users already own such a PSU if they canibalized the SID from an old C64... the main reason which qualifies this PSU is, that it already contains a 5V regulator for higher currents (so that the 7805s of the core modules can be removed), and that it provides a separate AC output which can be used to provite an unregulated voltage for the SID module: mbhp_8xsid_c64_psu_optimized.pdf Be careful when working with a C64 PSU which has no special fuse socket. The internal fuse could burn on a short circuit, and it is nearly impossible to open the case (and especially to close the case once it has been somehow opened). I for myself fortunately never came to such situation (although I shortened the PSU outputs multiple times by fault), but other users reported such issues in the past.

Control Voltage outputs (CV/AOUT)


MIDIbox SID V2 can control up to 8 analog outputs by connecting an MBHP_AOUT module, or up to 4 MBHP_AOUT_LC modules to the core. There are so many possibilities, that a special chapter has been spent - see CV Options.

Analog Control Inputs


MIDIbox SID V2 provides 8 analog inputs (5 currently used, 3 reserved for future features). They can be used to connect additional pots/faders or joysticks for direct sound control, but they could also be driven from analog signal generators. More info can be found in the Frontpanel chapter.

SID Audio Input


The SID chip provides an audio input, which can be used to route external signals through the filter. So long no external source drives the audio input (J4 of the SID module), use a jumper to connect it to ground instead, otherwise you will notice some additional background noise! An inventive guy called AlphA found out, that by forwarding the Audio Out to the Audio In through a resistor the sonic characteristics of the SID can be dramatically changed (Link to the website. See also this forum article for additional infos.

Control Surface
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MIDIbox SID V2 User Manual --- Hardware Options

...is discussed in detail in the Frontpanel chapter.

Detented and/or Non-Detented Encoders?


It is recommented, to use a detented rotary encoder as menu controller (datawheel), and nondetented encoders for remaining parameters if a complete control surface is build. The detented encoder allows more exact control, whereas non-detented encoders are better for fast parameter sweeps. Note that the detents can be easily removed (see also this Wiki page and this forum posting).

Modulation Matrix with transistor drivers


The modulation matrix consists of 8x7 (optionally 8x8) LEDs, which are driven by a 74HC595. As this output current of this shift register is limited to 20 mA, low-current LEDs should be used, which are mostly not much more expensive than low-cost LEDs. Alternatively transistor drivers can be added to the 74HC595, which is used as common line driver. The DEFAULT_SRM_USE_SINKDRIVERS switch in your setup_*.asm file has to be enabled in this case, so that the outputs are inverted. See Wilba's Wiki page for a schematic.

BankSticks
Both, 24LC256 (32k) and 24LC512 (64k) are supported BankSticks, but 24LC512 are recommented, as it can store 128 patches. Up to 7 BankSticks can be used for storing patches, each needs a unique device address (CS=0..CS=7). The 8th BankStick at CS#7 (E0/E1/E2 pin of BankStick connected to Vd (5V)) will be used to store ensembles. It doesn't matter of you are using a 24LC256 or 24LC512 here, in both cases 128 ensembles will be stored in the lower 32k range. Note that your MIDIbox SID will also work without BankSticks, but in this case only a single patch and a single ensemble can be stored within the internal EEPROM, which isn't a really useful setup and therefore not recommented.

Hardware costs
Premade PCBs can be purchased at www.mikes-elektronikseite.de or http://mbhp.coinoptech.com. They also purchase complete kits for the modules and some of the other parts (like rotary encoders). Prices and ordering numbers are from Reichelt if not specified. A list of alternative electronic shops outside germany can be found in the Wiki

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Note: The PIC18F4685 is a quite new microcontroller, which is unfortunately hard to find in common webshops yet. SmashTV did a batch order and provides the PIC with preburned Bootloader and MIOS for an extremely fair price to the community ($9.95 !!! Compare it with stock listings under findchips.com and you won't find cheaper offerings for single parts!) Doc is doing the distribution for Europe for those guys who want to save shipping costs - just contact him in the MIDIbox Forum

Minimal requirements
Part Description Price Parts: ca. 20 EUR PCB: ca. 6 EUR Parts: ca. 5 EUR PCB: ca. 5 EUR 0..20 EUR ca. 3 EUR the brain of MIDIbox SID 1 MBHP_CORE It must be stuffed with a PIC18F4685 !!! module 1 MBHP_SID Module which is stuffed with the SID and includes an audio module amplifier and the serial bus interface to the core. SID chip BankStick Canibalized from an old C64 (e.g. purchased on EBay), or ordered from hardware resellers (keyword: Hong Kong) at least 1 x 24LC512-I/P, Part #4915665 from Farnell, Part #579-24LC512-I/P from Mouser, Part #24LC512 from SmashTV.

1k resistor

one 1k resistor is required for the CAN receive input (J15:D3 of 0.10 EUR the core module), even when no slaves are connected to the core! A power supply unit - either AC or DC, ca. 12V for the ca. 0..6 EUR CORE/SID module with 8580 or 15V for CORE/SID module with 6581, ca. 500 mA. Although normaly 6-9V are recommented for the core module, it can be supplied from the same source like the SID due to the low power consumption (the 7805 doesn't get too hot). See also the MBHP_SID page how to re-use the original C64 PSU. same like above Parts: ca. 5 EUR PCB: ca. 5 EUR 0..20 EUR

PSU

Stereo SID
+1 MBHP_SID module +1 SID chip

Canibalized from an old C64 (e.g. purchased on EBay), or ordered from hardware resellers (keyword: Hong Kong) Description e.g. Part #LCD 202A LED from Reichelt premade PCBs are not available for this small circuit, so you have to build it on a vectorboard. Alternatively you could use a DINX4 module A detented encoder is recommented for precise data entry, for example M-SW-ROT from Voti or the Bourns encoders from SmashTV's Shop for example "DT 6 colour" (colour = BL, GN, GR, RT, SW)

Minimal Control Unit


Part 2x20 LCD DINX2 module 1 encoder Price ca. 10..15 EUR Parts: ca. 5 EUR PCB: ca. 5 EUR ca. 1..2 EUR

9 buttons Veroboard

6.50 EUR

buttons/encoders/LCD can be simply stuffed on a verboard, e.g. 2.25 EUR H25PR200 from Reichelt

Multi SID solution


Description Additional parts and modules: n x core modules

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MIDIbox SID V2 User Manual --- Hardware Options

n x 1N4148 diodes (for CAN bus) m x SID modules the minimal control unit (see above) an improved PSU (ca. 800 mA) - the C64 PSU should be prefered due to the separate +5V output for the core modules 4 additional buttons a DOUTX1 module 7 LEDs

Complete Control Surface (Step C)


Description Additional parts and modules: n x core modules m x SID modules the minimal control unit (see above) an improved PSU (ca. 1A) - the C64 PSU should be prefered due to the separate +5V output for the core module(s) 3 DINX4 modules 2 DOUTX4 modules 14 additional rotary encoders (in difference to the datawheel, non-detented encoders are recommented here, but detented will also work fine, for example M-SW-ROT from Voti or the Bourns encoders from SmashTV's Shop) 32 additional buttons 99 LEDs ca. 2-3 veroboards for mounting the buttons/encoders/LEDs a nice frontpanel Costs: most expensive parts are the rotary encoders (ca. 15 EUR) and especially the frontpanel (selfmade ca. 25 EUR + a lot of time, premade ca. 100..150 EUR!)

Complete PCB
The modular approach used in MBHP has the high advantage of improved exchangeability and testability. On the other hand, MIDIbox SID V2 has reached a level, where up to 20 modules are involved, which doesn't make it easy to bring everything into a case. Not for forget, that a single PCB saves costs and makes the hardware more robust. Wilba has created a customized PCB for his MB-6582, that he has introduced in the Wiki. A batch order of these PCBs has been started for those people who are interested in an all-in-one solution details can be found in the Wiki.

Resources
Firmware: see this forum article Connection diagram for buttons & encoders: mbsid_v2_din_default.pdf Connection diagram for LEDs: mbsid_v2_dout_default.pdf Connection diagram for the power wiring: mbhp_8xsid_c64_psu_optimized.pdf Interconnection diagram for MBNet and MIDI interconnections: mbsid_v2_communication.pdf More Photos: midibox_sid_photos/ Frontpanel template: mbsidv2_front.fpd - can be edited with Frontpanel Designer, available at Schaeffer Apparatebau (*)

Last update: 2009-01-01


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MIDIbox SID V2 User Manual --- Hardware Options

Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- Frontpanel

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MIDIbox SID V2 User Manual --- Frontpanel


This chapter introduces the frontpanel of the MIDIbox SID V2. It should give you a feeling about the minimum requirements and an oversight about possible options, which are provided by the firmware.

V1 vs. V2 Frontpanel
As highlighted multiple times on my website and in the MIDIbox Forum, one of the hardest requirements during the design phase of MIDIbox SID V2 was to keep the frontpanel compatible with MIDIbox SID V1, so that nobody has to throw away his old case. This requirement has been successfully implemented - I'm still very happy with my own frontpanel which can be seen above. The only things which have been changed/enhanced are the functions of some buttons and encoders. The labels have been modified in the Frontpanel template, which can be viewed and edited with Frontpanel Designer, a freeware available at Schaeffer Apparatebau. So, if you are planning to create your own frontpanel, please use the new template as origin. However, the original panel has been created 2003, and in the meantime there are new features where a dedicated button or LED would be "nice-to-have". Such additional options are mentioned below, and it is your own decition to add them to your own frontpanel design or not.

Minimum Control Surface


This option has been formerly called "Step A Surface" - it already gives you full access to all sound parameters, but control elements which allow direct modifications without stepping through the menu pages are missing. It's a trade off between ergnomoy and hardware costs.

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It consists of a 2x20 LCD, 9 buttons and one rotary encoder, accordingly 11 digital inputs of a MBHP_DIN module are required. You can either etch a DINX2 module by yourself (2 shift registers provide 16 inputs), you can build the circuit on a veroboard (e.g. the same one on which the parts are mounted), or you can buy a premade DINX4 board, where you only need to stuff the two first shift registers. The 5 select buttons are used to navigate through the menus, and to select a parameter which should be modified with the rotary encoder (usage example: see First Steps Guide). The button below the encoder (called MENU button) is used to exit a menu page. The rotary encoder increments/decrements the sound parameter and scrolls through the pages. The SHIFT button was formerly called LINK button. It has a new purpose compared to MIDIbox SID V1 - now it displays a special page which allows to select the Left/Right audio channel, to change the sound engine, to initialise a patch, to generate a random patch and to send out a SysEx dump of the patch. In addition, values are incremented slower (more precisely) so long this button is pressed. Especially for the Sound Engine selection there is no alternative control possible, therefore this button is a hard requirement. The Up/Down buttons have been added to the minimal control surface, as there are two digital input pins free anyhow. They are not really required, but speed up the menu navigation. Depending on the menu page, they can be used to increment/decrement the OSC/LFO/ENV/MOD/WT/Knob/... number from any page view without scrolling to the leftmost menu entry. Within the root menu and main screen, they can be used to change the patch/ensemble number. These two buttons were formerly used to activate the CC/Edit function - both functions are still accessible by pressing SHIFT+UP (for CC) or SHIFT+DOWN (for Edit). Alternatively a 2x16 LCD can be used (if costs do matter). This is no optimal solution, as the main page won't be displayed completely anymore. Within menu pages only 4 instead of 5 parameters are visible the same time (page has to be scrolled to see the remaining parameters of the same page). An advantage of this variant is, that you would only need a single shift register ("DINX1"), to which the rotary encoder (2 pins), the selection buttons (4 pins), the menu button (1 pin) and the SHIFT button (1 pin) are connected. Another LCD option is the usage of a 2x40 LCD which displays up to 10 sound parameters the same time. Such a large screen is especially nice when editing MOD matrix pathes or wavetables, but it increases the frontpanel size. This option requires 10 select buttons instead of 5, accordingly 16 pins will be allocated by one rotary encoder and 14 buttons (-> two shift registers required). The 4x20 LCD option is quite new, and has been especially designed for MB-6582. The common screen is centered at the second and third line. The first line shows the menu page name and selections (e.g. Left/Right Channel, oscillator, LFO, etc...). The lower line shows a bar graph of the selected parameter

2x40 LCD 2x20 LCD

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MIDIbox SID V2 User Manual --- Frontpanel

2x16 LCD

4x20 LCD

Minimum Control Surface for Multiple SIDs


This option has been formerly called "Step B Surface" - four "SID" buttons are added which allow you to select the SID (master/slave) which should be accessed. They behave like "radio buttons" if only one is pressed so that you can quickly change between the SID setups. It's also possible to select multiple SIDs by holding one of the SID buttons and pushing the additional SID buttons - in this case every parameter change will be sent not only to one, but to all selected SIDs.

It makes sense to add LEDs which show the SID selection. This requires a DOUT module with a single shift register (etch your own, build the circuit on a veroboard, or buy a premade MBHP_DOUTX4 board). As this would only allocate 4 pins, you could add three additional LEDs for the SHIFT/UP/DOWN buttons. The LED next to the SHIFT button will flash on each BPM beat later (not implemented yet), the UP LED shows if the CC function is active, and the DOWN LED shows, if the edit function is active. Alternatively, J5 of the core module can be used as DOUT replacement by setting DEFAULT_J5_FUNCTION to mode 2 in the setup_*.asm file - this saves you from building a DOUT module, but prevents you from using J5 as analog input port.

Complete Control Surface --- OSC section


The complete control surface consists of several sections; the OSC section controls oscillator specific parameters, and gives you direct access to the flexible "Knob" functions.

The 5 rotary encoders are mapped to three layers (ENV, MISC and KNOBS) which can be selected with the CTRL button. The OSC buttons allows you to select one of three oscillators. If parameters of multiple oscillators should be changed the same time, the appr. selection flags have to be changed within the menu (leftmost page). There is an additional button for waveform selection, and another for Sync/Ringmodulation selection. 12 LEDs display the current selection status. Note that a patch actually consists of 6 oscillator sets - 3 for the left audio channel, 3 for the right audio channel. By default, parameters of both channels are changed the same time. If a specific

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MIDIbox SID V2 User Manual --- Frontpanel

audio channel should be modified, press the SHIFT button and select L/R accordingly (only valid for Lead engine). The knob layer gives you access to 5 customizable parameters, which can be assigned to two different sound parameters, and which are also available as modulation sources. A Min/Max range can be specified for each knob individually. Assignments and ranges are stored within the patch structure - so, each patch can have its own set. This feature is intended for ergnomic usage during live playing, but also for easy MIDI automation (activate the CC function to send knob movements, so that they can be recorded with a sequencing software).

Complete Control Surface --- FILTER section


The filter section gives you direct access to CutOff Frequency and Resonance. Two buttons allow you to change the filter channel assignments, and the multi state filter type (Lowpass, Bandpass, Highpass - multiple selections possible). 8 LEDs are used to display the selections.

Two of these LEDs are not really useful and could be omitted on a new frontpanel: EXT notifies, that the external Audio Input is routed through the filter, and 3O (Oscillator 3 off) disables the audio path of the third oscillator (useful for sync sounds). Both functions cannot be selected with the Channel/Filtermode buttons; instead there are special flags within the Filter menu page for individual control. As for the OSC section, also the Filter section has two parameter sets - one for each audio channel. By default, parameters of both channels are changed the same time. If a specific audio channel should be modified, press the SHIFT button and select L/R accordingly (valid for all sound engines).

Complete Control Surface --- LFO section


The LFO section gives you direct access to LFO rate and depth. You can select the LFO (1-6 for Lead Engine, 1-2 for Multi Engine) and the waveform.

Note that MIDIbox SID provides more than 5 waveforms - the additional waveforms are displayed with special LED patterns (for all "positive" waveforms, the Random LED is lit together with another one. E.g., for positive Sine, Random + Sine LED are activated)

Complete Control Surface --- ENV section


The ENV section gives you direct access to the Depth/Attack/Decay/Release parameter of two envelopes (Lead engine only, Multi engine: one envelope).

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MIDIbox SID V2 User Manual --- Frontpanel

The Ctrl button switches between envelope and assign layer. The assign layer can be adapted for own needs within the firmware. By default, it controls the 5 parameters which are visible on screen. This is a very powerful feature, which especially speeds up editing wavetables.

Complete Control Surface --- Modulation Matrix


This is propably the most extraordinary feature of MIDIbox SID: the modulation matrix allows you to enable modulation source->target connections very quickly. It works like a patchbay.

There are 8 rows of predefined modulation sources (ENV1..2, LFO1..LFO6), and 7 (optionally 8) columns of predefined modulation targets (OSC Pitch/Pulsewidth, Filter, Volume). Thanks to the flexible modulation path concept, modulation sources can be changed and combined within the MOD menu, therefore the E1..2/L1..6 only give a rough orientation. When selecting a source button, you will see the actual sources and the operator on screen. The mapping of modulation targets cannot be changed, but it is possible to add two additional targets for enhanced modulations (e.g. controlling LFO depth/rate or external CV outputs). The Modulation Matrix section provides separate parameter sets for the left and right audio channel. By default, mod path connections are done for both channels. If a specific audio channel should be modified, press the SHIFT button and select L/R accordingly (only valid for Lead engine). With MIDIbox SID V2 the Volume is available as 8th modulation target column. Although the SID chip only provides a 4bit resolution for this parameter, some nice tremolo effects can be produced. If you are planning a new frontpanel, you could consider to add the 8th column. Users of the old frontpanel can control the assignments from the LCD menu. Note that the modulation matrix feature is only provided by the Lead Engine. The multi engine prints the current instrument number instead. For bassline and drum engine, it is planned to use the matrix as display for sequencer steps, and/or as selection matrix for patterns. Alternatively the LED matrix can be used for metering the output values of the modulation pathes. This mode can be selected by pressing two mod target buttons the same time (e.g. O1 and O2 pitch). It can also be enabled automatically after startup by changing the DEFAULT_LEDMATRIX_MODE setting in setup_*.asm

Analog Control Elements


With MIDIbox SID V2, analog control elements like pots, faders and joysticks are natively supported.

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MIDIbox SID V2 User Manual --- Frontpanel

Everything you can find in the forum about such an extension for V1 is obsolete, especially because a dedicated driver is used instead of MIOS_AIN for optimized performance. This feature has to be explicitely enabled within the setup_*.asm file by setting DEFAULT_J5_FUNCTION to 1 - once you did this, all unusued analog inputs must be clamped to ground in order to prevent random values! This is especially required for the slave modules, when the master firmware will be transfered to the slaves via ECAN (clone feature). All 8 analog inputs are sampled with a frequency of 125 Hz. Multiplexing (-> MBHP_AIN module) is *not* supported! So, 8 inputs are maximum. The firmware currently only uses the first 5 inputs of J5, the remaining 3 are reserved for future features. The converted values are forwarded to the knob handler. This generic approach gives you all advantages of the knob concept: value changes can be forwarded to two sound parameters, a Min/Max range can be specified, and the converted values are also available as modulation source! The feature behaves differently on master and slaves: Master: analog inputs are forwarded to the *selected* SIDs. This has the advantage, that each SID can be controlled from a single set of pots and/or joysticks. If you find this impractical, a small and harmless firmware patch (AIN_NotifyChange: remove the branch to "AIN_NotifyChange_Master") allows you to realize a dedicated control for the master only. Slave: analog inputs are only handled internally independent from the selection. Note that this feature can also be used to control the SID from analog signal sources, e.g. from an analog step sequencer, or an analog LFO.

Additional Buttons/LEDs/Encoders
Users have started to add additional buttons, LEDs and encoders to their frontpanel. The search function of the forum gives you some links to reports and source codes. One of the most advanced mod is Wilba's MB-6582. Infos can be found in the Wiki. If you only want to reassign buttons and/or encoders to different DIN pins, or LEDs to different DOUT pins, e.g. to improve the layout of your frontpanel boards, you should be able to do this without learning the PIC assembly language: Buttons: there is a table in setup_*.asm which maps all button functions to digital input pins. Search for CS_MENU_DIN_TABLE Rotary Encoders: there is a table in setup_*.asm which maps all encoder functions to digital input pins. Search for MIOS_ENC_PIN_TABLE LEDs: there is a table in setup_*.asm which maps all LED functions to digital output pins. Search for CS_MENU_DOUT_TABLE For assembly experts: new button functions can be implemented in cs_menu_button.inc, new LED functions in cs_menu_leds.inc, new encoder functions in cs_menu_enc.inc and cs_menu_enc_table.inc (difficult and not straightforward!) Here a list of additional button functions, which are available in the release package, and can be selected within setup_*.asm if desired: M_Vol (Matrix Volume): selects the 8th line of the modulation matrix. To be used in combination with 8 additional LEDs, which have to be connected as described in mbsid_v2_dout_default.pdf Play: is doing the same like "SID1..4 + MENU" (see list of special button combinations) SID_LR: switches between Left/Right or both SID audio channels M_Mode: switches the LED matrix between normal Matrix display and Meter display mode; is doing the same like pressing two MOD SOURCE buttons the same time (see list of special button combinations)

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MIDIbox SID V2 User Manual --- Frontpanel

Fil_ExtIn: enables/disables the external input routing through the filter (can also be done from the filter menu page) Sync: jumps to the ENS->CLK menu (allows you to setup BPM and MIDI Clock Mode) Following additional LED functions are available in the release package: Play LED:: should be used in conjunction with the Play Button Meter/Matrix LEDs:: should be used in conjunction with the M_Mode Button SID L/R LEDs:: should be used in conjunction with the SID_LR Button LFO Positive LED:: extension for the LFO waveform LEDs - is lit when the LFO waveform is only within the positive range (normaly, the 5 LFO waveform LEDs display a special pattern in this case)

Special Button Combinations


Here a list of special button combinations: MENU during version number is displayed: transfers the current firmware to all slaves (Cloning Function). This should be done whenever a new firmware has been uploaded to the master. Press and hold this button during power-on, until a special cloning message appears on screen. If cloning doesn't start with the method, trigger the button multiple times during the MIDIbox SID version number is displayed on the LCD. SHIFT: a menu with special functions appears. These functions can be triggered (as usual) with the SELECT buttons. SHIFT + encoder movement: encoder slow-down (for precise value changes) SHIFT + UP: CC mode on/off. In CC mode, a "knob" (rotary encoders within the OSC->Knob layer, or analog pots/joysticks) sends out value changes via MIDI Out, e.g. to your sequencer. The values can be recorded for MIDI automation. SHIFT + DOWN: EDIT mode on/off. In this mode, all parameter changes will be saved automatically into the currently selected patch whenever you change to a new patch. The LED flashes slowly if there is something to save in order to warn you, that the old patch will be overwritten. SID1..4 + MENU: plays a note until this button combination is pressed again. DATAWHEEL + MENU: within main screen: changes ensemble (DATAWHEEL w/o MENU: changes patch) PAGE UP/DOWN + MENU: within main screen: changes ensemble (PAGE UP/DOWN w/o MENU: changes patch) MOD TARGET buttons E1..L6: jumps into the MOD menu and selects the appr. modulation path 1-8 (Lead engine only) SHIFT+MOD TARGET: jumps into the appr. Envelope/LFO page (E1/E2/L1..L6) (Lead engine only) Pressing two MOD SOURCE buttons the same time: toggles the 8x8 LED matrix between modulation matrix and metering mode.

Last update: 2009-03-10 Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- Installation

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French Version

MIDIbox SID V2 User Manual --- Installation


Initial Installation of the Master Core
1) Burn the MIOS Bootloader into the microcontroller with a PIC burner like MBHP_BURNER. The .hex file can be found in the pic18f4685/burner directory of the MIOS update package. If you purchased the PIC from SmashTV or Doc, the PIC is already "pre-burned", so that the remaining code can be uploaded via MIDI (no PIC burner required) 2) Install the latest MIOS version with MIOS Studio. The .hex file can be found in the MIOS update package as well (pic18f4685/midi directory) 3) Install the latest midibox_sid_v2 version with MIOS Studio. 4) Assumed that "blank" BankSticks are connected to the master core, the firmware will automatically start to format them. This will take some seconds. After formatting, you can upload the preset bank with your favourite SysEx tool (e.g. MIDI-Ox), which is located in the presets/ directory of the midibox_sid_v2 package.

Initial Installation of Slave Cores


1) Burn the MIOS Bootloader into the microcontroller if this hasn't been done yet. If your burning software allows to change the PIC ID header, use: 0000000000000001 for the first slave 0000000000000002 for the second slave 0000000000000003 for the third slave Don't worry if you don't find an appr. entry field - you can change the ID later once MIOS has been installed. 2) Install the latest MIOS version with MIOS Studio 3) if the MIOS device ID hasn't been adapted during bootloader installation, you have to do this now. Download the "change_id" application at the MIOS Download section, and upload following .hex files with MIOS Studio: device_id_01.hex for the first slave device_id_02.hex for the second slave device_id_03.hex for the third slave 4) Install the latest midibox_sid_v2 version with MIOS Studio. IMPORTANT: a bidirectional MIDI connection is required to upload code to a slave. Normaly the MIDI Out port of your MIDIbox SID V2 is only connected to the master core. There are two possibilities to connect this to your MIDI interface: a) temporary plug the slave PIC into the socket of the master core. Thats the most simple solution, especially because you are using a "known-working infrastructure" if you already uploaded code to the master PIC successfully b) change the MIDI wiring within your MIDIbox. It heavily depends on how your hardware looks like. E.g., on the MB-6582 board you will find some jumpers which allow you to change the MIDI Out port routing.

Updating Firmware to a new Version


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MIDIbox SID V2 User Manual --- Installation

Thats easy: just upload the new midibox_sid_v2 release to the master core with MIOS Studio. Once this firmware is booting, and the version number is displayed, press&hold the MENU button of your Control Surface to "clone" the new firmware to the slaves via CAN interface.

Last update: 2009-01-01 Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- First Steps

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MIDIbox SID V2 User Manual --- First Steps


The aim of this chapter is to give you a rough oversight about the user interface handling, and the possibilities for sound modifications. The menu pages which are introduced here are described in detail within the Lead/Multi/Ensemble chapters of this manual.

BankStick Formatting
Whenever you connect a new BankStick to the MIDIbox SID, it will be formatted automatically with 63 (24LC256) or 127 (24LC512) initial patches. The first patch is always the one which is stored in internal EEPROM. This procedure takes some seconds and will be notified on the LCD. In addition, the SID will play beeping sounds so long formatting is ongoing to notify that MBSID is not able to do anything else this time.

The BankStick at CS#7 (E0/E1/E2 pin of BankStick connected to Vd (5V)) will be used to store ensembles. It doesn't matter of you are using a 24LC256 or 24LC512 here, in both cases 128 ensembles will be stored in the lower 32k range.

Note that your MIDIbox SID will also work without BankSticks, but in this case only a single patch and a single ensemble can be stored within the internal EEPROM, which isn't a really useful setup and therefore not recommented.

Main screen and root menus


This is the main screen which is visible after power-on:

It displays: the selected ensemble (here: E002) the selected and available SIDs (here: 1-** means: SID1 selected, SID2 (first slave) not selected, SID3 and SID4 (second and third slave): no MBNet connection (this is at least the case if your MIDIbox SID is only stuffed with a single slave). the selected patch of SID1 (here: A001 - the internal patch) the engine of the selected patch (here: Ld = Lead Engine) the assigned MIDI Channel of the selected SID, first instrument (here: Chn. 1) the patch name (here: Lead Patch) Within the main screen, press the LEFTMOST SELECT BUTTON to enter the ensemble root menu.

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MIDIbox SID V2 User Manual --- First Steps

Here you can change some global parameters, like patch/bank assignments, MIDI channels, etc... Go back to the main page by pressing the MENU button. Now, within the main screen, press one of the RIGHT SELECT BUTTONS (#2, #3, #4 or #5) to enter the root menu of the synth engine.

From this menu page, you get access to submenus which contain all available sound parameters.

Menu navigation
The menu navigation is inspired from the VST control feature of Logic Control and the menu handling of my HP48 calculator ;-)

A (slow) blinking cursor notifies the selected menu item. Here: OSC If the item, which should be modified, is not visible on screen, you can scroll through the parameter list with the rotary encoder (or Inc/Dec buttons - in the following it will not be mentioned anymore that the encoder can be replaced by two buttons) the parameters are shifted to the left step by step by the encoder... ...until the end of item list has been reached

Once you've found the parameter, just press the appropriate selection button to enter the edit mode. Tweak the encoder to change the value.

You can press another selection button anytime to edit another value. And you've to press the menu button to leave the edit mode. Press the menu button again to change to the next upper menu.

Stereo Mode and MIDI Channel

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MIDIbox SID V2 User Manual --- First Steps

The firmware is not able to determine, if one or two MBHP_SID modules are connected to the core. If only a single SID is connected, it is recommented to select Mono mode within the ensemble - this is especially required if you are using preset patches which where made for the stereo option. So, from the main page, press the leftmost select button to enter the ensemble menu. Select SID to enter the SID menu, and select the Mon flag:

Users of the stereo SID option should not select this flag of course for a fat stereo sound! :-) Now go back to the ensemble menu (MENU button), and enter the INS page to select the MIDI channel. In my own setup, SID1 is played over MIDI channel 9:

For lead sounds, only the MIDI channel of the first instrument is relevant. For multi sounds the channels of all 6 instruments have to be adapted (we will try this later) You can do the same for the remaining SIDs (if slaves are connected). Assign different channels for independent sounds, or the same channel for layered sounds. In order to ensure, that this setup is available again after power-on, the ensemble should be stored into the internal EEPROM (E001) or into BankStick (E002-E128):

Using the BankStick is the most prefered way, as the internal EEPROM will be overwritten on each firmware update. In other words: E001 is only intended as fallback solution for people who don't have a special BankStick ready for ensembles.

The fun begins...


Let's play some notes on a keyboard (or from an external sequencer) for a first sound check:

The intial lead patch sounds poor and lifeless, mainly because it plays only on a single oscillator. Let's make it more fat by using three oscillators! From the main page, press one of the rightmost select buttons to enter the patch root menu. From there, go into the OSC menu and select all three oscillators:

Now parameter changes will be applied on all three oscillators. Change the waveform to Pulse (can also be done with the dedicated Wave button of the Control Surface!):

Play some notes - it still doesn't sound fat. In distance - it sounds a little bit strange, because all oscillators are in sync:

Let's get use of a "secret weapon": the detune parameter! :)

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MIDIbox SID V2 User Manual --- First Steps

Play some notes:

Especially for this tune it makes sense to play two oscillators with a lower octave for more bass. So, change the transpose value to -12 within the OSC menu. Do this for OSC2 and OSC3 separately (note: you can quickly switch between the oscillators with the Page Up/Down button):

Play some notes - still boring, hm?

But there are additional measures for ultimative fatness: the usage of detuned LFOs to modulate the pulsewidth. So - change into the LFO menu and enter different Depth/Rate values for LFO1, 2 and 3:

Now change to the MOD menu to configure the source/target assignments:

Note that: we are using MOD path 3, 4 and 5, since they are already prepared for LFO1, LFO2 and LFO3 (default Src1 assignments) we set the Inversion flag In2 for these MODs, so that the right audio channel will be modulated inverse to the left channel - this guarantees an even more fat sound! :-) we use the direct modulation connections for PW1 (Pulsewidth of OSC1), PW2 and PW3, assigned to left/right channel. Each oscillator gets its own LFO these modulation path connections can also be controlled from the modulation matrix of the control surface. For example, press the button of the fourth row and the button of the third column the same time in order to enable/disable the MOD3->PW1 connection. The resulting sound:

And here the final mix, where I added a stereo delay to the SID track + some drums:

Ok, let's store this new patch before it gets lost. Change to the SAV page and select a free patch slot, e.g. A002:

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MIDIbox SID V2 User Manual --- First Steps

Press the third selection button (below "do!") and give the patch a more or less meaningful name:

Finally press SAVE to store the patch. Now you could also select the same new patch for the other SID cores. Go back to the main page, select SID2, change patch with the main encoder, select SID3, change patch with the main encoder, select SID4, change patch with the main encoder. Ensure that all SIDs are assigned to the same MIDI channel. Lower the volume of your amp! Play a single note. Wow! Take a deep breath and play another note, this time maybe a little bit longer. Enjoy! (sorry, no sample available, as the sound of 24 SID oscillators is to massive for the MP3 format ;-)

Filter experiments
Each SID provides an analog 12db multistate filter, which we want to investigate now. Change to the filter menu and activate the filter for all three oscillators:

Switch the filter type to L (Lowpass), and change resonance and CutOff (from this menu, or with the dedicated rotary encoders/buttons of the control surface):

With the previously created PW modulated patch it should sound like this:

Very static, no? So, let's modulate the filter cutoff frequency with an envelope. Change to the MOD menu and configure the MOD1 path like shown below:

ENV1 is used two times as modulation source - operator is 1+2, which means: the ENV modulation will be doubled depth is set to 128 for maximum modulation no inversion Fil target is assigned for Left/Right channel Change to the ENV menu and change the parameters while playing some notes:

The cutoff frequency should be set to minimum (0), so that the envelope can control the whole 12bit range! Sound example for different filter types (Lowpass, Bandpass, Low/Bandpass, Highpass:

The distortion of the filter which happens when all three oscillators are playing is one of the major features of the SID chip which makes it so unique. No emulation can ever reproduce this original sound!

Arpeggiator

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MIDIbox SID V2 User Manual --- First Steps

The lead engine provides 6 independent arpeggiators, but for the first experiments I recomment to use them with identical settings to avoid chaotic effects. So, change to the arp menu and select all oscillators:

Now turn on the arp (click on the button below "On"), and try out all parameters. Here an example setup:

Modulation
Now some words about one of the major features of MIDIbox SID V2: the operator based modulation matrix. We already made some experiments with modulation using LFOs and Envelopes, but this is just classic stuff which is available in most synths. The modulation concept of MBSID V2 allows to apply an operation on two modulation sources before the resulting waveform is forwarded to the modulation targets. This powerful approach is basically inspired from Waldorf synthesizers (Modifier concept). We will try this out on a single oscillator. First the patch should be initialized to get a defined start. Press&Hold the SHIFT (formerly LINK) button and press the select button below "Ini" to get the default patch:

Now activate the filter for all oscillators, set cutoff to 400 and resonance to 15:

LFO1 should be set to following values (ensure that the Sync flag is set, so that the LFO restarts on a new note):

Configure ENV1 like shown below:

And finally the MOD matrix setup - set the values step by step in order to hear the changes:

This is the result when LFO1 is played alone (Op=Sr1):

Here ENV1 is played alone (Op=Sr2):

And here LFO1 is multiplied by ENV1 (Op=1*2), or in other words: the envelope controls the depth of LFO1:

Finally the inversion flag for the right audio channel is set - it was never so easy to create nice stereo

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MIDIbox SID V2 User Manual --- First Steps

effects :-)

Now let's try an unusual experiment: let's modulate the pitch of the oscillator with LFO2:

And the LFO2 rate with the same waveform, which already controls the filter (MP3=output of modulation path 3), combined via XOR with the constant value 90:

Resulting sound:

Warning: try different constant values - you will notice dramatic changes! Such binary combinations can keep you busy for hours! :-) There are hundreds of other possibilities for using the modulation matrix, especially with the binary operators. But illustrating them is very time consuming, therefore I will propably provide a bunch of examples in a special preset bank.

Wavetable Sequencer
The Wavetable sequencer allows you to step through a list of values in order to control sound parameters. It's an alternative modulation method which can be used to generate customized waveforms, but also to play notes (enhanced arpeggiator). 4 (Lead) or 6 (Multi) sequencer tracks are available, which can be clocked independent from each other! More details about the WT sequencer can be found in the Lead Engine chapter. Here we only want to get some practice, so let's start without the theoretical background knowledge. Initialized the patch to get a defined start. Press&Hold the SHIFT (formerly LINK) button and press the select button below "Ini" to get the default patch:

Select all oscillators, enter pulse waveform and change the detune parameter:

Switch the filter type to L (Lowpass), and change resonance and CutOff (from this menu, or with the dedicated rotary encoders/buttons of the control surface):

Change to the WTC page and enter following configuration:

This will play the first track from $00 to $05 at speed 30. It will be looped (endless) restarting at $00. Parameter Assignment #4 stands for CutOff frequency. The parameter name will be displayed on screen while you are changing it. Feel free to try different parameters later.

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MIDIbox SID V2 User Manual --- First Steps

Now change to the WTE page and edit the sequence for Track 1, which starts at $00:

Enter following sequence at the first track column, starting at position 0 (use the Page Up/Down button to change the position): $00 $01 $02 $03 $04 $05 = = = = = = 18 60 30 60 40 30

Resulting sequence:

Now let's create a nice stereo effect: change WT1, so that it only controls the left audio channel:

And enter following values into the WT2 configuration, so that it controls the right audio channel and plays the same wavetable with an offset:

Resulting sequence:

Now we add a WT track which plays notes:

Within the Wavetable Editor (WTE), enter following sequence at the third column:

$40 $41 $42 $43

= = = =

F-0 +++ F-1 +++

(Sidenote: you could also enter Ky0/Ky1 instead of F-0/F-1, so that the two notes are changing with the played chord) Resulting sequence:

Triggering
The Trigger Matrix allows to react on events, like Note On/Off, LFO overruns, ENV phases or the global clock. For a short introduction it should be sufficient to enhance the previously created patch by a trigger connection between LFO1 period (L1P) and WT step (W1S..W4S):

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MIDIbox SID V2 User Manual --- First Steps

As the WT is normaly triggered by the global clock generator, this connection should be disabled:

Finally the WT speed of all three used tracks WT1..WT3 should be set to 1, so that the L1P event steps the wavetable without predivider:

When LFO1 controls the pulsewidth of all three oscillators in addition, it results into following sound:

Note that now the WT speed is directly controlled by LFO1. This means, that the modulation caused by this LFO is always in sync with the WT modulation. We can prove this by modulating the LFO1 rate and the pitch of all oscillators with ENV1 - enjoy the result! :-)

to be continued...

Last update: 2009-02-08 Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- Lead Engine

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MIDIbox SID V2 User Manual --- Lead Engine


Main Screen
This is the main screen which is visible after startup. You can always go back to this screen by pressing the MENU button one or two times (depending on the current hierarchy level).

The screen shows the activated SID (corresponds to SID1/2/3/4 LED) and Ensemble (E001..E128), the bank and patch number, the MIDI channel, and the patch name of the selected SID. By moving the datawheel, the patch can be changed within the current bank. The bank can only be changed within the ensemble menu. .

Root Menu
Within the main screen, press one of the RIGHT SELECT BUTTONS (#2, #3, #4 or #5) to enter the root menu. The leftmost select button will enter the ensemble menu, which is described here.

It gives you quick access the submenus, which are described below.

"Shift" Menu
By pressing the SHIFT (formerly LINK) button, a special menu will be displayed which gives you quick access to following functions:

SIDn: toggles between LR, L- and -R. Here you can specify, if OSC, FIL and MOD parameter modifications should affect only the left, the right, or both SID channels. The SID number (SID1, SID2, SID3, SID4) has to be selected with the deticated SID buttons. Engine: currently only Ld for Lead. Later you can select between Lead/Multi/Bassline/Drums Note Off: disables the notes of all selected SIDs Init: initializes a patch depending on the selected engine. Dump: sends a SysEx dump of the currently selected patch.

OSCillator menu
Within the oscillator menu you can control the parameters of the 2*3 SID oscillators. Note that by default changes will take place for the left and right channel. By selecting a single channel within the "Shift" menu, you can do modifications for the six oscillators separately.

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MIDIbox SID V2 User Manual --- Lead Engine

OSC (Oscillator): selects a single oscillator (1--, -2-, --3) or multiple oscillators (e.g. -23 or 123) Wav (Waveform): selects the waveform: Tri: Triangle Saw: Sawtooth T+S: Triangle + Sawtooth (mixed) Pul: Pulse P+T: Pulse + Triangle (mixed) P+S: Pulse + Sawtooth (mixed) PST: Pulse + Sawtooth + Triangle (mixed) Noi: Noise In following audio example, the different waveforms are played from a 8580: And here the same sequence played on a 6581 - you will notice, that some mixed waveforms don't work on this older SID. And note especially the background noise, which is produced by a leackage issue in the VCA/mixer section: S/R: activates Sync and/or Ringmodulation. The sync flag synchronises the fundamental frequency of a slave oscillator with the fundamental frequency of a master oscillator, producing a "hard sync" effect. Varying the frequency of the slave oscillator with respect to the master prodcues a wide range of complex harmonic structures from the slave oscillator at the frequency of the master oscillator. In order for sync to occur, the master oscillator should be set to a frequency lower than the frequency of the slave. The sync assignments are hardwired within the SID: OSC1 can be synched by OSC3 OSC2 can be synched by OSC1 OSC3 can be synched by OSC2 An audio sample where OSC3 syncs OSC1. The frequency of OSC3 is increased by an envelope. OSC3 itself is silent (3Of in FIL menu selected): The ringmodulation flag works only when a triangle waveform is selected! It multiplies the output of one oscillator with the output of another, which results into non-harmonic overtone structures for creating bell/gong sounds and special "metallic" effects. The ringmodulation assignments are hardwired within the SID: OSC1 can be modulated with OSC3 OSC2 can be modulated with OSC1 OSC3 can be modulated with OSC2 An audio sample where OSC3 is ringmodulated with OSC1. The OSC1 frequency is slowly increased.: And here a sample where the Sync and Ring flag are activated the same time. Don't cry baby, MBSID V2 will be released soon! Delay/Attack/Decay/Sustain/Release: controls the VCA envelope of the SID oscillator. PRn (Pitchrange) the semitone range within Pitchbender and Finetune can increase/decrease the frequency. Trn (Transpose): the semitone transpose value (-64..+63). +12 will transpose by one +1 octave, whereas -12 will transpose by -1 octave. In following audio sample the sequence begins with transpose=0, after a while it will be decreased to -12 (-1 octave), and later to -24 (-2 octaves): Finetune: allows to slightly decrease/increase the frequency within the given pitchrange. Use this parameter on different oscillators to make the resulting sound more fat! Note that there is an additional

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MIDIbox SID V2 User Manual --- Lead Engine

Detune parameter at the end of this page which can do this automatically for all 6 oscillators. Demonstration of using finetune on three oscillators (see also the detune example below): Por (Portamento) sets the intensity of the portamento (glide) effect. When changing from one to another note, this effect will continously sweep the frequency until the target frequency has been reached. There are three different portamento modes available; they can be selected with the PMd item: Normal: "normal" portamento, also known as "logarithmic portamento". The sweep time depends on the frequency. CTG: linear constant time glide - the sweep time is always the same, independent from the frequency. Gls: glissando: the frequency is sweeped in semitone steps, like if you would strum over the keyboard from one to another note. Demonstration of the three portamento modes: Phs (Oscillator Phase Offset): this function allows you to synchronize the phases of all three oscillators. With Phs=0 they are freerunning - this is the prefered option for "analog" sounds. With Phs=1, they will be started at the same moment, whereas with Phs>1 the phase offset between the oscillators will be controlled in 0.4% steps (!). In following audio sample the oscillator phase offset between three pulse waveforms is slowly changed from 0..33% - once this value is reached, the resulting frequency is 3 times higher than the base frequency: PW (Pulsewidth): this 12bit value (range 000-FFF, displayed in hexadecimal format) controls the duty cycle of a pulse waveform. This parameter has no effect on other waveforms. A 1:1 duty cycle is set with value 0x800. In this sample each oscillator got an own LFO for pulsewidth modulation. The modulation values for the right channel are inverted - this results into a nice stereo effect: PMd (Portamento Mode): see description above. GSA (Gate Stays Active): once activated, the VCA envelope won't be released anymore, resulting into a permanent sound. This allows you to control the sound volume completely with the internal, or an external filter, or with an external VCA. It's an option which allows you to overcome the infamous ADSR bug of the SID. Det (Detune): detunes all oscillators by increasing/decreasing the finetune parameter. This allows you to create fat sounds with a single encoder turn! (therefore the same value is visible in all OSC pages) Left SID channel: OSC1 +detune/4, OSC2 +detune, OSC3 -detune Right SID channel: OSC1 -detune/4, OSC2 -detune, OSC3 +detune Demonstration of using detune on six oscillators (stereo - compare with finetune example above):

FILter menu
Within the filter menu you can control the parameters of the SID filter. Each SID has only one 12db multistate filter, which can be assigned to the three oscillators and/or to the external audio input. Note that by default changes will take place for the left and right channel. By selecting a single channel within the "Shift" menu, you can do modifications for the two filters separately.

Chn (Channel): assigns the filter to oscillator channel 1/2/3 Cut (CutOff): sets the cutoff frequency (12bit value) from 000 to FFF (hexadecimal format). Res (Resonance): is a peaking effect which emphasizes frequency components at the CutOff frequency of the filter, causing a sharper sound. The intensity of the resonance can be set from 0-15. Mod (Filter Mode): sets the filter mode - note that mixed notes like Lowpass/Highpass are possible, which results into a notch effect (inverted bandpass).

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MIDIbox SID V2 User Manual --- Lead Engine

L (Lowpass): all frequency components below the Cutoff frequency are passed unaltered, while all frequency components above the Cutoff are attenuated at a rate of appr. 12 dB/Octave B (Bandpass): all frequency components above and below the Cutoff frequency are attenuated at a rate of appr. 6 dB/Octave H (Highpass): all frequency components above the Cutoff frequency are passed unaltered, while all frequency components below the Cutoff are attenuated at a rate of appr. 12 dB/Octave KTr (Key Tracking): increases the CutOff depending on the played note based on the keytracking factor (0..255). The usage is especially important on high resonance filter sounds, as it keeps the resonant frequency spectrum "on-track" with the note. Ext (External): external Audio IN is passed to the filter 3Of (3rd oscillator off): a special SID function which disconnects the oscillator 3 output from the mixer. This allows to use OSC3 for sync/ringmodulation without any undesirable output. FIP (Filter Interpolation): this option smoothes CutOff changes. It is especially useful when CutOff is changed via CC (-> low resolution). to reduce the steppiness. The option is not useful when the CutOff parameter is modulated rom a fast LFO or envelope (on the other hand: it produces interesting effects in such cases ;-) Here a quick demonstration of the SID filters. In the first example two 6581 from calendar week 40/84 and 25/84 are used, which sound very different and which are therefore not really qualified for stereo patches. On the other hand they sound warm and analog - but note especially the background noise at the end, a typical issue of the 6581!

In the second example the same sequence is played on two 8580R5 from the same batch:

Decide for yourself which one sounds better! To be honest: I want them all! A MBSID V2 can be stuffed with 8 SIDs, so what? :-)

LFO menu
The lead engine provides six low frequency oscillators which can be assigned to different modulation targets within the modulation matrix.

LFO: selects one of 6 LFOs. Wav (Waveform): selects the shape of the LFO. Following waveforms are provided: Sine, Triangle, Pulse, Ramp (Sawtooth), Random (Sample&Hold), and positive Sine/Triangle/Pulse/Ramp Rte (Rate): the speed of the LFO can be adjusted from 0.008 Hz (1) to ca. 45 Hz (255). Csn (Clock Synchronisation): allows you to synchronize the LFO speed to the global clock generator. This is especially useful when a clock is provided from a MIDI clock master. Rate 245-255 get special presets for different period lengths which are matching with 64 whole notes down to 1/16 note. Dep (Depth): the intensity of the LFO effect. It can be controlled from -128 to +127. A negative value inverts the LFO waveform. Snc (Sync): the LFO will be restarted with each new note. Del (Delay): works only in conjunction with the Sync flag. With a delay>0, the LFO will be held inactive before it will be restarted. Phs (Phase): works only in conjunction with the Sync flag. Specifies the phase (0-255) at which the LFO will be restarted. With 64, the LFO will start at 25%, with 128, the LFO will start at the middle. One (Oneshot): only one period of the LFO waveform will be processed, thereafter the LFO is stopped and has to be retriggered from a trigger matrix source (see below). Note that Oneshot works only when LFO Sync is enabled as well.

ENVelope menu
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MIDIbox SID V2 User Manual --- Lead Engine

The lead engine provides two additional envelopes which can be assigned to different modulation targets within the modulation matrix.

ENV: selects one of 2 ENVs. Dep (Depth): the intensity of the envelope effect. It can be controlled from -128 to +127. A negative value inverts the ENV waveform. Del (Delay): delay the attack phase of the envelope. At1/ALv/At2 (Attack Rate/Level): sets the attack rate and attack level between the two attack phases. De1/DLv/De2 (Decay Rate/Level): sets the decay rate and decay level between the two decay phases. Sus (Sustain): sets the sustain level. Re1/RLv/Re2 (Release Rate/Level): sets the release rate and release level between the two release phases. CuA/CuD/CuR (Curve Attack/Decay/Release): with curve=0, the rates are linear, whereas with negative values (-128..-1) the curve of the appr. envelope phase can be bended down, and with 1..127 it can be bended up. This is a simple way to imitate the exponential charging/decharging curve of a capacitor, so that the envelope behaves like an analog circuit. But note that the relation between the rate and the curve parameter is not linear (than higher the curve intensity, than shorter the waveform), and it needs some practice to achieve good results. LpB/LpE (Loop Begin/End): allows to cycle between two phases. Once the phase specified with LpE has been finished, the envelope generator will jump back to the phase specified with LpB. Not all combinations make sense. CSn (Clock Synchronisation): allows to synchronise the envelope rates to the global clock generator. This especially makes sense when the generator is clocked from an external MIDI master.

MODulation matrix menu


The modulation matrix provides 8 independent pathes. Within each path, two sources are combined by an operator. A depth parameter is applied before the result is distributed to multiple targets. This powerful approach is basically inspired from Waldorf synthesizers (Modifier concept).

MOD (modulation path): selects one of the eight modulation paths, which should be displayed. Sr1 and Sr2 (Source #1 and #2): the predefinitions are matching with the MIDIbox SID1 assignments, but you can change them as desired. Following sources are available: ---: disable source EG1, EG2: Envelope 1 and 2 LFO..6: LFO 1-6 MP1..8: the modulation result of path 1-8 is available as source as well. This allows you to chain multiple operations on different sources! MdW: last received modulation wheel position Key: last received note value K#1..5: position of Knob 1-5 (see Knob menu) L#V: last received Velocity L#P: last received Pitchbender position L#A: last received Aftertouch value WT1..4: value provided from wavtable 1-4 (see wavetable concept below) 0..127: a constant value - especially useful in conjunction with the binary or Min/Max operators. Op (Operation): the operation which is applied on the two sources: ---: disable operation (no modulation) Sr1: Source 1 only

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MIDIbox SID V2 User Manual --- Lead Engine

Sr2: Source 2 only 1+2: Source 1 added to Source 2 1-2: Source 2 substracted from Source 1 1*2: Source 1 multiplied with Source 2 XOR: binary XOR operation between Source 1 and 2 OR: binary OR operation between Source 1 and 2 AND: binary AND operation between Source 1 and 2 MIN: forwards either Source 1 or 2, the minimum value will be taken MAX: forwards either Source 1 or 2, the maximum value will be taken 1<2: generates a positive pulse when Source 1 is less than Source 2 1>2: generates a positive pulse when Source 1 is greater than Source 2 1=2: generates a positive pulse when Source 1 is equal to Source 2 S&H: Sample & Hold - samples the value of Source 1 whenever Source 2 changes from a negative to a positive value. The direct integration into the MOD matrix is an unusual, but very powerful solution, as in difference to common synths it not only allows you to capture values periodically (e.g. by using a LFO), but with any pattern. E.g., you could trigger the capturing from the wavetable sequencer, or with a certain modwheel or velocity level (requires a second MOD path which is doing a comparison 1>2) Tr1 and Tr2 (Target 1 and 2): following modulation targets are available: Pt1..6: Oscillator pitch. OSC1-3 are the oscillators of the left channel SID, OSC4-6 the right channel SID PW1..6: Pulsewidth. OSC1-3 are the oscillators of the left channel SID, OSC4-6 the right channel SID Fl1 and Fl2: CutOff frequency of left/right SID filter Vl1 and Vl2: Volume of left/right SID LD..6: LFO depths LR1..6: LFO rates Ex1..8: the external control voltage (CV) channels WT1..4: the wavetable positions of WT1..4 (MOD flag must be enabled in WTC menu) Dep (Depth): allows to control the intensity of the modulation result from -128..127. A negative value will invert the result In1 and In2 (Inversion): an additional possibility to invert the result, but for Target 1 and 2, resp. for left and right SID channel separately. Inverting one channel mostly leads to very interesting stereo effects! Pt1..Vol: 2*8 additional modulation targets are available for each path which can be enabled/disabled in this menu, and with the LED modulation matrix of the control surface. They are statically assigned to OSC 1..3 Pitch, Pulsewidth, to Filter CutOff and Volume. The left and right channel can be enabled separately. Remind the inversion function for nice stereo effects! Demos:

2*3 slightly detuned pulse waveforms. The pitch is modulated by a LFO (saw waveform), combined via AND operator with a constant value. The constant value is manually changed with a knob. The modulation result is sometimes crazy, sometimes surprising, sometimes just exactly what we expect from an 8bit synth :) 2*3 filtered mixed waveforms (pulse/saw/triangle). The filter is modulated by one LFO, the volume by another LFO. The depth of volume modulation is 0 at the beginning, and changed to +127 at 0:07 The amount of volume modulation is inverted between left and right channel. Rate of LFO which modulates volume is changed at 0:13 A third modulation path is used at 0:26, where LFO1 and LFO2 rate is controlled by an envelope Who needs a Leslie? :) See random example at the bottom of this page for some randomly selected combinations of modulation sources/targets/operations

TRiGger matrix menu


Commonly known from modular synthesizers, it's possible to trigger functions of MIDIbox SID from various,

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MIDIbox SID V2 User Manual --- Lead Engine

predefined sources, which can result into very lively effects. A trigger you propably already know is the envelope gate, which is activated on a Note On event. Why not restarting the envelope when a LFO period has passed, when a (divided) MIDI clock has been received, or when a second envelope has reached the sustain phase? The trigger matrix allows you to combine such events. Another nice possibility is to restart LFOs, or to step through a wavetable which modifies sound parameters.

TRG (Trigger Source): selects the trigger source which should be displayed: NOn: a Note On event has been received EOf: a Note Off event has been received E1S/E2S: Envelope Sustain Phase has been reached L1P..L6P: LFO period Clk: global clock event Cl6: triggered on each 6th global clock event C24: triggered on each 24th global clock event MSt: MIDI Clock Start event has been received O1L..O3L/O1R..O3R: (Re-)trigger gate of oscillator 1..3 of left/right SID channel (assigned to NOn and NOf by default, whereas NOf has a special purpose here: it clears the gate instead of retriggering it) E1A/E2A: start attack phase of ENV1/ENV2 (assigned to NOn and MSt by default) E1R/E2R: start release phase of ENV1/ENV2 (assigned to NOf by default) L1..L6: restart LFO1..LFO6 (the NOn->L1..L6 connection can also be controlled with the Snc flag in the LFO menu) W1R..W4R: restart wavetable 1..4 (assigned to NOn by default) W1S..W4S: increment step of wavetable 1..4 (assigned to Clk by default)

ConFiGuration menu
Some basic settings for the MBSID Lead engine are collected here.

Vol (Volume): adjusts the output volume of the SID. Note that the SID mixer only provides a 4bit volume, but 7bit (0-127) can be modified here (for the V2A feature). Set the volume to the middle value (64) if it should be modulated from the modulation matrix! Leg (Legato): Legato off (Mono mode): the gate (or to be exact: the NOn event of the trigger matrix) will be re-triggered whenever a new note is played on the keyboard. Legato on: the gate (or to be exact: the NOn event of the trigger matrix) will only be retriggered so long no other note is played. WTO (Wavetable Only): only the wavetable can play notes - useful if it plays arpeggiator or note sequences SuK (SusKey): if enabled, the portamento effect will only be activated if more than one note is played. Also known as "fingered portamento". Very useful in conjunction with external sequencers (like MIDIbox SEQ to trigger a glide on overlapping notes. ABW (ADSR Bug Workaround): an option which provides a less usual method to overcome the ADSR bug. Whenever the envelope is retriggered, the ADSR registers will be zeroed for at least 30 mS (time can be increased with the delay parameter). Thereafter the original ADSR values will be written back, and the gate will be activated. This results into a more deterministic envelope, but the latency makes it unsuitable for live playing. So, this feature can only be used in conjunction with a sequencer, which allows to compensate the delay (which allows to play the notes earlier by a given time).

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MIDIbox SID V2 User Manual --- Lead Engine

ARPeggiator menu
In "digitunes" (also known as 8bit tunes), an arpeggiator is mostly used to produce fast "broken chords". The notes of a chord are quickly cycled, so that the listener (nearly) gets the impression that a whole chord is played, even the oscillators itself are only played monophonic. A more common usage of the arpeggiator, which you propably also know from other synthesizers, is the slow automated stepping through the notes of a chord. In this case the step speed and the gatelength is mostly derived from an incoming MIDI clock to synch the notes with a sequencer. Both variants are possible with the MIDIbox SID arpeggiator. And a special feature is, that each of the 2*3 oscillator (left/right channel) has its own arpeggiator, so that different rhythmical textures can be generated and played the same time.

OSC (Oscillator): selects a single oscillator (1--, -2-, --3) or multiple oscillators (e.g. -23 or 123). Left/Right/Both SID channel has to be selected in the "shift" menu. On: enables the arpeggiator effect. Dir (Direction): Up/Down/Up&Down/Down&Up/UD2/DU2/Random - the direction and order in which the notes are stepped. To simplify the understanding, here the behaviour when a chord of four notes (1234) is played: Up: 123412341... Down: 432143214... U&D (Up&Down): 12343212343... D&U (Down&Up): 43212343212... UD2 (Up&Down #2): 12344321123443... DU2 (Down&Up #2): 43211234432112... Random: randomly selected keys Sor (Sorted): if enabled, the played notes are sorted. Otherwise they are used in the same order like played on the keyboard (the note you played the first time will be played at the first position). Hld (Hold): the arpeggiator continues to play when the keys are released. It starts with a new chord once at least one new note is played. Spd (Speed): the arpeggiator speed derived from the global clock. If the global clock is synched to a MIDI clock master (slave mode), and the divider is 3, a speed value of 1 will step the arpeggiator on each 32th note. A value of 2 on each 16th note, a value of 8 on each beat. GLn (Gatelength): the gatelength. Should be less than the speed value to take effect. Should be higher than the speed value for C64 style "broken chords". Rng (Octave Range): with an octave range > 1 the notes will be stepped multiple times over different octaves Snc (Synch to Note): the arpeggiator is restarted whenever a new note is played CAC (Constant Arp Cycle): the arpeggiator speed varies with the number of played notes, so that the overwhole arp cycle time is always the same (works only correctly with up to 4 notes) One (Oneshot): arpeggiator sequence will be stepped one time, thereafter the arp will stop until a new chord is played. Esy (Easy Chord): In difference to normal chord entry, in "Easy Chord" mode depressed keys will still be cylced by the arpeggiator until a new key is pressed. This feature is especially useful when slow arpeggios are played, since it avoids unintended "long notes" on chord changes. It is not useful if you intend to play a voice like a common lead instrument, which should turn into a fast arpeggio when more than one key is played (in this case, ensure that the "Esy" switch is disabled) Example for arp at fast speed: Switching through the direction modes (boring C-Dur chord, only for demonstration): Having some fun with upward direction, octave range 3:

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MIDIbox SID V2 User Manual --- Lead Engine

Note: in difference to other arpeggiator implementations of synths I know, the arp will continue to cycle the notes, even when no key is played anymore, and therefore all OSC gates are released. This matches with the behaviour in C64 tunes. In addition, if you release some - but not all - keys while a chord is played, the old chord continues to play until at least one new key has been pressed. This is to improve live playing. If you don't like this behaviour, you can disable it in sid_midi.inc (set EXP_ARP_BEHAVIOUR to 0)

WaveTable Configuration menu


The term "Wavetable" is used by the C64 community for a synthesis method, where the waveform and frequency of a SID voice is modulated so fast, that the resulting output sounds like a new waveform, which is originally not provided by the soundchip itself. The parameter changes are stored in a table that's the reason for this name - the technique is not related to "wavetable synthesis", which is based on audio samples. MIDIbox SID provides a very generic wavetable sequencer, which can not only control the waveform and frequency, but any parameter which is also accessible via NRPN (see also the MIDIbox SID V2 parameter chart). In MIDIbox SID V2, four tracks of up to 32 steps are available, which can control 4 different CCs. For common wavetable sounds, it's enough to control the waveform (OSC1 waveform: Parameter #33) and the transpose value (OSC1 transpose: CC#37) of a single voice. It's also possible to control the waveform/transpose value of all oscillators at the same time (CC#32 and CC#36), or to modulate the CC of the other oscillators in parallel to the first one. Another interesting usage of the remaining two tracks is the modulation of LFO or envelope parameters; it should also be mentioned, that the wavetable sequencer can be used to play notes and arpeggiator phrases. For MIDIbox SID V1 some tutorials are available, which will sooner or later be adapted to the new V2 engine: HowTo #1, HowTo #2, HowTo #3. Differences to V1: 4 instead of 3 wavetables independent speed and loop points free configurable start and end point within the 128 byte range resetable and stepable from the trigger matrix (e.g. via LFO) using WT values as modulation source controling the WT position from the modulation matrix Left/Right/Both SID channels selectable

WT1..4: selects the wavetable Par (Parameter): changes the parameter assignment. Once you move the encoder, a special page will be displayed which shows the parameter name in long format:

SID: allows to select, if the left, right or both channels should be controlled from the wavetable. Spd (Speed): the wavetable speed derived from the global clock. If the global clock is synched to a MIDI clock master (slave mode), and the divider is 3, a speed value of 1 will step the wavetable on each 32th note. A value of 2 on each 16th note, a value of 8 on each beat. MOD: if enabled, the wavetable position will be controlled from a modulation target (-> MOD menu) within the begin and end range. The speed and loop parameter has no effect in this case. Beg (Begin): the start position within the wavetable (0x00, 0x20, 0x40, 0x60 by default) End: the end position within the wavetable (0x1f, 0x3f, 0x5f, 0x7f by default) Lop (Loop): if disabled, the wavetable will only be played once (oneshot mode). Once enabled, the wavetable will be looped between the Loop and End position Val (Value Format): switches between hexadecimal and decimal display mode WTE: shortcut to the WTE (wavetable editor) menu

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MIDIbox SID V2 User Manual --- Lead Engine

WaveTable Editor menu


In order to improve the oversight and handling, the wavetable has to be edited in a separate menu page. This has also the advantage, that in this page the wavetable position can be selected with the PAGE UP/DOWN buttons, whereas within the WTC menu these buttons select the wavetable number.

Pos (Position): the position within the wavetable (0-128, whereas mostly 0-31 is relevant for a common wavetable). Turn the encoder full-right to select "All" - in this case, a WT modification will be copied over to all entries of a column. 2nd..5th column: the wavetable entries. At the top you will see the address, at the bottom the relative or absolute value. Val (Value Format): switches between hexadecimal and decimal display mode WTC: shortcut to the WTC (wavetable configuration) menu

KNoBs menu
The idea behind the "knobs" function is to have a set of 5 controllers, which can be used to change preselected sound parameters within a min/max range. Each patch has its own set, so that the sound designer can prepare parameter assignments as they are most useful for live control. Knob values can not only be changed within the KNB menu, but also with the 5 rotary encoders of the OSC assign layer. In addition, they can be controlled via analog pots connected to J5.A0..A4 (DEFAULT_J5_FUNCTION set to 1), and via MIDI, giving access to the parameters on a generic way (e.g. for automation). Knob1 is assigned to CC#1 (Modulation Wheel), and Knob2-5 to CC#16-19 Three additional "knob" functions are available for Velocity (K#V), Pitchbender (K#P) and Aftertouch (K#A). Knob values are also accessible as modulation source (-> see MOD menu) regardless of the knob assignments.

K#1..K#5: the actual knob values, range: 0..255. They can be changed from this menu, via MIDI or via control surface, if the "assign" control layer of the OSC section is activated. K#V, K#P, K#A: the additional knob functions for Velocity/Pitchbender/Aftertouch. By default, K#P is assigned to parameter #80 (Voice 1/2/3 Pitch Bender), which controls the pitch within the given pitch range. This assignment can be replaced by another one to change the purpose of the pitchwheel of your keyboard (beside of the modulation wheel you can use it as second controller). Or a second assignment can be made; e.g. transposing a single oscillator which has the sync flag set - you must try it out! :) Knb (Knob): selects a knob for which the Min/Max/Parameter assignment should be changed. Pa1/Pa2 (Parameter Assignment 1 and 2): one knob can control up to two parameters. All available parameters are listed in the MIDIbox SID V2 parameter chart, and the full name is displayed on screen when the assignment is changed with a rotary encoder. Note: a parameter is automatically scaled between 0..255 independent from the original resolution (1bit to 12bit) Min/Max: allows to specify the range within the parameter should be changed with a knob. If Min is greater than Max, the resulting value will be inverted.

EXTernal menu
Up to 8 external control voltages (CV) can be output by MIDIbox SID via a MBHP_AOUT interface, or up to four MBHP_AOUT_LC interfaces. They are available as modulation target, and can be controlled via NRPN, CC (Knobs) and wavetable. This menu allows you to set the offsets of the control voltages (they are stored in the patch)

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MIDIbox SID V2 User Manual --- Lead Engine

Note that it is not a requirement that the modulated CV values control external hardware - they could also be used by internal - optional - engine extensions in future. In addition, 8 digital switch outputs are predefined which allow you to enable/disable external effects. Yes, it would be fine if they would be controllable from the trigger matrix as well, but unfortunately there is no place within the trigger matrix anymore! :-( However, maybe a workaround (e.g. optional replacing of WT assignments to Switch assignments) could be feasible if somebody really finds this feature useful.

A#1..A#8 (analog output 1..8): 12bit value (internally 16bit), displayed in hexadecimal format (range 000-FFF) S#1..S#8 (digital switches 1..8): switches on/off an external digital pin

SAVe menu
Within the save menu a patch can be stored in the given bank/patch slot. The name of the currently stored patch is displayed, so that you know, which one is overwritten once you press the Do! (third selection) button.

Before the patch will be stored, you will be asked for the new name. Confirm with the first select button (below SAVE)

RaNDom Generator menu


This generator allows to randomize single parts, or the whole patch with slightly constrained values (to improve the results).

Following quickly generated random patches speak for themself:

Last update: 2009-03-29 Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- Bassline Engine

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MIDIbox SID V2 User Manual --- Bassline Engine


In this chapter it is assumed that you are already familar with the Lead and Multi Engine, so that only the differences need to be explained in detail. The bassline engine is optimized - as the name says - for bass sounds and sequences. It provides two instruments, the first is always assigned to the left audio channel, the second to the right audio channel. They can be controlled independent from each other over different MIDI channels and/or keyboard zones assignments in the Ensemble menu. Alternatively, they can be controlled with the same keys by assigning them to the same MIDI channel and keyboard zone - this allows to play layered/stereo sounds or combined sequences. Following use cases have been considered: Direct MIDI Control: active when sequencer mode within the SQC menu not enabled. The bassline can be directly played from a MIDI keyboard. Accent is activated with velocity >= 64, slide is activated when more than one key is played the same time (Sus-Key, sometimes also called "fingered" mode). Sequencer Mode: can be activated within the SQC menu. One of 8 sequences can be selected by playing a note on a MIDI keyboard. Note C selects sequence 1, Note C# selects sequence 2, ... Note G Sequence 8. With Note G#, A, A# and B the current sequence is deselected (not played). The octave doesn't matter (no transpose). Bassline L and R (left and right channel) share the same sequence memory. Different sequences can be selected for these basslines by assigning the instruments to different MIDI channels and/or keyboard zones within the Ensemble While bassline sequences are selected over the defined MIDI channel and keyboard zone of ensemble instrument #1 and #2, they can be transposed with the settings of instrument #3 and #4. This strict seperation allows several usecases (e.g. no, same or separate transpose for L/R bassline, or transposing from a different MIDI channel which is also used for other MIDI devices, e.g. MIDIbox SEQ) In order to ensure, that both basslines are in sync, they are always started together. It is possible to start with a single bassline by disabling the second one in the preselection (Seq=-- in SQC menu) The sequencer continues to play when the MIDI key has been released (hold function). This allows you to tweak sound parameters with both hands - whenever you want to select a new sequence, play a new note. Whenever you want to stop the sequence, play G#/A/A# or B. Optionally the sequence can be preselected before the next measure (16 steps) is reached (S16 flag in SQC menu). Personally I prefer not to use this feature, as switching between different sequences in between a measure results into great variations (prefered configuration for jam sessions! :) Arpeggiator Mode: is available as well and provides the same parameters like known from the Lead and Multi Engine. Note that it isn't possible to combine the sequencer with the arpeggiator - arpeggios have to be played from an external keyboard (or external sequencer...). The bassline sequencer works like known from Roland TB-303. Up to 16 steps can be played. Each step consists of Note/Gate/Accent/Slide/Octave and an additional, free assignable sound parameter. Each patch contains 8 sequences, which can be selected from a MIDI keyboard, within the SQC menu, or from the modulation matrix buttons of the control surface.

Sound Demos

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MIDIbox SID V2 User Manual --- Bassline Engine

Here a MP3 sample from my first spontaneous jam session with the completely overworked MBSID V2 bassline engine - note that this recording is the work of 30 minutes and not more (no optimisations, no MIDI automation). Sequences are played internally, they are selected from a MIDI keyboard. Parameters are tweaked from the Control Surface. The MIDIbox is synchronized via external MIDI clock to Logic Audio. Drums are played from a Spectrasonics Stylus RMX VST.

The second jam session, where one SID used a feedbacked audio out (see also this forum posting). Warning: >8 MB, very repetive stuff!

Another jam session, which is also documented on video -> YouTube, Vimeo (better audio quality). This package contains the two patches which have been used in this demo + a "HowTo" During this session, two SSM2044 via AOUT_NG module were used to filter the outputs of two SIDs. Forum Article The 5th demo, played on a MBSID V2 in MB-6582 case -> YouTube, Vimeo (better audio quality).

Root Menu
This is the root menu of the bassline engine. In difference to the Lead Engine, you will miss the MOD (Modulation Matrix), TRG (Trigger Matrix) and WTC/WTE (Wavetable) entries. Instead, you will notice a new SEQ and SQC (Sequencer/Configuration menu)

The root menu gives you quick access the submenus, which are described below.

"Shift" Menu
To initialise a Bassline Patch, press the SHIFT (formerly LINK) button, and press the second select button below the LCD to change to the Bs (Bassline) engine:

SEQuencer menu
As the TB303-style sequencer is the most important feature of the bassline engine, the appr. page can be entered with the first item of the root menu.

A sequence pattern consists of 16 steps, and 8 patterns are embedded within a patch. The pattern memory is shared between the two basslines. Following functions are available in the SEQ page: SEQ: selects 1 of 8 patterns, which should be edited Pos: the step number. It can also be changed with the Page Up/Down button (prefered usage)

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MIDIbox SID V2 User Manual --- Bassline Engine

Nte: the note which should be played by the step Oct: the octave (Down/-/Up). Additional (fixed) transposing is possible within the OSC menu S/G: slide and gate flag. With activated slide, the note will be stretched to the next step, and the portamento function will be activated when the next step is played. The note will only be played if the gate flag is set. Acc: the accent flag causes following changes: Note will be played with maximum sustain value LFO and envelope depth will be increased by the "Accent value", which can be specified within the LFO/ENV menu. the envelope generator will select a special Decay value (DcA), which is normaly shorter than the "normal" decay, so that the envelope will reach the sustain phase faster. Par: allows to control a specific sound parameter in addition to the note (2nd parameter track, see also SQC menu) Cpy: copies the current pattern into a buffer Pst: paste: copies the buffer content into the current pattern Clr: clears the current pattern SQC: shortcut to the SQC page The sequencer configuration page contains following items:

ACh: audio channel (Left/Right) - selects the bassline. Changes will be done for both basslines (LR), for the left one only (L-) or for the right one only (-R) On: enables/disables the sequencer function. If disabled, the bassline can be directly played via MIDI! Seq: selects the initial pattern after a patch change. A pattern is normaly started and selected by pressing a note on a keyboard. So, this value is only relevant if you are using an alternative start method (e.g. MIDI start event if MBSID Clock generator in slave mode) Spd: the sequence speed, derived from the global BPM rate (Ensemble->Clk menu). Since the BPM generator is running at quadrupled clock rate, the frequency should be divided by 4 in order to get back the "normal" BPM rate. Len: the track length (1..16 steps) S16: if active, pattern changes (e.g. via MIDI keyboard) won't take place immediately, but once the next bar is played. This allows you to synchronize pattern changes to a 4/4 measure. Par: specifies the sound parameter which is controlled by the "parameter track" (Par value within the SEQ menu). All available parameters are listed here. Due to the special coding, it is possible to control both, the current, or a specific (L/R) bassline from the parameter track ("Current" means for this case not the LR selection on the control surface, but the bassline which plays the sequence) SEQ: shortcut to the SEQ page

OSCillator menu

All parameters have the same purpose like described for the Lead engine. Instead of the OSC (oscillator), the Audio Channel has to be selected (LR/L-/-R). Note that this page only controls a single ("master") oscillator. The remaining two ("slave") oscillators of each SID are configured from the O23 page.

O23 menu

Oscillator 2 and 3 of the SID are used as "slave oscillators" in bassline mode. This means, that their pitch

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MIDIbox SID V2 User Manual --- Bassline Engine

and gate follow OSC1. This option is nice for fat unisono effects, but also for sync/ringmodulation, or layered waveforms - the resulting sound is less TB303-like, but much more "SIDish". Yessss, we want this!!! :-) ACh: audio channel (Left/Right) - selects the bassline. Changes will be done for both basslines (LR), for the left one only (L-) or for the right one only (-R) Wv2 and Wv3: selects the waveforms of the slave oscillators. If disabled ("---"), the gate of the oscillators won't be triggered. Recommentation: use different waveforms to create SIDish timbres. SR2 and SR3: activates Sync/Ringmodulation for oscillator 2 and 3. Oc2 and Oc3: transposes the slave oscillators octave-wise. PW2 and PW3: sets the width of the pulse waveform (800: 1:1 duty cycle). Nt2 and Nt3: decouples the pitch of a slave oscillator from the master oscillator. Allows to play a slave oscillator at a specific pitch (e.g. C-3), especially useful for nice sync and ringmod effects. Phs (Oscillator Phase Offset): this function allows you to synchronize the phases of all three oscillators. With Phs=0 they are freerunning - this is the prefered option for "analog" sounds. With Phs=1, they will be started at the same moment, whereas with Phs>1 the phase offset between the oscillators will be controlled in 0.4% steps (!). Det (Detune): detunes all oscillators by increasing (OSC2)/decreasing (OSC3) the pitch. This allows you to create fat sounds with a single encoder turn!

FILter menu

LFO menu

Each instrument features two LFOs with fixed modulation routing to Pitch, Pulsewidth and Filter. The modulation depth for these targets can be changed individually (D.P (Depth Pitch), DPW (Depth Pulsewidth), D.F (Depth Filter). The Accent parameter at the end of the page specifies, how much the depth values will be increased when a note is played "accented" (SEQ: accent flag, MIDI: velocity >= 64).

ENVelope menu

Each instrument provides one envelope with fixed modulation routing to Pitch, Pulsewidth and Filter. The modulation depth for these targets can be changed individually (D.P (Depth Pitch), DPW (Depth Pulsewidth), D.F (Depth Filter). In difference to the Lead Engine, only Attack, Decay, Sustain and Release phase is available. The curve parameter affects all ramps. The Accent parameter at the end of the page specifies, how much the depth values will be increased when a note is played "accented" (SEQ: accent flag, MIDI: velocity >= 64). In addition, a special decay value will be selected on accented notes (DcA), which should be shorter than the "normal" decay, so that the envelope will reach the sustain phase faster.

ConFiGuration menu
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MIDIbox SID V2 User Manual --- Bassline Engine

Some basic settings for the MBSID Bassline engine are collected here. They have the same function like known from the Lead Engine

ARPeggiator menu

The arpeggiator works exactly like for the Lead Engine Note that the sequencer and arpeggiator functions are handled mutually exclusive - they cannot be used the same time.

KNoBs menu

Knob assignments are available as well. The special coding of the parameter table (see MIDIbox SID V2 parameter chart) allows to control sound parameters individually for a specific bassline, for the currently selected, or for both basslines. The typical TB303 parameters CutOff/Resonance/EnvMod/Decay/Accent are assigned to the 5 knob functions by default. This generic approach allows you to control either both basslines, the currently selected (first, second or both), or a dedicated (first or second) bassline depending on the parameter assignment numbers. It's possible to assign a second parameter to the same knob, a min/max range can be specified, values can be received from MIDI, and they are sent to MIDI if the CC function of the Control Surface is activated for easy recording of parameter changes (MIDI automation). Last but not least, knob values can be controlled from analog inputs. This means, that you could also control them with pots or joysticks.

EXTernal menu

In difference to the Lead Engine, CV outputs are not available as modulation target. The static voltage levels and switch states can be changed here. The only way to modulate analog outputs within multi patches is the use of the F2A (Filter-to-Analog) option, which can be activated in the Ensemble menu.

SAVe menu
...is available as well of course! :)

RaNDom Generator menu

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MIDIbox SID V2 User Manual --- Bassline Engine

Note/Gate/Slide/Accent and the sound parameter track can be randomized separately.

Special Control Surface Handling


The OSC and ENV selection buttons behave different: they select the bassline (LR/L-/-R). The modulation matrix displays the selected sequence as horizontal (left channel) and vertical (right channel) bar. The sequence can be changed with the appr. modulation matrix button - this is an alternative solution if you don't want to select a sequence with a MIDI keyboard. Once the sequencer is playing, the LED matrix turns into a step display with flashing LEDs. Since there are only 8 LEDs in a column/row, two steps have to share the same LED. Anyhow, you will like the effect, it looks nice! :) Due to implementation reasons, the special step display works only when basslines are played on the master core. If you built your MIDIbox SID based on the old Frontpanel, the 8th row will be missing, accordingly the 8th sequence cannot be selected/displayed for the left channel bassline - sorry! Sequences can be started from the control surface with the Play button. If this button isn't available on your frontpanel, just hold the SID1/SID2/SID3 and/or SID4 button and press menu. The sequence will stop with the Note Off function, which is available within the Shift page. If all these buttons are not part of your frontpanel, sequences can only be started/stopped via MIDI.

Recommented Ensemble Configuration


For easiest usage of the sequence selection feature, it is recommented to create a special Ensemble configuration, in which the two basslines are assigned to the same MIDI channel. By creating split points at C-3 and C-4, it is possible to control the transposer with the lower keyboard range, the "left" bassline with a middle keyboard range, and the "right" bassline with the upper keyboard range. Ensemble->Ins Configuration for Bassline L:

Ensemble->Ins Configuration for Bassline R:

Ensemble->Ins Configuration for Transposer of Bassline L. "Trn +12" is required in this setup to compensate the octave range of the transposer (base note C-3 is outside the selected keyboard zone c2..B-2):

Ensemble->Ins Configuration for Transposer of Bassline R (here: controlled from same keyboard zone as L bassline):

If more than two basslines should be controlled from the same keyboard (played on the slave SIDs), the ranges need to be reduced to dedicated octaves. If the basslines should be synchronized to an external MIDI clock master, just select Slave mode within the Ensemble->Clk menu:

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MIDIbox SID V2 User Manual --- Bassline Engine

Only in slave mode, sequences will be started and stopped via MIDI Start/Stop events - in Master mode such events are ignored. Note that using the slave mode is currently the only way to keep basslines played on multiple cores in synch. An inter-core synchronisation hasn't been implemented yet (see also this page).

Last update: 2009-02-08 Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- Drum Engine

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MIDIbox SID V2 User Manual --- Drum Engine


The drum engine provides prepared "drum models" with optimized parameter sets, which allow you to create chiptune typical percussive sounds on a fast and easy way. Each patch can store up to 16 drum instruments (-> drum kit), which can either be played via MIDI, or from an internal sequencer. Since a SID features only 3 oscillators, and a core can only access two SIDs, a dynamic voice allocation is used, similar to the Multi Engine. This means, that 6 of 16 instruments can be played the same time from a single core. If your MIDIbox SID is stuffed with multiple core/SID modules, you can easily extend the number of voices and instruments of course. This approach is especially useful, if drum sounds should be routed to different Fx busses. Within the Ensemble configuration the drum sections can be assigned to individual keyboard zones and/or MIDI channels. When drums are triggered via MIDI Notes, the velocity can control one sound parameter of the drum model. This can be configured for each instrument individually. For example the ADSR sustain value (-> volume), the tuning (-> frequency), the wavetable speed, etc... it's even possible, that the velocity of one instrument controls the sound parameter of another instrument in all thinkable combinations. This is especially interesting for ringmodulated sounds. Alternatively, drums can be played from an internal 8 track/16 steps sequencer. Each track controls two drum instruments. 8 Drum patterns are stored within the patch, and the pattern can be interactively selected from a MIDI keyboard on the same way like known from the Bassline Engine. It's an ideal solution for extensive jam sessions. :-)

Sound Demos
The sound samples below should demonstrate the wide range of adjustability of the drum models. BD1 and BD2 SD1 and SD2 FX1, FX4 and FX5 In the next demo, bassline and drum engine are played together. This is a live recording; the sequences and sound parameters are controlled from a MIDI keyboard. Note: the bass drum is very low-tuned and cannot be regognized with cheap speakers.

Following drum kits and sequences are part of the preset library. They are played by two SIDs, which are controlled by a single core. Note that some drum sounds are not played if only one SID is connected. For such a configuration, you should at least enable mono mode (-> Ensemble) so that all instruments are assigned to the single SID! A033: Drum Kit 1 A034: Drum Kit 2

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MIDIbox SID V2 User Manual --- Drum Engine

Root Menu
This is the root menu of the Drum Engine:

The root menu gives you quick access the submenus, which are described below.

"Shift" Menu
To initialise a drum patch, press the SHIFT (formerly LINK) button, and press the second select button below the LCD to change to the Dr (Drum) engine:

Take note, that the default patch is a very "cheap" one where all sound parameters are set to their default value in order to give you a proper start for editing a new drum kit. Better drum kits can be found in the preset bank from A033 upwards

SEQuencer menu
As the TRx0x-style sequencer is the most important feature of the drum engine, the appr. page can be entered with the first item of the root menu.

A sequence pattern consists of 8 tracks with 16 steps, and 8 patterns are embedded within a patch. Following functions are available in the SEQ page: SEQ: selects 1 of 8 patterns, which should be edited Trk: selects 1 of 8 tracks, which should be edited EDT: enters the step EDitor, more infos about this special page below. Cpy: copies the current pattern into a buffer Pst: paste: copies the buffer content into the current pattern Clr: clears the current pattern SQC: shortcut to the SQC page The step editor displays the 16 steps of the selected track, and allows you to modify them. The characters at the upper line are standing for: .: no instrument is played *: primary instrument will be played A: primary instrument will be played accented (increased sustain, decreased decay) S: the secondary instrument will be played (w/o accent) Track Track Track Track Track Track Track Track 1 2 3 4 5 6 7 8 Controls Controls Controls Controls Controls Controls Controls Controls Instrument Instrument Instrument Instrument Instrument Instrument Instrument Instrument #1 (primary: * and A) and #2 (secondary: S) #3 (primary: * and A) and #4 (secondary: S) #5 (primary: * and A) and #6 (secondary: S) #7 (primary: * and A) and #8 (secondary: S) #9 (primary: * and A) and #10 (secondary: S) #11 (primary: * and A) and #12 (secondary: S) #13 (primary: * and A) and #14 (secondary: S) #15 (primary: * and A) and #16 (secondary: S)

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MIDIbox SID V2 User Manual --- Drum Engine

The advantage of this method: it saves memory (8 sequences available instead of 4), and it allows to realize the typical Open/Close HH or High/Low Tom scheme from a single track.

G/A/S: toggles the selected step between Off/Gate On/Accented/Secondary mode Rot: activates a rotate function, which allows you to scroll the pattern left/right. Press the button again to deactivate this function. Rnd: overwrites the track with a random pattern Clr: clears the track DRM: jumps into the DRM menu page. The instrument number will be set automatically according to the selected track The step is selected with the main encoder. Take note that the track can be selected with the Up/Down buttons of the control surface while in this page. Additionally, tracks can be directly selected with the 8 mod target buttons (named with E1/E2/L1/...L6). The sequencer configuration page contains following items:

On: enables/disables the sequencer function. If disabled, drums can be directly played via MIDI! Seq: selects the initial pattern after a patch change. A pattern is normaly started and selected by pressing a note on a keyboard. So, this value is only relevant if you are using an alternative start method (e.g. MIDI start event if MBSID Clock generator in slave mode) Spd: the sequence speed, derived from the global BPM rate (Ensemble->Clk menu). Since the BPM generator is running at quadrupled clock rate, the frequency should be divided by 4 in order to get back the "normal" BPM rate. Len: the track length (1..16 steps) S16: if active, pattern changes (e.g. via MIDI keyboard) won't take place immediately, but once the next bar is played. This allows you to synchronize pattern changes to a 4/4 measure. SEQ: shortcut to the SEQ page

DRuM menu menu


This is the only page where drum instruments are edited:

Ins(trument): selects the drum instrument (1..16) Mdl (Model): selects the drum model - the number of available models depends on the firmware version Attack/Decay/Sustain/Release: controls the VCA envelope of the SID oscillator. Tun(e): controls the pitch from -2..+2 octaves in 256 steps. GL (Gatelength): changes the gatelength from -127..0..128 (256 steps) Spd (Speed): changes the wavetable speed from -127..0..128 (256 steps) PAR: each drum model provides a special parameter which changes specific parts of the wavetable, for example the pitch of a specific WT step, or the noise frequency. This parameter is adjustable from -127..0..128 (256 steps) VAs: the voice assignment: LR (Left/Right): instrument is either played on the left, or right SID audio channel (6 voices available). L- (Left): instrument is only played on the left SID audio channel (3 voices available).

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MIDIbox SID V2 User Manual --- Drum Engine

-R (Right): instrument is only played on the right SID audio channel (3 voices available). O1..O6: selects an individual oscillator for the instrument. Take note, that this option also locks the oscillator for instruments which haven't explicitely assigned it. Example: if all Instruments are assigned to LR, but Instrument #3 and #4 to OSC3, only these two instruments will use this oscillator, and all others will share the remaining ones. The voice assignment is important, whenever drum sounds are ringmodulated, or routed through the filter (the filter is not switched dynamically, as this would result into unwanted "popping" sounds). Also for routing to external Fx busses it's useful to predefine the SID audio output channel (L- or -R). VeA (Velocity Assignment): allows to control a single sound parameter with the Note velocity. In difference to the appr. Knob function (-> KNB menu), they are working individually for each instrument. See also the MIDIbox SID V2 parameter chart for available controllers. Rnd (Random): a randomizer which only changes the currently selected instrument - it's a very useful feature for finding exotic sound configurations!

FILter menu
Within the filter menu you can control the parameters of the SID filter. Each SID has only one 12db multistate filter, which can be assigned to the three oscillators and/or to the external audio input. Note that by default changes will take place for the left and right channel. By selecting a single channel within the "Shift" menu, you can do modifications for the two filters separately. Use the voice assigmment option within the DRM menu (-> VAs) if only specific drum instruments should be filtered.

Chn (Channel): assigns the filter to oscillator channel 1/2/3 Cut (CutOff): sets the cutoff frequency (12bit value) from 000 to FFF (hexadecimal format). Res (Resonance): is a peaking effect which emphasizes frequency components at the CutOff frequency of the filter, causing a sharper sound. The intensity of the resonance can be set from 015. Mod (Filter Mode): sets the filter mode - note that mixed notes like Lowpass/Highpass are possible, which results into a notch effect (inverted bandpass). L (Lowpass): all frequency components below the Cutoff frequency are passed unaltered, while all frequency components above the Cutoff are attenuated at a rate of appr. 12 dB/Octave B (Bandpass): all frequency components above and below the Cutoff frequency are attenuated at a rate of appr. 6 dB/Octave H (Highpass): all frequency components above the Cutoff frequency are passed unaltered, while all frequency components below the Cutoff are attenuated at a rate of appr. 12 dB/Octave Ext (External): external Audio IN is passed to the filter 3Of (3rd oscillator off): a special SID function which disconnects the oscillator 3 output from the mixer. This allows to use OSC3 for sync/ringmodulation without any undesirable output. FIP (Filter Interpolation): this option smoothes CutOff changes. It is especially useful when CutOff is changed via CC (-> low resolution). to reduce the steppiness. The option is not useful when the CutOff parameter is modulated rom a fast LFO or envelope (on the other hand: it produces interesting effects in such cases ;-)

ConFiGuration menu
Some basic settings for the MBSID Drum engine are collected here.

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MIDIbox SID V2 User Manual --- Drum Engine

ACh: audio channel (Left/Right) - selects the left/right or both audio channels. Selection is only relevant for the Vol(ume) parameter. Vol (Volume): adjusts the output volume of the SID. ABW (ADSR Bug Workaround): (independent from L/R flag) an option which provides a method to overcome the ADSR bug. The drum engine handles this option differently from the other engines. The test bit will be set together with gate for ca. 30 mS in order to reset the oscillator and to start the envelope. The waveform generator will be turned off durig this time in order to disable the sound output. After this delay, the waveform will be enabled again, and the drum sound starts immediately without wacky timings. This approach is also known as "hard-sync", and used in most C64 tunes. It results into a more deterministic sound output, but the latency makes it unsuitable for live playing. So, this feature can only be used in conjunction with the internal sequencer, or with an external sequencer which allows to compensate the delay. Note also, that a part of the ADSR attack phase is skipped (however, thats no real issue for drum sounds...) Due to the better results, this option is enabled by default! Hot tip:: there is a simple trick which allows you to play a bassline and drum sequence in synch during a live session: just add an audio delay unit with t_delay=30 mS (e.g. VST based) to the SID outputs which are playing the basslines in order to compensate the timings.

KNoBs menu

Knob assignments are available as well. The special coding of the parameter table (see MIDIbox SID V2 parameter chart) allows to control sound parameters individually for a specific, or the currently selected drum instrument.

EXTernal menu

In difference to the Lead Engine, CV outputs are not available as modulation target. The static voltage levels and switch states can be changed here.

SAVe menu
...is available as well of course! :)

RaNDom Generator menu

Parts of a drum patch can be randomized with a single push on the button. Please note, that good results can be found faster by using the randomize function within the DRM and

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MIDIbox SID V2 User Manual --- Drum Engine

SEQ editor page, because it only changes the currently selected item, and doesn't overwrite the parameters/patterns of the remaining instruments/sequences.

Last update: 2009-01-07 Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- Multi Engine

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MIDIbox SID V2 User Manual --- Multi Engine


In this chapter it is assumed that you are already familar with the Lead Engine, so that only the differences need to be explained in detail. Main difference of the Multi engine is the dynamical voice allocation. Instead of fixed assignments, voices will be selected automatically for six independent instruments. Advantages: Instruments can be played polyphonic. Algorithm: "oldest note will be killed first" (same handling as used in MIDIbox FM). But also monophonic assignments are possible, which allows to play up to 6 different instruments the same time (Sidenote: which means, that if your MIDIbox SID is stuffed with 4 cores and 8 SIDs, you can play up to 24 instruments - this section talks about the engine running on a single core, but you are free to use it on multiple cores in parallel). MIDI channel assignments and keyboard zones can be configured within an Ensemble Each voice has two dedicated LFOs and one envelope with individual depths for Pitch, Pulsewidth and Filter CutOff modulation (makes 12 LFOs and 6 ENVs which are running in parallel!) In addition, each voice has an own wavetable (makes 6 wavetables which can run in parallel!!!) There are individual velocity and pitchbender assignments for each instrument, but also global velocity/pitchbender/aftertouch and 5 knob assignments which can control the parameters of a specific, or all instruments But there are also disadvantages, which are mainly based on the construction of the SID chip: 6 voices are only available when two SID chips are connected to the MIDIbox SID core (each SID chip contains three oscillators). With a single SID, the 6 instruments have to share three voices, which only makes sense when they are not played the same time. in most cases it's better to center the two audio channels (especially in poly mode) - stereo sounds can only be realized by using two instruments and assigning them to specific voices (-> see CFG page), but the Lead Engine provides more sophisticated functions for stereo effects! no modulation and trigger matrix available. There are only static modulation assignments (LFO1/LFO2/ENV -> Pitch/Pulsewidth/Filter), but with individual depths! external CV outputs can only be modulated via (steppy) wavetables, or with the F2A (Filter-toAnalog) option in the Ensemble menu. biggest drawback: each SID chip provides only a single filter for three oscillators! Oscillator assignments to the filter are static and they are not dynamically changed by the voice allocator to avoid loud, unintentional switching sounds. and another imperfection of the SID chip should be highlighted again: due to the ADSR bug it can happen, that with certain VCA ADSR settings (especially high attack, decay and/or release rates), a note will be broken while it starts to play. Best working ADSR settings have to be tried out while playing the song. Or A, D and R has to be set to 0 (sustain=15). Alternatively the ABW (ADSR Bug Workaround) function can be activated, but this results into a latency of at least 30 mS.

Root Menu
This is the root menu of the multi engine. In difference to the Lead Engine, you will miss the MOD (Modulation Matrix) and TRG (Trigger Matrix) entries.

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MIDIbox SID V2 User Manual --- Multi Engine

The root menu gives you quick access the submenus, which are described below.

"Shift" Menu
To initialise a Multi Patch, press the SHIFT (formerly LINK) button, and press the second select button below the LCD to change to the Ml (Multi) engine:

OSCillator menu

All parameters have the same purpose like described for the Lead engine. Instead of the OSC (oscillator), the Instrument has to be selected (1-6). Note that due to the voice allocation algorithm, there is no fixed relation between instrument and oscillator number by default. Sync and Ringmodulation effects have to be handled with special care, as the audio pathes for these effects are fixed within the SID chip. A static voice assignment has to be used for these functions (-> CFG menu) to get them properly working. The variable oscillator phase has only a simple replacement (Phs flag) which restarts the oscillator when the gate is activated. This feature is also known as "hard-sync" and especially useful for percussive sounds.

FILter menu

As mentioned above, the filter channels are not automatically routed to avoid loud switching sounds while voices are re-assigned. Therefore filtered sounds require a static voice assignment (-> CFG menu) which matches with the enabled filter channel. Alternatively it can be used for a single polyphonic instrument - in this case, all filter channels should be enabled.

LFO menu

Each instrument features two LFOs with fixed modulation routing to Pitch, Pulsewidth and Filter. The modulation depth for these targets can be changed individually (D.P (Depth Pitch), DPW (Depth Pulsewidth), D.F (Depth Filter).

ENVelope menu

Each instrument provides one envelope with fixed modulation routing to Pitch, Pulsewidth and Filter. The

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MIDIbox SID V2 User Manual --- Multi Engine

modulation depth for these targets can be changed individually (D.P (Depth Pitch), DPW (Depth Pulsewidth), D.F (Depth Filter). In difference to the Lead Engine, only Attack, Decay, Sustain and Release phase is available. The curve parameter affects all ramps.

ConFiGuration menu

In difference to the Lead Engine, this page has a new VAs (Voice Assignments) parameter which provides following selections: LR (Left/Right): instrument is either played on the left, or right SID audio channel (6 voices available). L- (Left): instrument is only played on the left SID audio channel (3 voices available). -R (Right): instrument is only played on the right SID audio channel (3 voices available). O1..O6: selects an individual oscillator for the instrument. Take note, that this option also locks the oscillator for instruments which haven't explicitely assigned it. Example: if all Instruments are assigned to LR, but Instrument #3 and #4 to OSC3, only these two instruments will use this oscillator, and all others will share the remaining ones. If the Mono option is activated in the Ensemble Menu, voices of the instrument are always assigned to both SID audio channels (3 voices only). Also new in this menu is the Poly flag, which should be selfexplaining! :-) Up to 6 voices can be played the same time. If more than 6 keys are pressed on the keyboard, the oldest note will be killed first. If Poly mode is not activated, the instrument will be played mono (only a single voice is allocated). VeA (Velocity Assignment) and PbA (Pitchbender Assignment) allow to control a single sound parameter with the Note velocity and the Pitchbender. In difference to the appr. Knob function (-> KNB menu), they are working individually for each instrument. The configuration menu has a small inconsistency: the Volume is handled globally for each SID chip and not individually for each separate voice. Sorry for that, but I haven't found a better place.

ARPeggiator menu

The arpeggiator works exactly like for the Lead Engine. Polyphonic arpeggios are not supported (the Poly flag in the CFG menu has no effect) - it always plays on a single voice.

WaveTable Configuration and Editor menu

The wavetable sequencer works similar to the Lead Engine, but instead of 4, up to 6 wavetables can be played in parallel! Each instrument has its individual wavetable. The parameter set is different (see MIDIbox SID V2 parameter chart).

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MIDIbox SID V2 User Manual --- Multi Engine

KNoBs menu

Knob assignments are available as well. They are working independent from the instrument layer and can control all instruments of a patch. The special coding of the parameter table (see MIDIbox SID V2 parameter chart) allows to control sound parameters individually for a specific instrument, or for all instruments. Note that each instrument has an additional, dedicated velocity and pitchbender assignment, which has to be configured in the CFG menu.

EXTernal menu

In difference to the Lead Engine, CV outputs are not available as modulation target. The static voltage levels and switch states can be changed here. The only way to modulate analog outputs within multi patches is the use of the F2A (Filter-to-Analog) option, which can be activated in the Ensemble menu.

SAVe menu
...is available as well of course! :)

RaNDom Generator menu

Note, that in Multi mode you can try the random function by controlling a single instrument over a dedicated channel, or by controlling all instruments over a single channel.

Last update: 2009-02-08 Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- Ensembles

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MIDIbox SID V2 User Manual --- Ensembles


Introduction
An ensemble contains a collection of four patches, which are assigned to the MBSID master and the three MBSID slaves. In addition, it contains some global settings for each separate unit which are not stored within a patch, like BPM generator settings, AOUT assignments and filter calibration values. MIDI channels and keyboard splitzones can be defined for up to 6 instruments per MBSID unit (relevant for multi patches). These informations are stored in a separate BankStick, so that you are able to define up to 128 different ensembles. Unfortunately it takes up to 250 mS while switching between the ensembles, as a lot of data is read from different BankSticks (mainly the 400 kbit/s IIC interface limits the speed here). Therefore it is not possible to switch between different patches without a noticable delay! Ensemble E001 is always stored in internal EEPROM. This is the only available ensemble for the case that no special BankStick is connected to the master core. It is not recommented to store data here, as it will be overwritten with each firmware update! The "Ensemble BankStick" has to be assigned to CS#7 (Pin 1, 2 and 3 tied to +5V). It doesn't matter if it is a 32k (24LC256) or 64k (24LC512) type, as only a 32k range is allocated. Please keep also in mind, that due to the high number of definable MIDI channels and splitzones (summa summarum up to 24 different instruments could be used if 4 multi or drum patches are selected) chances are high to loose the oversight. Therefore it makes sense to define some basic channel assignments in a special ensemble (e.g. E002) which matches perfectly with your gear (keyboards, sequencers), and to re-use it for different variations by selecting and copying it to other ensemble slots. Unfortunately it is not possible to name the ensembles, so you have to live with the numbers E001..E128. Please keep also in mind, that due to special implementation reasons, only the sections of connected slaves will be stored into BankStick. This means: if you store an ensemble while not all slaves are connected to the CAN interface, the sections of the missing slaves won't be overwritten (but this could also be seen as an advantage ;-)

Root Menu
Within the main screen, press the LEFTMOST SELECT BUTTON to enter the ensemble root menu.

It gives you quick access the submenus, which are described below. The ensemble can be changed by pressing the PAGE UP/DOWN button within this screen (*). Moving the datawheel within this page. Patch and global parameter changes will take place immediately for all SIDs. Note that the ensemble can also be changed from the main screen by pressing the MENU button while moving the datawheel or pressing UP/DOWN.

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MIDIbox SID V2 User Manual --- Ensembles

SID menu

SID: selects the SID (1/2/3/4) which should be configured. Multi-Selections can be done with the four SID buttons (press and hold one SID button, while pressing additional SID buttons) parameter changes take place on all selected SIDs. Bnk (Bank): selects the BankStick from which the patch is read. 8 BankSticks are provided: A..H, whereas H is normaly used for ensembles - reading patches from this BankStick is not possible. Pat (Patch): selects the patch, which can also be changed in the main screen. A 24LC256 (32k) BankStick can store 64 patches, a 24LC512 (64) BankStick 128 patches Mon (Mono/Stereo Switch): by default it is assumed that two SID chips are connected to a core. By activating the Mono switch, both SIDs play the same sound. This affects the engines the following way: Lead: the sound of the left channel is also played on the right channel. Special settings for the right channel don't have any effect. The OSC detune parameter works slightly different: the first oscillator is not detuned. Bassline: only one bassline available, it plays on both SIDs Drum: only three voices available Multi: only three voices available, static assignments to Voice 4/5/6 are redirected to Voice 1/2/3 SPV (Super Poly Voices): this is currently an experimental feature which allows to play lead instruments with multiple SID cores in a polyphonic manner. The usage is not selfexplaining, and it requires some additional configuration to get it properly working. The superpoly handler couples 2, 3 or 4 SID cores (master/slaves). Only lead patches are supported by this function (yet), accordingly it isn't possible to play 8 voices individually, only 4 mono or stereo voices. Following configurations are possible: SPV=off: no effect SPV=1: superpoly mode with SID1 only - it doesn't make much sense SPV=2: superpoly mode with SID1 and SID2 (2 voices) SPV=3: superpoly mode with SID1, SID2 and SID3 (3 voices) SPV=4: superpoly mode with SID1, SID2, SID3 and SID4 (4 voices) SPV, MIDI Channel, Split Zone and Patch/Bank number have to be set to the same values, this is not done automatically. Just select all SIDs in order to synchronize the settings. This can be done by selecting all (used) SIDs the same time with the SID buttons (press&hold SID1, press the remaining SID buttons, change values). Following audio sample demonstrates the possibilities. Note that 4 different tracks have been recorded, one after another (overdubbing). Each instrument (Strings/Bass/Lead Start, Main) is played by 3 stereo SID cores in superpoly mode (SPV=3): DOR: Disable automatic Oscillator Reset during patch change. Could also be called DAORDPC flag ;-) Background: after patch change, MBSID normaly resets the oscillators to ensure, that a patch always sounds identical w/o unexpected phase cancelation effects between the oscillators. Other peoples prefer such effects, caused by freerunning oscillators. If you belong to those peoples, and know what it means, just activate this option - it will make you happy! ;-)

CLocK menu
A global clock generator is available which sends clock events to the LFOs (when the CSn function is enabled - can be done for each LFO separately) ENVs (when the CSn function is enabled - can be done for each envelope separately) Arpeggiators

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MIDIbox SID V2 User Manual --- Ensembles

Wavetables (if MOD flag not enabled) Trigger Matrix (1:1, 1:4 and 1:16)

SID: selects the SID (1/2/3/4) which should be configured. Multi-Selections can be done with the four SID buttons. BPM: selects the beats-per-minute. This value is only used in master mode. In slave mode, the BPM is controlled from an external MIDI clock master. Mode: Mst (Master): the internal BPM generator is used, which is running at 96ppqn resolution. Slv (Slave): the clock generator quadruples the incoming MIDI clock and takes it as reference. Auto: the clock generator switches automatically between master and slave mode. Slave mode is activated whenever a MIDI Clock command has been received. Master mode is activated when no MIDI clock has been received for ca. one second.

FILter menu

SID: selects the SID (1/2/3/4) which should be configured. Multi-Selections can be done with the four SID buttons. ACh: selects the audio channel: L (Left), R (Right) or LR (both) Min/Max: this is a global, patch independent minimum/maximum value which scales the Cutoff between the given range. It allows you to calibrate your SID (especially the 6582 and 8580) for a suitable operation range. In general 000/FFF (full range) is fine for a 6581, 000/600 are recommented for 6582 and 8580. Log: this function applies a logarithmic curve over filter CutOff values which are sent to the SID. By doing so, it linearizes the CutOff of a 6582/8580. It should especially activated, if the keytracking function is used. It shouldn't be activated for 6581s.

INStrument menu

SID: selects the SID (1/2/3/4) which should be configured. Multi-Selections can be done with the four SID buttons. Ins: selects the instrument (1-6). Depending on the patch type, a different number of instruments is really used: Lead: only settings of first instrument are used. Bassline: the first instrument is used for the left SID channel, the second for the right SID channel. The remaining instruments are not used. Drum: only settings of first instrument are used. Multi: all 6 instrument settings are used Chn: specifies the MIDI channel (1-16) of the instrument. It's also possible to disable the MIDI channel (turn the encoder full-right) - in this case the instrument won't be played (default for Instrument 2-6). SpL/SpU: defines the lower and upper keyboard limit in between the instrument can be played. By changing the limits (and the transpose value) it's possible to realize keyboard zones, so that different instruments can be played on a single channel independent from each

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MIDIbox SID V2 User Manual --- Ensembles

other. Trn: allows to transpose the instrument semitone-wise.

EXTernal menu

SID: selects the SID (1/2/3/4) which should be configured. Multi-Selections can be done with the four SID buttons. F2A (Filter to Analog): Cutoff and Resonance are forwarded to external CV outputs as well (assignments have to be done in the setup_*.asm file). Note that the effective Cutoff frequency behind the modulation path is taken. This allows you to easily replace the internal filter by an external. Please note also, that the filter range can be adjusted with the calibration parameters (min/max) of the ENS->FIL menu. V2A (Volume to Analog): Volumes are forwarded to external CV outputs as well (assignments have to be done in the setup_*.asm file). Note that the effective volume value behind the modulation path is taken - accordingly you are able to realize an external VCA to overcome the ADSR bug. P2A (Pulsewidth to Analog): Pulsewidth values of up to 6 oscillators are forwarded to external CV outputs (assignments have to be done in the setup_*.asm file) - the output behind the modulation path is taken. K2A (Key to Analog): Key values of up to 6 oscillators are forwarded to external CV outputs (assignments have to be done in the setup_*.asm file) - together with the gate functions (which have to be configured in setup_*.asm as well) this allows you to play external analog synths with the MBSID engines (e.g. bassline). The slide and accent flag can be forwarded to digital outputs at port CORE:J5 as well, giving you the possibility to control the analog part of a TB303 (or similar analog bassline synth). O2A (Oscillator Frequency to Analog): Similar to K2A, but the frequency behind the modulation path is taken. Portamento/Slide effect, Finetune and Pitchbender are added as well. This opens new possibilities to play your analog synth(s). E.g., lead engine: enjoy all the stereo modulation possibilities. Bassline: two basslines can be played per core. Multi: polyphonic playing of up to 6 analog synths. Disadvantage of this option: it changes the frequency scale to V/octave, accordingly the SID chip won't play enjoyable sound anymore. So, O2A can only be used in isolated manner (temporary mute the audio outputs of the SID module(s) so long O2A is activated, or use the core module without MBHP_SID modules - e.g. as MBSID slave) Iv1..Iv8: allows you to invert the analog output voltages. This option could save you from adding additional circuitry (e.g. it allows you to control the CutOff CV of a SSM2044 filter without inverting OPAmp stage).

SAVe menu

E#: selects the ensemble which should be overwritten do! stores the ensemble. Note that naming is not supported. Only the configuration sections of available MBSIDs will be stored. The last stored ensemble will be reloaded after power-on.

Last update: 2009-01-01

http://ucapps.de/midibox_sid_manual_e.html[6/25/2009 1:01:01 PM]

MIDIbox SID V2 User Manual --- Ensembles

Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- SysEx Editor

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MIDIbox SID V2 User Manual --- SysEx Editor


Introduction
Rutger implemented a Java based patch editor and bank librarian for MIDIbox SID V2, which allows you to manage/modify/create new patches under Windows/Mac/Linux remotely without the control surface. Even users who built a complete MIDIbox SID might find it very useful, as this software gives a good insight into hundreds of parameters for all 4 sound engines! Note that the editor is still under development. Please give feedback in this forum article .

Snapshots
Click on the thumbnails to enlarge

Workaround for some MIDI interfaces under Windows


With Java 1.5, Sun introduced an improved support for MIDI interfaces. It works very well with common MIDI events, but has some problems with SysEx strings: once a SysEx string is sent, which is shorter than the previous strings, additional bytes will be appended (see also JSynthLib workaround). Rutger integrated a workaround for this issue into the editor, but you might still notice failing transfers due to a second issue, which exists in WinXP and older versions: if the SysEx string exceeds the SysEx buffer size, some bytes at the boundary between two buffers will be corrupted. Since Java seems to use a static buffer

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MIDIbox SID V2 User Manual --- SysEx Editor

size of 512 bytes, but a MBSID V2 patch consists of 1036 bytes, a new workaround is required: the usage of MIDItrix from Hermann Seib. Like for the JSynthLib workaround, MIDI Yoke has to be installed as a "virtual MIDI device". It can be downloaded from the MIDI-Ox website. But instead of using MIDI-Ox to forward the MIDI events, we are using MIDItrix (which is a bit more comfortable anyhow). Input Device Configuration: select MIDI Yoke NT Port 1 and your physical MIDI In Port(s). Ensure that the "Defragment" option is selected - this one is doing the trick!

Output Device Configuration: select MIDI Yoke NT Port 2 and your physical MIDI Out Port(s). Again, ensure that the "Defragment" option is selected!

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MIDIbox SID V2 User Manual --- SysEx Editor

Now you can patch the IOs in the configuration matrix like shown here: MIDI Out assigned to MIDI Yoke Port #2, and MIDI In assigned to MIDI Yoke Port #1:

In the MIDIbox SID V2 editor, select MIDI Yoke Port #2 as input port, and MIDI Yoke Port #1 as output port done! :-)

Note that the usage of Miditrix is also helpful to forward the MIDI stream of a MIDI keyboard or sequencer to the MIDI Out which is connected to your MIDIbox SID, so that you are able to play & edit concurrently. In this small demonstration, a MBHP_USB_GM5 module with Microsoft USB-MIDI driver has been used. All MIDI interfaces which are using this driver are affected. The workaround is not required once the GM5 driver has been installed. Since the GM5 driver is multi client capable, the usage of a virtual MIDI cable to join MIDI streams in Miditrix (or MIDI-Ox) isn't required as well.

Download

http://ucapps.de/midibox_sid_manual_ed.html[6/25/2009 1:01:07 PM]

MIDIbox SID V2 User Manual --- SysEx Editor

V0.5 release from 2009-02-18 (470k)

Last update: 2009-02-18 Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- CV Options

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MIDIbox SID V2 User Manual --- CV Options


Introduction
MIDIbox SID V2 is the worldwide first (and only) SID synth which allows you to control external analog components from the synth engine. Meanwhile the control options are so powerful, that it even allows you to control analog synths from the mighty sound engines, which gives you much more possibilities than common MIDI-CV interfaces! Note that it isn't required to connect MBHP_SID modules to use these features.

AOUT modules
Three different AOUT (Digital-Analog converter) modules are part of the MIDIbox Hardware Platform, and supported by the firmware: MBHP_AOUT: MAX525 based module - expensive! AOUT interconnections MBHP_AOUT_LC: 74HC595 based module - cheap but a lot of soldering effort. AOUT_LC interconnections MBHP_AOUT_NG module: TLV5630 based - 8 channels, best price! Interconnection Diagram not available yet, but similar to AOUT interconnections In order to select the right AOUT driver, the setup_*.asm file of the release package has to be edited (search for ENABLE_AOUT); thereafter a new .hex file has to be build as described here.

x2A
Analog outputs can either be controlled directly from the EXT menu, and the modulation matrix of the Lead Engine, or you can enable one or more x2A function within the Ensemble to forward waveforms, generated by the synth engine, to the analog outputs. The AOUT channel assignments for x2A functions are static, and need to be selected in the setup_*.asm file.

Digital Switches (Gates)


In addition to the analog outputs, the firmware allows to control 8 digital outputs (e.g. switches, gates, triggers) as well. The state of the outputs is stored within the patch structure, so that the setup can be recalled. In addition, the outputs are accessible via control surface (-> EXT menu), NRPNs, Knobs, Wavetable sequencer, etc... The outputs are either available at J5 of the core module (set DEFAULT_J5_FUNCTION to 3), and/or on a DOUT shiftregister (set ENABLE_AOUT to != 0, and set DEFAULT_EXT_SWITCH_DOUT to a value between 1 and 16). Optionally, internal gate/slide and accent signals can be forwarded to the digital outputs as well, which gives you the possibility to trigger external synths the same way like the 2*3 SID oscillators (per core).

Using external Filters


You are able to add external filters or other analog effects to the SID channel. The output levels are stored

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MIDIbox SID V2 User Manual --- CV Options

with the patch, and it is even possible to control them via MIDI, and to modulate the outputs from the modulation matrix. This opens a lot of new possibilities for sound experiments with the good old SID chip. In following demo sample, cutoff and resonance of two CEM3378 filters are controlled from MIDIbox SID V2 (see also this posting for additional infos):

During this session, two SSM2044 via AOUT_NG module were used to filter the outputs of two SIDs. Forum Article An envelope modulated multi patch played with two CEM3378 filters:

Controlling Analog Synths

More informations in this and this posting. Sound samples, which have been created during a sunday-afternoon session with rsf Kobol Expanders: Experiments with Stereo Modulation Only for synth freaks with some endurance! LP Filter and Pitch of two Kobols are modulated through the mod matrix with multiple LFOs, combined with different operators. LFO settings are tweaked during the sound is playing. Only a single note is played! The random-like "tunes" are result of the modulation (in fact, the gate was not connected this time) I especially like the brass-like sound at 4:22 Stereo Bass Just to check the detune function and simple stereo effects

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MIDIbox SID V2 User Manual --- CV Options

Arpeggiator Nice arpeggiator sequence (just push the button and play a single note) Bassline Fun Bassline sequences. Note the killer bass of the lower bassline!

Last update: 2009-01-01 Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- SwinSID Review

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MIDIbox SID V2 User Manual --- SwinSID Review


SwinSID is an Atmel AVR based SID emulation created by Swinkels. Initially it was intended as replacement module for the original SID chip housed in a C64, but it works fine with MIDIbox SID as well. Meanwhile Swinkels has enhanced the firmware dramatically, so that it can be used as inexpensive Stereo-SID option for MIDIbox SID. Even though a 1:1 emulation cannot be expected from a microcontroller without DSP capabilities (however, PC/Mac based solutions are not capable of emulating the SID accurately as well), it is still an attractive project for people who are not able to find enough SIDs for a fully stuffed MIDIbox SID, for people who are searching for alternative/additional sounds, and/or for people who cannot resist to build every SynthDIY project available on the web. :)

The Hardware
The SwinSID firmware is running on a single ATmega8515 (Mono), or two ATmega8515 (Stereo). Each AVR handles the complete SID emulation independently at a sampling rate of 31.25kHz. In order to achieve such a high rate, the AVRs are overclocked at 24 MHz! The DAC is connected to the "master" AVR only. The "slave" AVR transfers the sample words of the right audio channel to the master via a simple parallel interface. Each AVR has a dedicated chip-select input to differ between SID register accesses directed to the left, right or both audio channels, which qualifies this solution perfectly for MIDIbox SID. Like known from the MBHP_SID module, two 74HC595 are required as serial->parallel interface to MIDIbox Core. Note that thanks to the interface compatibility, it is possible to control two MBHP_SID modules, and one Stereo-SwinSID module from the same MBHP_CORE in parallel!

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MIDIbox SID V2 User Manual --- SwinSID Review

A picture of the prototype. Note that at the second AVR has been added later (a stereo option wasn't planned at the beginning) - therefore it's placed with a different orientation. Virtually all 16bit I2S DACs are compatible to SwinSID, even newer ones which require a second "system clock" (256xsampling frequency) for digital interpolation. Swinkels is using a TDA1543 (unfortunately discontinued, but still available e.g. at Voti), I tested a TDA1387 (poor quality, cannibalized from an old Soundblaster AWE32 soundcard), and a PCM1725 (best quality, available e.g. at Farnell). TDA1387 and PCM1725 require SMD soldering-skills, whereas TDA1543 comes in a DIY-friendly Dual-Inline package!

Pros & Cons


As a fan of the original SID for more than 20 years I would like to give my personal statements about SwinSID, and provide some demo samples for some first impressions. After I got the hardware up&running, and listened to the first sounds, I was a bit dissapointed from the sound quality due to the aliasing and distortion effects - something what I haven't experienced with the original SID. Meanwhile I've learned, that such effects are mainly related to the sampling frequency, oversampling factor (to reduce disharmonics on higher oscillator frequencies) and interpolation rate (to reduce disharmonics on lower oscillator frequencies). All synthesizers, which are based on the sample technology, are affected by such issues, and the only counteractive measure is to spend as much compute power as possible. On the other hand, I realized that Swinkels did his best to bring the emulation to the max. I find his implementation superior to other AVR based synths like the well known "AVR Synth" and "AvrX", when I compare the sampling frequency, DAC resolution, number of oscillators, and especially the quality of low pass filter. IMHO a better sound quality can only be achieved with less DIY-friendly and much more expensive DSP or FPGA based hardware. PROs: + Inexpensive and easy to build replacement for SID chip + Hardware-Compatible to original SID (no software adaptions required) + Stereo Option with two AVRs + Possibility to control two MBHP_SID (stuffed with original SID chips) and one StereoSwinSID module in parallel from a single MBHP_CORE

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MIDIbox SID V2 User Manual --- SwinSID Review

+ Realtime synthesis with ZERO latency! + More waveforms + White noise generator + All three oscillators provide a sub-oscillator function with selectable waveform; waveform can be reversed. + FM between oscillators (instead of ringmodulator function) + Perfectly working ADSR (the ADSR of the original SID has flaws!) + Fat low-pass filter CONs: Aliasing Effects Not 100% sound compatible (e.g. Noise waveform, sync function) No multi state filter (for Bandpass/Highpass/Notch) No ringmodulation

Demo samples
Following samples have been created with SwinSID, controlled from a MIDIbox SID V2. Wizardry Demonstration of the available waveforms (w/o noise waveform) [1] The tune is based on the C64 game, .sid file taken from HVSC, converted with sid2midi, played with the Multi Engine. Song Author: Mike Alsop FM sounds A demonstration of the Frequency Modulation feature. Each oscillator can act as modulator and/or carrier. From time to time the pitch is slowly changed while the tune is playing to demonstrate different FM timbres. [2] Filter Fun A recording made during prototyping phase which demonstrates the self resonating filter [2], [3] Bassline Fun SwinSID controlled from the Bassline Engine. In the background FM modulated oscillators through a reverb effect. [2], [3] New food for the drum machine SwinSID allows you to create very nice Drum Kits, which sound different to the original SID, but not less interesting for fans of electronic drums and percussions [2] [1] raw sound output of SwinSID [2] external effects have been added [3] StylusRMX based drums have been added

Last update: 2009-01-01 Copyright 1998-2009, Thorsten Klose. All rights reserved.

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MIDIbox SID V2 User Manual --- V1->V2 Upgrade

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German Version

MIDIbox SID V2 User Manual --- V1->V2 Upgrade


This chapter lists the requirements for a hardware upgrade from MIDIbox SID V1 to the new MIDIbox SID V2 firmware. PIC18F452 needs to be replaced by a PIC18F4685. This is a quite new microcontroller, which is unfortunately hard to find in common webshops yet. SmashTV did a batch order and provides the PIC with preburned Bootloader and MIOS for an extremely fair price to the community ($9.95 !!! Compare it with stock listings under findchips.com and you won't find cheaper offerings for single parts!) Doc is doing the distribution for Europe for those guys who want to save shipping costs - just contact him in the MIDIbox Forum If your core module is based on MBHP_CORE_V2, please add R12 (the additional 1k pull-up resistor for IIC modules) like shown in the MBHP_CORE_V3 schematic. If your SID module is based on MBHP_SID_V2, please follow these instructions. Hint: If it was already working with v1.7303, then there is no need for changing the MBHP_CORE->MBHP_SID interconnections. If you are planning to use the stereo option (two SID chips controlled from a single core recommented for a great sound experience!), just connect the second module like the first one. Only the CS# line of the second SID has a different routing (MBHP_SID::J2:SO -> MBHP_CORE::J14), so that individual accesses are possible. Disconnect the four data lines D0-D3 of your LCD and let them unconnected (open). The LCD is accessed in 4bit mode to free the ECAN pins (see also mbhp_lcd_4bit.pdf) Add a 1k pull-up to the CAN receive input as shown in this schematic. This resistor is even required if no slave module is used, otherwise the firmware could crash during the boot phase! if you have used 32k BankSticks (24LC256) in the past, it makes sense to replace them by 64k BankSticks (24LC512), so that 128 patches can be stored in each bank! Note, that the 8th BankStick is used to store ensembles, 32k are sufficient here. Following changes are only required if slaves are connected to the master core: Change the MIDI connections to the slaves as shown in this schematic, so that all slaves receive the same MIDI In data stream like the master core (J11:MI inputs of slaves connected to J11:MI of master) Add the CAN bus connections as shown in this schematic. Each core requires a diode (e.g. 1N4148) Thats all - have fun! :-)

Partlist for a complete MIDIbox SID V1 upgrade


Assumed, that you own a completely stuffed MIDIbox SID V1, following parts are required for the upgrade: 4 * (or 2 *, see below) PIC18F4685 1 * 1k resistor

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MIDIbox SID V2 User Manual --- V1->V2 Upgrade

+4 * 1k resistors if your core modules are based on MBHP_CORE_V2 schematic 4 * 1N4148 diode +3 * 24LC512 (assumed, that 3 * 128 patches are sufficient for your needs, old 32k BankSticks can still be used, they will store 64 patches) Plus 4 * MBHP_SID modules if you are so crazy like those other guys who always want to bring their MIDIbox to the max! ;-) If you don't want to spend the money for additional modules, my strong recommentation is to connect 2 MBHP_SID modules to the master and a single slave, and to pass on the two unused core modules, so that only two PIC18F4685 are required. With such a configuration the upgrade costs you about US $20..$30 (+ shipping)

Last update: 2009-06-20 Copyright 1998-2009, Thorsten Klose. All rights reserved.

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WebSVN - svn.mios - Rev 379 - /trunk/apps/synthesizers/midibox_sid_v2/doc/mbsidv2_parameter_chart.txt

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Compare with Previous | Blame | View Log $Id: mbsidv2_parameter_chart.txt 379 2008-07-06 23:17:18Z tk $ General Parameter Handling ~~~~~~~~~~~~~~~~~~~~~~~~~~ Each Engine supports up to 256 parameters which can be assigned to following control sources: - Knobs, this means: o controllable via MIDI: CC#01 (ModWheel) and CC#16/CC#17/CC#18/CC#19 o the 5 Knobs functions, located in OSC Assign Layer of the Control Surface o 5 analog inputs (to control the parameters with faders or pots) (DEFAULT_J5_FUNCTION must be set to 1 in your setup_*.asm file) o Aftertouch o Velocity o PitchBender - Wavetable Sequencers (Lead Engine: 4, Multi Engine: 6) - Bassline Sequencer (as parameter track)

The parameters are also accessible via NRPN controllers with full resolution. In order to achieve highest flexibility, a special address coding is used. Here a full explanation: The parameter Examples (all LSB B0 62 01 63 B0 62 7F 63 B0 62 00 63 B0 62 7F 63 value is derived from the NRPN LSB + bit #0 of the NRPN MSB. values in hexadecimal format): MSB 00 Selects Parameter #1 00 Selects Parameter #127 01 Selects Parameter #128 01 Selects Parameter #255

For some parameters - like Filter CutOff or Oscillator Pulsewidth - it is possible to separate between the left and right audio channel by adding 2 (for left channel) or 4 (for right channel) to the MSB: LSB B0 62 04 63 B0 62 04 63 B0 62 04 63 MSB 00 02 04

Selects CutOff Frequency of Left and Right Audio Channel Selects CutOff Frequency of Left Audio Channel Selects CutOff Frequency of Right Audio Channel

NRPN Data values are 14 bit, but some MIDI controllers or Sequencers do only support 7bit NRPN values. In addition, it has to be considered, that the value range of MBSID parameters is different (see

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specifications in the tables below) In order to overcome such conversion issues, NRPN values can be automatically scaled over the full 14bit range. This means for example: the Filter CutOff has a resolution of 12bit (range 0-4096), the Finetune Parameter has a resolution of 8bit (range 0-255). The final value will always be scaled correctly over the NRPN value range 0-16383 regardless of the final resolution, so that you don't need to take care about the conversion. This even allows you to send a single NRPN data MSB event with a range of 0-127, in order to sweep over the parameter range due to the used resolution compression algorithm.

But if desired, it's also possible to access the parameters with absolute values without automatic scaling. This can be achieved by setting bit #6 of the NRPN MSB. Examples: LSB B0 62 21 63 B0 62 21 63 B0 62 21 63

MSB 40 42 44

Unscaled access to OSC1 Waveform of Left and Right Audio Channel Unscaled access to OSC1 Waveform of Left Audio Channel Unscaled access to OSC1 Waveform of Right Audio Channel

NRPN Data Values: So long you are using the "automatic scaling address range", data values can either be sent with reduced 7bit resolution (provided by most MIDI controllers and sequencers), or with full 14bit resolution. The parameter change will take effect whenever the NRPN data MSB has been received. Accordingly, following streams are possible to access the CutOff of Left/Right Audio Channel: LSB MSB dataMSB B0 62 04 63 00 06 <value>

Changes CutOff Frequency from decimal 0-127

LSB MSB dataLSB dataMSB B0 62 04 63 00 26 <value_l> 06 <value_h>

Changes CutOff Frequency from decimal 0-16383

Last but not least a hint how to determine the parameter value in decimal form, for the case that you don't know how to calculate with 10 fingers and 6 toes ;-) CC# CC# CC# CC# for for for for NRPN NRPN NRPN NRPN LSB: 62h MSB: 63h LSB data MSB data == decimal == decimal value: 26h value: 06h 98 99 == decimal 38 == decimal 6

Calculating the Address LSB: parameter number % 128 (or easier: if the value is >= 128, substract 128 to get it within the range of 0-127) Calculating the Address MSB:

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parameter number >= 128 -> then 1, else 0 + add 2 if only left Audio Channel should be selected + or add 4 if only right Audio Channel should be selected + add 64 if an absolute value should be transmitted Example for CutOff: LSB MSB 176 98 4 99 0 (all values decimal)

dataMSB 6 <value>

Changes CutOff Frequency from 0-127

What are "current instruments"? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Sometimes it is useful to specify a parameter number in such a way, that the final destination depends on the selection on the control surface, or on the MIDI channel (-> Bassline/Multi Instruments) In order to allow this, some parameters have "current" selections. E.g. if the bassline engine is running, and Parameter 97 (decimal) (-> "Current Bassline Filter CutOff") is assigned to Knob function #1 (-> CC#01, ModWheel, Pot/Fader at analog input AN0), you will always control the currently selected bassline(s), so either LR, L- or -R, with these control elements.

Enough blabla, here are the parameter charts:

Parameter Chart of MIDIbox SID V2 --- Lead Engine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Dec | Hex | Description | Range | Reset =====+=====+==============================================+=============+====== 1 | 01h | Volume (00h-7Fh) | 0-127: val | 127 -----+-----+----------------------------------------------+-------------+-----2 | 02h | Oscillator Phase Offset | 0-256: val | 0 3 | 03h | Oscillator Detune | 0-256: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----4 | 04h | Filter CutOff frequency | 0-4096: val | 2048 5 | 05h | Filter Resonance | 0-256: val | 0 6 | 06h | Filter Channels | | 0 | | Bit 0: Filter for Voice 1 on/off | | | | Bit 1: Filter for Voice 2 on/off | | | | Bit 2: Filter for Voice 3 on/off | | | | Bit 3: Filter for Audio In on/off | | 7 | 07h | Filter Mode | | 0 | | Bit 0: LowPass on/off | | | | Bit 1: BandPass on/off | | | | Bit 2: HighPass on/off | | | | Bit 3: Voice 3 off | | -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----8 | 08h | Knob #1 Value | 0-256: val | 128 9 | 09h | Knob #2 Value | 0-256: val | 128 10 | 0Ah | Knob #3 Value | 0-256: val | 128

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11 | 0Bh | Knob #4 Value | 0-256: val | 128 12 | 0Ch | Knob #5 Value | 0-256: val | 128 13 | 0Dh | Knob #V Value | 0-256: val | 128 14 | 0Eh | Knob #P Value | 0-256: val | 128 15 | 0Fh | Knob #A Value | 0-256: val | 128 -----+-----+----------------------------------------------+-------------+-----16 | 10h | Ext AOUT #1 Value | 0-256: val | 128 17 | 11h | Ext AOUT #2 Value | 0-256: val | 128 18 | 12h | Ext AOUT #3 Value | 0-256: val | 128 19 | 13h | Ext AOUT #4 Value | 0-256: val | 128 20 | 14h | Ext AOUT #5 Value | 0-256: val | 128 21 | 15h | Ext AOUT #6 Value | 0-256: val | 128 22 | 16h | Ext AOUT #7 Value | 0-256: val | 128 23 | 17h | Ext AOUT #8 Value | 0-256: val | 128 -----+-----+----------------------------------------------+-------------+-----24 | 18h | Ext Switch #1 Value | 0-1: val | 0 25 | 19h | Ext Switch #2 Value | 0-1: val | 0 26 | 1Ah | Ext Switch #3 Value | 0-1: val | 0 27 | 1Bh | Ext Switch #4 Value | 0-1: val | 0 28 | 1Ch | Ext Switch #5 Value | 0-1: val | 0 29 | 1Dh | Ext Switch #6 Value | 0-1: val | 0 30 | 1Eh | Ext Switch #7 Value | 0-1: val | 0 31 | 1Fh | Ext Switch #8 Value | 0-1: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----32 | 20h | Voice 1/2/3 Waveform | 0-15: val | 4 | | Bit 0: Triangle | | | | Bit 1: Saw | | | | Bit 2: Pulse | | | | Bit 3: Noise (disables all other waveforms)| | | | Bit 4: Disable Voice | | | | Bit 5: Sync | | | | Bit 6: Ringmodulator | | | | Example: 02h = 2 = Saw | | | | Example: 05h = 5 = Triangle & Pulse | | | | Example: 21h = 33 = Triangle & Sync | | 33 | 21h | Voice 1 Waveform | | 4 34 | 22h | Voice 2 Waveform | | 4 35 | 23h | Voice 3 Waveform | | 4 -----+-----+----------------------------------------------+-------------+-----36 | 24h | Voice 1/2/3 Transpose | 0- 63: neg | 64 | | | 64: off | | | | 64-127: pos | 37 | 25h | Voice 1 Single Transpose | see above | 64 38 | 26h | Voice 2 Single Transpose | see above | 64 39 | 27h | Voice 3 Single Transpose | see above | 64 -----+-----+----------------------------------------------+-------------+-----40 | 28h | Voice 1/2/3 Finetune | 0-127: neg | 128 | | | 128: off | | | |128-255: pos | 41 | 29h | Voice 1 Single Finetune | see above | 128 42 | 2Ah | Voice 2 Single Finetune | see above | 128 43 | 2Bh | Voice 3 Single Finetune | see above | 128 -----+-----+----------------------------------------------+-------------+-----44 | 2Ch | Voice 1/2/3 Portamento Rate | 0: off | 0 | | | 1-255: val | 45 | 2Dh | Voice 1 Portamento Rate | see above | 0 46 | 2Eh | Voice 2 Portamento Rate | see above | 0 47 | 2Fh | Voice 3 Portamento Rate | see above | 0 -----+-----+----------------------------------------------+-------------+------

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48 | 30h | Voice 1/2/3 Pulsewidth | 0-2047: neg|2048 | | | 2048: mid| | | |2049-4095:pos| 49 | 31h | Voice 1 Pulsewidth | see above | 2048 50 | 32h | Voice 2 Pulsewidth | see above | 2048 51 | 33h | Voice 3 Pulsewidth | see above | 2048 -----+-----+----------------------------------------------+-------------+-----52 | 34h | Voice 1/2/3 VCA Delay | 0-255: val | 0 53 | 35h | Voice 1 Single VCA Delay | 0-255: val | 0 54 | 36h | Voice 2 Single VCA Delay | 0-255: val | 0 55 | 37h | Voice 3 Single VCA Delay | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----56 | 38h | Voice 1/2/3 VCA Attack | 0- 15: val | 0 57 | 39h | Voice 1 Single VCA Attack | 0- 15: val | 0 58 | 3Ah | Voice 2 Single VCA Attack | 0- 15: val | 0 59 | 3Bh | Voice 3 Single VCA Attack | 0- 15: val | 0 -----+-----+----------------------------------------------+-------------+-----60 | 3Ch | Voice 1/2/3 VCA Decay | 0- 15: val | 0 61 | 3Dh | Voice 1 Single VCA Decay | 0- 15: val | 0 62 | 3Eh | Voice 2 Single VCA Decay | 0- 15: val | 0 63 | 3Fh | Voice 3 Single VCA Decay | 0- 15: val | 0 -----+-----+----------------------------------------------+-------------+-----64 | 40h | Voice 1/2/3 VCA Sustain | 0- 15: val | 15 65 | 41h | Voice 1 Single VCA Sustain | 0- 15: val | 15 66 | 42h | Voice 2 Single VCA Sustain | 0- 15: val | 15 67 | 43h | Voice 3 Single VCA Sustain | 0- 15: val | 15 -----+-----+----------------------------------------------+-------------+-----68 | 44h | Voice 1/2/3 VCA Release | 0- 15: val | 0 69 | 45h | Voice 1 VCA Release | 0- 15: val | 0 70 | 46h | Voice 2 VCA Release | 0- 15: val | 0 71 | 47h | Voice 3 VCA Release | 0- 15: val | 0 -----+-----+----------------------------------------------+-------------+-----72 | 48h | Voice 1/2/3 Arp Speed | 0- 63: val | 0 73 | 49h | Voice 1 Arp Speed | 0- 63: val | 0 74 | 4Ah | Voice 2 Arp Speed | 0- 63: val | 0 75 | 4Bh | Voice 3 Arp Speed | 0- 63: val | 0 -----+-----+----------------------------------------------+-------------+-----76 | 4Ch | Voice 1/2/3 Arp Gatelength | 0- 31: val | 6 77 | 4Dh | Voice 1 Arp Gatelength | 0- 31: val | 6 78 | 4Eh | Voice 2 Arp Gatelength | 0- 31: val | 6 79 | 4Fh | Voice 3 Arp Gatelength | 0- 31: val | 6 -----+-----+----------------------------------------------+-------------+-----80 | 50h | Voice 1/2/3 Pitch Bender | 0-255: val | 0 81 | 51h | Voice 1 Pitch Bender | 0-255: val | 0 82 | 52h | Voice 2 Pitch Bender | 0-255: val | 0 83 | 53h | Voice 3 Pitch Bender | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----96 | 60h | MOD1 Depth | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 97 | 61h | MOD2 Depth | see above | 128 98 | 62h | MOD3 Depth | see above | 128 99 | 63h | MOD4 Depth | see above | 128 100 | 64h | MOD5 Depth | see above | 128 101 | 65h | MOD6 Depth | see above | 128 102 | 66h | MOD7 Depth | see above | 128 103 | 67h | MOD8 Depth | see above | 128

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-----+-----+----------------------------------------------+-------------+-----104 | 68h | MOD1 Invert Target L/R | 0- 3: val | 0 105 | 69h | MOD2 Invert Target L/R | 0- 3: val | 0 106 | 6Ah | MOD3 Invert Target L/R | 0- 3: val | 0 107 | 6Bh | MOD4 Invert Target L/R | 0- 3: val | 0 108 | 6Ch | MOD5 Invert Target L/R | 0- 3: val | 0 109 | 6Dh | MOD6 Invert Target L/R | 0- 3: val | 0 110 | 6Eh | MOD7 Invert Target L/R | 0- 3: val | 0 111 | 6Fh | MOD8 Invert Target L/R | 0- 3: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----128 | 80h | LFO1 Waveform | 0-15: val | 0 | | 0: Sine | | | | 1: Triangle | | | | 2: Saw | | | | 3: Pulse | | | | 4: Random | | | | 5: Positive Sine | | | | 6: Positive Triangle | | | | 7: Positive Saw | | | | 8: Positive Pulse | | 129 | 81h | LFO2 Waveform | | 130 | 82h | LFO3 Waveform | | 131 | 83h | LFO4 Waveform | | 132 | 84h | LFO5 Waveform | | 133 | 85h | LFO6 Waveform | | -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----136 | 88h | LFO1 Depth | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 137 | 89h | LFO2 Depth | see above | 128 138 | 8Ah | LFO3 Depth | see above | 128 139 | 8Bh | LFO4 Depth | see above | 128 140 | 8Ch | LFO5 Depth | see above | 128 141 | 8Dh | LFO6 Depth | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----144 | 90h | LFO1 Rate | 0: off | 0 | | | 1-255: val | 145 | 91h | LFO2 Rate | see above | 0 146 | 92h | LFO3 Rate | see above | 0 147 | 93h | LFO4 Rate | see above | 0 148 | 94h | LFO5 Rate | see above | 0 149 | 95h | LFO6 Rate | see above | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----152 | 98h | LFO1 Delay | 0: off | 0 | | | 1-255: val | 153 | 99h | LFO2 Delay | see above | 0 154 | 9Ah | LFO3 Delay | see above | 0 155 | 9Bh | LFO4 Delay | see above | 0 156 | 9Ch | LFO5 Delay | see above | 0 157 | 9Dh | LFO6 Delay | see above | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----160 | A0h | LFO1 Phase | 0: off | 0 | | | 1-255: val | 161 | A1h | LFO2 Phase | see above | 0 162 | A2h | LFO3 Phase | see above | 0

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163 | A3h | LFO4 Phase | see above | 0 164 | A4h | LFO5 Phase | see above | 0 165 | A5h | LFO6 Phase | see above | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----192 | C0h | Envelope 1 Mode | --| 0 193 | C1h | Envelope 1 Depth | 0-255: val | 0 194 | C2h | Envelope 1 Delay | 0-255: val | 0 195 | C3h | Envelope 1 Attack 1 | 0-255: val | 0 196 | C4h | Envelope 1 Attack Level | 0-255: val | 0 197 | C5h | Envelope 1 Attack 2 | 0-255: val | 0 198 | C6h | Envelope 1 Decay 1 | 0-255: val | 0 199 | C7h | Envelope 1 Decay Level | 0-255: val | 0 200 | C8h | Envelope 1 Decay 2 | 0-255: val | 0 201 | C9h | Envelope 1 Sustain | 0-255: val | 0 202 | CAh | Envelope 1 Release 1 | 0-255: val | 0 203 | CBh | Envelope 1 Release Level | 0-255: val | 0 204 | CCh | Envelope 1 Release 2 | 0-255: val | 0 205 | CDh | Envelope 1 Curve Attack | 0-255: val | 0 206 | CEh | Envelope 1 Curve Decay | 0-255: val | 0 207 | CFh | Envelope 1 Curve Release | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----208 | D0h | Envelope 2 Mode | --| 0 209 | D1h | Envelope 2 Depth | 0-255: val | 0 210 | D2h | Envelope 2 Delay | 0-255: val | 0 211 | D3h | Envelope 2 Attack 1 | 0-255: val | 0 212 | D4h | Envelope 2 Attack Level | 0-255: val | 0 213 | D5h | Envelope 2 Attack 2 | 0-255: val | 0 214 | D6h | Envelope 2 Decay 1 | 0-255: val | 0 215 | D7h | Envelope 2 Decay Level | 0-255: val | 0 216 | D8h | Envelope 2 Decay 2 | 0-255: val | 0 217 | D9h | Envelope 2 Sustain | 0-255: val | 0 218 | DAh | Envelope 2 Release 1 | 0-255: val | 0 219 | DBh | Envelope 2 Release Level | 0-255: val | 0 220 | DCh | Envelope 2 Release 2 | 0-255: val | 0 221 | DDh | Envelope 2 Curve Attack | 0-255: val | 0 222 | DEh | Envelope 2 Curve Decay | 0-255: val | 0 223 | DFh | Envelope 2 Curve Release | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----224 | E0h | WT1 Speed | 0- 63: val | 0 225 | E1h | WT2 Speed | 0- 63: val | 0 226 | E2h | WT3 Speed | 0- 63: val | 0 227 | E3h | WT4 Speed | 0- 63: val | 0 -----+-----+----------------------------------------------+-------------+-----228 | E4h | WT1 Start | 0-127: val | 0 229 | E5h | WT2 Start | 0-127: val | 0 230 | E6h | WT3 Start | 0-127: val | 0 231 | E7h | WT4 Start | 0-127: val | 0 -----+-----+----------------------------------------------+-------------+-----232 | E8h | WT1 End | 0-127: val | 0 233 | E9h | WT2 End | 0-127: val | 0 234 | EAh | WT3 End | 0-127: val | 0 235 | EBh | WT4 End | 0-127: val | 0 -----+-----+----------------------------------------------+-------------+-----236 | ECh | WT1 Loop | 0-127: val | 0 237 | EDh | WT2 Loop | 0-127: val | 0 238 | EEh | WT3 Loop | 0-127: val | 0 239 | EFh | WT4 Loop | 0-127: val | 0 -----+-----+----------------------------------------------+-------------+------

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240 | F0h | WT1 Position | 0-127: val | 0 241 | F1h | WT2 Position | 0-127: val | 0 242 | F2h | WT3 Position | 0-127: val | 0 243 | F3h | WT4 Position | 0-127: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----252 | FCh | Voice 1/2/3 Play Note | 1-127: val | 0 | | for Wavetable sequencer | | | | allows to Play Notes independent from the | | | | a keyboard. Can also forward an arpeggiator | | | | note (up to four pressed notes, they are | | | | sorted from the lowest to the highest key) | | | | | | | | 000 = 00h = Note Off | | | | 001 = 01h = Hold Note (do nothing) | | | | 002 = 02h = Play Note #2 | | | | ... | | | | 060 = 3Ch = Play Note #60 (C-3) | | | | ... | | | | 123 = 7Bh = Play Note #123 | | | | 124 = 7Ch = Play first pressed Note | | | | 125 = 7Dh = Play second pressed Note | | | | 126 = 7Eh = Play third pressed Note | | | | 127 = 7Fh = Play fourth pressed Note | | | | | | 253 | FDh | Voice 1 Play Note | | 254 | FEh | Voice 2 Play Note | | 255 | FFh | Voice 3 Play Note | | -----+-----+----------------------------------------------+-------------+------

Parameter Chart of MIDIbox SID V2 --- Multi Engine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Dec | Hex | Description | Range | Reset =====+=====+==============================================+=============+====== 1 | 01h | Volume (00h-7Fh) | 0-127: val | 127 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----4 | 04h | Filter CutOff frequency | 0-4096: val | 2048 5 | 05h | Filter Resonance | 0-256: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----8 | 08h | Knob #1 Value | 0-256: val | 128 9 | 09h | Knob #2 Value | 0-256: val | 128 10 | 0Ah | Knob #3 Value | 0-256: val | 128 11 | 0Bh | Knob #4 Value | 0-256: val | 128 12 | 0Ch | Knob #5 Value | 0-256: val | 128 13 | 0Dh | Knob #V Value | 0-256: val | 128 14 | 0Eh | Knob #P Value | 0-256: val | 128 15 | 0Fh | Knob #A Value | 0-256: val | 128 -----+-----+----------------------------------------------+-------------+-----16 | 10h | Ext AOUT #1 Value | 0-256: val | 128 17 | 11h | Ext AOUT #2 Value | 0-256: val | 128 18 | 12h | Ext AOUT #3 Value | 0-256: val | 128

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19 | 13h | Ext AOUT #4 Value | 0-256: val | 128 20 | 14h | Ext AOUT #5 Value | 0-256: val | 128 21 | 15h | Ext AOUT #6 Value | 0-256: val | 128 22 | 16h | Ext AOUT #7 Value | 0-256: val | 128 23 | 17h | Ext AOUT #8 Value | 0-256: val | 128 -----+-----+----------------------------------------------+-------------+-----24 | 18h | Ext Switch #1 Value | 0-1: val | 0 25 | 19h | Ext Switch #2 Value | 0-1: val | 0 26 | 1Ah | Ext Switch #3 Value | 0-1: val | 0 27 | 1Bh | Ext Switch #4 Value | 0-1: val | 0 28 | 1Ch | Ext Switch #5 Value | 0-1: val | 0 29 | 1Dh | Ext Switch #6 Value | 0-1: val | 0 30 | 1Eh | Ext Switch #7 Value | 0-1: val | 0 31 | 1Fh | Ext Switch #8 Value | 0-1: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----32 | 20h | Waveform of all Instruments | 0-15: val | 4 | | Bit 0: Triangle | | | | Bit 1: Saw | | | | Bit 2: Pulse | | | | Bit 3: Noise (disables all other waveforms)| | | | Bit 4: Disable Voice | | | | Bit 5: Sync | | | | Bit 6: Ringmodulator | | | | Example: 02h = 2 = Saw | | | | Example: 05h = 5 = Triangle & Pulse | | | | Example: 21h = 33 = Triangle & Sync | | 33 | 21h | Waveform of Current Instrument | | 4 34 | 22h | Waveform of Instrument #1 | | 4 35 | 23h | Waveform of Instrument #2 | | 4 36 | 24h | Waveform of Instrument #3 | | 4 37 | 25h | Waveform of Instrument #4 | | 4 38 | 26h | Waveform of Instrument #5 | | 4 39 | 27h | Waveform of Instrument #6 | | 4 -----+-----+----------------------------------------------+-------------+-----40 | 28h | Transpose of all Instruments | 0- 63: neg | 64 | | | 64: off | | | | 64-127: pos | 41 | 29h | Transpose of Current Instrument | see above | 64 42 | 2Ah | Transpose of Instrument #1 | see above | 64 43 | 2Bh | Transpose of Instrument #2 | see above | 64 44 | 2Ch | Transpose of Instrument #3 | see above | 64 45 | 2Dh | Transpose of Instrument #4 | see above | 64 46 | 2Eh | Transpose of Instrument #5 | see above | 64 47 | 2Fh | Transpose of Instrument #6 | see above | 64 -----+-----+----------------------------------------------+-------------+-----48 | 30h | Finetune of all Instruments | 0-127: neg | 128 | | | 128: off | | | |128-255: pos | 49 | 31h | Finetune of Current Instrument | see above | 128 50 | 32h | Finetune of Instrument #1 | see above | 128 51 | 33h | Finetune of Instrument #2 | see above | 128 52 | 34h | Finetune of Instrument #3 | see above | 128 53 | 35h | Finetune of Instrument #4 | see above | 128 54 | 36h | Finetune of Instrument #5 | see above | 128 55 | 37h | Finetune of Instrument #6 | see above | 128 -----+-----+----------------------------------------------+-------------+-----56 | 38h | Portamento Rate of all Instruments | 0: off | 0 | | | 1-255: val | 57 | 39h | Portamento Rate of Current Instrument | see above | 0

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58 | 3Ah | Portamento Rate of Instrument #1 | see above | 0 59 | 3Bh | Portamento Rate of Instrument #2 | see above | 0 60 | 3Ch | Portamento Rate of Instrument #3 | see above | 0 61 | 3Dh | Portamento Rate of Instrument #4 | see above | 0 62 | 3Eh | Portamento Rate of Instrument #5 | see above | 0 63 | 3Fh | Portamento Rate of Instrument #6 | see above | 0 -----+-----+----------------------------------------------+-------------+-----64 | 40h | Pulsewidth of all Instruments | 0-2047: neg|2048 | | | 2048: mid| | | |2049-4095:pos| 65 | 41h | Pulsewidth of Current Instrument | see above | 2048 66 | 42h | Pulsewidth of Instrument #1 | see above | 2048 67 | 43h | Pulsewidth of Instrument #2 | see above | 2048 68 | 44h | Pulsewidth of Instrument #3 | see above | 2048 69 | 45h | Pulsewidth of Instrument #4 | see above | 2048 70 | 46h | Pulsewidth of Instrument #5 | see above | 2048 71 | 47h | Pulsewidth of Instrument #6 | see above | 2048 -----+-----+----------------------------------------------+-------------+-----72 | 48h | VCA Attack of all Instruments | 0- 15: val | 0 73 | 49h | VCA Attack of Current Instrument | 0- 15: val | 0 74 | 4Ah | VCA Attack of Instrument #1 | 0- 15: val | 0 75 | 4Bh | VCA Attack of Instrument #2 | 0- 15: val | 0 76 | 4Ch | VCA Attack of Instrument #3 | 0- 15: val | 0 77 | 4Dh | VCA Attack of Instrument #4 | 0- 15: val | 0 78 | 4Eh | VCA Attack of Instrument #5 | 0- 15: val | 0 79 | 4Fh | VCA Attack of Instrument #6 | 0- 15: val | 0 -----+-----+----------------------------------------------+-------------+-----80 | 50h | VCA Decay of all Instruments | 0- 15: val | 0 81 | 51h | VCA Decay of Current Instrument | 0- 15: val | 0 82 | 52h | VCA Decay of Instrument #1 | 0- 15: val | 0 83 | 53h | VCA Decay of Instrument #2 | 0- 15: val | 0 84 | 54h | VCA Decay of Instrument #3 | 0- 15: val | 0 85 | 55h | VCA Decay of Instrument #4 | 0- 15: val | 0 86 | 56h | VCA Decay of Instrument #5 | 0- 15: val | 0 87 | 57h | VCA Decay of Instrument #6 | 0- 15: val | 0 -----+-----+----------------------------------------------+-------------+-----88 | 58h | VCA Sustain of all Instruments | 0- 15: val | 15 89 | 59h | VCA Sustain of Current Instrument | 0- 15: val | 15 90 | 5Ah | VCA Sustain of Instrument #1 | 0- 15: val | 15 91 | 5Bh | VCA Sustain of Instrument #2 | 0- 15: val | 15 92 | 5Ch | VCA Sustain of Instrument #3 | 0- 15: val | 15 93 | 5Dh | VCA Sustain of Instrument #4 | 0- 15: val | 15 94 | 5Eh | VCA Sustain of Instrument #5 | 0- 15: val | 15 95 | 5Fh | VCA Sustain of Instrument #6 | 0- 15: val | 15 -----+-----+----------------------------------------------+-------------+-----96 | 60h | VCA Release of all Instruments | 0- 15: val | 0 97 | 61h | VCA Release of Current Instrument | 0- 15: val | 0 98 | 62h | VCA Release of Instrument #1 | 0- 15: val | 0 99 | 63h | VCA Release of Instrument #2 | 0- 15: val | 0 100 | 64h | VCA Release of Instrument #3 | 0- 15: val | 0 101 | 65h | VCA Release of Instrument #4 | 0- 15: val | 0 102 | 66h | VCA Release of Instrument #5 | 0- 15: val | 0 103 | 67h | VCA Release of Instrument #6 | 0- 15: val | 0 -----+-----+----------------------------------------------+-------------+-----104 | 68h | Arp Speed of all Instruments | 0- 63: val | 0 105 | 69h | Arp Speed of Current Instrument | 0- 63: val | 0 106 | 6Ah | Arp Speed of Instrument #1 | 0- 63: val | 0 107 | 6Bh | Arp Speed of Instrument #2 | 0- 63: val | 0 108 | 6Ch | Arp Speed of Instrument #3 | 0- 63: val | 0 109 | 6Dh | Arp Speed of Instrument #4 | 0- 63: val | 0

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110 | 6Eh | Arp Speed of Instrument #5 | 0- 63: val | 0 111 | 6Fh | Arp Speed of Instrument #6 | 0- 63: val | 0 -----+-----+----------------------------------------------+-------------+-----112 | 70h | Arp Gatelength of all Instruments | 0- 31: val | 6 113 | 71h | Arp Gatelength of Current Instrument | 0- 31: val | 6 114 | 72h | Arp Gatelength of Instrument #1 | 0- 31: val | 6 115 | 73h | Arp Gatelength of Instrument #2 | 0- 31: val | 6 116 | 74h | Arp Gatelength of Instrument #3 | 0- 31: val | 6 117 | 75h | Arp Gatelength of Instrument #4 | 0- 31: val | 6 118 | 76h | Arp Gatelength of Instrument #5 | 0- 31: val | 6 119 | 77h | Arp Gatelength of Instrument #6 | 0- 31: val | 6 -----+-----+----------------------------------------------+-------------+-----120 | 78h | Pitch Bender of all Instruments | 0-255: val | 0 121 | 79h | Pitch Bender of Current Instrument | 0-255: val | 0 122 | 7Ah | Pitch Bender of Instrument #1 | 0-255: val | 0 123 | 7Bh | Pitch Bender of Instrument #2 | 0-255: val | 0 124 | 7Ch | Pitch Bender of Instrument #3 | 0-255: val | 0 125 | 7Dh | Pitch Bender of Instrument #4 | 0-255: val | 0 126 | 7Eh | Pitch Bender of Instrument #5 | 0-255: val | 0 127 | 7Fh | Pitch Bender of Instrument #6 | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----128 | 80h | LFO1 Pitch Depth of all Instruments | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 129 | 81h | LFO1 Pitch Depth of Current Instrument | see above | 128 130 | 82h | LFO1 Pitch Depth of Instrument #1 | see above | 128 131 | 83h | LFO1 Pitch Depth of Instrument #2 | see above | 128 132 | 84h | LFO1 Pitch Depth of Instrument #3 | see above | 128 133 | 85h | LFO1 Pitch Depth of Instrument #4 | see above | 128 134 | 86h | LFO1 Pitch Depth of Instrument #5 | see above | 128 135 | 87h | LFO1 Pitch Depth of Instrument #6 | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----136 | 88h | LFO1 Pulsewidth Depth of all Instruments | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 137 | 89h | LFO1 Pulsewidth Depth of Current Instr. | see above | 128 138 | 8Ah | LFO1 Pulsewidth Depth of Instrument #1 | see above | 128 139 | 8Bh | LFO1 Pulsewidth Depth of Instrument #2 | see above | 128 140 | 8Ch | LFO1 Pulsewidth Depth of Instrument #3 | see above | 128 141 | 8Dh | LFO1 Pulsewidth Depth of Instrument #4 | see above | 128 142 | 8Eh | LFO1 Pulsewidth Depth of Instrument #5 | see above | 128 143 | 8Fh | LFO1 Pulsewidth Depth of Instrument #6 | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----144 | 90h | LFO1 Filter Depth of all Instruments | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 145 | 91h | LFO1 Filter Depth of Current Instrument | see above | 128 146 | 92h | LFO1 Filter Depth of Instrument #1 | see above | 128 147 | 93h | LFO1 Filter Depth of Instrument #2 | see above | 128 148 | 94h | LFO1 Filter Depth of Instrument #3 | see above | 128 149 | 95h | LFO1 Filter Depth of Instrument #4 | see above | 128 150 | 96h | LFO1 Filter Depth of Instrument #5 | see above | 128 151 | 97h | LFO1 Filter Depth of Instrument #6 | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+------

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152 | 98h | LFO1 Rate of all Instruments | 0: off | 0 | | | 1-255: val | 153 | 99h | LFO1 Rate of Current Instrument | see above | 0 154 | 9Ah | LFO1 Rate of Instrument #1 | see above | 0 155 | 9Bh | LFO1 Rate of Instrument #2 | see above | 0 156 | 9Ch | LFO1 Rate of Instrument #3 | see above | 0 157 | 9Dh | LFO1 Rate of Instrument #4 | see above | 0 158 | 9Eh | LFO1 Rate of Instrument #5 | see above | 0 159 | 9Fh | LFO1 Rate of Instrument #6 | see above | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----160 | A0h | LFO2 Pitch Depth of all Instruments | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 161 | A1h | LFO2 Pitch Depth of Current Instrument | see above | 128 162 | A2h | LFO2 Pitch Depth of Instrument #1 | see above | 128 163 | A3h | LFO2 Pitch Depth of Instrument #2 | see above | 128 164 | A4h | LFO2 Pitch Depth of Instrument #3 | see above | 128 165 | A5h | LFO2 Pitch Depth of Instrument #4 | see above | 128 166 | A6h | LFO2 Pitch Depth of Instrument #5 | see above | 128 167 | A7h | LFO2 Pitch Depth of Instrument #6 | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----168 | A8h | LFO2 Pulsewidth Depth of all Instruments | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 169 | A9h | LFO2 Pulsewidth Depth of Current Instrument | see above | 128 170 | AAh | LFO2 Pulsewidth Depth of Instrument #1 | see above | 128 171 | ABh | LFO2 Pulsewidth Depth of Instrument #2 | see above | 128 172 | ACh | LFO2 Pulsewidth Depth of Instrument #3 | see above | 128 173 | ADh | LFO2 Pulsewidth Depth of Instrument #4 | see above | 128 174 | AEh | LFO2 Pulsewidth Depth of Instrument #5 | see above | 128 175 | AFh | LFO2 Pulsewidth Depth of Instrument #6 | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----176 | B0h | LFO2 Filter Depth of all Instruments | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 177 | B1h | LFO2 Filter Depth of Current Instrument | see above | 128 178 | B2h | LFO2 Filter Depth of Instrument #1 | see above | 128 179 | B3h | LFO2 Filter Depth of Instrument #2 | see above | 128 180 | B4h | LFO2 Filter Depth of Instrument #3 | see above | 128 181 | B5h | LFO2 Filter Depth of Instrument #4 | see above | 128 182 | B6h | LFO2 Filter Depth of Instrument #5 | see above | 128 183 | B7h | LFO2 Filter Depth of Instrument #6 | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----184 | B8h | LFO2 Rate of all Instruments | 0: off | 0 | | | 1-255: val | 185 | B9h | LFO2 Rate of Current Instrument | see above | 0 186 | BAh | LFO2 Rate of Instrument #1 | see above | 0 187 | BBh | LFO2 Rate of Instrument #2 | see above | 0 188 | BCh | LFO2 Rate of Instrument #3 | see above | 0 189 | BDh | LFO2 Rate of Instrument #4 | see above | 0 190 | BEh | LFO2 Rate of Instrument #5 | see above | 0 191 | BFh | LFO2 Rate of Instrument #6 | see above | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+------

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-----+-----+----------------------------------------------+-------------+-----192 | C0h | ENV Pitch Depth of all Instruments | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 193 | C1h | ENV Pitch Depth of Current Instrument | see above | 128 194 | C2h | ENV Pitch Depth of Instrument #1 | see above | 128 195 | C3h | ENV Pitch Depth of Instrument #2 | see above | 128 196 | C4h | ENV Pitch Depth of Instrument #3 | see above | 128 197 | C5h | ENV Pitch Depth of Instrument #4 | see above | 128 198 | C6h | ENV Pitch Depth of Instrument #5 | see above | 128 199 | C7h | ENV Pitch Depth of Instrument #6 | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----200 | C8h | ENV Pulsewidth Depth of all Instruments | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 201 | C9h | ENV Pulsewidth Depth of Current Instrument | see above | 128 202 | CAh | ENV Pulsewidth Depth of Instrument #1 | see above | 128 203 | CBh | ENV Pulsewidth Depth of Instrument #2 | see above | 128 204 | CCh | ENV Pulsewidth Depth of Instrument #3 | see above | 128 205 | CDh | ENV Pulsewidth Depth of Instrument #4 | see above | 128 206 | CEh | ENV Pulsewidth Depth of Instrument #5 | see above | 128 207 | CFh | ENV Pulsewidth Depth of Instrument #6 | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----208 | D0h | ENV Filter Depth of all Instruments | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 209 | D1h | ENV Filter Depth of Current Instrument | see above | 128 210 | D2h | ENV Filter Depth of Instrument #1 | see above | 128 211 | D3h | ENV Filter Depth of Instrument #2 | see above | 128 212 | D4h | ENV Filter Depth of Instrument #3 | see above | 128 213 | D5h | ENV Filter Depth of Instrument #4 | see above | 128 214 | D6h | ENV Filter Depth of Instrument #5 | see above | 128 215 | D7h | ENV Filter Depth of Instrument #6 | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----216 | D8h | ENV Attack Rate of all Instruments | 0-255: val | 0 217 | D9h | ENV Attack Rate of Current Instrument | 0-255: val | 0 218 | DAh | ENV Attack Rate of Instrument #1 | 0-255: val | 0 219 | DBh | ENV Attack Rate of Instrument #2 | 0-255: val | 0 220 | DCh | ENV Attack Rate of Instrument #2 | 0-255: val | 0 221 | DDh | ENV Attack Rate of Instrument #2 | 0-255: val | 0 222 | DEh | ENV Attack Rate of Instrument #2 | 0-255: val | 0 223 | DFh | ENV Attack Rate of Instrument #2 | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----224 | E0h | ENV Decay Rate of all Instruments | 0-255: val | 0 225 | E1h | ENV Decay Rate of Current Instrument | 0-255: val | 0 226 | E2h | ENV Decay Rate of Instrument #1 | 0-255: val | 0 227 | E3h | ENV Decay Rate of Instrument #2 | 0-255: val | 0 228 | E4h | ENV Decay Rate of Instrument #2 | 0-255: val | 0 229 | E5h | ENV Decay Rate of Instrument #2 | 0-255: val | 0 230 | E6h | ENV Decay Rate of Instrument #2 | 0-255: val | 0 231 | E7h | ENV Decay Rate of Instrument #2 | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----232 | E8h | ENV Sustain Level of all Instruments | 0-255: val | 0 233 | E9h | ENV Sustain Level of Current Instrument | 0-255: val | 0 234 | EAh | ENV Sustain Level of Instrument #1 | 0-255: val | 0

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235 | EBh | ENV Sustain Level of Instrument #2 | 0-255: val | 0 236 | ECh | ENV Sustain Level of Instrument #2 | 0-255: val | 0 237 | EDh | ENV Sustain Level of Instrument #2 | 0-255: val | 0 238 | EEh | ENV Sustain Level of Instrument #2 | 0-255: val | 0 239 | EFh | ENV Sustain Level of Instrument #2 | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----240 | F0h | ENV Release Rate of all Instruments | 0-255: val | 0 241 | F1h | ENV Release Rate of Current Instrument | 0-255: val | 0 242 | F2h | ENV Release Rate of Instrument #1 | 0-255: val | 0 243 | F3h | ENV Release Rate of Instrument #2 | 0-255: val | 0 244 | F4h | ENV Release Rate of Instrument #2 | 0-255: val | 0 245 | F5h | ENV Release Rate of Instrument #2 | 0-255: val | 0 246 | F6h | ENV Release Rate of Instrument #2 | 0-255: val | 0 247 | F7h | ENV Release Rate of Instrument #2 | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----248 | F8h | Play Note on all Instruments | 1-127: val | 0 | | for Wavetable sequencer | | | | allows to Play Notes independent from the | | | | a keyboard. Can also forward an arpeggiator | | | | note (up to four pressed notes, they are | | | | sorted from the lowest to the highest key) | | | | | | | | 000 = 00h = Note Off | | | | 001 = 01h = Hold Note (do nothing) | | | | 002 = 02h = Play Note #2 | | | | ... | | | | 060 = 3Ch = Play Note #60 (C-3) | | | | ... | | | | 123 = 7Bh = Play Note #123 | | | | 124 = 7Ch = Play first pressed Note | | | | 125 = 7Dh = Play second pressed Note | | | | 126 = 7Eh = Play third pressed Note | | | | 127 = 7Fh = Play fourth pressed Note | | | | | | 249 | F9h | Play Note on Current Instrument | | 250 | FAh | Play Note on Instrument #1 | | 251 | FBh | Play Note on Instrument #2 | | 252 | FCh | Play Note on Instrument #3 | | 253 | FDh | Play Note on Instrument #4 | | 254 | FEh | Play Note on Instrument #5 | | 255 | FFh | Play Note on Instrument #6 | | -----+-----+----------------------------------------------+-------------+------

Parameter Chart of MIDIbox SID V2 --- Bassline Engine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Dec | Hex | Description | Range | Reset =====+=====+==============================================+=============+====== 1 | 01h | Volume (00h-7Fh) | 0-127: val | 127 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----4 | 04h | Filter CutOff frequency Bassline 1+2 | 0-4096: val | 2048

http://svnmios.midibox.org/...2Ftrunk%2Fapps%2Fsynthesizers%2Fmidibox_sid_v2%2Fdoc%2Fmbsidv2_parameter_chart.txt[6/25/2009 1:01:20 PM]

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| | Note: only available here due to compat. | | | | reasons - separate control possible via | | | | Parameter Number 96..99 | | 5 | 05h | Filter Resonance Bassline 1+2 | 0-256: val | 0 | | Note: only available here due to compat. | | | | reasons - separate control possible via | | | | Parameter Number 100..103 | | 6 | 06h | Filter Channels Bassline 1+2 | | 0 | | Bit 0: Filter for Voice 1 on/off | | | | Bit 1: Filter for Voice 2 on/off | | | | Bit 2: Filter for Voice 3 on/off | | | | Bit 3: Filter for Audio In on/off | | 7 | 07h | Filter Mode Bassline 1+2 | | 0 | | Bit 0: LowPass on/off | | | | Bit 1: BandPass on/off | | | | Bit 2: HighPass on/off | | | | Bit 3: Voice 3 off | | -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----8 | 08h | Knob #1 Value | 0-256: val | 128 9 | 09h | Knob #2 Value | 0-256: val | 128 10 | 0Ah | Knob #3 Value | 0-256: val | 128 11 | 0Bh | Knob #4 Value | 0-256: val | 128 12 | 0Ch | Knob #5 Value | 0-256: val | 128 13 | 0Dh | Knob #V Value | 0-256: val | 128 14 | 0Eh | Knob #P Value | 0-256: val | 128 15 | 0Fh | Knob #A Value | 0-256: val | 128 -----+-----+----------------------------------------------+-------------+-----16 | 10h | Ext AOUT #1 Value | 0-256: val | 128 17 | 11h | Ext AOUT #2 Value | 0-256: val | 128 18 | 12h | Ext AOUT #3 Value | 0-256: val | 128 19 | 13h | Ext AOUT #4 Value | 0-256: val | 128 20 | 14h | Ext AOUT #5 Value | 0-256: val | 128 21 | 15h | Ext AOUT #6 Value | 0-256: val | 128 22 | 16h | Ext AOUT #7 Value | 0-256: val | 128 23 | 17h | Ext AOUT #8 Value | 0-256: val | 128 -----+-----+----------------------------------------------+-------------+-----24 | 18h | Ext Switch #1 Value | 0-1: val | 0 25 | 19h | Ext Switch #2 Value | 0-1: val | 0 26 | 1Ah | Ext Switch #3 Value | 0-1: val | 0 27 | 1Bh | Ext Switch #4 Value | 0-1: val | 0 28 | 1Ch | Ext Switch #5 Value | 0-1: val | 0 29 | 1Dh | Ext Switch #6 Value | 0-1: val | 0 30 | 1Eh | Ext Switch #7 Value | 0-1: val | 0 31 | 1Fh | Ext Switch #8 Value | 0-1: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----32 | 20h | Bassline 1+2 Waveform | 0-15: val | 4 | | Bit 0: Triangle | | | | Bit 1: Saw | | | | Bit 2: Pulse | | | | Bit 3: Noise (disables all other waveforms)| | | | Bit 4: Disable Voice | | | | Bit 5: Sync | | | | Bit 6: Ringmodulator | | | | Example: 02h = 2 = Saw | | | | Example: 05h = 5 = Triangle & Pulse | | | | Example: 21h = 33 = Triangle & Sync | | 33 | 21h | Current Bassline Waveform | | 4 34 | 22h | Bassline 1 Waveform | | 4

http://svnmios.midibox.org/...2Ftrunk%2Fapps%2Fsynthesizers%2Fmidibox_sid_v2%2Fdoc%2Fmbsidv2_parameter_chart.txt[6/25/2009 1:01:20 PM]

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35 | 23h | Bassline 2 Waveform | | 4 -----+-----+----------------------------------------------+-------------+-----36 | 24h | Bassline 1+2 Transpose | 0- 63: neg | 64 | | | 64: off | | | | 64-127: pos | 37 | 25h | Current Bassline Transpose | see above | 64 38 | 26h | Bassline 1 Transpose | see above | 64 39 | 27h | Bassline 2 Transpose | see above | 64 -----+-----+----------------------------------------------+-------------+-----40 | 28h | Bassline 1+2 Finetune | 0-127: neg | 128 | | | 128: off | | | |128-255: pos | 41 | 29h | Current Bassline Finetune | see above | 128 42 | 2Ah | Bassline 1 Finetune | see above | 128 43 | 2Bh | Bassline 2 Finetune | see above | 128 -----+-----+----------------------------------------------+-------------+-----44 | 2Ch | Bassline 1+2 Portamento Rate | 0: off | 0 | | | 1-255: val | 45 | 2Dh | Current Bassline Portamento Rate | see above | 0 46 | 2Eh | Bassline 1 Portamento Rate | see above | 0 47 | 2Fh | Bassline 2 Portamento Rate | see above | 0 -----+-----+----------------------------------------------+-------------+-----48 | 30h | Bassline 1+2 Pulsewidth | 0-2047: neg|2048 | | | 2048: mid| | | |2049-4095:pos| 49 | 31h | Current Bassline Pulsewidth | see above | 2048 50 | 32h | Bassline 1 Pulsewidth | see above | 2048 51 | 33h | Bassline 2 Pulsewidth | see above | 2048 -----+-----+----------------------------------------------+-------------+-----52 | 34h | Bassline 1+2 VCA Delay | 0-255: val | 0 53 | 35h | Current Bassline VCA Delay | 0-255: val | 0 54 | 36h | Bassline 1 VCA Delay | 0-255: val | 0 55 | 37h | Bassline 2 VCA Delay | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----56 | 38h | Bassline 1+2 VCA Attack | 0- 15: val | 0 57 | 39h | Current Bassline VCA Attack | 0- 15: val | 0 58 | 3Ah | Bassline 1 VCA Attack | 0- 15: val | 0 59 | 3Bh | Bassline 2 VCA Attack | 0- 15: val | 0 -----+-----+----------------------------------------------+-------------+-----60 | 3Ch | Bassline 1+2 VCA Decay | 0- 15: val | 0 61 | 3Dh | Current Bassline VCA Decay | 0- 15: val | 0 62 | 3Eh | Bassline 1 VCA Decay | 0- 15: val | 0 63 | 3Fh | Bassline 2 VCA Decay | 0- 15: val | 0 -----+-----+----------------------------------------------+-------------+-----64 | 40h | Bassline 1+2 VCA Sustain | 0- 15: val | 15 65 | 41h | Current Bassline VCA Sustain | 0- 15: val | 15 66 | 42h | Bassline 1 VCA Sustain | 0- 15: val | 15 67 | 43h | Bassline 2 VCA Sustain | 0- 15: val | 15 -----+-----+----------------------------------------------+-------------+-----68 | 44h | Bassline 1+2 VCA Release | 0- 15: val | 0 69 | 45h | Current Bassline VCA Release | 0- 15: val | 0 70 | 46h | Bassline 1 VCA Release | 0- 15: val | 0 71 | 47h | Bassline 2 VCA Release | 0- 15: val | 0 -----+-----+----------------------------------------------+-------------+-----72 | 48h | Bassline 1+2 Arp Speed | 0- 63: val | 0 73 | 49h | Current Bassline Arp Speed | 0- 63: val | 0 74 | 4Ah | Bassline 1 Arp Speed | 0- 63: val | 0 75 | 4Bh | Bassline 2 Arp Speed | 0- 63: val | 0 -----+-----+----------------------------------------------+-------------+-----76 | 4Ch | Bassline 1+2 Arp Gatelength | 0- 31: val | 6

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77 | 4Dh | Current Bassline Arp Gatelength | 0- 31: val | 6 78 | 4Eh | Bassline 1 Arp Gatelength | 0- 31: val | 6 79 | 4Fh | Bassline 2 Arp Gatelength | 0- 31: val | 6 -----+-----+----------------------------------------------+-------------+-----80 | 50h | Bassline 1+2 Pitch Bender | 0-255: val | 0 81 | 51h | Current Bassline Pitch Bender | 0-255: val | 0 82 | 52h | Bassline 1 Pitch Bender | 0-255: val | 0 83 | 53h | Bassline 2 Pitch Bender | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----96 | 60h | Bassline 1+2 Filter CutOff | 0-255: val | 0 97 | 61h | Current Bassline Filter CutOff | 0-255: val | 0 98 | 62h | Bassline 1 Filter CutOff | 0-255: val | 0 99 | 63h | Bassline 2 Filter CutOff | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----100 | 64h | Bassline 1+2 Filter Resonance | 0-255: val | 0 101 | 65h | Current Bassline Filter Resonance | 0-255: val | 0 102 | 66h | Bassline 1 Filter Resonance | 0-255: val | 0 103 | 67h | Bassline 2 Filter Resonance | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----104 | 68h | Bassline 1+2 EnvMod (ENV Filter Depth) | 0-255: val | 0 105 | 69h | Current Bassline EnvMod | 0-255: val | 0 106 | 6Ah | Bassline 1 EnvMod | 0-255: val | 0 107 | 6Bh | Bassline 2 EnvMod | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----108 | 6Ch | Bassline 1+2 Decay (ENV Filter Decay) | 0-255: val | 0 109 | 6Dh | Current Bassline Decay | 0-255: val | 0 110 | 6Eh | Bassline 1 Decay | 0-255: val | 0 111 | 6Fh | Bassline 2 Decay | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----112 | 70h | Bassline 1+2 Accent | 0-127: val | 0 113 | 71h | Current Bassline Accent | 0-127: val | 0 114 | 72h | Bassline 1 Accent | 0-127: val | 0 115 | 73h | Bassline 2 Accent | 0-127: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----128 | 80h | Bassline 1+2 LFO1 Waveform | 0-15: val | 0 | | 0: Sine | | | | 1: Triangle | | | | 2: Saw | | | | 3: Pulse | | | | 4: Random | | | | 5: Positive Sine | | | | 6: Positive Triangle | | | | 7: Positive Saw | | | | 8: Positive Pulse | | 129 | 81h | Current Bassline LFO1 Waveform | | 130 | 82h | Bassline 1 LFO1 Waveform | | 131 | 83h | Bassline 2 LFO1 Waveform | | 132 | 84h | Bassline 1+2 LFO2 Waveform | | 0 133 | 85h | Current Bassline LFO2 Waveform | | 134 | 86h | Bassline 1 LFO2 Waveform | | 135 | 87h | Bassline 2 LFO2 Waveform | | -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----136 | 88h | Bassline 1+2 LFO1 Pitch Depth | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off |

http://svnmios.midibox.org/...2Ftrunk%2Fapps%2Fsynthesizers%2Fmidibox_sid_v2%2Fdoc%2Fmbsidv2_parameter_chart.txt[6/25/2009 1:01:20 PM]

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| | |129-255: pos | 137 | 89h | Current Bassline LFO1 Pitch Depth | see above | 128 138 | 8Ah | Bassline 1 LFO1 Pitch Depth | see above | 128 139 | 8Bh | Bassline 2 LFO1 Pitch Depth | see above | 128 140 | 8Ch | Bassline 1+2 LFO2 Pitch Depth | see above | 128 141 | 8Dh | Current Bassline LFO2 Pitch Depth | see above | 128 142 | 8Eh | Bassline 1 LFO2 Pitch Depth | see above | 128 143 | 8Fh | Bassline 2 LFO2 Pitch Depth | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----144 | 90h | Bassline 1+2 LFO1 Pulsewidth Depth | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 145 | 91h | Current Bassline LFO1 Pulsewidth Depth | see above | 128 146 | 92h | Bassline 1 LFO1 Pulsewidth Depth | see above | 128 147 | 93h | Bassline 2 LFO1 Pulsewidth Depth | see above | 128 148 | 94h | Bassline 1+2 LFO2 Pulsewidth Depth | see above | 128 149 | 95h | Current Bassline LFO2 Pulsewidth Depth | see above | 128 150 | 96h | Bassline 1 LFO2 Pulsewidth Depth | see above | 128 151 | 97h | Bassline 2 LFO2 Pulsewidth Depth | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----152 | 98h | Bassline 1+2 LFO1 Filter Depth | 0-127: neg | 128 | | negative depth (0-127) inverts the waveform | 128: off | | | |129-255: pos | 153 | 99h | Current Bassline LFO1 Filter Depth | see above | 128 154 | 9Ah | Bassline 1 LFO1 Filter Depth | see above | 128 155 | 9Bh | Bassline 2 LFO1 Filter Depth | see above | 128 156 | 9Ch | Bassline 1+2 LFO2 Filter Depth | see above | 128 157 | 9Dh | Current Bassline LFO2 Filter Depth | see above | 128 158 | 9Eh | Bassline 1 LFO2 Filter Depth | see above | 128 159 | 9Fh | Bassline 2 LFO2 Filter Depth | see above | 128 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----160 | A0h | Bassline 1+2 LFO1 Rate | 0: off | 0 | | | 1-255: val | 161 | A1h | Current Bassline LFO1 Rate | see above | 0 162 | A2h | Bassline 1 LFO1 Rate | see above | 0 163 | A3h | Bassline 2 LFO1 Rate | see above | 0 164 | A4h | Bassline 1+2 LFO2 Rate | see above | 0 166 | A6h | Bassline 1 LFO2 Rate | see above | 0 167 | A7h | Bassline 2 LFO2 Rate | see above | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----168 | A8h | Bassline 1+2 LFO1 Delay | 0: off | 0 | | | 1-255: val | 169 | A9h | Current Bassline LFO1 Delay | see above | 0 170 | AAh | Bassline 1 LFO1 Delay | see above | 0 171 | ABh | Bassline 2 LFO1 Delay | see above | 0 172 | ACh | Bassline 1+2 LFO2 Delay | see above | 0 173 | ADh | Current Bassline LFO2 Delay | see above | 0 174 | AEh | Bassline 1 LFO2 Delay | see above | 0 175 | AFh | Bassline 2 LFO2 Delay | see above | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----176 | B0h | Bassline 1+2 LFO1 Phase | 0: off | 0 | | | 1-255: val | 177 | B1h | Current Bassline LFO1 Phase | see above | 0 178 | B2h | Bassline 1 LFO1 Phase | see above | 0 179 | B3h | Bassline 2 LFO1 Phase | see above | 0

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180 | B4h | Bassline 1+2 LFO2 Phase | see above | 0 181 | B5h | Current Bassline LFO2 Phase | see above | 0 182 | B6h | Bassline 1 LFO2 Phase | see above | 0 183 | B7h | Bassline 2 LFO2 Phase | see above | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----192 | C0h | Bassline 1+2 ENV Pitch Depth | 0-255: val | 0 193 | C1h | Current Bassline ENV Pitch Depth | 0-255: val | 0 194 | C2h | Bassline 1 ENV Pitch Depth | 0-255: val | 0 195 | C3h | Bassline 2 ENV Pitch Depth | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----196 | C4h | Bassline 1+2 ENV Pulsewidth Depth | 0-255: val | 0 197 | C5h | Current Bassline ENV Pulsewidth Depth | 0-255: val | 0 198 | C6h | Bassline 1 ENV Pulsewidth Depth | 0-255: val | 0 199 | C7h | Bassline 2 ENV Pulsewidth Depth | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----200 | C8h | Bassline 1+2 ENV Filter Depth | 0-255: val | 0 201 | C9h | Current Bassline ENV Filter Depth | 0-255: val | 0 202 | CAh | Bassline 1 ENV Filter Depth | 0-255: val | 0 203 | CBh | Bassline 2 ENV Filter Depth | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----204 | CCh | Bassline 1+2 ENV Attack | 0-255: val | 0 205 | CDh | Current Bassline ENV Attack | 0-255: val | 0 206 | CEh | Bassline 1 ENV Attack | 0-255: val | 0 207 | CFh | Bassline 2 ENV Attack | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----208 | D0h | Bassline 1+2 ENV Decay | 0-255: val | 0 209 | D1h | Current Bassline ENV Decay | 0-255: val | 0 210 | D2h | Bassline 1 ENV Decay | 0-255: val | 0 211 | D3h | Bassline 2 ENV Decay | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----212 | D4h | Bassline 1+2 ENV Sustain | 0-255: val | 0 213 | D5h | Current Bassline ENV Sustain | 0-255: val | 0 214 | D6h | Bassline 1 ENV Sustain | 0-255: val | 0 215 | D7h | Bassline 2 ENV Sustain | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----216 | D8h | Bassline 1+2 ENV Release | 0-255: val | 0 217 | D9h | Current Bassline ENV Release | 0-255: val | 0 218 | DAh | Bassline 1 ENV Release | 0-255: val | 0 219 | DBh | Bassline 2 ENV Release | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----220 | DCh | Bassline 1+2 ENV Curve | 0-255: val | 0 221 | DDh | Current Bassline ENV Curve | 0-255: val | 0 222 | DEh | Bassline 1 ENV Curve | 0-255: val | 0 223 | DFh | Bassline 2 ENV Curve | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+-----224 | E0h | Bassline 1+2 ENV Decay Accented | 0-255: val | 0 225 | E1h | Current Bassline ENV Decay Accented | 0-255: val | 0 226 | E2h | Bassline 1 ENV Decay Accented | 0-255: val | 0 227 | E3h | Bassline 2 ENV Decay Accented | 0-255: val | 0 -----+-----+----------------------------------------------+-------------+------

Parameter Chart of MIDIbox SID V2 --- Drum Engine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Dec | Hex | Description | Range | Reset =====+=====+==============================================+=============+======

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1 | 01h | Volume (00h-7Fh) | 0-127: val | 127 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----4 | 04h | Filter CutOff frequency | 0-4096: val | 2048 5 | 05h | Filter Resonance | 0-256: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----8 | 08h | Knob #1 Value | 0-256: val | 128 9 | 09h | Knob #2 Value | 0-256: val | 128 10 | 0Ah | Knob #3 Value | 0-256: val | 128 11 | 0Bh | Knob #4 Value | 0-256: val | 128 12 | 0Ch | Knob #5 Value | 0-256: val | 128 13 | 0Dh | Knob #V Value | 0-256: val | 128 14 | 0Eh | Knob #P Value | 0-256: val | 128 15 | 0Fh | Knob #A Value | 0-256: val | 128 -----+-----+----------------------------------------------+-------------+-----16 | 10h | Ext AOUT #1 Value | 0-256: val | 128 17 | 11h | Ext AOUT #2 Value | 0-256: val | 128 18 | 12h | Ext AOUT #3 Value | 0-256: val | 128 19 | 13h | Ext AOUT #4 Value | 0-256: val | 128 20 | 14h | Ext AOUT #5 Value | 0-256: val | 128 21 | 15h | Ext AOUT #6 Value | 0-256: val | 128 22 | 16h | Ext AOUT #7 Value | 0-256: val | 128 23 | 17h | Ext AOUT #8 Value | 0-256: val | 128 -----+-----+----------------------------------------------+-------------+-----24 | 18h | Ext Switch #1 Value | 0-1: val | 0 25 | 19h | Ext Switch #2 Value | 0-1: val | 0 26 | 1Ah | Ext Switch #3 Value | 0-1: val | 0 27 | 1Bh | Ext Switch #4 Value | 0-1: val | 0 28 | 1Ch | Ext Switch #5 Value | 0-1: val | 0 29 | 1Dh | Ext Switch #6 Value | 0-1: val | 0 30 | 1Eh | Ext Switch #7 Value | 0-1: val | 0 31 | 1Fh | Ext Switch #8 Value | 0-1: val | 0 -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----32 | 20h | Drum Model of current Instrument | 0-xx: val | 33 | 21h | Attack Rate of current Instrument | 0-15: val | 34 | 22h | Decay Rate of current Instrument | 0-15: val | 35 | 23h | Sustain Level of current Instrument | 0-15: val | 36 | 24h | Release Rate of current Instrument | 0-15: val | 37 | 25h | Tuning of current Instrument | 0-127: neg | | | | 128: mid | | | |129-255: pos | 38 | 26h | Gatelength of current Instrument | 0-127: neg | | | | 128: mid | | | |129-255: pos | 39 | 27h | WT Speed of current Instrument | 0-127: neg | | | | 128: mid | | | |129-255: pos | 40 | 28h | Parameter #3 of current Instrument | 0-127: neg | | | | 128: mid | | | |129-255: pos | -----+-----+----------------------------------------------+-------------+----------+-----+----------------------------------------------+-------------+-----48 | 30h | Drum Model of Instrument #1 | 0-xx: val | 49 | 31h | Drum Model of Instrument #2 | | 50 | 32h | Drum Model of Instrument #3 | | 51 | 33h | Drum Model of Instrument #4 | | 52 | 34h | Drum Model of Instrument #5 | | 53 | 35h | Drum Model of Instrument #6 | |

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54 | 36h | Drum Model of Instrument #7 | | 55 | 37h | Drum Model of Instrument #8 | | 56 | 38h | Drum Model of Instrument #9 | | 57 | 39h | Drum Model of Instrument #10 | | 58 | 3Ah | Drum Model of Instrument #11 | | 59 | 3Bh | Drum Model of Instrument #12 | | 60 | 3Ch | Drum Model of Instrument #13 | | 61 | 3Dh | Drum Model of Instrument #14 | | 62 | 3Eh | Drum Model of Instrument #15 | | 63 | 3Fh | Drum Model of Instrument #16 | | -----+-----+----------------------------------------------+-------------+-----64 | 40h | Attack Rate of Instrument #1 | 0-15: val | 65 | 41h | Attack Rate of Instrument #2 | | 66 | 42h | Attack Rate of Instrument #3 | | 67 | 43h | Attack Rate of Instrument #4 | | 68 | 44h | Attack Rate of Instrument #5 | | 69 | 45h | Attack Rate of Instrument #6 | | 70 | 46h | Attack Rate of Instrument #7 | | 71 | 47h | Attack Rate of Instrument #8 | | 72 | 48h | Attack Rate of Instrument #9 | | 73 | 49h | Attack Rate of Instrument #10 | | 74 | 4Ah | Attack Rate of Instrument #11 | | 75 | 4Bh | Attack Rate of Instrument #12 | | 76 | 4Ch | Attack Rate of Instrument #13 | | 77 | 4Dh | Attack Rate of Instrument #14 | | 78 | 4Eh | Attack Rate of Instrument #15 | | 79 | 4Fh | Attack Rate of Instrument #16 | | -----+-----+----------------------------------------------+-------------+-----80 | 50h | Decay Rate of Instrument #1 | 0-15: val | 81 | 51h | Decay Rate of Instrument #2 | | 82 | 52h | Decay Rate of Instrument #3 | | 83 | 53h | Decay Rate of Instrument #4 | | 84 | 54h | Decay Rate of Instrument #5 | | 85 | 55h | Decay Rate of Instrument #6 | | 86 | 56h | Decay Rate of Instrument #7 | | 87 | 57h | Decay Rate of Instrument #8 | | 88 | 58h | Decay Rate of Instrument #9 | | 89 | 59h | Decay Rate of Instrument #10 | | 90 | 5Ah | Decay Rate of Instrument #11 | | 91 | 5Bh | Decay Rate of Instrument #12 | | 92 | 5Ch | Decay Rate of Instrument #13 | | 93 | 5Dh | Decay Rate of Instrument #14 | | 94 | 5Eh | Decay Rate of Instrument #15 | | 95 | 5Fh | Decay Rate of Instrument #16 | | -----+-----+----------------------------------------------+-------------+-----96 | 60h | Sustain Level of Instrument #1 | 0-15: val | 97 | 61h | Sustain Level of Instrument #2 | | 98 | 62h | Sustain Level of Instrument #3 | | 99 | 63h | Sustain Level of Instrument #4 | | 100 | 64h | Sustain Level of Instrument #5 | | 101 | 65h | Sustain Level of Instrument #6 | | 102 | 66h | Sustain Level of Instrument #7 | | 103 | 67h | Sustain Level of Instrument #8 | | 104 | 68h | Sustain Level of Instrument #9 | | 105 | 69h | Sustain Level of Instrument #10 | | 106 | 6Ah | Sustain Level of Instrument #11 | | 107 | 6Bh | Sustain Level of Instrument #12 | | 108 | 6Ch | Sustain Level of Instrument #13 | | 109 | 6Dh | Sustain Level of Instrument #14 | | 110 | 6Eh | Sustain Level of Instrument #15 | |

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111 | 6Fh | Sustain Level of Instrument #16 | | -----+-----+----------------------------------------------+-------------+-----112 | 70h | Release Rate of Instrument #1 | 0-15: val | 113 | 71h | Release Rate of Instrument #2 | | 114 | 72h | Release Rate of Instrument #3 | | 115 | 73h | Release Rate of Instrument #4 | | 116 | 74h | Release Rate of Instrument #5 | | 117 | 75h | Release Rate of Instrument #6 | | 118 | 76h | Release Rate of Instrument #7 | | 119 | 77h | Release Rate of Instrument #8 | | 120 | 78h | Release Rate of Instrument #9 | | 121 | 79h | Release Rate of Instrument #10 | | 122 | 7Ah | Release Rate of Instrument #11 | | 123 | 7Bh | Release Rate of Instrument #12 | | 124 | 7Ch | Release Rate of Instrument #13 | | 125 | 7Dh | Release Rate of Instrument #14 | | 126 | 7Eh | Release Rate of Instrument #15 | | 127 | 7Fh | Release Rate of Instrument #16 | | -----+-----+----------------------------------------------+-------------+-----128 | 80h | Tuning of Instrument #1 | 0-127: neg | | | | 128: mid | | | |129-255: pos | 129 | 81h | Tuning of Instrument #2 | | 130 | 82h | Tuning of Instrument #3 | | 131 | 83h | Tuning of Instrument #4 | | 132 | 84h | Tuning of Instrument #5 | | 133 | 85h | Tuning of Instrument #6 | | 134 | 86h | Tuning of Instrument #7 | | 135 | 87h | Tuning of Instrument #8 | | 136 | 88h | Tuning of Instrument #9 | | 137 | 89h | Tuning of Instrument #10 | | 138 | 8Ah | Tuning of Instrument #11 | | 139 | 8Bh | Tuning of Instrument #12 | | 140 | 8Ch | Tuning of Instrument #13 | | 141 | 8Dh | Tuning of Instrument #14 | | 142 | 8Eh | Tuning of Instrument #15 | | 143 | 8Fh | Tuning of Instrument #16 | | -----+-----+----------------------------------------------+-------------+-----144 | 90h | Gatelength of Instrument #1 | 0-127: neg | | | | 128: mid | | | |129-255: pos | 145 | 91h | Gatelength of Instrument #2 | | 146 | 92h | Gatelength of Instrument #3 | | 147 | 93h | Gatelength of Instrument #4 | | 148 | 94h | Gatelength of Instrument #5 | | 149 | 95h | Gatelength of Instrument #6 | | 150 | 96h | Gatelength of Instrument #7 | | 151 | 97h | Gatelength of Instrument #8 | | 152 | 98h | Gatelength of Instrument #9 | | 153 | 99h | Gatelength of Instrument #10 | | 154 | 9Ah | Gatelength of Instrument #11 | | 155 | 9Bh | Gatelength of Instrument #12 | | 156 | 9Ch | Gatelength of Instrument #13 | | 157 | 9Dh | Gatelength of Instrument #14 | | 158 | 9Eh | Gatelength of Instrument #15 | | 159 | 9Fh | Gatelength of Instrument #16 | | -----+-----+----------------------------------------------+-------------+-----160 | A0h | WT Speed of Instrument #1 | 0-127: neg | | | | 128: mid | | | |129-255: pos |

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161 | A1h | WT Speed of Instrument #2 | | 162 | A2h | WT Speed of Instrument #3 | | 163 | A3h | WT Speed of Instrument #4 | | 164 | A4h | WT Speed of Instrument #5 | | 165 | A5h | WT Speed of Instrument #6 | | 166 | A6h | WT Speed of Instrument #7 | | 167 | A7h | WT Speed of Instrument #8 | | 168 | A8h | WT Speed of Instrument #9 | | 169 | A9h | WT Speed of Instrument #10 | | 170 | AAh | WT Speed of Instrument #11 | | 171 | ABh | WT Speed of Instrument #12 | | 172 | ACh | WT Speed of Instrument #13 | | 173 | ADh | WT Speed of Instrument #14 | | 174 | AEh | WT Speed of Instrument #15 | | 175 | AFh | WT Speed of Instrument #16 | | -----+-----+----------------------------------------------+-------------+-----176 | B0h | Parameter #3 of Instrument #1 | 0-127: neg | | | | 128: mid | | | |129-255: pos | 177 | B1h | Parameter #3 of Instrument #2 | | 178 | B2h | Parameter #3 of Instrument #3 | | 179 | B3h | Parameter #3 of Instrument #4 | | 180 | B4h | Parameter #3 of Instrument #5 | | 181 | B5h | Parameter #3 of Instrument #6 | | 182 | B6h | Parameter #3 of Instrument #7 | | 183 | B7h | Parameter #3 of Instrument #8 | | 184 | B8h | Parameter #3 of Instrument #9 | | 185 | B9h | Parameter #3 of Instrument #10 | | 186 | BAh | Parameter #3 of Instrument #11 | | 187 | BBh | Parameter #3 of Instrument #12 | | 188 | BCh | Parameter #3 of Instrument #13 | | 189 | BDh | Parameter #3 of Instrument #14 | | 190 | BEh | Parameter #3 of Instrument #15 | | 191 | BFh | Parameter #3 of Instrument #16 | | -----+-----+----------------------------------------------+-------------+-----(c) Thorsten.Klose@midibox.org

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WebSVN - svn.mios - Rev 681 - /trunk/apps/synthesizers/midibox_sid_v2/doc/mbsidv2_cc_chart.txt

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Compare with Previous | $Id: mbsidv2_cc_chart.txt 681 2009-02-07 23:14:14Z tk $ CC Implementation ~~~~~~~~~~~~~~~~~ Up to 256 parameters are accessible via NRPNs as listed in mbsidv2_parameter_chart.txt All parameters are accessible via SysEx as listed in mbsidv2_sysex_implementation.txt The CC implementation covers the most important parameters at 7bit resolution, so that they can be easily accessed from a DAW or a common MIDI controller. CC changes are non-destructive and won't affect the edit buffer. This isn't a bug, but a feature! Means: your edits on the Control Surface won't be overwritten by incoming CCs, but as an effect they won't be displayed on the LCD, and you won't be able to store changes made via CC as a new patch. Each Engine has an own set of parameters! Blame | View Log

CC Chart of MIDIbox SID V2 --- Lead Engine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CC # | Hex | Description | Range | =====+=====+==============================================+=============+ 0 | 00h | Bank change | 0-7: bank | -----+-----+----------------------------------------------+-------------+ 1 | 01h | Knob #1 (Assignable Parameters) | 0-127: val | -----+-----+----------------------------------------------+-------------+ 2 | 02h | Oscillator Phase Offset | 0-127: val | 3 | 03h | Oscillator Detune | 0-127: val | -----+-----+----------------------------------------------+-------------+ 4 | 04h | Filter CutOff Frequency | 0-127: val | 5 | 05h | Filter Resonance | 0-127: val | -----+-----+----------------------------------------------+-------------+ 6 | 06h | NRPN MSB Value | 0-127: val | -----+-----+----------------------------------------------+-------------+ 7 | 07h | Volume (00h-7Fh) | 0-127: val | -----+-----+----------------------------------------------+-------------+ 8 | 08h | Filter Channels | | | | Bit 0: Filter for Voice 1 on/off | | | | Bit 1: Filter for Voice 2 on/off | | | | Bit 2: Filter for Voice 3 on/off | | | | Bit 3: Filter for Audio In on/off | | 9 | 09h | Filter Mode | | | | Bit 0: LowPass on/off | | | | Bit 1: BandPass on/off | | | | Bit 2: HighPass on/off | |

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| | Bit 3: Voice 3 off | | -----+-----+----------------------------------------------+-------------+ 16 | 10h | Knob #2 (Assignable Parameters) | 0-127: val | 17 | 11h | Knob #3 (Assignable Parameters) | 0-127: val | 18 | 12h | Knob #4 (Assignable Parameters) | 0-127: val | 19 | 13h | Knob #5 (Assignable Parameters) | 0-127: val | -----+-----+----------------------------------------------+-------------+ 20 | 14h | Voice 1/2/3 Waveform | 0-15: val | | | Bit 0: Triangle | | | | Bit 1: Saw | | | | Bit 2: Pulse | | | | Bit 3: Noise (disables all other waveforms)| | | | Bit 4: Disable Voice | | | | Bit 5: Sync | | | | Bit 6: Ringmodulator | | | | Example: 02h = 2 = Saw | | | | Example: 05h = 5 = Triangle & Pulse | | | | Example: 21h = 33 = Triangle & Sync | | 21 | 15h | Voice 1 Waveform | | 22 | 16h | Voice 2 Waveform | | 23 | 17h | Voice 3 Waveform | | -----+-----+----------------------------------------------+-------------+ 24 | 18h | Voice 1/2/3 Transpose | 0- 63: neg | | | | 64: off | | | | 64-127: pos | 25 | 19h | Voice 1 Single Transpose | see above | 26 | 1Ah | Voice 2 Single Transpose | see above | 27 | 1Bh | Voice 3 Single Transpose | see above | -----+-----+----------------------------------------------+-------------+ 28 | 1Ch | Voice 1/2/3 Finetune | 0- 64: neg | | | | 64: off | | | | 64-127: pos | 29 | 1Dh | Voice 1 Single Finetune | see above | 30 | 1Eh | Voice 2 Single Finetune | see above | 31 | 1Fh | Voice 3 Single Finetune | see above | -----+-----+----------------------------------------------+-------------+ 32 | 20h | Voice 1/2/3 Portamento Rate | 0: off | | | | 1-127: val | 33 | 21h | Voice 1 Portamento Rate | see above | 34 | 22h | Voice 2 Portamento Rate | see above | 35 | 23h | Voice 3 Portamento Rate | see above | -----+-----+----------------------------------------------+-------------+ 36 | 24h | Voice 1/2/3 Arp Speed | 0- 63: val | 37 | 25h | Voice 1/2/3 Arp Gatelength | 0- 31: val | -----+-----+----------------------------------------------+-------------+ 38 | 26h | NRPN LSB Value | 0-127: val | -----+-----+----------------------------------------------+-------------+ 42 | 2Ah | Envelope 1 Depth | 0-127: val | 43 | 2Bh | Envelope 1 Attack 1 | 0-127: val | 44 | 2Ch | Envelope 1 Decay 2 | 0-127: val | 45 | 2Dh | Envelope 1 Sustain | 0-127: val | 46 | 2Eh | Envelope 1 Release 1 | 0-127: val | -----+-----+----------------------------------------------+-------------+ 47 | 2Fh | Envelope 2 Depth | 0-127: val | 48 | 30h | Envelope 2 Attack 1 | 0-127: val | 49 | 31h | Envelope 2 Decay 2 | 0-127: val | 50 | 32h | Envelope 2 Sustain | 0-127: val | 51 | 33h | Envelope 2 Release 1 | 0-127: val | -----+-----+----------------------------------------------+-------------+ 52 | 34h | LFO1 Depth | 0- 63: neg |

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| | negative depth (0-63) inverts the waveform | 64: off | | | | 65-127: pos | 53 | 35h | LFO2 Depth | see above | 54 | 36h | LFO3 Depth | see above | 55 | 37h | LFO4 Depth | see above | 56 | 38h | LFO5 Depth | see above | 57 | 39h | LFO6 Depth | see above | -----+-----+----------------------------------------------+-------------+ 58 | 3Ah | LFO1 Rate | 0: off | | | | 1-127: val | 59 | 3Bh | LFO2 Rate | see above | 60 | 3Ch | LFO3 Rate | see above | 61 | 3Dh | LFO4 Rate | see above | 62 | 3Eh | LFO5 Rate | see above | 63 | 3Fh | LFO6 Rate | see above | -----+-----+----------------------------------------------+-------------+ 64 | 40h | Sustain On/Off | 0- 63: off | | | | 64-127: on | -----+-----+----------------------------------------------+-------------+ 68 | 44h | Voice 1/2/3 Pulsewidth | 0- 63: neg | | | | 64: mid | | | | 64-127: pos | 69 | 45h | Voice 1 Pulsewidth | see above | 70 | 46h | Voice 2 Pulsewidth | see above | 71 | 47h | Voice 3 Pulsewidth | see above | -----+-----+----------------------------------------------+-------------+ 72 | 48h | Voice 1/2/3 VCA Attack | 0- 15: val | 73 | 49h | Voice 1 Single VCA Attack | 0- 15: val | 74 | 4Ah | Voice 2 Single VCA Attack | 0- 15: val | 75 | 4Bh | Voice 3 Single VCA Attack | 0- 15: val | -----+-----+----------------------------------------------+-------------+ 76 | 4Ch | Voice 1/2/3 VCA Decay | 0- 15: val | 77 | 4Dh | Voice 1 Single VCA Decay | 0- 15: val | 78 | 4Eh | Voice 2 Single VCA Decay | 0- 15: val | 79 | 4Fh | Voice 3 Single VCA Decay | 0- 15: val | -----+-----+----------------------------------------------+-------------+ 80 | 50h | Voice 1/2/3 VCA Sustain | 0- 15: val | 81 | 51h | Voice 1 Single VCA Sustain | 0- 15: val | 82 | 52h | Voice 2 Single VCA Sustain | 0- 15: val | 83 | 53h | Voice 3 Single VCA Sustain | 0- 15: val | -----+-----+----------------------------------------------+-------------+ 84 | 54h | Voice 1/2/3 VCA Release | 0- 15: val | 85 | 55h | Voice 1 VCA Release | 0- 15: val | 86 | 56h | Voice 2 VCA Release | 0- 15: val | 87 | 57h | Voice 3 VCA Release | 0- 15: val | -----+-----+----------------------------------------------+-------------+ 90 | 5Ah | MOD1 Depth | 0- 63: neg | | | negative depth (0-127) inverts the waveform | 64: off | | | | 65-127: pos | 91 | 5Bh | MOD2 Depth | see above | 92 | 5Ch | MOD3 Depth | see above | 93 | 5Dh | MOD4 Depth | see above | 94 | 5Eh | MOD5 Depth | see above | 95 | 5Fh | MOD6 Depth | see above | 96 | 60h | MOD7 Depth | see above | 97 | 61h | MOD8 Depth | see above | -----+-----+----------------------------------------------+-------------+ 98 | 62h | NRPN LSB | 0-127: val | 99 | 63h | NRPN MSB | 0-127: val | -----+-----+----------------------------------------------+-------------+

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CC Chart of MIDIbox SID V2 --- Bassline Engine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ additional CCs not implemented yet

CC Chart of MIDIbox SID V2 --- Drum Engine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ additional CCs not implemented yet

CC Chart of MIDIbox SID V2 --- Multi Engine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ additional CCs not implemented yet

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WebSVN - svn.mios - Rev 736 - /trunk/apps/synthesizers/midibox_sid_v2/doc/mbsidv2_sysex_implementation.txt

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Compare with Previous | Blame | View Log $Id: mbsidv2_sysex_implementation.txt 736 2009-02-26 22:20:10Z tk $ MIDIbox SID V2 SysEx Implementation =================================== Implemented SysEx Commands ~~~~~~~~~~~~~~~~~~~~~~~~~~ 01/a) F0 00 00 7E 4B <device-number> 01 00 <bank> <patch> F7 Request a dump of <patch> in <bank> 01/b) F0 00 00 7E 4B <device-number> 01 08 00 00 F7 Request the current patch edit buffer (direct read from RAM) 01/c) F0 00 00 7E 4B <device-number> 01 70 00 <ensemble> F7 Request a dump of <ensemble> 01/d) F0 00 00 7E 4B <device-number> 01 78 00 <ensemble> F7 Request the current ensemble edit buffer (direct read from RAM) The locations of unavailable SID slaves will be read from EEPROM/BankStick, therefore the "default" <ensemble> number has to be specified as well.

02/a) F0 00 00 7E 4B <device-number> 02 00 <bank> <patch> <1024 bytes of dump data> <checksum> F7 Write a dump to <patch> in <bank> Checksum is 2s complement over the 1024 bytes dump The actual patch size is only 512 bytes - the 8bit values are divided into low- and high-nibble (low-nibble is sent first), therefore 1024 bytes have to be sent 02/b) F0 00 00 7E 4B <device-number> 02 08 00 00 <1024 bytes of dump data> <checksum> F7 Write a patch dump into edit buffer (direct write into RAM) 02/c) F0 00 00 7E 4B <device-number> 02 70 00 <ensemble> <512 bytes of dump data> <checksum> F7 Write a dump to <ensemble> Checksum is 2s complement over the 512 bytes dump The actual ensemble size is only 256 bytes - the 8bit values are divided into low- and high-nibble (low-nibble is sent first), therefore 512 bytes have to be sent 02/b) F0 00 00 7E 4B <device-number> 02 78 00 00 <512 bytes of dump data> <checksum> F7 Write an ensemble dump into edit buffer (direct write into RAM)

03/a) F0 00 00 7E 4B <device-number> 03 00 <bank> F7 Request a dump of the whole patch <bank> (128 patches) Only 64 patches are sent when a 32k BankStick is accessed 03/b) F0 00 00 7E 4B <device-number> 03 70 00 F7

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Request a dump of all ensembles (128 ensembles)

06/a) F0 00 00 7E 4B <device-number> 06 <WOPT> <AH> <AL> <value_l> <value_h> F7 Direct Write of parameter into patch buffer (<AH> = 0..3, <AL> = 0..7F) Patch address: (<AH> << 7) | <AL> <WOPT>: options to speed up communication with editor, behaviour depends on engine See topic "Direct Write Options" at the end of this document 06/b) F0 00 00 7E 4B <device-number> 06 70 <AH> <AL> <value_l> <value_h> F7 Direct Write of parameter into ensemble buffer (<AH> = 0..1, <AL> = 0..7F) Ensemble address: (<AH> << 7) | <AL>

0C/a) F0 00 00 7E 4B <device-number> 0C 00 <sids> F7 This command is only available for the SID master core. A SID slave core will respond with "invalid command" Selects the SID cores with a binary mask, to which the upcoming SysEx commands should be forwarded. Examples: <sids> == 0x01: SID1 <sids> == 0x02: SID2 <sids> == 0x04: SID3 <sids> == 0x08: SID4 <sids> == 0x0f: SID1+SID2+SID3+SID4 <sids> == 0x05: SID1+SID3 etc. With <sids> == 0x00, SID1 will be selected (like 0x01) By checking the acknowledge response message, it is possible to determine which cores are connected to the master core. 0C/b) F0 00 00 7E 4B <device-number> 0C 08 F7 All notes/sequences off 0C/c) F0 00 00 7E 4B <device-number> 0C 09 [<ins>] F7 Plays the current patch (C-3 with max velocity is played, can be used to test the patch independent of the MIDI channel) <ins> is an optional parameter, the effect depends on the selected engine: - Lead Engine: no effect - Bassline Engine: 0: play both basslines 1: play left bassline 2: play right bassline Note: for proper handling of <ins>, separate keyboard zones for both basslines are currently required - this is no bug, but just an imperfection (I was too lazy to overwork SID_PATCH_NotesOn yet) - Drum Engine: if no sequence selected: <ins> selects the instrument which should be played If sequence selected: no effect (sequence plays all tracks) - Multi Engine: <ins> == 0..5 selects the instrument which should be played Note: for proper handling of <ins>, separate keyboard zones or MIDI channels for multi instruments are currently required - this is no bug, but just an imperfection (I was too lazy to overwork SID_PATCH_NotesOn yet) 0F/a) F0 00 00 7E 4B <device number> 0F F7 Ping (just sends back the same SysEx string + <sids>)

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Response Messages ~~~~~~~~~~~~~~~~~ Acknowledge: F0 00 00 7E 4B <device> 0F <sids> F7 Master SID (Device ID 00) <sids>: contains flags for the SID cores which have processed the previous SysEx string successfully. Note that the destination SIDs can be selected with ...0C 00 <sids>... If SID cores are not available, or have been disconnected during runtime, the appr. flags in the acknowledge response are automatically cleared to notify about this Slave SID (Device ID 01, 02, 03) <sids> is always 00

DisAcknowledge (Error) F0 00 00 7E 4B <device> 0E <error-code> F7 <error-code>: 01 == received less bytes then expected 03 == wrong checksum 0a == bankstick or patch/drumset/ensemble not available 0b == parameter not available 0c == invalid command 10 == RAM access not supported 11 == BankStick too small (only 32k BS connected, patch number >= 64)

Patch Structure --- Address 0x000-0x04f is identical for all Engines ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Addr | Parameter ======+========================================================================== 0x000 | Patch Name (16 ASCII characters) ... | 0x00f | ------+-------------------------------------------------------------------------0x010 | [1:0] Engine: 0=Lead, 1=Bassline, 2=Drum, 3=Multi | [7:2] reserved ------+-------------------------------------------------------------------------0x011 | Hardware Info Flags, not used yet but reserved for evtl. future functions | [1:0] 0=no SID restriction, 1=6581, 2=6582/8580, 3=SwinSID | [3] stereo | [7:4] caps: 0=470pF, 1=1nF, 2=2.2nF, 3=4.7nF, 4=6.8nF, | 5=10nF, 6=22nF, 7=47nF, 8=100nF ------+-------------------------------------------------------------------------0x012 | OPT1 Flags (global options) | [0] ABW (ADSR Bug Workaround) | [7:1] reserved ------+-------------------------------------------------------------------------0x013 | OPT2 Flags (global options) | [7:0] reserved ------+-------------------------------------------------------------------------0x014 | [7:0] External Switches on/off ------+--------------------------------------------------------------------------

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0x015 | reserved for future extensions 0x016 | reserved for future extensions 0x017 | reserved for future extensions ======+========================================================================== | Knob #1 (Modulation Wheel) 0x018 | [7:0] Parameter Assignment #1 0x019 | [7:0] Parameter Assignment #2 0x01a | [7:0] Initial Value 0x01b | [7:0] Min. Value 0x01c | [7:0] Max. Value ------+-------------------------------------------------------------------------0x01d | ... | Knob #2 (CC#17) (same Structure as for Knob #1) 0x021 | [7:0] Max. Value ------+-------------------------------------------------------------------------0x022 | ... | Knob #3 (CC#18) (same Structure as for Knob #1) 0x026 | ------+-------------------------------------------------------------------------0x027 | ... | Knob #4 (CC#19) (same Structure as for Knob #1) 0x029 | [7:0] Initial Value ------+-------------------------------------------------------------------------0x02c | ... | Knob #5 (CC#20) (same Structure as for Knob #1) 0x030 | ------+-------------------------------------------------------------------------0x031 | ... | Knob #V (Velocity) (same Structure as for Knob #1) 0x035 | ------+-------------------------------------------------------------------------0x036 | ... | Knob #P (Pitch Bender) (same Structure as for Knob #1) 0x03a | ------+-------------------------------------------------------------------------0x03b | ... | Knob #A (Aftertouch) (same Structure as for Knob #1) 0x03f | ======+========================================================================== 0x040 | [3:0] reserved | [7:4] Low nibble of 12bit External Parameter CV Channel #1 0x041 | [7:0] High byte of 12bit External Parameter CV Channel #1 ------+-------------------------------------------------------------------------0x042 | [3:0] reserved | [7:4] Low nibble of 12bit External Parameter CV Channel #1 0x043 | [7:0] High byte of 12bit External Parameter CV Channel #1 ------+-------------------------------------------------------------------------0x044 | [3:0] reserved | [7:4] Low nibble of 12bit External Parameter CV Channel #1 0x045 | [7:0] High byte of 12bit External Parameter CV Channel #1 ------+-------------------------------------------------------------------------0x046 | [3:0] reserved | [7:4] Low nibble of 12bit External Parameter CV Channel #1 0x047 | [7:0] High byte of 12bit External Parameter CV Channel #1 ------+-------------------------------------------------------------------------0x048 | [3:0] reserved | [7:4] Low nibble of 12bit External Parameter CV Channel #1 0x049 | [7:0] High byte of 12bit External Parameter CV Channel #1 ------+-------------------------------------------------------------------------0x04a | [3:0] reserved

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| [7:4] Low nibble of 12bit External Parameter CV Channel #1 0x04b | [7:0] High byte of 12bit External Parameter CV Channel #1 ------+-------------------------------------------------------------------------0x04c | [3:0] reserved | [7:4] Low nibble of 12bit External Parameter CV Channel #1 0x04d | [7:0] High byte of 12bit External Parameter CV Channel #1 ------+-------------------------------------------------------------------------0x04e | [3:0] reserved | [7:4] Low nibble of 12bit External Parameter CV Channel #1 0x04f | [7:0] High byte of 12bit External Parameter CV Channel #1 ======+========================================================================== 0x050 | ... | Engine Specific Parameters (see tables below) 0x053 | ======+========================================================================== | Filter of Left SID Channel 0x054 | [0] OSC1 routed through filter | [1] OSC2 routed through filter | [2] OSC3 routed through filter | [3] External Input routed through filter | [4] LP (Low Pass) | [5] BP (Band Pass) | [6] HP (High Pass) | [7] Oscillator 3 off 0x055 | [7:0] Low byte of 12bit CutOff Frequency 0x056 | [3:0] High nibble of 12bit CutOff Frequency | [6:4] reserved | [7] 1=FIP enabled (Filter Interpolation) 0x057 | [7:0] Resonance (0-255), SID uses only the 4 most significant bits 0x058 | [7:0] Key Tracking (0-255) 0x059 | [7:0] reserved ------+-------------------------------------------------------------------------| Filter of Right SID Channel 0x05a | ... | same structure as for Left SID Channel 0x05f | ======+==========================================================================

Patch Structure --- Voice (used by Lead/Bassline and Multi Engine) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Addr | Parameter ======+========================================================================== | Voice #1 Parameters 0x060 | [1:0] Portamento Mode: 0=portamento, 1=constant time glide, 2=glissando | [2] GAE (Gate Always Enabled) | [7:3] reserved 0x061 | [0] Triangle Waveform | [1] Saw Waveform | [2] Pulse Waveform | [3] Noise Waveform | [4] Disable Oscillator | [5] Sync | [6] Ringmodulation | [7] reserved 0x062 | [7:4] DCA Attack Rate | [3:0] DCA Decay Rate 0x063 | [7:4] DCA Sustain Level | [3:0] DCA Release Rate

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0x064 | [7:0] Pulsewidth Low byte 0x065 | [3:0] Pulsewidth High nibble | [7:4] reserved 0x066 | [7:0] Accent (0-255) (not relevant for Lead/Multi, only used by Bassline Engine) | [7:0] SwinSID Phase (only used by Lead, only relevant if SwinSID option enabled) 0x067 | [7:0] DCA Envelope Delay (0-255) 0x068 | [6:0] Transpose (-64..63) | [7] reserved 0x069 | [7:0] Finetune (-128..127) 0x06a | [6:0] Pitchrange (0..127) | [7] reserved 0x06b | [7:0] Portamento rate (0..255) 0x06c | Arp Mode | [0] 0=Arp disabled, 1=Arp enabled | [3:1] Direction: 0=up, 1=down, 2=Up&Down, 3=Down&Up, 4=Up&Down 2, 5=Down&Up 2, 6=random | [4] Sorted | [5] Hold | [6] Sync with keys | [7] CAC (Constant Arp Cycle) 0x06d | Arp Speed Divider | [5:0] Clock Divider (0..63) (derived from global clock) | [6] Easy Chord | [7] Oneshot 0x06e | Arp Gatelength and Range | [4:0] Gatelength (0..31) | [7:5] Octave range (0..7 = 1..8 octaves) 0x06f | SwinSID Mode | [3:0] Waveform of second oscillator | [4] enable second oscillator | [5] x2 Pitch | [6] reverse Waveform | [7] reserved ======+==========================================================================

Patch Structure --- Lead Engine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Addr | Parameter ======+========================================================================== 0x000 | .. | Global Parameters (see table above) 0x04f | ======+========================================================================== 0x050 | [0] 0=Mono, 1=Legato | [1] WTO (Wavetable Only) | [2] SusKey (Fingered Portamento) | [7:3] reserved ------+-------------------------------------------------------------------------0x051 | [7:0] Oscillators Detune (0-255) ------+-------------------------------------------------------------------------0x052 | [6:0] Volume (0-127, only most significant 4bits are used by SID) | [7] reserved ------+-------------------------------------------------------------------------0x053 | Oscillators Phase Offset (0-255) ======+========================================================================== 0x050 | ... | Filter Parameters (see table above) 0x05f | ======+==========================================================================

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0x060 | ... | Voice #1 (OSC1, Left Channel) Parameters (see table above) 0x06f | ------+-------------------------------------------------------------------------0x070 | ... | Voice #2 (OSC2, Left Channel) Parameters (see table above) 0x07f | ------+-------------------------------------------------------------------------0x080 | ... | Voice #3 (OSC3, Left Channel) Parameters (see table above) 0x08f | ------+-------------------------------------------------------------------------0x090 | ... | Voice #4 (OSC1, Right Channel) Parameters (see table above) 0x09f | ------+-------------------------------------------------------------------------0x0a0 | ... | Voice #5 (OSC2, Right Channel) Parameters (see table above) 0x0af | ------+-------------------------------------------------------------------------0x0b0 | ... | Voice #6 (OSC3, Right Channel) Parameters (see table above) 0x0bf | ======+========================================================================== | LFO1 0x0c0 | LFO Mode | [0] 0=LFO disabled, 1=LFO enabled | [1] Not used by Lead engine (MIDI Note Sync via trigger matrix) | [2] CSn: Synchronisation to global clock generator | [3] Oneshot | [7:4] Waveform: 0=Sine, 1=Triangle, 2=Saw, 3=Pulse, 4=Random, | 5=Pos.Sine, 6=Pos.Triangle, 7=Pos.Saw, 8=Pos.Pulse 0x0c1 | [7:0] LFO Depth (-128..127) 0x0c2 | [7:0] LFO Rate (0..255) | if CSn flag enabled: 245=64/1, 246=32/1, 247=16/1, 248=8/1, | 249=4/1, 250=2/1, 251=1/1, 252=1/2, 253=1/4, 254=1/8, 255=1/16 0x0c3 | [7:0] LFO Delay (0..255) 0x0c4 | [7:0] LFO Phase (0..255) ------+-------------------------------------------------------------------------0x0c5 | ... | LFO2 (same structure as for LFO1) 0x0c9 | ------+-------------------------------------------------------------------------0x0ca | ... | LFO3 (same structure as for LFO1) 0x0ce | ------+-------------------------------------------------------------------------0x0cf | ... | LFO4 (same structure as for LFO1) 0x0d3 | ------+-------------------------------------------------------------------------0x0d4 | ... | LFO5 (same structure as for LFO1) 0x0d8 | ------+-------------------------------------------------------------------------0x0d9 | ... | LFO6 (same structure as for LFO1) 0x0dd | ======+========================================================================== 0x0de | reserved for future extensions

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0x0df | reserved for future extensions ======+========================================================================== | ENV1 0x0e0 | Envelope Mode | [2:0] Loop Begin: 0=off, 1=Att1, 2=Att2, 3=Dec1, 4=Dec2, 5=Sus, 6=Rel1, 7=Rel2 | [3] reserved | [6:4] Loop End: 0=off, 1=Att1, 2=Att2, 3=Dec1, 4=Dec2, 5=Sus, 6=Rel1, 7=Rel2 | [7] Global Clock Synchronisation 0x0e1 | Envelope Depth (-128..127) 0x0e2 | Envelope Delay (0..255) 0x0e3 | Envelope Attack1 Rate (0..255) 0x0e4 | Envelope Attack Level (0..255) 0x0e5 | Envelope Attack2 Rate (0..255) 0x0e6 | Envelope Decay1 Rate (0..255) 0x0e7 | Envelope Decay Level (0..255) 0x0e8 | Envelope Decay2 Rate (0..255) 0x0e9 | Envelope Sustain Level (0..255) 0x0ea | Envelope Release1 Rate (0..255) 0x0eb | Envelope Release Level (0..255) 0x0ec | Envelope Release2 Rate (0..255) 0x0ed | Envelope Attack Curve (-128..127) 0x0ee | Envelope Decay Curve (-128..127) 0x0ef | Envelope Release Curve (-128..127) ------+-------------------------------------------------------------------------0x0f0 | ... | ENV2 (same structure as for ENV1) 0x0ff | ======+========================================================================== | MP1 (Modulation Path) 0x100 | Source #1: 0=off, 1=ENV1, 2=ENV2, 3=LFO1, 4=LFO2, 5=LFO3, 6=LFO4, 7=LFO5, | 8=LFO6, 9=MP1, 10=MP2, 11=MP3, 12=MP4, 13=MP5, 14=MP6, 15=MP7, 16=MP8, | 17=ModWheel, 18=Key, 19=Knob#1, 20=Knob#2, 21=Knob#3, 22=Knob#4, 23=Knob#5 | 24=Knob#V, 25=Knob#P, 26=Knob#A, 27=WT1, 28=WT2, 29=WT3, 30=WT4 | 31..127: reserved | 128-255: constant value 0..127 0x101 | Source #2 (same source numbers like above) 0x102 | Operator | [3:0] 0=off, 1=Source1, 2=Source2, 3=1+2, 4=1-2, 5=1*2, 6=XOR, | 7=OR, 8=AND, 9=MIN, 10=MAX, 11=1<2, 12=1>2, 13=1=2, 14=S&H, 15=reserved | [5:4] reserved | [6] invert target 1/L | [7] invert target 2/R 0x103 | Depth (-128..127) 0x104 | Direct Assignment to Target of Left Channel: | [0] OSC1 Pitch | [1] OSC2 Pitch | [2] OSC3 Pitch | [3] OSC1 Pulsewidth | [4] OSC2 Pulsewidth | [5] OSC3 Pulsewidth | [6] Filter CutOff | [7] Volume 0x105 | Direct Assignment to Target of Right Channel (same coding as above) 0x106 | Target #1: 0=off, 1=Pitch OSC1, 2=Pitch OSC2, 3=Pitch OSC3, 4=Pitch OSC4, | 5=Pitch OSC5, 6=Pitch OSC6, 7=PW OSC1, 8=PW OSC2, 9=PW OSC3, 10=PW OSC4, | 11=PW OSC5, 12=PW OSC6, 13=CutOff L, 14=CutOff R, 15=Volume L, 16=Volume R | 17=LFO1 Depth, 18=LFO2 Depth, 19=LFO3 Depth, 20=LFO4 Depth, 21=LFO5 Depth, | 22=LFO6 Depth, 23=LFO1 Rate, 24=LFO2 Rate, 25=LFO3 Rate, 26=LFO4 Rate, | 27=LFO5 Rate, 28=LFO6 Rate, 29=Ext1, 30=Ext2, 31=Ext3, 32=Ext4, 33=Ext5, | 34=Ext6, 35=Ext7, 36=Ext8, 37=WT1 Pos, 38=WT2 Pos, 39=WT3 Pos, 40=WT4 Pos

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0x107 | Target #2 (same target numbers like above) ------+-------------------------------------------------------------------------0x108 | ... | MP2 (same structure as for MP1) 0x10f | ------+-------------------------------------------------------------------------0x110 | ... | MP3 (same structure as for MP1) 0x117 | ------+-------------------------------------------------------------------------0x118 | ... | MP4 (same structure as for MP1) 0x11f | ------+-------------------------------------------------------------------------0x120 | ... | MP5 (same structure as for MP1) 0x127 | ------+-------------------------------------------------------------------------0x128 | ... | MP6 (same structure as for MP1) 0x12f | ------+-------------------------------------------------------------------------0x130 | ... | MP7 (same structure as for MP1) 0x137 | ------+-------------------------------------------------------------------------0x138 | ... | MP8 (same structure as for MP1) 0x13f | ======+========================================================================== | Trigger Matrix Node: Note On 0x140 | [0] OSC1 Left Channel | [1] OSC2 Left Channel | [2] OSC3 Left Channel | [3] OSC1 Right Channel | [4] OSC2 Right Channel | [5] OSC3 Right Channel | [6] ENV1 Attack | [7] ENV2 Attack 0x141 | [0] ENV1 Release | [1] ENV2 Release | [2] LFO1 Reset | [3] LFO2 Reset | [4] LFO3 Reset | [5] LFO4 Reset | [6] LFO5 Reset | [7] LFO6 Reset 0x142 | [0] WT1 Reset | [1] WT2 Reset | [2] WT3 Reset | [3] WT4 Reset | [4] WT1 Step | [5] WT2 Step | [6] WT3 Step | [7] WT4 Step ------+-------------------------------------------------------------------------0x143 | ... | Trigger Matrix Node: Note Off (same structure as for Note On) 0x145 | ------+--------------------------------------------------------------------------

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0x146 | ... | Trigger Matrix Node: ENV1 Sustain Phase (same structure as for Note On) 0x148 | ------+-------------------------------------------------------------------------0x149 | ... | Trigger Matrix Node: ENV2 Sustain Phase (same structure as for Note On) 0x14b | ------+-------------------------------------------------------------------------0x14c | ... | Trigger Matrix Node: LFO1 Period (same structure as for Note On) 0x14e | ------+-------------------------------------------------------------------------0x14f | ... | Trigger Matrix Node: LFO2 Period (same structure as for Note On) 0x151 | ------+-------------------------------------------------------------------------0x152 | ... | Trigger Matrix Node: LFO3 Period (same structure as for Note On) 0x154 | ------+-------------------------------------------------------------------------0x155 | ... | Trigger Matrix Node: LFO4 Period (same structure as for Note On) 0x157 | ------+-------------------------------------------------------------------------0x158 | ... | Trigger Matrix Node: LFO5 Period (same structure as for Note On) 0x15a | ------+-------------------------------------------------------------------------0x15b | ... | Trigger Matrix Node: LFO6 Period (same structure as for Note On) 0x15d | ------+-------------------------------------------------------------------------0x15e | ... | Trigger Matrix Node: Global Clock (same structure as for Note On) 0x160 | ------+-------------------------------------------------------------------------0x161 | ... | Trigger Matrix Node: Global Clock / 6 (same structure as for Note On) 0x163 | ------+-------------------------------------------------------------------------0x164 | ... | Trigger Matrix Node: Global Clock / 24 (same structure as for Note On) 0x166 | ------+-------------------------------------------------------------------------0x167 | ... | Trigger Matrix Node: MIDI Clock Start (same structure as for Note On) 0x169 | ======+========================================================================== 0x16a | reserved for future extensions 0x16b | reserved for future extensions ------+-------------------------------------------------------------------------| Wavetable Sequencer #1 0x16c | [5:0] Clock Divider (0..63) | [6] parameter forwarded to left channel | [7] parameter forwarded to right channel 0x16d | [7:0] parameter assignment (0..255) 0x16e | [6:0] start position in wavetable | [7] position controlled by modulation path 0x16f | [6:0] end position in wavetable | [7] reserved

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0x170 | [6:0] loop position in wavetable | [7] Oneshot ------+-------------------------------------------------------------------------0x171 | ... | Wavetable Sequencer #2 (same structure as for Wavetable #1) 0x175 | ------+-------------------------------------------------------------------------0x176 | ... | Wavetable Sequencer #3 (same structure as for Wavetable #1) 0x17a | ------+-------------------------------------------------------------------------0x17b | ... | Wavetable Sequencer #4 (same structure as for Wavetable #1) 0x17f | ======+========================================================================== 0x180 | ... | Wavetable Value Storage ... | Values 0x00..0x7f: relative change -64..63 ... | Values 0x80..0xff: absolute value 0..127 0x1ff | ======+==========================================================================

Patch Structure --- Bassline Engine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Addr | Parameter ======+========================================================================== 0x000 | .. | Global Parameters (see table above) 0x04f | ======+========================================================================== 0x050 | reserved for future extensions 0x051 | reserved for future extensions ------+-------------------------------------------------------------------------0x052 | [6:0] Volume (0-127, only most significant 4bits are used by SID) | [7] reserved ------+-------------------------------------------------------------------------0x053 | reserved for future extensions ======+========================================================================== 0x054 | ... | Filter Parameters (see table above) 0x05f | ======+========================================================================== 0x060 | \ ... | >- Lower Voice Structure of Left Channel Bassline (see table above) 0x06f | / ------+-------------------------------------------------------------------------0x070 | [0] 0=Mono, 1=Legato | [1] 0=MIDI Note playing, 1=Sequencer mode | [2] SysKey (Fingered Portamento) | [3] Oscillator Phase Synchronisation | [7:4] reserved 0x071 | reserved for future extensions 0x072 | reserved for future extensions 0x073 | reserved for future extensions ------+-------------------------------------------------------------------------| LFO1 Parameters 0x074 | LFO Mode

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| [0] 0=LFO disabled, 1=LFO enabled | [1] Sync: Synchronisation to MIDI Note | [2] CSn: Synchronisation to global clock generator | [3] Oneshot | [7:4] Waveform: 0=Sine, 1=Triangle, 2=Saw, 3=Pulse, 4=Random, | 5=Pos.Sine, 6=Pos.Triangle, 7=Pos.Saw, 8=Pos.Pulse 0x075 | [7:0] LFO Depth Pitch (-128..127) 0x076 | [7:0] LFO Rate (0..255) | if CSn flag enabled: 245=64/1, 246=32/1, 247=16/1, 248=8/1, | 249=4/1, 250=2/1, 251=1/1, 252=1/2, 253=1/4, 254=1/8, 255=1/16 0x077 | [7:0] LFO Delay (0..255) 0x078 | [7:0] LFO Phase (0..255) 0x079 | [7:0] LFO Depth Pulsewidth (-128..127) 0x07a | [7:0] LFO Depth Filter CutOff (-128..127) ------+-------------------------------------------------------------------------0x07b | ... | LFO2 Parameters (same structure as for LFO1) 0x081 | ------+-------------------------------------------------------------------------| Envelope 0x082 | [3:0] reserved | [4] Curve assigned to Attack Rate | [5] Curve assigned to Decay Rate | [6] Curve assigned to Sustain Rate | [7] Global Clock Synchronisation 0x083 | Envelope Depth Pitch (-128..127) 0x084 | Envelope Depth Pulsewidth (-128..127) 0x085 | Envelope Depth Filter CutOff (-128..127) 0x086 | Envelope Attack Rate (0..255) 0x087 | Envelope Decay Rate (0..255) 0x088 | Envelope Sustain Level (0..255) 0x089 | Envelope Release Rate (0..255) 0x08a | Envelope Curve (-128..127) ------+-------------------------------------------------------------------------| Sequencer 0x08b | [5:0] Clock Divider (0..63) | [6] reserved | [7] pattern changes synched to measure 0x08c | [3:0] 0-7: sequence number, 8=disable pattern | [7:4] reserved 0x08d | [3:0] number of steps (0..15) | [7:4] reserved 0x08e | parameter assignment (0-255) 0x08f | reserved ------+-------------------------------------------------------------------------0x090 | Envelope Decay Rate used on accented notes (0-255) ------+-------------------------------------------------------------------------0x091 | ... | reserved for future extensions 0x09f | ------+-------------------------------------------------------------------------0x0a0 | OSC2 | [0] Triangle Waveform | [1] Saw Waveform | [2] Pulse Waveform | [3] Noise Waveform | [4] Disable Oscillator | [5] Sync | [6] Ringmodulation | [7] reserved

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0x0a1 | [7:0] Pulsewidth Low byte 0x0a2 | [3:0] Pulsewidth High nibble 0x0a3 | [2:0] Octave Transpose: 0=off, 1..3=+1..+3 octaves, 4..7: -4..-1 octaves | [7:3] reserved 0x0a4 | [6:0] static note (0=off, track with master oscillator OSC1) | [7] reserved ------+-------------------------------------------------------------------------0x0a5 | ... | reserved for future extensions 0x0a7 | ------+-------------------------------------------------------------------------0x0a8 | OSC3 | [0] Triangle Waveform | [1] Saw Waveform | [2] Pulse Waveform | [3] Noise Waveform | [4] Disable Oscillator | [5] Sync | [6] Ringmodulation | [7] reserved 0x0a9 | [7:0] Pulsewidth Low byte 0x0aa | [3:0] Pulsewidth High nibble 0x0ab | [2:0] Octave Transpose: 0=off, 1..3=+1..+3 octaves, 4..7: -4..-1 octaves | [7:3] reserved 0x0ac | [6:0] static note (0=off, track with master oscillator OSC1) | [7] reserved ------+-------------------------------------------------------------------------0x06d | ... | reserved for future extensions 0x06f | ======+========================================================================== 0x0b0 | ... | Right Channel Bassline (same voice structure as for Left Bassline) 0x0ff | ======+========================================================================== 0x100 | ... | Sequence Storage - Structure: ... | 2 bytes for each step (selected with address bit #7) ... | lower byte: [3:0] note, [5:4] octave, [6] glide, [7] gate ... | upper byte: [6:0] parameter value, [7] accent ... | 16 Steps per sequence (offset 0x00..0x0f) ... | 8 sequences: ... | 0x100..0x10f/0x180..0x18f: sequence #1 ... | 0x110..0x11f/0x190..0x19f: sequence #2 ... | 0x120..0x12f/0x1a0..0x1af: sequence #3 ... | 0x130..0x13f/0x1b0..0x1bf: sequence #4 ... | 0x140..0x14f/0x1c0..0x1cf: sequence #5 ... | 0x150..0x15f/0x1d0..0x1df: sequence #6 ... | 0x160..0x16f/0x1e0..0x1ef: sequence #7 ... | 0x170..0x17f/0x1f0..0x1ff: sequence #8 0x1ff | ======+==========================================================================

Patch Structure --- Drum Engine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Addr | Parameter ======+========================================================================== 0x000 |

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.. | Global Parameters (see table above) 0x04f | ======+========================================================================== | Sequencer 0x050 | [5:0] Clock Divider (0..63) | [6] 0=MIDI Note playing, 1=Sequencer mode | [7] pattern changes synched to measure 0x051 | [3:0] 0-7: sequence number, 8=disable pattern | [7:4] reserved ------+-------------------------------------------------------------------------0x052 | [6:0] Volume (0-127, only most significant 4bits are used by SID) | [7] reserved | (not part of sequencer, but address selected due to compatibility | reasons with other engines) ------+-------------------------------------------------------------------------0x053 | [3:0] number of steps (0..15) | [7:4] reserved ======+========================================================================== 0x054 | ... | Filter Parameters (see table above) 0x05f | ======+========================================================================== | Drum Instrument #1 Parameters 0x060 | [3:0] reserved | [7:4] Voice assignment: 0=LR, 1=L-, 2=-R, 3=O1, 4=O2, 5=O3, 6=O4, | 7=O5, 8=O6 0x061 | [7:0] Drum Model: 0=BD1, 1=BD3, 2=BD3, 3=SD1, 4=SD2, 5=SD3, 6=HH1, 7=HH2, | 8=TOM1, 9=TOM2, 10=CLAP, 11=FX1, 12=FX2, 13=FX3, 14=FX4, | 15=FX5, 16=FX6, 17=FX7, 18=FX8, 19=FX9 0x062 | [7:4] DCA Attack Rate | [3:0] DCA Decay Rate 0x063 | [7:4] DCA Sustain Level | [3:0] DCA Release Rate 0x064 | [7:0] Tune (-128..127) 0x065 | [7:0] Parameter #1 (-128..127): Gatelength 0x066 | [7:0] Parameter #2 (-128..127): Speed 0x067 | [7:0] Parameter #3 (-128..127): usage depends on Drum Model 0x068 | [7:0] Velocity Parameter Assignment (0-255) 0x069 | reserved for future extensions ------+-------------------------------------------------------------------------0x06a | ... | Drum Instrument #2 Parameters (see table above) 0x073 | ------+-------------------------------------------------------------------------0x074 | ... | Drum Instrument #3 Parameters (see table above) 0x07d | ------+-------------------------------------------------------------------------0x07e | ... | Drum Instrument #4 Parameters (see table above) 0x087 | ------+-------------------------------------------------------------------------0x088 | ... | Drum Instrument #5 Parameters (see table above) 0x091 | ------+-------------------------------------------------------------------------0x092 | ... | Drum Instrument #6 Parameters (see table above) 0x09b | ------+--------------------------------------------------------------------------

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0x09c | ... | Drum Instrument #7 Parameters (see table above) 0x0a5 | ------+-------------------------------------------------------------------------0x0a6 | ... | Drum Instrument #8 Parameters (see table above) 0x0af | ------+-------------------------------------------------------------------------0x0b0 | ... | Drum Instrument #9 Parameters (see table above) 0x0b9 | ------+-------------------------------------------------------------------------0x0ba | ... | Drum Instrument #10 Parameters (see table above) 0x0c3 | ------+-------------------------------------------------------------------------0x0c4 | ... | Drum Instrument #11 Parameters (see table above) 0x0cd | ------+-------------------------------------------------------------------------0x0ce | ... | Drum Instrument #12 Parameters (see table above) 0x0d7 | ------+-------------------------------------------------------------------------0x0d8 | ... | Drum Instrument #13 Parameters (see table above) 0x0e1 | ------+-------------------------------------------------------------------------0x0e2 | ... | Drum Instrument #14 Parameters (see table above) 0x0eb | ------+-------------------------------------------------------------------------0x0ec | ... | Drum Instrument #15 Parameters (see table above) 0x0f5 | ------+-------------------------------------------------------------------------0x0f6 | ... | Drum Instrument #16 Parameters (see table above) 0x0ff | ======+========================================================================== 0x100 | ... | Sequence Storage - Structure: ... | 4 bytes for 16 steps: ... | - first byte: [0] gate step #1 ... [7] gate step #8 ... | - second byte: [0] gate step #9 ... [7] gate step #16 ... | - third byte: [0] accent step #1 ... [7] accent step #8 ... | - fourth byte: [0] accent step #9 ... [7] accent step #16 ... | ... | 8 tracks per sequence: ... | offset 0x00-0x03: track #1 ... | offset 0x04-0x07: track #2 ... | offset 0x08-0x0b: track #3 ... | offset 0x0c-0x0f: track #4 ... | offset 0x00-0x03: track #5 ... | offset 0x04-0x07: track #6 ... | offset 0x08-0x0b: track #7 ... | offset 0x0c-0x0f: track #8 ... | 8 sequences: ... | 0x100..0x11f: sequence #1 ... | 0x120..0x13f: sequence #2

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... | 0x140..0x15f: sequence #3 ... | 0x160..0x17f: sequence #4 ... | 0x180..0x19f: sequence #5 ... | 0x1a0..0x1bf: sequence #6 ... | 0x1c0..0x1df: sequence #7 ... | 0x1e0..0x1ff: sequence #8 0x1ff | ======+==========================================================================

Patch Structure --- Multi Engine ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Addr | Parameter ======+========================================================================== 0x000 | .. | Global Parameters (see table above) 0x04f | ======+========================================================================== 0x050 | reserved for future extensions 0x051 | reserved for future extensions ------+-------------------------------------------------------------------------0x052 | [6:0] Volume (0-127, only most significant 4bits are used by SID) | [7] reserved ------+-------------------------------------------------------------------------0x053 | reserved for future extensions ======+========================================================================== 0x054 | ... | Filter Parameters (see table above) 0x05f | ======+========================================================================== 0x060 | \ ... | >- Lower Voice Structure of Instrument #1 (see table above) 0x06f | / ------+-------------------------------------------------------------------------0x070 | [0] 0=Mono, 1=Legato | [1] WTO (Wavetable Only) | [2] SusKey (Fingered Portamento) | [3] 0=take Mono/Legato setting from Bit #0, 1=Poly | [7:4] reserved 0x071 | [3:0] Voice assignment: 0=LR, 1=L-, 2=-R, 3=O1, 4=O2, 5=O3, 6=O4, | 7=O5, 8=O6 | [7:4] reserved 0x072 | [7:0] Velocity Parameter Assignment (0-255) 0x073 | [7:0] Pitch Bender Assignment (0-255) ------+-------------------------------------------------------------------------| LFO1 Parameters 0x074 | LFO Mode | [0] 0=LFO disabled, 1=LFO enabled | [1] Sync: Synchronisation to MIDI Note | [2] CSn: Synchronisation to global clock generator | [3] Oneshot | [7:4] Waveform: 0=Sine, 1=Triangle, 2=Saw, 3=Pulse, 4=Random, | 5=Pos.Sine, 6=Pos.Triangle, 7=Pos.Saw, 8=Pos.Pulse 0x075 | [7:0] LFO Depth Pitch (-128..127) 0x076 | [7:0] LFO Rate (0..255) | if CSn flag enabled: 245=64/1, 246=32/1, 247=16/1, 248=8/1, | 249=4/1, 250=2/1, 251=1/1, 252=1/2, 253=1/4, 254=1/8, 255=1/16 0x077 | [7:0] LFO Delay (0..255) 0x078 | [7:0] LFO Phase (0..255)

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0x079 | [7:0] LFO Depth Pulsewidth (-128..127) 0x07a | [7:0] LFO Depth Filter CutOff (-128..127) ------+-------------------------------------------------------------------------0x07b | ... | LFO2 Parameters (same structure as for LFO1) 0x081 | ------+-------------------------------------------------------------------------| Envelope 0x082 | [3:0] reserved | [4] Curve assigned to Attack Rate | [5] Curve assigned to Decay Rate | [6] Curve assigned to Sustain Rate | [7] Global Clock Synchronisation 0x083 | Envelope Depth Pitch (-128..127) 0x084 | Envelope Depth Pulsewidth (-128..127) 0x085 | Envelope Depth Filter CutOff (-128..127) 0x086 | Envelope Attack Rate (0..255) 0x087 | Envelope Decay Rate (0..255) 0x088 | Envelope Sustain Level (0..255) 0x089 | Envelope Release Rate (0..255) 0x08a | Envelope Curve (-128..127) ------+-------------------------------------------------------------------------| Wavetable Sequencer 0x08b | [5:0] Clock Divider (0..63) | [6] reserved | [7] reserved 0x08c | [7:0] parameter assignment (0..255) 0x08d | [6:0] start position in wavetable | [7] reserved 0x08e | [6:0] end position in wavetable | [7] reserved 0x08f | [6:0] loop position in wavetable | [7] Oneshot ======+========================================================================== 0x090 | ... | Voice Structure of Instrument #2 (same structure as for Instrument #1) 0x0bf | ======+========================================================================== 0x0c0 | ... | Voice Structure of Instrument #3 (same structure as for Instrument #1) 0x0ef | ======+========================================================================== 0x0f0 | ... | Voice Structure of Instrument #4 (same structure as for Instrument #1) 0x11f | ======+========================================================================== 0x120 | ... | Voice Structure of Instrument #5 (same structure as for Instrument #1) 0x14f | ======+========================================================================== 0x150 | ... | Voice Structure of Instrument #6 (same structure as for Instrument #1) 0x17f | ======+========================================================================== 0x180 | ... | Wavetable Value Storage ... | Values 0x00..0x7f: relative change -64..63 ... | Values 0x80..0xff: absolute value 0..127 0x1ff | ======+==========================================================================

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Patch Structure --- Ensemble ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Addr | Parameter ======+========================================================================== | SID1 0x00 | [2:0] Bank (0-7 for A-H) | [7:3] reserved 0x01 | [6:0] Patch (0-127) | [7] reserved 0x02 | [1:0] BPM generator mode: 0=Master, 1=Slave, 2=Auto | [3] reserved | [4] FilLog (CutOff uses logartithmic curve for linearisation of 8580 filter) | [5] reserved | [6] Mono | [7] DOR (Disable automatic Oscillator Reset during patch change - also called DAORDPC) 0x03 | [0] F2A | [1] V2A | [2] P2A | [3] K2A | [4] O2A | [7:6] reserved 0x04 | reserved for future extensions (take care: was clock divider - could be != 0) 0x05 | BPM rate (50..255) 0x06 | Superpoly Control: | [2:0] number of voices (0..4) | [7:3] reserved 0x07 | Inversion Flags for AOUT Channel 1..8 ([0]: Channel #1 ... [7]: Channel #8) ------+-------------------------------------------------------------------------0x08 | [7:0] Left Channel Filter Calibration Value, Min, 16bit, Low Byte 0x09 | [3:0] Left Channel Filter Calibration Value, Min, 16bit, High Byte 0x0a | [7:0] Left Channel Filter Calibration Value, Max, 16bit, Low Byte 0x0b | [3:0] Left Channel Filter Calibration Value, Max, 16bit, High Byte 0x0c | [7:0] Right Channel Filter Calibration Value, Min, 16bit, Low Byte 0x0d | [3:0] Right Channel Filter Calibration Value, Min, 16bit, High Byte 0x0e | [7:0] Right Channel Filter Calibration Value, Max, 16bit, Low Byte 0x0f | [3:0] Right Channel Filter Calibration Value, Max, 16bit, High Byte | Note: Calibration values are 16bit, but only the upper 12 bit are taken | for SID filters and AOUTs. The lower 4 bits are reserved for future | enhancements of (e.g. higher resolution AOUTs) ------+-------------------------------------------------------------------------| Instrument #1 Settings 0x10 | [3:0] MIDI Channel | [4] 0=Channel Enabled, 1=Channel Disabled | [7:5] reserved 0x11 | [6:0] MIDI Note Number of Lower Split Point (0..127) | [7] reserved 0x12 | [6:0] MIDI Note Number of Upper Split Point (0..127) | [7] reserved 0x13 | [6:0] Transpose (-64..63) | [7] reserved 0x14 | reserved for future extensions 0x15 | reserved for future extensions 0x16 | reserved for future extensions 0x17 | reserved for future extensions ======+========================================================================== 0x18 | .. | Instrument #2 Settings (same structure as for Instrument #1)

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0x1f | ======+========================================================================== 0x20 | .. | Instrument #3 Settings (same structure as for Instrument #1) 0x27 | ======+========================================================================== 0x28 | .. | Instrument #4 Settings (same structure as for Instrument #1) 0x2f | ======+========================================================================== 0x30 | .. | Instrument #5 Settings (same structure as for Instrument #1) 0x37 | ======+========================================================================== 0x38 | .. | Instrument #6 Settings (same structure as for Instrument #1) 0x3f | ======+========================================================================== 0x040 | \ ... | >- SID2 Structure (same as for SID1: 0x00-0x3f) 0x07f | / ======+========================================================================== 0x080 | \ ... | >- SID3 Structure (same as for SID1: 0x00-0x3f) 0x0bf | / ======+========================================================================== 0x0c0 | \ ... | >- SID4 Structure (same as for SID1: 0x00-0x3f) 0x0ff | / ======+==========================================================================

Direct Write Options ~~~~~~~~~~~~~~~~~~~~ In order to speed up parameter changes of multiple parameters which belong together (e.g. CutOff Frequency of Left/Right Channel), special write options are available, which copy the received value into the selected registers. Please only use these options within the specified parameter address ranges, outside these ranges they currently behave like <WOPT>=0, but they could get a special meaning in future!

For all Engines: <WOPT>=00 normal behaviour, parameter will be written into the given address

<WOPT>=01 Left/Right Flag Range 0x040-0x041: Ext #1 parameters will be written into Ext #1 e.g., value of 0x040 will be copied to 0x042 Range 0x042-0x043: (Ext #2) same as above Range 0x044-0x045: Ext #3 parameters will be written into Ext #3 e.g., value of 0x044 will be copied to 0x046 Range 0x046-0x047: (Ext #4) same as above Range 0x048-0x049: Ext #5 parameters will be written into Ext #5 e.g., value of 0x048 will be copied to 0x04a Range 0x04a-0x04b: (Ext #6) same as above Range 0x04c-0x04d: Ext #7 parameters will be written into Ext #7

and Ext #2 register

and Ext #4 register

and Ext #6 register

and Ext #8 register

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WebSVN - svn.mios - Rev 736 - /trunk/apps/synthesizers/midibox_sid_v2/doc/mbsidv2_sysex_implementation.txt

e.g., value of 0x04c will be copied to 0x04e Range 0x04e-0x04f: (Ext #8) same as above Range 0x054-0x059: Filter parameters will be written into left and right channel register e.g., value of 0x054 will be copied to 0x05a Range 0x05a-0x05f: (Right Channel Filter) same as above

Additional ranges of Lead Engine: <WOPT>=01 Left/Right Flag Ext# and Filter ranges: see above Range 0x060-0x06f: Voice1 Parameter will be written into Voice1 and Voice4 e.g., value of 0x060 will be copied to 0x090 Range 0x090-0x09f: (Voice4 range) same as above Range 0x070-0x07f: Voice2 Parameter will be written into Voice2 and Voice5 e.g., value of 0x070 will be copied to 0x0a0 Range 0x0a0-0x0af: (Voice5 range) same as above Range 0x080-0x08f: Voice3 Parameter will be written into Voice3 and Voice6 e.g., value of 0x080 will be copied to 0x0b0 Range 0x0b0-0x0bf: (Voice6 range) same as above Address 0x104: Target Assignment will be written into 0x104 and 0x105 (L/R) Address 0x105: (Right Channel Assignment register) same as above All other ranges should not be accessed in this mode! <WOPT>=02 Voice123/456 Flag Range 0x060-0x06f: Voice1 Parameter will be written into e.g., value of 0x060 will be copied to Range 0x070-0x07f: (Voice2 range) same as above Range 0x080-0x08f: (Voice3 range) same as above Range 0x090-0x09f: Voice4 Parameter will be written into e.g., value of 0x090 will be copied to Range 0x0a0-0x0af: (Voice5 range) same as above Range 0x0b0-0x0bf: (Voice6 range) same as above All other ranges should not be accessed in this mode!

Voice1, Voice2 and Voice3 0x070 and 0x080

Voice4, Voice5 and Voice6 0x0a0 and 0x0b0

<WOPT>=03 Combined Left/Right and Voice123/456 Flag Range 0x060-0x0bf: Voice Parameter will be written into Voice1-6 e.g., value of 0x060 will be copied to 0x070, 0x080, 0x090, 0x0a0 and 0x0b0 All other ranges should not be accessed in this mode!

Additional ranges of Bassline Engine: <WOPT>=01 Left/Right Flag Ext# and Filter ranges: see above Range 0x060-0x0af: Bassline L Parameter will be written into Bassline L and R e.g., value of 0x060 will be copied to 0x0b0 Range 0x0b0-0x0ff: (Bassline R) same as above All other ranges should not be accessed in this mode!

Additional ranges of Multi Engine: <WOPT>=01 Left/Right Flag Ext# and Filter ranges: see above Range 0x060-0x08f: Voice1 Parameter will be written into Voice1 and Voice4 e.g., value of 0x060 will be copied to 0x0f0 Range 0x0f0-0x11f: (Voice4) same as above Range 0x090-0x0bf: Voice2 Parameter will be written into Voice2 and Voice5

http://svnmios.midibox.org/...nk%2Fapps%2Fsynthesizers%2Fmidibox_sid_v2%2Fdoc%2Fmbsidv2_sysex_implementation.txt[6/25/2009 1:01:27 PM]

WebSVN - svn.mios - Rev 736 - /trunk/apps/synthesizers/midibox_sid_v2/doc/mbsidv2_sysex_implementation.txt

e.g., value of 0x090 will be copied to 0x120 Range 0x120-0x14f: (Voice5) same as above Range 0x0c0-0x0ef: Voice3 Parameter will be written into Voice3 and Voice6 e.g., value of 0x080 will be copied to 0x150 Range 0x150-0x17f: (Voice6) same as above All other ranges should not be accessed in this mode! <WOPT>=02 Voice123/456 Flag Range 0x060-0x08f: Voice1 Parameter will be written into e.g., value of 0x060 will be copied to Range 0x090-0x0bf: (Voice2) same as above Range 0x0c0-0x0ef: (Voice3) same as above Range 0x0f0-0x11f: Voice4 Parameter will be written into e.g., value of 0x0f0 will be copied to Range 0x120-0x14f: (Voice5) same as above Range 0x150-0x17f: (Voice6) same as above All other ranges should not be accessed in this mode!

Voice1, Voice2 and Voice3 0x090 and 0x0c0

Voice4, Voice5 and Voice6 0x120 and 0x150

<WOPT>=03 Combined Left/Right and Voice123/456 Flag Range 0x060-0x17f: Voice Parameter will be written into Voice1-6 e.g., value of 0x060 will be copied to 0x090, 0x0c0, 0x0f0, 0x120 and 0x150 All other ranges should not be accessed in this mode!

Additional ranges of Drum Engine: <WOPT>=01 Left/Right Flag Ext# and Filter ranges: see above All other ranges should not be accessed in this mode!

(c) Thorsten.Klose@midibox.org

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http://svnmios.midibox.org/...nk%2Fapps%2Fsynthesizers%2Fmidibox_sid_v2%2Fdoc%2Fmbsidv2_sysex_implementation.txt[6/25/2009 1:01:27 PM]

MIDIbox SID V2 User Manual --- Known Issues and Troubleshooting Tips

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MIDIbox SID V2 Known Issues and Troubleshooting Tips


This is a "living document", which will be extended from time to time whenever a "strange behaviour" has been reported by a user which could be interesting for other people, not at least for troubleshooting an apparently non-functional MIDIbox SID. [1] PIC not starting, no MIDI output/input, code upload not possible, etc... Please follow this Troubleshooting Guide [2] Blank screen LCD won't be initialized so long MIOS hasn't been uploaded via MIOS Bootstrap Loader [3] Core reboots after MIDIbox SID application has been uploaded, or it behaves randomly [3a] Use the latest MIOS Studio version (v7.5 or higher) - earlier versions don't support the PIC18F4685, a code upload won't be complete and will definitely crash. [3b] Ensure that following pull-up resistors have been mounted on the core mode (Schematic): R2, R6, R9, R10, R12 --- in general it makes sense to stuff the whole core module if you are unsure. [3c] Ensure that in addition the 1k pull-up and 1N4148 diode for the CAN interface has been added as shown in this schematic. Resistor and diode are even required if no slave module is used! [3d] Ensure that the D0-D3 data lines of your LCD are not connected to the core module (LCD is accessed in 4bit mode to keep the ECAN Rx/Tx pins free) [18] LCD freezes immediately or after some seconds, synth still functional A rare number of LCDs don't support 4-bit access mode properly. This has been noticed on two PLED displays and one VFD display so far, "normal" HD44780 or KS0066 LCDs are working stable. Sometimes nibbles are swapped, so that the communication with the CLCD driver of MIOS is disturbed. 4-bit mode is required, as pin RB2 and RB3 are used for the CAN interface. If you notice such an issue, you could activate the alternative "custom" LCD driver, which is already part of the MIDIbox SID V2 firmware. It uses 8-bit mode by using two pins on port E to replace the two pins being used by the CAN. LCD pins D0 and D1 should be connected to PIC pins RB0 and RB1, and LCD pins D2 and D3 connect to PIC pins RE1 and RE2. The driver can be permanently activated via PIC ID Header (LCD type 7, see also Bootloader page), or by activating the DEFAULT_USE_CUSTOM_LCD_DRIVER switch in the setup_*.asm file [4] Slave Cores not found by Master Ensure that each slave has its own MIOS Device ID (01, 02, 03). The ID of the master core has to be 00. The ID has to be programmed into the PIC ID Header. If this hasn't been done while burning the Bootloader, you can do this also with the change_id application, which is available at the MIOS Download page. [5] Buttons/Encoders not working Please follow this Troubleshooting Guide [6] No sound from SID Try the mbsid_interconnection_test and sid_testtone application, which can be found at the MIOS Download page. The testing procedure is explained in the main.asm file. Just to highlight it again: the application won't run before you've uploaded MIOS (the operating system). The audio output of the MBHP_SID module has to be connected to a mixer or audio amplifier, a direct connection to a loudspeaker or headphones won't work. [7] Still no sound from SID Check the MIDI channel. If you are unsure (e.g. no LCD connected to Core Module), try all 16 MIDI channels with your keyboard/sequencer

http://ucapps.de/midibox_sid_manual_ki.html[6/25/2009 1:01:29 PM]

MIDIbox SID V2 User Manual --- Known Issues and Troubleshooting Tips

[8] Background noise Ensure that the Audio In of the MBHP_SID module is connected to ground when not used. A certain digital background noise is common on a 6581 due to a design weakness. It's much less (-90 dB) on a 6582/8580. Another known SID bug is the leackage issue in the VCA part (especially 6581) - the oscillators are not completely silent once a note has been played. If you are using a compressor a noise gate in the Fx chain, search for a setting which eliminates this noise [9] 50 Hz or 60 Hz buzz Consider to build an optimized PSU (Power Supply Unit) like explained in the Hardware Options chapter. [10] Some buttons or LEDs are not working Depending on the selected sound engine, some buttons and LEDs have no function. E.g., in Multi mode, OSC and ENV is always 1, and LFO toggles between 1 and 2. The modulation matrix buttons have no function at all, and the matrix LEDs display the number of the selected instrument. For a complete CS test, select a patch which uses the Lead engine. [11] Modulation matrix doesn't show matrix connections, but flickers strangly It's not a bug, but a feature! ;-) Maybe you've selected the meter mode, which displays the MOD output values (e.g. LFO and ENV output) - press two column buttons of the modulation matrix to switch back to normal display mode. When the bassline/drum or multi engine is running, the LED matrix displays level meters instead, which allow you to monitor the voice allocation. [12] Meter display mode doesn't display MOD/level meter output of slaves. This is not possible due to conceptional reasons - it only displays the MOD outputs of the master SID [13] Some mixed oscillator waveforms don't output a sound Thats normal on a 6581, it works on a 6582/8580 - see also the demo samples in the Lead Engine chapter [14] Some patches of the preset banks are incomplete Ensure that you've uploaded the .syx files with a delay of 750 mS between each SysEx string. See also the README.txt of the patches/ directory for configuration details [15] Knob values of master or slaves are changing randomly Propably you've selected the "analog input option" (DEFAULT_J5_FUNCTION set to 1) in order to connect pots/faders/joysticks to the master, and forgot to clamp all unusued analog inputs to ground (see also auaimbctg.pdf). Due to the cloning mechanism, which transfers the firmware of the master to the slaves, this requirement has to be considered for all core modules! Clamping unused J5 inputs to ground is not required if DEFAULT_J5_FUNCTION is set to 0 (J5 disabled --- default!) or 2 (J5 used as digital output) [16] I haven't found a way to play a 8xSID MBSID V2 as a single polyphonic synth A special "Super-Poly" mode is planned for a post v2.0 release - see also this article. Update: here. Update (2007-09-30): An experimental solution for 4 stereo lead voices has been implemented, see Ensemble Page. [17] I haven't found a way to synchronize the internal clock of all 4 cores This is related to [16], a possibility will be provided later after some evaluations. Currently wavetable and bassline/drum sequencers can only be synched with an external MIDI clock this works quite well, and is the prefered solution anyhow if you are planning to sync MIDIbox SID with an external sequencer. [18] Multi/Drum engine: one or more voices are not used when Multi/Drum instruments are played - why? This is related to the enhanced voice allocation algorithm - check the VAs settings in the CFG/DRM menu page. If one or more instruments are explicit assigned to O1..O6, the appr. voice cannot be allocated by the remaining instruments anymore (there is only one exception: if all voices are assigned to specific oscillators in drum mode, the "exclusive reservation" will be ignored). This approach is important for a static filter or sync/ringmodulation routing, and therefore no bug.

http://ucapps.de/midibox_sid_manual_ki.html[6/25/2009 1:01:29 PM]

MIDIbox SID V2 User Manual --- Known Issues and Troubleshooting Tips

The VAs (Voice Assignment) setting can be found in the CFG (multi engine) or DRM (Drum Engine) menu. It can be easily overlooked when doing modifications on patches from other users. Tip: if you own a MIDIbox SID with LED matrix, enable the level metering mode to monitor the voice allocation (works for Multi and Drum engine, when the patch is played on the master core SID1)

Last update: 2009-01-01 Copyright 1998-2009, Thorsten Klose. All rights reserved.

http://ucapps.de/midibox_sid_manual_ki.html[6/25/2009 1:01:29 PM]

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