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defMONing 101
------------------------------------------------------------------------------- -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- " d e f M O N i n g 1 0 1 " a defMON operator field guide by iLKke -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ------------------------------------------------------------------------------- disCLAIMER ------------------------------------------------------------------------------- This guide is the result of my limited defMON knowledge based largely on experimentation, therefore it almost certainly contains inaccuracies and omissions. It is not intended as an exhaustive explanation of the program, but rather a brief survival guide and reference. It assumes basic familiarity with trackers and the SID chip. Hope you find this text helpful. You are encouraged to experiment. ------------------------------------------------------------------------------- intRODUCTION ------------------------------------------------------------------------------- defMON is what I would call the only true tracker for the C64 (as opposed to sound 'editors'). No tables with pointers to tables, no multiple lines of table data performing a single function. In defMON, screen Y-axis is always time, as in a tracker. Some advantages of defMON: -Single, all-powerful instrument table that is easy to read -No discrimination between instruments & effects (similar to NinjaTracker) I will refer to these as "sidCalls" in the guide. -Combine 2 sidCalls at once. This makes it possible to make modifiers for instruments instead of duplicating and then modifying -Two cutoff controls so you can modulate/offset a filter envelope -Relative channel filtering, e.g. filter CURRENT channel -Most flexible hard restart ever, period. Because you do it all yourself. You can have each instrument use a completely different HR. -Almost any SID tune can be remade in defMON (up to 8x speed, and with the exception of "digis", or samples) -Adjustable BPM -Low rastertime use Some disadvantages of defMON: -The program is in an eternal beta state. You will receive no tech support -There are quite possibly still bugs. You might want to not save to many songs to a disk, for example. -Instruments have no names, you will need to remember some numbers -You need to manually specify instrument number for each note -The song packer is built in, but you will need to make a PRG or SID file yourself -You might not want to go back ------------------------------------------------------------------------------- oveRVIEW ------------------------------------------------------------------------------- defMON consists of 3 screens. 1. The main screen contains the pattern editor on the left(where you put your notes) and the arranger on the right (where you arrange patterns into a full song). Each track (channel) has the following columns: note, speed, sidCall1, sidCall2. Exact order of these columns can differ depending on defMON version. 2. The sidTAB is the only table you will ever need. This is where sounds are made. It is quite similar to sidDump output. If you know your SID registers you should have no trouble understanding it. 3. Disk menu is where you load, save and pack your tunes. ------------------------------------------------------------------------------- keyBOARD REFERENCE ------------------------------------------------------------------------------- NAVIGATION: <- switch pattern/sidtab c=+<- jump to position in sidtab [pattern] shift+<- jump to position in sidtab [pattern] ctrl+<- switch sid1/sid2 runstop switch pattern/arranger, exit sidtab c=+runstop jump to position in pattern [arranger] ctrl+curs step thru patterns / sidtab shift+X disk menu: return load song l load song s save new song shift+s overwrite song (!) shift+p pack song space read dir w,r write and read legacy format ,. prev/next drive <- exit PLAYBACK: F1 play from cursor F3 play from start F5 follow on/off F7 stop/top [,],= mute tracks (Ö,Ä,* on Swedish keyboard) SETUP: F2,F4,F6,F8 multispeed c=+Fkeys BPM shift+F1 BPM reset ctrl+<,> octave up/down c=+/ decrease chunksize [sidtab] shift+/ increase chunksize [sidtab] possible values 0(whole tab),1,2,4,8,$10,$20,$40,$80 INPUT: return insert step sh+return remove step < decrease a value > increase a value shift+N clone pattern into new [arranger] shift+U clone pattern into unused [arranger] c=, shift edit instr columns [pattern] ctrl+c= edit speed column [pattern] ctrl+c=+SPC insert pattern break c= column edit mode [pattern][sidtab] del delete value space delete value+advance step ctrl+num insert to X steps at once ------------------------------------------------------------------------------- sidTAB REFERENCE ------------------------------------------------------------------------------- JP position jump DL step delay WG x0 waveform +1 triangle +2 saw +4 pulse +8 noise WG 0x gate +1 gate on +2 sync +4 ringmod +8 test-bit (reset) ADSR volume envelope TR transpose (*see table below) 00-7F relative pitch up (wrap) 80-FF absolute notes AF 00-19 finetune (19=note up) 21-7F pitch up (wrap) 80-BF pitch bend up (wrap) C0-FF pitch bend down (wrap) PW pulsewidth set low byte first, then high byte PS pulsewidth slide 00-7F slide left 80-FF slide right RE filter resonance/channel mask x0 resonance 0x channel mask 00 disable on current 01 1 02 2 03 1+2 04 3 05 1+3 06 2+3 07 1+2+3 08 current 09 c+1 0a c+2 0b c+1+2 0c c+3 0d c+1+3 0e c+2+3 0f c+1+2+3 FV filter type x0 filter type 00,80 off 10,90 lp 20,A0 bp 30,B0 lp+bp (high stop) 40,C0 hp 50,D0 lp+hp (band stop) 60,E0 bp+hp (low stop) 70,F0 lp+bp+hp CP relative cutoff offset 00-7F add 80-FF substract ACID cutoff set/slide 0000-7FFF cutoff set 8000-BFFF cutoff slide up C000-FFFF cutoff slide down ------------------------------------------------------------------------------- traNSPOSE TABLE ------------------------------------------------------------------------------- relative pitches 0 01 02 03 04 05 06 07 08 09 0a 0b 1 0c 0d 0e 0f 10 11 12 13 14 15 16 17 2 18 19 1a 1b 1c 1d 1e 1f 20 21 22 23 3 24 25 26 27 28 29 2a 2b 2c 2d 2e 2f 4 30 31 32 33 34 35 36 37 38 39 3a 3b 5 3c 3d 3e 3f 40 41 42 43 44 45 46 47 6 48 49 4a 4b 4c 4d 4e 4f 50 51 52 53 7 54 55 56 57 58 59 5a 5b 5c 5d 5e 5f 8 60 61 62 63 64 65 66 67 68 69 6a 6b 9 6c 6d 6e 6f 70 71 72 73 74 75 76 77 10 78 79 7a 7b 7c 7d 7e 7f absolute pitches C C# D D# E F F# G G# A A# B 0 81 82 83 84 85 86 87 88 89 8a 8b 1 8c 8d 8e 8f 90 91 92 93 94 95 96 97 2 98 99 9a 9b 9c 9d 9e 9f a0 a1 a2 a3 3 a4 a5 a6 a7 a8 a9 aa ab ac ad ae af 4 b0 b1 b2 b3 b4 b5 b6 b7 b8 b9 ba bb 5 bc bd be bf c0 c1 c2 c3 c4 c5 c6 c7 6 c8 c9 ca cb cc cd ce cf d0 d1 d2 d3 7 d4 d5 d6 d7 d8 d9 da db dc dd de df 8 e0 e1 e2 e3 e4 e5 e6 e7 e8 e9 ea eb 9 ec ed ee ef f0 f1 f2 f3 f4 f5 f6 f7 (i)20/11/2013
docs/fieldguide.txt · Last modified: 2020/11/05 09:44 by frantic