mirror of
https://github.com/tildearrow/furnace.git
synced 2024-12-02 17:27:25 +00:00
134 lines
8.6 KiB
Markdown
134 lines
8.6 KiB
Markdown
# ESFM instrument editor
|
||
|
||
the ESFM editor is divided into 6 tabs:
|
||
|
||
- **FM**: for controlling the basic parameters of FM sound source.
|
||
- **Macros (OP1)**: for macros controlling FM parameters of operator 1.
|
||
- **Macros (OP2)**: for macros controlling FM parameters of operator 2.
|
||
- **Macros (OP3)**: for macros controlling FM parameters of operator 3.
|
||
- **Macros (OP4)**: for macros controlling FM parameters of operator 4.
|
||
- **Macros**: for other macros (volume/arp/pitch/pan/operator 4 noise mode).
|
||
|
||
## FM
|
||
|
||
ESFM is four-operator, meaning it takes four oscillators to produce a single sound.
|
||
|
||
unlike most four-operator FM synthesizers, however, ESFM does not have an algorithm selection. instead, it uses a fixed operator arrangement, but allows you to independently control the output and modulation input levels of each operator. this allows it to reproduce a few common four-operator algorithms, as well as unique combinations where operators act as modulators and carriers at the same time.
|
||
|
||
these apply to the instrument as a whole:
|
||
- **OP4 Noise Mode**: determines the mode used to produce noise in operator 4.
|
||
- Normal: noise is disabled.
|
||
- Snare: takes the snare noise generation mode from OPL. square + noise.
|
||
- HiHat: ring modulates with operator 3 and adds noise.
|
||
- Top: ring modulates with operator 3 and double pitch modulation input.
|
||
- these are normally used for the drum channels in ESFM's OPL3 compatibility mode.
|
||
- however, in ESFM, operator 4 can be modulated by operator 3, whereas in OPL3 drum mode the rhythm channels cannot be modulated.
|
||
- __note__: usage of noise mode "Top" is discouraged for now as it is not properly emulated yet, and results may change when the emulation gets fixed in the future.
|
||
- **operator routing preview**: shows how operators are connected with each other and with the audio output (at the bottom).
|
||
- left-click pops up a small "operators changes with volume?" dialog where each operator can be toggled to scale with volume level.
|
||
- right-click switches to a preview display of the waveform generated on a new note:
|
||
- left-click restarts the preview.
|
||
- middle-click pauses and unpauses the preview.
|
||
- right-click returns to algorithm view.
|
||
|
||
these apply to each operator:
|
||
- the crossed-arrows button can be dragged to rearrange operators.
|
||
- **Amplitude Modulation (AM)**: makes the operator affected by LFO tremolo.
|
||
- **AM Depth (DAM/AMD)**: when enabled, LFO tremolo is deeper (1dB off; 4.8dB on).
|
||
- **Sustain flag (SUS)**: when enabled, the envelope pauses ("sustains") once it reaches the Sustain Level and does not proceed to the release phase until note off.
|
||
- **Envelope Delay (DL)**: determines the delay time before the envelope is triggered. the bigger the value, the longer the delay (0 to 7).
|
||
- a change of one unit doubles or halves the delay time.
|
||
- a value of 0 results in no delay.
|
||
- **Attack Rate (AR)**: determines the rising time for the sound. the bigger the value, the faster the attack (0 to 15).
|
||
- **Decay Rate (DR)**: determines the diminishing time for the sound. the higher the value, the shorter the decay. it's the initial amplitude decay rate (0 to 15).
|
||
- **Sustain Level (SL)**: determines the point at which the sound ceases to decay and changes to a sound having a constant level. the sustain level is expressed as a fraction of the maximum level (0 to 15).
|
||
- **Release Rate (RR)**: determines the rate at which the sound disappears after note off. the higher the value, the shorter the release (0 to 15).
|
||
- **Total Level (TL)**: represents the envelope’s highest amplitude, with 0 being the largest and 63 (decimal) the smallest. a change of one unit is about 0.75 dB.
|
||
- **Key Scale Level (KSL)**: also known as "Level Scale". determines the degree to which the amplitude decreases according to the pitch.
|
||
|
||
|
||
|
||
- **Key Scale Rate (KSR)**: also known as "Rate Scale". determines the degree to which the envelope execution speed increases according to the pitch.
|
||
- **Frequency Multiplier (MULT)**: sets the coarse pitch offset in relation to the note (0 to 15). the values follow the harmonic scale. for example, 0 is -1 octave, 1 is 0 octaves, 2 is 1 octave, 3 is 1 octave 7 semitones, and so on.
|
||
- note that values 11, 13 and 14 behave as 10, 12 and 15 respectively.
|
||
- **Tune (CT)**: sets the semitone offset in relation to the note (-24 to 24).
|
||
- this is a software effect.
|
||
- **Fine Detune (DT)**: shifts the pitch in fine steps (-128 to 127). 0 is the base pitch, -128 is -1 semitone, 127 is nearly +1 semitone.
|
||
- this is a software effect.
|
||
- **Left (L)**: toggles output to the left channel from the operator to the audio output.
|
||
- **Right (R)**: toggles output to the right channel from the operator to the audio output.
|
||
- **Waveform Select (WS)**: changes the waveform of the operator (0 to 7).
|
||
- **Vibrato (VIB)**: makes the operator affected by LFO vibrato.
|
||
- **Vibrato Depth (DVB/FMD)**: when enabled, vibrato is deeper.
|
||
|
||
### routing controls
|
||
|
||
- **Output Level (OL)**: sets the output level from this operator to the audio output (0 to 7).
|
||
- 7 is the loudest level and 1 is the softest, while 0 disables audio output.
|
||
- a change of one unit is about 6 dB.
|
||
- this output scaling factor is applied after TL and envelope scaling have been performed.
|
||
- **Modulation Input Level (MI)**: sets the modulation level from the previous operator to this operator (0 to 7).
|
||
- 7 is the strongest level and 1 is the weakest, while 0 disables modulation.
|
||
- a change of one unit is about 6 dB.
|
||
- for operator 1 this controls the **feedback level**.
|
||
- this modulation scaling factor is applied after the previous operator's TL and envelope scaling have been performed, but is unaffected by OL above.
|
||
|
||
### common algorithms
|
||
|
||
this table contains a list of modulation input/output level values which resemble common algorithms in Yamaha FM chips.
|
||
|
||
__note__: MI1 is not included as it is the feedback level.
|
||
|
||
| algorithm | OL1 | MI2 | OL2 | MI3 | OL3 | MI4 | OL4 |
|
||
|--------------------------------|:---:|:---:|:---:|:---:|:---:|:---:|:---:|
|
||
| OPN algorithm **0** | 0 | 7 | 0 | 7 | 0 | 7 | 7 |
|
||
| OPN algorithm **4** | 0 | 7 | 7 | 0 | 0 | 7 | 7 |
|
||
| OPN algorithm **6** | 0 | 7 | 7 | 0 | 7 | 0 | 7 |
|
||
| OPN algorithm **7** | 7 | 0 | 7 | 0 | 7 | 0 | 7 |
|
||
| OPL3 algorithm **1** | 7 | 0 | 0 | 7 | 0 | 7 | 7 |
|
||
| OPL3 algorithm **3** | 7 | 0 | 0 | 7 | 7 | 0 | 7 |
|
||
| OPL3 algorithm **1** (variant) | 0 | 7 | 0 | 7 | 7 | 0 | 7 |
|
||
|
||
### fixed frequency mode
|
||
|
||
each operator has a Fixed Frequency mode. once enabled, the operator runs at the specified frequency regardless of the note.
|
||
|
||
when fixed frequency mode is enabled, the Tune and Fine Detune sliders will be replaced by **Block (Blk)** and **FreqNum (F)**, which allow you to input a raw frequency value into the operator.
|
||
the actual frequency is determined by the formula: `FreqNum*(2^Block)`.
|
||
|
||
in other words, FreqNum defines the base frequency, while Block determines the scaling factor in octaves.
|
||
|
||
## macros
|
||
|
||
these macros allow you to control several parameters of FM per tick.
|
||
|
||
## OP1-OP4 Macros
|
||
|
||
most parameters are listed above.
|
||
|
||
### envelope delay macro tricks
|
||
|
||
due to a quirk in how the envelope delay feature works, the **Envelope Delay** macro can control the operator's key-on status for a limited amount of time after a note is played. a value of 0 represents key-on, while a value of 7 represents key-off.
|
||
|
||
note that the macro cannot exceed 659.1 ms in length - anything beyond that will be treated as a value of 0.
|
||
|
||
### operator arpeggio and pitch macros
|
||
|
||
among the available macros are **Op. Arpeggio** and **Op. Pitch**. these work like the **Arpeggio** and **Pitch** macros featured below, but are applied to the individual operator, overriding the **Arpeggio**/**Pitch** macros respectively.
|
||
|
||
the **Tune** and **Fine Detune** FM parameters are still respected when using these macros.
|
||
|
||
### fixed frequency macros
|
||
|
||
when fixed frequency is enabled for an operator, the **Op. Arpeggio** and **Op. Pitch** macros will be replaced by the **Block** and **FreqNum** macros. these can be used to change the operator's fixed frequency over time.
|
||
|
||
## Macros
|
||
|
||
- **Volume**: volume sequence.
|
||
- **Arpeggio**: pitch sequence.
|
||
- **OP4 Noise Mode**: operator 4 noise mode sequence.
|
||
- **Panning**: enables output on left/right channels.
|
||
- note that each operator also has its own pan controls, which get masked by this global pan control.
|
||
- **Pitch**: fine pitch.
|
||
- **Relative**: when enabled, pitch changes are relative to the current pitch.
|
||
- **Phase Reset**: restarts all operators and resets the waveform to its start.
|