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defMONing 101

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						" d e f M O N i n g   1 0 1 "
						a defMON operator field guide
								  by iLKke
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disCLAIMER
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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.

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intRODUCTION
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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

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oveRVIEW
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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.

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keyBOARD REFERENCE
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	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

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sidTAB REFERENCE
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	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

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traNSPOSE TABLE
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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: 2014/12/08 08:14 by ftc