VinsCool

This sounds amazing! Some parts blend really well there.

Awesome! i will try to use it sometime soon and make sure to post my results For now I will focusing on that Loading cover later tonight

Here goes attempt #2 This time it should become a little more faithful. There's still a lot missing but I'll find a way to squeeze more data in the patterns Loading-vin v4.xex

I was mostly just trying some stuff around, but yeah the idea would be to cover it a bit more faithfully with my own twist. the lack of bass in the original made me try out 15khz along with my new 16-bit drums, and that sounded quite good, a bit of high pass filter on channel 1 later and I got quite a catchy loop hahaha not bad from being partially based on the pattern 03 in the actual .mod file, I suppose. That remix still has got plenty of space left to add even more elements, so there is no reason a proper cover couldn't work with as many elements as possible from the original. This is one of the example where importing a .mod in RMT wouldn't give nearly much freedom compared to rearranging from scratch in a way that makes use of what can be done, and no work around what couldn't be done [EDIT] Also I can confirm this one works perfectly from hardware. Sounds almost identical to what plays in Altirra, 👍

Yeah I think I should have specified it was very loosely based on that .mod lol I kind of got carried over and liked this sound 😆

I have no idea what I am doing lol Been improving a bit that new sound design idea, still at 4x speed (200hz) Also trying to remix that one .mod tune from scratch 👀 I'll see if it also converts to LZSS without too much fuck up lol LZSS conversion worked first try! lol Uses the custom tables. Loading-dia v7_tune3.xex

Ah that makes sense, the visual probably looked better from displaying less things at once, and so had less chances to glitch as a side effect, still good to me

Worked perfectly. https://drive.google.com/file/d/1_xZ2TDspEytMwsL2y_E5NCJAHHggSAx5/view?usp=sharing Recorded from my PAL 800xl, with stock 64k of RAM.

Post the xex and I can verify that

Nice new version rensoup! Finally found some time today to test it out a bit, 1.6 works pretty well! Automatic emulator launch works perfectly, even in WINE, "Convert Again" also works as expected. Looks like the VU Meter is still a little glitchy during the 240hz tune, but it's not as bad this time, playback also seems a bit more stable? Not sure if I'm imagining things, but it felt like it was stuttering last time I tried to run the tune, so that's a good improvement to me Custom tables still seem to load like intended. I have not tried the custom instruments feature yet, but I'll make sure to report my results when I do

I thought technically 200 and 240 would be the same, either case the music was running at 4x the engine speed from RMT, unless the LZSS player has code specific to each region? I imagine this is why there was a notice in the readme regarding higher speeds in NTSC... Seems like it works fine otherwise, it was only a visual glitch, which really made me laugh yesterday, because I really thought I was going to kill it... And didn't lol What a robust little program you have created 😆

I don't think that's the case. I know it seems like it's the only distortion that has a check in place, which I think is a little bit of a weird implementation. So essentially from what I was able to understand from the player code, distortion 6 by default uses the bass table 1 on channel that cannot output the resulting 16-bit sound (1 and 3) and then on the supported ones (2 and 4), the magic happens, being just a matter of, muting channel 1 and 3 (since they go in 1.79mhz, they are just high pitched noise... In general), then make the sum of joined channels into a 16-bit value, feed it in the frequency divider and then, output the sound. The major drawback to this is that, vibrato, portamento, and probably some other effects are disabled, but since it makes use of the hi and lo tables effortless it's by far the easiest way to get 16-bit. Implementing the same check and table switch would definitely work in the other distortions I believe, but there will be a major drawback; each time the channel 2 and 4 are used, 16-bit will be forced regardless of what you intended to use the distortion for! By far, manually setting the AUDCTL bits would be better, but then, there is the tables concern once again, which thankfully can now be worked around... So nothing stops anyone to make a table that would actually be useful as hi and lo to generate 16-bit easily... In fact that was something I did intended to experiment a bit, my latest tune used the same method but it gets out of tune quickly, I just was lucky to land on the right frequency for the notes I have used, lol. Speaking of which, making the resulting 16-bit manually allows you to very easily fine tune it, use vibrato, or even apply portamento to create some really damn good kick drums

Even better, both use my own Distortion 6 configuration, so technically I managed to turn a "useless" setting into a very useful one, depending on what channel it is being used Sawtooth in channel 1 (and 3 with a finetune offset) and 16bit square in channel 2 and 4

Maybe something like Rave? I don't know really. It all began when I was playing around manual 16-bit stuff with AUDCTL and accidentally left a portamento command... and so this kick drum started this tune, lol As soon as I switched the engine to 4x speed, I knew I was onto something lol I'm surprised I didn't break RMT2LZSS more than that, since I also used my custom tables in it

I think I went a bit harder than usual lol that poor LZSS player was having a seizure lol Sketch 44 v7.xex

did some more tests, credits to synthpopalooza for the additional tables, now I finally have a somewhat reliable method to generate sawtooth waveforms CustomNoteTables Vin V13.txt Distortion and Tables Test2.obx Distortion and Tables Test2.rmt

Yeah, that makes sense! That would leave a lot more freedom for sure! 32k tables seems to be overkill but that would certainly prevent running out of slots for sure lol From what I understand, this is pretty much the hard coded method for high pass filter and 16-bit audio. Both can easily be done manually, with much more precision, the only caveat is that, unlike these 2 possible situations, the AUDCTL bits can only be set once per instrument, and if you want to change on the fly, you have to resort on making several instrument duplicates, and then there's a bit of manual work done on the frequencies to get the tone/effect wanted, which is thankfully addressed currently with custom tables (thanks for RMT2LZSS!). High pass picks up the frequency of channel 1 or 2, and shifts it with +01 in the 3rd/4th channel (and also mutes that one entirely for some reason) and then outputs that nice SID-like sound, but then it's about as good as it could be, and other than possibly being manipulated using 6xx commands in the instrument, there is not much control on that feature. Setting up the AUDCTL bit for enabling high pass filter in a specific channel could be done anywhere, and then the frequency can be precisely controlled in the instrument used in the channel 3/4, which is the method I have been using for some time now, and which nearly absolute control on the tones/timbres/modulation, and not being limited to "Frequency of carrier channel+01" is really awesome 16-bit audio is trickier, but is also possible to do manually. set the 1.79mhz bit and join channel bit depending on which one you want to get 16-bit output, being either 2 or 4, then use the channel 1 or 3 for the high order byte by picking up the frequency, then the output happens in the other channel, either 2 or 4, picking up the low order byte... or it's the other way around? Always mixing that up lol Being able to manipulate AUDCTL entirely on the fly in the instrument envelope would give greater control on many things, and that's what I personally think would be the most beneficial in a new editor.

Experimenting a bit with the new RMT2LZSS feature. I only made use of tables for Distortion 2 and 4 there, but it certainly does work So here's some stupid ideas, because I suck at composing music, but it's fun regardless. I especially love the interaction between the distortions, the bass is a tad too loud however lol There's a lot to experiment with for sure now! Sketch 43 v7_tune1.xex Sketch 43 v7_tune3.xex

Yeah, that's what I can think of. That seems to be what I understand too. I imagine that could work? That would only be part of the editor itself after all, right? Yeah, pretty much any way of rephrasing that more simply ? From what I can understand, every channels can rely on the 15khz or 64khz clock, at once. When channels 1 and/or 3 use the AUDCTL setting to be clocked at 1.79mhz, they are independent from the main clock (15/64khz). When the join channel 1+2 or 2+4 bits are enabled, along with 1.79mhz, the 16-bit output happens in the channel providing the low order byte, while the 1.79mhz channel provides the high order byte. There are also many more combinations that could be done for different results, but that's irrelevant for that question, right now I could also be mistaken too, so I would ask for anyone who knows better to clarify any information I got wrong

Yeah. When I mention Distortions by their number, I mean the ones used in RMT, so Distortion 6 is this one, Distortion E is Bass Table 2, etc Yeah that's what I mean. in RMT, Distortion 6 uses the bass table 1 when it is used in the channels that cannot output 16-bit, and switches back to the 16-bit tables on the compatible ones. I compared 6 and C because both use the Bass Table 1, and in the .txt file, 6 and C can have their own table, that's what I was saying regarding that. It's not useless That's the reason I made a test .rmt module, it uses all distortions every pattern, so I can easily identify what is doing what, and was also able to get my table changes tests as well

Also $60 is not actually useless. When used in channel 1 or 3, it falls back to whatever was assigned to it, and by my tests I was able to get 2 unique tables whenever C or 6 was used, 6 would simply use the 16bit tables when the supported channels are used, being 2 or 4 Edit: I can also confirm the new order now works exactly as expected I only have 1 tiny nitpick, the default values used in these tables are not the correct one, but at least they can be changed I reused my test tables for $20 and $40 in this .txt file, and also wrote the real tables used by default in RMT 1.28, so at least it won't be weird when only 1 single table actually gets custom. CustomNoteTables Vin V2.txt

Awesome! So I was not mistaken, the order really was weird lol Thanks for rearranging it, this should make it a lot easier now. If it weren't from trying out random order to find which table belonged to which, I wouldn't have been able to at least get my test to work at all I really was confused at first lol

That's what I was talking about yesterday... this is not supposed to look like that 😏 At least not in a single channel. But I digress, I got some cool ideas I wanted to try out, now with the new RMT2LZSS release, many things could be done in a much, much faster and easier way

This is why I like to have Altirra's oscilloscope for individual and all channels shown on screen, that way it's easy to see how the resulting sound looks like, usually with a good resonance (being in-tune in most cases) it will show a nice stable output, sometimes as totally new waveforms, which is a lot of fun to manipulate.