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RMT Patch 8

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And here's the final table schedule:
 
Patch 8 Table:

RMT          PoKey        Bits:  Clock:    Number     Instrument
distortion:  distortion:                   of bytes:  name:

0            0            8      x         x          White noise
2            2            8      1.79 MHz  48         Poly 5 / Generator 2
4            A            8      1.79 MHz  36         Sawtooth / Triangle
6            C            8LSB   1.79 MHz  32         Clarinet (Poly 4), LSB
8            A            8HSB   1.79 MHz  64         Harmonic square undertones of Clarinet / Distortion guitar, HSB
A            A            8      15 kHz    48         Pure bass
A            A            8      1.79 MHz  12         Pure flute
C            C            8      1.79 MHz  31         Poly 4 (degenerate 1)
C            C            8      1.79 MHz  17         Poly 4 (degenerate 3)
E            8            8LSB   1.79 MHz  32         Distortion guitar (Poly 9), LSB
Edited by analmux

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I like your effort with those instruments.  But, due to the changes, other important stuff gets lost.

 

Here a quick test. At the start at 15kHz and it turns to 64khz mode later.

Possibly it shows my intentions ;)

The guitar is a great addon...

If just the 16 bit resolution was usable for all types of instruments

 

Carefull, it's very noisy ;)

 

 

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Thanks.

The 16-bit 'distortion guitar' works best when you use RMT-distortion 8 instead. It looks a bit mysterious, but the HSB (highest significant byte) has a full automodulation control.

If you use command 2 (at voice 2), then (X/,Y\) = (0,0) gives a modulation of 0. If f.e. (X/,Y\) = (0,6) = $06, then the automodulation speed is not zero, and it sounds a bit like an electric distortion guitar effect. Backwards automodulation, then you compute a binary minus of $06, i.e. $00-$06=$FA.


[attachment=377833:change20150208.jpg]

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And here's an 'Overview Orchestra', more details of post 2. It is a detailed scheme table scale of all the Patch 8 positibilies:
 
	RMT distortions:
	2:	4:	6:	8:	8:	A:	C:	C:	E:

	PoKey distortions:
	Dist 2:	Dist A:	Dist C:	Dist A:	Dist A:	Dist A:	Dist C:	Dist C:	Dist 8:
Note:							(deg 1) (deg 3)

G#0	-	-	-	-	32	-	-	-	-
A0	-	-	-	-	33	-	-	-	-
A#0	-	-	-	-	34	-	-	-	-
B0	-	-	-	-	35	-	-	-	-

C1	-	-	-	-	36	0 (*1)	-	-	-
C#1	-	-	-	-	37	1 --	-	-	-
D1	-	-	-	-	38	2	-	-	-
D#1	-	-	-	-	39	3	-	-	-
E1	-	-	-	-	40	4	-	-	-
F1	-	-	-	-	41	5	-	-	-
F#1	-	-	-	-	42	6	-	-	-
G1	-	-	-	-	43	7	-	-	-
G#1	-	-	-	-	44	8	-	-	32
A1	-	-	-	-	45	9	-	-	33
A#1	-	-	-	-	46	10	-	-	34
B1	-	-	-	-	47	11	-	-	35

C2	-	-	-	-	48	12	-	-	36
C#2	-	-	-	-	49	13	-	-	37
D2	-	-	-	-	50	14	-	-	38
D#2	-	-	-	-	51	15	-	-	39
E2	-	-	-	-	52	16	-	-	40
F2	-	-	-	-	53	17	-	-	41
F#2	-	-	-	-	54	18	-	-	42
G2	-	-	-	-	55	19	-	-	43
G#2	-	-	-	-	56	20	-	-	44
A2	-	-	-	-	57	21	-	-	45
A#2	-	-	-	-	58	22	-	-	46
B2	-	-	-	-	59	23	-	-	47

C3	0	0	-	0	60	24	-	-	48
C#3	1	1	-	1	61 (*3)	25	-	-	49
D3	2	2	-	2	62 (*3)	26	-	-	50
D#3	3	3	-	3	63 (*3)	27	-	-	51
E3	4	4	-	4	-	28	-	-	52
F3	5	5	-	5	-	29	-	-	53
F#3	6	6	-	6	-	30	-	-	54
G3	7	7	-	7	-	31	-	-	55
G#3	8	8	-	8	-	32	-	-	56
A3	9	9	-	9	-	33	-	-	57
A#3	10	10	-	10	-	34	-	-	58
B3	11	11	-	11	-	35	-	-	59

C4	12	12	0	12	-	36	-	-	60
C#4	13	13	1	13	-	37	-	-	61 (*3)
D4	14	14	2	14	-	38	-	-	62 (*3)
D#4	15	15	3	15	-	39	-	-	63 (*3)
E4	16	16	4	16	-	40	-	-	-
F4	17	17	5	17	-	41	-	-	-
F#4	18	18	6	18	-	42	-	-	-
G4	19	19	7	19	-	43	-	-	-
G#4	20	20	8	20	-	44	-	-	-
A4	21	21	9	21	-	45	-	-	-
A#4	22	22	10	22	-	46	-	-	-
B4	23	23	11	23	-	47	-	-	-

C5	24	24	12	24	-	-	-	-	-
C#5	25	25	13	25	-	-	-	-	-
D5	26	26	14	26	-	-	-	-	-
D#5	27	27	15	27	-	-	-	-	-
E5	28	28	16	28	-	-	-	-	-
F5	29	29	17	29	-	-	-	-	-
F#5	30	30	18	30	-	-	-	-	-
G5	31	31	19	31	-	-	-	-	-
G#5	32	32	20	-	-	-	-	-	-
A5	33	33	21	-	-	-	-	-	-
A#5	34	34	22	-	-	-	-	-	-
B5	35	35	23	-	-	-	-	-	-

C6	36	-	24	-	-	-	0	-	-
C#6	37	-	25	-	-	-	1	-	-
D6	38	-	26	-	-	-	2	-	-
D#6	39	-	27	-	-	-	3	-	-
E6	40	-	28	-	-	-	4	-	-
F6	41	-	29	-	-	-	5	-	-
F#6	42	-	30	-	-	-	6	-	-
G6	43	-	31	-	-	-	7	-	-
G#6	44	-	-	-	-	-	8	-	-
A6	45	-	-	-	-	-	9	-	-
A#6	46	-	-	-	-	-	10	-	-
B6	47	-	-	-	-	-	11	-	-

C7	-	-	-	-	-	-	12	-	-
C#7	-	-	-	-	-	-	13	-	-
D7	-	-	-	-	-	-	14	-	-
D#7	-	-	-	-	-	-	15	-	-
E7	-	-	-	-	-	-	16	-	-
F7	-	-	-	-	-	-	17	-	-
F#7	-	-	-	-	-	-	18	-	-
G7	-	-	-	-	-	-	19	31	-
G#7	-	-	-	-	-	-	20	32	-
A7	-	-	-	-	-	-	21	33	-
A#7	-	-	-	-	-	-	22	34	-
B7	-	-	-	-	-	-	23	35	-

C8	-	-	-	-	-	-	24	36	-
C#8	-	-	-	-	-	-	25	37	-
D8	-	-	-	-	-	-	26	38	-
D#8	-	-	-	-	-	-	27	39	-
E8	-	-	-	-	-	-	28	40	-
F8	-	-	-	-	-	-	29	41	-
F#8	-	-	-	-	-	-	30	42	-
G8	-	-	-	-	-	-	-	43	-
G#8	-	-	-	-	-	-	-	44	-
A8	-	-	-	-	-	-	-	45	-
A#8	-	-	-	-	-	-	-	46	-
B8	-	-	-	-	-	-	-	47	-

C9	-	-	-	-	-	48 (*2)	-	-	-
C#9	-	-	-	-	-	49 --	-	-	-
D9	-	-	-	-	-	50	-	-	-
D#9	-	-	-	-	-	51	-	-	-
E9	-	-	-	-	-	52	-	-	-
F9	-	-	-	-	-	53	-	-	-
F#9	-	-	-	-	-	54	-	-	-
G9	-	-	-	-	-	55	-	-	-
G#9	-	-	-	-	-	56	-	-	-
A9	-	-	-	-	-	57	-	-	-
A#9	-	-	-	-	-	58	-	-	-
B9	-	-	-	-	-	59	-	-	-


(*1) PoKey distortion A at 15 kHz
(*2) Pokey distortion A at 1.79 MHz
(*3) Silence (see rmtplayr.a65 code)
Edited by analmux

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Ok, my first one.

 

Small fragment from Linkin' Park (don't remember title now, though), and of my "impressions". ;)

 

Made on that "clarinet" sound.

 

Oh, .rmt and .xex files attached. :)

Edited by miker

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Those tests would do better with some short Video.  Not all emulations work similar. At least Altirra plays it correctly.

And, let's see if this "16 bit" stuff" helps on development for a full working POKEY-Tracker. 

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Just for clarity, would it be possible to give each of your patches a name?

 

i.e. RMT 1.28 Patch X : Bass Guitar, Honky Tonk Piano & Recorder

 

... or something like this?

 

Then if there was a list of all the patches, it'd be easy to pick out which version would be good to use for your project.

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Just for clarity, would it be possible to give each of your patches a name?


For Patch 8, see post 2, right column. And I lost all other patches, except Patch 3. But Patch 3 is just a precursor of Patch 8: I added full clarinet control. Further I did a table-squeeze for frqtab. And I completed voice 1+2 and voice 3+4 control extension. Patch 3 had some errors. Edited by analmux

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btw... just to be clear... you added the patch into the Windows Executable and exchanged/edited the included freq tables in the ASM source supplied?


Yes & Yes.

That's why the map is called "RMT 128 (Patch 8)". And the rmtplayr.a65 has all the patches, see the extra comments there:

- 320 bytes frqtab*** table
- 16 bytes frqtabbeganddistor
- 32 patches in the qq1, qq1a, qq2, qq2a, qq3, qq3a, qq4, qq4a, qs1, qs1a, qs2, qs2a, qs3, qs3a, qs4, qs4a area

... and the 32 patches were done with a simple hex-editor to change the RMT.exe file, which contains some copies of the binaries of rmtplayr. I don't have the original win32 source code. Edited by analmux

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Ok, here's my nother experiment.

 

Why do not use distort guitars where they are really required?

 

Here's Orion by Metallica in my blatant (hehe) converion.

 

Have fun with my little big disaster.

 

In STEREO.

 

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@ Miker,

It surprised me!

Note that orion2.xex is not replaced with patch 8. It sounds horrible. I assume you typed "export as xex" with a standard RMT. Edited by analmux

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Sorry guys, my fault!

 

Attached correct one.

 

Thanks, Mux! :)

 

Edit: Removed bad one!

Edited by miker

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Sorry, couldn't resist ;)

https://www.youtube.com/watch?v=tzwBjgkBjW0

Didn't know the tune before, and it's really not my cup of tea.

But this is more what "I" Get from the original ;)

Also interesting that Altirra also here sounds slightly different to the RMT... and, you hear some sound issues, caused by Altirra itself.

;)

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