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My POKEY experiments using nonstandard settings


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56 minutes ago, emkay said:

How is this recorded? 

There's no metadata, but looking at the waveform in Audacity, this is a recording with Altirra. Running the binary sounds the same to me.

 

It also sounds quite good on atari800, and hence on the latest Atari800MacX, if I recall its name correctly ;)

Edited by ivop
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5 minutes ago, ivop said:

There's no metadata, but looking at the waveform in Audacity, this is a recording with Altirra. Running the binary sounds the same to me.

 

It also sounds quite good on atari800, and hence on the latest Atari800MacX, if I recall its name correctly ;)

Would be great to have a recording from the real thing. 

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So some explanations:

 

On Area 5 music, the setup is SKCTL two-tone, 1.79 plus 15 khz.  The frequency carrier is the second channel, and it takes values from the 15khz $Ax distortion table.  The modulation in first channel puts it into a saw wave which transposes it up an octave from the standard 15khz mode.  This means that the high part of the arpeggio may be a bit out of tune.  The delay echo effect is from using a higher modulation of that same saw wave, but a smaller frequency value decreases the apparent volume.

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14 hours ago, VinsCool said:

Just for fun I recorded a few executables I had around since I was playing around on my machine for some other tests and recordings :P 
Those were recorded off a NTSC 800xl.


This sounds pretty damn cool!

 

 

Thanks for the recordings. 

They really show that POKEY sounds better than the emulations.

It's just that those high sounds have a lot more power than the low sounds. It's how Pokey generates the waves (density of voltage switches).

A little less volume on the high sounds really would be great. Particular the gen 2 sound. 

 

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Still busy.

 

Latest task:  Documenting the AUDCTL=$40 SKCTL=$8B two tone mode using $4x distortion in the first channel, and $Cx frequencies in the second.

 

This mode is complex because it is subject to all the quirks of polycounter behavior:  Specifically,  frequencies are dependent on the prime numbers of 3, 5, and 31.

 

One of the first discoveries I made is that if you place a mod 15 (divisible by 15) setting in the first channel,  you get the standard $Cx distortion using those frequencies in the second channel, but as the modulation increases in the first channel, a fuzzbox distortion effect is introduced.   :)

 

Another discovery:  Using the other mod 5 settings in the first channel, gets you several distinct electric guitar timbres, tuned to the $Cx mod 3 settings.  I have a partial table here.  Note that the $Cx frequencies have to be varied occasionally,  and in some cases you have a range that can be played.

 

More work remains ... several other combinations and note tables are possible.  There is also a setting using mod 31 frequencies that makes eerie alien sounds.

 

AUDCTL40_SKCTL8B_AUDC14x_table_2.0.txt

Edited by Synthpopalooza
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Also ... Thanks to some suggestions, I made another discovery ... When using reverse 16-bit mode, in some cases playing both channels will add harmonics to your notes.  This method works with A and C distortions at 64khz ... And also 2, 4, and 8 poly9 as well at 1.79 mhz.  Will experiment with these soon.

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A partial documentation of $4x $Cx SKCTL has been finished.

 

First table:  AUDF1=mod 15.  AUDF2=standard C distortion.  As AUDF1 increases, a fuzzbox distortion effect is introduced.

 

The second category is for AUDF1=mod 5 values.  There are four subcatgories:

 

* AUDF2 roughly equals values from distortion C mod 3 (RMT C)

* AUDF2 roughly equals values from distortion C non mod 3 (RMT E)

* miscellaneous frequencies

* AUDF2= 0 to 11, which produce solid tones only (not yet finished)

 

Still to do:

 

AUDF1=mod 3

AUDF1=non mod 3

 

AUDF2=mod 5 (all AUDF1 instances ... more guitars)

AUDF2=mod 31 (which mainly produce only C# notes, but a wide variety of timbres!)

 

AUDF1=mod 31 (alien heartbeat sounds)

 

More soon!

AUDCTL=$40, SKCTL=$8B AUDC1=$4x table 2.0.txt

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  • 4 weeks later...
  • 2 weeks later...

The latest:  Area 2 music from the upcoming EXO game on the 7800.

 

Setup is:

 

AUDCTL=$60 (1.79 mhz on first and third channels)

SKCTL=$8B (two-tone mode)

 

00 - $4x @1.79 mhz ... frequency modulation

01 - $Cx distortion ... frequency carrier for 00

02 - $Cx @1.79 mhz ... high saw lead

03 - $Ax standard square wave ... arpeggios

 

This uses the SKCTL mode I was trying to document above.  In this case, we use frequencies divisible by 5 in the first channel, when paired with frequencies from the standard $Cx table in the second channel, guitar modulations are made.  When a frequency divisible by 15 gets used in the first channel, the effect is a fuzzbox-distorted C distortion.  Playing the carrier frequency in distortion C on the second channel thickens out the sound.

 

Playing distortion C on the second channel only works when using mod 5's or mod 15's in the first channel.  Other combinations (mod 3's or non mod's in first channel) won't work with C distortion in channel 2.

 

 

exo-area2.s exo-area2.xex exo-area5.asm

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  • 2 weeks later...

So as an update:  Working my way through SKCTL $4x distortion, 1.79+15 ... discoveries so far:

 

AUDF1=mod 15 gets you the $Cx bass in 15 khz, with fuzziness added the greater AUDF1 is

 

AUDF1 mod 31 gets those alien sounds again

 

Others get you varying guitar timbres.  Each AUDF1 setting has a unique note table and timbre,  which opens up the possibility of dozens of note tables.

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