Hi, nach so einer perfekten Auflistung habe ich lange gesucht, wenns mal einer braucht, hier isse.
cu
--------------------------------------------------------------
// For more info -> erlandvo@hotmail.com
// Hello Thunder,
//
// ByteRaver / TNT / NO_ID aka Erland Van Olmen (erlandvo@hotmail.com)
// typing here. Your MODFIL10.TXT file was a *GREAT* help for me (my
// .MOD loader is now better than the one of FT2, CP 2.0 or Inertia
// Player!
still, while I was programming, I made some corrections and
// completed the text here and there. You might as well find it usefull,
// even if the original file was released quite some time ago...
// Anyway, each time you see "//", it's an annotation from me.
// BTW, I wrote a MOD player for the GUS as well as for the SoundBlaster
// PRO II (Interpolation & volume amplify are provided for better sound
// quality); the source code has been released through Hornet.
// (www.hornet.org, file tnt-mp??.zip, first file was tnt-mp10.zip) A DOC
// describing the principles of digital mixing is included.
// Source code of the player is Pascal, only the mixer is written in 386+
// Real mode assembler.
//
// Bye, sorry for my awful English, hope to hear from you.
//
// ByteRaver.
MODFIL10.TXT THUNDER (kurtt@sfu.ca)
________________________________________________________________________
Public file MODFIL10.TXT - Version 1.0 - by Thunder
Introduction
_______________________________
What this file attempts to do is describe the MOD format in detail and
elaborate on the 'effects' that are possible. This is the first version
of this file, so if there are mistakes (and I expect at least a couple),
please let me know. This information was compiled from a variety of
sources, many of them anonymous, so I will thank them all, and they
hopefully know who they are. I would like to keep this file up to date.
It will be posted as 'MODFILxx.TXT' or 'MODFILxx.ZIP', where 'xx' is the
version number (MODFIL10.TXT being the first release).
I assume that you have some prior knowledge of some 'technical' terms,
including: sample, channel (or voice), frequency, logarithmic vs. linear
volume, byte, word, long integer, and hexadecimal format. It also
assumes that you know something about the machine that you are
programming on. If you do not know these things, this file will NOT
teach you them. Refer to other sources before going further.
I am a PC programmer, so I cannot elaborate on particular procedures,
routines, methodologies, or tricks that can be performed on other
architechtures. I have written routines for the Gravis UltraSound,
which is probably the easiest sound card (on the PC anyway) to write MOD
routines for.
I disclaim everything in this file. This information is for your use
personally, but I don't care if you give it to everyone else on the
planet. I would like the file to stay intact, and if you use the
information a 'hello' to me in your program's credits would be nice. If
the information is wrong or gives you problems or damages your equipment
or person, tough luck. I am not responsible for anything you DO with
this information.
If you have additions, corrections, clarification or questions about this
information or this file, you can send them to me through the internet to
'kurt.kennett@gravis.com' or 'kurtt@sfu.ca'.
Here is an overview of what is in this file:
1 General
2 File Format
2.1 Song Name
2.2 Sample Information
2.3 Number of patterns in song
2.4 Song end jump position
2.5 Pattern table
2.6 File format tag
2.7 Patterns
2.8 Sample data
_______________________________________________________________________
1
MODFIL10.TXT THUNDER (kurtt@sfu.ca)
________________________________________________________________________
3 Playing the files
3.1 Timing
3.2 Periods
3.3 Fine-Tuning
3.4 Effects
3.5 Other information
4 Period and Volume tables
1.0 General
___________________________________________
Files with the extension '.MOD' are sequenced music files. The file
format has it's roots in the Commodore Amiga computer (ugh!). These
files use different digital 'samples' played at various frequencies to
create three octaves of 'notes' for that sample. In addition to
different 'notes', there are a large number of 'effects' which can be
done to produce variations on the different notes.
There are many variations on the MOD format. Since the format originated
on the Commodore Amiga computer, the files were geared towards a machine
with 4 voices. These days, with a GUS (Gravis UltraSound), you have 32
independent voices. If you are programming for a sound board or device
that has only 1 or 2 digital voices, you will have to mix together the 4
to 8 output channels into those voices. I will not go into this process
here, since I do not have experience with it (you don't need to mix on
the GUS). If someone would like to mail me a TEXT explaination of how to
do the mixing, I will include it in this file. I DO NOT WANT CODE --
learn how to write english.
The earliest versions of the MOD format used a maximum of 15 instruments
and had 4 channels. Through some modifications in format, a 'newer'
standard emerged, with a maximum of 31 instruments and up to 8 channels.
You can tell what format of file you are working with by a four-character
tag field. The programs that are used to play these files on the Amiga
are called 'Noisetracker', 'Soundtracker', and 'Protracker'.
// There is also a (well-known) program called 'StarTrekker'. See section
// 2.6 (format tag fields) for more info.
2.0 File Format
_______________________________
What follows is a description of a file broken down in a field-by-field
format. This is just a general description. Please see the following
subsections for a detailed description of what each field is and what it
means.
'Big-End Word' refers to the word format on the Amiga. A 2-byte integer
value is a word. On the Amiga, this value has the internal
representation HHLL, where HH means the high-order byte and LL means the
low-order byte. The Intel chips (inside PCs) use a LLHH format for their
words. This means that if you are writing routines for the PC, you have
to flip the high and low order bytes to retrieve meaningful values.
_______________________________________________________________________
2
MODFIL10.TXT THUNDER (kurtt@sfu.ca)
________________________________________________________________________
Just to piss off all the C programmers, I'm going to start the file
offset at 1 instead of 0.
// ?! Something against C programmers ;-) ? (I'm both, but above all C...)
+-----------------(in bytes)
|
v
Offset Length Format Description
======== ======== ========= =============
1 20 Chars Title of the song. If the title is not a
full 20 chars in length, it will be null-
terminated.
21 22 Chars Sample 1 name. If the name is not a full
22 chars in length, it will be null
terminated.
43 2 Big-End Sample 1 length in 2-byte words. Multiply
Word this value by 2 to get the length of the
sample in bytes.
45 1 SNibble Sample 1 finetune.
46 1 Byte Sample 1 linear volume.
47 2 Big-End Sample 1 repeat offset in 2-byte words.
Word Multiply this value by 2 to get the position
in bytes.
49 2 Big-End Sample 1 repeat length in 2-byte words.
Word Multiply this value by 2 to get the length
in bytes.
51 30 Sample 2 information. Same format.
81 30 Sample 3 information Same format.
. There will either be 15 or 31 sample information blocks.
. See the format tag field below for a description of how
. to find out how many instruments there are. We'll go on
. the assumption that there are 31 instruments in the file.
921 30 Sample 31 information.
951 1 Byte Number of patterns in SONG as played.
952 1 Byte Song end jump position.
953 128 Bytes Pattern Table. These list up to 128
pattern numbers and the order they should
be played in.
1081 4 Chars File format tag.
1085 ... Pattern and Sample data. Please see pattern section and
sample section for more information.
// The old NST format contains only 15 samples (instead of 31). Further it
// doesn't contain a file format tag (id). So Pattern data offset is at
// 20+15*30+1+1+128.
// If the file looks like plain garbage, e.g. you can't find any valid
// sample-size value, sample-name string (should be alfanumeric), ID
// field, ... the file may be compressed with PowerPacker 2.0
// To check this, look for the FIRST 4 bytes of the file. If this "string"
// reads "PP20" the .MOD file is compressed with PowerPacker...
// Use pp20unp.exe to decompress the file (it's included with the source
// of my MOD Player, which you can get at:
// www.Hornet.org/music/programs/players/tnt-mpXX.zip
// (XX = version nr, 1st version = 10)
_______________________________________________________________________
3
MODFIL10.TXT THUNDER (kurtt@sfu.ca)
________________________________________________________________________
2.1 Song Name
_______________________________
This data is pretty self-representative. This is a C 'string' that is
null-terminated (i.e. ASCII character 0 is put at the end of the text is
the text does not fill up the entire field). Some module writers use
this field and the instrument name fields to write 'hello' messages to
their friends or dedications instead of giving names to the song or it's
samples. I in no way discourage this.
// As sample names are usually used for messages, the song title field
// effectively holds the song title (in 99.9% of the cases ;-))
2.2 Sample Information
_______________________________
Based on the format tag field, there can be 15 or 31 sampled instruments
for the song. These days it is rare to run into an 'older' format song
with only 15 instruments. Please see the 'File format tag' field for
more information on how to determine how many samples there are in a
file.
The first field in a sample information block is the sample's name. As
was mentioned above, these names are frequently used by the composer to
say hello to his or her friends. Again, I in no way discourage this. If
the sample name begins with a '#' character (ASCII $23 (35)) then this is
assumed not to be an instrument name, and is probably a message.
The second field is the sample length in words. Once again, since this
is a 680x0 word, the bytes have the order HHLL, and you have to swap them
to use the word on PCs. The first 2 bytes of the sample are used by the
Amiga players for repeat information, and therefore are NOT part of the
playable data. Therefore, if this field is evaluated to a length of less
than 3 bytes, there is NO sample.
The third field is the sample's initial finetune value. The lower four
bits represent a signed nibble (-8..7). Each finetune step changes the
note 1/8th of a semitone. This is implemented by switching to a
different table of period-values for each finetune value. See section
3.2 for a discussion of fine-tuning.
The fourth field is the sample's playback volume. These are LINEAR
values that range from 0 to 64, with 64 being maximum volume. If you are
implementing a MOD player, remember to check if you need to use
logarithmic volumes. 'Decibel' is a logrithmical unit, which represents
how we feel sound intensity. The volume and decibel value table for
conversions is on the next page.
_______________________________________________________________________
4
MODFIL10.TXT THUNDER (kurtt@sfu.ca)
________________________________________________________________________
Volume Decibel Value Volume Decibel Value
------------------------- ------------------------
64 0.0 32 -6.0
63 -0.1 31 -6.3
62 -0.3 30 -6.6
61 -0.4 29 -6.9
60 -0.6 28 -7.2
59 -0.7 27 -7.5
58 -0.9 26 -7.8
57 -1.0 25 -8.2
56 -1.2 24 -8.5
55 -1.3 23 -8.9
54 -1.5 22 -9.3
53 -1.6 21 -9.7
52 -1.8 20 -10.1
51 -2.0 19 -10.5
50 -2.1 18 -11.0
49 -2.3 17 -11.5
48 -2.5 16 -12.0
47 -2.7 15 -12.6
46 -2.9 14 -13.2
45 -3.1 13 -13.8
44 -3.3 12 -14.5
43 -3.5 11 -15.3
42 -3.7 10 -16.1
41 -3.9 9 -17.0
40 -4.1 8 -18.1
39 -4.3 7 -19.2
38 -4.5 6 -20.6
37 -4.8 5 -22.1
36 -5.0 4 -24.1
35 -5.2 3 -26.6
34 -5.5 2 -30.1
33 -5.8 1 -36.1
0 Minus infinity
The reason for the table starting at 0 dB as the convention from
taperecorders of having 0 dB as the optimal recording condition, and
displaying anything worse as a negative number. Please see section 4.0
for a complete linear volume format for Gravis' UltraSound.
The fifth field in the sample information block is the sample repeat
start offset. Once this sample has been played completely from beginning
to end, if the repeat length (next field) is greater than two bytes it
will loop back to this position in the sample and continue playing. Once
it has played for the repeat length, it continues to loop back to the
repeat start offset. This means the sample continues playing until it is
told to stop.
The last, or sixth field in the sample information is the repeat length.
A sample is only looped if this value is greater than 2 bytes. See the
preceeding paragraph for more information on looping.
_______________________________________________________________________
5
MODFIL10.TXT THUNDER (kurtt@sfu.ca)
________________________________________________________________________
2.3 Number of patterns in song
_______________________________
This byte represents the number of patterns which are played in the entire
SONG. This is NOT the number of patterns in the FILE. The file may
contain (theoretically) up to 256 patterns, whereas the song is just a
selection of those patterns. If I have 30 patterns in my file, and I just
want to play patterns 6, 12, 3, 7, and 8 in that order, this byte will have
the value 5.
2.4 Song end jump position
_______________________________
Historically, this byte has been used for many purposes. Most commonly
in the newer format it has been used to signify if a song is to be
repeated indefinitely. Some game programs have background music which
never ends. If this byte is less than 127, then it specifies the
position in the pattern table to jump to when the last pattern has been
played. If this byte is greater than or equal to 127, the song ends.
2.5 Pattern table
_______________________________
This 128 byte block lists the order that patterns in the file should be
played in. Only the number of bytes specified by the number of patterns
in the song (see section 2.3) can be considered valid. If the song is to
play patterns 6, 0, 12, 11, 21, and 10 in that order, then the table will
have those 6 values as the first 6 bytes:
Pattern Table
Position ---> 0 1 2 3 4 5 6 ---------> 127
|---|---|---|---|---|---|---|---...---|---|
|006|000|012|011|021|010| ????????? |
|---|---|---|---|---|---|---|---...---|---|
One of the effects which is possible (see section 3.4) is a position
jump. The argument to this effect is where to jump to in the PATTERN
TABLE. This does NOT specify which PATTERN to jump to.
In a particular pattern there are 64 lines. These lines are played in
order from 0 to 63. When the end of a pattern is reached, playing
continues with the next pattern in the pattern table, unless the current
pattern is the last one. If the current pattern IS the last one, check
the song end jump position (see section 2.4) to see if the song loops to
a certain position in the pattern table. Another one of the effects
which is possible (see section 3.4) is a pattern break. If this effect
is encountered, playing immediately jumps to the first line of the next
pattern.
// The effect $D will always skip to the next pattern, but NOT always to
// the first line of the next pattern (in the table). See the description
// of the effect for more information.
_______________________________________________________________________
6
MODFIL10.TXT THUNDER (kurtt@sfu.ca)
________________________________________________________________________
2.6 File format tag
_______________________________
This is the most controversial field in the file. This field has been
the most 'ravaged', with many people using it in non-standard ways for
their own purposes. There are a few standard tags which you can find
here which tell you DEFINITELY what file format the file is, but there
are many more non-standard tags. This makes the job of deciding what
format a MOD is a difficult one. I will attempt to describe the known
formats below. If you know of one I miss, please let me know.
'M.K.', 'FLT4',
'M!K!', '4CHN' : 4 channels, 31 instruments
'6CHN' : 6 channels, 31 instruments
'8CHN', 'OCTA' : 8 channels, 31 instruments
// Another annotion about these tag fields: here you got some other fields.
// If you don't want to support them in your player, you should at least de-
// tect them. All these MODs have of course 31 instruments.
// 'FLT4', 'FLT8': Startrekker 4/8 channel file. ('FLT6' doesn't exists)
// 'CD81' : Falcon 8 channel MODs
// '2CHN' : FastTracker 2 Channel MODs
// 'yyCH' where yy can be 10, 12, .. 30, 32: FastTracker yy Channel MODs
// 'yyCH' where yy can be 11, 13, 15: TakeTracker 11, 13, 15 channel MODs
// 'TDZx' where x can be 1, 2 or 3: TakeTracker 1, 2, 3 channel MODs
// 'xCHN' where x can be 5, 7 or 9: TakeTracker 5, 7, 9 channel MODs
//
// Thanks must go to Inertia for most of these extra tag fields.
//
// All these formats, except for the FLT8 format, are *EXACTLY* the same as
// the standard M.K. 4 channel format; the only difference is the size of
// one pattern. The size of one pattern is calculated w/ the following
// "formula":
// (Nr_Of_Channels shl
//
// ( Nr_Of_Channels shl 8 <====> Nr_Of_Channels*4*64
// ^
// | ||
// Note length: 4 bytes -----+ ||
// Lines/patttern: 64 ---------++
// )
// The tag '4CHN' doesn't exists.
//
// Some extra information about the "FLT8" -type MOD's:
//
// These MOD's have 8 channels, still the format isn't the same as the
// other 8 channel formats ("OCTA", "CD81", "8CHN"): instead of storing
// ONE 8-track pattern, it stores TWO 4-track patterns per logical pattern.
// i.e. The first 4 channels of the first logical pattern are stored in
// the first physical 4-channel pattern (size 1kb) whereas channel 5 until
// channel 8 of the first logical pattern are stored as the SECOND physical
// 4-channel pattern. Got it? ;-).
// If you convert all the 4 channel patterns to 8 channel patterns, do not
// forget to divide each pattern nr by 2 in the pattern sequence table!
Other information that is found in this field can be assumed to be
somebody's attempt at protection, or some other information that was used
in the 'older' file format. If you can't find any of the above
information, it is best to assume that it's a 4 channel file. As for how
many instruments there are, check the bytes at location 471 in the file.
If there is text there (ASCII $20-$7E (32-126)), then you can probably
assume it's a 31-instrument file. Otherwise, it's an older 15 instrument
file.
// The method described above works lovely!
2.7 Patterns
_______________________________
There can be any number of patterns in the file. They are stored after
the file header and before the sample data. There are USUALLY less than
64, but the maximum is not limited - if the file tag is 'M!K!' there are
definitely more than 64 patterns.
// The nr of patterns is limited to 128 (from 0 to 127).
The patterns are stored sequentially (i.e. the first pattern is #0, the
second pattern is #1, etc.). An individual pattern is made up of 64
'lines', stored sequentially (i.e. line 0 to line 63). Each 'line' is
comprised of a note for each channel. Each 'note' is made up of 4 bytes,
so depending on the number of channels in the file, there are 16, 24, or
32 bytes per line.
// there are nr_channels*4 bytes per line. That is: minimum 4, max. 128
For a four-channel file there are (4 bytes * 4 channels * 64 lines) =1024
bytes of information per pattern. To find out the number of patterns in
a particular file, calculate the length of 'header' information and add
to it the lengths of all samples that are mentioned in the sample
information blocks. Subtract this number from the file's total size and
divide by the number just computed (1024) to get the number of patterns
in the file.
// The method described above is not the best method to find out how many
// patterns are stored in the MOD; it will fail if the MOD contains garbage
// at the end of the file. A much better method is to scan through the
// pattern sequence table to find the highest value. Be sure to scan ALL
// the values (128 of them) and to increment the highest pattern nr once,
// because the patterns are numbered from zero...
// e.g. if the highest pattern nr you could find in the table is 16, there
// are 16+1=17 patterns.
_______________________________________________________________________
7
MODFIL10.TXT THUNDER (kurtt@sfu.ca)
________________________________________________________________________
As mentioned above, each note is stored as 4 bytes. The information held
by these bytes has format shown below. How you display the contents of
the 4 bytes in a player is up to you. There is NO standard way to do
this.
Byte 1 Byte 2 Byte 3 Byte 4
--------- --------- --------- ---------
7654-3210 7654-3210 7654-3210 7654-3210
wwww XXXX xxxxxxxxx yyyy ZZZZ zzzzzzzzz
wwwwyyyy ( 8 bits) : sample number
XXXXxxxxxxxx (12 bits) : sample 'period'
ZZZZzzzzzzzz (12 bits) : effect and argument
The sample number refers to a sample specified in the sample information
block. Please see sections 2.2 and 2.8 for more information on the
samples.
The sample 'period' corresponds to a delay value on an Amiga computer.
Note that on an Intel processor, you have to order these 12 bits as
'XXXX0000xxxxxxxx' to read the value as a word. Please see sections 3.2
// NO! You should use XXXXxxxxxxxx instead of XXXX0000xxxxxxxx
// (I came on it whilst programming my own player.)
and 3.3 for more information on how to use these values.
The effect is an effect number and an argument for the effect. Please
see section 3.4 for a discussion of the effects and how to implement
them.
2.8 Sample data
_______________________________
The sample data follows all of the patterns. After you have finished
reading the pattern data, there will be just enough data left in the file
for all of the instruments specified in the sample information section.
The samples are stored sequentially from sample 1 to sample 31. The
sample's data is in 8-bit two's compliment format, so if it needs to be
in another format for your sound device to play it, don't forget to
convert (UltraSound users: you don't need to convert the data when
downloading).
As was mentioned in section 2.2, the first 2 bytes of the sample are used
by the Amiga MOD players for repeat information, and therefore are NOT
part of the playable data. PC users do not have to do anything with
these two bytes.
// Hum, I got wrong results when I skipped these two bytes. When I treated
// them as sample data, everything went fine... Dunno why.
// So I suggest you don't care about it.
// (especially chiptunes sounded really wrong)
_______________________________________________________________________
8
MODFIL10.TXT THUNDER (kurtt@sfu.ca)
________________________________________________________________________
3.0 Playing the files
_______________________________
Section 3 deals with playing MOD files. Specifically, it deals with
playing them on PC hardware - hopefully a Gravis UltraSound. The
Ultrasound is ideal for this and many other types of sound and song
processing, and is exceptionally easy to program. Gravis makes available
an SDK (Software Development Kit) which has both C, C++, and (by the end
of November) Borland Pascal versions. If you are programming a MOD
player for other hardware, you may still be able to use this information
for reference.
3.1 Timing
_______________________________
If lines are played sequentially, then how long should the player wait
between successive lines? On the Amiga, the amount of time a note spends
on a channel before the next note is started is calculated by using some
complex formulas based on the PAL color carrier frequency. I will not
try to bore you with the details of these calculations here, and if you
wan't them, email me.
A song can be played at a speed ranging from 1 to 127, where the speed
specifies how many 'ticks' before playing the next sample. A tick is
supposed to happen every .02 seconds, which gives 50 ticks per second.
At the start of a line all samples specified on that line are started,
samples playing are modified, speed is changed, etc. Some effects
require that changes be made to a sample playing on a channel during the
course of a line. For example, the retrigger effect re-starts a sample
at a certain tick within a line. If the song is playing at speed 6 and
the effect specifies a retrigger on the 4th tick:
Time Tick
0.00 1 - start all samples and effects
0.02 2
0.04 3
0.06 4 - retrigger sample here
0.08 5
0.10 6
------------
0.00 1 - start next line
.
.
Unless a speed is specified on the first line of the first pattern, the
song should start playing at speed 6. Please see section 3.4, effect $F,
for more information on changes in speed.
_______________________________________________________________________
9
MODFIL10.TXT THUNDER (kurtt@sfu.ca)
________________________________________________________________________
3.2 Periods
_______________________________
MOD players use a technique called frequency shifting to produce
different 'notes' of the same sample. If I play a sample at 10 KHz, it
will sound one octave higher if I double the frequency to 20 KHz, and one
octave lower if I halve the frequency to 5 KHz. Since there are 12 notes
per octave on a keyboard (these are called half-steps), each frequency
corresponds to one twelfth root of two (~1.05946) times the frequency of
it's predecessor (to the left). Therefore, if the C-1 frequency (the
note of C in octave 1) is 4144 Hz then:
Note: C-1 C#1 D-1 ... C-2 ...
Freq: 4144 4390 4651 ... 8288 ...
The Amiga playing routines were written to run off different interrupts
for different Amiga computers, based on whether the machine was a PAL or
NTSC machine. The 'period' values are measures which are used in
calculating how much data to send to each of the 4 Amiga channels per
second (thereby specifying the frequency or pitch of the output).
For PC programmers, you don't have to worry about this that much. The
thing to remember is that a 'magic number' divided by twice the period
value will give the rate (frequency) to play the sample at. Here are the
magic numbers and the corresponding formulae. I don't know which number
is better to use - It doesn't make a huge difference.
PAL Value NTSC Value
=========== ============
7093789.2 7159090.5
SampleRate = -------------- SampleRate = --------------
Period * 2 Period * 2
// On a GUS, you need to divide the above calculated frequency by a cer-
// tain "frequency divisor". The value of this divisor depends on the
// number of channels you allocated on the GUS. Here you have the official
// divisors:
// freq_divisors[19] = (
// 44.100, frequency divisor using 14 active voices (or less)
// 41.160, frequency divisor using 15 active voices
// 38.587, frequency divisor using 16 active voices
// 36.317, frequency divisor using 17 active voices
// 34.300, frequency divisor using 18 active voices
// 32.494, frequency divisor using 19 active voices
// 30.870, frequency divisor using 20 active voices
// 29.400, frequency divisor using 21 active voices
// 28.063, frequency divisor using 22 active voices
// 26.843, frequency divisor using 23 active voices
// 25.725, frequency divisor using 24 active voices
// 24.696, frequency divisor using 25 active voices
// 23.746, frequency divisor using 26 active voices
// 22.866, frequency divisor using 27 active voices
// 22.050, frequency divisor using 28 active voices
// 21.289, frequency divisor using 29 active voices
// 20.580, frequency divisor using 30 active voices
// 19.916, frequency divisor using 31 active voices
// 19.293 frequency divisor using 32 active voices
// );
//
// If you multiply these values by 1000 (e.g. 44100 instead of 44.100),
// you get the mixing rate of the GUS. As you see, the quality drops badly
// using 32 active voices...
//
// (BTW: Don't try to allocate less than 14 voices.)
// Thus the frequency you should pass to the GUS is calculated as follows:
//
// gus_freq = (7093789.2 / (2 * period)) / freq_divisors[nr_of_voices-14];
To determine what frequency to play a sample at, look up the specified
period value in a table based on the finetune setting (see section 3.3
for more information on fine-tuning). If the period is 0, then the
previous period used on that channel is used.
As an example, let's look at the period table for finetune 0. The notes
that are possible in each octave are:
C C# D D# E F F# G G# A A# B
Octave 1: 856, 808, 762, 720, 678, 640, 604, 570, 538, 508, 480, 453
Octave 2: 428, 404, 381, 360, 339, 320, 302, 285, 269, 254, 240, 226
Octave 3: 214, 202, 190, 180, 170, 160, 151, 143, 135, 127, 120, 113
Octave 0:1712,1616,1525,1440,1357,1281,1209,1141,1077,1017, 961, 907
Octave 4: 107, 101, 95, 90, 85, 80, 76, 71, 67, 64, 60, 57
If I was requested to play a sample at period 302, I would scan through
the period table until I hit that value. At that point, I know that the
note is called 'F#2', F-sharp in octave 2. I calculate the playback
frequency by doing the calculations on the next page.
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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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PAL Value NTSC Value
=========== ============
7093789.2 7159090.5
----------- = 11745 Hz ----------- = 11853 Hz
302 * 2 302 * 2
There are normally only three octaves (1 to 3) used in playing songs.
Octaves 0 and 4 are NOT standard. Some songs may use the values though,
and it's nice if your player can handle them. Full period tables for all
finetunes are listed in section 4.
If you wish to sample sounds to include in MOD files, remember that the
data must be stored in 8-bit 2's complement format. There is NO standard
sample rate when creating the samples. Most often the samples are done
on the rate corresponding to period C-3 (around 16.5 KHz), and sometimes
drums are sampled at A-3 (around 28 KHz).
If sample number is specified on a channel (sample #0), then the last
// (SampleNr is not zero)
sample used on that channel will be remembered if new notes come along.
Only one sample may play on a channel at a time, so playing a new sample
will cancel an old one - even if there is no actual sample data for the
new sample (a 'silent' sample). However, if you are constructing a MOD
file of your own and you use a "silent" sample it is polite to set its
default volume to 0.
If you have some memory (around 2k or so) to spare, you could make up a
table of words indexed by period value. The value of the word at the
index of a period is the corresponding frequency that the sample should
be played at. This saves you from having to calculate the frequencies
over and over again. If you still don't get what I'm talking about here:
I have a array of words, one for each period from the lowest (around 50)
// Normal Maximum Period = 907
// Normal Minimum Period = 108
// Extended Maximum Period = 1814
// Extended Minimum Period = 54
//
// Extended: when using octaves 0 & 4
// See the V-E-R-Y end of this file for a complete list of Period values,
// EXTENDED octaves included.
//
// If you want VERY extended octaves, you'll have to use different
// formulas.
to the highest (around 1712). I precalculate the contents of this table
so that at index 302 (the period for note F#2), there is the value 11853,
the frequency to use to get the note F#2. Therefore, when my player runs
accross this value and needs to know what frequency to play the sample
at, I simply look up the value in the table directly - no calculations.
If you still don't get what I'm talking about, you're screwed.
3.3 Fine-Tuning
_______________________________
Fine-tuning is a minor adjustment on how an instrument sounds. This is
implemented by small changes in the period values. The finetune value
for a sample specifies the adjustment on the period values for that
instrument. A fine-tune can also be specified for a specific instrument
by an effect, at which point the value in the effect will override the
one in the sample information block.
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The value in the sample information block is a signed nibble (4 bits,
signed 2's complement). Therefore, the values that can be found have the
following corresponding finetunes:
Value: 0 1 2 3 4 5 6 7 8 9 A B C D E F
Finetune: 0 +1 +2 +3 +4 +5 +6 +7 -8 -7 -6 -5 -4 -3 -2 -1
Section 4.0 specifies period values for all finetunes for octaves 1 to 3.
You could use these values in creating your array of frequency words (see
the end of section 3.2).
3.4 Effects
_______________________________
As was mentioned in section 2.7, the 4 bytes for a note have the
following format:
Byte 1 Byte 2 Byte 3 Byte 4
--------- --------- --------- ---------
7654-3210 7654-3210 7654-3210 7654-3210
wwww XXXX xxxxxxxxx yyyy ZZZZ zzzzzzzzz
wwwwyyyy ( 8 bits) : sample number
XXXXxxxxxxxx (12 bits) : sample 'period'
ZZZZzzzzzzzz (12 bits) : effect and argument
Again, how you display this information in a player is up to you. I have
seen a zillion different formats. I have described what the sample
number and period refer to. Here, we will look at the effects that are
possible.
At this point in time, the Amiga Protracker MOD player (version 2.3A/
3.01) has 28 effects. Some of these effects are redundant or not
possible on some PC sound cards. I will describe the effects and how
they are implemented on the Amiga. PC programmers will have to adapt the
effects they wish to implement on their own. All numbers are stated in
hexadecimal.
For the discussion of the effects, we will look at the 'effect and
argument' part of the 4 bytes in the following way:
Bit number: $CBA987654321
Mentioned above as: ZZZZzzzzzzzz
We will use: ZZZZxxxxyyyy
There are two types of effects, standard and extended. All effects use
the ZZZZ portion to declare the effect number. Standard effects use the
xxxx and yyyy portions as one or two arguments, either as an 8-bit value
when taken together in the form xxxxyyyy or as 2 nibbles xxxx and yyyy.
Extended effects have the ZZZZ effect number $E. They use the xxxx
portion to declare the extended effect number and the only the yyyy
portion as an argument.
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Here are the possible standard effects:
-----------------------------------------------------------------------
# Effect name Uses Arguments as
-----------------------------------------------------------------------
0 Arpeggio xxxx yyyy
1 Slide Up xxxxyyyy
2 Slide Down xxxxyyyy
3 Tone Portamento xxxxyyyy
4 Vibrato xxxx yyyy
5 Tone Portamento + Volume Slide xxxx yyyy
6 Vibrato + Volume Slide xxxx yyyy
7 Tremolo xxxx yyyy
8 Set Panning Position xxxxyyyy
9 Set SampleOffset xxxxyyyy
A VolumeSlide xxxx yyyy
B Position Jump xxxxyyyy
C Set Volume xxxxyyyy
D Pattern Break xxxxyyyy
E *Extended Effects see below
F Set Speed xxxxyyyy
// The "SET SPEED" command is also used to set extended speed: BPM.
And here are the possible extended effects:
---------------------------------
# Effect name
---------------------------------
E0 Set Filter
E1 FineSlide Up
E2 FineSlide Down
E3 Glissando Control
E4 Set Vibrato Waveform
E5 Set FineTune
E6 Set/Jump to Loop
E7 Set Tremolo Waveform
E8 NOT USED
E9 Retrig Note
EA Fine VolumeSlide Up
EB Fine VolumeSlide Down
EC NoteCut
ED NoteDelay
EE PatternDelay
EF Invert Loop
A description of each effect and how it is implemented is given on the
following pages. Once again, all values are given in hexadecimal unless
otherwise stated.
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-----------------------------------------------------------------------
0: Arpeggio
-----------------------------------------------------------------------
If a note as an effect number of 0, it is only an arpeggio if there is at
least one non-zero argument. When there is at least one valid argument,
this effect means to play the note specified, then the note+xxxx half-
steps, then the note+yyyy half-steps, and then return to the original
note. These changes are evenly spaced within the time for a line to be
played at the current speed.
This effect is usually used to simulate chords (where a major chord is
the note+4 half steps and the note+7 half-steps). This does not work
very well on most samples. This can also be used to produce a heavy
vibrato. Here is an example of this effect:
Note C-3, xxxx=4, yyyy=7
this will attempt to produce a C-major chord. At the beginning of a line
the C-3 note is played, then at 1/3 of the way through the line the note
is retriggered at E-3, 2/3 of the way through it is retriggered at G-3,
and at the beginning of the next line (if there are no new notes to be
played on the channel), it is retriggered at C-3 again.
This presents a minor problem for timing, since you have to keep track of
the arpeggio during the course of playing a line. What you could do is
use a timer differently, or set up another timer that independently
tracks the timing of the arpeggio.
// There is a little error in the above information. So here's how you
// should implement Arpeggio on the PC:
// - at tick nr 0 (the tick the effect is encountered whilst updating the
// note info ( = whilst playing another line)): set a counter to 0, and
// keep the values xxxx & yyyy handy.
// => play the actual note.
// - at tick nr 1 (the first tick that occurs after updating a line:
// STILL PLAY THE ACTUAL NOTE - AND THEN update ( increment) the counter.
// - the following ticks:
//
// if (counter mod 3) = 0 then play actual note
// if (counter mod 3) = 1 then play actual note + xxxx
// if (counter mod 3) = 2 then play actual note + yyyy
// increment counter
// end of effect.
//
// GOT IT?
// As far as I know, PC-players don't care about the "timing problem"
// mentioned above.
-----------------------------------------------------------------------
1: Slide up (Portamento Up)
-----------------------------------------------------------------------
This effect will slide up the frequency (decrease the period) of the
sample being played on the channel by xxxxyyyy notes for every tick that
occurs during the line. You usually cannot slide past note B-3 unless
you have implemented octave 4 (NON-STANDARD!). The number of ticks that
occur per line is set with effect $F, the set speed command. Since the
slide rate depends on the speed, be careful if you set are composing a
MOD when you change the speed. An example of this effect is:
Note C-3, xxxxyyyy = 2, playing at speed 3.
At the beginning of the line the sample is started at period C-3. At the
first tick, the period is decremented by 2 (the frequency is increased).
At the second tick, the period is again decremented by 2. At the
beginning of the next line, if there is not a new note to be played the
period is again decremented by 2.
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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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-----------------------------------------------------------------------
2: Slide down (Portamento Down)
-----------------------------------------------------------------------
This effect will slide down the frequency (increase the period) of the
sample being played on the channel by xxxxyyyy tones for every tick that
occurs during the line. You usually cannot slide below note C-1 unless
you have implemented octave 0 (NON-STANDARD!). The number of ticks that
occur per line is set with effect $F, the set speed command. Since the
slide rate depends on the speed, be careful if you set are composing a
MOD when you change the speed. An example of this effect is:
Note C-3, xxxxyyyy = 2, playing at speed 3.
At the beginning of the line the sample is started at period C-3. At the
first tick, the period is incremented by 2 (the frequency is decreased).
At the second tick, the period is again incremented by 2. At the
beginning of the next line, if there is not a new note to be played the
period is again incremented by 2.
-----------------------------------------------------------------------
3: Slide to note
-----------------------------------------------------------------------
This effect will slide a note being played on a channel to a specified
note. The parameter xxxxyyyy will states the speed at which a slide will
occur. For each tick that occurs during the line, the period currently
being played is altered by the number of notes specified. The number of
ticks that occur per line is set with effect $F, the set speed command.
Since the slide rate depends on the speed, be careful if you set are
composing a MOD when you change the speed. An example of this effect is:
Slide to note C-2, xxxxyyyy = 2, playing at speed 3.
At the beginning of the line the current frequency for the sample is
altered to be 2 notes closer to C-2. At the first tick, the same
alteration occurs, changing the period to form a note even closer to C-2.
The same occurs for each tick after that. This effect continues until
another effect is started or the specified frequency is reached.
If a slide rate is not specified (xxxxyyyy is zero) then the last slide
rate used on the channel is used again.
-----------------------------------------------------------------------
4: Vibrato
-----------------------------------------------------------------------
Vibrato means to "oscillate the sample pitch using a particular waveform
with amplitude yyyy notes, such that (xxxx * speed)/64 full oscillations
occur in the line". The waveform to use in vibrating is set using effect
E4 (see below). By placing vibrato effects on consecutive lines, the
vibrato effect can be sustained for any length of time. If either xxxx
or yyyy are 0, then values from the most recent prior vibrato will be
used.
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An example is: Note C-3, with xxxx=8 and yyyy=1 when speed=6. This will
play tones around C-3, vibrating through D-3 and B-2 to C-3 again
(amplitude - yyyy - is 1), with (8*6)/64 = 3/4 of a full oscillation per
line. Please see effect E4 for the waveform to use for vibrating.
-----------------------------------------------------------------------
5: Continue effect 3:'Slide to note', but also do Volume slide
-----------------------------------------------------------------------
This effect will change the volume of a channel while a tone portamento
(effect 3) is taking place. The values xxxx or yyyy specify the speed of
the volume change. If xxxx is nonzero the volume is increased, and if
yyyy is nonzero the volume is decreased. It is illegal for both xxxx and
yyyy to be non-zero. You cannot slide past 64 or below 0.
As an example, take the xxxx to be set to 3. This means that at the
beginning of the line, the current volume of the channel is increased by
3. The volume is increased again for every tick on this line and the
lines following (until there is a new effect). Once again, the volume
cannot slide up past 64.
-----------------------------------------------------------------------
6: Continue effect 4:'Vibrato', but also do Volume slide
-----------------------------------------------------------------------
This effect will change the volume of a channel while a vibrato (effect
4) is taking place. The values xxxx or yyyy specify the speed of the
volume change. If xxxx is nonzero the volume is increased, and if yyyy
is nonzero the volume is decreased. It is illegal for both xxxx and yyyy
to be non-zero. You cannot slide past 64 or below 0.
As an example, take the yyyy to be set to 2. This means that at the
beginning of the line, the current volume of the channel is decreased by
2. The volume is decreased again for every tick on this line and the
lines following (until there is a new effect). Once again, the volume
cannot slide down below 0.
-----------------------------------------------------------------------
7: Tremolo
-----------------------------------------------------------------------
Temolo means to "oscillate the sample volume using a particular waveform
with amplitude yyyy*(speed-1), such that (xxxx*speed)/64 full
oscillations occur in the line". The waveform to use to oscillate is set
using the effect E7 (see below). By placing tremolo effects on
consecutive lines, the tremolo effect can be sustained for any length of
time. If either xxxx or yyyy are 0, then values from the most recent
prior tremolo will be used.
The usage of this effect is similar to that of effect 4:Vibrato.
-----------------------------------------------------------------------
8: This effect is not used.
// Command 8: Set FINE Panning.
// Even if the AMIGA PROTracker does not support it, this effect is used
// by modern MOD's and supported by nearly all modern PC MOD player rou-
// tines. Here it is:
//
// xxxxyyyy = panning position. (0=Most left, 255=most right.)
-----------------------------------------------------------------------
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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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-----------------------------------------------------------------------
9: Set sample offset
-----------------------------------------------------------------------
This effect allows you to start a sample from a specified position rather
than the normal beginning position. Multiply the value xxxxyyyy by 512
// !! N O !! Don't multiply by 512. You should multiply by 256 ($100).
to get the position in bytes from the beginning of the sample where
playback should start. If no sample is specified with the effect, but
one is currently playing on the channel, then the sample currently
playing is retriggered to offset specified.
An example is instrument 2 being played at note C-3, with xxxxyyyy=$23.
This would make playback of the sample start at offset $23*$200 = $4600.
// $23*$100 = $2300 ...
This effect gives a rough range to play the sample from.
// WARNING!!! if the effect argument is 0, the effect should be IGNORED!
// !! Note that if the effect is out of range (e.g. if it tries to jump
// beyond the end of the sample) NO NOTE WILL BE PLAYED! Some players
// even stop playback!
-----------------------------------------------------------------------
A: Volume slide
-----------------------------------------------------------------------
This effect will change the volume of all samples being played on a
channel. The values xxxx or yyyy specify the speed of the volume change.
If xxxx is nonzero the volume is increased, and if yyyy is nonzero the
volume is decreased. It is illegal for both xxxx and yyyy to be non-
zero. You cannot slide past 64 or below 0.
As an example, take the yyyy to be set to 3. This means that at the
beginning of the line, the current volume of the channel is decreased by
3. The volume is decreased by 3 again for every tick on this line and
the lines following (until there is a new effect). Once again, the
volume cannot slide down below 0.
// When performing a vol. slide, you have to start decreasing the volume
// at the tick that follows the line that was just played.
// Same remark for the portamento effects ($1, $2, $3 and $5)
-----------------------------------------------------------------------
B: Position Jump
-----------------------------------------------------------------------
This effect xxxxyyyy parameter specifies a position in the pattern table
that playback should jump to after this line. Legal values are in the
range of the number of patters that are supposed to be in the song (see
section 2.3). Values outside this range should be ignored.
// NO! Legal values are supposed to be less or equal than the length of
// the pattern sequence (the length of the song in patterns). If the value
// is higher than 127, it's corrupt. If it's higher than the songlength,
// you may or may not restart the MOD.
-----------------------------------------------------------------------
C: Set volume
-----------------------------------------------------------------------
Effect C will set the volume on a channel to the setting specified by the
xxxxyyyy value. Legal volumes are in the range of 0 to 64. An attempt
to set the volume to a higher value than 64 will just set it to 64.
I don't think we really need an example for this effect.
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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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-----------------------------------------------------------------------
D: Pattern Break
-----------------------------------------------------------------------
This effect is equivalent to a position jump to the next pattern in the
pattern table, with the arguments xxxx*10+yyyy specifying the line within
that pattern to start playing at. Note that this is NOT xxxx*16+yyyy.
// WARNING! This is !NASTY! You _DO_ need to recalculate the value!!
For example, the effect with arguments xxxx=0, yyyy=0 would simply jump
to the first line in the next pattern in the pattern table after playing
the current line. With arguments xxxx=1 and yyyy=6 would jump to the
16th line of the next pattern in the pattern table after playing the
current line.
-----------------------------------------------------------------------
E0: Set filter on/off
-----------------------------------------------------------------------
This sets a hardware sound filter to ON (if yyyy is 0) or OFF (if xxxx is
nonzero). If your sound device has built-in filters, you should ignore
this effect command. This effect is primarily used on Amiga 500 and 2000
computers to dick around with the hardware filter.
-----------------------------------------------------------------------
E1: Fineslide up
-----------------------------------------------------------------------
This effect functions just like effect 1, except that the frequency of
the sample is only modified once. At the beginning of a line, whatever
frequency is being played on a channel is incremented by yyyy notes.
This effect does NOT continue on the lines following. You cannot slide
the frequency above the note B-3 (unless you implement octave 4 : NON-
STANDARD!).
An example here would be effect E, xxxx=1 (the extended effect number),
yyyy=3. This would slide the current frequency up three notes at the
beginning of the line.
-----------------------------------------------------------------------
E2: Fineslide down
-----------------------------------------------------------------------
This effect functions just like effect 2, except that the frequency of
the sample is only modified once. At the beginning of a line, whatever
frequency is being played on a channel is decremented by yyyy notes.
This effect does NOT continue on the lines following. You cannot slide
the frequency below the note C-1 (unless you implement octave 0 : NON-
STANDARD!).
An example here would be effect E, xxxx=1 (the extended effect number),
yyyy=2. This would slide the current frequency down two notes at the
beginning of the line.
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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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-----------------------------------------------------------------------
E3: Set glissando on/off
-----------------------------------------------------------------------
The argument yyyy to this effect specifies whether the glissando effect
is ON (yyyy is 1) or OFF (yyyy is 0). If glissando is on, then the
'Slide to note' will slide a half note at a time. Otherwise, it will
perform the default smooth slide.
-----------------------------------------------------------------------
E4: Set vibrato waveform
-----------------------------------------------------------------------
This effect means to set the waveform appearance for succeeding 'vibrato'
effects. There are currently four possible appearances for the wave,
each with a possible 'retrigger'. Two cycles are shown below for each
type of waveform:
yyyy
Waveform Name Retriggered No Retrigger
---------- ------------------- ----------- ------------
/\ /\ Sine (default) 0 4
\/ \/
|\ |\ Ramp down 1 5
\| \|
,-, ,-, Square 2 6
'-' '-'
????????? Random 3 7
A "retriggered" waveform will be reset to the start of a cycle at the
beginning of each new note. If a wave is selected "without retrigger",
the previous waveform will be continued. Waveforms are usually
retriggered.
-----------------------------------------------------------------------
E5: Set finetune value
-----------------------------------------------------------------------
This effect command sets the finetune value for the current instrument to
the signed nibble value yyyy. This value overrides the value found in
the sample information block at the beginning of the MOD file. The new
finetune remains until changed by another E5 effect.
Value: 7 6 5 4 3 2 1 0 F E D C B A 9 8
Finetune to set: +7 +6 +5 +4 +3 +2 +1 0 -1 -2 -3 -4 -5 -6 -7 -8
This effect is implemented by storing period values for all possible
finetunes, and simply switching to a different table of periods when this
effect is encountered. See section 3.3 for more information. Section 4
lists the period tables for finetunes for octaves 1 to 3.
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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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-----------------------------------------------------------------------
E6: Loop pattern
-----------------------------------------------------------------------
This effect allows a section of a pattern to be 'looped', or played
through, a certain number of times in succession. If the effect argument
yyyy is zero, the effect specifies the loop's start point. Otherwise, it
specifies the number of times to play this line and the preceeding lines
from the start point. If no start point was specified in the current
pattern being played, the loop start defaults to the first line in the
pattern. Therefore, you cannot loop through multiple patterns.
An example:
On line 3, the effect E6 is encountered, with yyyy=0. This specifies
that line 3 is the beginning of a loop in this pattern.
Down on line 52, the effect E6 is encountered again, with yyyy=2. This
means to jump back and play the lines from line 3 to line 52 again twice
more before continuing with the rest of the pattern.
-----------------------------------------------------------------------
E7: Set tremolo waveform
-----------------------------------------------------------------------
Line command E4, this sets the waveform appearance for succeeding
'tremolo' (volume) effects. There are currently four possible
appearances for the wave, each with a possible 'retrigger'. Two cycles
are shown below for each type of waveform:
yyyy
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