ESQ1 Project

by **tulamide** » Mon Jul 09, 2018 9:37 am

Just wanted to write some thoughts down, but then I started to evaluate the hex values from the spread sheet. The longer I stare at their binary and decimal representations, the less sense I can make from them. It will take me a lot more time :roll:

by **Spogg** » Mon Jul 09, 2018 10:07 am

I know exactly what you mean!

One thing to take into account is those Glint waveforms at the bottom of the spreadsheet. They reference the sine wave in ROM #1.

In the Musician’s manual for the SQ80 it states they are a very high pure harmonic with differing fixed frequencies depending on the keyzone. This is supported by the actual sound of the SQ80 VSTi plugin (which I reckon is quite good actually; it just needs Kevin’s GUI).

The spreadsheet shows no octave offset (resolution code is 001, which seems to mean no shift) with only a semitone shift value. Now it could be that the synth internally supplies this offset so why isn’t it in the spreadsheet, since the spreadsheet is derived from the OS code?

Maybe a different part of the OS has the octave offset for these, and this might be the case since I believe it’s the only wave that can’t be tuned by the user (according to the manual again).

Dunno!

Cheers

Spogg

by **tulamide** » Mon Jul 09, 2018 11:05 am

We have to make sense of the assembler code, I posted some posts before.

It is essential for the understanding of the values in the spread sheet. Therefore I came up with two sources. The processor of the ESQ1 is a well known Motorola 6809 and therefore its instructions are compatible with 68k (only that the 6809 has fewer instructions, but that is not of concern, since we only need to translate what's there, not add anything).

There is an online source of 68k Assembler instructions:
http://68k.hax.com/

And a pdf from the 6809 specific instructions:
http://geneslinuxbox.net:6309/gene/Genes-os9-stf/MC6809-MC6809E%208-Bit%20Microprocessor%20Programming%20Manual%20(Motorola%20Inc.)%201981.pdf
(Instructions start at page A-4, or 51)

I've made a quick comparison of two instructions I found in our code with the manuals. Both links explain them the same (wording differs), so use whatever is more convenient. I will use the online one.

At this point, I really beg our Assembler Gurus, to help us out. The program isn't very long and I'm sure you can make much more sense of it in shorter time! Pretty please?

by **KG_is_back** » Wed Jul 11, 2018 12:03 am

Spogg wrote:At this point, I really beg our Assembler Gurus, to help us out. The program isn't very long and I'm sure you can make much more sense of it in shorter time! Pretty please?

You rang?!

OK I had a brief look, but I'm not sure if I can be helpful. At a first glance, the code seems to load values from memory and then incrementing/decrementing them based on their values. I'm not quite sure what the code is meant to do, since I don't know what the values represent. The best I can do is transliterate the code into C.

Code: Select all: #X,Y,U,S are pointers to stacks #a,b are accumulator registers byte *X,*Y,*U,*S; byte a,b; byte temp,carry; a=*U; #LDA ,U ; osc semitone a=a+*S; S++; #ADDA ,S+ ; add raw wave semitone shift a=a-0x24; #SUBA #$24 ; wave octave is -3 to -1 if(a<0)goto hED54; #BLT hED54 ; #CMPA #$18 ; wave octave is 0 or 1 if(a-0x18<0)goto hED52; #BLT hED52 ; # #;------------------------------------------------ #;--- wave octave is >=2 ------------------------- #;------------------------------------------------ b-=1; #DECB ; adjust address bus resolution (speed up) goto hED63; #BRA hED63 # #;------------------------------------------------ #;--- wave octave is 0/1 ------------------------- #;------------------------------------------------ hED52: goto heD61; #hED52: BRA hED61 ; only tune up via semitone # #;------------------------------------------------ #;--- wave octave is -3 to -1 --------------------- #;------------------------------------------------ hED54: b++; #hED54: INCB ; adjust address bus resolution (slow down) a=a+0x0c; #ADDA #$0C ; +1 octave if(a>=0) goto hED61; #BGE hED61 b++; #INCB ; adjust address bus resolution (slow down) a=a+0x0c; #ADDA #$0C ; +1 octave if(a>=0) goto hED61; #BGE hED61 b++; #INCB ; adjust address bus resolution (slow down) a=a+0x0c; #ADDA #$0C ; +1 octave # #;------------------------------------------------ #;--- wave octave is 0/1/2 ----------------------- #;------------------------------------------------ hED61: a=a+0x0c; #hED61: ADDA #$0C ; +1 octave # #;------------------------------------------------ #;--- set DOC frequency and control -------------- #;------------------------------------------------ hED63: *(Y-0x37)=a; #hED63: STA -$37,Y ; set DOC frequency MSB a=*(U+0x01); #LDA +$01,U ; get osc fine tune temp=a; a=a+*S; S++; carry=temp<a; #ADDA ,S+ ; add raw wave fine tune *(Y-0x36)=a; #STA -$36,Y ; set DOC frequency LSB if(~carry) goto hED72; #BCC hED72 (*(Y-0x37))++; #INC -$37,Y ; increment DOC frequency MSB hED72: *(Y-0x36)=a; #hED72: STA -$36,Y ; set DOC frequency LSB

presumably address (U+0x01) holds "osc fine tune" variable, which is 1byte int and (Y-0x36) holds 2byte int, which would explain the LSB/MSB addition and incrementing (adding fine tune (1byte int) to DOC frequency (2byte int)).
The MSB of "DOC frequency" seems to hold semitone values, since the result of all that code in the octave/semitone branches writes there. LSB seems to hold fine tune. Namely, it holds "osc fine tune" + "raw fine tune" plus if overflow occurs, MSB gets incremented (aka fine-tuned by more than 1 semitone). Strangely, there is no code for decrementing, so it appears that fine-tuning lower than 1 semitone is impossible.
That also clears out why (S) stack pointer is incremented when read. It also hold 2byte value. First byte being "raw wave semitone shift" (read at the beginning of the code) and second being "raw fine tune" (read near the end of the code).

Register "b" seems to hold "address bus resolution" whatever that means... It is never loaded or stored in this code - only modified by incrementing/decrementing it in some cases. Every time decrement occurs, comment say "(speed up)" and for every increment they say "(slow down)". It appears that the value is used elsewhere to bitshift some sort of address/index to double/half the reading speed.

by **Spogg** » Wed Jul 11, 2018 1:12 pm

Thanks for the info KG!

I’ve spent so long on this and got nowhere relating the semitone shift and fine values to the required pitch.

I’ve assessed all the looped and one-shot clips using 2 methods.

The first was to check if the shift values related to the native recorded “MIDI” pitch value so I checked for pitch in sampler mode, whereby the root note pitch is needed for the scan rate. The direction of pitch shift is then correct, so a lower hex value renders a higher pitch. This also ties in with the glint (sine) offsets which have much lower values, so would play at a much higher pitch. But whatever I’ve tried to test a relationship, only works for one hex value. The others don’t fit. I did put the synth’s sample rate ratio in to the equation, as semitones, but no good.

The second thing I tried was to test the pitch in oscillator mode, whereby the pointer step size relates to the clip size, so longer waveforms are stepped through faster. After running through all the waveforms I checked the semitone detune values against the spreadsheet and, unsurprisingly, there was even less correlation.

What we don’t have is the method the OS uses to transform MIDI note numbers into values for the accumulator registers. Note values are linear steps, 0-127, but must be converted exponentially to register values to get the right pitch. In FS this is done internally in the MIDI prim, or we use a pitch to frequency (Hz or normalised) converting prim. I fear that without this detailed information we’re just guessing at the interpretation of the spreadsheet values. I think that sample root-note coding is happening, but I just don’t see the relationship. It’s like there is some exponential factor involved.

To come down to reality, we don’t actually need to concern ourselves with this for the ESQ-1, since those ROM #1 waveforms are all at 0 shifts and can play nicely in oscillator mode, at the correct pitch. I would personally like to make use of the additional Waves in the SQ-80 but I now have tuning tables that seem spot on to my ears, so I would use those with whatever rendering method I settle upon.

It would be totally fascinating for me to see this fully explained, but it’s not essential for my own practical purposes.

I’m now going to think about how these waveforms can be used as multi-samples in FS. That will need a re-working of Christian’s list and waveforms, with the keyzone values.

During my work I found 2 waveforms in ROM #4 where I neglected to edit out the stop bits. Those are attached so maybe they could be passed on to Rainer so the collection is correct. When I’ve re-done the zoning I’ll upload that collection. Also, here’s the latest version of the spreadsheet with my tuning values included and some other changes.

Cheers

Spogg

by **tulamide** » Wed Jul 11, 2018 5:25 pm

KG, thank you so much! I can now read the code, and that makes a few things much more clearer. I hoped for this kind of help! It gets us a step further.

Spogg, I wouldn't be nearly as pessimistic. I agree it should have its own thread to outsource it, so let's create one. From KGs translation, a few things are obvious:
1. There's no exponentiality introduced by the code. It is plain linear.
That doesn't mean, that there is no exponentiality before or after, but that the code itself can be used as is to do simple experiments. It is exactly as it was in school: You fill the "inputs" with example values, calculate the code and look at the result. This will reveal a mathematical law, which points to the underlying behavior of freqency decoding.

2. They differentiate between "osc semitone" and "wave semitone shift", which means, the latter (as finetune as well) is a relative value. Since (see 1.) it is used linear, it is no prompt for frequency, rather something like a percentage. It is only added(subtracted from "osc semitone", which means that one is relative, a share as well.

3. Any clock counting will be based on (1MHz/26), so there's a common multiplikator. From the code I see that anything that's labelled "DOC frequency" is either set directly to a value, or just doubled. This points to the values in the registers being simple multiplicators for a base frequency.

Regarding Mulit-sampling: I could create a midi key-zone detector with ease, but Adam's warning about cpu spikes from RubyEdit MIDI outputs lets me restrain. I looked at both, the stock "Advanced Multisampler" and KG's multi-sampler, but I can't make sense from either of them. The former, for example, never uses defined keyzones, but a DSP module that generally tracks frequencies. The files it reads, however (sfz files), do define keyzones!

I'm not sure, which way to go.

by **Spogg** » Thu Jul 12, 2018 7:37 am

Yes you’re right about my pessimism tulamide, but it’s really about me hitting a brick wall at this point

The fact that I am personally unable to glean the interpretation doesn’t mean others can’t, and I would be thrilled if it could finally be explained to me in detail, and a working “converter” made; hex values as input, semitone shift as output.

I think the FS multi-sampler needs a bespoke solution, something tailored to this Rompler-type instrument’s requirements. So I shall be looking into this next, but I’m open to ideas in the meantime.

Since the ESQ-1 and SQ-80 are intimately related, I think a separate topic might confuse matters, so I vote to just use this topic. The exception being technical issues that relate only to the SQ-80, like the extraction of ROMS 2-4.

Cheers

Spogg

by **tulamide** » Thu Jul 12, 2018 3:46 pm

The semitone/finetune thing IS only affecting the SQ80, so I thought it would be better to outsource it and go on with the multisampling here.

I have news from Rainer. Yesterday I sent him the corrected files and dared to ask specifics regarding our issue. I quoted your paragraph about the OS translating to frequency. It seems, I'm not so far off with my assumption that there is no exponentiality in the calculations. Instead, the frequency is normalized (16 bit) and used to compare with a table. That table is in OSLO at offset $7000 (please tell me you know where to look for the table, I wouldn't want to get on Rainer's nerves by asking again :oops:

)

In -$37,Y/-$36Y lies the calculated (linear) frequency, on top goes the frequency modulators (LFO, EG), then the value gets normalized and put in a 16-bit-table-call.

(That the keyboard virtually starts at 2 is based on the fact that keys 0 and 1 (in the ESQ1 even keys 0-3) are used alienated. With 61 keys and an 8-bit-matrix you only have a maximum of 4 key-IDs to use for other things, like sequencer- and sustain-switch)

The table lies in OSLO at offset $7000, that's why I won't quote it here:

Then follows another Assembler program that cares about the frequency transformation.

Code: Select all: hF14F: MUL hF150: ASRA ; normalize RORB ADDD $8F ; overall FM #1 ADDD $8D ; overall FM #2 ADDD -$37,Y ; actual frequency BPL hF169 BVS hF164 LDD $7000 ; underrun: BRA hF183 ; set lowest frequency ;--- never accessed ;------------------------------------------------ f162 BRA hF169 ;------------------------------------------------ hF164: SUBD #$0C00 ; overflow correction BVC hF164 hF169: LDX #$6FFE ; frequency table base (l7000-2) ASRA ; normalize frequency offset RORB ASRA RORB ASRA RORB ASRB BCS hF17A LSLB LDD D,X ; get frequency (D must be at least 2) BRA hF183 ;------------------------------------------------ hF17A: LSLB LEAX D,X ; get in-between frequency LDD +$02,X ADDD ,X RORA ; normalize frequency RORB hF183: LDX -$39,Y ; get DOC base ORCC #$10 ; disable IRQ STB -$7F,X ; set low frequency STA -$5F,X ; set high frequency ANDCC #$EF ; enable IRQ

As I said, I don't think this is of use for the ESQ1 project. But here you are, and maybe this gives you a new chance to uncover the mystic notations of semitone/finetune!

by **Spogg** » Thu Jul 12, 2018 5:05 pm

tulamide wrote:The semitone/finetune thing IS only affecting the SQ80, so I thought it would be better to outsource it and go on with the multisampling here.

Yeah of course you're right :oops:

Thank you so much for asking Rainer the question. Essentially the required pitch value (semi + fine) has an offset added to it (linearly) and the resulting requested pitch value goes into a huge lookup table, for converting the chromatic pitch value into the Frequency Control value for the DOC. So we have a table-based Pitch to frequency conversion.

If I have any more to say or ask about the SQ-80 I'll open a new topic with a link here.

Many thanks tulamide

Spogg

by **tulamide** » Thu Jul 12, 2018 6:43 pm

Spogg wrote:Essentially the required pitch value (semi + fine) has an offset added to it (linearly) and the resulting requested pitch value goes into a huge lookup table, for converting the chromatic pitch value into the Frequency Control value for the DOC. So we have a table-based Pitch to frequency conversion.

I interpreted it the same. But, I also had a quick look at the SQ80_os_low ROM (there are two OS ROMs called "OSHI" and "OSLO", but I could only found OS ROM images named as stated above, so I hope "os_low" refers to "OSLO"), and the table seems to be nothing else than an increasing sequence of numbers. They are possibly in 16-bit format (I accessed them byte-wise, so see a pair of two numbers as the resulting number, where the first number has to be multiplied by 256, I'm sorry for that). A pair of "5 | 4" means 5 * 256 + 4 = 1284. But maybe they are in 8-bit format, but then the table doesn't make much sense, I'd say.

Here's the table:

Code: Select all: 0 | 28 | 0 | 28 | 0 | 28 | 0 | 28 | 0 | 28 | 0 | 28 | 0 | 29 | 0 | 29 | 0 | 29 | 0 | 29 | 0 | 29 | 0 | 29 | 0 | 29 | 0 | 29 | 0 | 29 | 0 | 30 | 0 | 30 | 0 | 30 | 0 | 30 | 0 | 30 | 0 | 30 | 0 | 30 | 0 | 30 | 0 | 30 | 0 | 30 | 0 | 31 | 0 | 31 | 0 | 31 | 0 | 31 | 0 | 31 | 0 | 31 | 0 | 31 | 0 | 31 | 0 | 32 | 0 | 32 | 0 | 32 | 0 | 32 | 0 | 32 | 0 | 32 | 0 | 32 | 0 | 32 | 0 | 32 | 0 | 33 | 0 | 33 | 0 | 33 | 0 | 33 | 0 | 33 | 0 | 33 | 0 | 33 | 0 | 33 | 0 | 33 | 0 | 34 | 0 | 34 | 0 | 34 | 0 | 34 | 0 | 34 | 0 | 34 | 0 | 34 | 0 | 34 | 0 | 35 | 0 | 35 | 0 | 35 | 0 | 35 | 0 | 35 | 0 | 35 | 0 | 35 | 0 | 35 | 0 | 36 | 0 | 36 | 0 | 36 | 0 | 36 | 0 | 36 | 0 | 36 | 0 | 36 | 0 | 37 | 0 | 37 | 0 | 37 | 0 | 37 | 0 | 37 | 0 | 37 | 0 | 37 | 0 | 37 | 0 | 38 | 0 | 38 | 0 | 38 | 0 | 38 | 0 | 38 | 0 | 38 | 0 | 38 | 0 | 39 | 0 | 39 | 0 | 39 | 0 | 39 | 0 | 39 | 0 | 39 | 0 | 39 | 0 | 40 | 0 | 40 | 0 | 40 | 0 | 40 | 0 | 40 | 0 | 40 | 0 | 40 | 0 | 41 | 0 | 41 | 0 | 41 | 0 | 41 | 0 | 41 | 0 | 41 | 0 | 41 | 0 | 42 | 0 | 42 | 0 | 42 | 0 | 42 | 0 | 42 | 0 | 42 | 0 | 43 | 0 | 43 | 0 | 43 | 0 | 43 | 0 | 43 | 0 | 43 | 0 | 43 | 0 | 44 | 0 | 44 | 0 | 44 | 0 | 44 | 0 | 44 | 0 | 44 | 0 | 45 | 0 | 45 | 0 | 45 | 0 | 45 | 0 | 45 | 0 | 45 | 0 | 46 | 0 | 46 | 0 | 46 | 0 | 46 | 0 | 46 | 0 | 46 | 0 | 47 | 0 | 47 | 0 | 47 | 0 | 47 | 0 | 47 | 0 | 47 | 0 | 48 | 0 | 48 | 0 | 48 | 0 | 48 | 0 | 48 | 0 | 48 | 0 | 49 | 0 | 49 | 0 | 49 | 0 | 49 | 0 | 49 | 0 | 49 | 0 | 50 | 0 | 50 | 0 | 50 | 0 | 50 | 0 | 50 | 0 | 51 | 0 | 51 | 0 | 51 | 0 | 51 | 0 | 51 | 0 | 51 | 0 | 52 | 0 | 52 | 0 | 52 | 0 | 52 | 0 | 52 | 0 | 53 | 0 | 53 | 0 | 53 | 0 | 53 | 0 | 53 | 0 | 54 | 0 | 54 | 0 | 54 | 0 | 54 | 0 | 54 | 0 | 55 | 0 | 55 | 0 | 55 | 0 | 55 | 0 | 55 | 0 | 56 | 0 | 56 | 0 | 56 | 0 | 56 | 0 | 56 | 0 | 57 | 0 | 57 | 0 | 57 | 0 | 57 | 0 | 57 | 0 | 58 | 0 | 58 | 0 | 58 | 0 | 58 | 0 | 58 | 0 | 59 | 0 | 59 | 0 | 59 | 0 | 59 | 0 | 59 | 0 | 60 | 0 | 60 | 0 | 60 | 0 | 60 | 0 | 61 | 0 | 61 | 0 | 61 | 0 | 61 | 0 | 61 | 0 | 62 | 0 | 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