MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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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
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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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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'.
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.
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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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Just to piss off all the C programmers, I'm going to start the file
offset at 1 instead of 0.
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.
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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.
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.
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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.
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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.
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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
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.
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 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.
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.
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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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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
'xxxxxxxx0000XXXX' to read the value as a word. Please see sections 3.2
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.
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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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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.
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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
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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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
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)
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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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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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 NOT USED n/a
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
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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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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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.
-----------------------------------------------------------------------
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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-----------------------------------------------------------------------
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.
-----------------------------------------------------------------------
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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
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.
This effect gives a rough range to play the sample from.
-----------------------------------------------------------------------
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.
-----------------------------------------------------------------------
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.
-----------------------------------------------------------------------
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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-----------------------------------------------------------------------
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.
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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-----------------------------------------------------------------------
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
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.
-----------------------------------------------------------------------
E8: This effect is not used.
-----------------------------------------------------------------------
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-----------------------------------------------------------------------
E9: Retrigger sample
-----------------------------------------------------------------------
Effect E9 allows you to re-trigger a specified sample at a particular
note after yyyy ticks during the line. For example, say note C-3 is
specified, with yyyy=2 when the speed is currently 6. This would mean
that at the beginning of the line the specified sample is started, and
after two ticks it is restarted. This continues until the beginning of
the next line. This effect is used mostly with samples of hi-hats.
-----------------------------------------------------------------------
EA: Fine volume slide up
-----------------------------------------------------------------------
This effect increments the volume of a particular channel once at the
beginning of the line by yyyy points. There is no continuation of the
slide on successive lines or for other notes. You cannot slide above
volume 64.
-----------------------------------------------------------------------
EB: Fine volume slide down
-----------------------------------------------------------------------
This effect is just like effect EA, except the volume is decremented
rather than incremented by the value yyyy. There is no continuation of
the slide on successive lines or for other notes. You cannot slide below
volume 0.
-----------------------------------------------------------------------
EC: Cut sample
-----------------------------------------------------------------------
This effect sets the volume of the sample which is playing to 0 after
yyyy ticks in the current line. This has the effect of stopping a sample
abruptly. An example here is to play the note C-2, with effect EC and
argument yyyy=3, when the speed is 6. The sample is started at note C-2
at the beginning of the line, and after the third tick of 6 in that line,
the volume on the channel is set to 0 (cutting it off). Note that if
yyyy is 0, nothing will be heard.
-----------------------------------------------------------------------
ED: Delay sample
-----------------------------------------------------------------------
This effect delays the start of a sample until tick yyyy in the current
line. For example, if note C-2 is played, with effect ED and argument
yyyy=3 when the speed is 6. The note C-2 will be triggered at the 3rd
tick after the start of the line. The purpose of this effect is to delay
the start of a sample for a VERY short amount of time.
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-----------------------------------------------------------------------
EE: Delay pattern
-----------------------------------------------------------------------
This effect forces a small delay in a pattern in between successive
lines. All notes and effects continue during this delay. The argument
yyyy specified the number of line-equivalent time slices to wait before
resuming playback. For example, if effect EE is encountered with speed
being 6 and argument yyyy=4, then the next line will be delayed 24 ticks
before it is executed.
-----------------------------------------------------------------------
EF: Invert loop
-----------------------------------------------------------------------
This effect is used on the Amiga to play samples backward at a specified
speed. It is not really feasible to implement on other architechtures,
and it is not used that often.
-----------------------------------------------------------------------
F: Set speed
-----------------------------------------------------------------------
This effect changes the speed of playback so that xxxxyyyy ticks occur
during every line, starting on the NEXT line. The initial speed (before
any 'set speed' effects are encountered) should be set to 6. A value of
xxxxyyyy=0 should technically cause playback to stop, but this value is
commonly ignored as garbage.
Valid values for speed setting in this manner are 1 to 31. If a value is
read that is above 31, it means to set a modified speed based on beats
per minute, where 4 lines are 1 beat. This means that if I try to set
the speed to 42, I am specifying 42 beats per minute, or 42*4=168 lines
per minute. You then have to figure out how long to spend on a
particular line.
If multiple set speed effects are performed on a single line, then the
effects on the higher-numbered channels have precedence over the effects
on the lower-numbered channels.
This effect has the largest number of implementations and is particular
to the number of effects that a particular file player supports.
3.5 Other information
_______________________________
If you're sound device is able to provide stereo output (like the
UltraSound), then you need to know what the balance for each channel
should be. Channels 1 and 4 are left, and 2 and 3 are right.
If you are programming for the UltraSound, it is best not to shove the
balances all the way over to the left or to the right. Try a value of 2
for channels 1 and 4 and a value of 13 for channels 2 and 3. If you
don't like it - change it.
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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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4.0 Period and Volume tables
_______________________________
Here are the period tables for the different fine-tune values:
856,808,762,720,678,640,604,570,538,508,480,453 : C-1 to B-1 Finetune 0
428,404,381,360,339,320,302,285,269,254,240,226 : C-2 to B-2 Finetune 0
214,202,190,180,170,160,151,143,135,127,120,113 : C-3 to B-3 Finetune 0
850,802,757,715,674,637,601,567,535,505,477,450 : C-1 to B-1 Finetune +1
425,401,379,357,337,318,300,284,268,253,239,225 : C-2 to B-2 Finetune +1
213,201,189,179,169,159,150,142,134,126,119,113 : C-3 to B-3 Finetune +1
844,796,752,709,670,632,597,563,532,502,474,447 : C-1 to B-1 Finetune +2
422,398,376,355,335,316,298,282,266,251,237,224 : C-2 to B-2 Finetune +2
211,199,188,177,167,158,149,141,133,125,118,112 : C-3 to B-3 Finetune +2
838,791,746,704,665,628,592,559,528,498,470,444 : C-1 to B-1 Finetune +3
419,395,373,352,332,314,296,280,264,249,235,222 : C-2 to B-2 Finetune +3
209,198,187,176,166,157,148,140,132,125,118,111 : C-3 to B-3 Finetune +3
832,785,741,699,660,623,588,555,524,495,467,441 : C-1 to B-1 Finetune +4
416,392,370,350,330,312,294,278,262,247,233,220 : C-2 to B-2 Finetune +4
208,196,185,175,165,156,147,139,131,124,117,110 : C-3 to B-3 Finetune +4
826,779,736,694,655,619,584,551,520,491,463,437 : C-1 to B-1 Finetune +5
413,390,368,347,328,309,292,276,260,245,232,219 : C-2 to B-2 Finetune +5
206,195,184,174,164,155,146,138,130,123,116,109 : C-3 to B-3 Finetune +5
820,774,730,689,651,614,580,547,516,487,460,434 : C-1 to B-1 Finetune +6
410,387,365,345,325,307,290,274,258,244,230,217 : C-2 to B-2 Finetune +6
205,193,183,172,163,154,145,137,129,122,115,109 : C-3 to B-3 Finetune +6
814,768,725,684,646,610,575,543,513,484,457,431 : C-1 to B-1 Finetune +7
407,384,363,342,323,305,288,272,256,242,228,216 : C-2 to B-2 Finetune +7
204,192,181,171,161,152,144,136,128,121,114,108 : C-3 to B-3 Finetune +7
907,856,808,762,720,678,640,604,570,538,504,480 : C-1 to B-1 Finetune -8
453,428,404,381,360,339,320,302,285,269,254,240 : C-2 to B-2 Finetune -8
226,214,202,190,180,170,160,151,143,135,127,120 : C-3 to B-3 Finetune -8
900,850,802,757,715,675,636,601,567,535,505,477 : C-1 to B-1 Finetune -7
450,425,401,379,357,337,318,300,284,268,253,238 : C-2 to B-2 Finetune -7
225,212,200,189,179,169,159,150,142,134,126,119 : C-3 to B-3 Finetune -7
894,844,796,752,709,670,632,597,563,532,502,474 : C-1 to B-1 Finetune -6
447,422,398,376,355,335,316,298,282,266,251,237 : C-2 to B-2 Finetune -6
223,211,199,188,177,167,158,149,141,133,125,118 : C-3 to B-3 Finetune -6
887,838,791,746,704,665,628,592,559,528,498,470 : C-1 to B-1 Finetune -5
444,419,395,373,352,332,314,296,280,264,249,235 : C-2 to B-2 Finetune -5
222,209,198,187,176,166,157,148,140,132,125,118 : C-3 to B-3 Finetune -5
...continues on next page...
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MODFIL10.TXT THUNDER (kurtt@sfu.ca)
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881,832,785,741,699,660,623,588,555,524,494,467 : C-1 to B-1 Finetune -4
441,416,392,370,350,330,312,294,278,262,247,233 : C-2 to B-2 Finetune -4
220,208,196,185,175,165,156,147,139,131,123,117 : C-3 to B-3 Finetune -4
875,826,779,736,694,655,619,584,551,520,491,463 : C-1 to B-1 Finetune -3
437,413,390,368,347,338,309,292,276,260,245,232 : C-2 to B-2 Finetune -3
219,206,195,184,174,164,155,146,138,130,123,116 : C-3 to B-3 Finetune -3
868,820,774,730,689,651,614,580,547,516,487,460 : C-1 to B-1 Finetune -2
434,410,387,365,345,325,307,290,274,258,244,230 : C-2 to B-2 Finetune -2
217,205,193,183,172,163,154,145,137,129,122,115 : C-3 to B-3 Finetune -2
862,814,768,725,684,646,610,575,543,513,484,457 : C-1 to B-1 Finetune -1
431,407,384,363,342,323,305,288,272,256,242,228 : C-2 to B-2 Finetune -1
216,203,192,181,171,161,152,144,136,128,121,114 : C-3 to B-3 Finetune -1
The Amiga uses linear volumes from 0 to 64. The volume table specified
below lists the logarithmic volume to use on the UltraSound for each of
the 65 settings in order to get a linear spread. If you need volumes for
another sound device, you will have to find them elsewhere.
0 | 0
1 | 1750 17 | 2332 33 | 3469 49 | 3528
2 | 2503 18 | 3240 34 | 3473 50 | 3532
3 | 2701 19 | 3248 35 | 3478 51 | 3534
4 | 2741 20 | 3256 36 | 3481 52 | 3538
5 | 2781 21 | 3263 37 | 3484 53 | 3543
6 | 2944 22 | 3271 38 | 3489 54 | 3545
7 | 2964 23 | 3279 39 | 3492 55 | 3549
8 | 2981 24 | 3287 40 | 3495 56 | 3552
9 | 3000 25 | 3294 41 | 3499 57 | 3556
10 | 3017 26 | 3303 42 | 3502 58 | 3558
11 | 3034 27 | 3310 43 | 3506 59 | 3563
12 | 3052 28 | 3317 44 | 3509 60 | 3565
13 | 3070 29 | 3325 45 | 3513 61 | 3570
14 | 3207 30 | 3458 46 | 3517 62 | 3573
15 | 3215 31 | 3462 47 | 3520 63 | 3577
16 | 3224 32 | 3466 48 | 3524 64 | 3580
Happy coding!
-Thunder
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