clarinova hex midi messages

yamaha clavinova clp-820 functions

• f7 3 is the function for
  local control disabling

• f7 1 and 2 are midi send/ receive channels

• f2 1 sets temperament
  1 is Equal
  2 maj
  3 min
  4 pythagorean
  5 meantone
  6 werkmeister
  7 kirnberger

midi hex channel message for drums

in loopy pro ndercustom midi messages
to pull up the drums:
B0 00 78 B0 20 00 C0 00

i forgot the last 00 at the end which is why it didn't work before.

Instrument MIDI Command

piano B0 00 00 B0 20 00 C0 01
bass B0 00 00 B0 20 00 C0 21
jazz-gt B0 00 00 B0 20 00 C0 1A

brass B0 00 00 B0 20 00 C0 3d
strings B0 00 00 B0 20 00 C0 30
tonewheelorg B0 00 00 B0 20 00 C0 10
clav B0 00 00 B0 20 00 C0 07

trombone B0 00 00 B0 20 00 C0 39
mute gt B0 00 00 B0 20 00 C0 1c
choir B0 00 00 B0 20 00 C0 34
barisax B0 00 00 B0 20 00 C0 43

yamaha cbx-k1 stuck notes fix

press shift + tempo + 0 + enter to disable the external midi clock
had a similar problem with microkorg giving errors when trying to send patches over midi cable. I think it just sends too much data at once and gets garbled so this reduces that significantly.

pdf of ska songs

dropbox link

wavecleaver wavetable creator tool

wavecleaver github

linuxdaw good place to find linux audio software

linuxdaw.org

digiwaves decent sampler

decent sampler inst on dropbox

made an insturment for the decentsampler vst that can also run on ios. Its 64 digital waves you can swap between using the modwheel. If you rename the .dslibrary file to zip and extract there is a .sfz mapping which uses the same samples but maps them differently. The soundfont has no UI but its got a lowpass filter and amp and filter egs that correspond to the mk. The sfz is monophonic while the decentsampler patch is polyhonic.

regex to get the sample name only from sfz

^.*/

this simple regex works in mousepad

Microkorg Lua Synth Definition For Renoise Guru Plugin

Guru lets you load presaved mappings for controlling hardware synths
so you dont need to reinvent the wheel and map everything out each time
on linux the scripts go in somewhere in /.config/renoise/scripts/tools
The Renoise Tool Guru

return SynthDefinition {
    id = "korg_microkorg",
    name = "Microkorg",
    author = "Bweew",

    Section {

        Group {
            name = "Filter",

            Parameter { id="filter_type", name="Type", type="cc", number=83 },
            Parameter { id="cutoff", name="Cutoff", type="cc", number=74 },
            Parameter { id="resonance", name="Resonance", type="cc", number=71 },
            Parameter { id="filter_eg_int", name="Filt EG", type="cc", number=79 },
            Parameter { id="kbd_track", name="KBD Track", type="cc", number=85 }
        },

        Group {
            name = "Filter EG",

            Parameter { id="feg_attack", name="Attack", type="cc", number=23 },
            Parameter { id="feg_decay", name="Decay", type="cc", number=24 },
            Parameter { id="feg_sustain", name="Sustain", type="cc", number=25 },
            Parameter { id="feg_release", name="Release", type="cc", number=26 }
        },

        Group {
            name = "Amp EG",

            Parameter { id="aeg_attack", name="Attack", type="cc", number=73 },
            Parameter { id="aeg_decay", name="Decay", type="cc", number=75 },
            Parameter { id="aeg_sustain", name="Sustain", type="cc", number=70 },
            Parameter { id="aeg_release", name="Release", type="cc", number=72 }
        },

        Group {
            name = "Delay",

            Parameter { id="delay_time", name="Time", type="cc", number=13 },
            Parameter { id="delay_depth", name="Depth", type="cc", number=94 }
        },

        Group {
            name = "Mod FX",

            Parameter { id="mod_speed", name="Speed", type="cc", number=12 },
            Parameter { id="mod_depth", name="Depth", type="cc", number=93 }
        },

        Group {
            name = "Mixer",

            Parameter { id="osc1_level", name="Osc1 Level", type="cc", number=20 },
            Parameter { id="osc2_level", name="Osc2 Level", type="cc", number=21 },
            Parameter { id="noise_level", name="Noise Level", type="cc", number=22 }
        },

        Group {
            name = "Osc 1",

            Parameter { id="osc1_wave", name="Wave", type="cc", number=77 },
            Parameter { id="osc1_ctrl1", name="Ctrl 1", type="cc", number=77 },
            Parameter { id="osc1_ctrl2", name="Ctrl 2", type="cc", number=15 }
        },

        Group {
            name = "Osc 2",

            Parameter { id="osc2_wave", name="Wave", type="cc", number=78 },
            Parameter { id="osc2_mod", name="Osc Mod", type="cc", number=82 },
            Parameter { id="osc2_semi", name="Semitone", type="cc", number=18 },
            Parameter { id="osc2_tune", name="Tune", type="cc", number=19 }
        },

        Group {
            name = "LFO 1",

            Parameter { id="lfo1_wave", name="Wave", type="cc", number=87 },
            Parameter { id="lfo1_freq", name="Frequency", type="cc", number=27 }
        },

        Group {
            name = "LFO 2",

            Parameter { id="lfo2_wave", name="Wave", type="cc", number=88 },
            Parameter { id="lfo2_freq", name="Frequency", type="cc", number=76 }
        },

        Group {
            name = "V Patch",

            Parameter { id="vpatch1", name="P1 Int", type="cc", number=28 },
            Parameter { id="vpatch2", name="P2 Int", type="cc", number=29 },
            Parameter { id="vpatch3", name="P3 Int", type="cc", number=30 },
            Parameter { id="vpatch4", name="P4 Int", type="cc", number=31 }
        }

    }
}

Renoise Midi Hardware Sampler Tool

Midi Hardware Sampler Tool

been using this to sample the microkorg into renoise

Microkorg Dashboard

Using the Dashboard Plugin In FL studio 10 I made a control surface for the Microkorg that has everything on a single page unlike the fruity midi out plugin that splits everything across several pages. I like it all on one because I find it easier to see everything and map them to hardware controllers or automate. Dropbox link

Giant Steps

Key	Giant Steps
G	B D7 | G Bb7 | Eb | Am7 D7 | G Bb7 | Eb F#7 | B | Fm7 Bb7 | Eb | Am7 D7 | G | C#m7 F#7 | B | Fm7 Bb7 | Eb | C#m7 F#7
Ab	C Eb7 | Ab B7 | E | Bbm7 Eb7 | Ab B7 | E G7 | C | F#m7 B7 | E | Bbm7 Eb7 | Ab | Dm7 G7 | C | F#m7 B7 | E | Dm7 G7
A	C# E7 | A C7 | F | Bm7 E7 | A C7 | F G#7 | C# | Gm7 C7 | F | Bm7 E7 | A | D#m7 G#7 | C# | Gm7 C7 | F | D#m7 G#7
Bb	D F7 | Bb Db7 | Gb | Cm7 F7 | Bb Db7 | Gb A7 | D | Abm7 Db7 | Gb | Cm7 F7 | Bb | Em7 A7 | D | Abm7 Db7 | Gb | Em7 A7
B	D# F#7 | B D7 | G | C#m7 F#7 | B D7 | G A#7 | D# | Am7 D7 | G | C#m7 F#7 | B | Fm7 A#7 | D# | Am7 D7 | G | Fm7 A#7
C	E G7 | C Eb7 | Ab | Dm7 G7 | C Eb7 | Ab B7 | E | Bbm7 Eb7 | Ab | Dm7 G7 | C | F#m7 B7 | E | Bbm7 Eb7 | Ab | F#m7 B7
Db	F Ab7 | Db E7 | A | Ebm7 Ab7 | Db E7 | A C7 | F | Bm7 E7 | A | Ebm7 Ab7 | Db | Gm7 C7 | F | Bm7 E7 | A | Gm7 C7
D	F# A7 | D F7 | Bb | Em7 A7 | D F7 | Bb C#7 | F# | Cm7 F7 | Bb | Em7 A7 | D | G#m7 C#7 | F# | Cm7 F7 | Bb | G#m7 C#7
Eb	G Bb7 | Eb Gb7 | Bbm | Fm7 Bb7 | Eb Gb7 | Bbm D7 | G | C#m7 F#7 | Bbm | Fm7 Bb7 | Eb | Am7 D7 | G | C#m7 F#7 | Bbm | Am7 D7
E	G# B7 | E G7 | C | F#m7 B7 | E G7 | C D#7 | G# | Dm7 G7 | C | F#m7 B7 | E | A#m7 D#7 | G# | Dm7 G7 | C | A#m7 D#7
F	A C7 | F Ab7 | Db | Gm7 C7 | F Ab7 | Db E7 | A | Ebm7 Ab7 | Db | Gm7 C7 | F | Bm7 E7 | A | Ebm7 Ab7 | Db | Bm7 E7
F#	A# C#7 | F# A7 | D | G#m7 C#7 | F# A7 | D F7 | A# | Em7 A7 | D | G#m7 C#7 | F# | Cm7 F7 | A# | Em7 A7 | D | Cm7 F7

some dx7 banks I put together

dx7 sysex patches dropbox link

deflemask triplets in 12 lines instead of 8

with a pattern length of 48 with each beat being 4 lines
set the speeds both to 2: 09-02, and 0F-02 to align with 8th note quarter notes

deflemask triplets using speed commands

in 2 columns set 09 01 and 0f 01
then to reset back 09 03 0f 03
that lets you sequence like regular quarter notes across 8 lines

Timing Systems in the History of Music Trackers

In the history of music trackers (especially on early computers like the Commodore 64 and Commodore Amiga), timing systems evolved because different hardware offered different ways to measure time. Terms like PPQN, CIA, VBlank, NTSC, PAL, and LPB refer to how trackers scheduled musical events such as notes and effects.

---

1. VBlank Timing (Early Trackers)

VBlank = Vertical Blank interrupt

Early trackers synchronized playback with the screen refresh interrupt.

• The video chip triggers an interrupt every frame.
• The music routine runs once per frame.

Frame rates depended on TV standards

• PAL: 50 Hz (50 interrupts per second)
• NTSC: ~60 Hz (59.94 interrupts per second)

These standards come from analog television systems used by machines like the Commodore 64 and early Amiga 500.

Effect on tracker timing

A tracker row advanced every N frames.

Example (classic Amiga trackers):

Speed = 6
PAL 50 Hz

Row duration:
6 frames / 50 Hz = 120 ms per row

Pros

• Simple
• Stable with graphics

Cons

• Different speed on PAL vs NTSC
• Limited timing resolution

This system was used in early trackers such as Soundtracker (1987).

---

2. CIA Timer Timing (Amiga Precision Timing)

The Commodore Amiga had CIA chips (Complex Interface Adapters) with programmable timers.

Later trackers used CIA Timer A instead of VBlank interrupts.

Why?

CIA timers allow arbitrary interrupt rates, independent of video refresh.

Example:

Timer frequency ≈ 709379 Hz / divider

This allowed:

• More precise BPM
• Same playback speed on PAL and NTSC

Trackers such as ProTracker used this technique.

Pros

• Hardware accurate timing
• Independent from video
• Higher precision

Cons

• Slight CPU overhead
• Required careful hardware programming

---

3. LPB (Lines Per Beat)

LPB = Lines Per Beat

This concept appeared in later trackers during the PC era.

Trackers such as FastTracker II and Impulse Tracker separated:

• tempo (BPM)
• pattern resolution

LPB defines how many rows equal one beat.

Example:

BPM = 125
LPB = 4

Meaning:

• 4 rows per beat
• 16 rows per bar (4/4)

This makes timing more musical and flexible.

---

4. PPQN (Pulses Per Quarter Note)

PPQN = Pulses Per Quarter Note

This timing concept comes from MIDI sequencing rather than trackers.

Common MIDI timing resolutions:

24 PPQN
96 PPQN
480 PPQN
960 PPQN

Higher PPQN values give finer timing resolution.

Later tracker-inspired software and modern trackers adopted similar high-resolution internal clocks.

Examples include modern trackers and DAWs such as Renoise and OpenMPT.

---

5. Relationship Between These Systems

System	Used In	Resolution	Hardware Dependence
VBlank	early Amiga / C64 trackers	low	tied to video
PAL / NTSC	video standards	defines frame rate	hardware
CIA timer	later Amiga trackers	medium	hardware timer
LPB	PC trackers	high	software
PPQN	MIDI / DAWs	very high	software

---

6. Typical Classic Tracker Timing Formula

For ProTracker-style trackers:

row_time = speed × tick_time

Where:

tick_time = 2.5 / BPM seconds

Example:

speed = 6
BPM = 125

Tick time:

2.5 / 125 = 0.02 s

Row time:

6 × 0.02 = 0.12 s

This produces the famous 125 BPM / speed 6 groove used in many Amiga modules.

---

7. Historical Timeline

1980s

• VBlank timing
• PAL/NTSC differences
• Soundtracker era

Early 1990s

• CIA timer timing
• ProTracker era

Mid 1990s

• PC trackers adopt BPM + speed system

Late 1990s

• LPB introduced

2000s+

• PPQN-style internal clocks

---

Summary

• PAL / NTSC → video refresh standards
• VBlank → music tick tied to screen frame
• CIA timer → programmable hardware timer interrupts
• LPB → musical resolution (rows per beat)
• PPQN → MIDI timing resolution

understaning clock speeds in sunvox and deflemask

deflemask default is ntsc basetime 1 = 150bpm
sunvox default is 125 6tpl
- to match deflemask to sunvox:
set to pal, increase basetime from 1 to 2
- to match sunvox to defle:
lower tpl from 6 to 3 and increase bpm to 150

for quarter note (8 lines) to be equivalent
sunvox at 6tpl is half the speed of deflemask pal basetime 1.
increasing basetime lowers the speed
while decreasing the tpl increases the speed

Lumafusion shortcuts

triplet tuplets in trackers

• 32 lines
  half note triplet
  00, 11, 21

• 16 lines
  quarter note triplet
  00, 05, 11

• 8 lines
  eighth note triplet
  00, 03, 05

• 4 lines
  sixteenth note triplet
  00, 01, 03

• 64 lines
  1 bar triplet
  00, 21, 43

1/16 note | 4 lines | 00 01 03
1/8 note | 8 lines | 00 03 05
1/4 note | 16 lines | 00 05 11
1/2 note | 32 lines | 00 11 21
1 bar | 64 lines | 00 21 43

converting long samples to 16bit 8000khz for deflemask using sox

for f in *.wav; do sox "$f" -r 8000 -e signed-integer -b 16 "${f%.wav}_16bit.wav"; done