ucapps Ucapps SID MIDIbox SID V2 Manuel

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MIDIbox SID V2

Dowload Section

http://www.ucapps.de/mios_download.html

User Manual http://www.ucapps.de/midibox_sid_manual.html

Chapters

• Hardware Options ………………………………………………………… p 2

• Frontpanel …………………………………………………………………. p 9

• Installation …………………………………………………………………. p 16

• First Steps …………………………………………………………………. p 18

• Lead Engine ……………………………………………………………….. p 28

• Bassline Engine …………………………………………………………... p 41

• Drum Engine ………………………………………………………………. p 49

• Multi Engine ……………………………………………………………….. p 55

• Ensembles …………………………………………………………………. p 60

• SysEx Editor ……………………………………………………………….. p 64

• CV Options ………………………………………………………………… p 67

• SwinSID Review …………………………………………………………... p 69

• V1->>V2 Upgrade …………………………………………………………. p 72

• lien https://github.com/ > MIDIbox SID V2 Parameter Chart

• lien https://github.com/ > MIDIbox SID V2 CC Implementation Chart

• lilien https://github.com/ > MIDfIbox SID V2 SysEx Implementation

• Known Issues and Troubleshooting Tips ……………………………….. p 73

• Autres liens utiles …………………………………………………………. p 76

Copyright © 1998-2023, Thorsten Klose. All rights reserved. ________________________ Last update: 2023-04-23

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Options Matérielles

La MIDIbox SID peut être assemblée progressivement, de la configuration minimale jusqu'à la
surface de contrôle complète avec jusqu'à 8 SIDs. Le coût total dépend principalement de la qualité
des composants choisis, et de la disponibilité de chipsets SID. Quelques économies peuvent être
réalisées en organisant des achats groupés via le Forum MIDIbox!

Configuration minimale

L'image ci-dessus montre la configuration minimale requise pour faire tourner un SID. Dans cette
configuration "low-cost", les paramètres sonores ne sont accessible que via SysEx (*). En ajoutant
un BankStick, 128 patches peuvent être stockés et rappellés via Program Change (jusqu'à 7
BankSticks sont pris en charge pour le stockage des patchs).

Le coût total pour cette config est d'environ. 30..50 EUROS (selon disponibilité de chipset SID).

(*) pour l'instant, la MIDIbox SID V2 est en version beta, et l'éditeur SysEx n'est pas encore
disponible. Il est prévu de réaliser un éditeur multi-plateforme, et basé sur Java comme c'était le
cas pour la MIDIbox SID V1

Configuration Stéréo

Avec la MIDIbox SID V2, deux chips SID peuvent être pilotés patr un seul module CORE. Le
firmware propose un éventail de fonction simplifiant la création d'effets stéréo. Si vous avez le choix
entre réaliser deux MIDIbox SID indépendante ou une seule pilotant deux SIDs à partir d'un seul
CORE, je vous recommande de plutôt vous lancer dans la config stéréo.

Dans les démos suivantes, certains patches sont joués avec la version stéréo- à l'exception d'un
limiter, aucun effet n'a été ajouté:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_stereo_demo.mp3

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La même séquence à été rejouée avec une config Mono - téléchargement direct (par ex. pour une
comparaison avec un casque): Stereo Mono

Un autre avantages de la config stéréo: en mode "Multi", 6 voix/instruments polyphoniques peuvent
être joués à partir d'un seul module CORE:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_multi.mp3

Dans la démo suivante, un module CORE joue deux basslines - vous trouverez plus d'infos dans
cet article du forum.
Attention: >8 MB, peut paraître un peu répétitif!!

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_bassline_demo2.mp3

Configuration Multi SID

Si vous êtes vraiment un fondu du son SID (comme moi), et si vous rêvez déjà d'orchestrer
plusieurs parties jouées par un SID sans avoir à faire d'overdubbing, par exemple pour faire du
"fine-tuning" sur plusieurs parties pour obtenir des sons monstrueux, alors intêressez-vous au
concept de la MIDIbox SID V2! ;-).

Il defvient ici possible de piloter 3 synthés de plus dpuis la même surface de contrôle. Le premier
CORE, qui gère également la surface de contrôle, sera géré comme "master", et les autres COREs
comme "slaves". Les échanges de données entre les COREs sont réalisés via une interface CAN,
cette méthode est ici appellée MBNet.

MBNet est un canal de communication distinct, fonctionnant plus vite que le MIDI, et permettant
des échanges bi-directionnels via un seul conducteur. Le protocole CAN est habituellement utilisé
dans les appliquations d'automation industrielles, où une bonne fiabilité est requise. Il ne s'agit donc
pas juste d'une "bidouille", mais bien d'une approche très professionnelle...

Ce shéma montre comment les modules CORES doivent être inter-connectés. Chaque module

CORE nécessite une ID matérielle MIOS distincte sur le réseau. Cette ID est "brûlée"
simultanément dans l'ID d'en-tête du PIC avec le Bootloader. Le module master doit avoir l'ID 00,
les modules slaves les ID 01, 02 et 03. Si vous avez acheté un PIC pré-programmé, par ex. chez
SmashTV ou Mike, sans avoir spécifié d'IDs matérielles MIOS spécifiques, vous pouvez toujours
changer celle-ci grâce à l'application "change_id", disponible sur cette page. Des fichiers .hex
(device_id_01.hex .. device_id_03.hex) pré-configurés sont également disponibles, fichiers que
vous pouvez utiliser sans avoir à re-compiler l'application;

Comme l'upload d'une application nécessite une connection MIDI bi-directionnelle avec les
modules "slaves", vous aurez besoin de relier temporairement le port MIDI Out de votre MIDIbox
SID to"""""""""the slave MIDI outs"""""". Ou sinon, vous pouvez installer les PIC18F4685 destinés
aux modules "slaves" dans le module "master" et uploader (et surtout tester!) les applications
depuis ce module "master".

Une fois que le MIOS et l'application MIDIbox SID V2 ont été installés, il ne vous sera plus
nécessaire de reproduire cette (fastidieuse) procédure: un mécanisme de "clonage" vous permet
alors de transférer le firmware du master vers tous les slaves via MBNet. Ceci doit être fait à
chaque mise à jour du firmware - maintenez simplement le bouton MENU enfoncé pendant le
démarrage, jusqu'à ce que l'écran indique que la procédure de clonage a commencée.

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Sélectionner la puce SID

Il existe deux version du SID: le 6581 (première version, utilisée initialement dans les C64 au boitier
marron, et le 8580 (version suivante, utilisée dans les C64 dans des boitiers plus plat et gris). Il
existe également un 6582, vendu en remplacement des 8580 défectueux, et qui sonne du façon
tout à fait similaire (voire identique?).

Les principales différences entre les deux types résident dans la tension d'alimentation et le choix
des condensateurs de filtrages. Le 6581 doit être alimenté en 12V et requiert des condos de 470pF,
les 8580 et 6582 fonctionne en 9V, avec des condensateurs de 22nF. Vous devez tenir compte de
ceci avant de vous lancer dans la construction d'un module MBHP_SID .

Les deux puces sont également différentes au niveau son. Là, il devient dur de dire si l'une sonne
mieux que l'autre, les deux sont particulières et présentent différents avantages...le filtre du 6581
sonne sombre et sale, là où le filtre des 8580/6582 se révèle plus précis. La Résonance n'a quasi
pas d'effet sur le 6581, certaine "mixed waveform" ne fonctionnent pas, et le bruit de fond est plus
élevé (voir aussi les exemples audio dans le chapître Lead Engine), du coup les 8580/6582 est plus
souvent préférable, plus particulièrement encore si vous voulez faire de bonnes Basslines.

Alimentation (PSU)

Deux tensions différentes sont requises pour les parties numérique et analogique. Pour la partie
numérique, c'est pour les deux types de puce du 5V, pour la partie analogique, les SID 6581
requierentt du 12V, tandis que les 8580/6582 doivent être alimentés en9V.

Pour la config minimale, une simple alimentation AC ou DC délivrant 12V pour les modules CORE/
SID avec un 8580, ou 15V pour les modules CORE/SID avec un 6501, fera l'affaire. L'alim doit être
capable de fournir au moins 500 mA. Bien que normalement un transfo de 6-9V soit recommandé
pour alimenter un module Core (pour éviter que le régulateur 7805 ne chauffe trop), ici le module
Core peut être alimenté depuis la même PSU que le SID, car sa consommation reste faible.

A partir du moment où vous installez un écran LCD rétro-éclairé, la consommation augmente de
façon conséquente, et cette solution ne permet plus de faire fonctionner l'ensemble. Le 7805
chauffe encore plus, et vous entendrez probablement un buzz important dans les 50Hz/60Hz sur la
sortie Audio. Une alimentation séparée pour le module SID est requise ici, ou bien vous pouvez
utiliser le circuit "optimized C64 PSU" présenté sur le site.

J'ai expérimenté différents circuit d'alimentation et de régulation, pour finalement en déduire que
réutiliser l'alim d'origine des C64 était la meilleure solution. En plus du fait que ceux qui ont
canibalisé leur SID sur un vieux C64 dispose souvent déjà de cette alim, celle-ci présente
l'avantage de proposer un rail régulé à 5V acceptant des consommation de courant élevées (et les
7805s des modules Cores peuvent êtres retirés), en plus d'une sortie AC utilisable pour alimenter
en tension non régulée le module SID:

mbhp_8xsid_c64_psu_optimized.pdf

Soyez vigilant lorsque vous travaillez avec l'alim C64 PSU, elle ne dispose pas de fusible externe et
accessible. Le fusible interne peut sauter en cas de court-circuit, et il est quasi impossible d'ouvrir le
boitier (et encore plus difficile de refermer le boitier ensuite). Je ne me suis jamais trouvé dans cette
situation (même si j'ai parfois mis l'alim en court-circuit par erreur), mais d'autre utilisateurs ont déjà
signalé ce problème.

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Sorties Control Voltage (CV/AOUT)

La MIDIbox SID V2 peut piloter jusqu'à 8 sorties analogiques en connectant au Core un module

MBHP_AOUT , ou jusqu'à 4 modules MBHP_AOUT_LC .

Ceci ouvre tellement de possibilités qu'un chapître spécial est consacré à ce sujet - voir CV

Options.

Entrées Analog Control

La MIDIbox SID V2 propose 8 entrées analogiques (5 dors et déjà utilisables, 3 réservées pour de
futures extensions). Elles peuvent être utilisées pour connecter des pots/faders ou un joystick
supplémentaires pour contrôler le son, mais peuvent aussi être pilotées depuis des générateurs
externes de modulation. Vous trouverez plus d'infos à la section Frontpanel.

SID: Entrée Audio

La puce SID dispose d'une entrée audio, qui permet de router des signaux externes vers le filtre. Si
aucun signal externe n'est envoyé vers cette entrée (J4 du module SID), utilisez un jumper (ou un
jack à coupure) pour mettre cette entrée à la masse, dans le cas contraire, vous aurez du buzz
supplémentaire sur la sortie audio!

Alpha, un type inventif, a découvert qu'en renvoyant la Sortie Audio dans l'Entrée Audio via une
résistance, il était possible d'obtenirdu SID: Lien vers le site.

Voir aussi: cet sujet sur le forum .

Surface de Contrôle

...est discutée plus en détails au chapître Frontpanel.

Encodeurs: Avec Ou Sans Détente?

Il est recommandé d'utiliser des encodeurs avec détente pour les contrôles des menus (datawheel),
et sans détente pour les autres paramètres, si une surface de contrôle complète est réalisée.

Les encodeurs avec détente permettront une édition plus précise dans les menus, et ceux sans

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détente seront plus appropriés pour réaliser des modulations rapides et plus fines. Notez que la
"détente" peut être selon les modèles d'encodeurs facilement retirée (voir cette page du Wiki et ce

sujet sur le forum).

Matrice de Modulation avec transistor de puissance

La Matrice de Modulation consiste en 8x7 (optionnellement 8x8) LEDs, connectées à un 74HC595.
Comme le courant en sortie des shift register est limitée à 20 mA, il vous faut utiliser des LEDs
basse consommation, qui sont dans la plupart des cas pas plus chères que des LEDs standard.

Sinon vous pouvez rajouter des transistor de puissance derrière les 74HC595. L'option
DEFAULT_SRM_USE_SINKDRIVERS doit être activée en éditant votre fichier setup_*.asm, afin
d'inverser les sorties. Consultez la page du Wiki de Wilba pour le schéma.

BankSticks

Les 24LC256 (32k) et 24LC512 (64k) sont pris en charge pour les BankSticks, mais les 24LC512
sont plus appropriés, car ils permettent de sauvegarder 128 patches.

Jusqu'à 7 BankSticks peuvent êtres utilisé pour la sauvegarde des Patches, chacun nécessitant
une adresse particulière (CS=0..CS=7).

Le 8ième BankStick (sur CS#7) (pins E0/E1/E2 du BankStick connectés à Vd (5V)) servira à
stocker les Ensembles. Ceci est valable aussi bien pour les 24LC256 que 24LC512, dans les deux
cas 128 Ensembles peuvent être stockés dans les premiers 32k.

Notez que votre MIDIbox SID peut fonctionner sans BankSticks, mais dans ce cas seul un patch et
un seul Ensemble peuvent être sauvés dans l'EEPROM interne, c'est une configuration peu
pratique, à éviter.

Coût Matériel

Des PCBs prêt à l'emploi sont disponibles sur les sites www.mikes-elektronikseite.de ou

http://mbhp.coinoptech.com. Ils proposent également des kits complets pour les modules et des

composants périphériques (comme des encodeurs rotatifs).

Les prix et numéro de catalogue sont pour Reichelt si rien est indiqué. Une liste de magasins en
dehors d'Allemagne est disponible sur le Wiki

Note: Le PIC18F4685 est un micro-contrôleur assez récent, rarement disponibles dans les
boutiques web classiques.

SmashTV a fait un achat groupé et propose des PICs avec le Bootloader et le MIOS chargés à un

prix plus qu'intéressant ($9.95 !!! Comparez aux prix sur findchips.com, vous ne trouverez pas de
meilleure offre à l'unité!)
Doc s'occupe de la distribution pour l'Europe pour ceux qui voudraient économiser sur les frais de
ports - contactez le via le Forum MIDIbox

Configuration minimale

Composants Description Prix

1 module

MBHP_CORE

Le cerveau de la MIDIbox SID

vous devez y installer un PIC18F4685 !!!

Parts: env. 20
EUR

PCB: env. 6
EUR

7

1 module

MBHP_SID

Module équipé du SID, qui inclus la partie amplification audio et l'interface série pour la
connection au module core.

Parts: env. 5
EUR

PCB: env. 5
EUR

chip SID

Récupéré sur un vieux C64 (acheté par exemple sur EBay), ou à commandé chez des
spécialistes (mot clé: Hong Kong)

0..20 EUR

BankStick

au moins 1 x 24LC512-I/P, Part #4915665 chez Farnell, Part #579-24LC512-I/P chez

Mouser, Part #24LC512 chez SmashTV.

env. 3 EUR

résistance 1k

une résistance 1k est requise pour l'entrée de l'interface CAN (J15:D3 du module core),
même si aucun Slave n'est connecté au core!

0.10 EUR

PSU

Une alimentation - soit AC ou DC, env. 12V pour les modules CORE/SID avec 8580 ou
15V pour les modules CORE/SIDavec 6581, env. 500 mA. Bien que normalement un
transfo de 6-9V soit recommandé pour alimenter un module Core (pour éviter que le
régulateur 7805 ne chauffe trop), ici le module Core peut être alimenté depuis la même
PSU que le SID. Voir aussi la page MBHP_SID comment réutiliser l'alim d'origine des
C64.

env. 0..6 EUR

Stéréo SID

+1 module
MBHP_SID

idem

Parts: env. 5
EUR

PCB: env. 5
EUR

+1 chip SID

Récupéré sur un vieux C64 (acheté par exemple sur EBay), ou à commandé chez des
spécialistes (mot clé: Hong Kong)

0..20 EUR

Surface de Contrôle Minimale
Composants Description Prix

2x20 LCD par ex. Part #LCD 202A LED chez Reichelt

env. 10..15
EUR

module DINX2

Aucun PCBs spécifique n'est dispo pour ce petit circuit, il vous faudra le réaliser sur une
platine d'essai. Sinon vous pouvez utiliser un module DINX4.

Parts: env. 5
EUR

PCB: env. 5
EUR

1 encodeur

Un encodeur avec détente est recommadé ici, pour permettre une édition précise des
paramètres. M-SW-ROT chez Voti ou encodeurs Bourns chez SmashTV's Shop

env. 1..2 EUR
9 boutons par exemple "DT 6 colour" (colour = BL, GN, GR, RT, SW) 6.50 EUR
Platine d'essai

pour y monter vos boutons/encodeurs/LCD.
par ex. H25PR200 chez Reichelt

2.25 EUR

configuration Multi SID

Description

Composants et Modules supplémentaires:

• n x modules core

• n x diodes 1N4148 (pour le bus CAN)

• m x modules SID

• la surface de contrôle minimale (voir plus haut)

• une alim suffisante (env. 800 mA) - L'alim des C64 est à préferer ici car elle dispose d'une

sortie +5V séparée pour les modules Core

• 4 boutons supplémentaires

• un module DOUTX1

• 7 LEDs

Surface de Contrôle Complète (Step C)

Description

Composants et Modules supplémentaires:

• n x modules core

• m x modules SID

• la surface de contrôle minimale (voir plus haut)

• une alim suffisante (env. 800 mA) - L'alim des C64 est à préferer ici car elle dispose d'une

sortie +5V séparée pour les modules Core

• 3 modules DINX4

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• 2 modules DOUTX4

• 14 encodeurs rotatifs de plus (au contraire de l'encodeur pour la Datawheel, ici des

encodeurs sans détente sont préférables, même si ceux avec détente fonctionneront aussi.
par ex. M-SW-ROT chez Voti ou encodeurs Bourns chez SmashTV's Shop)

• 32 boutons supplémentaires

• 99 LEDs

• env. 2-3 platines d'essai pour monter les boutons/encodeurs/LEDs

• une jolie face avant

Coûts: les encodeurs sont les composants les plus chers (env. 15 EUR), ainsi que la façade
frontpanel (fait maison: 25 EUR + et beaucoup de temps, commandé chez un spécialiste: 100..150
EUR!)

intégration sur un seul PCB:

L'approche modulaire de la MBHP a ses avantages, au niveau de l'intégration de différents circuits
ou encore de la facilité à tester les montages. Mais d'un autre côté, la MIDIbox SID V2 a tellement
évoluée, que maintenant il faut réunir jusqu'à 20 modules, ce qui s'avèrent parfois difficile à faire
rentrer dans la boite. Un PCB unique présenterait ici l'avantage d'offrir plus de robustesse, pour un
coût moins élevé.

Wilba a créé un PCB spécial pour sa MB-6582, qu'il présente sur cette page du Wiki. Une
commande groupée pour ces PCBs a été initiée pour ceux qui sont intéressé par cette solution
"tout-en-un" - détails sur le Wiki.

Ressources

• Firmware: voir ce sujet du forum

• Diagramme de Connection pour les boutons & encodeurs: mbsid_v2_din_default.pdf

• Diagramme de Connection pour les LEDs: mbsid_v2_dout_default.pdf

• Diagramme de Connection pour l'alimentation: mbhp_8xsid_c64_psu_optimized.pdf

• Diagramme de d'interconnection pour le MBNet et les connections MIDI

mbsid_v2_communication.pdf

• Photos: midibox_sid_photos/

• Frontpanel template: mbsidv2_front.fpd - éditable avec Frontpanel Designer, disponible sur

le site de Schaeffer Apparatebau (*)

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Façade

Ce chapître présente la façade de la MIDIbox SID V2. 9a et vous donneras une idée de la
configuration minimale nécessaire et un aperçu des différentes options que propose le firmware.

Façade V1 vs. V2

Comme je l'ai souvent souligné sur le site ou le forum MIDIbox, une des principale contrainte lors
de la phase de conception de la MIDIbox SID V2 été de maintenir compatible la nouvelle version
avec la façade de la MIDIbox SID V1, afin qu'aucune modification de la partie matérielle ne soit
nécessaire pour les utilisateurs de la V1. C'est donc ce qui a été fait - et je suis toujours satisfait de
mon premier design, celui en photo ci-dessus. Les seules modifications concerne l'implémentation
de fonctions alternatives pour certains boutons et encodeurs. Les sérigraphies ont étés modifiées
dans le fichier modèle Frontpanel, qui peut être ouvert et édité à l'aide de "Frontpanel Designer",
un logiciel gratuit disponible sur le site Schaeffer Apparatebau. Vous pouvez utiliser ce modèle
comme base si vous envisagez de réaliser une SID.

Malgrés tout, la façade originale a été réalisée en 2003, et pourquoi ne pas rajouter des touches
dédiées pour certaines des nouvelle fonctions... Ces options sont décrites ci-dessous, libre à vous
de toutes les implémenter ou non...

surface de contrôle minimale

C'est l'option que l'on connaissait sous le nom de "Step A" - elle vous permet déjà d'accéder à tous
les paramètres, mais les éléments de contrôle vous permettant d'éditer directement (sans avoir à
naviguer dans les menus) manquent. C'est un compromis entre coût matériel et ergonomie.

10

Cette config requiert un écran LCD 2x20, 9 boutons et un encodeur rotatif, 11 entrées digitales d'un
module MBHP_DIN suffisent. Vous pouvez soit réaliser un module DINX2 "à la main" (2 shift
register = 16 entrées), sur une platine d'essai (par exemple directement sur la platine où sont
montés vos encodeurs/boutons), ou vous pouvez acheter un kit DINX4, sur lequel vous n'aurez
besoins de monter que les deux premiers shift registers et les composants qui les accompagnent.

Les 5 boutons de sélection servent à naviguer dans les menus, et à sélectionner le paramètre que
vous souhaitez éditer avec l'encodeur rotatif (exemple: voir First Steps Guide). Le bouton en
dessous de l'encodeur (bouton MENU) sert à quitter une page du menu. L'encodeur
incrémente/décrémente la valeur d'un paramètre ou permet de naviguer dans les différentes pages
du menu.

Le bouton SHIFT était anciennement nommé LINK. Sa fonction change par rapport à la V1 - il
permet maintenant d'afficher une page donnant accés au choix des canaux audio Left/Right, au
choix du moteur sonore, à l'initialisation d'un patch, à la génération aléatoire d'un nouveau patch,
ou à l'envoi via SysEx d'un dump du patch en cours.
Par ailleurs, les valeurs sont incrémentées plus lentement (plus précis) tant que ce bouton est
maintenu enfoncé.

En particulier pour le choix du moteur sonore, il n'y a pas d'alternative possible, du coup ce bouton
s'avère absolument nécessaire.

Deux boutons Up/Down ont été ajoutés à la surface de contrôle minimale, car nous disposons ici
de toute façon de deux entrées digitales disponibles. Il ne sont pas absolument requis, mais
facilitent la navigation dans les menus. Selon les pages du menu, ils peuvent être utilisés pour
incrémenter/décrémenter le numéro d' OSC/LFO/ENV/MOD/WT/Knob/... de n'importe quelle page
sans avoir à scroller d'abord jusqu'au premier paramètre d'un menu. A l'intérieur du menu racine ou
de l'écran principal, ils peuvent être utilisé pour changer le numéro de patch/ensemble.
Ces deux boutons été utilisés avant pour activer les fonctions CC/Edit - ces deux fonctions sont
maintenant accéssibles via les la combinaison de bouton SHIFT+UP (pour la fonction CC) ou
SHIFT+DOWN (pour Edit).

Vous pouvez utiliser un écran LCD 2x16 (pour faire quelques économies). Mais la solution n'est
pas pratique, car la page principale ne pourra pas être affichée dans son ensemble. Seule 4
paramètres sur 5 seront visibles simultanément (vous devrez scroller en bout de page pour afficher
les derniers paramètres). L'avantage de cette solution est que vous pourrez vous contenter d'un
seul shift register ("DINX1"), qui suffira pour l'encodeur (2 pins), les boutons de sélection (4 pins),
le bouton MENU (1 pin) et le bouton SHIFT (1 pin).

Pour l'écran LCD, vous avez la possibilité d'utiliser un écran LCD 2x40 , pour afficher jusqu'à 10
paramètres simultanément . Un grand écran s'avère trés utile notament pour l'édition du routing
dans la matrice MOD ou des wavetables, mais forcément nécessite une façade plus grande. Cette
option requiert 10 boutons de sélections au lieu de 5, et donc 16 pins seront alloués par l'encodeur

11

et les 14 boutons (-> deux shift registers requis).

Surface de Contrôle minimale pour Multiple SIDs

C'est l'option anciennement appellée "Step B Surface" - quatre boutons "SID" sont ajoutés,
permettant de sélectionner le SID (master/slave) qui doit être édité. Ces boutons ont un
comportement "exclusif" tant qu'un seul est pressé - pour passer rapidement d'un SID à l'autre. Il
est également possible de sélectionner plusieurs SIDs simultanément en maintenant enfoncé un
premier bouton SID puis en sélectionnant les suivant - dans ce cas, l'édition d'un paramètre
affectera tous les SIDs sélectionnés.

Il est logique d'ajouter des LEDs pour indiquer les SID sélectionnés. Vous aurez besoin alors d'un
module DOUT avec un seul shift register (faites le sur une platine d'essai, ou utiliser un module
MBHP_DOUTX4). Comme seuls 4 pins se trouvent ainsi alloués, vous pouvez ajouter 3 LEDs
supplémentaires pour les boutons SHIFT/UP/DOWN. D'ici peu, la LED à côté du bouton SHIFT
clignotera à chaque beat du BPM (pas encore implémenté), la LED "UP" indique si la fonction CC
est active, et la LED "DOWN" indique si la fonction EDIT est active.

Le port J5 peut être utilisé comme alternative au module DOUT, en réglant l'option
DEFAULT_J5_FUNCTION sur le mode 2 dans le fichier setup_*.asm file - ça peut vous
économiser l'assemblage d'un module DOUT, mais vous ne pourrez plus utiliser le port J5 comme
entrées analogiques.

Surface de Contrôle Complète --- section OSC

La surface de contrôle complète est divisée en plusieurs sections; la section OSC contrôle les
paramètres spécifiques aux oscillateurs, et vous permet d'accéder aux fonctions "Knob".

Les 5 encodeurs rotatifs sont mappés sur trois couches (ENV, MISC et KNOBS), sélectionnable via
le bouton CTRL. Les boutons OSC vous permettent de sélectionner l'un des trois oscillateurs. Si
des paramètres doivent être éditer pour plusieurs oscillateurs simultanément, les flags de
sélections correspondant doivent être modifiés via le menu (page la plus à gauche). Il y a un
bouton supplémentaire pour la sélection des formes d'ondes, et un autre pour l'activation de la
Sync/Ringmodulation . 12 LEDs indiquent l'état des différent paramètres.

12

Notez qu'un patch consiste en un set de 6 oscillaeurs - 3 pour le canal audio gauche, 3 pour le
canal droit. Par défaut, les paramètres affectent les deux canaux simultanément. Si uniquement un
des canaux doit être modifié, pressez sur la touche SHIFT et sélectionner l'un des canaux L/
R (uniquement valable pour le moteur Lead).

La couche "KNOB" vous donne accés à 5 variations de votre choix, que vous pouvez assigner
chacune à deux paramètres au choix du moteur sonore, et utilisables également comme source de
modulation. Une course Min/Max peut être spécifiée pour chaque knob séparément. Les
assignations et courses sont sauvegardés avec le patch - c'est à dire que chaque Patch peut
disposer de sa propre config. Le but de cette fonction est de faciliter le jeu Live, mais peut aussi
servir pour réaliser facilement n'importe quel automation (activez la fonction CC afin que vos
mouvements soient retranscris via MIDI dans votre logiciel séquenceur).

Surface de Contrôle Complète --- section FILTRE

La section Filtre vous donne accés aux paramètre CutOff et Résonnance. Deux boutons vous
permettent d'éditer les assignation de canal du filtre, et le type de filtre (Lowpass, Bandpass,
Highpass -selections multiple possible). 8 LEDs indiquent l'état des sélections.

Deux de ces LEDs ne sont pas forcément nécessaire et peuvent être omises pour une nouvelle
façade: EXT, qui indique si l'entrée audio externe est routée vers le filtre, et 3O (Oscillator 3 off),
qui désactive la sortie audio du troisième oscillator (utile pour des son "sync"). Les deux fonctions
ne peuvent être éditées avec les boutons Channel/Filtermode; mais vous disposez deux deux flags
dans le menu Filter.

Comme pour la section OSC, la section Filter dispose de deux sets de paramètres - un pour
chaque canal audio. Par défaut, les paramètres des deux canaux sont modifiés simultanément. Si
un canal en particulier doit être modifié, pressez la touche SHIFT et sélectionnez un des canaux L/
R (valable pour tous les moteurs sonores).

Surface de Contrôle Complète - LFO section

La section LFO vous permet d'éditer les paramètres Depht et Rate des LFOs. Vous pouvez
sélectionner le LFO (1-6 pour le mode Lead Engine, 1-2 pour le mode Multi Engine) et la forme
d'onde.

Notez que la MIDIbox SID propose plus de 5 waveforms - les waveforms supplémentaire sont
indiqués par des combinaisons de LEDs particulières (pour toutes les formes d'ondes "positive", la

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LED Random s'allume en combinaison avec une autre . Par exemple pour une Waveform "Sine
Positive",LEDs Random + Sine allumées)

Surface de Contrôle Complète - section ENV

La section ENV permet l'édition directe des paramètres Depth/Attack/Decay/Release des deux
enveloppes (Lead engine uniquement, Multi engine: une enveloppe).

Le bouton Ctrl permet de basculer entre l'édition des enveloppes et du layer "assign". Le layer
"Assign" peut être adapté selon vos besoin dans le firmware. Par défaut, il sert à piloter les 5
paramètres qui s'affichent à l'écran. C'est une fonction vraiment essentielle et efficace, notament
pour accélerer l'édition des wavetables.

Surface de Contrôle Complète - Matrice de Modulation

Voici probablement la fonctionnalité la plus hallucinante de la MIDIbox SID: La matrice de
Modulation, qui permet d'activer trés rapidement les connections source->cible des modulation. La
matrice fonctionne comme une patchbay.

Vous disposez de 8 lignes de sources de modulation prédéfinies (ENV1..2, LFO1..LFO6), et 7
(optionellement 8) colonnes de cibles de modulation prédéfinies (OSC Pitch/Pulsewidth, Filter,
Volume).

Grâce à une conception trés flexible de la matrice, les sources de modulations peuvent être
changées et modifiées via le menu MOD, les marquages "E1..2/L1..6" correspondent donc juste à
une config de départ. Lors de la sélection d'un bouton de source, le nom du paramètre réellement
concerné ainsi que l'opérateur s'afficheront sur l'écran LCD.

Le mappage des cibles de modulation ne peut être modifié, mais il reste possible d'ajouter des
cibles supplémentaires pour des modulations plus complexes (par ex. le contrôle desparamètres
depth/rate du LFO ou des sorties CV).

14

La page Matrice de Modulation propose un set de paramètres supplémentaires pour les canaux
gauche et droit. Par défaut, la connection d'un chemin de modulation affecte les deux canaux . Si
un seul des canaux doit être affecté, appuyez sur la touche SHIFT et sélectionner l'un des canaux
L/R (seulement valable pour le moteur sonore Lead).

Avec la MIDIbox SID V2, le Volume est disponible comme huitième colonnes dans les cibles de
modulation. Même si la puce SID ne propose qu'une résolution de 4bit pour ce paramètre, vous
pourrez obtenir des effets de trémolo intéressant. Si vous avez prévu une nouvelle façade, vous
pouvez donc y ajouter cette huitième colonne de LEDs. Ceux qui utilisent l'ancienne façade
peuvent éditer cette assignation via le menu à l'écran.

Notez que la Matrice de modulation n'estr disponible qu'avec le moteur sonore Lead. Le moteur
Multi affichera à la placele numéro de l'instrument en cours de jeu. Pour les moteurs Bassline et
Drum, il est prévu d'utiliser la matrice pour l'affichage des pas du séquenceur, et/ou comme matrice
de sélection des patterns.

Alternativement, la matrice de LEDs peut être utlisée comme "LED-mètre" pour les valeurs de
sortie des chemins de modulations. Ce mode peut être sélectionné en pressant deux boutons de
source simultanément (par ex. O1 et O2 pitch). Il peut également être activé par défaut dés
l'allumage en éditant le flag DEFAULT_LEDMATRIX_MODE dans le fichier setup_*.asm du code
source.

Contrôles Analogiques

Avec la MIDIbox SID V2, les éléments de contrôle analogiques, comme des potars, faders et
joysticks sont nativement supportés. Toutes les références que vous pourrez trouver à ce sujet et
concernant des extensions de la V1 sont obsolètes, notament parce qu'un pilote spécifique est
utilisé à la place de MIOS_AIN pour une optimisation des performances.

Cette fonctionnalité doit être explicitement activée dans le fichier setup_*.asm, en réglant sur 1 le
flag DEFAULT_J5_FUNCTION - à partir du moment où ce flag est activé dans le firmware, toutes
les entrées analogiques non utilisées doivent être mise à la masse, afin d'éviter des fluctuations de
valeurs aléatoires! C'est également requis pour les modules slaves, pour le transfert du firmware
maître via ECAN (fonction clonage).

Les 8 entrées analogiques sont échantillonnées à une fréquence de. Le Multiplexage (->
module MBHP_AIN ) n'est pas pris en charge! Donc: 8 entrées au maximum.

Le firmware actuellement n'utilise que les 5 premières entrées du port J5, les 3 restantes sont
réservées pour de futures mise à jour.

Les valeurs obtenues aprés conversion sont renvoyées vers le gestionnaire "knob". Cette
approche générique permet de bénéficier pleinement du concept de "knobs" : les changement de
valeurs peuvent être renvoyés vers deux paramètres simultanément, une course Min/Max peut être
spécifiée, et les valeurs samplées sont également disponibles comme source de modulation!

Cette fonctionnalité se comporte différemment sur les master et les slaves:

• Master: les entrées analogiques sont renvoyées vers le(s) SID(s) *selectionnés*. Ceci

présente l'avantage que chaque SID est pilotable à partir d'un unique set de potars et/ou
joysticks. Si cette approche ne vous convient pas, une petit patch pour le firmware
(AIN_NotifyChange: supprimez la partie "AIN_NotifyChange_Master") vous permettra de
réaliser un set de contrôles dédiés pour le master uniquement.

• Slave: les entrées analogiques sont seulement gérées en interne, indépendamment de(s)

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SID(s) sélectionné(s).

Notez que cette fonction peut aussi être utilisée pour contrôler le SID à partir d'autres sources
analogiques, comme par exemple un step séquenceur ou des LFOs analogiques.

Boutons/LEDs/Encoders additionnels

Certains utilisateurs ont rajouté à la façade de leur SID des boutons, LEDs et encodeurs
supplémentaires. Une petite recherche dans le forumvous permettra de trouver quelques codes et
explications. Parmis les modification les plus aboutie vous trouverez l'étonnanteMB-6582 de
Wilba's MB-6582. Pleins d'infos sont disponibles dans le Wiki.

Si vous souhaitez simplement réassigner des boutons et/ou des encodeurs à des pins DIN
différents, ou des LEDs à différents pins, par exemple pour optimiser l'implémentation de vos
circuits accueuillant les éléments de contrôle, vous pourrez le faire sans avoir à apprendre le
langage assembleur du PIC :

• Boutons: vous trouverez une table dans le fichier setup_*.asm dans laquelle sont

assignées les différents boutons de fonctions aux entrées digitales. Cherchez
CS_MENU_DIN_TABLE

• Encodeurs Rotatifs: vous trouverez une table dans le fichier setup_*.asm dans laquelle

sont assignés les différents encodeurs aux entrées digitales. Cherchez
MIOS_ENC_PIN_TABLE

• LEDs: vous trouverez une table dans le fichier setup_*.asm dans laquelle sont assignées

les différentes fonctions LEDs aux sorties digitales. Cherchez CS_MENU_DOUT_TABLE

Pour les experts: de nouveaux boutons de fonctions peuvent être implémentés dans le
fichier cs_menu_button.inc, de nouvelles LED dans le fichier cs_menu_leds.inc, de nouveaux
encodeurs dans les fichiers cs_menu_enc.inc et cs_menu_enc_table.inc (difficile et peu prudent!)

Voici une liste des différents éléments de contrôle additionnels disponibles dans l'application
d'origine, et que vous pouvez activer/désactiver dans le fichier setup_*.asm:

• M_Vol (Volume Matrix): sélectionne la 8ième ligne de la matrice de modulation. Il peut être

utilisé en conjonction avec une rangée de LEDs, qui doivent être connectées selon le
schéma mbsid_v2_dout_default.pdf

• Play: équivalent à "SID1..4 + MENU" (voir liste des combinaisons spéciales)

• SID_LR: bascule entre les canaux Left/Right ou les deux canaux audio SID

• M_Mode: bascule le mode de la Matrice de LEDs entre affichage normal du routing de la

matrice ou le mode Vu-mètre; vous pouvez faire la même chose en pressant simultanément
deux boutons MOD SOURCE (voir liste des combinaisons spéciales)

• Fil_ExtIn: active/désactive l'envoi vers le filtre du signal présent à l'entrée audio (éditable

également via le menu Filtre)

• Sync: appelle le menu ENS->CLK (pour modifier le BPM et le mode MIDI Clock)

Les LEDs suivantes sont disponible dans l'application d'origine:

• Play LED:: pour être utilisée en conjonction avec le bouton Play

• Meter/Matrix LEDs:: pour être utilisée en conjonction avec le bouton M_Mode

• SID L/R LEDs:: pour être utilisée en conjonction avec le bouton SID_LR

• LFO Positive LED:: extension pour les LEDs "LFO waveform" - s'allume lorsque la forme

d'onde du LFO n'est pas bipolaire (normalement, la 5ième LEDs "LFO waveform" s'allume

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selon un motif spécial)

Combinaisons Spéciales de Boutons

Voici la liste des différentes combinaisons de boutons disponibles:

• MENU lorsque s'affiche le numéro de la version: transfère le firmware actuel dans tous

les modules Slaves (Fonction Clonage). Ceci doit être fait à chaque fois qu'un nouveau
firmware a été chargé dans le module Master. Pressez et maintenez enfoncé ce bouton
durant l'a mise en route, jusqu'à l'affichage à l'écran d'un message vous indiquant le
lancement du clonage. Si le clonage ne se lance pas en suivant cette méthode, pressez
plusieurs fois sur ce bouton pendant que s'affiche le numéro de la version à l'écran.

• SHIFT: un menu avec des fonctions spéciales s'afffiche. Ces fonctions peuvent être

activées/désactivées comme d'habitude avec les boutons SELECT.

• SHIFT + mouvement d'encodeur: pour ralentir les encodeurs (édition précise des valeurs)

• SHIFT + UP: mode CC on/off. En mode CC, un "knob" (encodeurs dans le menu OSC-

>Knob layer, ou potars/joysticks analogiques) envoie un message MIDI sur le port MIDI Out,
par exemple vers un séquenceur externe. Les valeurs peuvent ainsi être enregistrées en
MIDI l'automation.

• SHIFT + DOWN: mode EDIT on/off. Dans ce mode, tous les changements de paramètres

seront automatiquement enregistrés dans le patch en cours d'éditon si vous changez de
patch. Les LEDs clignotent lentement pour vous avertir si des valeurs ont changées, que le
précedent patch va être écrasé.

• SID1..4 + MENU: joue une note jusqu'à que cette combinaison de bouton soit de nouveaux

pressée.

• DATAWHEEL + MENU: dans l'écran principal: change d'ensemble (DATAWHEEL sans le

bouton MENU: changement de patch)

• PAGE UP/DOWN + MENU: dans l'écran principal: change d'ensemble (PAGE

UP/DOWN sans le bouton MENU: changement de patch)

• Boutons MOD TARGET E1..L6: appelle le menu MOD et sélectionne le chemin de

modulation correspondant (1-8) (moteur Lead uniquement)

• SHIFT+MOD TARGET: bascule vers le menu Envelope/LFO (E1/E2/L1..L6) (moteur Lead

uniquement)

• Deux boutons MOD SOURCE simultanément: bascule le mode de la Matrice de LEDs

entre affichage normal du routing de la matrice ou le mode Vu-mètre.

Installation

Initial Installation of the Master Core

• 1) Chargez le bootloader MIOS dans le microcontrôleur avec votre programmateur de PIC

(par exemple le MBHP_BURNER). Le fichier .hex est disponible dans le répertoire
pic18f4685/burner de l'archive MIOS update.
Si vous avez acheté votre PIC chez SmashTV ou chez Doc, le PIC est déjà "pré-

17

programmé", dans ce cas, vous n'avez plus qu'à uploader le code restant via MIDI (pas de
programmateur de PIC requis)

• 2) Installez la dernière version du MIOS à l'aide de MIOS Studio. Le fichier .hex est

disponible dans le répertoire MIOS update package (dossier pic18f4685/midi)

• 3) Installez la dernière version de la midibox_sid_v2 avec MIOS Studio.

• 4) Si des BankSticks vierges sont connectés au module Core maître, le firmware lancera

automatiquement le formatage de ces derniers. L'opération prends quelques seçondes.
Aprés le formatage, vous pouvez charger la banque de presets avec votre éditeur SysEx
favori (par ex. MIDI-Ox), cette banque est disponible dans le répertoire presets/ de l'archive
midibox_sid_v2 .

Installation initiale des Cores Esclaves

• 1) Chargez le MIOS Bootloader dans le microcontrôleur si ce n'est déjà fait. Si le logiciel de

votre programmateur vous le permet, changez le PIC ID header, utilisez:

• 0000000000000001 pour le premier module Slave

• 0000000000000002 pour le second module Slave

• 0000000000000003 pour le troisième module Slave

Pas de panique si vous ne trouvez pas cette option dans votre logiciel, vous pourrez
changez l'ID plus tard, une fois le MIOS installé.

• 2) Installez la dernière version du MIOS avec MIOS Studio

• 3) si l'ID matérielle MIOS n'a pas été adaptée à l'installation du Bootloader, vous devez le

faire maintenant. Téléchargez l'application "change_id" disponible sur la page MIOS

Download, et uploadez les fichiers .hex suivant avec MIOS Studio:

• device_id_01.hex pour le premier module Slave

• device_id_02.hex pour le second module Slave

• device_id_03.hex pour le troisième module Slave

• 4) Installez la dernière version de la midibox_sid_v2 avec MIOS Studio.

IMPORTANT: une connection MIDI bi-directionnelle est requise pour uploader le code vers les
modules Slaves. Normalement le port MIDI Out de votre MIDIbox SID V2 est uniquement
connecté au module Core Master. Il y a deux moyens de relier vos modules Slaves à votre
interface MIDI :

• a) installez temporairement le PIC dans le socle du module Master. C'est la solution la plus

simple, notament car vous réalisez ainsi l'installation sur un module déjà testé (si vous avez
déjà uploader avec succés le code pour le PIC Master).

• b) modifiez le câblage MIDI à l'interieur de votre MIDIbox. Tout dépend de votre

implémentation matérielle. Par exemple, sur le circuit MB-6582 vous disposez de jumper
vous permettant de modifier le routing des ports MIDI Out.

Mettre le Firmware à Jour avec une Nouvelle Version

C'est simple: uploadez simplement le dernier firmware midibox_sid_v2 dans le module Master
avec MIOS Studio.

Une fois que le Firmware est chargé, et que s'affiche le numéro de version, appuyez et maintenez
enfoncé le bouton MENU de votre Surface de Contrôle pour "clôner" le nouveau firmware via
l'interface CAN.

18

Premières étapes

http://www.ucapps.de/midibox_sid_manual_fs.html

Le but de ce chapitre est de vous donner un oubli grossier sur la gestion de l'interface utilisateur,
et les possibilités de modifications rationnelles. Les pages de menu qui sont présentées ici sont
décrites en détail dans les chapitres Lead/Multi/Ensemble de ce manuel.

Mise en correspondance de BankStick

Chaque fois que vous connectez un nouveau BankStick au SID MIDIbox, il sera automatiquement
formaté avec 63 (24LC256) ou 127 (24LC512) patchs initiaux. Le premier patch est toujours celui
qui est conservé dans la mémoire EEPROM interne. Cette procédure prend quelques secondes et
sera informée sur l'écran LCD. En outre, le SID jouera des sons de boulonnement si long est en
cours pour notifier que le MBSID n'est pas en mesure de faire quoi que ce soit d'autre cette fois.

Le BankStick à la septième place (E0/E1/E2 broche de BankStick connecté à Vd (5V)) sera utilisé
pour stocker des ensembles. Il ne s'agit pas d'utiliser un 24LC256 ou 24LC512 ici, dans les deux
cas, 128 ensembles seront stockés dans la gamme inférieure de 32k.

Notez que votre SID MIDIbox fonctionnera également sans BankSticks, mais dans ce cas, un seul
patch et un seul ensemble peuvent être stockés dans la mémoire EEPROM interne, qui n'est pas
une configuration vraiment utile et donc non recommandée.

Octeur principal et menus racine

Voici l'écran principal qui est visible après mise sous tension:

Il affiche:

• l'ensemble sélectionné (ici: E002)

• les SID sélectionnés et disponibles (ici: 1-z: SID1 sélectionné, SID2 (premier esclave) non

sélectionné, SID3 et SID4 (deuxième et troisième esclave): pas de connexion MBNet (c'est
au moins le cas si votre MIDIbox SID n'est rempli qu'avec un seul esclave).

• le dispositif transdermique sélectionné de SID1 (ici: A001 - le dispositif transdermique
interne)

• le moteur du patch sélectionné (ici: Ld et moteur principal)

• le canal MIDI attribué du premier instrument SID sélectionné (ici: Chn. 1)

• le nom du patch (ici: Lead Patch)

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Dans l'écran principal, appuyez sur LE BOUTON DE SÉLECTION DE LEFTMOST pour entrer
dans le menu racine de l'ensemble.

Ici, vous pouvez changer certains paramètres globaux, comme les affectations de patch/banque,
les canaux MIDI, etc...

Retournez à la page principale en appuyant sur le bouton MENU.

Maintenant, à l'écran principal, appuyez sur l'un des BUTTES DE DROIT SÉLECTIONNEMENT (­2, 3 x 4, x 4 ou 5) pour entrer dans le menu racine du moteur de synthèse.

À partir de cette page de menu, vous avez accès à des sous-menus qui contiennent tous les
paramètres sonores disponibles.

Menu navigation

La navigation du menu s'inspire de la fonction de contrôle VST de Logic Control et de la gestion
de menu de ma calculatrice HP48 ;-)

Un curseur clignotant (lent) notifie l'élément de menu
sélectionné. Ici : OSC
Si l'élément, qui doit être modifié, n'est pas visible à
l'écran, vous pouvez parcourir la liste des paramètres
avec le codeur rotatif (boutons Inc/Dec - dans les

éléments suivants, il ne sera plus mentionné que le
codeur peut être remplacé par deux boutons)

les paramètres sont décalés à pas à gauche par le
codeur...
...jusqu'à ce que la liste des points à l'ordre du jour soit
atteinte
Une fois que vous avez trouvé le paramètre, il suffit
d'appuyer sur le bouton de sélection approprié pour
entrer dans le mode d'édition.

Ajuster le codeur pour changer la valeur.

Vous pouvez appuyer sur un autre bouton de sélection à
tout moment pour éditer une autre valeur.
Et vous devez appuyer sur le bouton de menu pour
quitter le mode d'édition.
Appuyez à nouveau sur le bouton menu pour passer au
menu supérieur suivant.

Mode stéréo et canal MIDI

Le micrologiciel n'est pas en mesure de déterminer si un ou deux modules MBHP-SID sont
connectés au cœur. Si un seul SID est connecté, il est recommandé de sélectionner le mode
Mono dans l'ensemble - cela est particulièrement nécessaire si vous utilisez des dispositifs de
correction prédéfinis qui sont faits pour l'option stéréo.

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Donc, à partir de la page principale, appuyez sur le bouton de sélection la plus à gauche pour
entrer dans le menu de l'ensemble. Sélectionnez SID pour entrer dans le menu SID, et
sélectionnez le drapeau Mon:

Les utilisateurs de l'option SID stéréo ne doivent pas sélectionner ce drapeau bien sûr pour un son
stéréo gras. :-)

Retournez maintenant au menu de l'ensemble (bouton MENU), et entrez la page INS pour
sélectionner la chaîne MIDI. Dans ma propre configuration, SID1 est joué sur la chaîne MIDI 9:

Pour les sons de tête, seul la chaîne MIDI du premier instrument est pertinente. Pour les sons
multiples, les canaux des 6 instruments doivent être adaptés (nous essaierons plus tard)

Vous pouvez faire la même chose pour les SID restants (si les esclaves sont connectés). Attribuer
différents canaux pour des sons indépendants, ou le même canal pour des sons superposés.

Pour s'assurer que cette configuration est à nouveau disponible après la mise sous tension,
l'ensemble doit être stocké dans la MROME interne (E001) ou dans BankStick (E002-E128):

L'utilisation de BankStick est la méthode la plus préférée, car l'EEPROM interne sera écrasée sur
chaque mise à jour du micrologiciel. En d'autres termes, E001 n'est conçu que comme solution de
secours pour les personnes qui n'ont pas de BankStick spécial prête pour les ensembles.

L'amusement commence...

Jouons quelques notes sur un clavier (ou d'un séquenceur externe) pour un premier contrôle
sonore :

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_osc1.mp3

Le patch de plomb intial semble pauvre et sans vie, principalement parce qu'il ne joue que sur un
seul oscillateur. Faisons-le plus gras en utilisant trois oscillateurs. À partir de la page principale,
appuyez sur l'un des boutons de sélection les plus à droite pour entrer dans le menu racine du
patch. De là, allez dans le menu OSC et sélectionnez les trois oscillateurs:

Maintenant, des changements de paramètres seront appliqués sur les trois oscillateurs. Changez
la forme d'onde en Pulse (peut également être fait avec le bouton Wave dédié de la surface de
contrôle):

Jouez quelques notes - il ne sonne toujours pas gras. À distance - ça semble un peu étrange,
parce que tous les oscillateurs sont en synchronisme:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_osc2.mp3

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Utilisons une "arme secrète" : le paramètre de détunème. :)

Jouez quelques notes :

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_osc3.mp3

En particulier pour cette mélodie, il est logique de jouer deux oscillateurs avec une octave
inférieure pour plus de basse. Donc, changez la valeur de transposition en -12 dans le menu OSC.
Faites-le pour OSC2 et OSC3 séparément (remarque: vous pouvez rapidement passer d'un
oscillateur à l'autre avec le bouton Page vers le haut/détour):

Jouez des notes - toujours ennuyeuses, hm ?

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_osc4.mp3

Mais il y a des mesures supplémentaires pour la grossité ultimative: l'utilisation de LFO dérégété
pour moduler le pulsewitch. Donc - changer dans le menu LFO et entrer différentes valeurs de
profondeur/débit pour LFO1, 2 et 3:

Changez maintenant dans le menu MOD pour configurer les affectations source/cible:

Il convient de noter que :

• nous utilisons les chemins MOD 3, 4 et 5, puisqu'ils sont déjà préparés pour LFO1, LFO2 et
LFO3 (missions Src1 en défaut)

• Nous avons défini le drapeau d'inversion In2 pour ces MOD, de sorte que le canal audio de
droite sera modulé inverse sur le canal de gauche - cela garantit un son encore plus
gras. :-)

• nous utilisons les connexions de modulation directe pour PW1 (Pulsewth of OSC1), PW2 et
PW3, affectées à la voie gauche/droite. Chaque oscillateur obtient son propre LFO

• ces connexions de chemin de modulation peuvent également être commandées à partir de
la matrice de modulation de la gouverne. Par example, appuyez sur le bouton de la
quatrième ligne et le bouton de la troisième colonne à la même longueur d'onde afin
d'activer/désactiver la connexion MOD3-PW1.

22

Le son qui en résulte:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_osc5.mp3

Et ici le mélange final, où j'ai ajouté un retard stéréo à la piste SID - quelques tambours:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_osc5_fx.mp3

Ok, stockons ce nouveau patch avant qu'il ne se perde. Changez la page SAV et sélectionnez un
créneau de dispositif de correction libre, par ex. A002 :

Appuyez sur le troisième bouton de sélection (en dessous de "do'") et donnez au dispositif un nom
plus ou moins significatif:

Enfin, appuyez sur SAVE pour stocker le dispositif transdermique.

Maintenant, vous pouvez aussi sélectionner le même nouveau patch pour les autres cœurs SID.
Retournez à la page principale, sélectionnez SID2, changez de patch avec le codeur principal,
sélectionnez SID3, changez de patch avec le codeur principal, sélectionnez SID4, changez de
dispositif transdermique avec le codeur principal. S'assurer que tous les SID sont affectés au
même canal MIDI. Abaissez le volume de votre ampli Jouez une seule note. Ouah. Respirez
profondément et jouez une autre note, cette fois peut-être un peu plus longtemps. Jouissez
(désolé, pas d'échantillon disponible, car le son des 24 oscillateurs SID est à massif pour le format
MP3 ;-)

Expériences de filtres

Chaque SID fournit un filtre multi-états analogique de 12db, que nous voulons étudier maintenant.
Changez dans le menu du filtre et activez le filtre pour les trois oscillateurs:

commuter le type de filtre en L (Lowpass), et changer de résonance et CutOff (à partir de ce menu,
ou avec les codeurs/boutons rotatifs dédiés de la surface de commande):

Avec le patch modulé PW précédemment créé, il devrait sonner comme suit:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_fil1.mp3

Très statique, non ? Donc, modulons la fréquence de coupure du filtre avec une enveloppe.
Changez dans le menu MOD et configurez le chemin MOD1 comme indiqué ci-dessous:

• ENV1 est utilisé deux fois comme source de modulation - l'opérateur est 1x2, ce qui signifie:
la modulation ENV sera doublée

• la profondeur est fixée à 128 pour la modulation maximale.

• pas d'inversion

23

• L'objectif de fil est attribué pour le canal gauche/droite

Changez le menu ENV et changez les paramètres en jouant certaines notes:

La fréquence de coupure doit être réglée au minimum (0), de sorte que l'enveloppe puisse
contrôler l'ensemble de la plage de 12 bits. Exemple de son pour différents types de filtres
(Lowpass, Bandpass, Low/Band Pass, Highpass:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_fil2.mp3

La distorsion du filtre qui se produit lorsque les trois oscillateurs jouent est l'une des principales
caractéristiques de la puce SID qui le rend si unique. Aucune émulation ne peut jamais reproduire
ce son original.

Arpéggiateur

Le moteur de plomb fournit 6 arpégigateurs indépendants, mais pour les premières expériences, je
reçois à les utiliser avec des réglages identiques pour éviter les effets chaotiques. Donc, changez
dans le menu arp et sélectionnez tous les oscillateurs:

Maintenant, allumez arp (cliquez sur le bouton ci-dessous "On") et essayez tous les paramètres.
Voici un example de montage:

Modulation

Maintenant quelques mots sur l'une des principales caractéristiques de MIDIbox SID V2: la
matrice de modulation basée sur l'opérateur. Nous avons déjà fait des expériences de modulation
en utilisant des LFO et des Enveloppes, mais c'est juste des choses classiques qui sont
disponibles dans la plupart des synthétiseurs. Le concept de modulation de MBSID V2 permet
d'appliquer une opération sur deux sources de modulation avant que la forme d'onde résultante ne
soit transmise aux cibles de modulation. Cette approche puissante est essentiellement inspirée
des synthétiseurs Waldorf (concept de modèle).

Nous allons essayer cela sur un seul oscillateur. Tout d'abord, le dispositif transdermique doit être
initialisé pour obtenir un démarrage défini. Appuyez sur la touche "Salut" (anciennement LIEN) et
appuyez sur le bouton de sélection sous "Ini" pour obtenir le patch par défaut:

Maintenant, activez le filtre pour tous les oscillateurs, fixez la coupure à 400 et la résonance à 15:

LFO1 doit être mis à des valeurs suivantes (veiller à ce que le drapeau de synchronisation soit
fixé, de sorte que le LFO redémarre sur une nouvelle note):

24

Configurer ENV1 comme indiqué ci-dessous:

Et enfin la configuration de la matrice MOD - définir les valeurs étape par étape afin d'entendre les
changements:

C'est le résultat lorsque LFO1 est joué seul (Op-Sr1):

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_mod1_1.mp3

Ici, ENV1 est joué seul (Op-Sr2):

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_mod1_2.mp3

Et ici, LFO1 est multiplié par ENV1 (Op-1-2), c'est-à-dire: l'enveloppe contrôle la profondeur de
LFO1:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_mod1_3.mp3

Enfin, le drapeau d'inversion pour le canal audio de droite est défini - il n'a jamais été aussi facile
de créer de beaux effets stéréo :-)

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_mod1_4.mp3

Maintenant, essayons une expérience inhabituelle: modulons le pas de l'oscillateur avec LFO2:

Et le débit LFO2 avec la même forme d'onde, qui contrôle déjà le filtre (MP3-output of modulation
path 3), combiné via XOR avec la valeur constante 90:

Sons en résultats:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_mod1_5.mp3

Avertissement: essayez des valeurs constantes différentes - vous remarquerez des changements
spectaculaires De telles combinaisons binaires peuvent vous occuper pendant des heures. :-)

Il existe des centaines d'autres possibilités d'utilisation de la matrice de modulation, notamment
avec les opérateurs binaires. Mais les illustrer est très long, je vais donc fournir un tas d'exemples
dans une banque spéciale prédéfinie.

Sequenceur onduleur

Le séquenceur Wavetable vous permet d'échelonner une liste de valeurs afin de contrôler les
paramètres sonores. C'est une méthode de modulation alternative qui peut être utilisée pour
générer des formes d'onde personnalisées, mais aussi pour jouer des notes (acharnement

25

amélioré). 4 pistes (lebit) ou 6 (multi) séquenceurs sont disponibles, qui peuvent être cadencées
indépendamment les unes des autres.

Plus de détails sur le séquenceur WT peuvent être trouvés dans le chapitre du moteur principal.
Ici, nous ne voulons qu'obtenir de la pratique, alors commençons sans les connaissances de fond
théoriques.

Initialisation du dispositif transdermique pour obtenir un démarrage défini. Appuyez sur la touche
"Salut" (anciennement LIEN) et appuyez sur le bouton de sélection sous "Ini" pour obtenir le patch
par défaut:

Sélectionner tous les oscillateurs, entrer la forme d'onde de pouls et changer le paramètre de
détunème:

commuter le type de filtre en L (Lowpass), et changer de résonance et CutOff (à partir de ce menu,
ou avec les codeurs/boutons rotatifs dédiés de la surface de commande):

Changez la page WTC et entrez la configuration suivante:

Cela jouera la première piste de la vitesse 30 à la vitesse 30. Il sera rebouclé (sans fin)
redémarrant à '00. L'affectation au paramètre 4 signifie Fréquence CutOff. Le nom du paramètre
sera affiché à l'écran pendant que vous le changez. N'hésitez pas à essayer différents paramètres
plus tard.

Changez maintenant la page WTE et éditez la séquence pour la piste 1, qui commence à -00:

Saisissez la séquence suivante à la première colonne de la piste, en commençant par la position 0
(utiliser le bouton Page en haut/en bas pour changer la position):

$00 = 18
$01 = 60
$02 = 30
$03 = 60
$04 = 40
$05 = 30

Séquence résultante:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_wt1.mp3

Maintenant, créons un bel effet stéréo: changez WT1, de sorte qu'il ne contrôle que le canal audio
gauche:

26

Et entrez les valeurs suivantes dans la configuration WT2, de sorte qu'il contrôle le canal audio
droit et joue le même table d'ondes avec un offset:

Séquence résultante:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_wt2.mp3

Maintenant, nous ajoutons une piste WT qui joue des notes:

Dans l'Adité de l'éditeur de la voûte (WTE), entrez la séquence suivante à la troisième colonne:

$40 = F-0
$41 = +++
$42 = F-1
$43 = +++

(Note: vous pouvez également entrer Ky0/Ky1 au lieu de F-0/F-1, de sorte que les deux notes
changent avec l'accord joué)

Séquence résultante:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_wt3.mp3

Déclenchement

La matrice de déclenchement permet de réagir sur les événements, comme Note On/Off, LFO
overruns, ENV ou l'horloge globale. Pour une brève introduction, il devrait être suffisant pour
améliorer le patch précédemment créé par une connexion de déclenchement entre l'échelon L1P
(L1P) et l'échelon WT (W1S.W4S):

Comme le WT est normalement déclenché par le générateur d'horlogerie global, cette connexion
doit être désactivée:

Enfin, la vitesse WT des trois pistes utilisées WT1..WT3 doit être réglée sur 1, de manière à ce
que l'événement L1P passe la table d'ondes sans prédivideur:

Lorsque LFO1 commande en plus le pulsewth des trois oscillateurs, il en résulte un son suivant:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_wt4.mp3

Il est à noter que maintenant la vitesse WT est directement contrôlée par LFO1. Cela signifie que
la modulation provoquée par cette LFO est toujours en synchronisme avec la modulation WT.

27

Nous pouvons le prouver en modulant le débit LFO1 et le pas de tous les oscillateurs avec ENV1 ­profitez du résultat. :-)

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_fs_wt5.mp3

Lead Engine

Main Screen

This is the main screen which is visible after startup. You can always go back to this screen by
pressing the MENU button one or two times (depending on the current hierarchy level).

The screen shows the activated SID (corresponds to SID1/2/3/4 LED) and Ensemble
(E001..E128), the bank and patch number, the MIDI channel, and the patch name of the selected
SID.

By moving the datawheel, the patch can be changed within the current bank. The bank can only be
changed within the ensemble menu.

.

Root Menu

Within the main screen, press one of the RIGHT SELECT BUTTONS (#2, #3, #4 or #5) to enter
the root menu. The leftmost select button will enter the ensemble menu, which is described here.

It gives you quick access the submenus, which are described below.

"Shift" Menu

By pressing the SHIFT (formerly LINK) button, a special menu will be displayed which gives you
quick access to following functions:

• SIDn: toggles between LR, L- and -R. Here you can specify, if OSC, FIL and MOD
parameter modifications should affect only the left, the right, or both SID channels. The SID
number (SID1, SID2, SID3, SID4) has to be selected with the deticated SID buttons.

• Engine: currently only Ld for Lead. Later you can select between
Lead/Multi/Bassline/Drums

28

• Note Off: disables the notes of all selected SIDs

• Init: initializes a patch depending on the selected engine.

• Dump: sends a SysEx dump of the currently selected patch.

OSCillator menu

Within the oscillator menu you can control the parameters of the 2*3 SID oscillators. Note that by
default changes will take place for the left and right channel. By selecting a single channel within
the "Shift" menu, you can do modifications for the six oscillators separately.

• OSC (Oscillator): selects a single oscillator (1--, -2-, --3) or multiple oscillators (e.g. -23 or

123)

• Wav (Waveform): selects the waveform:

• Tri: Triangle

• Saw: Sawtooth

• T+S: Triangle + Sawtooth (mixed)

• Pul: Pulse

• P+T: Pulse + Triangle (mixed)

• P+S: Pulse + Sawtooth (mixed)

• PST: Pulse + Sawtooth + Triangle (mixed)

• Noi: Noise

In following audio example, the different waveforms are played from a 8580:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_waveforms_8580.mp3

And here the same sequence played on a 6581 - you will notice, that some mixed waveforms don't
work on this older SID. And note especially the background noise, which is produced by a
leackage issue in the VCA/mixer section:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_waveforms_6581.mp3

• S/R: activates Sync and/or Ringmodulation.

• The sync flag synchronises the fundamental frequency of a slave oscillator with the

fundamental frequency of a master oscillator, producing a "hard sync" effect. Varying the
frequency of the slave oscillator with respect to the master prodcues a wide range of
complex harmonic structures from the slave oscillator at the frequency of the master
oscillator. In order for sync to occur, the master oscillator should be set to a frequency lower
than the frequency of the slave.
The sync assignments are hardwired within the SID:
OSC1 can be synched by OSC3
OSC2 can be synched by OSC1
OSC3 can be synched by OSC2
An audio sample where OSC3 syncs OSC1. The frequency of OSC3 is increased by an
envelope. OSC3 itself is silent (3Of in FIL menu selected):

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_osc_sync.mp3

29

• The ringmodulation flag works only when a triangle waveform is selected!

It multiplies the output of one oscillator with the output of another, which results into non­harmonic overtone structures for creating bell/gong sounds and special "metallic" effects.
The ringmodulation assignments are hardwired within the SID:
OSC1 can be modulated with OSC3
OSC2 can be modulated with OSC1
OSC3 can be modulated with OSC2
An audio sample where OSC3 is ringmodulated with OSC1. The OSC1 frequency is slowly
increased.:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_osc_ring.mp3

And here a sample where the Sync and Ring flag are activated the same time.
Don't cry baby, MBSID V2 will be released soon!

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_osc_syncring.mp3

•

• Delay/Attack/Decay/Sustain/Release: controls the VCA envelope of the SID oscillator.

• PRn (Pitchrange) the semitone range within Pitchbender and Finetune can

increase/decrease the frequency.

• Trn (Transpose): the semitone transpose value (-64..+63). +12 will transpose by one +1

octave, whereas -12 will transpose by -1 octave.
In following audio sample the sequence begins with transpose=0, after a while it will be
decreased to -12 (-1 octave), and later to -24 (-2 octaves):

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_osc_transp.mp3

• Finetune: allows to slightly decrease/increase the frequency within the given pitchrange.

Use this parameter on different oscillators to make the resulting sound more fat! Note that
there is an additional Detune parameter at the end of this page which can do this
automatically for all 6 oscillators.
Demonstration of using finetune on three oscillators (see also the detune example below):

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_osc_finetune.mp3

• Por (Portamento) sets the intensity of the portamento (glide) effect. When changing from

one to another note, this effect will continously sweep the frequency until the target
frequency has been reached. There are three different portamento modes available; they
can be selected with the PMd item:

• Normal: "normal" portamento, also known as "logarithmic portamento". The sweep time
depends on the frequency.

• CTG: linear constant time glide - the sweep time is always the same, independent from the
frequency.

• Gls: glissando: the frequency is sweeped in semitone steps, like if you would strum over the
keyboard from one to another note.

Demonstration of the three portamento modes:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_osc_porta.mp3

• Phs (Oscillator Phase Offset): this function allows you to synchronize the phases of all

three oscillators.

30

With Phs=0 they are freerunning - this is the preferred option for "analog" sounds. With
Phs=1, they will be started at the same moment, whereas with Phs>1 the phase offset
between the oscillators will be controlled in 0.4% steps (!). In following audio sample the
oscillator phase offset between three pulse waveforms is slowly changed from 0..33% ­once this value is reached, the resulting frequency is 3 times higher than the base
frequency:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_osc_phaseoffset.mp3

•

• PW (Pulsewidth): this 12bit value (range 000-FFF, displayed in hexadecimal format)

controls the duty cycle of a pulse waveform. This parameter has no effect on other
waveforms. A 1:1 duty cycle is set with value 0x800.
In this sample each oscillator got an own LFO for pulsewidth modulation. The modulation
values for the right channel are inverted - this results into a nice stereo effect:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_osc_pw.mp3

• PMd (Portamento Mode): see description above.

• GSA (Gate Stays Active): once activated, the VCA envelope won't be released anymore,

resulting into a permanent sound. This allows you to control the sound volume completely
with the internal, or an external filter, or with an external VCA. It's an option which allows
you to overcome the infamous ADSR bug of the SID.

• Det (Detune): detunes all oscillators by increasing/decreasing the finetune parameter. This

allows you to create fat sounds with a single encoder turn! (therefore the same value is
visible in all OSC pages)

• Left SID channel: OSC1 +detune/4, OSC2 +detune, OSC3 -detune

• Right SID channel: OSC1 -detune/4, OSC2 -detune, OSC3 +detune

Demonstration of using detune in legacy mode on six oscillators (stereo - compare with finetune
example above):

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_osc_detune.mp3

• DtM (Detune Mode): switches between normal (legacy) and SuperSaw +/- mode, which
has been created by Lis0r based on the research from this paper
In SuperSaw mode the calculation changes to:

• Left SID channel: OSC1 no detune, OSC2 +/- detune/3, OSC3 -/+ 2*detune/3

• Right SID channel: OSC1 no detune, OSC2 -/+ detune/3, OSC3 +/- 2*detune/3

It especially works much better for higher detune values!
TODO: add demo for the amazing SuperSaw mode!

FILter menu

Within the filter menu you can control the parameters of the SID filter. Each SID has only one 12db
multistate filter, which can be assigned to the three oscillators and/or to the external audio input.
Note that by default changes will take place for the left and right channel. By selecting a single
channel within the "Shift" menu, you can do modifications for the two filters separately.

31

• Chn (Channel): assigns the filter to oscillator channel 1/2/3

• Cut (CutOff): sets the cutoff frequency (12bit value) from 000 to FFF (hexadecimal format).

• Res (Resonance): is a peaking effect which emphasizes frequency components at the

CutOff frequency of the filter, causing a sharper sound. The intensity of the resonance can
be set from 0-15.

• Mod (Filter Mode): sets the filter mode - note that mixed notes like Lowpass/Highpass are
possible, which results into a notch effect (inverted bandpass).

• L (Lowpass): all frequency components below the Cutoff frequency are passed

unaltered, while all frequency components above the Cutoff are attenuated at a rate
of appr. 12 dB/Octave

• B (Bandpass): all frequency components above and below the Cutoff frequency are

attenuated at a rate of appr. 6 dB/Octave

• H (Highpass): all frequency components above the Cutoff frequency are passed

unaltered, while all frequency components below the Cutoff are attenuated at a rate
of appr. 12 dB/Octave

• KTr (Key Tracking): increases the CutOff depending on the played note based on the
keytracking factor (0..255). The usage is especially important on high resonance filter
sounds, as it keeps the resonant frequency spectrum "on-track" with the note.

• Ext (External): external Audio IN is passed to the filter

• 3Of (3rd oscillator off): a special SID function which disconnects the oscillator 3 output

from the mixer. This allows to use OSC3 for sync/ringmodulation without any undesirable
output.

• FIP (Filter Interpolation): this option smoothes CutOff changes. It is especially useful when
CutOff is changed via CC (-> low resolution). to reduce the steppiness. The option is not
useful when the CutOff parameter is modulated rom a fast LFO or envelope (on the other
hand: it produces interesting effects in such cases ;-)

Here a quick demonstration of the SID filters. In the first example two 6581 from calendar week
40/84 and 25/84 are used, which sound very different and which are therefore not really qualified
for stereo patches. On the other hand they sound warm and analog - but note especially the
background noise at the end, a typical issue of the 6581!

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_filter_6581.mp3

In the second example the same sequence is played on two 8580R5 from the same batch:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_filter_8580.mp3

Decide for yourself which one sounds better!

To be honest: I want them all! A MBSID V2 can be stuffed with 8 SIDs, so what? :-)

LFO menu

The lead engine provides six low frequency oscillators which can be assigned to different
modulation targets within the modulation matrix.

• LFO: selects one of 6 LFOs.

32

• Wav (Waveform): selects the shape of the LFO. Following waveforms are provided: Sine,
Triangle, Pulse, Ramp (Sawtooth), Random (Sample&Hold), and positive
Sine/Triangle/Pulse/Ramp

• Rte (Rate): the speed of the LFO can be adjusted from 0.008 Hz (1) to ca. 45 Hz (255).

• CSn (Clock Synchronisation): allows you to synchronize the LFO speed to the global

clock generator. This is especially useful when a clock is provided from a MIDI clock master.
If CSn is active, the rate will select special presets from 16 bars down to 1/32th notes.

• Dep (Depth): the intensity of the LFO effect. It can be controlled from -128 to +127. A
negative value inverts the LFO waveform.

• Snc (Sync): the LFO will be restarted with each new note.

• Del (Delay): works only in conjunction with the Sync flag. With a delay>0, the LFO will be

held inactive before it will be restarted.

• Phs (Phase): works only in conjunction with the Sync flag. Specifies the phase (0-255) at
which the LFO will be restarted. With 64, the LFO will start at 25%, with 128, the LFO will
start at the middle.

• One (Oneshot): only one period of the LFO waveform will be processed, thereafter the LFO
is stopped and has to be retriggered from a trigger matrix source (see below).
Note that Oneshot works only when LFO Sync is enabled as well.

ENVelope menu

The lead engine provides two additional envelopes which can be assigned to different modulation
targets within the modulation matrix.

• ENV: selects one of 2 ENVs.

• Dep (Depth): the intensity of the envelope effect. It can be controlled from -128 to +127. A

negative value inverts the ENV waveform.

• Del (Delay): delay the attack phase of the envelope.

• At1/ALv/At2 (Attack Rate/Level): sets the attack rate and attack level between the two

attack phases.

• De1/DLv/De2 (Decay Rate/Level): sets the decay rate and decay level between the two
decay phases.

• Sus (Sustain): sets the sustain level.

• Re1/RLv/Re2 (Release Rate/Level): sets the release rate and release level between the

two release phases.

• CuA/CuD/CuR (Curve Attack/Decay/Release): with curve=0, the rates are linear, whereas
with negative values (-128..-1) the curve of the appr. envelope phase can be bended down,
and with 1..127 it can be bended up.
This is a simple way to imitate the exponential charging/decharging curve of a capacitor, so
that the envelope behaves like an analog circuit. But note that the relation between the rate
and the curve parameter is not linear (than higher the curve intensity, than shorter the
waveform), and it needs some practice to achieve good results.

• LpB/LpE (Loop Begin/End): allows to cycle between two phases. Once the phase
specified with LpE has been finished, the envelope generator will jump back to the phase
specified with LpB. Not all combinations make sense.

33

• CSn (Clock Synchronisation): allows to synchronise the envelope rates to the global clock
generator. This especially makes sense when the generator is clocked from an external
MIDI master.

MODulation matrix menu

The modulation matrix provides 8 independent pathes. Within each path, two sources are
combined by an operator. A depth parameter is applied before the result is distributed to multiple
targets. This powerful approach is basically inspired from Waldorf synthesizers (Modifier concept).

• MOD (modulation path): selects one of the eight modulation paths, which should be
displayed.

• Sr1 and Sr2 (Source #1 and #2): the predefinitions are matching with the MIDIbox SID1
assignments, but you can change them as desired.
Following sources are available:

• ---: disable source

• EG1, EG2: Envelope 1 and 2

• LFO..6: LFO 1-6

• MP1..8: the modulation result of path 1-8 is available as source as well. This allows

you to chain multiple operations on different sources!

• MdW: last received modulation wheel position

• Key: last received note value

• K#1..5: position of Knob 1-5 (see Knob menu)

• L#V: last received Velocity

• L#P: last received Pitchbender position

• L#A: last received Aftertouch value

• WT1..4: value provided from wavtable 1-4 (see wavetable concept below)

• 0..127: a constant value - especially useful in conjunction with the binary or Min/Max

operators.

• Op (Operation): the operation which is applied on the two sources:

• ---: disable operation (no modulation)

• Sr1: Source 1 only

• Sr2: Source 2 only

• 1+2: Source 1 added to Source 2

• 1-2: Source 2 substracted from Source 1

• 1*2: Source 1 multiplied with Source 2

• XOR: binary XOR operation between Source 1 and 2

• OR: binary OR operation between Source 1 and 2

• AND: binary AND operation between Source 1 and 2

• MIN: forwards either Source 1 or 2, the minimum value will be taken

• MAX: forwards either Source 1 or 2, the maximum value will be taken

• 1<2: generates a positive pulse when Source 1 is less than Source 2

• 1>2: generates a positive pulse when Source 1 is greater than Source 2

• 1=2: generates a positive pulse when Source 1 is equal to Source 2

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• S&H: Sample & Hold - samples the value of Source 1 whenever Source 2 changes

from a negative to a positive value. The direct integration into the MOD matrix is an
unusual, but very powerful solution, as in difference to common synths it not only
allows you to capture values periodically (e.g. by using a LFO), but with any pattern.
E.g., you could trigger the capturing from the wavetable sequencer, or with a certain
modwheel or velocity level (requires a second MOD path which is doing a
comparison 1>2)

• Tr1 and Tr2 (Target 1 and 2): following modulation targets are available:

• Pt1..6: Oscillator pitch. OSC1-3 are the oscillators of the left channel SID, OSC4-6

the right channel SID

• PW1..6: Pulsewidth. OSC1-3 are the oscillators of the left channel SID, OSC4-6 the

right channel SID

• Fl1 and Fl2: CutOff frequency of left/right SID filter

• Vl1 and Vl2: Volume of left/right SID

• LD..6: LFO depths

• LR1..6: LFO rates

• Ex1..8: the external control voltage (CV) channels

• WT1..4: the wavetable positions of WT1..4 (MOD flag must be enabled in WTC

menu)

• Dep (Depth): allows to control the intensity of the modulation result from -128..127. A
negative value will invert the result

• In1 and In2 (Inversion): an additional possibility to invert the result, but for Target 1 and 2,
resp. for left and right SID channel separately. Inverting one channel mostly leads to very
interesting stereo effects!

• Pt1..Vol: 2*8 additional modulation targets are available for each path which can be
enabled/disabled in this menu, and with the LED modulation matrix of the control surface.
They are statically assigned to OSC 1..3 Pitch, Pulsewidth, to Filter CutOff and Volume. The
left and right channel can be enabled separately. Remind the inversion function for nice
stereo effects!

Demos:

• http://www.ucapps.de/mp3/midibox_sid/mbsidv2_demo1.mp3

2*3 slightly detuned pulse waveforms.
The pitch is modulated by a LFO (saw waveform), combined via AND operator with a
constant value. The constant value is manually changed with a knob. The modulation result
is sometimes crazy, sometimes surprising, sometimes just exactly what we expect from an
8bit synth :)

• http://www.ucapps.de/mp3/midibox_sid/mbsidv2_demo2.mp3

2*3 filtered mixed waveforms (pulse/saw/triangle).
The filter is modulated by one LFO, the volume by another LFO. The depth of volume
modulation is 0 at the beginning, and changed to +127 at 0:07
The amount of volume modulation is inverted between left and right channel.
Rate of LFO which modulates volume is changed at 0:13
A third modulation path is used at 0:26, where LFO1 and LFO2 rate is controlled by an
enveloppe. Who needs a Leslie? :)

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• See random example at the bottom of this page for some randomly selected combinations
of modulation sources/targets/operations

TRiGger matrix menu

Commonly known from modular synthesizers, it's possible to trigger functions of MIDIbox SID from
various, predefined sources, which can result into very lively effects.

A trigger you propably already know is the envelope gate, which is activated on a Note On event.
Why not restarting the envelope when a LFO period has passed, when a (divided) MIDI clock has
been received, or when a second envelope has reached the sustain phase? The trigger matrix
allows you to combine such events.

Another nice possibility is to restart LFOs, or to step through a wavetable which modifies sound
parameters.

• TRG (Trigger Source): selects the trigger source which should be displayed:

• NOn: a Note On event has been received

• EOf: a Note Off event has been received

• E1S/E2S: Envelope Sustain Phase has been reached

• L1P..L6P: LFO period

• Clk: global clock event

• Cl6: triggered on each 6th global clock event

• C24: triggered on each 24th global clock event

• MSt: MIDI Clock Start event has been received

• O1L..O3L/O1R..O3R: (Re-)trigger gate of oscillator 1..3 of left/right SID channel (assigned

to NOn and NOf by default, whereas NOf has a special purpose here: it clears the gate
instead of retriggering it)

• E1A/E2A: start attack phase of ENV1/ENV2 (assigned to NOn and MSt by default)

• E1R/E2R: start release phase of ENV1/ENV2 (assigned to NOf by default)

• L1..L6: restart LFO1..LFO6 (the NOn->L1..L6 connection can also be controlled with the

Snc flag in the LFO menu)

• W1R..W4R: restart wavetable 1..4 (assigned to NOn by default)

• W1S..W4S: increment step of wavetable 1..4 (assigned to Clk by default)

ConFiGuration menu

Some basic settings for the MBSID Lead engine are collected here.

• Vol (Volume): adjusts the output volume of the SID. Note that the SID mixer only provides a

4bit volume, but 7bit (0-127) can be modified here (for the V2A feature). Set the volume to
the middle value (64) if it should be modulated from the modulation matrix!

• Leg (Legato):

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• Legato off (Mono mode): the gate (or to be exact: the NOn event of the trigger

matrix) will be re-triggered whenever a new note is played on the keyboard.

• Legato on: the gate (or to be exact: the NOn event of the trigger matrix) will only be

re-triggered so long no other note is played.

• WTO (Wavetable Only): only the wavetable can play notes - useful if it plays arpeggiator or

note sequences

• SuK (SusKey): if enabled, the portamento effect will only be activated if more than one note

is played. Also known as "fingered portamento". Very useful in conjunction with external
sequencers (like MIDIbox SEQ to trigger a glide on overlapping notes.

• ABW (ADSR Bug Workaround): an option which provides a less usual method to

overcome the ADSR bug. Whenever the envelope is retriggered, the ADSR registers will be
zeroed for at least 30 mS (time can be increased with the delay parameter). Thereafter the
original ADSR values will be written back, and the gate will be activated. This results into a
more deterministic envelope, but the latency makes it unsuitable for live playing. So, this
feature can only be used in conjunction with a sequencer, which allows to compensate the
delay (which allows to play the notes earlier by a given time).

ARPeggiator menu

In "digitunes" (also known as 8bit tunes), an arpeggiator is mostly used to produce fast "broken
chords". The notes of a chord are quickly cycled, so that the listener (nearly) gets the impression
that a whole chord is played, even the oscillators itself are only played monophonic.
A more common usage of the arpeggiator, which you propably also know from other synthesizers,
is the slow automated stepping through the notes of a chord. In this case the step speed and the
gatelength is mostly derived from an incoming MIDI clock to synch the notes with a sequencer.

Both variants are possible with the MIDIbox SID arpeggiator. And a special feature is, that each of
the 2*3 oscillator (left/right channel) has its own arpeggiator, so that different rhythmical textures
can be generated and played the same time.

• OSC (Oscillator): selects a single oscillator (1--, -2-, --3) or multiple oscillators (e.g. -23 or

123). Left/Right/Both SID channel has to be selected in the "shift" menu.

• On: enables the arpeggiator effect.

• Dir (Direction): Up/Down/Up&Down/Down&Up/UD2/DU2/Random - the direction and order

in which the notes are stepped. To simplify the understanding, here the behaviour when a
chord of four notes (1234) is played:

• Up: 123412341...

• Down: 432143214...

• U&D (Up&Down): 12343212343...

• D&U (Down&Up): 43212343212...

• UD2 (Up&Down #2): 12344321123443...

• DU2 (Down&Up #2): 43211234432112...

• Random: randomly selected keys

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• Sor (Sorted): if enabled, the played notes are sorted. Otherwise they are used in the same

order like played on the keyboard (the note you played the first time will be played at the
first position).

• Hld (Hold): the arpeggiator continues to play when the keys are released. It starts with a

new chord once at least one new note is played.

• Spd (Speed): the arpeggiator speed derived from the global clock. A speed value of 48 will

step the arpeggiator on each 8th note, a value of 24 on each 16th note, 12 on each 32th
note, 6 for each 64th note, 3 for each 128th note

• GLn (Gatelength): the gatelength. Should be less than the speed value to take effect.

Should be higher than the speed value for C64 style "broken chords".

• Rng (Octave Range): with an octave range > 1 the notes will be stepped multiple times

over different octaves

• Snc (Synch to Note): the arpeggiator is restarted whenever a new note is played

• CAC (Constant Arp Cycle): the arpeggiator speed varies with the number of played notes,

so that the overwhole arp cycle time is always the same (works only correctly with up to 4
notes)

• One (Oneshot): arpeggiator sequence will be stepped one time, thereafter the arp will stop

until a new chord is played.

• Esy (Easy Chord): In difference to normal chord entry, in "Easy Chord" mode depressed

keys will still be cylced by the arpeggiator until a new key is pressed. This feature is
especially useful when slow arpeggios are played, since it avoids unintended "long notes"
on chord changes.
It is not useful if you intend to play a voice like a common lead instrument, which should turn
into a fast arpeggio when more than one key is played (in this case, ensure that the "Esy"
switch is disabled)

Example for arp at fast speed:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_arp_fast.mp3

Switching through the direction modes (boring C-Dur chord, only for demonstration):

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_arp_slow.mp3

Having some fun with upward direction, octave range 3:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_arp_slow2.mp3

Note: in difference to other arpeggiator implementations of synths I know, the arp will
continue to cycle the notes, even when no key is played anymore, and therefore all OSC
gates are released. This matches with the behaviour in C64 tunes.
In addition, if you release some - but not all - keys while a chord is played, the old chord
continues to play until at least one new key has been pressed. This is to improve live
playing. If you don't like this behaviour, you can disable it in sid_midi.inc (set
EXP_ARP_BEHAVIOUR to 0)

WaveTable Configuration menu

The term "Wavetable" is used by the C64 community for a synthesis method, where the waveform
and frequency of a SID voice is modulated so fast, that the resulting output sounds like a new
waveform, which is originally not provided by the soundchip itself. The parameter changes are

38

stored in a table - that's the reason for this name - the technique is not related to "wavetable
synthesis", which is based on audio samples.

MIDIbox SID provides a very generic wavetable sequencer, which can not only control the

waveform and frequency, but any parameter which is also accessible via NRPN (see also the

MIDIbox SID V2 parameter chart). In MIDIbox SID V2, four tracks of up to 32 steps are available,

which can control 4 different CCs. For common wavetable sounds, it's enough to control the
waveform (OSC1 waveform: Parameter #33) and the transpose value (OSC1 transpose: CC#37)
of a single voice. It's also possible to control the waveform/transpose value of all oscillators at the
same time (CC#32 and CC#36), or to modulate the CC of the other oscillators in parallel to the first
one. Another interesting usage of the remaining two tracks is the modulation of LFO or envelope
parameters; it should also be mentioned, that the wavetable sequencer can be used to play notes
and arpeggiator phrases.

For MIDIbox SID V1 some tutorials are available, which will sooner or later be adapted to the new
V2 engine: HowTo #1, HowTo #2, HowTo #3.

Differences to V1:

• 4 instead of 3 wavetables

• independent speed and loop points

• free configurable start and end point within the 128 byte range

• resetable and stepable from the trigger matrix (e.g. via LFO)

• using WT values as modulation source

• controling the WT position from the modulation matrix

• Left/Right/Both SID channels selectable

• WT1..4: selects the wavetable

• Par (Parameter): changes the parameter assignment. Once you move the encoder, a

special page will be displayed which shows the parameter name in long format:

• SID: allows to select, if the left, right or both channels should be controlled from the

wavetable.

• Spd (Speed): the wavetable speed derived from the trigger layer assignment (by default:

the global clock). A speed value of 48 will step the WT on each 8th note, a value of 24 on
each 16th note, 12 on each 32th note, 4 for each 64th note, 3 for each 128th note.

• MOD: if enabled, the wavetable position will be controlled from a modulation target (-> MOD

menu) within the begin and end range. The speed and loop parameter has no effect in this
case.

• Key: if enabled, the wavetable position will be controlled from the key number within the

begin and end range. The speed and loop parameter has no effect in this case. This
parameter has higher priority than the MOD function. E.g., with Begin=0x00, End=0x7f,
KEY=on, Par=200 you are able to define different ENV1 Decay parameters for each note.
There are much more usecases of course (e.g. different LFO values, different waveforms,
Sync/Ring enable/disable in certain keyranges) - be creative :)

• Beg (Begin): the start position within the wavetable (0x00, 0x20, 0x40, 0x60 by default)

• End: the end position within the wavetable (0x1f, 0x3f, 0x5f, 0x7f by default)

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• Lop (Loop): if disabled, the wavetable will only be played once (oneshot mode). Once

enabled, the wavetable will be looped between the Loop and End position

• Val (Value Format): switches between hexadecimal and decimal display mode

• WTE: shortcut to the WTE (wavetable editor) menu

WaveTable Editor menu

In order to improve the oversight and handling, the wavetable has to be edited in a separate menu
page. This has also the advantage, that in this page the wavetable position can be selected with
the PAGE UP/DOWN buttons, whereas within the WTC menu these buttons select the wavetable
number.

• Pos (Position): the position within the wavetable (0-128, whereas mostly 0-31 is relevant

for a common wavetable). Turn the encoder full-right to select "All" - in this case, a WT
modification will be copied over to all entries of a column.

• 2nd..5th column: the wavetable entries. At the top you will see the address, at the bottom

the relative or absolute value.

• Val (Value Format): switches between hexadecimal and decimal display mode

• WTC: shortcut to the WTC (wavetable configuration) menu

KNoBs menu

The idea behind the "knobs" function is to have a set of 5 controllers, which can be used to change
preselected sound parameters within a min/max range. Each patch has its own set, so that the
sound designer can prepare parameter assignments as they are most useful for live control.

Knob values can not only be changed within the KNB menu, but also with the 5 rotary encoders of
the OSC assign layer. In addition, they can be controlled via analog pots connected to J5.A0..A4
(DEFAULT_J5_FUNCTION set to 1), and via MIDI, giving access to the parameters on a generic
way (e.g. for automation). Knob1 is assigned to CC#1 (Modulation Wheel), and Knob2-5 to
CC#16-19

Three additional "knob" functions are available for Velocity (K#V), Pitchbender (K#P) and
Aftertouch (K#A).

Knob values are also accessible as modulation source (-> see MOD menu) regardless of the knob
assignments.

• K#1..K#5: the actual knob values, range: 0..255. They can be changed from this menu, via

MIDI or via control surface, if the "assign" control layer of the OSC section is activated.

• K#V, K#P, K#A: the additional knob functions for Velocity/Pitchbender/Aftertouch.

By default, K#P is assigned to parameter #80 (Voice 1/2/3 Pitch Bender), which controls the
pitch within the given pitch range. This assignment can be replaced by another one to
change the purpose of the pitchwheel of your keyboard (beside of the modulation wheel you

40

can use it as second controller). Or a second assignment can be made; e.g. transposing a
single oscillator which has the sync flag set - you must try it out! :)

• Knb (Knob): selects a knob for which the Min/Max/Parameter assignment should be

changed.

• Pa1/Pa2 (Parameter Assignment 1 and 2): one knob can control up to two parameters. All

available parameters are listed in the MIDIbox SID V2 parameter chart, and the full name is
displayed on screen when the assignment is changed with a rotary encoder.
Note: a parameter is automatically scaled between 0..255 independent from the original
resolution (1bit to 12bit)

• Min/Max: allows to specify the range within the parameter should be changed with a knob.

If Min is greater than Max, the resulting value will be inverted.

EXTernal menu

Up to 8 external control voltages (CV) can be output by MIDIbox SID via a MBHP_AOUT interface,
or up to four MBHP_AOUT_LC interfaces. They are available as modulation target, and can be
controlled via NRPN, CC (Knobs) and wavetable. This menu allows you to set the offsets of the
control voltages (they are stored in the patch)

Note that it is not a requirement that the modulated CV values control external hardware - they
could also be used by internal - optional - engine extensions in future.

In addition, 8 digital switch outputs are predefined which allow you to enable/disable external
effects. Yes, it would be fine if they would be controllable from the trigger matrix as well, but
unfortunately there is no place within the trigger matrix anymore! :-( However, maybe a
workaround (e.g. optional replacing of WT assignments to Switch assignments) could be feasible if
somebody really finds this feature useful.

• A#1..A#8 (analog output 1..8): 12bit value (internally 16bit), displayed in hexadecimal

format (range 000-FFF)

• S#1..S#8 (digital switches 1..8): switches on/off an external digital pin

SAVe menu

Within the save menu a patch can be stored in the given bank/patch slot. The name of the
currently stored patch is displayed, so that you know, which one is overwritten once you press the
Do! (third selection) button.

Before the patch will be stored, you will be asked for the new name. Confirm with the first select
button (below SAVE)

41

RaNDom Generator menu

This generator allows to randomize single parts, or the whole patch with slightly constrained values
(to improve the results).

Following quickly generated random patches speak for themself:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_rnd.mp3

Bassline Engine

In this chapter it is assumed that you are already familar with the Lead and Multi Engine, so that
only the differences need to be explained in detail.

The bassline engine is optimized - as the name says - for bass sounds and sequences. It provides
two instruments, the first is always assigned to the left audio channel, the second to the right audio
channel. They can be controlled independent from each other over different MIDI channels and/or
keyboard zones assignments in the Ensemble menu. Alternatively, they can be controlled with the
same keys by assigning them to the same MIDI channel and keyboard zone - this allows to play
layered/stereo sounds or combined sequences.

Following use cases have been considered:

• Direct MIDI Control: active when sequencer mode within the SQC menu not enabled. The

bassline can be directly played from a MIDI keyboard. Accent is activated with velocity >=
64, slide is activated when more than one key is played the same time (Sus-Key, sometimes
also called "fingered" mode).

• Sequencer Mode: can be activated within the SQC menu. One of 8 sequences can be

selected by playing a note on a MIDI keyboard. Note C selects sequence 1, Note C# selects
sequence 2, ... Note G Sequence 8. With Note G#, A, A# and B the current sequence is
deselected (not played). The octave doesn't matter (no transpose).
Bassline L and R (left and right channel) share the same sequence memory. Different
sequences can be selected for these basslines by assigning the instruments to different
MIDI channels and/or keyboard zones within the Ensemble
While bassline sequences are selected over the defined MIDI channel and keyboard zone
of ensemble instrument #1 and #2, they can be transposed with the settings of instrument
#3 and #4. This strict seperation allows several usecases (e.g. no, same or separate
transpose for L/R bassline, or transposing from a different MIDI channel which is also used
for other MIDI devices, e.g. MIDIbox SEQ)

42

In order to ensure, that both basslines are in sync, they are always started together. It is
possible to start with a single bassline by disabling the second one in the preselection
(Seq=-- in SQC menu)
The sequencer continues to play when the MIDI key has been released (hold function). This
allows you to tweak sound parameters with both hands - whenever you want to select a new
sequence, play a new note. Whenever you want to stop the sequence, play G#/A/A# or B.
Optionally the sequence can be preselected before the next measure (16 steps) is reached
(S16 flag in SQC menu). Personally I prefer not to use this feature, as switching between
different sequences in between a measure results into great variations (preferred
configuration for jam sessions! :)

• Arpeggiator Mode: is available as well and provides the same parameters like known from

the Lead and Multi Engine.
Note that it isn't possible to combine the sequencer with the arpeggiator - arpeggios have to
be played from an external keyboard (or external sequencer...).

The bassline sequencer works like known from Roland TB-303. Up to 16 steps can be played.
Each step consists of Note/Gate/Accent/Slide/Octave and an additional, free assignable sound
parameter. Each patch contains 8 sequences, which can be selected from a MIDI keyboard, within
the SQC menu, or from the modulation matrix buttons of the control surface.

Sound Demos

Here a MP3 sample from my first spontaneous jam session with the completely overworked
MBSID V2 bassline engine - note that this recording is the work of 30 minutes and not more (no
optimisations, no MIDI automation). Sequences are played internally, they are selected from a
MIDI keyboard. Parameters are tweaked from the Control Surface. The MIDIbox is synchronized
via external MIDI clock to Logic Audio. Drums are played from a Spectrasonics Stylus RMX VST.

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_bassline_demo1.mp3

The second jam session, where one SID used a feedbacked audio out (see also this forum

posting).

Warning: >8 MB, very repetive stuff!

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_bassline_demo2.mp3

Another jam session, which is also documented on video > YouTube, Vimeo (better audio quality).

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_bassline_demo3.mp3

This package contains the two patches which have been used in this demo + a "HowTo"

During this session, two SSM2044 via AOUT_NG module were used to filter the outputs of two
SIDs.

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_bassline_demo4.mp3

Forum Article

The 5th demo, played on a MBSID V2 in MB-6582 case -> YouTube, Vimeo (better audio quality).

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_bassline_demo5.mp3

43

Another bassline demo - the patches can be downloaded from from this forum thread.

http://www.ucapps.de/mp3/midibox_sid/mbsid_v2_tk2_soundbank_demo.mp3

The second part of this demo created some years later - the bank is part of the release package
meanwhile ("presets/bank2_tk2_soundbank.syx")

http://www.ucapps.de/mp3/midibox_sid/mbsid_v2_tk2_soundbank_demo_part2.mp3

Root Menu

This is the root menu of the bassline engine. In difference to the Lead Engine, you will miss the
MOD (Modulation Matrix), TRG (Trigger Matrix) and WTC/WTE (Wavetable) entries. Instead, you
will notice a new SEQ and SQC (Sequencer/Configuration menu)

The root menu gives you quick access the submenus, which are described below.

"Shift" Menu

To initialise a Bassline Patch, press the SHIFT (formerly LINK) button, and press the second select
button below the LCD to change to the Bs (Bassline) engine:

SEQuencer menu

As the TB303-style sequencer is the most important feature of the bassline engine, the appr. page
can be entered with the first item of the root menu.

A sequence pattern consists of 16 steps, and 8 patterns are embedded within a patch. The pattern
memory is shared between the two basslines.

Following functions are available in the SEQ page:

• SEQ: selects 1 of 8 patterns, which should be edited

• Pos: the step number. It can also be changed with the Page Up/Down button (preferred

usage)

• Nte: the note which should be played by the step

• Oct: the octave (Down/-/Up). Additional (fixed) transposing is possible within the OSC menu

• S/G: slide and gate flag. With activated slide, the note will be stretched to the next step, and

the portamento function will be activated when the next step is played.
The note will only be played if the gate flag is set.

• Acc: the accent flag causes following changes:

• Note will be played with maximum sustain value

44

• LFO and envelope depth will be increased by the "Accent value", which can be
specified within the LFO/ENV menu.

• the envelope generator will select a special Decay value (DcA), which is normaly
shorter than the "normal" decay, so that the envelope will reach the sustain phase
faster.

• Par: allows to control a specific sound parameter in addition to the note (2nd parameter

track, see also SQC menu)

• Cpy: copies the current pattern into a buffer

• Pst: paste: copies the buffer content into the current pattern

• Clr: clears the current pattern

• SQC: shortcut to the SQC page

The sequencer configuration page contains following items:

• ACh: audio channel (Left/Right) - selects the bassline. Changes will be done for both

basslines (LR), for the left one only (L-) or for the right one only (-R)

• On: enables/disables the sequencer function. If disabled, the bassline can be directly

played via MIDI!

• Seq: selects the initial pattern after a patch change. A pattern is normaly started and
selected by pressing a note on a keyboard. So, this value is only relevant if you are using

an alternative start method (e.g. MIDI start event if MBSID Clock generator in slave mode)

• Spd: the sequence speed, derived from the global BPM rate (Ensemble->Clk menu). Since
the BPM generator is running at quadrupled clock rate, the frequency should be divided by
4 in order to get back the "normal" BPM rate.

• Len: the track length (1..16 steps)

• S16: if active, pattern changes (e.g. via MIDI keyboard) won't take place immediately, but

once the next bar is played. This allows you to synchronize pattern changes to a 4/4
measure.

• Par: specifies the sound parameter which is controlled by the "parameter track" (Par value
within the SEQ menu). All available parameters are listed here. Due to the special coding, it
is possible to control both, the current, or a specific (L/R) bassline from the parameter track
("Current" means for this case not the LR selection on the control surface, but the bassline
which plays the sequence)

• SEQ: shortcut to the SEQ page

OSCillator menu

All parameters have the same purpose like described for the Lead engine. Instead of the OSC
(oscillator), the Audio Channel has to be selected (LR/L-/-R).

Note that this page only controls a single ("master") oscillator. The remaining two ("slave")
oscillators of each SID are configured from the O23 page.

45

O23 menu

Oscillator 2 and 3 of the SID are used as "slave oscillators" in bassline mode. This means, that
their pitch and gate follow OSC1. This option is nice for fat unisono effects, but also for
sync/ringmodulation, or layered waveforms - the resulting sound is less TB303-like, but much more
"SIDish".
Yessss, we want this!!! :-)

• ACh: audio channel (Left/Right) - selects the bassline. Changes will be done for both
basslines (LR), for the left one only (L-) or for the right one only (-R)

• Wv2 and Wv3: selects the waveforms of the slave oscillators. If disabled ("---"), the gate of
the oscillators won't be triggered. Recommentation: use different waveforms to create
SIDish timbres.

• SR2 and SR3: activates Sync/Ringmodulation for oscillator 2 and 3.

• Oc2 and Oc3: transposes the slave oscillators octave-wise.

• PW2 and PW3: sets the width of the pulse waveform (800: 1:1 duty cycle).

• Nt2 and Nt3: decouples the pitch of a slave oscillator from the master oscillator. Allows to

play a slave oscillator at a specific pitch (e.g. C-3), especially useful for nice sync and
ringmod effects.

• Phs (Oscillator Phase Offset): this function allows you to synchronize the phases of all
three oscillators.
With Phs=0 they are freerunning - this is the preferred option for "analog" sounds. With
Phs=1, they will be started at the same moment, whereas with Phs>1 the phase offset
between the oscillators will be controlled in 0.4% steps (!).

• Det (Detune): detunes all oscillators by increasing (OSC2)/decreasing (OSC3) the pitch.
This allows you to create fat sounds with a single encoder turn!

• DtM (Detune Mode): switches between normal (legacy) and SuperSaw +/- mode, which
has been created by Lis0r based on the research from this paper

FILter menu

LFO menu

Each instrument features two LFOs with fixed modulation routing to Pitch, Pulsewidth and Filter.
The modulation depth for these targets can be changed individually (D.P (Depth Pitch), DPW
(Depth Pulsewidth), D.F (Depth Filter).

The Accent parameter at the end of the page specifies, how much the depth values will be
increased when a note is played "accented" (SEQ: accent flag, MIDI: velocity >= 64).

46

ENVelope menu

Each instrument provides one envelope with fixed modulation routing to Pitch, Pulsewidth and
Filter. The modulation depth for these targets can be changed individually (D.P (Depth Pitch),
DPW (Depth Pulsewidth), D.F (Depth Filter).

In difference to the Lead Engine, only Attack, Decay, Sustain and Release phase is available. The
curve parameter affects all ramps.

The Accent parameter at the end of the page specifies, how much the depth values will be
increased when a note is played "accented" (SEQ: accent flag, MIDI: velocity >= 64).

In addition, a special decay value will be selected on accented notes (DcA), which should be
shorter than the "normal" decay, so that the envelope will reach the sustain phase faster.

ConFiGuration menu

Some basic settings for the MBSID Bassline engine are collected here. They have the same
function like known from the Lead Engine

ARPeggiator menu

The arpeggiator works exactly like for the Lead Engine

Note that the sequencer and arpeggiator functions are handled mutually exclusive - they cannot be
used the same time.

KNoBs menu

Knob assignments are available as well. The special coding of the parameter table (see MIDIbox

SID V2 parameter chart) allows to control sound parameters individually for a specific bassline, for

the currently selected, or for both basslines.

The typical TB303 parameters CutOff/Resonance/EnvMod/Decay/Accent are assigned to the 5
knob functions by default. This generic approach allows you to control either both basslines, the
currently selected (first, second or both), or a dedicated (first or second) bassline depending on the
parameter assignment numbers. It's possible to assign a second parameter to the same knob, a
min/max range can be specified, values can be received from MIDI, and they are sent to MIDI if
the CC function of the Control Surface is activated for easy recording of parameter changes (MIDI
automation). Last but not least, knob values can be controlled from analog inputs. This means, that
you could also control them with pots or joysticks.

47

EXTernal menu

In difference to the Lead Engine, CV outputs are not available as modulation target. The static
voltage levels and switch states can be changed here.

The only way to modulate analog outputs within multi patches is the use of the F2A (Filter-to­Analog) option, which can be activated in the Ensemble menu.

SAVe menu

...is available as well of course! :)

RaNDom Generator menu

Note/Gate/Slide/Accent and the sound parameter track can be randomized separately.

Special Control Surface Handling

The OSC and ENV selection buttons behave different: they select the bassline (LR/L-/-R).

The modulation matrix displays the selected sequence as horizontal (left channel) and vertical
(right channel) bar. The sequence can be changed with the appr. modulation matrix button - this is
an alternative solution if you don't want to select a sequence with a MIDI keyboard.

Once the sequencer is playing, the LED matrix turns into a step display with flashing LEDs. Since
there are only 8 LEDs in a column/row, two steps have to share the same LED. Anyhow, you will
like the effect, it looks nice! :) Due to implementation reasons, the special step display works only
when basslines are played on the master core.
If you built your MIDIbox SID based on the old Frontpanel, the 8th row will be missing, accordingly
the 8th sequence cannot be selected/displayed for the left channel bassline - sorry!

Sequences can be started from the control surface with the Play button. If this button isn't available
on your frontpanel, just hold the SID1/SID2/SID3 and/or SID4 button and press menu. The
sequence will stop with the Note Off function, which is available within the Shift page.

If all these buttons are not part of your frontpanel, sequences can only be started/stopped via
MIDI.

48

Recommented Ensemble Configuration

For easiest usage of the sequence selection feature, it is recommended to create a special

Ensemble configuration, in which the two basslines are assigned to the same MIDI channel. By

creating split points at C-3 and C-4, it is possible to control the transposer with the lower keyboard
range, the "left" bassline with a middle keyboard range, and the "right" bassline with the upper
keyboard range.

Ensemble->Ins Configuration for Bassline L:

Ensemble->Ins Configuration for Bassline R:

Ensemble->Ins Configuration for Transposer of Bassline L. "Trn +12" is required in this setup to
compensate the octave range of the transposer (base note C-3 is outside the selected keyboard
zone c-2..B-2):

Ensemble->Ins Configuration for Transposer of Bassline R (here: controlled from same keyboard
zone as L bassline):

If more than two basslines should be controlled from the same keyboard (played on the slave
SIDs), the ranges need to be reduced to dedicated octaves.

If the basslines should be synchronized to an external MIDI clock master, just select Slave mode
within the Ensemble->Clk menu:

Only in slave mode, sequences will be started and stopped via MIDI Start/Stop events - in Master
mode such events are ignored.

Note that using the slave mode is currently the only way to keep basslines played on multiple
cores in synch. An inter-core synchronisation hasn't been implemented yet (see also this page).

49

Drum Engine

The drum engine provides prepared "drum models" with optimized parameter sets, which allow
you to create chiptune typical percussive sounds on a fast and easy way.

Each patch can store up to 16 drum instruments (-> drum kit), which can either be played via MIDI,
or from an internal sequencer.

Since a SID features only 3 oscillators, and a core can only access two SIDs, a dynamic voice
allocation is used, similar to the Multi Engine. This means, that 6 of 16 instruments can be played
the same time from a single core. If your MIDIbox SID is stuffed with multiple core/SID modules,
you can easily extend the number of voices and instruments of course. This approach is especially
useful, if drum sounds should be routed to different Fx busses. Within the Ensemble configuration
the drum sections can be assigned to individual keyboard zones and/or MIDI channels.

When drums are triggered via MIDI Notes, the velocity can control one sound parameter of the
drum model. This can be configured for each instrument individually. For example the ADSR
sustain value (-> volume), the tuning (-> frequency), the wavetable speed, etc... it's even possible,
that the velocity of one instrument controls the sound parameter of another instrument in all
thinkable combinations. This is especially interesting for ringmodulated sounds.

Alternatively, drums can be played from an internal 8 track/16 steps sequencer. Each track
controls two drum instruments. 8 Drum patterns are stored within the patch, and the pattern can be
interactively selected from a MIDI keyboard on the same way like known from the Bassline Engine.
It's an ideal solution for extensive jam sessions. :-)

Sound Demos

The sound samples below should demonstrate the wide range of adjustability of the drum models.

• BD1 and BD2

• http://www.ucapps.de/mp3/midibox_sid/mbsidv2_drums_bd_examples.mp3

• SD1 and SD2

• http://www.ucapps.de/mp3/midibox_sid/mbsidv2_drums_sd_examples.mp3

• FX1, FX4 and FX5

In the next demo, bassline and drum engine are played together. This is a live recording; the
sequences and sound parameters are controlled from a MIDI keyboard. Note: the bass drum is
very low-tuned and cannot be regognized with cheap speakers.

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_drums_fx_examples.mp3

Following drum kits and sequences are part of the preset library. They are played by two SIDs,
which are controlled by a single core. Note that some drum sounds are not played if only one SID
is connected. For such a configuration, you should at least enable mono mode (-> Ensemble) so
that all instruments are assigned to the single SID!

50

• http://www.ucapps.de/mp3/midibox_sid/mbsidv2_drums_demo1.mp3

• A033: Drum Kit 1

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_drums_preset_a033.mp3

• A034: Drum Kit 2

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_drums_preset_a034.mp3

Root Menu

This is the root menu of the Drum Engine:

The root menu gives you quick access the submenus, which are described below.

"Shift" Menu

To initialise a drum patch, press the SHIFT (formerly LINK) button, and press the second select
button below the LCD to change to the Dr (Drum) engine:

Take note, that the default patch is a very "cheap" one where all sound parameters are set to their
default value in order to give you a proper start for editing a new drum kit.

Better drum kits can be found in the preset bank from A033 upwards

SEQuencer menu

As the TRx0x-style sequencer is the most important feature of the drum engine, the appr. page
can be entered with the first item of the root menu.

A sequence pattern consists of 8 tracks with 16 steps, and 8 patterns are embedded within a
patch.

Following functions are available in the SEQ page:

• SEQ: selects 1 of 8 patterns, which should be edited

• Trk: selects 1 of 8 tracks, which should be edited

• EDT: enters the step EDitor, more infos about this special page below.

• Cpy: copies the current pattern into a buffer

• Pst: paste: copies the buffer content into the current pattern

• Clr: clears the current pattern

• SQC: shortcut to the SQC page

51

The step editor displays the 16 steps of the selected track, and allows you to modify them. The
characters at the upper line are standing for:

• .: no instrument is played

• *: primary instrument will be played

• A: primary instrument will be played accented (increased sustain, decreased decay)

• S: the secondary instrument will be played (w/o accent)

• Track 1 Controls Instrument #1 (primary: * and A) and #2 (secondary: S)

• Track 2 Controls Instrument #3 (primary: * and A) and #4 (secondary: S)

• Track 3 Controls Instrument #5 (primary: * and A) and #6 (secondary: S)

• Track 4 Controls Instrument #7 (primary: * and A) and #8 (secondary: S)

• Track 5 Controls Instrument #9 (primary: * and A) and #10 (secondary: S)

• Track 6 Controls Instrument #11 (primary: * and A) and #12 (secondary: S)

• Track 7 Controls Instrument #13 (primary: * and A) and #14 (secondary: S)

• Track 8 Controls Instrument #15 (primary: * and A) and #16 (secondary: S)

The advantage of this method: it saves memory (8 sequences available instead of 4), and it allows
to realize the typical Open/Close HH or High/Low Tom scheme from a single track.

• G/A/S: toggles the selected step between Off/Gate On/Accented/Secondary mode

• Rot: activates a rotate function, which allows you to scroll the pattern left/right. Press the

button again to deactivate this function.

• Rnd: overwrites the track with a random pattern

• Clr: clears the track

• DRM: jumps into the DRM menu page. The instrument number will be set automatically

according to the selected track

The step is selected with the main encoder.
Take note that the track can be selected with the Up/Down buttons of the control surface while in
this page. Additionally, tracks can be directly selected with the 8 mod target buttons (named with
E1/E2/L1/...L6).

The sequencer configuration page contains following items:

• On: enables/disables the sequencer function. If disabled, drums can be directly played via
MIDI!

• Seq: selects the initial pattern after a patch change. A pattern is normaly started and
selected by pressing a note on a keyboard. So, this value is only relevant if you are using

an alternative start method (e.g. MIDI start event if MBSID Clock generator in slave mode)

• Spd: the sequence speed, derived from the global BPM rate (Ensemble->Clk menu). Since
the BPM generator is running at quadrupled clock rate, the frequency should be divided by
4 in order to get back the "normal" BPM rate.

• Len: the track length (1..16 steps)

52

• S16: if active, pattern changes (e.g. via MIDI keyboard) won't take place immediately, but
once the next bar is played. This allows you to synchronize pattern changes to a 4/4
measure.

• SEQ: shortcut to the SEQ page

•

DRuM menu menu

This is the only page where drum instruments are edited:

• Ins(trument): selects the drum instrument (1..16)

• Mdl (Model): selects the drum model - the number of available models depends on the

firmware version

• Attack/Decay/Sustain/Release: controls the VCA envelope of the SID oscillator.

• Tun(e): controls the pitch from -2..+2 octaves in 256 steps.

• GL (Gatelength): changes the gatelength from -127..0..128 (256 steps)

• Spd (Speed): changes the wavetable speed from -127..0..128 (256 steps)

• PAR: each drum model provides a special parameter which changes specific parts of the

wavetable, for example the pitch of a specific WT step, or the noise frequency. This
parameter is adjustable from -127..0..128 (256 steps)

• VAs: the voice assignment:

• LR (Left/Right): instrument is either played on the left, or right SID audio channel (6

voices available).

• L- (Left): instrument is only played on the left SID audio channel (3 voices available).

• -R (Right): instrument is only played on the right SID audio channel (3 voices

available).

• O1..O6: selects an individual oscillator for the instrument. Take note, that this option

also locks the oscillator for instruments which haven't explicitely assigned it.
Example: if all Instruments are assigned to LR, but Instrument #3 and #4 to OSC3,
only these two instruments will use this oscillator, and all others will share the

remaining ones.
The voice assignment is important, whenever drum sounds are ringmodulated, or routed
through the filter (the filter is not switched dynamically, as this would result into unwanted
"popping" sounds). Also for routing to external Fx busses it's useful to predefine the SID
audio output channel (L- or -R).

• VeA (Velocity Assignment): allows to control a single sound parameter with the Note

velocity. In difference to the appr. Knob function (-> KNB menu), they are working
individually for each instrument. See also the MIDIbox SID V2 parameter chart for available
controllers.

• Rnd (Random): a randomizer which only changes the currently selected instrument - it's a

very useful feature for finding exotic sound configurations!

53

FILter menu

Within the filter menu you can control the parameters of the SID filter. Each SID has only one 12db
multistate filter, which can be assigned to the three oscillators and/or to the external audio input.
Note that by default changes will take place for the left and right channel. By selecting a single
channel within the "Shift" menu, you can do modifications for the two filters separately.

Use the voice assigmment option within the DRM menu (-> VAs) if only specific drum instruments
should be filtered.

• Chn (Channel): assigns the filter to oscillator channel 1/2/3

• Cut (CutOff): sets the cutoff frequency (12bit value) from 000 to FFF (hexadecimal format).

• Res (Resonance): is a peaking effect which emphasizes frequency components at the

CutOff frequency of the filter, causing a sharper sound. The intensity of the resonance can
be set from 0-15.

• Mod (Filter Mode): sets the filter mode - note that mixed notes like Lowpass/Highpass are

possible, which results into a notch effect (inverted bandpass).

• L (Lowpass): all frequency components below the Cutoff frequency are passed

unaltered, while all frequency components above the Cutoff are attenuated at a rate

of appr. 12 dB/Octave

• B (Bandpass): all frequency components above and below the Cutoff frequency are

attenuated at a rate of appr. 6 dB/Octave

• H (Highpass): all frequency components above the Cutoff frequency are passed

unaltered, while all frequency components below the Cutoff are attenuated at a rate

of appr. 12 dB/Octave

• Ext (External): external Audio IN is passed to the filter

• 3Of (3rd oscillator off): a special SID function which disconnects the oscillator 3 output

from the mixer. This allows to use OSC3 for sync/ringmodulation without any undesirable
output.

• FIP (Filter Interpolation): this option smoothes CutOff changes. It is especially useful when

CutOff is changed via CC (-> low resolution). to reduce the steppiness. The option is not
useful when the CutOff parameter is modulated rom a fast LFO or envelope (on the other
hand: it produces interesting effects in such cases ;-)

ConFiGuration menu

Some basic settings for the MBSID Drum engine are collected here.

• ACh: audio channel (Left/Right) - selects the left/right or both audio channels. Selection is

only relevant for the Vol(ume) parameter.

• Vol (Volume): adjusts the output volume of the SID.

54

• ABW (ADSR Bug Workaround): (independent from L/R flag) an option which provides a

method to overcome the ADSR bug.
The drum engine handles this option differently from the other engines. The test bit will be
set together with gate for ca. 30 mS in order to reset the oscillator and to start the envelope.
The waveform generator will be turned off durig this time in order to disable the sound
output. After this delay, the waveform will be enabled again, and the drum sound starts
immediately without wacky timings.
This approach is also known as "hard-sync", and used in most C64 tunes.
It results into a more deterministic sound output, but the latency makes it unsuitable for live
playing. So, this feature can only be used in conjunction with the internal sequencer, or with
an external sequencer which allows to compensate the delay.
Note also, that a part of the ADSR attack phase is skipped (however, thats no real issue for
drum sounds...)
Due to the better results, this option is enabled by default!
Hot tip:: there is a simple trick which allows you to play a bassline and drum sequence in
synch during a live session: just add an audio delay unit with t_delay=30 mS (e.g. VST
based) to the SID outputs which are playing the basslines in order to compensate the
timings.

KNoBs menu

Knob assignments are available as well. The special coding of the parameter table (see MIDIbox

SID V2 parameter chart) allows to control sound parameters individually for a specific, or the

currently selected drum instrument.

EXTernal menu

In difference to the Lead Engine, CV outputs are not available as modulation target. The static
voltage levels and switch states can be changed here.

SAVe menu ...is available as well of course! :)

55

RaNDom Generator menu

Parts of a drum patch can be randomized with a single push on the button.
Please note, that good results can be found faster by using the randomize function within the DRM
and SEQ editor page, because it only changes the currently selected item, and doesn't overwrite
the parameters/patterns of the remaining instruments/sequences.

Multi Engine

In this chapter it is assumed that you are already familar with the Lead Engine, so that only the
differences need to be explained in detail.

Main difference of the Multi engine is the dynamical voice allocation. Instead of fixed assignments,
voices will be selected automatically for six independent instruments.

Advantages:

• Instruments can be played polyphonic. Algorithm: "oldest note will be killed first" (same
handling as used in MIDIbox FM).

• But also monophonic assignments are possible, which allows to play up to 6 different
instruments the same time (Sidenote: which means, that if your MIDIbox SID is stuffed with
4 cores and 8 SIDs, you can play up to 24 instruments - this section talks about the engine
running on a single core, but you are free to use it on multiple cores in parallel).

• MIDI channel assignments and keyboard zones can be configured within an Ensemble

• Each voice has two dedicated LFOs and one envelope with individual depths for Pitch,

Pulsewidth and Filter CutOff modulation (makes 12 LFOs and 6 ENVs which are running in
parallel!)

• In addition, each voice has an own wavetable (makes 6 wavetables which can run in
parallel!!!)

• There are individual velocity and pitchbender assignments for each instrument, but also
global velocity/pitchbender/aftertouch and 5 knob assignments which can control the
parameters of a specific, or all instruments

But there are also disadvantages, which are mainly based on the construction of the SID chip:

56

• 6 voices are only available when two SID chips are connected to the MIDIbox SID core
(each SID chip contains three oscillators). With a single SID, the 6 instruments have to
share three voices, which only makes sense when they are not played the same time.

• in most cases it's better to center the two audio channels (especially in poly mode) - stereo
sounds can only be realized by using two instruments and assigning them to specific voices
(-> see CFG page), but the Lead Engine provides more sophisticated functions for stereo
effects!

• no modulation and trigger matrix available. There are only static modulation assignments
(LFO1/LFO2/ENV -> Pitch/Pulsewidth/Filter), but with individual depths!

• external CV outputs can only be modulated via (steppy) wavetables, or with the F2A (Filter­to-Analog) option in the Ensemble menu.

• biggest drawback: each SID chip provides only a single filter for three oscillators! Oscillator
assignments to the filter are static and they are not dynamically changed by the voice
allocator to avoid loud, unintentional switching sounds.

• and another imperfection of the SID chip should be highlighted again: due to the ADSR bug
it can happen, that with certain VCA ADSR settings (especially high attack, decay and/or
release rates), a note will be broken while it starts to play. Best working ADSR settings have
to be tried out while playing the song. Or A, D and R has to be set to 0 (sustain=15).
Alternatively the ABW (ADSR Bug Workaround) function can be activated, but this results
into a latency of at least 30 mS.

Root Menu

This is the root menu of the multi engine. In difference to the Lead Engine, you will miss the MOD
(Modulation Matrix) and TRG (Trigger Matrix) entries.

The root menu gives you quick access the submenus, which are described below.

"Shift" Menu

To initialise a Multi Patch, press the SHIFT (formerly LINK) button, and press the second select
button below the LCD to change to the Ml (Multi) engine:

OSCillator menu

All parameters have the same purpose like described for the Lead engine. Instead of the OSC
(oscillator), the Instrument has to be selected (1-6).

Note that due to the voice allocation algorithm, there is no fixed relation between instrument and
oscillator number by default. Sync and Ringmodulation effects have to be handled with special

57

care, as the audio pathes for these effects are fixed within the SID chip. A static voice assignment
has to be used for these functions (-> CFG menu) to get them properly working.

The variable oscillator phase has only a simple replacement (Phs flag) which restarts the oscillator
when the gate is activated. This feature is also known as "hard-sync" and especially useful for
percussive sounds.

FILter menu

As mentioned above, the filter channels are not automatically routed to avoid loud switching
sounds while voices are re-assigned. Therefore filtered sounds require a static voice assignment (­> CFG menu) which matches with the enabled filter channel. Alternatively it can be used for a
single polyphonic instrument - in this case, all filter channels should be enabled.

LFO menu

Each instrument features two LFOs with fixed modulation routing to Pitch, Pulsewidth and Filter.
The modulation depth for these targets can be changed individually (D.P (Depth Pitch), DPW
(Depth Pulsewidth), D.F (Depth Filter).

ENVelope menu

Each instrument provides one envelope with fixed modulation routing to Pitch, Pulsewidth and
Filter. The modulation depth for these targets can be changed individually (D.P (Depth Pitch),
DPW (Depth Pulsewidth), D.F (Depth Filter).

In difference to the Lead Engine, only Attack, Decay, Sustain and Release phase is available. The
curve parameter affects all ramps.

ConFiGuration menu

In difference to the Lead Engine, this page has a new VAs (Voice Assignments) parameter which
provides following selections:

• LR (Left/Right): instrument is either played on the left, or right SID audio channel (6 voices
available).

• L- (Left): instrument is only played on the left SID audio channel (3 voices available).

• -R (Right): instrument is only played on the right SID audio channel (3 voices available).

58

• O1..O6: selects an individual oscillator for the instrument. Take note, that this option also
locks the oscillator for instruments which haven't explicitely assigned it. Example: if all
Instruments are assigned to LR, but Instrument #3 and #4 to OSC3, only these two
instruments will use this oscillator, and all others will share the remaining ones.

If the Mono option is activated in the Ensemble Menu, voices of the instrument are always
assigned to both SID audio channels (3 voices only).

Also new in this menu is the Poly flag, which should be selfexplaining! :-) Up to 6 voices can be
played the same time. If more than 6 keys are pressed on the keyboard, the oldest note will be
killed first. If Poly mode is not activated, the instrument will be played mono (only a single voice is
allocated).

VeA (Velocity Assignment) and PbA (Pitchbender Assignment) allow to control a single sound
parameter with the Note velocity and the Pitchbender. In difference to the appr. Knob function (->
KNB menu), they are working individually for each instrument.

The configuration menu has a small inconsistency: the Volume is handled globally for each SID
chip and not individually for each separate voice. Sorry for that, but I haven't found a better place.

ARPeggiator menu

The arpeggiator works exactly like for the Lead Engine. Polyphonic arpeggios are not supported
(the Poly flag in the CFG menu has no effect) - it always plays on a single voice.

WaveTable Configuration and Editor menu

The wavetable sequencer works similar to the Lead Engine, but instead of 4, up to 6 wavetables
can be played in parallel! Each instrument has its individual wavetable. The parameter set is
different (see MIDIbox SID V2 parameter chart).

KNoBs menu

Knob assignments are available as well. They are working independent from the instrument layer
and can control all instruments of a patch. The special coding of the parameter table (see MIDIbox

SID V2 parameter chart) allows to control sound parameters individually for a specific instrument,

or for all instruments.

59

Note that each instrument has an additional, dedicated velocity and pitchbender assignment,
which has to be configured in the CFG menu.

EXTernal menu

In difference to the Lead Engine, CV outputs are not available as modulation target. The static
voltage levels and switch states can be changed here.

The only way to modulate analog outputs within multi patches is the use of the F2A (Filter-to­Analog) option, which can be activated in the Ensemble menu.

SAVe menu

...is available as well of course! :)

RaNDom Generator menu

Note, that in Multi mode you can try the random function by controlling a single instrument over a
dedicated channel, or by controlling all instruments over a single channel.

60

Ensembles

Introduction

An ensemble contains a collection of four patches, which are assigned to the MBSID master and
the three MBSID slaves. In addition, it contains some global settings for each separate unit which
are not stored within a patch, like BPM generator settings, AOUT assignments and filter calibration
values. MIDI channels and keyboard splitzones can be defined for up to 6 instruments per MBSID
unit (relevant for multi patches).

These informations are stored in a separate BankStick, so that you are able to define up to 128
different ensembles. Unfortunately it takes up to 250 mS while switching between the ensembles,
as a lot of data is read from different BankSticks (mainly the 400 kbit/s IIC interface limits the
speed here). Therefore it is not possible to switch between different patches without a noticable
delay!

Ensemble E001 is always stored in internal EEPROM. This is the only available ensemble for the
case that no special BankStick is connected to the master core. It is not recommended to store
data here, as it will be overwritten with each firmware update!

The "Ensemble BankStick" has to be assigned to CS#7 (Pin 1, 2 and 3 tied to +5V). It doesn't
matter if it is a 32k (24LC256) or 64k (24LC512) type, as only a 32k range is allocated.

Please keep also in mind, that due to the high number of definable MIDI channels and splitzones
(summa summarum up to 24 different instruments could be used if 4 multi or drum patches are
selected) chances are high to loose the oversight. Therefore it makes sense to define some basic
channel assignments in a special ensemble (e.g. E002) which matches perfectly with your gear
(keyboards, sequencers), and to re-use it for different variations by selecting and copying it to
other ensemble slots. Unfortunately it is not possible to name the ensembles, so you have to live
with the numbers E001..E128.

Please keep also in mind, that due to special implementation reasons, only the sections of
connected slaves will be stored into BankStick. This means: if you store an ensemble while not all
slaves are connected to the CAN interface, the sections of the missing slaves won't be overwritten
(but this could also be seen as an advantage ;-)

Root Menu

Within the main screen, press the LEFTMOST SELECT BUTTON to enter the ensemble root
menu.

It gives you quick access the submenus, which are described below.

The ensemble can be changed by pressing the PAGE UP/DOWN button within this screen (*).
Moving the datawheel within this page. Patch and global parameter changes will take place

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immediately for all SIDs.
Note that the ensemble can also be changed from the main screen by pressing the MENU button
while moving the datawheel or pressing UP/DOWN.

SID menu

• SID: selects the SID (1/2/3/4) which should be configured. Multi-Selections can be done
with the four SID buttons (press and hold one SID button, while pressing additional SID
buttons) - parameter changes take place on all selected SIDs.

• Bnk (Bank): selects the BankStick from which the patch is read. 8 BankSticks are provided:
A..H, whereas H is normaly used for ensembles - reading patches from this BankStick is not
possible.

• Pat (Patch): selects the patch, which can also be changed in the main screen. A 24LC256
(32k) BankStick can store 64 patches, a 24LC512 (64) BankStick 128 patches

• Mon (Mono/Stereo Switch): by default it is assumed that two SID chips are connected to a
core. By activating the Mono switch, both SIDs play the same sound. This affects the
engines the following way:

• Lead: the sound of the left channel is also played on the right channel. Special
settings for the right channel don't have any effect. The OSC detune parameter works
slightly different: the first oscillator is not detuned.

• Bassline: only one bassline available, it plays on both SIDs

• Drum: only three voices available

• Multi: only three voices available, static assignments to Voice 4/5/6 are redirected to

Voice 1/2/3

• SPV (Super Poly Voices): this is currently an experimental feature which allows to play

lead instruments with multiple SID cores in a polyphonic manner. The usage is not
selfexplaining, and it requires some additional configuration to get it properly working.
The superpoly handler couples 2, 3 or 4 SID cores (master/slaves). Only lead patches are
supported by this function (yet), accordingly it isn't possible to play 8 voices individually, only
4 mono or stereo voices.
Following configurations are possible:

• SPV=off: no effect

• SPV=1: superpoly mode with SID1 only - it doesn't make much sense

• SPV=2: superpoly mode with SID1 and SID2 (2 voices)

• SPV=3: superpoly mode with SID1, SID2 and SID3 (3 voices)

• SPV=4: superpoly mode with SID1, SID2, SID3 and SID4 (4 voices)

SPV, MIDI Channel, Split Zone and Patch/Bank number have to be set to the same values,
this is not done automatically. Just select all SIDs in order to synchronize the settings. This
can be done by selecting all (used) SIDs the same time with the SID buttons (press&hold
SID1, press the remaining SID buttons, change values).
Following audio sample demonstrates the possibilities. Note that 4 different tracks have
been recorded, one after another (overdubbing). Each instrument (Strings/Bass/Lead Start,
Main) is played by 3 stereo SID cores in superpoly mode (SPV=3):

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_superpoly_experiment.mp3

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• DOR: Disable automatic Oscillator Reset during patch change. Could also be called

DAORDPC flag ;-)
Background: after patch change, MBSID normaly resets the oscillators to ensure, that a
patch always sounds identical w/o unexpected phase cancelation effects between the
oscillators. Other peoples prefer such effects, caused by freerunning oscillators. If you
belong to those peoples, and know what it means, just activate this option - it will make you
happy! ;-)

CLocK menu

A global clock generator is available which sends clock events to the

• LFOs (when the CSn function is enabled - can be done for each LFO separately)

• ENVs (when the CSn function is enabled - can be done for each envelope separately)

• Arpeggiators

• Wavetables (if MOD flag not enabled)

• Trigger Matrix (1:1, 1:4 and 1:16)

• SID: selects the SID (1/2/3/4) which should be configured. Multi-Selections can be done

with the four SID buttons.

• BPM: selects the tempo (beats-per-minute). This value is only used in master mode. In

slave mode, the BPM is controlled from an external MIDI clock master.

• Mode:

• Mst (Master): the internal BPM generator is used, which is running at 96ppqn

resolution.

• Slv (Slave): the clock generator quadruples the incoming MIDI clock and takes it as
reference.

• Auto: the clock generator switches automatically between master and slave mode.
Slave mode is activated whenever a MIDI Clock command has been received.
Master mode is activated when no MIDI clock has been received for ca. one second.

• Out: if enabled, MIDI clock events will be sent by MIDIbox SID depending on the selected

tempo.
This option allows to synchronize external MIDI devices (e.g. arpeggiators of other synths,
or audio delays). However, if MBSID should be synchronized together with external
sequencers, it's recommended to run it in slave mode, and to synchronize all your MIDI
devices to a single MIDI clock master (which could be the DAW running on your computer,
or a MIDIbox SEQ).

FILter menu

• SID: selects the SID (1/2/3/4) which should be configured. Multi-Selections can be done

with the four SID buttons.

• ACh: selects the audio channel: L (Left), R (Right) or LR (both)

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• Min/Max: this is a global, patch independent minimum/maximum value which scales the

Cutoff between the given range. It allows you to calibrate your SID (especially the 6582 and

8580) for a suitable operation range. In general 000/FFF (full range) is fine for a 6581,
000/600 are recommended for 6582 and 8580.

• Log: this function applies a logarithmic curve over filter CutOff values which are sent to the

SID. By doing so, it linearizes the CutOff of a 6582/8580. It should especially activated, if
the keytracking function is used. It shouldn't be activated for 6581s.

INStrument menu

• SID: selects the SID (1/2/3/4) which should be configured. Multi-Selections can be done

with the four SID buttons.

• Ins: selects the instrument (1-6). Depending on the patch type, a different number of

instruments is really used:

• Lead: only settings of first instrument are used.

• Bassline: the first instrument is used for the left SID channel, the second for the right

SID channel. The remaining instruments are not used.

• Drum: only settings of first instrument are used.

• Multi: all 6 instrument settings are used

• Chn: specifies the MIDI channel (1-16) of the instrument.

It's also possible to disable the MIDI channel (turn the encoder full-right) - in this case the
instrument won't be played (default for Instrument 2-6).

• SpL/SpU: defines the lower and upper keyboard limit in between the instrument can be

played. By changing the limits (and the transpose value) it's possible to realize keyboard
zones, so that different instruments can be played on a single channel independent from
each other.

• Trn: allows to transpose the instrument semitone-wise.

EXTernal menu

• SID: selects the SID (1/2/3/4) which should be configured. Multi-Selections can be done

with the four SID buttons.

• F2A (Filter to Analog): Cutoff and Resonance are forwarded to external CV outputs as well

(assignments have to be done in the setup_*.asm file). Note that the effective Cutoff
frequency behind the modulation path is taken. This allows you to easily replace the
internal filter by an external.
Please note also, that the filter range can be adjusted with the calibration parameters (min/
max) of the ENS->FIL menu.

• V2A (Volume to Analog): Volumes are forwarded to external CV outputs as well

(assignments have to be done in the setup_*.asm file). Note that the effective volume value
behind the modulation path is taken - accordingly you are able to realize an external VCA to
overcome the ADSR bug.

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• P2A (Pulsewidth to Analog): Pulsewidth values of up to 6 oscillators are forwarded to

external CV outputs (assignments have to be done in the setup_*.asm file) - the output
behind the modulation path is taken.

• K2A (Key to Analog): Key values of up to 6 oscillators are forwarded to external CV

outputs (assignments have to be done in the setup_*.asm file) - together with the gate
functions (which have to be configured in setup_*.asm as well) this allows you to play
external analog synths with the MBSID engines (e.g. bassline). The slide and accent flag
can be forwarded to digital outputs at port CORE:J5 as well, giving you the possibility to
control the analog part of a TB303 (or similar analog bassline synth).

• O2A (Oscillator Frequency to Analog): Similar to K2A, but the frequency behind the

modulation path is taken. Portamento/Slide effect, Finetune and Pitchbender are added as
well. This opens new possibilities to play your analog synth(s). E.g., lead engine: enjoy all
the stereo modulation possibilities. Bassline: two basslines can be played per core. Multi:
polyphonic playing of up to 6 analog synths.
Disadvantage of this option: it changes the frequency scale to V/octave, accordingly the SID
chip won't play enjoyable sound anymore. So, O2A can only be used in isolated manner
(temporary mute the audio outputs of the SID module(s) so long O2A is activated, or use the
core module without MBHP_SID modules - e.g. as MBSID slave)

• Iv1..Iv8: allows you to invert the analog output voltages. This option could save you from

adding additional circuitry (e.g. it allows you to control the CutOff CV of a SSM2044 filter
without inverting OPAmp stage).

SAVe menu

• E#: selects the ensemble which should be overwritten

• do! stores the ensemble.

Note that naming is not supported.
Only the configuration sections of available MBSIDs will be stored.
The last stored ensemble will be reloaded after power-on.

SysEx Editor

Introduction

A Ctrlr based SysEx Editor has been created which gives you access over all engines remotely
from your computer.

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Here some teasing snapshots:

66

Ctrlr works standalone, but also as AU and VST plug-in under MacOS, Windows and Linux!

The panel is part of the the Device Data Base, so that it can be downloaded directly from Ctrlr (or
from this webpage)

Please follow this forum article for the latest informations.

Alternative Editors

• a Java based editor has been implemented by Rutger. It's older than the Ctrlr based
solution and doesn't work correctly under MacOS 10.7 and higher. It isn't maintained
anymore, but since it's complete and nice to use, here a link to the latest version: V0.5

release from 2009-02-18 (470k). Link to related forum article.

• Nils implemented "Patch Turkey", a preliminary version can be downloaded from this forum

article. It has a great graphical user interface, but only supports the Lead engine and only

works under Windows.

SysEx Librarian

MIOS Studio has an integrated SysEx Librarian which allows to

upload/download/load/save/organize banks of various MIDIboxes, such as MIDIbox SID V2:

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-- CV Options

Introduction

MIDIbox SID V2 is the worldwide first (and only) SID synth which allows you to control external

analog components from the synth engine. Meanwhile the control options are so powerful, that it
even allows you to control analog synths from the mighty sound engines, which gives you much
more possibilities than common MIDI-CV interfaces! Note that it isn't required to connect
MBHP_SID modules to use these features.

AOUT modules

Three different AOUT (Digital-Analog converter) modules are part of the MIDIbox Hardware

Platform, and supported by the firmware:

• MBHP_AOUT : MAX525 based module - expensive!

AOUT interconnections

• MBHP_AOUT_LC : 74HC595 based module - cheap but a lot of soldering effort.

AOUT_LC interconnections

• MBHP_AOUT_NG module: TLV5630 based - 8 channels, best price!

Interconnection Diagram not available yet, but similar to AOUT interconnections

In order to select the right AOUT driver, the setup_*.asm file of the release package has to be
edited (search for ENABLE_AOUT); thereafter a new .hex file has to be build as described here.

x2A

Analog outputs can either be controlled directly from the EXT menu, and the modulation matrix of
the Lead Engine, or you can enable one or more x2A function within the Ensemble to forward
waveforms, generated by the synth engine, to the analog outputs.

The AOUT channel assignments for x2A functions are static, and need to be selected in the
setup_*.asm file.

Digital Switches (Gates)

In addition to the analog outputs, the firmware allows to control 8 digital outputs (e.g. switches,
gates, triggers) as well. The state of the outputs is stored within the patch structure, so that the
setup can be recalled. In addition, the outputs are accessible via control surface (-> EXT menu),
NRPNs, Knobs, Wavetable sequencer, etc...
The outputs are either available at J5 of the core module (set DEFAULT_J5_FUNCTION to 3),
and/or on a DOUT shiftregister (set ENABLE_AOUT to != 0, and set
DEFAULT_EXT_SWITCH_DOUT to a value between 1 and 16).

Optionally, internal gate/slide and accent signals can be forwarded to the digital outputs as well,
which gives you the possibility to trigger external synths the same way like the 2*3 SID oscillators
(per core).

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Using external Filters

You are able to add external filters or other analog effects to the SID channel. The output levels
are stored with the patch, and it is even possible to control them via MIDI, and to modulate the
outputs from the modulation matrix. This opens a lot of new possibilities for sound experiments
with the good old SID chip.

In following demo sample, cutoff and resonance of two CEM3378 filters are controlled from
MIDIbox SID V2 (see also this posting for additional infos):

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_cv_out.mp3

During this session, two SSM2044 via AOUT_NG module were used to filter the outputs of two
SIDs.

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_bassline_demo4.mp3

Forum Article

An envelope modulated multi patch played with two CEM3378 filters:

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_cv_out2.mp3

Controlling Analog Synths

More informations in this and this posting.

Sound samples, which have been created during a sunday-afternoon session with rsf Kobol
Expanders:

69

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_kobol_modulation.mp3

Experiments with Stereo Modulation

Only for synth freaks with some endurance! LP Filter and Pitch of two Kobols are modulated
through the mod matrix with multiple LFOs, combined with different operators. LFO settings are
tweaked during the sound is playing. Only a single note is played! The random-like "tunes" are
result of the modulation (in fact, the gate was not connected this time) I especially like the brass­like sound at 4:22

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_kobol_bass_stereo.mp3

Stereo Bass

Just to check the detune function and simple stereo effects

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_kobol_arp.mp3

Arpeggiator

Nice arpeggiator sequence (just push the button and play a single note)

http://www.ucapps.de/mp3/midibox_sid/mbsidv2_kobol_bassline_fun.mp3

Bassline Fun

Bassline sequences. Note the killer bass of the lower bassline!

SwinSID Review

SwinSID is an Atmel AVR based SID emulation created by Swinkels. Initially it was intended as

replacement module for the original SID chip housed in a C64, but it works fine with MIDIbox SID
as well.

Meanwhile Swinkels has enhanced the firmware dramatically, so that it can be used as
inexpensive Stereo-SID option for MIDIbox SID. Even though a 1:1 emulation cannot be expected
from a microcontroller without DSP capabilities (however, PC/Mac based solutions are not capable
of emulating the SID accurately as well), it is still an attractive project for people who are not able
to find enough SIDs for a fully stuffed MIDIbox SID, for people who are searching for
alternative/additional sounds, and/or for people who cannot resist to build every SynthDIY project
available on the web. :)

The Hardware

The SwinSID firmware is running on a single ATmega8515 (Mono), or two ATmega8515 (Stereo).
Each AVR handles the complete SID emulation independently at a sampling rate of 31.25kHz. In
order to achieve such a high rate, the AVRs are overclocked at 24 MHz!

The DAC is connected to the "master" AVR only. The "slave" AVR transfers the sample words of
the right audio channel to the master via a simple parallel interface.

Each AVR has a dedicated chip-select input to differ between SID register accesses directed to the
left, right or both audio channels, which qualifies this solution perfectly for MIDIbox SID. Like

70

known from the MBHP_SID module, two 74HC595 are required as serial->parallel interface to

MIDIbox Core.

Note that thanks to the interface compatibility, it is possible to control two MBHP_SID modules,
and one Stereo-SwinSID module from the same MBHP_CORE in parallel!

A picture of the prototype. Note that at the second AVR has been added later (a stereo option

wasn't planned at the beginning) - therefore it's placed with a different orientation.

Virtually all 16bit I2S DACs are compatible to SwinSID, even newer ones which require a second
"system clock" (256xsampling frequency) for digital interpolation. Swinkels is using a TDA1543
(unfortunately discontinued, but still available e.g. at Voti), I tested a TDA1387 (poor quality,
cannibalized from an old Soundblaster AWE32 soundcard), and a PCM1725 (best quality,
available e.g. at Farnell). TDA1387 and PCM1725 require SMD soldering-skills, whereas TDA1543
comes in a DIY-friendly Dual-Inline package!

Pros & Cons

As a fan of the original SID for more than 20 years I would like to give my personal statements
about SwinSID, and provide some demo samples for some first impressions.

After I got the hardware up&running, and listened to the first sounds, I was a bit dissapointed from
the sound quality due to the aliasing and distortion effects - something what I haven't experienced
with the original SID. Meanwhile I've learned, that such effects are mainly related to the sampling
frequency, oversampling factor (to reduce disharmonics on higher oscillator frequencies) and
interpolation rate (to reduce disharmonics on lower oscillator frequencies). All synthesizers, which
are based on the sample technology, are affected by such issues, and the only counteractive
measure is to spend as much compute power as possible.

On the other hand, I realized that Swinkels did his best to bring the emulation to the max. I find his
implementation superior to other AVR based synths like the well known "AVR Synth" and "AvrX",
when I compare the sampling frequency, DAC resolution, number of oscillators, and especially the
quality of low pass filter.

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IMHO a better sound quality can only be achieved with less DIY-friendly and much more expensive
DSP or FPGA based hardware.

PROs:

• + Inexpensive and easy to build replacement for SID chip

• + Hardware-Compatible to original SID (no software adaptions required)

• + Stereo Option with two AVRs

• + Possibility to control two MBHP_SID (stuffed with original SID chips) and one Stereo-

SwinSID module in parallel from a single MBHP_CORE

• + Realtime synthesis with ZERO latency!

• + More waveforms

• + White noise generator

• + All three oscillators provide a sub-oscillator function with selectable waveform; waveform

can be reversed.

• + FM between oscillators (instead of ringmodulator function)

• + Perfectly working ADSR (the ADSR of the original SID has flaws!)

• + Fat low-pass filter

CONs:

• - Aliasing Effects

• - Not 100% sound compatible (e.g. Noise waveform, sync function)

• - No multi state filter (for Bandpass/Highpass/Notch)

• - No ringmodulation

Demo samples

Following samples have been created with SwinSID, controlled from a MIDIbox SID V2.

http://www.ucapps.de/mp3/swinsid/swinsid_wizardry.mp3

Wizardry

Demonstration of the available waveforms (w/o noise waveform) [1]
The tune is based on the C64 game, .sid file taken from HVSC, converted with sid2midi, played
with the Multi Engine. Song Author: Mike Alsop

http://www.ucapps.de/mp3/swinsid/swinsid_fm_seq.mp3

FM sounds

A demonstration of the Frequency Modulation feature. Each oscillator can act as modulator and/or
carrier. From time to time the pitch is slowly changed while the tune is playing to demonstrate
different FM timbres. [2]

http://www.ucapps.de/mp3/swinsid/swinsid_preview1.mp3

Filter Fun

A recording made during prototyping phase which demonstrates the self resonating filter [2], [3]

http://www.ucapps.de/mp3/swinsid/swinsid_preview2.mp3

Bassline Fun

SwinSID controlled from the Bassline Engine. In the background FM modulated oscillators through
a reverb effect. [2], [3]

http://www.ucapps.de/mp3/swinsid/swinsid_drums.mp3

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New food for the drum machine

SwinSID allows you to create very nice Drum Kits, which sound different to the original SID, but
not less interesting for fans of electronic drums and percussions [2]

[1] raw sound output of SwinSID
[2] external effects have been added
[3] StylusRMX based drums have been added

V1->V2 Upgrade

This chapter lists the requirements for a hardware upgrade from MIDIbox SID V1 to the new
MIDIbox SID V2 firmware.

• PIC18F452 needs to be replaced by a PIC18F4685. This is a quite new microcontroller,
which is unfortunately hard to find in common webshops yet.

SmashTV did a batch order and provides the PIC with preburned Bootloader and MIOS for

an extremely fair price to the community ($10.95 !!! Compare it with stock listings under

findchips.com and you won't find cheaper offerings for single parts!)

Doc is doing the distribution for Europe for those guys who want to save shipping costs ­just contact him in the MIDIbox Forum

• If your core module is based on MBHP_CORE_V2, please add R12 (the additional 1k pull­up resistor for IIC modules) like shown in the MBHP_CORE_V3 schematic.

• If your SID module is based on MBHP_SID_V2, please follow these instructions.
Hint: If it was already working with v1.7303, then there is no need for changing the
MBHP_CORE->MBHP_SID interconnections.

• If you are planning to use the stereo option (two SID chips controlled from a single core ­recommended for a great sound experience!), just connect the second module like the first
one. Only the CS# line of the second SID has a different routing (MBHP_SID::J2:SO ->
MBHP_CORE::J14), so that individual accesses are possible.

• Disconnect the four data lines D0-D3 of your LCD and let them unconnected (open). The
LCD is accessed in 4bit mode to free the ECAN pins (see also mbhp_lcd_4bit.pdf)

• Add a 1k pull-up to the CAN receive input as shown in this schematic.
This resistor is even required if no slave module is used, otherwise the firmware could crash
during the boot phase!

• if you have used 32k BankSticks (24LC256) in the past, it makes sense to replace them by
64k BankSticks (24LC512), so that 128 patches can be stored in each bank! Note, that the
8th BankStick is used to store ensembles, 32k are sufficient here.

Following changes are only required if slaves are connected to the master core:

• Change the MIDI connections to the slaves as shown in this schematic, so that all slaves
receive the same MIDI In data stream like the master core (J11:MI inputs of slaves
connected to J11:MI of master)

• Add the CAN bus connections as shown in this schematic. Each core requires a diode (e.g.
1N4148)

Thats all - have fun! :-)

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Partlist for a complete MIDIbox SID V1 upgrade

Assumed, that you own a completely stuffed MIDIbox SID V1, following parts are required for the
upgrade:

• 4 * (or 2 *, see below) PIC18F4685

• 1 * 1k resistor

• +4 * 1k resistors if your core modules are based on MBHP_CORE_V2 schematic

• 4 * 1N4148 diode

• +3 * 24LC512 (assumed, that 3 * 128 patches are sufficient for your needs, old 32k

BankSticks can still be used, they will store 64 patches)

Plus 4 * MBHP_SID modules if you are so crazy like those other guys who always want to bring
their MIDIbox to the max! ;-)

If you don't want to spend the money for additional modules, my strong recommentation is to
connect 2 MBHP_SID modules to the master and a single slave, and to pass on the two unused
core modules, so that only two PIC18F4685 are required.
With such a configuration the upgrade costs you about US $20..$30 (+ shipping)

Voir aussi (https://github.com/) :

MIDIbox SID V2 Parameter Chart
MIDIbox SID V2 CC Implementation Chart
MIDIbox SID V2 SysEx Implementation

Known Issues and Troubleshooting Tips

This is a "living document", which will be extended from time to time whenever a "strange
behaviour" has been reported by a user which could be interesting for other people, not at least for
troubleshooting an apparently non-functional MIDIbox SID.

• [1] PIC not starting, no MIDI output/input, code upload not possible, etc...
Please follow this Troubleshooting Guide

• [2] Blank screen
LCD won't be initialized so long MIOS hasn't been uploaded via MIOS Bootstrap Loader

• [3] Core reboots after MIDIbox SID application has been uploaded, or it behaves
randomly

• [3a] Use the latest MIOS Studio version.

• [3b] Ensure that following pull-up resistors have been mounted on the core mode

(Schematic): R2, R6, R9, R10, R12 --- in general it makes sense to stuff the whole
core module if you are unsure.

• [3c] Ensure that in addition the 1k pull-up and 1N4148 diode for the CAN interface
has been added as shown in this schematic.
Resistor and diode are even required if no slave module is used!

• [3d] Ensure that the D0-D3 data lines of your LCD are not connected to the core
module (LCD is accessed in 4bit mode to keep the ECAN Rx/Tx pins free)

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• [18] LCD freezes immediately or after some seconds, synth still functional

A rare number of LCDs don't support 4-bit access mode properly. This has been noticed on
two PLED displays and one VFD display so far, "normal" HD44780 or KS0066 LCDs are
working stable. Sometimes nibbles are swapped, so that the communication with the CLCD
driver of MIOS is disturbed. 4-bit mode is required, as pin RB2 and RB3 are used for the
CAN interface. If you notice such an issue, you could activate the alternative "custom" LCD
driver, which is already part of the MIDIbox SID V2 firmware. It uses 8-bit mode by using
two pins on port E to replace the two pins being used by the CAN. LCD pins D0 and D1
should be connected to PIC pins RB0 and RB1, and LCD pins D2 and D3 connect to PIC
pins RE1 and RE2. The driver can be permanently activated via PIC ID Header (LCD type
7, see also Bootloader page), or by activating the
DEFAULT_USE_CUSTOM_LCD_DRIVER switch in the setup_*.asm file

• [4] Slave Cores not found by Master

Ensure that each slave has its own MIOS Device ID (01, 02, 03). The ID of the master core
has to be 00. The ID has to be programmed into the PIC ID Header. If this hasn't been done
while burning the Bootloader, you can do this also with the change_id application, which is
available at the MIOS Download page.

• [5] Buttons/Encoders not working

Please follow this Troubleshooting Guide

• [6] No sound from SID

Try the mbsid_interconnection_test and sid_testtone application, which can be found at the

MIOS Download page. The testing procedure is explained in the main.asm file.

Just to highlight it again: the application won't run before you've uploaded MIOS (the
operating system).
The audio output of the MBHP_SID module has to be connected to a mixer or audio
amplifier, a direct connection to a loudspeaker or headphones won't work.

• [7] Still no sound from SID

Check the MIDI channel. If you are unsure (e.g. no LCD connected to Core Module), try all
16 MIDI channels with your keyboard/sequencer

• [8] Background noise

Ensure that the Audio In of the MBHP_SID module is connected to ground when not used.
A certain digital background noise is common on a 6581 due to a design weakness. It's
much less (-90 dB) on a 6582/8580.
Another known SID bug is the leackage issue in the VCA part (especially 6581) - the
oscillators are not completely silent once a note has been played. If you are using a
compressor a noise gate in the Fx chain, search for a setting which eliminates this noise

• [9] 50 Hz or 60 Hz buzz

Consider to build an optimized PSU (Power Supply Unit) like explained in the Hardware

Options chapter.

• [10] Some buttons or LEDs are not working

Depending on the selected sound engine, some buttons and LEDs have no function. E.g., in
Multi mode, OSC and ENV is always 1, and LFO toggles between 1 and 2. The modulation
matrix buttons have no function at all, and the matrix LEDs display the number of the
selected instrument.
For a complete CS test, select a patch which uses the Lead engine.

• [11] Modulation matrix doesn't show matrix connections, but flickers strangly

It's not a bug, but a feature! ;-)
Maybe you've selected the meter mode, which displays the MOD output values (e.g. LFO

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and ENV output) - press two column buttons of the modulation matrix to switch back to
normal display mode.
When the bassline/drum or multi engine is running, the LED matrix displays level meters
instead, which allow you to monitor the voice allocation.

• [12] Meter display mode doesn't display MOD/level meter output of slaves.

This is not possible due to conceptional reasons - it only displays the MOD outputs of the
master SID

• [13] Some mixed oscillator waveforms don't output a sound

Thats normal on a 6581, it works on a 6582/8580 - see also the demo samples in the Lead

Engine chapter

• [14] Some patches of the preset banks are incomplete

Ensure that you've uploaded the .syx files with a delay of 750 mS between each SysEx
string. See also the README.txt of the patches/ directory for configuration details

• [15] Knob values of master or slaves are changing randomly

Propably you've selected the "analog input option" (DEFAULT_J5_FUNCTION set to 1) in
order to connect pots/faders/joysticks to the master, and forgot to clamp all unusued analog
inputs to ground (see also auaimbctg.pdf).
Due to the cloning mechanism, which transfers the firmware of the master to the slaves, this
requirement has to be considered for all core modules!
Clamping unused J5 inputs to ground is not required if DEFAULT_J5_FUNCTION is set to 0
(J5 disabled --- default!) or 2 (J5 used as digital output)

• [16] I haven't found a way to play a 8xSID MBSID V2 as a single polyphonic synth

A special "Super-Poly" mode is planned for a post v2.0 release - see also this article.
Update: here.
Update (2007-09-30): An experimental solution for 4 stereo lead voices has been
implemented, see Ensemble Page.

• [17] I haven't found a way to synchronize the internal clock of all 4 cores

This is related to [16], a possibility will be provided later after some evaluations. Currently
wavetable and bassline/drum sequencers can only be synched with an external MIDI clock ­this works quite well, and is the preferred solution anyhow if you are planning to sync
MIDIbox SID with an external sequencer.

• [18] Multi/Drum engine: one or more voices are not used when Multi/Drum
instruments are played - why?

This is related to the enhanced voice allocation algorithm - check the VAs settings in the
CFG/DRM menu page. If one or more instruments are explicit assigned to O1..O6, the appr.
voice cannot be allocated by the remaining instruments anymore (there is only one
exception: if all voices are assigned to specific oscillators in drum mode, the "exclusive
reservation" will be ignored).
This approach is important for a static filter or sync/ringmodulation routing, and therefore no
bug.
The VAs (Voice Assignment) setting can be found in the CFG (multi engine) or DRM (Drum
Engine) menu. It can be easily overlooked when doing modifications on patches from other
users.
Tip: if you own a MIDIbox SID with LED matrix, enable the level metering mode to monitor
the voice allocation (works for Multi and Drum engine, when the patch is played on the
master core SID1)

• [19] An envelope doesn't sweep through the whole value range: yes, this is true if only
the ENV depth is set to maximum level (+127). With the default configuration of the

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modulation matrix, this will result into a quarter of the available value range.
E.g. if the filter cutoff is set to 0, ENV depth set to 127, the filter will only sweep between
0%..25%. Same for volume.
In order to sweep through the whole range, the modulation path parameters have to be
changed:

• enter the MOD page

• select MOD 1 (if not already done) for EG1

• you will notice, that EG1 is only assigned to Sr1 - assign it also to Sr2, and ensure

that the "1+2" operator is selected

-> this will double the ENV level

• in addition, set the Depth parameter of the modulation path to 127 -> this will double
the MP level

As the result, you will get an envelope which sweeps through the whole value range from
0% to 100%

• [20] The AOUT channel is always at maximum level when the V2A option is used:

because the volume parameter in the CFG page sets the offset for this AOUT routing
option. Change the volume to 0, so that the AOUT channel offset starts at 0V (similar to
CutOff).
Note that with V2A enabled, the SID volume will be automatically set to maximum and can't
be influenced with the Vol parameter anymore.

En lien :

MIDIbox SID V2

http://www.ucapps.de/midibox_sid.html

Page wiki projet SammichSID

http://www.midibox.org/dokuwiki/doku.php?id=sammichsid

MIDIBoxSIDKontrol VST

http://midibox.org/forums/topic/13740-midiboxsidkontrol-vst/

Emulator control VST et AU

http://midibox.org/forums/topic/13759-emulated-midibox-sid-au-and-vst-for-macwindows/

HardSID dll

http://www.midibox.org/dokuwiki/doku.php?id=hardsid.dll

__ Rappel MIDIbox SID V.1 Manuel :

http://www.midibox.org/dokuwiki/doku.php?id=midibox_sid_v1_manual