# JIANT FM **Bio-synthetic operating system for the M-VAVE FM-1** — synthesis, sequencing, mutation, performance. [![License: GPL-3.0-only](https://img.shields.io/badge/license-GPL--3.0--only-blue.svg)](LICENSE) [![Emulator](https://img.shields.io/badge/try%20it-in%20the%20browser-ff7a00.svg)](https://juanjiant-bit.github.io/JIANT/emu/) ![JIANT FM: the signature, the screens in the COLORS skin and what's new through 0.9.2: six navigation rules, three skins, EXPLORE, VOICE words, ANIMAL, DRUM-X octaves, REC in 64ths, the DJ FILTER and USB stems](docs/jiant-hero.png) JIANT FM is an alternative firmware for the **M-VAVE FM-1**, made for playing live and building whole songs without a computer. It is a fork of [Felucca](https://github.com/hugelton/Felucca) 1.1.5.1 by Hügelton Instruments (GPL-3.0) and takes its song system from [SLOOP](https://github.com/isod89/sloop-fm1). **▶ [Try it in the browser](https://juanjiant-bit.github.io/JIANT/emu/)** · **[Interactive manual](https://juanjiant-bit.github.io/JIANT/manual/)** · **[Web installer](https://juanjiant-bit.github.io/JIANT/webapp/installer/)** · **[Web editor](https://juanjiant-bit.github.io/JIANT/webapp/editor/)**: the emulator runs the same code as the FM-1, with sound, and is played with your computer keyboard or the mouse. The emulator, the installer and the editor update themselves with every change merged into `main`. > **Status: in development (v0.9.12, a beta: the emulator and the preview installer; the official installer stays on 0.9.9 until it is tested on the device).** It builds and passes every test (Felucca's and its own). Back up the flash before installing it. **RATCH and ARP spill over the steps** (0.9.18): RATCH x1–x8 (ECHO folded in: FLAT, FADE, RISE, a pitch step) and ARP one note at a time at its RATE play on past their step; OCT an octave a lap; SEQ › COMP frames the step it edits; the SEQ › BAR page is gone. **Every SEQ page is the piano roll** (0.9.17): the same bars' strip and roll (a kit: the grid) on all the pages, the values on top, each page marking what it does on the notes: PATTERN their GATE and SWING, TRACK the notes moved by PITCH, PLAYHEADS the extra heads as they play, COMP the steps with a component, AUTOMATION and AUTO LIST every record, MUTATE when the next mutation comes. The BOTTOM skin is retired (a saved BOTTOM opens as AIR). **DRUM-X, VOICE and ANIMAL first** (0.9.9): the FM-1 powers on with T1 DRUM-X, T2 VOICE singing words, T3 ANIMAL's bird, T4 LOFI's bytebeat, T5 ANALOG's bass and T6 FM6's electric piano, and PRESETS lists the engines in that order. **A new skin, AIR** (0.9.7, the default of new settings): HUD's light look on every page with the knob row on top, the middle of the screen free; HOME's beings over the whole screen. **MENU › SCREEN › SCOPE** (OFF by default): an engine's EDIT pages give its creature the whole panel. **HOME's beings have faces**: three isotherms coloured by their own level, eyes that shut on a hit, a mouth that opens with the sound, a look up when MUTATE changes them. 15 KB of flash given back, nothing removed, the sound bit for bit. **Every engine draws its own creature** (0.9.6): ANALOG a cell whose membrane is its wave, FM6 its operators as little beings wired as the algorithm (also on OPERATOR and OP ENV), WHEEL nine tube worms, one a drawbar, NOISE a swarm, PHASE a snail whose shell is the bent phase, LOFI a caterpillar whose skin is its output and segments its bits (0.9.10: CHIP flattens it into a DIP chip, 1BIT all the way; every knob shows on it). **Messages no longer darken the screen** (0.9.5): a message is a small pill over the page, which keeps moving behind it, clear of the page's words; a page's hint comes only once you stay on it (never while SELECT walks past), at most twice ever; a layer button's tap no longer says "HOLD [X] QUICK". On JIANT each card's colour follows its value again, as in 0.6. **Three engines draw their own creature** (0.9.4): VOICE its vocal tract singing, a glowing tube in a ghost of a head (0.9.9; the tongue, jaw, lips and velum move with the phoneme sung, glottal pulses travel up it, waves leave the mouth), ANIMAL a creature that metamorphoses between bird, insect and mammal, DRUM-X its kit as little beings that squash, shut their eyes and shout with every hit. **MUTATE can go back** (0.9.3): turning MUTATE off asks to return the track to its anchor; SEQ + D5 REVERT, GLO + B4 REVERT ALL, undoable. **0.9.2 is driven by six rules** (see [Navigation](#navigation)): SELECT walks a section's pages as one chain, the section's button jumps group to group, PRESETS always loads presets, KNOB 1 picks, a button held is its layer, and the tabs and the footer say where you are. Every page, knob and function is where it was; only the way between them changed. **The dice starts in EXPLORE** (0.8.6): HOME + SELECT opens GEN on a choice that follows no genre and breaks every rule (any tempo, odd metres and polyrhythm, exotic modes, any engine on any role, DRUM-X octaves, PLAYHEADS, MUTATE), each seed a very different piece, still in the key its SCALE and CHORD pages show. RANDOM and the 43 genres follow. **DRUM-X octaves** (0.8.5): the kit stays on its keys at every OCT; above the centre it repeats in time (0.9.13: once a step, x2, x4), below it plays SHORT, GHOST or FLAM, each sound its own on each step, and live recording keeps exactly what you played. MIDI drum notes outside 35–81 now trigger these variations: see the changelog before installing. > ⚡ **New in 0.8.3 – 0.9.2: a new look, nine engines, finer timing and a map you can learn in a minute.** > - **Flat navigation** (0.9.2): one chain of pages per section, the groups as tabs on top (a dot a page), the > breadcrumb **SECTION · GROUP · page n/N** at the foot; SCL and ARP two sections; GEN three HOME pages. Clearing a > step is **SEQ + G5**, renaming **SAVE + C5**: EDIT is always EDIT. > - **Three skins, MENU > SCREEN > SKIN** (0.8.9; HUD faster in 0.9.0; 0.9.7: a fourth, **AIR**, the default of new > settings; 0.9.17: BOTTOM retired): **COLORS** (rounded cards, each > card its colour, on JIANT its value's heat as in 0.6), **BOTTOM** (the picture edge to edge, a slim knob row) and **HUD** > (HOME's beings under everything). The **LENTE** look (0.8.5): tabs, cards and a breadcrumb in a crisp 5 × 7 pixel > face, values in Inter Tight. **Held layers** show the keyboard itself: MAP, KNOBS and STATE (ALGORITHM while held). > - **VOICE sings words** (0.8.5): ES, EN or JA, each note the next syllable of a lyric you type (or the dice's). > **ANIMAL** (0.8.3), the ninth engine: birds, insects, frogs and beasts from physical models. > - **DRUM-X in every octave** (0.8.5): the kit stays on its keys; above the centre it ratchets (x2, x4, x8), below it > plays SHORT, GHOST or FLAM, each sound its own on each step, recorded as you played. > - **The dice starts in EXPLORE** (0.8.6): HOME + SELECT opens GEN on a choice that follows no genre and breaks every > rule (odd metres, exotic modes, any engine on any role, PLAYHEADS, MUTATE); RANDOM and 43 genres follow. > - **A DJ FILTER on the master** (0.9.1, GLO › MIXER KNOB 4): low-pass to the left, high-pass to the right, out of > the chain in the middle; automatable, saved with the project. **REC off the grid in 64ths** of a step (0.9.1): > SEQ › NOTE's MICRO, −32/64 … +31/64. > - **USB audio that keeps its time** (0.8.9): no lost half buffers (the clicks under load), no dropped packets, the > 48 kHz resampler on the second core. **Stems**: every track to the computer (MENU > USB > AUDIO STEMS), one channel each, into > your DAW. > - Every version's details: the **[Changelog](#changelog)**. > 🫶 If you resonate with my work, consider supporting me on **[Ko-fi](https://ko-fi.com/juanjiant)** (in Argentina: > **[Cafecito](https://cafecito.app/juanjiant)**). Thanks for all the good energy, hope you enjoy this little beast ✨🎹 ## Navigation Ten buttons, ten sections, and the same six rules in every one of them (0.9.2). The map shows every section, its groups (the tabs on the screen) and its pages in the order SELECT walks them, with the held layers and the combos. Click it to open it full size ([SVG](docs/navigation-map.svg), zoomable · [en español](docs/navigation-map.es.svg)). [![JIANT FM navigation map: every section, its groups and its pages in chain order, the six rules, the held layers and the combos](docs/navigation-map.png)](docs/navigation-map.svg) 1. **SELECT walks the pages**: one chain per section, a page a detent, stopping at the first and the last. 2. **The section's button: in, or on**: from elsewhere, the page you left there; inside, the first page of the next group (round). FX › DLY 2 → REVERB; EDIT › FILTER → FOCUS. 3. **PRESETS loads presets**: the track's sounds everywhere, the patterns in SEQ, the genre in GEN; never a page, a track or a module. 4. **KNOB 1 picks**: the step, the bar, the slot, the stage, the operator, the kit's sound. The track is always **ALGORITHM**'s. 5. **Hold = the layer**: a button held puts its shortcuts on the keys and knobs (SEQ + G5 CLR STEP, SAVE + C5 NAME, GLO + G4 UNDO …). Held + SELECT: **HOME** GEN, **EDIT / SEQ / LFO / FX** their dice, **GLO** the tempo, **ENV / SCL / ARP / SAVE** walk their chain. 6. **The screen says where**: on top the section's groups as tabs (a dot a page), at the foot **SECTION · GROUP · page** and **n/N**: **FX · DELAY · DLY 2 6/16**. The whole chapter: [the manual, § 3](docs/MANUAL.md#3-pages-and-layers) · [el manual, § 3](docs/MANUAL.es.md#3-páginas-y-capas). The map is generated from the firmware's own chain tables (`firmware/src/ui_lens.c`) by `tools/gen_nav_map.py`. ## Manual What changed in each version: the **[Changelog](#changelog)**, at the end of this page. The full user manual, every page, layer and setting, with a careful chapter on saving: **[English](docs/MANUAL.md)** · **[Español](docs/MANUAL.es.md)**. **[The interactive manual](https://juanjiant-bit.github.io/JIANT/manual/)** (Spanish and English): the FM-1 drawn with every control (touch one: what it does alone, held and in combination, with the firmware's real screen), every command searchable, step-by-step recipes, the navigation map and what's new by version. Its source is [web/manual](web/manual) (the chains and screens from the firmware, `tools/gen_manual.py`). ## Cheat sheets Two printable sheets with everything on the device. Click an image to open it full size, or download the PDF. | Controls | Sound · FX · Mod | | --- | --- | | [![JIANT FM cheat sheet: controls](docs/cheatsheet-controls.png)](docs/cheatsheet-controls.png) | [![JIANT FM cheat sheet: sound, effects and modulation](docs/cheatsheet-sound.png)](docs/cheatsheet-sound.png) | | Every knob and button, the layers with their key maps (FX, GLO, SAVE, EDIT, LFO, SCL, SEQ, REC), the combos and every page's four knobs. **[PDF](docs/cheatsheet-controls.pdf)** | The nine engines' EDIT pages, FILTER, VOICE, ENV, LFO, the MOD matrix, MSEQ, macros, the sequencer, scales and ARP, songs, and every effect: DIST, the SLICER bus, delay, the five reverbs and the master. **[PDF](docs/cheatsheet-sound.pdf)** | ## The idea A pocket synthesizer shouldn't feel like a menu. JIANT starts from a simple question: what if the device behaved less like a tool and more like an organism? That's why everything in JIANT is alive and visible. The screen works like a **thermal camera**: colour isn't decoration, it's intensity. Cold is cyan and violet, hot is red, orange, yellow and white. A high parameter burns; a sounding voice glows; silence cools down. Each engine is a **being**, a protozoan drawn in lines whose shape comes from what you're playing: open the filter and it grows spines, raise the resonance and its membrane vibrates, detune the oscillators and its nuclei drift apart. HOME is an **ecosystem**: six creatures, one per track, breathing with their own audio. You don't need to read numbers to know what's going on; you can see it. At the same time, what is technical is shown as technical. The LFO runs at its rate, the envelope shows where the voice is, the distortion draws its transfer curve, the delay its echoes, the reverb its response. The organic invites you to play; the technical lets you understand what you did. The second idea is that **randomness is an invitation, not an accident**. Every session starts with macros rolled towards what your sounds have; HOME + SELECT writes a whole piece, EDIT + SELECT dices the sound; macro dice only land on what is playing. The system pushes you to move things and always leaves you near something that works: the dice start from factory presets and vary around them, never from nothing. The third is that **everything is playable and everything is recordable**. Effects are played on the keys and land in an automation lane; knobs record their movement; songs are built from bars and scenes, and recorded while you play them. No computer, no samples: everything is synthesized in real time on a chip designed for something else. And the last one is a discipline: **lightweight**. Every graphic is a handful of lines, every effect fits in the audio CPU budget, the signature shown at power-on is 428 bytes. An instrument that feels big inside a small device. ## The system ### Both cores (dual core) *Since 0.6.71, experimental.* The FM-1's chip (JieLi AC791N) has **two processor cores**; Felucca and JIANT up to 0.6.70 used one, which ran everything: the sound, the screen, the keys. Now the second one helps with the sound: - **How the work is shared.** Every 0.7 ms block, the tracks are split between the two cores by how long each took to render over the last blocks (timed as they play, since 0.6.73). While the first core renders its tracks, the second renders the others into buffers of its own; then they are added together and go through the master on the first core. The drum tracks go together, on one core or the other. Since 0.6.75 the second core also runs the effect buses (chorus, delay, reverb), on the sends of the block before (0.7 ms later, inaudible), so they no longer wait. - **The same sound.** The sum is exactly the one-core sum: a test plays a whole six-track song both ways and checks that the output is identical, bit for bit. - **More room.** With the second core doing part of the synth work, the load meter stays lower: more tracks, voices, FM6 and heavy reverbs before the clicks and the cut notes start. LOAD LITE / ECO are still there for the heaviest songs. **12 voices** (0.9.12, after [Skiff](https://github.com/illuminus5/skiff)): while the second core plays, the tracks share 12 voices instead of 8 (each still at most 8; ECO 6); with one core, 8 as before. - **Units that cannot run it.** On some FM-1s the second core now and then reads a word of memory wrong, more often under load (found by the Melodee and fm1-x0x developers). JIANT guards against it: every job carries a check word, and if the second core reads a wrong one, faults or does not answer in time, it is **stopped at once and the first core plays every track again**, with no crash (at most one 0.7 ms block of those tracks is lost). Since 0.6.76 the effects' output is checked too: far out of range, the block is muted, their lines cleared and the second core stopped the same way. Such a unit then stays on one core **until it is switched off**, and so does any unit after a crash while both cores ran. - **What it says.** MENU > SYSTEM > ABOUT, under AUDIO LOAD: **CORES 2**, or **CORES 1** with the reason: REC AT POWER-ON, BAD READ, NO ANSWER, FAULT, SINCE A FAULT (an earlier one this power-on), NO START. - **One core on purpose.** Hold **REC** while switching the FM-1 on: that session plays on one core, as before. - **Credits.** How to start the second core safely on the FM-1 and the guard against misreads come from [Melodee](https://github.com/keremimo/melodee) (keremimo) and [fm1-x0x](https://github.com/charlesvestal/fm1-x0x) (Charles Vestal), both GPL-3.0; JIANT's version is in `firmware/hal/fm1_multicore.h`. ### A living screen ![HOME, ARRANGE, SEQ › NOTE off the grid, FX › DELAY, the DRUM-X kit and VOICE's WORDS in the COLORS skin](docs/jiant-screens.png) *HOME with its six beings, the song in ARRANGE, SEQ › NOTE with a note 13/64 late, the delay, the DRUM-X colony and VOICE singing its lyric, in the COLORS skin, exactly as the firmware draws them (the renders of `tests/ui_render.c`).* - **Thermal palette**: values, curves, steps, hits and notes are coloured by intensity (cyan → blue → violet → red → orange → yellow → white). Selection is violet and active is orange; on JIANT each card's value and gauge are its amount's heat (0.9.5, as 0.6), the other palettes give each knob its own colour. - **Skins** (MENU > SCREEN > SKIN, 0.8.9): **AIR** (0.9.7, the default of new settings: HUD's floating words on every page, the knob row on top under the tabs, the middle free), **COLORS** (near-black rounded cards on top, a rounded panel) and **HUD** (HOME's beings swim under everything, the words float over them, the knob row at the foot; on the SEQ pages on top, as AIR's). (0.9.17: BOTTOM, the knob row at the foot on every page, is retired; a saved BOTTOM opens as AIR.) Every skin wears the **LENTE** layout (0.8.5): the section's groups as tabs on top (a dot a page), the breadcrumb **SECTION · GROUP · page n/N** at the foot. Values in [Inter Tight](https://github.com/rsms/inter-tight) SemiBold, names, tabs and the breadcrumb in a crisp 5 × 7 pixel face, small captions in [Chakra Petch](https://github.com/m4rc1e/Chakra-Petch). - **HOME, the ecosystem**: one being per track (its species from its engine, its shape from its four knobs). Each one heats up, swells and moves with its own audio; the selected track is drawn bigger; muted ones go dark; in silence they all stay still. (0.9.7) Each wears a little face: its eyes shut on a hit, its mouth opens with its level, it looks up when MUTATE changes it; muted, it sleeps. - **Engine pages**: each engine draws its own creature (0.9.4 / 0.9.6, [below](#v096)): VOICE a singing head, ANIMAL a bird / insect / mammal, DRUM-X its kit of little beings, ANALOG a cell, FM6 a colony of operators, WHEEL tube worms, NOISE a swarm, PHASE a snail, LOFI a caterpillar. (Before: the sound's being drawn in isotherms, four contours of the same body, cold edge, hot core, as HOME's ecosystem still shows them.) The being's knobs read as what they are: **CUT** grows spines (more harmonics, spikier), **RES** makes the membrane vibrate, **DTN/SPRD** splits two nuclei, **NOIS/RAND/CRSH** frays the edge, **WAVE** changes the lobes. - **DRUM-X, the colony**: one being per kit sound, each with its own shape (round kick, spiky snare, fringed hats, clustered clap, star-shaped cowbell) that swells and heats up when it hits (KIT 2, KIT 3, X-MOD); on KIT, SOUND 1–4 and HOME (0.9.4) **the kit as little beings** with eyes and mouths that squash and shout with every hit. - **Live technical graphs**: LFO (the wave runs at its rate, with playhead and current value), ENV (a dot travels the curve with the sounding voice), DIST (transfer curve by TYPE and TONE response), DLY and DLY 2 (the echoes, L and R), REVERB and REVERB 2 (the impulse response, stereo, drawn per model), CHORUS (the three modulated lines), AUTOPAN (the swing across the stereo field), MASTER (clipper curve, PUNCH shape, how much DUCK pulls down), ENV/LFO DEST (bipolar columns under each knob, lit by what they send), VOICE (one cell per voice and the glide curve), GLOBAL (the bar in thermal columns with swing, clock and tuning). - **Load meter**: five small bars next to the battery showing the current audio load. - **Power-on**: the "Jiant FM1" signature is written stroke by stroke in thermal colours (MENU > SCREEN > ANIMATION OFF: it shows up whole). ### Engines Nine engines, all synthesis, no samples: **DRUM (DRUM-X), VOICE, ANIMAL, LOFI, ANALOG, FM6, PHASE, WHEEL and NOISE**, in the order PRESETS shows them (0.9.9; the first six are the tracks at power-on, T1–T6). - **ANALOG**: two oscillators with **INT** (an interval of ±24 semitones: fifths, octaves) and DTN; besides SAW, SQR, TRI, SIN and PWM it has **SYNC**, **RING** and **SAW3** (three saws). Its filter is per voice. - **FM6**: Dexed's engine (imports .syx), with its algorithms drawn. Fully editable on the device (from Felucca 1.5): **EDIT > OPERATOR** (KNOB 1 the operator 1–6, then RATIO or FIXED frequency, FINE, LEVEL), **OP ENV** (the stage ATK DEC SUS REL, its RATE and LEVEL, drawn as the envelope) and **OPERATOR 2** (MODE ratio/fixed, DETUNE, VEL), the operator lit in the algorithm's colony of operators (0.9.6: each a little being wired as the chart was) with its frequency; OP ENV's operator rides its envelope. Editing makes the patch the track's own (SLOT OWN) and it is saved with the project; the macros (EDIT 1 / 2) still act on top. The web editor edits every byte of it too. **Voice bank** (from Felucca 1.4.1): import a 32-voice DX7 cartridge (.syx) in the web editor's 6-OP FM tab and press **Send to the device's voice bank**; on an FM6 track **SLOT** (EDIT 2, KNOB 4) then goes F1–F8, OWN, **B1–B32** (empty slots skipped), the voice's name on the chart. A voice loaded is copied into the track: projects and user presets keep it even after you send another bank. The bank lives in its own flash sector, written power-cut safe; the full backup does not include it (keep the .syx). - **PHASE**: phase distortion with **FB** (the output feeds back into the phase: from hard edge to growl). - **LOFI**: 1, 4 and 8-bit chip with **BYTE** (bytebeat: 32 formulas picked with ALGO and mutated with VAR). In BYTE, **MOTN** sets the speed of the formula's rhythm, **GRIT** crushes its rate, **BEND** folds time and **LOOP** repeats a short stretch of the formula: the noise becomes a tone tuned to the note. **FLOAT** is a floatbeat generator: 32 formulas of `t` made of sines (rhythm, melody and timbre at once), in the key played. - **VOICE** (formants, after klattsch), **WHEEL** (drawbar organ) and **NOISE** (coloured and metallic noise). **VOICE sings words** (0.8.5): LANG ES / EN / JA, each note the next syllable of a lyric you type (on the device or from the web editor) or of phrases the dice puts together from each language's word bank; POS and LOOP automate it. - **ANIMAL** (0.8.3): animal calls from physical models: a source that oscillates or strikes exciting a resonator, with a call's rhythm on top. **CMOS** is the owner's 40106 / 4093 breadboard "bird machine" (Schmitt-trigger RC oscillators: a slow one gates and sweeps a fast one, the exponential charge is the chirp's hook), **PULSE** an escapement into a resonator (crickets, katydid, cicada, frogs, toad), **WHSTL** a Hopf oscillator whose tone is born as the pressure crosses a threshold (canary, cardinal, dove, owl, peeper, bat), **WING** flight tones with drift and Doppler fly-bys (mosquito, bee, fly), **GLOTT** a glottal pulse into two formants with subharmonics and chaos (wolf, bark, roar, purr). GROUP makes chirps and trills, TEMP (°C) speeds insects up as warmth does (Dolbear's law); a note is a call. 24 presets. - **FILTER on every engine** (EDIT > FILTER): **TYPE** LP, HP, BP or **COMB** (a comb tuned to the note you're playing; CUT moves it ±32 semitones and RES is how much it rings), **CUT** and **RES**. On ANALOG it's its per-voice filter, with DRV; on LOFI it's per voice too (its CUT and RES are the ones on this page); on the others it's a filter on the track that follows the LFO and the envelope (LFO/ENV DEST FLT), and its DRV is the track's DIST. ### DRUM-X: synthesized drums with morph An 8-sound kit (BD SD CP CH OH TM RS CB) generated in real time, Microtonic style. - Each sound has two sides, **A** and **B**; **MORPH** (KNOB 1) moves between them. - **FOLD** runs each sound's oscillator through a wavefolder after its envelope: the hit starts bright and the tail returns to the clean wave. **FM** changes the timbre with harmonic FM in 8 bands; plus TUNE, TONE, DECAY, NOISE and DRV. - **EDIT > SOUND 1–4** (one sound each, KNOB 1 picks it): SIDE, PITCH, PMOD; DECAY, NOISE, COLOR; **MODE**, **PM.TYPE** (how the pitch moves: DECAY, LONG like the 808, NOISE, SINE), DRIVE; **LAYER**, **FEEDBK** and a per-hit **SEND**. - **The kit in every octave** (0.8.5): the keys play the kit on the same keys at every OCT; above the centre a key **ratchets** in time (x2, x4, x8), below it plays **SHORT**, **GHOST** or **FLAM**, each sound its own on each step, and live recording keeps exactly what you played. MIDI drum notes outside 35–81 trigger the same variations. - **Group mutes** (KICK, SNARE, HAT, PERC) with GLO held and **per-sound mutes** with EDIT held. - **EDIT > X-MOD** (0.5.1): a tempo-synced LFO on MORPH and RAND, which gives every hit its own MORPH and tune. - Nine kits as the DRUM engine's presets (DRUM-X, 909 CLUB, 808 BOOM, LOFI DUST …); EDIT + SELECT rolls a new kit. ### Dice: the system invites you to move everything - A button held + **SELECT** rolls that part's dice (0.9.2: SELECT alone walks the pages). **EDIT + SELECT rolls the track's sound dice**: a synth loads one of its factory presets at random and moves each engine parameter up to a quarter of its range; DRUM-X rolls the A and B sides of each sound around the factory kit. **SEQ / LFO / FX + SELECT** dice the sequence, the LFO, the effects, each shown **BEFORE** and **NOW** to keep or cancel; **GLO + SELECT** is the tempo. **HOME + SELECT** opens **GEN**, the song generator (since 0.6.91; HOME's last three pages since 0.9.2): it opens on **EXPLORE** (0.8.6: no genre, every rule broken: odd metres, exotic modes, any engine on any role), then RANDOM or a genre among 43 (house, techno, dub, UK garage, funk, post punk, jazz, ambient …), a seed, an energy, a form (a loop, parts, a club song); how much drums, bass, chords, arp and lead; complexity, swing, how human. **OCT+** writes the piece from them (OCT+ again: a new seed; a knob turned and OCT+: the same piece with that one thing changed), **OCT−** is done. Every piece has one key, written to the SCALE page (and the CHORD page set to its chords: the keys play along in key), drums from the genre's priority map, a bass archetype written against the kick, a functional or modal progression with cadences voiced and led voice by voice, a lead composed from a motif in periods and sentences, a sound recipe a role, the genre's kit and space (see v0.6.91, v0.8.3). - **UNDO: GLO held + G4** takes back the last big change (DICE ALL, a sound diced, a clear, INIT, RECALL, a pattern or project loaded); pressing it again goes forward (redo). G4 breathes when there is something to undo. - **Macros M1–M4** (LFO held; they stay latched when released until you press LFO again): every session starts with two random routes per track towards what its sound has. With the macros open, **F3** rolls new routes, only on the tracks that are playing; G3 clears them (LFO + SELECT rolls the track's LFO). They can be assigned by hand in MOD (SRC M1…M4) and are saved with the project. ### Punch-in FX: effects you play and record With FX held the keys become effects that act while held; on release everything goes back exactly. - **Audio**: REPEAT 1/8 · 1/16 · 1/32, **GLITCH** (the bar cut into repeats, reverses, octave slices and gates on the grid, the same at the same place every time) and **TAPE STOP** (0.9.15). - **Sweeps** (0.9.15, black keys C#5 D#5 F#5): **FILTER** (high-pass opening), **CRUSH**, **THROW** (into the delay and reverb): held, dry to wet over 2 bars on an S curve; let go, back in a beat. - **Performance macros** (0.9.15, the knobs with FX): **STEPS** (every sequence 1/2, 1/4, 1/8, one step, from where it plays), **TRANSPOSE** (+2nd … +6th along the scale, ±octave), **MUTATE** and **FILTER** (low-pass), built up turning right; turn any knob back and all four are off at once. - **On the notes, OP-Z style**: OCT− and OCT+, 1/2 TEMPO, short DECAY (also lowers sustain: plucks) and long, STUTTER 1/8 · 1/16, ATK+ (drums too), momentary ARP (on drums, a different fill every time) and RANDOM. - **Quantized**: they kick in on the transport's next sixteenth; REPEAT and SLICER follow the grid from the first moment. - **Automatable**: with REC armed they land in a 4-bar lane per section (the note effects, GLITCH, TAPE STOP and the sweeps). A#4 chooses whether the note effects affect everything, the synths or the drums. ### Sequencing - 64 steps per track, piano roll, drum grid, parameter locks, chance, ratchets, slide and knob automation; live recording with overdub, metronome and count-in. - **SEQ's chain** (0.9.2): PATTERN (PATTERN, STRETCH, PLAYHEADS), TRACK (TRACK, MUTATE), BAR (STEP, NOTE; 0.9.18: the BAR page is gone), STEP (COMP, COMP 2), AUTO (AUTOMATION, AUTO LIST); KNOB 1 all 64 steps on STEP; PRESETS loads a pattern. - **One picture for the whole SEQ** (0.9.17): every page shows the pattern's bars in a strip and the cursor's bar as the piano roll (a kit: the grid), the values on top; each page marks what it does on it: PATTERN draws the notes as long as GATE plays them and the odd steps late by SWING, TRACK outlines where PITCH moves the notes, PLAYHEADS draws the extra heads as lines while they play, COMP / COMP 2 a bar over each step with that component, AUTOMATION and AUTO LIST a mark under each record's step (the row picked framed), MUTATE a chip with the bars to the next mutation. (0.9.18) COMP frames the step the component goes on, live with KNOB 1, and marks the steps with the same one. - **Off the grid in 64ths** (0.9.1): live recording with REC Q under 100 % keeps where you played, to a 64th of a step; **SEQ › NOTE**'s MICRO edits it (−32/64 … +31/64), and playback honours it to the sample. - **ROTATE** (STRETCH, KNOB 4) and **PITCH** (TRACK, KNOB 1) shift the sequence in steps and in pitch, automatable. - **One scale for everything**: ROOT, SCALE and QUANT are the song's, the same on every melodic track (no track keeps a scale of its own, whatever loads it); **STRN** moves all sequences through the scale degrees. **ARP TRNS**: the keys transpose the sequence. - **SEQ + REC** clears every sequence; **REC + FX / EDIT / ENV / LFO…** clears only that part's automation. ### Songs inside the device **8 projects**, each with **4 sections (A–D)** and a song of up to 16 rows by bars (SAVE > **ARRANGE**), SLOOP style: live sections that come in on the next bar, quick chain, SONG REC and STORE / RECALL. Each row can hold a **scene** (mutes, DRUM-X group mutes, macros and MIDI punch-ins), saved with KNOB 4 on ARRANGE or on its own when recording with SONG REC. The song's END plays it once (STOP), x2..x8 or forever (LOOP). ### Modulation - **MOD matrix**: 4 slots per track. Sources: LFO, ENV, VEL, KEY, RAND, MIDI controllers, the 4 macros and STEP. - **MSEQ**: a modulation sequencer per track (16 levels, LEN, DIV, SLEW), like a CV sequencer. - **ENV LOOP**: with the note held, the envelope goes back to the attack when it reaches sustain: an ADSR-shaped LFO. ### Effects and master - **DIST** per track with TYPE (SOFT, HARD, FOLD, CRUSH, RECT) and TONE; the **SLICER** on a bus: T1–T6 and the FX returns switched in (SL BUS), a pitch sequence for its repeats (SL PITCH). - **Delay**: synced or free TIME (5 ms to 2.95 s, every division its real length up to 2.97 s; past 0.74 s the line at half rate, past 1.49 s a quarter: the long tails darker, as a tape's), a single TONE, **grain delay** with PITCH and SPRAY (at long times too), stereo WIDTH. - **Reverb** with five models: ROOM, SPRING, **SHIMR** (shimmer, goes up an octave on every pass), **RESO** (four strings tuned to the song's scale) and **CLOUD** (a granular wash that blooms into a tail and can freeze); with pre-delay, modulation, filter and width; **chorus**, a three-voice stereo ensemble. - **Master**: **CLIP** (saturation with level compensation: adds character, not volume), **PUNCH** (drives the drums into saturation: denser, fatter body), **DUCK** (the kick pulls the rest down) and an **always-on leveler** (a slow 2:1 rider with automatic make-up, from −9 to +6 dB: it follows the song, not each hit) before the limiter and the soft clip: quiet patches and heavy CLIP play at a consistent volume. - **DJ FILTER** (0.9.1, GLO › MIXER KNOB 4): one bipolar knob on the whole mix, before CLIP and the leveler: a low-pass sweeping down to the left, a high-pass sweeping up to the right, out of the chain (bit for bit, no CPU) in the middle. Automatable and saved with the project. ### Knob acceleration Turning fast sweeps the whole range; turning slowly is fine adjustment. Turn it off in MENU > SYSTEM > KNOB SPEEDUP. ### Connections and storage - USB: class-compliant MIDI and audio (the master reaches the computer); TRS MIDI; internal, USB or TRS clock. Since 0.8.9 the USB audio keeps its time: no half buffer lost under load (the clicks), no packet dropped, the 48 kHz resampler on the second core. - **MIDI LEARN** (0.9.12, MENU › MIDI › LEARN): turn a knob, send a CC; up to ten, kept with the settings, over USB and TRS (from Felucca 1.5). - **Stems** (MENU > USB > AUDIO): **STEMS** sends every track on its own channel (8: T1–T6, FX L R), **STEMS+IN** adds your voice through the FM-1. Record them in your DAW, one track per channel. - 32 named user presets; the project autosaves 10 s after the last change while stopped (not at power-off). - **Web editor** for every parameter: FM6 patches, grid, mix and full backup (all 8 songs with their sections, rows and scenes).
What changed from Felucca 1.1.5.1 - **New interface**: thermal palette, three skins (AIR, COLORS, HUD), the LENTE layout (tabs, cards, breadcrumb), beings, HOME ecosystem, live technical graphs and a power-on signature; navigation by six rules (0.9.2). - **DRUM** is DRUM-X; Felucca's kits were retired. **CHORD** was retired (its parameters are SHIFT). **PHYS** and **TRIO** were retired (TRIO lives inside ANALOG; a PHYS sound plays as ANALOG's first preset). - **No samples**: user samples and the SAMPLE, SLICE and GRAIN engines are gone, to make room for DRUM-X, the effects, the punch-ins and the songs. A sound from those engines loads as ANALOG. - **8 songs**: song 1 is the usual 4 projects, so whatever you saved with Felucca shows up there. - **FX layer**: REVERSE, TAPE STOP, FREEZE and the harmonizer are gone; the MIDI punch-ins came in. - **SELECT**: walks the section's pages; with a button held: HOME GEN, EDIT / SEQ / LFO / FX their dice, GLO the tempo, ENV / SCL / ARP / SAVE their chain. - **EDIT held**: INIT / RECALL instead of the voice selector. One-step **UNDO** with GLO held + G4 (SAVE held: OCT+ stores the section, OCT− recalls it). **No layer lock.** - **USB names**: "JIANT" (MIDI and audio; 0.7.0–0.9.11 "JIANT FM"), "JIANT Update" while updating; the web editor and the installer take the older "JIANT FM" and "Felucca" too.
## Controls - (0.9.2) Six rules, the same in every section: **SELECT** walks the section's pages; its **button** brings you back to the page last shown there, or, already inside, to the next group; **PRESETS** always loads presets (sounds; SEQ: patterns; GEN: the genre); **KNOB 1** picks (the step, the bar, the slot); **held** is the layer; the tabs and the footer say where you are (**FX · DELAY · DLY 2 6/16**). - **Holding** a button opens its quick layer: keys and knobs change function while it is held. | Hold | Keys | Knobs | | --- | --- | --- | | **FX** | F3 G3 A3 REPEAT 1/8, 1/16, 1/32; B3 GLITCH; C4 TAPE STOP (0.9.15). MIDI punch-ins: D4 OCT−, E4 OCT+, F4 1/2 TEMPO, G4 DEC−, A4 DEC+, B4 C5 STUTTER 1/8 · 1/16, D5 ATK+ (everything's attack up, drums included), E5 ARP (drums: a new fill on every press), F5 RANDOM (notes and steps). Everything comes in on the transport's next 1/16. Black keys 1–6: mute T1–T6; A#4 chooses which tracks the MIDI ones affect (all, synths, drums); C#5 D#5 F#5 the sweeps FILTER, CRUSH, THROW (dry to wet over 2 bars, back in a beat). **Automate**: with REC armed and playing (not in a song), the note effects D4–F5, GLITCH, TAPE STOP and the sweeps you hold are recorded in the section's lane (64 steps of 1/16, one a step: the lowest held); REPEAT, mutes and latched effects are not; G5 erases it where the playhead passes, or entirely with the transport stopped | STEPS, TRANSPOSE, MUTATE, FILTER (performance macros: up to the right, any knob turned back cuts all four) | | **ARP TRNS** | With the ARP mode on TRNS, the keys (and incoming MIDI) transpose the track's sequence by their interval from C4, without playing notes; the transposition stays on release | — | | **SEQ > STRETCH · TRACK** | ROTATE (STRETCH, KNOB 4) reads the track's sequence from another step, −32 to +32 (within LEN; live recording writes where you hear it) and PITCH (TRACK, KNOB 1) transposes it ±24 semitones (not on kits). Both can be automated and are also on the SCL layer (KNOB 3 / 4) | ROTATE, PIT | | **REC + another button** | Hold REC and press FX, EDIT, ENV, LFO, SCL, ARP or GLO: clears that part's automation on the selected track (knob movements and per-step locks; stored values stay). FX: the punch-in lane too. GLO: levels and pan of the 6 tracks. The other way round (FX held then REC) arms recording, as always | — | | **SEQ + REC** | Hold SEQ and press REC: CLEAR ALL SEQUENCES? (OCT+ confirms): clears the steps and automation of the 6 tracks and the punch-in lane | — | | **LFO** | — (**MACRO** layer: below, where each macro goes) | M1, M2, M3, M4 | | **GLO** | Black keys 1–6 mute T1–T6 (latched); 7–10 DRUM group mutes: KICK, SNARE, HAT, PERC; F3–D4 solo T1–T6 while held; E4 unmutes everything; F4 tap tempo; G4 **UNDO** the last big change (again: redo) | T1–T4 level (with T5 or T6 selected: T3–T6) | | **SCL** | Any key picks the root | ROOT, SCALE, ROTATE, PITCH | | **EDIT** | F3 **INIT**: the track's sound goes back to factory (on DRUM, the DRUM-X kit too). G3 **RECALL**: back to the sound saved in the section (on DRUM, with its kit). Both ask for confirmation and leave the steps alone. On a DRUM track, black keys 1–8 mute each DRUM-X sound. The engine and sounds are picked in PRESETS | The engine's first 4 EDIT knobs | | **SEQ** | On the SEQ pages: SEQ TOOLS; G5 CLR STEP (the cursor step; AUTO LIST: deletes the record) | LEN, DIV, SWING, GATE | | **REC** | F3 CLEAR the track, G3 CLICK | CLICK | | **HOME** | Tap: HOME; held ~0.7 s: MENU | — | | **SAVE** | Song layer (on SAVE > ARRANGE, KNOB 4 = SCENE): F3–B3 play A–D on the next bar (stopped: at once; several in one hold: quick chain), C4–F4 store into A–D, D5 LOOP / SONG, E5 SONG REC, G5 ARRANGE, C5 NAME (renames on USER, SECTIONS, PROJECTS); OCT+ stores the playing section, OCT− recalls it | KNOB 1: project 1–8 (on release, stopped: loads its section A, replacing the music, no UNDO) | Others: **PLAY** starts and stops; **REC** arms the selected track; **SELECT** walks the section's pages (held with a button: HOME GEN, EDIT / SEQ / LFO / FX their dice, GLO the tempo, ENV / SCL / ARP / SAVE their pages); **ALGORITHM** picks the track on every page; **PRESETS** loads the sound (SEQ: a pattern); **OCT− / OCT+** the octave (on action pages and dialogs: back / confirm); GLO + PLAY restarts from the beginning. ## User manual A practical guide to what's new, in the order you'll run into it. The [Controls](#controls) table has the details of each layer; the complete manual is in **[docs/MANUAL.md](docs/MANUAL.md)** (en español: **[docs/MANUAL.es.md](docs/MANUAL.es.md)**). ### 1. Getting around - (0.9.2) Each section is one chain of pages in groups. **SELECT** walks the pages (a page a detent, stopping at the ends); the section's button brings you back to the page you left there and, inside, jumps to the next group's first page (round). The tabs on top are the groups (a dot a page), the footer **SECTION · GROUP · page n/N**. **HOME** takes you to the ecosystem (ECO → BEING → GEN). - **FX in one chain**: TRACK (SENDS, DIST, AUTO PAN), BUSES, DELAY (3), REVERB (2), CHORUS, SLICER (4 pages), MASTER, PUNCH: SELECT walks all 16, an FX tap jumps to the next module. - **PRESETS** always loads presets: the track's sounds, on the SEQ pages a pattern, on GEN the genre. - **Jump through a section** from anywhere: hold ENV, SCL, ARP or SAVE and turn **SELECT** (HOME + SELECT opens GEN, EDIT / SEQ / LFO / FX + SELECT roll their dice, GLO + SELECT the tempo). - **ALGORITHM** picks the track (T1–T6) from any page; track pages show the selected track. - The four knobs drive the four columns on screen. Turning fast sweeps the whole range, slowly fine-tunes. - **Holding** a button opens its layer (FX, GLO, SCL, LFO, EDIT, SAVE…): release it and you're back where you were. - (0.9.18) **The MENU** (hold HOME) works the same way: nine pages of up to four settings in five tabs, **SCREEN · AUDIO · MIDI · USB · SYSTEM**. SELECT walks the pages, ALGORITHM the tabs, **KNOB 1–4 the settings on screen**, OCT− / OCT+ step the one you turned last. Each row under the cards says in plain words what it does. CALIBRATION, ABOUT and LEARN CLEAR are action cards: turn their knob to arm them, OCT+ does it. HOME closes it. ### 2. Reading the screen - **HOME**: each being is a track. Its species tells the engine, its shape comes from its four knobs, and it swells and heats up with its own audio. The biggest one is the selected track; a dark one is muted. - **Colours**: cold (indigo, violet) is little, hot (red, orange, cream, white) is a lot. Violet is what's selected, orange what's active; on JIANT each card is coloured by its value (cold low, hot high; 0.9.5, as 0.6), the other palettes give each knob its own colour. - **Skin** (MENU > SCREEN > SKIN, 0.8.9): **AIR** (0.9.7, the default of new settings) HUD's look on every page with the knob row on top, **COLORS** the cards on top in the 0.6 colours, **HUD** HOME's beings over the whole screen under floating words (the knobs at the foot, on top on the SEQ pages). BOTTOM is retired (0.9.17): a saved BOTTOM opens as AIR. - **Load meter** (top right, next to the battery): five small bars showing how much of the audio time the sound is using right now. The firmware's RAM is reserved entirely at boot and doesn't change, so this is what's worth watching: with all five lit (red, yellow) you're close to the limit and should cut voices, the CLOUD reverb or heavy effects. If it's often full: GLO > SYSTEM > **TRACKS 4** (the default; also MENU > AUDIO > TRACKS) leaves T5 and T6 asleep for headroom, and **LOAD** (next to it; also MENU > AUDIO > LOAD, SYSTEM until 0.9.11) lightens the sound: **FULL** everything as set, **LITE** the heavy reverbs, the GRAIN delay and FM6 lightened (SHIMMER and CLOUD as ROOM, RESO as SPRING, the GRAIN delay plain, FM6 two voices), **ECO** that plus every reverb a SPRING, no SLICER, no chorus (their pages hidden) and at most 4 voices a synth track. The project keeps its settings: back on FULL it sounds as saved. - **Power-on**: the signature draws itself in about a second, with beings swimming round it. To boot straight in: MENU > SCREEN > **ANIMATION OFF**. ### 3. Making a sound 1. Pick the track with ALGORITHM and the engine/preset with **PRESETS**. 2. **EDIT** opens the engine's pages. Every engine has a **FILTER** page: KNOB 1 TYPE (LP, HP, BP, COMB), KNOB 2 CUT, KNOB 3 RES and KNOB 4 DRV (on ANALOG the filter's saturation; on the others the track's DIST). COMB with lots of RES and CUT near the centre turns any sound metallic, tuned to the note. 3. **ENV** and **LFO** have their DEST pages: each column sends to a destination (FLT also moves the FILTER page's filter). **ENV LOOP** turns the envelope into an LFO while the note is held. 4. **Out of ideas?** **EDIT + SELECT** rolls the sound's dice: it loads a random factory preset of the engine and moves its parameters (SELECT again: another roll; OCT+ keeps it, OCT− cancels). **HOME + SELECT** opens GEN, which writes a whole piece. Roll until something clicks; GLO + G4 undoes the last one. 5. **EDIT held**: F3 INIT puts the sound back to factory, G3 RECALL to the one you saved in the section. **LOFI BYTE** (LOFI with WAVE on BYTE): ALGO picks one of 32 bytebeat formulas and **VAR** mutates it (0–15 as written, then 7 more ways, each with 16 amounts: try sweeping it slowly). On the second page **MOTN** speeds the formula's rhythm up or down without changing the pitch (64 as written), **GRIT** holds each sample longer (a rate crusher), BEND folds time (glitches) and LOOP repeats a tiny stretch: with LOOP high the noise turns into a tuned note. Use the FILTER page for the cutoff and resonance. **LOFI FLOAT** (WAVE on FLOAT): a floatbeat generator. ALGO picks one of 32 formulas of `t` made of sines (F01 `sin(t·(t>>11^t>>13&7))`, F02 FM with a walking index, F03 a nibble-table melody, F05 a kick and a bass, F06 Sierpinski partials, F07 rhythmic drive, F10 a snare and a tone, F13 a fold, F15 a staircase sine, F19 odd partials building up, F22 a drum loop, F23 bytebeat inside the phase, F26 a dropped bit, F30 a glide up the partials, F32 euclid hats over a walking chord…). Hold a key: the formula plays in that key. **VAR** mutates `t` like in BYTE, **MOTN** speeds its slow bits up or down, **FBK** feeds the output back into the formula's time (from a shimmer to chaos), **BEND** folds `t`, **LOOP** locks it into a short window. CHIP sets the resolution: FULL is smooth, 4BIT and 1BIT crush it. ### 4. DRUM-X drums - Set a track to DRUM. **KNOB 1 MORPH** goes from side A to side B of the whole kit: it's the knob to play live. - **FOLD** folds each hit's wave: the attack shines and the tail comes back clean. **FM ENV** strikes FM on each hit's attack (a beater, a click, a metal edge) and leaves the tail clean; EDIT > **TONE** has a band-pass for the hats, rim and cowbell (**BP**) and the oscillators' **FEEDBK**. - **EDIT > SOUND, SOUND 2, SOUND 3** edit each sound (BD, SD, CP, CH, OH, TM, RS, CB; KNOB 1 on SOUND and SOUND 3 picks which). SOUND 3 has **PMOD** (how the pitch falls: DECAY, 808-style LONG, NOISE, SINE), DRV and WAVE. - Mutes: **GLO held** + black keys 7–10 (KICK, SNARE, HAT, PERC); **EDIT held** + black keys 1–8 (each sound). - EDIT + SELECT on a DRUM track rolls a new kit around the factory one. - **OCT** on a DRUM track changes how the keys play (0.8.5): +1..+3 ratchets x2, x4, x8; −1..−3 SHORT, GHOST, FLAM. - **EDIT > X-MOD** moves the kit by itself: **RATE** (OFF, 4 bars … 1/32, in time with the tempo), **DEPTH** (how far it swings MORPH), **SHAPE** (SINE, TRI, SAW, RAMP, S&H) and **RAND** (each hit gets its own MORPH and up to a semitone of tune: no two hits alike, great on hats and percussion). INIT turns it off. ### 5. Macros (M1–M4) - **Hold LFO**: the knobs become M1–M4. Release LFO and they stay **latched** until you press LFO again. - Every session starts with random routes. With the macros open, **F3** rolls new routes only on the tracks that are playing; **G3** clears them. - To pick them by hand: LFO > **MOD**, SRC M1…M4 to any destination. They're saved with the project. ### 6. Effects - **FX held** turns the keyboard into effects that act while you hold the key and come in on tempo: REPEAT, LPF/HPF, octaves, stutter, short/long decay, ARP, RANDOM… (details in [Controls](#controls)). With REC armed and playing, they're recorded into the section's lane; G5 erases it. - **FX** pages: DIST and AUTOPAN per track; SLICER, SL BUS, SL BUS 2 and SL PITCH (the slicer bus, per section); the global DLY / DLY 2, REVERB / REVERB 2, CHORUS and MASTER. - **AUTOPAN** (FX, after DIST): the track's pan swings left and right around its PAN. **DEPTH** how far (0: off), **RATE** how fast, **SYNC** BEAT (RATE in divisions, 4 BARS to 1/32, in time with the bar while playing) or FREE (RATE in Hz), **WAVE** SIN, TRI, SAW, SQR or S&H. Square and S&H jump side to side without clicking. The screen draws the stereo field with the swing running down it and a dot where the sound is now. - **CHORUS > STEREO**: the chorus's stereo spread. 0 sounds as it always did; down to mono, up to about twice as wide. **REVERB > TYPE** (KNOB 1) picks the model. **SIZE is the decay** on every model: the top of the knob gives very long tails. The other knobs change meaning with the type: | TYPE | What it is | SIZE | DAMP | MOD | RATE | WIDE | | --- | --- | --- | --- | --- | --- | --- | | **ROOM** | Classic room | Decay | Darkens the highs | Modulates the tail (chorus) | Modulation speed | Stereo | | **SPRING** | Amp spring tank | Spring length and decay | Darkens | How much it wobbles | Wobble speed | Stereo | | **SHIMR** (shimmer) | A room that rises an octave on every pass: angelic tail | Decay | Darkens | **How much shimmer** (0 = ROOM) | — | — | | **RESO** | Four strings ringing **tuned to the scale** (I, III, V and VII of ROOT/SCALE). On RESO, PRE becomes **PITCH** (the chord 0–14 steps up the scale) and DAMP becomes **FOLLOW** (OFF / T1–T6: the chord follows the lowest note that track plays, gliding) | Decay (how long they ring) | FOLLOW | Past halfway: opens the chord an octave | — | — | | **CLOUD** | Granular wash: grains of the last ~0.7 s, scattered and bloomed into a reverb tail that feeds back into itself | Decay; **at max it freezes** the cloud | Darkens | How many grains change pitch (×2, ×½, fifth), plus a chorus on the tail | Grain density | Stereo spread of the grains and the tail | PRE (pre-delay) and FILT (input tone) work on ROOM and SPRING; on SHIMMER and CLOUD the PRE knob is **AIR** (±24 semitones), on RESO it is PITCH (and DAMP is FOLLOW). LOAD LITE / ECO swaps the heavy ones while they sound (see GLO > SYSTEM). Ideas: RESO on the drums so the kit sings in the song's key; CLOUD with SIZE at max to freeze a chord and keep playing over it; SHIMR on a slow pad. **MASTER**: CLIP saturates without raising the volume (the leveler compensates), PUNCH fattens the drums (more body and density, the tails stay whole), DUCK makes the kick pull the rest down. The leveler is always on: no need to babysit the volume between patches. ### 7. Sequencing and modulation - **SEQ**: steps, piano roll, per-step locks, chance, ratchets. **REC** arms live recording; moving a knob while it plays records automation. - **SEQ > TRACK**: PITCH transposes the sequence, CHANCE thins it, HUMAN loosens it; STRETCH's ROTATE reads it from another step. **SCL**: ROOT and SCALE apply to every track (and to the RESO reverb). - **LFO > MSEQ**: a 16-step modulation sequencer. KNOB 1 picks the step, KNOB 2 its level, LEN and SLEW its length and smoothness; send it to a destination from MOD (SRC STEP). - Clearing: **REC + button** clears that part's automation; **SEQ + REC** clears every sequence. ### 8. Songs and scenes - **SAVE held**: F3–B3 launch sections A–D on the next bar while playing (stopped: at once; several in a row build a chain), C4–F4 store the current section into A–D, D5 toggles LOOP / SONG, E5 records the song live (SONG REC). - SAVE > **ARRANGE** builds the song: a column of rows (up to 16), each a section and its bars; + ADD adds one; the END row plays the song once, x2..x8 or in a LOOP. KNOB 4 stores a **scene** (mutes, macros, punch-ins) in the row. - 8 projects: KNOB 1 with SAVE held picks which (on release, with the transport stopped: it loads that project's section A, replacing the music; no UNDO). ### 9. Saving - **Sound presets**: SAVE > **USER**: KNOB 1 picks the slot (32), KNOB 4 SAVE stores the track's sound, KNOB 2 LOAD loads it, KNOB 3 ERASE deletes it. **SAVE + C5** names it (0.9.2). - **Project**: SAVE > **SECTIONS**: KNOB 1 the section A–D, LOAD, SAVE; SAVE > **PROJECTS**: KNOB 1 the project (1–8), KNOB 2 its section, LOAD, SAVE; SAVE > ARRANGE chains the sections into the song. SAVE from another section comes back with SAVE armed on USER and SECTIONS: **SAVE, OCT+, OCT+** stores. The project autosaves 10 s after your last change while stopped (at most once a minute; never at power-off: stop and wait a moment before switching off). MENU > SYSTEM > RESTORE LAST OFF turns it off. The full story, with what is saved where: **[the manual, chapter 12](docs/MANUAL.md)**. - **Backup**: the web editor (USB) downloads and restores everything: songs, sections, scenes and presets. ### Share your presets Made something you love? Build it on the device, save it to USER, download the backup with the web editor and share it (or just describe the idea: name, engine, what you use it for). The best ones can become factory presets in the next release. ## Building and testing See [BUILDING.md](BUILDING.md). In short: ``` ./build.sh # firmware: build/felucca.fwsc web/emu/build.sh # browser emulator: build/emu tests/run_tests.sh # host, web editor and emulator tests ``` Every change is tested in the emulator first. The published site ([juanjiant-bit.github.io/JIANT](https://juanjiant-bit.github.io/JIANT/): the front page, web/landing, with the installer, the editor and the emulator under [emu/](https://juanjiant-bit.github.io/JIANT/emu/)) is built by [.github/workflows/emulator.yml](.github/workflows/emulator.yml) on every push to `main` (in the repository: Settings → Pages → Source: **GitHub Actions**, once). ## Installing (at your own risk) 1. **Back up the flash** before the first install. **JIANT has no user samples:** if you're coming from Felucca, samples USR1–3 are lost on install (that flash now stores the songs). Keep your WAVs. 2. **Coming from another custom firmware (Felucca, baudgirl or any other)? Return to official V15 first** (the installer's **Return to official V15 first** button, which also saves a complete backup), then install JIANT: writing it straight over another custom firmware has bricked an FM-1. From official V15 or an earlier JIANT, install directly from the **[web installer](https://juanjiant-bit.github.io/JIANT/webapp/installer/)** (Chrome or Edge, the FM-1 connected by USB straight to the computer). It checks the FM-1 first and writes only over official V15 or JIANT. It offers the **approved** version only: every change merged into `main` goes first to the [emulator](https://juanjiant-bit.github.io/JIANT/emu/), is checked there, and only then reaches this installer ([web/STABLE](web/STABLE.md)). Offline: `python3 tools/fm1_install.py build/felucca.fwsc`. 3. **Since 0.6.71 JIANT uses both cores** ([details](#both-cores-dual-core)). If your FM-1 crashes, freezes or clicks more than before, hold **REC** while switching it on (one core) and tell us what MENU > SYSTEM > ABOUT says. 4. To go back to the official firmware, use M-VAVE's updater or the installer's **Return to official V15**. **If the installer does not install** (no WebMIDI, MIDI blocked, FM-1 not found, the port busy with another program, an older official firmware, Felucca / Skiff, where to get FM-1.fwsc, an install cut half way): the installer shows a *What to do* box for each error and a **COPY REPORT** button (browser, MIDI ports, firmware, step, error) to paste when you ask for help. The steps are in the manual: [English](docs/MANUAL.md#the-installer-does-not-install-what-to-do), [Español](docs/MANUAL.es.md#no-me-deja-instalar-qué-hacer). Use Chrome or Edge on a computer (not iPhone/iPad), a USB data cable straight into it, and close the M-VAVE app, DAWs and other editor tabs. If the FM-1 stays black after an interrupted update, check whether the computer sees it as **WL80UBOOT** (or a USB device 4C4A:8057): that's the chip's boot mode and it can be recovered by running the installer again with another cable. If that's not enough, [FM-1 Transporter](https://github.com/kurogedelic/FM-1-transporter) reads and writes the flash with a Seeed XIAO RP2040. ## Documents These design notes are in Spanish. | Document | What's in it | | --- | --- | | [FELUCCA-TONIC-VISION.md](FELUCCA-TONIC-VISION.md) | The vision and the full wish list | | [FELUCCA-TONIC-SPEC.md](FELUCCA-TONIC-SPEC.md) | The phases and the working rules | | [docs/TONIC-AUDIT.md](docs/TONIC-AUDIT.md) | Audit: memory, engines, effects, SLOOP's song mode | | [docs/TONIC-SONG-PLAN.md](docs/TONIC-SONG-PLAN.md) | Song mode plan | | [docs/TONIC-DRUMX.md](docs/TONIC-DRUMX.md) | DRUM-X: the voice, the per-section kit and the phases | | [docs/TONIC-UI.md](docs/TONIC-UI.md) | The JIANT FM interface: screen map, format, flash measurements | | [Navigation map](docs/navigation-map.svg) ([ES](docs/navigation-map.es.svg)) | Every section, group and page in chain order, the six rules, the layers and the combos (made by `tools/gen_nav_map.py` from `firmware/src/ui_lens.c`; `--check` says whether it is up to date) | | [Cheat sheets](#cheat-sheets) | Controls and sound reference (PNG and PDF; made by `tools/gen_cheatsheets.py` + `tools/render_cheatsheets.mjs`) | | [BUILDING.md](BUILDING.md) | Toolchain, build, emulator and tests | | [web/EDITOR_PROTOCOL.md](web/EDITOR_PROTOCOL.md) | The editor's SysEx protocol | | [LICENSING.md](LICENSING.md) | Licenses of each part | ## Credits - **[Felucca](https://github.com/hugelton/Felucca)** by [Hügelton Instruments](https://hugelton.com) (Leo Kuroshita, [@kurogedelic](https://github.com/kurogedelic)): the whole base of this firmware; PHASE's waveforms (a port of [CrispyZebra](https://github.com/hugelton/CrispyZebra), GPL-3.0); the DRUM voices and kits; the [Fukiai](https://github.com/hugelton/Fukiai) icon font ([MIT](LICENSES/MIT-Fukiai.txt)). And Felucca's contributors: keremimo, ChanceTheMaker, andreahaku, spinkham, zednaked, jasonpersinger. - **[SLOOP](https://github.com/isod89/sloop-fm1)** by isod89 (GPL-3.0): the sections, quick chain and SONG REC system the song mode is based on. - Fonts: [Chakra Petch](https://github.com/m4rc1e/Chakra-Petch) ([SIL OFL 1.1](LICENSES/OFL-ChakraPetch.txt)), the labels; since 0.6.56 [IBM Plex Mono](https://github.com/IBM/plex) ([SIL OFL 1.1](LICENSES/OFL-IBMPlexMono.txt)), the values, and [Michroma](https://github.com/googlefonts/Michroma-font) ([SIL OFL 1.1](LICENSES/OFL-Michroma.txt)), the big titles; [Inter Tight](https://github.com/rsms/inter-tight) ([SIL OFL 1.1](LICENSES/OFL-InterTight.txt)), up to 0.4 and again since 0.8.9 the values (and the navigation map's text); in the emulator, [DotGothic16](https://github.com/fontworks-fonts/DotGothic16) ([SIL OFL 1.1](LICENSES/OFL-DotGothic16.txt)). - VOICE: after [klattsch](https://github.com/tgies/klattsch) by Tony Gies (MIT); formant data from Klatt (1980) and Hillenbrand et al. (1995). - FM6: msfa from [Dexed](https://github.com/asb2m10/dexed), Google Inc. and Pascal Gauthier ([Apache-2.0](LICENSES/Apache-2.0-msfa.txt)). - Both cores (0.6.71): the way to start the AC79's second core and the guard against its misreads after [Melodee](https://github.com/keremimo/melodee) by keremimo and [fm1-x0x](https://github.com/charlesvestal/fm1-x0x) by Charles Vestal (both GPL-3.0). - Emulator: after [X0X](https://github.com/charlesvestal/fm1-x0x) by charlesvestal (GPL-3.0). - The plugin for [tuttidaw](https://tuttidaw.com) (`web/plugin/`: the headless renderer, part stems, fractional tempo, the plugin page): weavejam's plugin build of JIANT FM, in the fork [weavejam/JIANT](https://github.com/weavejam/JIANT) (GPL-3.0-only); not affiliated with or endorsed by M-VAVE or Hügelton Instruments. - Testing and CPU work on a real FM-1: **praztalfractal** ([GitHub: gospodindilly-ops](https://github.com/gospodindilly-ops)): the load measurements behind the dual core work, the guard on the effects (0.6.76) and the hot code in RAM (0.6.78). - **[Skiff](https://github.com/illuminus5/skiff)** by illuminus5 (GPL-3.0-only), 0.9.12: the designs of two features, written anew for JIANT: 12 voices while the second core plays, and a sound type on every factory preset (browsed by type in PRESETS). JIANT also checks the FM6 voice bank's flash sector (0xE7000), where Skiff keeps its pattern bank, before reading it. - **MIDI LEARN** (0.9.12): ported from Felucca 1.5 by Leo Kuroshita (`firmware/src/midi_learn.c`, modified for six tracks and MENU › MIDI). - Package format: [JieLi AC79 SDK](https://gitee.com/Jieli-Tech/fw-AC79_AIoT_SDK) ([Apache-2.0](LICENSES/Apache-2.0.txt); three of its files go into every package, none in this tree). ## AI-assisted development JIANT is developed with the help of AI agents for the code, the tests and the documentation. The instrument's design and the decisions are made by its author. ## License Free software: [GPL-3.0-only](LICENSE), like Felucca. The fonts and the ported DSP keep their own licenses ([LICENSES/](LICENSES/)); details in [LICENSING.md](LICENSING.md). "Felucca" and "Hügelton Instruments" are names of Hügelton Instruments; JIANT is not affiliated with them. M-VAVE and FM-1 are trademarks of their owners; JIANT is not affiliated with or endorsed by them. Copyright (C) 2026 Leo Kuroshita (@kurogedelic), Hügelton Instruments — Felucca. Copyright (C) 2026 Juan Ignacio Antonucci (Juan Jiant) — JIANT: its own files and its modifications (each source file says which in its header: "Copyright" where the file is JIANT's, "Portions Copyright" where it is mostly Felucca's). JIANT's modifications are distributed under the same license. ## Changelog Every update is listed here, newest first. (Since 0.6.80 at the end of the page: what the synth does comes first.) ### v0.9.18 RATCH and ARP over the steps, the components regrouped, rolls that stay where they belong, COMP showing its step, and the BAR page gone; the LFO's MODE; the MENU as pages. - **RATCH spills over the steps after it.** RATCH and ECHO are one component: **RATCH x1–x8**, KNOB 3 the count and its shape, **FLAT** (every hit at the step's level), **FADE** (each softer: the old ECHO) or **RISE** (each louder). KNOB 4 its **RATE**: **FIT** spreads the hits over four steps on a synth and two on a drum kit, a note value fixes their spacing, and a **pitch step** moves the hits after the first (+1 DEG, −1 DEG along the scale, +OCT every other). The hits after the first now play on over the following steps instead of inside the step. A hit that lands on a step with the same note of its own (a kit: the same sound) is left out; another note plays beside it on POLY; on MONO and LEGATO the next note cuts the rest. The chance is rolled once for all of them. SEQ › CHANCE's x1–x4 is RATCH FLAT and a project's ECHO is RATCH FADE (EVEN: FLAT). The live RATCH (GLO › LIVE) stays inside each step. - **ARP plays its notes one at a time at its RATE.** KNOB 4 **1/32, 1/16, 1/8, 1/4** (then the same with the loops it plays on, 1:2 …; the other loops play the chord as written), KNOB 3 ORDER over 1–4 octaves (a single note: itself and that many octaves up), through the step and its TIEs and at least once round, spilling on as RATCH does; on MONO the next note cuts it. (0.9.17 played them inside the step.) ARP SEQ walks the melody a lap at a time as before. - **The components by family.** KNOB 2 goes OFF, CHANCE, RATCH, ARP, SEQ, WALK, PULSE, OCT, RAND, BEND, TONAL, JUMP, REV, TRIG, FILL, KILL. **OCT** is now an octave every so many loops over 1–4 octaves (CLIMB's place, UP / DOWN / UP-DN / RND). Retired and loaded as what they played: **ARP SCALE** (a WALK of the step's lowest note), the old **OCT** modes (the notes moved an octave, or OCT with that motion), **TOUCH** (its SHORT / GHOST / FLAM as the mode of each of the step's sounds), **CLIMB** (OCT), the long-hidden **C.LEN**. - **Rolls stay where they belong.** Not repeated with the step's RATCH: a sound with its own x2 / x4 / x8 on the grid (the sound's mode wins, never a ratchet of a ratchet), a hit recorded live into the step (0.9.17's ONCE) and now also a note recorded live into a ratcheted POLY step: each plays once, as heard. **GEN and the dice** write the drums' rolls on their lane (the hat's x2 / x4, a fill's roll on its sound), not as the step's RATCH, so a kick under a rolled hat no longer rolls. A sound's x2 / x4 / x8 spill as RATCH does (a hit, two, four a step); **OCT +3** recorded on a DRUM track writes the sound's x4, two hits a step as heard. - **SEQ › COMP shows where the component goes.** The owner: adding a component and setting its step, the step was not shown. The roll (a kit: the grid) now frames the step KNOB 1 picks, its whole column in violet with a tab at its foot, at once as the knob turns; every step with the same component as the one edited has an orange bar on top, a step with another component a thin line; a JUMP's TO STEP is framed orange as KNOB 3 turns. The cards' RATE now says the spacing the hits really have (a RATCH's DIV over the spread, an ARP's 1/32 read 1/4 before). - **The SEQ › BAR page is gone** (the owner: redundant). The SEQ chain is eleven pages; the BAR group holds STEP and NOTE. The bar is the roll's cursor and STEP's KNOB 1 over all 64 steps, which now accelerates when turned fast (KNOB SPEEDUP, up to x4 on 64 steps); LEN is PATTERN's. The task race: bar 3 takes 13 actions turning fast (5 with BAR). - **Fix (tests):** the web editor's "PING keeps WATCH on" waits for the push instead of a fixed 10 ms. - **The LFO's MODE: TRIG or FREE, on its own knob.** The owner: "the LFO has no TRIGGER/FREE option... it always retriggers." FREE was hidden at the left end of PHASE, and even there each new phrase still began the LFO again in a way: its **FADE** started over from nothing, so with FADE up a FREE LFO faded in again on every note (and with FADE at 0 it dropped out for one control block, 32 samples, at each phrase). Now **FREE never restarts anything**: a note (apart, legato, from the sequencer, a DRUM-X hit) leaves the phase and the fade alone, and FADE fades the LFO in only once, when the project loads (a song's next section keeps it going) or when MODE is turned to FREE. **TRIG** is as before: a new phrase restarts the LFO at PHASE and fades it in again. In time (RATE left of the slowest) it follows the bar while playing in both modes, as it did. - The **LFO** page is **RATE, WAVE, MODE, FADE**; **PHASE** moves to a new **LFO 2** page (after LFO in the chain), dimmed in FREE. The caption over the wave says the mode ("1.18Hz · SIN · FREE"). - Nothing to convert: MODE is a view of PHASE, whose −1 is FREE as since 0.6.51, so every project and preset opens and sounds as it was saved (a PHASE of FREE opens as MODE FREE, any other as TRIG at that phase). Turning MODE to FREE keeps TRIG's phase for when you turn it back (until power-off). - **LFO + SELECT** picks FREE half the time (was two in three), TRIG at any phase otherwise. - The web editor shows the LFO's **MODE** (TRIG / FREE) and its **PHASE** (TRIG's) as the device does. - **The MENU follows the rest of the system** (users found it confusing: one long list with its own rules). Since 0.9.18 it is nine pages of up to four settings, in five tabs: | Tab | Page | KNOB 1 | KNOB 2 | KNOB 3 | KNOB 4 | | --- | --- | --- | --- | --- | --- | | SCREEN | SCREEN | COLOR | SKIN | STYLE | LARGE | | SCREEN | SCREEN 2 | SCOPE | ANIMATION | SCREEN SLEEP | — | | SCREEN | LEDS | LED GLOW | SCALE LEDS | — | — | | AUDIO | AUDIO | SPEAKER EQ | TRACKS | LOAD | BPM LOCK | | AUDIO | CLICK | CLICK | CLICK LEVEL | COUNT-IN | — | | MIDI | MIDI | MIDI OUT | LEARN | LEARN CLEAR | — | | USB | USB | USB AUDIO | USB LEVEL | — | — | | SYSTEM | CONTROLS | HOLD TIME | KNOB SPEEDUP | FX LATCH | CALIBRATION | | SYSTEM | SYSTEM | RESTORE LAST | CPU CORES | CPU CLOCK | ABOUT | **SELECT walks the pages, ALGORITHM jumps tabs, KNOB n changes the setting on card n** (until 0.9.17: SELECT walked 30 rows and any knob changed the selected one). OCT− / OCT+ step the setting you turned last. The tabs are whole words (no more DISP / CTRL / SYS), the cards whole words where they fit (SPEAKER, CORES, SLEEP, CALIB, CPU MHZ, USB AUD …; no two alike on a page, no marks), the values in their heat colours like every other card, the footer **MENU · AUDIO · CLICK 5/9** (a page named as its tab not said twice: **MENU · SCREEN 2**, **MENU · SYSTEM**). The SYSTEM page holds what a power-on does (RESTORE LAST, CPU CORES, CPU CLOCK: from the next start) and ABOUT; CALIBRATION sits with the controls it teaches. Under the cards each setting has a row: its knob, its full name, its value and one plain line on what it does (for some, what the value chosen does: USB AUDIO STEMS "8 CHANNELS: EVERY TRACK + FX"). **CALIBRATION, ABOUT and LEARN CLEAR** are action cards: turn their knob right to arm them (the card says OCT+), OCT+ does it. Messages show as the usual pill and go away on their own; HUD keeps its value row at the foot (it vanished in the MENU before). - **Renamed for plain words** (the settings themselves, their values and the editor's ids are unchanged; nothing to migrate): ANIM → ANIMATION, LEDS → LED GLOW (DIM LO / DIM HI / INV → LOW / HIGH / INVERT), SCREEN OFF → SCREEN SLEEP, HOLD → HOLD TIME, KNOB ACCEL → KNOB SPEEDUP, USB → USB AUDIO, CPU → CPU CORES. MIDI OUT stays in MIDI; USB AUDIO moved next to USB LEVEL; CPU CORES next to CPU CLOCK (the crash message says MENU > SYSTEM > CORES); BPM LOCK beside the engine's load on AUDIO; SCALE LEDS beside LED GLOW on SCREEN › LEDS. - **INIT SYSTEM left the MENU**: it was SAVE › TOOLS › NEW PROJECT under another name (same dialog, same UNDO). - The web editor groups the settings by the new tabs (it reads them from the device). - Flash: the image 568436 B, 15900 B free in the slot (the BAR page gave back 384 B; the MENU pages and the LFO MODE took more). ### v0.9.17 The glitcher, one piano roll across the SEQ pages, a livelier generator and dice, slower rolls, ARP SEQ a lap at a time, VOICE's THEME, and two fixes. - **The glitcher (FX layer).** While **GLITCH, TAPE STOP, FREEZE or SHUFFLE** is down (held, or pressed with FX LATCH) the four knobs are its own; let it go and they are the macros again. The cards and the footer name it. - **GLITCH** (B3): **DENS** how many sixteenths are cut, **PITCH** each repeat that many semitones above or below the one before (a riser, or a fall), **SIZE** the repeated slice from a 1/16 down to a 1/256, **VARI** another pattern. New slices: **SKIP** (tiny fragments of the last 1/16, like a CD skipping) and **CRUSH**. - **TAPE STOP** (C4): **TIME** (1/64 to a beat) and **CURVE** (− drops at once, + holds then drops). Once stopped, **KNOB 1 SCRATCH** is your hand on the record: the end of the music, back and forth, its pitch with the speed. - **SHUFFLE** (C#5, new): the last bar's 1/16s (1/8s, 1/4s) played back in another order, **AMOUNT** of them, some at half or double speed (**SPEED**); the bar is kept compressed (ADPCM) in the same buffer. - **FREEZE** (G#4, new): the eighth after the press held as grains, **DENS PITCH SPRAY SIZE**. - **The FILTER sweep is gone**: KNOB 4's FILTER macro is the layer's one filter, and C#5 is SHUFFLE (a punch-in lane that recorded the FILTER sweep now plays SHUFFLE there). The glitcher costs nothing at rest. - **Every SEQ page is the piano roll.** The owner, on the emulator: "Why does it say PLAYHEADS on the sequencer pages? ... all the sequencer pages should have the same piano roll, each page doing something different on top of it." All twelve SEQ pages now draw the same picture, the pattern's bars in a strip and the cursor's bar as the roll (a kit: the grid), the page's marks over it: PATTERN the notes as long as GATE plays them and the odd steps late by SWING; TRACK the notes moved by PITCH outlined; PLAYHEADS the extra heads as lines while they play (the head edited 3 px; the separate lanes are gone); COMP / COMP 2 a bar over each step with that component; AUTOMATION and AUTO LIST a mark under each record's step (AUTO LIST's row framed); MUTATE a chip with the bars to the next mutation (FROZEN, MUTATE OFF). STRETCH, BAR, STEP and NOTE the roll as it was. The "PLAYHEADS" caption over PATTERN's roll is gone (playheads live on the PLAYHEADS page only), as are PATTERN's big bars, the step drawn large on COMP, and MUTATE's and AUTO LIST's own panels (the cards say the same). PHRASES and SONG keep their lists. - **The values on top on every SEQ page, in every skin.** The BOTTOM skin (its knob row at the foot put the values under the pictures) is retired: MENU › DISPLAY › SKIN steps AIR, COLORS, HUD (the editor's list too); a BOTTOM saved in the settings, or set by the editor or a restore, opens as AIR, the same word tabs with the row on top. HUD keeps its row at the foot except on the SEQ pages, where it is on top as AIR's. - **SEQ + SELECT dices with GEN's own generator.** The track's new sequence is the part GEN would write for it: on the song's harmony when GEN made the piece (its plan, genre and the track's role), so it fits the other parts; otherwise a piece's choices made up for it (the last genre, or any, in the track's key). DRUM tracks get drums; other tracks get the role their steps sound like (low notes a bass, chords a pad, else a lead or an arp). Its sound, mix and automation stay. song_dice.c's own generator is gone (7.2 KB of flash back). - **The dice never repeat themselves.** Each press mixes its moment into the random numbers. A throw never brings back the part, seed or preset of the throw before (an engine's last four presets are skipped). GEN's SEED starts each session somewhere new: the first OCT+ after power-on made the same piece every time. Bass lines vary their archetype from throw to throw. - **GEN's sounds.** Leads and arps get their own envelope shapes, with releases that fit the tempo. Filters start darker and open with an envelope, with more resonance. Leads get soft LFOs on the filter or a faster vibrato, and percussion gets its sends. Every word of the recipe now shapes the sound. - **GEN's melodies.** The lead runs over four bars as a call and an answer, built from syncopated motif cells with a late variation. The arp leaves space shaped like a figure of the bar, with ghost notes and held notes, and has three new orders. - **DRUM-X's octaves above the kit, half as fast again.** Holding a key above OCT 0 on a DRUM track now plays **OCT +1 REPEAT 1/2** (the hit every other step), **+2 REPEAT** (once a step) and **+3 RATCHET x2** (0.9.16: once, x2, x4 a step). The same goes for MIDI notes 82–93, 94–105 and 106–127. Recording writes what you hear: +1 a hit on every other step held, +2 one on each, +3 the step's sound at x2. Steps recorded before keep the modes they stored. - **ARP SEQ walks the melody one note a lap.** A step with the ARP SEQ component (SEQ > COMP) no longer plays the pattern's melody inside the step. Each time the pattern comes round to it, it plays the **next** note of the melody, in its ORDER and over its range, held over the TIEs after it like any note. PLAY from a stop starts again from the first note, as the loops of TRIG, EVERY, WALK and CLIMB do. On a drum kit the pattern's sounds take their turns the same way. SEQ's KNOB 4 was RATE: it is now **LAP**, the note this pass plays (RND: a new one each lap). Projects keep the RATE they stored, now unused. ARP NOTES and SCALE play as before. - **VOICE's THEME: one detent a theme, and no crackle.** THEME (WORDS) took 16 detents a name. Now every value with names steps one name a detent, onto the name's middle: THEME and LOOP; LOFI's WAV#, DECAY and ALGO; NOISE's LEN. The stored 0..127 values, projects, presets, automation and the editor are unchanged. Swept over a held note THEME crackled: each of its values counted as a new "list value" and dipped the voice (2.7 ms out and in), though THEME only chooses the next words. Now THEME and LOOP never dip, and the other named values dip only when the name changes. The theme changes at the next word. - **THEME between its detents: a blend.** Automation, a mod or an older project can set THEME between two detents. The lower half of a theme's 16 values (the detent included) sings that theme exactly as before. The upper half mixes in words from the next theme, from 1 in 8 up to 7 in 8. - **Fix: a drum hit recorded into a RATCH or ECHO step rolled.** Finger-drumming live into a step that already had a RATCH or ECHO made the new hit repeat with the step ("random rolls"). A hit recorded so now plays once (the lane's ONCE mode); the step's other sounds keep their ratchet. Projects store it. - **Fix: CLOUD silent at SIZE 100 %.** SIZE at its top freezes the grain buffer; after the buffer had been cleared (a new project, the reverb switched) it froze an empty line and went silent. It now fills before it freezes, and the grains' overlap limit no longer drops the level 12 dB. - Flash: the image 565072 B, 19264 B free in the slot (0.9.16: 12992 B free; the SEQ pages' old pictures and song_dice.c's generator gave back more than the glitcher and the rest took). ### v0.9.16 The idle floor. - **At rest the audio does almost nothing.** An owner's PROFILE on 0.9.14, stopped and silent: 21 % of the audio's time (SEQUENCER 7.6, MASTER 4.7, the six empty tracks 5.3, FX LAYER..CLIP 2.6, the buses 1.2, core 1 1.6). Now, once the transport is stopped, no track has a voice, a DIST tail or a fade, the effects rest and the master has settled, a block renders nothing: no track, no master chain, no job for the second core; the LFOs, DRIFT's clock and the engines' block work go on, so the next note comes out exactly as it would have (tests/hush_test.c renders a session both ways: bit for bit). Before that, while sound fades, the master stops on its own as soon as its input is 0 and its states can no longer move (bit for bit too). With SPEAKER EQ LOWCUT / BASS+ the master keeps running. - **SEQUENCER at rest**: every block, for every track, the engine was asked to describe all eight of its parameters (to notice a list value changing under a note): 48 calls into six engines' code a block, stopped too. Now only for a value that changed. - Host (callgrind, both cores' work): the CPU TEST song stopped, 336 → 120 instructions a sample (tests/cpu_vg.c idle/stopped); 30 EXPLORE pieces 20 s after STOP, 516 → 111 (0.9.13: 1533). Playing: unchanged. - The load meter (ABOUT's NOW, PROFILE's WHOLE HALF) is core 0's time in the audio interrupt, its wait for core 1 included (it is the deadline), the keyboard / USB interrupt nested in it left out; the drawing is never in it. It read 20 % at rest because 20 % was being spent; it was not overstated. - For the flash's room: PROFILE no longer has 0.9.14's "EXPLORE: DEVICE x" line and the "CPU TEST: SEE ABOUT" message is gone; the CPU TEST line on ABOUT and on PROFILE stays. - **The screen's small and medium text at two sub-pixel phases** (were four; the large face has had two since 0.5): 12912 B of flash back (the image 571344 B, 12992 B free in the slot). A letter still sits within 1/4 px of its true place and a gap between two neighbours within 1/2 px (S 0.43 px at worst, M 0.40); the drawing code is unchanged. ### v0.9.15 The FX layer, reworked. - **The FX layer reworked: sweeps, GLITCH, TAPE STOP and performance macros.** CRUSH, THROW and FILTER leave the knobs (and LPF / HPF the keys B3 C4) and become **sweeps** on the free black keys: **C#5 FILTER** (the master DJ FILTER's high-pass opening, ~32 Hz → ~6 kHz), **D#5 CRUSH** (bits and rate down, its mix up), **F#5 THROW** (the dry mix into the delay and reverb, up to all of it). Held, each goes from dry to wet over **2 bars at the tempo** on an S curve (slow out of dry, slow into wet); let go, back to dry in **a beat**. - **GLITCH** (B3): the master cut on the transport's sixteenths into live slices, repeats of the last 1/16 … 1/64, the last sixteenth reversed or an octave up or down, and 1/32 – 1/64 gates; the downbeats mostly left alone, the pattern a two-bar cycle fixed to the transport, so it grooves and comes back the same. Every slice windowed (no clicks). It borrows REPEAT's buffer (the SLICER's 32 KB); no new memory. - **TAPE STOP** (C4): the master slows to a stop over a beat (at most 0.68 s), pitch and all, then silence while held; let go, the music at once. The transition the set lacked (REPEAT and GLITCH cut time, the sweeps colour it, nothing bent it): one press at the end of a phrase. - **The knobs with FX are now four PERFORMANCE MACROS** on the whole project, built up turning right: **STEPS** (every sequence's playing length 1/2, 1/4, 1/8, one step, from where it plays, on the next sixteenth; the tracks back in phase when off), **TRANSPOSE** (+2ND +3RD +4TH +5TH +6TH along the scale, +OCT, -OCT; three detents an interval; the drums untouched), **MUTATE** (the patterns mutated around the music as it was, every bar; off, exactly as it was) and **FILTER** (the DJ FILTER's low-pass closing). **Turn any of them back (two detents) and all four are off at once** (MACROS OFF): a sudden return to the original. They stay when FX is let go; never saved, never recorded. - **The punch-in lane records GLITCH, TAPE STOP and the sweeps** too (lane values 11–15), played back on their steps. - Host cost (callgrind, x86-64, the perform test's song, 1999 instructions a sample idle): REPEAT 1/16 +108, GLITCH +144, TAPE STOP +147, CRUSH +67, THROW +73, FILTER sweep or macro +147..199 (the DJ FILTER's own cost), GLITCH and the three sweeps together +324; nothing at all while idle (bit for bit). - **The flash made room for it** (0.9.14 had 76 B free), with the sound and its per-sample code unchanged: more of the code that runs once an event (a note found a voice and started or ended, a key, a section or song row, the FX layer's buffer effect started, the PUNCH lane's steps, the engines' note-ons and descriptions, the power-on LED sweep, a fault) built for size, and kept a call where the interrupts' fast code reached it (inlined there it was built for speed: the USB control requests in TIMER5's scan, the chord glide, the arp's notes), and identical functions merged; the sound's code still first in the image. Image 584116 B, 220 B free. ### v0.9.14 CPU: measured on the FM-1 instead of estimated on a computer, and lighter where it was wasted. - **MENU › ABOUT › PROFILE (OCT+ on ABOUT): where the audio's time goes, measured on the device.** Every 725 µs block is timed where it runs (the 24 MHz timer, either core): the sequencer, **each track** (its engine; C1 when it runs mostly on the second core), the **effect buses** (and of them the reverb, the rest the delay and chorus), **core 0 waiting for core 1**, the FX layer to CLIP, the master, USB and the output, core 1 busy, the keyboard / USB interrupt inside the render and the **whole half** (= AUDIO LOAD); then the interrupt in all, the audio interrupt's latest start (µs: the screen or a flash write holding it), the late halves, how much of the time the buses rested, the UI's frames a second. Each row: the mean and the worst block of **the last second playing**, then of **the last second stopped** (grey), in % of a block. It measures from the first time it is opened until power-off. **Please photograph it** (SELECT scrolls: two or three photos) while a song plays and after STOP, and send it with the song: that is what the next version is tuned on. - **CPU TEST measured.** SAVE › TOOLS 6 CPU TEST, then PLAY for 10 s or more and STOP: its mean load is kept with the settings and shown on ABOUT and PROFILE (CPU TEST 98 % (2 CORES)). EXPLORE uses it (below). - **Stopped, the effects cost nothing.** On 0.9.13 the reverb, delay and chorus ran every sample forever, even stopped and silent (with CLOUD two thirds of a stopped song's load on the host): that was ABOUT's NOW 26 % while stopped. Now once their gate has shut (1.5–8 s after the last sound reached them) they rest, their lines silenced over the first blocks (no ghost of the last tail at the next PLAY). Host, 30 EXPLORE pieces 20 s after STOP: 1533 → 529 instructions a sample (–65 %); the power-on parts at rest: 835 → 571. - **GEN's FM6 chords no longer ring for minutes.** GEN's long releases (REL 78–104 on chords) took an FM6 patch's release rate R4 down to 1: every chord's voices sounded on for minutes after the notes and the transport stopped, at the cost of the heaviest engine (4 of 17 EXPLORE pieces still had them 20 s after STOP). GEN now keeps an FM6 part's R4 at 40 at least (~4 s at most), and EXPLORE's estimate counts FM6's own release. - **EXPLORE budgeted for the device, not the host.** The 0.9.13 budget took the host's instruction counts as the FM-1's; the FM-1 runs its code from the flash through a 32 KB cache the two cores share, so every engine and effect a piece adds costs more there (an owner's FM-1: ~90 % where the estimate said ~62 %). The estimate is now scaled by the device: its CPU TEST if it was measured (the host holds CPU TEST at 63 % with two cores), else ×1.6. Host, 60 pieces at COMPLEX 50: 717 → 502 thousandths of CPU TEST; 30 pieces played, both cores: 3063 → 2402 instructions a sample (core 0's path 1449 → 1171), every piece still with two melodic parts. - **The load governor acts sooner.** Over the budget 3 halves in a row (was 6): a voice less for all tracks; past 75 % (62 % on ECO, 70 % on one core), a voice less every half, and at the minimum of 4 still past it for 8 halves, LOAD LITE by itself — before the guard's 80 % fades voices. - **CLOUD no longer crackles when pushed.** Its grains were summed however many overlapped, and at a high RATE (from ~90, any SIZE) the loop's gain passed 1: the line ran into its clamps and the limiter crushed it. Now the grains' overlap is capped (the loop always dies away), the line bends through a soft knee instead of clamping, the grains enter the room at half the level (6 dB more headroom), a ~14 Hz low cut keeps a DC from circling, and with AIR high no grain reads across the write head (a click each). ROOM, SPRING, SHIMMER and RESO bit for bit as before. - **The flash**: the code that runs once an event (a step, a note, a MIDI message, a USB request, a sung word) and not once a sample is now built for size, as the UI is (~2.3 KB: the room PROFILE and the CLOUD fix needed); the sound's own code is unchanged and still first in the image (layout: no function an interrupt reaches fell out of it). Image 584260 B, 76 B free: the slot is full, the next feature needs room made first. ### v0.9.13 - **Songs past four tracks no longer run the CPU over: a load governor.** On 0.9.12 a song of five or six tracks could take more than the FM-1 has, and the guard (a voice faded at 80 %) came too late. Now, every 2.9 ms half: over the load budget (65 %, 55 % on one core) six halves in a row, **one voice less for all the tracks** (down to 4; the oldest released ones go first); a voice faded by the guard, two less; half a second under the budget, one back. If the guard still has to fade voices twice in a second, the sound goes to **LOAD LITE on its own** (CLOUD and SHIMMER play as ROOM, RESO as SPRING, the GRAIN delay plain, FM6 two voices) until 5 s of calm; MENU › SYSTEM › LOAD stays as you set it. Measured on the host (callgrind, a six-track song: DRUM-X VOICE ANIMAL LOFI ANALOG FM6 in chords, CLOUD, delay, chorus; and a heavy one: DRUM FM6 PHASE WHEEL NOISE FM6): one core 2258 / 2509 instructions a sample; two cores, the longer of the two cores' paths, 1642 / 1593 with 12 voices, 1229 / 1434 at 8, 1066 / 1218 at 6. 0.9.12's 12 voices on two cores cost 14–22 % more work than 0.9.9's 8 in all; the governor now takes that back when it is needed. - **After a crash, both cores again after three power-ons.** 0.9.12 turned 2 CORES off for good after any crash with both cores at work, and a unit left on one core plays every song with ~1.5x the load. Now 1 CORE lasts two power-ons; the third starts both cores again. A second crash with both cores after that: 1 CORE for good (ABOUT: CORES 1 (AFTER 2 CRASHES)) until MENU › SYSTEM › CPU. Check MENU › ABOUT: CORES 2 is what the FM-1 should say. - **EXPLORE less extreme by default, and inside the CPU.** COMPLEX is now how wild EXPLORE goes: at the default 50 the pieces are adventurous but musical (tempos 80–165, the commoner modes more often, polyrhythm on three tracks at most, fewer PLAYHEADS and out-of-key colours); at 100 every rule broken as before. Each piece is estimated (its parts by engine and voices, the reverb, the delay's grain, PLAYHEADS) and made lighter until it fits 65 % of the audio's time with two cores, 55 % with one: a heavy engine as LOFI or ANALOG, CLOUD / SHIMMER as ROOM / SPRING, the texture, arp or lead left out, the grain off, fewer PLAYHEADS and chord notes. Host scan of 500 seeds against the CPU TEST song (its mean taken as ~63 % of a half with two cores, ~77 % with one): two cores, the mean load at most 0.98x CPU TEST (62 %), the 99th percentile of the halves at most 1.12x (71 %); one core, mean at most 0.80x (median 0.60x, from 0.75x), 18 pieces of 500 a little over 55 % (the floor: drums, bass, two-note chords). The genres and RANDOM are not trimmed. MANUAL › GEN. - **GEN's sounds move, and no more sirens.** The lead (track 5 of six) had a 1–2 semitone pitch wobble at 1–2 Hz half the time, plus whatever LFO its preset carried. Now every sound starts with its LFO routes cleared; a **vibrato only on a held lead** (now and then a held pad): a fifth of a semitone, ~5 Hz, fading in. The **filter moves** on almost every melodic part (its envelope, and on chords, arps and textures often a slow LFO over one, two or four bars at the genre's tempo), and each role has a **release** of its own (bass short but never a click, chords long). **Chord progressions** on 97 % of the pieces (79 % before; one-chord pedals now and then), the arp following the chords; ANIMAL a quarter as often in EXPLORE. - **DRUM-X octaves half as fast.** Held keys on a DRUM track above the kit's octave: **+1 REPEAT** (the hit once a step, a roll), **+2 RATCHET x2**, **+3 RATCHET x4** (were x2, x4, x8); recorded as heard. MIDI's bands the same. - **More room in the flash**: the app's slot grows by 2772 B (to 584336 B), up to where every loader already writes (0x93000): no change to the update loader, the package or the installers. Image 582900 B, 1436 B free (was 1248 at 0.9.12 with 580316 B). ### v0.9.12 A beta (the emulator and `preview/webapp/installer/`); the official installer stays on 0.9.9 until it is tested on the device. - **The crackle of 0.9.10 / 0.9.11: the sound's code pinned in place (candidate fix).** On the owner's FM-1 0.9.9 played clean and 0.9.10 / 0.9.11 crackled on every output, the load meter up to 94 %, while the host measured the same work. Nothing in the sound changed in 0.9.10, and the code that runs from RAM is byte for byte 0.9.9's. What changed is *where* the rest of the sound sits in the flash: the FM-1 runs most of its code straight from the flash chip, through a small cache that keeps only a few KB of it close at hand. Code at some addresses competes for the same cache places as other code and keeps throwing it out, so the same work costs much more. 0.9.10's two new drawings (VOICE's tract, LOFI's chip: +6 KB of screen code) came before the engines in the image and pushed every engine's render 6 KB further (analog_render 0x020573F8 → 0x020598BE) while the effects and the mix stayed where they were: the renders and the effects now collided in the cache. Now everything an interrupt reaches (the renders, the effects, the second core's jobs and their tables: 350 functions, 244 tables) comes first in the image, in name order (`tools/build.py audio_sections`, `app.ld`), so a change of the screens can no longer move the sound. To be confirmed on the device (SAVE › TOOLS › 6 CPU TEST, MENU › ABOUT › AUDIO LOAD). - **Safe by default on FM-1s that crash.** Some FM-1s crash now and then (a red "JIANT CRASH" / "FELUCCA CRASH" screen, even idle) since both cores work (0.6.71). Now: - **MENU › SYSTEM › CPU: 2 CORES / 1 CORE**, kept with the settings (2 CORES by default, as before; editor id 23). A crash or a hang (watchdog) while both cores ran, or the second core giving up (a misread, no answer, a fault), **turns 2 CORES off for good**: the next start says **2 CORES OFF AFTER A CRASH — MENU › SYSTEM › CPU** and ABOUT reads **CORES 1 (AFTER A CRASH)**. Until 0.9.11 that lasted only until the FM-1 was switched off. - **MENU › SYSTEM › CPU CLOCK: 360 / 320 MHZ** (editor id 24): JieLi rates the chip at 320 MHz; the FM-1's boot runs it at 360. Switched at power-on, before the audio and the second core, with curist's switch from [fm1-clk320-probe](https://github.com/curist/fm1-clk320-probe) (MIT, `firmware/hal/fm1_clk320.h`), as [Skiff](https://github.com/illuminus5/skiff) does. ~11 % less CPU: the load governor sheds voices sooner on the heaviest songs. ABOUT shows the clock it runs at. - **One core: the load budget a little sooner** (55 % instead of 65 % of a half before new voices wait), so the peaks have room without the second core. - **The crash screen says more**: the version, the core that faulted and how many ran, a short code (IL illegal instruction, BU bad address, ST stack, ...; MANUAL › Troubleshooting) and the five numbers labelled (VEC PC EMU DBG RETS, the same as every crash screen since Felucca, now named). - **The last crash is kept** in the settings record (also after a power-off): MENU › ABOUT › LAST CRASH, the editor's settings backup, the console's `crash`. A hang (a watchdog reset) is logged too (code WD). - `tools/crash_decode.py`: a photo's numbers to the function that failed, from the build's ELF. - **Fixed: the flash written while the second core worked.** Every flash erase, write and read turns the flash off (interrupts off); the second core's jobs from the audio interrupt were always back by then, but the 48 kHz USB resampler's (0.8.9) runs on after it: a fault in it then would have run the exception vectors from a flash that was off. Now the flash driver waits for the second core first (`fm1_mc_park`). - **USB audio: fewer register round trips in TIMER5** (0.9.10 polled the endpoint on every 10 kHz tick, also inside the audio render): a packet just queued is not polled for 0.6 ms (it cannot have gone yet), ~4 polls a ms instead of ~10, the stems timing as 0.9.10. - **12 voices with the second core** (after [Skiff](https://github.com/illuminus5/skiff) by illuminus5): while two cores actually run (MENU › ABOUT CORES 2), the tracks share **12 voices** instead of 8; one core (MENU › SYSTEM › CPU 1 CORE, 2 CORES turned off after a crash, REC at power-on, a core given up mid-session: from the next note) keeps 8, LOAD ECO 6. A track still has 8 of its own (no RAM more). The load control stays in charge: the load budget and the overload guard (80 %) measure core 0's half with its wait for core 1 in it, so they keep the render in time either way. Measured (callgrind, `tests/cpu_vg.c`, six ANALOG / FM6 chords, 24 notes held, every FX on): one core with 8 voices 3241 instructions a sample; two cores with 12, 3925 in all, **1949 on core 0** (the audio ISR's own share: 60 % of one core's with 8). `tests/regress.c` (12 / 8 / 8 REC / 6 ECO, each part ≤ 8, a core lost), the dual-core test compares one core and two at the same budget. - **Sound types and PRESETS by type** (after Skiff): every factory preset has a type, **BASS LEAD PAD KEYS PLUCK BELL VOX DRUM FX**, in the free bits of its MONO byte (no format, nothing stored changes). SAVE › PRESETS' **LIST** (KNOB 4) steps ALL → FAV → BASS … FX: KNOB 1 and the PRESETS knob then browse that type over every engine. The type is kept with the settings (a byte no engine uses; older settings: ALL). The generator (GEN) keeps bass sounds off the other roles by the type instead of their names (a REESE is now a bass too). PROGRAM CHANGE numbers stay those of ALL. - **MIDI LEARN** (ported from Felucca 1.5's, by Leo Kuroshita): **MENU › MIDI › LEARN ON**, turn a knob on any page that edits a track's parameter, send a CC: learned (**CC21 > T2 CUT**), then it sets that parameter as the knob does (and is recorded as automation) on any channel ROUTE hears, over USB and TRS. Ten at most; one CC a parameter; **LEARN CLEAR**; the reserved CCs (CC0 1 6 11 32 38 64 96–101 120–127 and the standard map's 5 7 10 16–23 71–75 91 93 94 102–105) refused ("CC7 RESERVED") and doing their own. Kept with the settings (in the favourites row of the retired DIGITAL engine, 30 bytes; older settings: none learned), not in projects. Its state in the pool (8 B), none among the audio ISR's globals. - **MENU in five tabs: DISPLAY · CONTROL · AUDIO · MIDI · SYSTEM.** **MIDI** is new, before SYSTEM (as Felucca 1.2's): MIDI OUT (moved from CONTROL), LEARN, LEARN CLEAR. **LOAD** moves to **AUDIO** beside TRACKS (as in GLO › SYSTEM); **SYSTEM** holds USB SERIAL, RESTORE LAST, CPU, CPU CLOCK, CALIBRATION, INIT SYSTEM, ABOUT (seven). The editor sees MIDI OUT in the MIDI tab and LOAD in AUDIO (their ids unchanged; SYSTEM's tab index 3 → 4). The tabs show short names when five do not fit (DISP CTRL AUDIO MIDI SYS); MENU's tile view (renders only since 0.9.2) is gone. - **Parameter locks: choose the page while you hold the step.** Until now a step's knobs locked the four of the sound page visited last, so locking DECAY and then FOLD on one drum step meant leaving SEQ › STEP for EDIT and back, twice. Now, with a step held on SEQ › STEP (the roll's entry or a DRUM grid key), **SELECT walks the track's EDIT pages** (the same chain as SELECT on EDIT, less the pages that cannot lock: DRUM's SOUND 1–4, KIT 3 and X-MOD hold the kit's own values; FOCUS and FM6's operators): DRUM-X KIT → KIT 2 → LEVELS → LEVELS 2 → FILTER → STEREO → VOICE, a synth EDIT 1 → EDIT 2 → FILTER → MORPH … Without leaving STEP the cards show that page's four (locked bright, the sound's own DIM) and the footer says **LOCK · KIT 2 2/7**; the knobs lock them on the held step(s). Let go and the page stays the locks' (the next hold starts there; EDIT opens on it). SELECT with a step held used to leave STEP; with none held it walks SEQ as before. DRUM-X: the lane picked with the black keys gets the hit, the lock stays the step's (LEVELS locks one sound's level). The manual's *Parameter locks* also says plainly what clears what since 0.9.2 (EDIT never clears a step; SEQ + G5 does; a held step + EDIT clears only its locks) and points to SEQ › AUTO LIST to edit a lock or recorded automation on a particular step. - **The USB name is "JIANT", and Windows finally shows it.** Ableton Live (and every Windows program) kept listing the FM-1's MIDI port as "Felucca" long after JIANT renamed it: Windows' USB audio driver stores a MIDI port's name in the registry under a key made of VID, PID and the product string's *index* (not its text), the first time it sees the device, and never reads it again; Felucca and JIANT shared all three (1209:0001, index 2). The product string moves to index 4 (`firmware/src/usb.c` USB_STR_PRODUCT), a new key, so the host reads the name again, and reads **"JIANT"** (was "JIANT FM"): the port in Live / Windows is "JIANT", on macOS the device and its port "JIANT", on Linux "JIANT MIDI 1". The manufacturer stays "Juan Jiant", the update loader "JIANT Update" (also on the new index); VID/PID and bcdDevice unchanged. The installers (web and `tools/fm1_install.py`) and the editor tell the firmware by its identity and INFO reply, not by the name, and accept "JIANT", "JIANT FM", "Felucca" and Windows' numbered names. macOS may keep a renamed device's old name in Audio MIDI Setup: delete the old FM-1 entry there (unplugged) once. - **The FM6 voice bank's sector is checked before it is used**: Skiff keeps its pattern bank at 0xE7000, where JIANT keeps the FM6 voice bank. A bank there was already read only with its commit record and CRCs right; now the power-on also never erases that sector to finish a copy unless it is erased or holds a bank of ours (another firmware's data reads as no bank and stays as it is) — only a bank you send from the editor writes over it. `tests/fm6bank_test.c`. - **Copyright**: "Copyright (C) 2026 Juan Ignacio Antonucci (Juan Jiant)" in the header of every file JIANT wrote ("Portions Copyright" in the Felucca files it changed substantially), Felucca's lines kept; README, LICENSING.md and MENU › ABOUT (which now names Felucca and Skiff in its credits) say so. The license is unchanged. - Memory: image **580316 B** of 581564 (0.9.11: 576192; 1248 B free); .data + .bss **79556 B** of 98304, pool spare **9504 B**, RAM code **22812 B** of 25600 (1 KiB more room, from the pool, for the 320 MHz switch). cpu_vg: every case within its baseline (two cores, 12 voices: 1949 instructions a sample on core 0). The navigation map and the cheat sheets regenerated at v0.9.12. ### v0.9.11 - **GLO › LIVE: the six sequences in parallel, with live modifiers** (the approved mock-up *secuencias*, its MANO and RIELES versions), a new first group of GLO (**LIVE · MIX · GLOBAL · SYSTEM**; at power-on GLO still opens the MIXER). **MANO** makes the keys a performance board: the black keys 1–6 pick the tracks while held (several at once, none = all), the white keys are momentary modifiers (/2 x2 3/2 2/3, LOOP 8 4 2 1, REV, PING, RATCH x2 x3, THIN, OCT±, RETURN) with a LATCH key, GIRO and RND; KNOB 1–3 RATE LOOP THIN, KNOB 4 the DJ FILTER; off the page the keys play notes again. **RIELES** draws six rails, each loop at its own length with its playhead and its ghost; KNOB 1 PISTAS (ALL, then T1 … T6, SYN, DRM), KNOB 2 RATE (/4 … x4 with 2/3 and 3/2, on the next beat), KNOB 3 CORTE (the first N steps), KNOB 4 DENS (THIN ← → RATCH x2–x4). Both pages drive one set of modifiers per track (the knobs a latched layer, MANO's keys on top). Never destructive: a ghost playhead keeps each track's true place; OCT− tapped RETURNs on the next beat, held is BYPASS (the original), OCT+ twice COMMITs into DIV (or STRETCH), LEN, ROTATE and CHANCE, with UNDO (GLO + G4). Recording while modified writes at the ghost's step. Not saved (performance state). Nothing in the audio render (cpu_vg song/cputest as before); the sequencer alone: see seqtick/plain vs seqtick/live in tests/cpu_baseline_vg.txt. Flash +7108 B (image 568940 → 576048 B), .data + .bss unchanged, the pool's spare 10784 → 10528 B, RAM code 22460 → 22512 B. tests/live_test.c; the manual's § 11. - **LOFI quieter and less piercing, BYTEBEAT above all.** Coming to LOFI from another part (T5's FAT BASS → T4's BYTEBEAT, worse after a quiet one) was a jump and a fright. In LUFS LOFI measured as loud as the others (the master's leveler evens out peaks), but its waves are full-scale and dense, spread over the whole spectrum: a Zwicker-style loudness put the factory presets' median 6 phon over the melodic engines' (BYTEBEAT over the loudest ANALOG preset), their sharpness at twice the others', ~35 dB more of their energy above 6 kHz. Now LOFI's level is set by WAVE on the voice's amplitude (BYTE and FLOAT −6 dB, PLS SAW NOIS −4.5, WRAM −3, TRI −1.5: user presets and every project too), and a fixed one-pole (−3 dB at ~7.5 kHz) files the top of the chip waves and FLOAT, BYTE's own two smoothing poles lowered from ~6.3 to ~4.9 kHz; the FILTER page's CUT keeps its scale. Factory presets' medians (C4 at 100, dry, through the master): −12.4 → −14.7 LUFS (the melodic engines −12.3, ANALOG FM6 VOICE −13.2), 88.8 → 86.1 phon (82.5), sharpness 1.58 → 1.44 acum (0.72); BYTEBEAT −11.6 → −15.0 LUFS, 92.0 → 88.4 phon (ANALOG's loudest 91.0); FAT BASS → BYTEBEAT +1.8 LU / +5.8 phon → −2.7 LU / +1.2 phon. **Old projects with LOFI sound quieter and a little softer** (raise the track's LEVEL if a mix needs it). LOFI's golden renders change (and the mixes with a LOFI part), no other engine's; cost: BYTE −2 %, the chip waves and FLOAT +1.4–3 % (callgrind, 8 voices), the target's lofi_render loop 253 → 260 (budget +10 %); flash +160 B. - **The web installer diagnoses itself** (many could not install). Every failure has its own message and a *What to do* box, in **Spanish**, English and Japanese, and **COPY REPORT** copies what it saw (browser, MIDI ports and what each answered, the FM-1's identity and firmware, the step, the error). Told apart now: no WebMIDI (iPhone/iPad, Safari, an old Firefox), MIDI refused or blocked, a MIDI service that fails to start (asked again), **a port another program holds** (Windows: the M-VAVE app, a DAW, MIDI-OX), a port that does not answer, no FM-1 at all, official **V13/V14 and a future V16**, **Felucca** (FM-1_9XY, INFO 1.x), **Skiff** (FM-1_7XY: it was taken for an official firmware and sent to V15 without its backup), other firmware, an FM-1 that never starts the update, the loader not appearing, the wrong file for Return to official V15 (the ZIP, another version, a JIANT package), WL80UBOOT (a WebUSB check). More robust: scans again with backoff, UPGRADE asked again when nothing was read, the loader waited 90 s (was 30: a driver install on Windows), a fresh MIDIAccess while waiting, Windows port names paired (MIDIIN2 (FM-1)), an FM-1 under an unknown name probed when alone, INFO and the backup's reads retried (a late reply skipped), the backup's LIST given 8 s. **Return to official V15** saves Felucca's and Skiff's complete archives (samples, Skiff's pattern bank: restorable with their own editors) and, when a firmware cannot make one or the backup fails, asks before going on without it (no dead end). The editor lets the FM-1 go while the installer writes in another tab. **404.html**: old and mistyped links (/JIANT/installer/, /JIANT/webapp/, a link with ":1:1" stuck) go to the page they meant. The installer's flows moved to web/fm1diag.js; web/test_web.mjs runs each failure path against a simulated FM-1 and the page in a fake DOM. Manual § 16: "The installer does not install". ### v0.9.10 - **VOICE draws its vocal tract alive** (the mock-up's variant C, "Tracto vivo"), in place of 0.9.4's CT head: framed close (~80 × 62 units: the mouth and the neck; the crown off the panel), the head's outline a faint ghost and the vocal tract a glowing tube of two walls from the lips over the palate and the velum down to the glottis, the trachea under it. The tongue (its floor), the jaw, the lips and the place of each consonant shape it as before (it narrows and heats where it closes); for m n ng the velum drops and a branch to the nose opens. Each glottal pulse is a bulge travelling up the tube (up the nose for the nasals), the vocal folds open and shut as a V, sound waves leave the mouth (the nose), and the head nods a little at each vowel's onset (WORDS off: each note) and sways and breathes slowly with the level; still in silence, as before. **The jaw now opens downward** (0.9.4's turned it up: the chin rose on an open vowel), its condyle gliding forward. UI only, nothing in the audio path (callgrind: song/cputest 3079, as before). Draw (host, callgrind, vx_voice a frame over a sung phrase): the whole panel 668 k → 255 k instructions, EDIT's left panel 598 k → 204 k, HOME's BEING 598 k → 236 k. The CT's tables, the scan line and the spine, brain and turbinate code are gone; flash +816 B (image 562748 → 563564 B: the tube's resampling, pulses and waves), .data+.bss and RAM code unchanged, the pool's spare 10816 → 10784 B (the nod, the pulses and the waves in vxs). - **LOFI becomes a chip** (the mock-up's V1 "DIP"): CHIP flattens the caterpillar into a DIP chip seen from above, gliding there in ~0.6 s (8BIT / FULL the organism, 4BIT and STEP half way, 4B/2 nearly, 1BIT the chip: the legs its pins, the rings the die's pads, the head folded into the notch, the wave as two traces on the die), and every other knob deforms it in its own way (CRUSH a stutter, MASK torn bands, FEEDBK echoes, LOOP the tail curling, DIST spikes, the filter's type its body, RES ringing contours...; see v0.9.6 below). UI only: the audio is bit for bit as before (two read-only accessors in eng_lofi.c), cpu_vg song/cputest 3079; draw +5 % (+15–21 % with HP and RES at the top); flash +5456 B. - **STEMS+IN (and STEMS) without the rhythmic glitch.** Over USB, STEMS+IN lost whole blocks of 32 frames in bursts, a few times a second, in every channel at once (STEMS too, more rarely): the next USB packet was queued too late. A 10-channel packet is on the wire for ~0.65 ms of each 1 ms frame and the FM-1 looked for the moment it had gone only every 0.5 ms; whenever that check drifted into the short gap before the host's next request, the request found nothing, the FM-1's ring overflowed and blocks were dropped. The packet is now queued within 0.1 ms of the last one leaving (checked on every 10 kHz tick; idle, the check is a few instructions, and nothing changes in the audio render). The stereo modes were not affected. A take recorded before cannot be repaired: record it again. (tests/stems_usb_test.c now models the bus time and the drift, and shows 0.9.9's timing losing up to half the frames in STEMS+IN.) - **MENU › SYSTEM › USB takes on the first try.** A mode change (CONSOLE, STEREO, STEMS, IN+OUT, STEMS+IN) dropped the FM-1 off the bus for only ~25 ms, too short for some phones and hubs to see it go: they kept the old mode, and STEMS took several switches to appear. It now stays off 0.5 s before attaching with the new descriptors (each mode already has its own bcdDevice); the console off and the stems on in one change still drop it once. - Memory: image **568940 B** of 581564 (0.9.9: 563020; 12624 B free); .data + .bss **79556 B**, pool spare **10784 B**, RAM code **22460 B**. cpu_vg song/cputest 3079 as 0.9.9; the golden renders unchanged; the TIMER5 tick ~1 % longer while a USB audio packet is queued (within its budget). ### v0.9.9 - **DRUM-X, VOICE and ANIMAL first: the tracks at power-on.** The FM-1 (and MENU › SYSTEM › INIT SYSTEM, SAVE › TOOLS › NEW PROJECT) starts with **T1 DRUM-X** (the factory kit), **T2 VOICE SINGER EN** (it sings English words), **T3 ANIMAL CMOS BIRD**, **T4 LOFI BYTEBEAT** (the bytebeat organism), **T5 ANALOG FAT BASS** and **T6 FM6 TINE EP**, each its preset's sound (EDIT values, envelope, MONO / POLY, VOICE's words, FM6's patch) and dry: no DIST, CHORUS, DELAY or REVERB send (until 0.9.8: T1 ANALOG, T2 FM6, T3 LOFI, T4 DRUM, T5 PHASE, T6 WHEEL at their engines' defaults). With TRACKS 4, the default, T1–T4 play: drums, a voice, a bird and a bytebeat. INIT SOUND on a track is as before (its engine's own defaults). - **The engines in that order**: PRESETS (the list and KNOB 2 ENG), the web editor's engine lists and the cheat sheet show **DRUM-X, VOICE, ANIMAL, LOFI, ANALOG, FM6, PHASE, WHEEL, NOISE** (DIGITAL, in FELUCCA_FM4 builds, last); was ANALOG FM6 PHASE LOFI VOICE WHEEL NOISE DRUM ANIMAL. Only what you see moved: the engine numbers that projects, user presets, favourites, backups and the editor protocol hold are the same (a display-order table maps the selector to them), so everything saved before loads unchanged; the old formats' extra tracks still load as 0.9.8's power-on sounds. **PROGRAM CHANGE** follows the new order too (program 0 is the DRUM-X kit): a MIDI rig set up for 0.9.8 or older needs its program numbers set again. - Everything that looks for the drums finds them on T1: the DRUM-X kit and its octaves, the grid, MIDI, GEN / DICE's drum part all ask which track plays DRUM (GEN, when none does, still makes T4 the drums, as before); the stems go by track. - Memory: image **563020 B** of 581564 (0.9.8: 562700; +320 B: the power-on table); .data + .bss **79556 B**, pool spare **10816 B**, RAM code **22460 B**, all as 0.9.8. cpu_vg every line as 0.9.8 (song/cputest 3079), target budgets met: no audio-path change. - Tests (ui_test): the power-on's six engines and presets in this order, dry, DRUM on T1 alone, each sounding with no effect and none clipping, a key and a MIDI note on HOME sounding on T1 (as the browser emulator's boot test plays them), NEW PROJECT the same value for value; the display order (every engine once, place ↔ engine round trips, DIGITAL and the retired ones where they play, KNOB 2 round); ENGINES[] numbers unchanged; PROGRAM CHANGE in the new order; a project of 0.9.8's tracks loading unchanged after the new power-on and saving byte for byte the same. The tests that asserted the old order or power-on now assert the new (KNOB 2's steps, ENGINE_ORDER, NEW PROJECT's sounds, the web editor's lists and mock); the UI tests, renders and CPU sections keep 0.9.8's tracks as their fixture (engines.c TRK_OLD). Goldens (every one a preset or project render), cpu_vg and the target budgets unchanged. The README's HOME render (tests/ui_render.c, the hero) shows the power-on tracks now; the navigation map and the cheat sheets (the engines' table in the device's order) regenerated at v0.9.9. ### v0.9.8 - **Clean USB stems** (MENU › USB STEMS / STEMS+IN; the stereo modes were not affected): the 8-channel endpoint said 720 bytes (45 frames) while the FM-1 sends 46-frame packets whenever its clock gets ahead (often: it runs a little fast); the host dropped each one as babble and paused, the FM-1's ring filled and whole 32-frame blocks were lost, ~100 a second, in every stem at once: clicks and a chopped sound. Now **736 bytes** (a build-time check that every packet fits, in every mode); STEMS / STEMS+IN keep ~1 ms more in the ring, and a frame made up after an underrun is spread over the packet (n + 1 frames read into n) instead of skipped. A track through the **SLICER** now has its own sound in its stem as the SLICER let it through (its repeats in the first such track's stem, or with the SLICER's FX ON in the FX return): the eight add up to the mix (before, that track was in its stem dry and again, sliced, in FX). **Update the FM-1 and the app, and record again**: a take made before 0.9.8 cannot be mended. - **The phone recorder (1.1)**: only whole frames are kept from a USB packet in error (a frame cut short no longer moves every channel after it); the mic sent to the FM-1 follows the clocks' drift by reading a little faster or slower instead of skipping a sample (a click in VOX); it tells an FM-1 on 0.9.7 or older in STEMS; a take being recorded is never "recovered" by the takes list and a take cut short keeps all it wrote; the trim's edges are taken by their grips, move from where they were taken and land exactly on the take's ends; EXPORT says when the take is trimmed; Spanish INICIO AQUÍ / FINAL AQUÍ / SIN RECORTE. - **VOICE sings softer and more like a singer** (LANG ES / EN / JA; the vowel presets as before, but for their glide): - **Softer S** (and z, sh, f, th): the hiss is band-passed (no fizz past ~12 kHz; s centred ~6 kHz, sh ~2.7 kHz), comes in over ~10 ms instead of switching on (s: 10–90 % in 9 ms, was 3; at most 9 % of its level a ms, was 23) and sits ~5 dB lower (s −19.6 dB of the vowel, was −14.6); the vowel's tail fades under it (~6 ms). - **Joined syllables**: the formants move from phoneme to phoneme as an S-curve (two smoothing stages, no corner), nasals keep a low, round murmur, the singers' presets release slower (REL ~190 ms) and start softer (ATK ~5 ms), so a note's vowel carries into the next syllable: no click at the joins ("sus sueños son sonidos suaves": the worst join 1.2× the sound around it, was 3.7), no hole between notes (la le li lo lu: −22 dB at the gap, was −48). - **A voice**: a vibrato on held notes (~5.5 Hz, ±20 ct, after ~0.3 s; each choir voice at its own phase; none while gliding), each glottal period its own length and level (jitter ~0.3 %, shimmer ~0.4 dB), a softer source and less presence. BUZZ at its top (the last ~12 %) steadies it all away: ROBOT EN stays a robot. - **The glide as sung**: VOICE's GLIDE is an S-curve in pitch (eases out of the note and into the next) over the same time, the formants on the vowel all the way, the syllable not re-attacked; a legato note while singing words glides ~60 ms even at GLIDE 0. The other engines' glide is untouched. - Cost: VOICE words +3 % CPU (cpu_vg VOICE.ES 1796, peak VOICE.EN6 +4 %), the vowels and every other engine as before (song/cputest the same); +0.9 KB flash, 60 B of the pool, .data + .bss and the RAM code unchanged. Goldens: the eight word presets and VOICE LEGATO (its glide) only. voice_test checks the soft s and sh, the joins, the glide's S-curve and the formants across it, the vibrato (and none on ROBOT EN). - Memory: image **562700 B** of 581564 (0.9.7: 559976); .data + .bss **79556 B** (0.9.7: 79172; the stems' fix: +384 B); pool spare **10816 B** (0.9.7: 10880; VOICE's 60 B, aligned); RAM code **22460 B** (0.9.7: 22472). cpu_vg song/cputest 3079 (baseline 3046), every line within budget; target budgets met. - Tests: stems_usb_test (8 / 10 channels for minutes into an app-like host: every frame once in its lane, no babble; the old 720 B shown losing blocks), stems_test (DICE songs: each stem bit for bit its solo render in FULL / LITE / ECO, CORES 1 / 2; the sum the mix; the SLICER GATE / STUT / FX ON), uac_test 736 B, the app's C and JVM tests; voice_test (as above). Goldens: VOICE's word presets and VOICE LEGATO only. ### v0.9.7 - **AIR, a new skin, the default of new settings** (the approved option of the "skin aireado" mock-up): HUD's look on every page (no cards, no panel box, the words light with a dark outline) with the **knob row on top**, right under the tabs; the middle of the screen is free for the picture and the footer is the breadcrumb. HOME as HUD's: the beings over the whole screen, the knob row on top fading a few seconds after the last turn. Every palette, FLAT and LINE, every lens page, layer, dialog and the MENU; MENU › LARGE keeps its big cards on top as in every skin. MENU › DISPLAY › SKIN now steps **AIR, COLORS, BOTTOM, HUD**. A new FM-1 (or erased settings) starts in AIR; settings saved before keep the skin they had (COLORS, BOTTOM, HUD), nothing changes for them. The HUD dirty-cell audit, run on AIR as on HUD: no stale pixel. - **MENU › DISPLAY › SCOPE ON / OFF** (a new row under SKIN; the MENU 26 rows, DISPLAY 8; the editor's MENU id 22): **OFF, the default** (new settings, and settings saved before, which never held it), an engine's EDIT pages draw its creature on the **whole panel**, centred, the page's name and the sound's name small in its corners (no SCOPE card, no chips); **ON** as 0.9.6 (the creature on the left, the scope and the chips on the right). Saved with the settings. - **HOME, variant A, "today's being with a face"**: each being is its species' spiky outline (the spikes as it sounds) in **three isotherms** (four before), coloured by **its own level** (quiet cyan and blue .. loud red, orange and yellow; the inner lines warmer; JIANT the creatures' ramp, other palettes the beings'), and where its nuclei were a **face**: two eyes that **shut on a hit** (0.1 s), a mouth that **opens with the level**. A muted track's being **sleeps** (a dim outline, its eyes shut). **MUTATE**: when a mutation lands the being **looks up**, its number lights **white** and **one ring in the accent opens** round it. The 36 critters and the ring of twelve MUTATE dots are gone; the granules stay; the swim, the swell and the bounces are exactly as before. Every skin. - **15 KB of flash back** (image 575384 B -> 559864 B before the rest; 559976 B with AIR, SCOPE and HOME's faces), with no feature removed, every screen pixel for pixel (225,549 screens compared) and the sound bit for bit: GEN's and the dice's drum maps and bass archetypes packed at build time (tools/gen_drum_maps.py: lanes as nibbles and 2-bit codes, shared lanes stored once), more of the main loop's files built for size, the UI's repeated idioms (the selected track, its engine, a value's colour) as functions, and code no page reached any more taken out. - Memory: image **559976 B** of 581564 (0.9.6: 575384); .data + .bss **79172 B** (as 0.9.6); pool spare **10880 B** (as 0.9.6); RAM code 22472 B (as 0.9.6). No audio change: every function the audio reaches compiles to the same code (GlobalMerge laid out as before), goldens, cpu_vg and the target budgets as 0.9.6. - Tests: ui_test (AIR the first in the menu and the default of new settings, saved settings keeping theirs, AIR's geometry on every lens page and HOME's fade; SCOPE's row, OFF by default and for older settings, saved and read back, every engine's EDIT page ON and OFF in every skin; HOME A: the face's mouth, eyes and look, a hit shutting only its being's eyes for 0.1 s, a mutation only its being's look, no critters and no MUTATE ring in every skin); startup_test (no settings: AIR, SCOPE OFF); editor_test (SKIN's order, SCOPE's id 22); ui_render draws AIR everywhere, the creatures on the whole panel (SCOPE OFF, every engine) and HOME A (home_faces, home_mutate) in every palette, skin and LARGE: 0 lint findings. ### v0.9.6 - **Every engine draws its own creature now**: the six that still showed the generic being get theirs, ported from the approved mock-up (the family's), on **EDIT › SOUND** (on the left, as 0.9.4's; the scope and the chips on the right as before) and on **HOME › BEING** for their tracks (HOME's ecosystem keeps its beings). The same thermal line art (in the JIANT palette the mock-up's ramp, the other palettes as the beings), the bichos' face and outline shared with DRUM-X's beings; each moves only while its track sounds and rests in silence: - **ANALOG: a cell ("CÉLULA")** whose membrane, three isotherms, is two cycles of its oscillators (WAVE with MORPH, DETUNE, MIX, NOISE, INT) through its filter (CUT on the note, RES) and DRIVE, drawn round in polar form: a SAW makes a pinwheel, a SQR battlements, a low CUT a soft round cell. **Spikes** grow where DRIVE clips the wave, a **ring** sits at CUT and glows and spreads with RES, NOISE gives it cilia, the two oscillators orbit inside at DETUNE's beat. - **FM6: a colony ("COLONIA")**: the six operators as little beings wired exactly as the algorithm (the 32 charts' cells and routes: the carriers standing on the output's floor, the modulators above, pulses down the wires as fast as the modulator's ratio). Each is as large and as hot as its LEVEL times its envelope now (the notes sounding), has as many spikes as its RATIO, the feedback operator a curled tail as long as FB, the carriers shouting. On EDIT, on **OPERATOR** and **OPERATOR 2** (the operator picked in the theme colour, DETUNE a shimmer; "ALG 05 PAT" and "OP3 x1.50" kept over it, the cards as before) and on **OP ENV** (the envelope as the patch has it, the stage edited lit, and the operator's bicho **riding the curve** where its envelope is now: up the attack, along the hold, down the release; "OP3" and "ATK R 95 L 99" kept). - **WHEEL: nine tube worms ("TUBÍCOLAS")**, one a drawbar, as tall as its level (the registration's digits under them, as 888000888), their crowns as many tentacles as the harmonic; **the rotor is a current bending them** (its real phase and speed, DEPTH), PERC makes its worm leap and shout, CLICK sends bubbles out of their mouths, DUST motes. - **NOISE: a swarm ("ENJAMBRE")** of protozoa round a queen with a face: **COLOR is how they walk** (white: they jitter in place; brown: they drift), **FREQ how they swirl** and the ring they keep, PEAK how tight; in DUST they flare and jump with the impulses, in LFSR / META they march in columns, a column a bit of the register. - **PHASE: a snail ("CARACOL")** whose shell's chambers sit at the **bent phase** (even at DCW 0, crowding where the phase rushes as DCW rises), coloured by the output, **its foot's sole the wave** (WAVE and WAVE2 alternating); FB frays the spiral, SUB makes the outer whorl breathe, the eyestalks pull in on each note; the second line (DETUNE, RING) a little snail following, RING a thread between them. - **LOFI: a caterpillar ("ORGANISMO DE CIRCUITO")** whose two skins are **the last 256 samples out** (read from the scope's buffer the UI already reads: nothing more from the audio), held steps on BYTE, smooth on FLOAT; its 8 segments are **the byte's bits** (BYTE: the highest next to the head), lit and lifting their legs with their bit, the antennae tipped by the two lowest, the head a bicho shouting with the level. On FLOAT and the chip waves (PLS TRI SAW NOIS WRAM) the same caterpillar, the skin the waveform and the segments lit by its level. (0.9.10) **CHIP turns it into a chip** (gliding there in ~0.6 s): 8BIT / FULL the caterpillar, 4BIT and STEP half way, 4B/2 nearly, 1BIT a **DIP seen from above**: back and belly the package's long edges, the back legs the top row of pins and the front ones the bottom row (each pin jutting with its bit), the rings the die's pads, the head folded into the notch with pin 1's dot, the wave still running as two traces on the die; the skins stair-stepped to the bits. Every other knob shows too: DUTY the rings' width, ALGO the formula's bits on the back (a ROM on the chip), WAV# the table as spines, CRUSH / GRIT a stutter and flat steps, VAR the segments scrambled, DECAY the rings dimming with STEP's volume, MOTION the crawl's speed, VIB a wave and a shiver, FEEDBK two echoes of older samples, BEND the segments crowding to the head, MASK the picture torn in bands, LOOP the segments repeating and the tail curling up; FILTER: HP only the edges with cilia growing as CUT opens, BP only the body's middle, COMB a double skin, a closed CUT a fat smooth larva, RES ringing contours; DIST the skin clipped with spikes; MORPH the head's species. Still in silence, moving with the sound. - Each draws into a rectangle it is given and scales to it (EDIT's left panel, HOME's middle, or the whole panel: a layout without the scope can use it). - Cost: **~14.0 KB of flash for the six** (image 574220 B of 581564; FM6's chart and envelope drawing they replace given back), 1.4 KB more of the pool (vxs: 1536 B; spare 11136 B), .data + .bss unchanged; drawn no dearer than ANALOG's EDIT page with its being was (host, a whole screen, sounding: 0.9.4's ANALOG EDIT ~165 µs; now ANALOG ~157, FM6 EDIT ~160, OPERATOR ~147, OP ENV ~122, WHEEL ~149, NOISE ~143, PHASE ~143, LOFI ~155 (FLOAT ~157), HOME › BEING 151–169; on the whole panel 127–146). Read-only: the track's knobs, its voices (notes, envelopes, FM6's operator envelopes, LOFI's held byte), WHEEL's rotor and PERC, the scope's buffer, as the UI already read them. No audio change: goldens, cpu_vg and the target budgets as 0.9.4. - Tests: ui_render draws them (ANALOG SAW / SQR / RING, silent, HOME, whole panel; FM6 EDIT, ALG 32, OPERATOR, OPERATOR 2 with DETUNE, OP ENV attack and release, HOME, whole panel; WHEEL, rotor FAST with PERC and CLICK, HOME, whole panel; NOISE DUST, LFSR, white, HOME, whole panel; PHASE, WAVE2 + RING + SUB + FB, HOME, whole panel; LOFI BYTE, FLOAT, PLS, HOME, whole panel) in every palette, COLORS / BOTTOM / HUD and LARGE, lint and alignment clean; every FM6 algorithm's colony linted (no two operators overlapping, inside the panel) where the chart was; FM6's operator pages checked to keep every number they showed; ui_test: each moves while it plays and holds still in silence (EDIT, OPERATOR / OP ENV / OPERATOR 2, HOME). - **With 0.9.5's messages and colours**: a toast's pill floats over the creatures as over any page, clear of their words ("ALG 05 PAT", "OP3 x1.00", the scope's rows), and the cards above them take their per-value heat colours on JIANT. ui_render draws a toast over FM6 OPERATOR and ANALOG EDIT (toast_fm6_op, toast_analog) in every skin, the pill never over a word. Both merged: image 575384 B of 581564, .data + .bss 79172 B, pool spare 10880 B, RAM code 22472 B. ### v0.9.5 - **Messages and hints stop blanking the screen.** A message on a lens page (SAVED, LOADED, an octave's name on DRUM-X, a page's hint...) was a box alone in a panel gone black for a second; now it is a small pill near the panel's foot, dark only behind its words, over the page, whose graph, roll or beings keep drawing and moving behind it, in every skin (COLORS, BOTTOM, HUD), palette and LARGE. A NOTICE question covers only its card, its tabs and its breadcrumb: the page stays in sight round it, still moving (DICE's BEFORE / NOW are the whole screen, as before). - **A page's hint waits for you to stay.** MUTATE's "OCT+ KEEP GLO+A4 FREEZE" (and its second line), MOTION's and PUNCH's "REC + PLAY ..." come only after about 0.8 s on the page, never while SELECT walks past it (walking SEQ's chain no longer carries MUTATE's hint onto BAR), and each at most **twice in all**: the count is kept with the settings (older settings start at 0), and SAVE › TOOLS › INIT SYSTEM starts them over. - **The layer hints removed.** Tapping a layer button no longer says "HOLD [X] QUICK" (it was hard to read and the layers show themselves when held); nothing is said after a tap, dwelt on or not. - **The toast pill keeps clear of the page's words.** It sits near the panel's foot where nothing is written there, else in the nearest free rows (MUTATE's "REVERT: NO ANCHOR" and hint lines, AUTO LIST's rows, MOTION's, PUNCH's stay readable); a page with no free rows gets no pill, the header says the message alone. - **Per-parameter colours as in 0.6** (JIANT palette): each card's value and gauge are coloured by its amount as heat (violet low, yellow and cream high; the value lifted a fifth toward the text), so every parameter has its own colour that moves as you turn it; a centred parameter (PAN, DETUNE, a MOD amount) by its distance from the centre. In all three skins, the knob row of BOTTOM / HUD, a layer's KNOBS gauges and EDIT's chips. The other palettes keep their four knob colours. ### v0.9.4 - **Three engines draw their own creature**, long promised, where every engine shows its being (EDIT › SOUND on the left, HOME › BEING large), in the beings' thermal line art; each moves only while its track sounds: - **VOICE: a sagittal CT of a head** (skin, the skull's two tables, the folded brain, the cerebellum, the spine, the nasal cavity, the palate, the velum, the tongue, the mandible, the lips, the pharynx, the larynx, the trachea). The vocal tract follows the synthesis: the tongue's height from F1 and its front / back from F2, the jaw open with F1, the lips rounded (o u w sh) or closed (p b m), the lower lip on the teeth (f v), the tongue's tip, blade or body on the consonant's place with a hot mark where it closes, the velum down for m n ng, the vocal folds and the trachea's rings pulsing with the voicing, turbulence out of the constriction (s sh f x, the bursts) and at the glottis (h, BREATH); WORDS: the phoneme sung (sing.c), without: VOWEL → VOWEL2 over TALK. A scan line sweeps down as it sounds. - **ANIMAL: a bird, an insect and a mammal in one**: the same points in the three, mixed; MODE sets the animal (CMOS WHSTL bird, PULSE WING insect, GLOTT mammal) and the creature glides to it (~0.6 s); SIZE leans it along insect – bird – mammal past the presets' sizes, CHAOS stirs it. The call opens the beak / jaw, swells the throat and sends song arcs out; an insect's wings buzz (PULSE stridulating, WING flapping) and its abdomen pulses; a mammal breathes. - **DRUM-X: the kit as little beings ("BICHOS")** on EDIT › KIT (the sound last struck named at the top right), EDIT › SOUND 1–4 (the sound edited lit and named) and HOME › BEING; KIT 2, KIT 3 and X-MOD keep the colony. Each drum a small being with eyes and a mouth, standing as a kit: the kick large in the middle, the snare flat on its stand, the toms on little legs, the hi-hat two shells (CH together, OH the top one lifted, its mouth open), the crash on a long stem and the cowbell a small head (BELL), the clap two little ones clapping, the rim (RS) a spark. A hit squashes its being, shuts its eyes and opens its mouth in a shout, as hard as the hit (the lane's own envelope: velocity, accent) and springing back with the sound's DECAY; a GHOST a small squash, a FLAM two (its hit to come a shadow), a ratchet repeated squashes. In the JIANT palette in the thermal ramp of the mock-up it was picked from (blue and violet outlines, the kick's core orange, a cyan floor). - Cost: ~10.5 KB of flash for the three (image 559884 B of 581564, 0.9.3's 549132 B), 160 B of the pool (vxs: no global of the RAM region moves; spare 12512 B), .data + .bss unchanged; drawn about as cheaply as a being (host: EDIT's panel 120 µs with the head, the kit's beings on SOUND 115 µs against ANALOG's being 101 µs; whole screens: KIT 167 µs, HOME › BEING with the kit 188 µs, ANALOG's EDIT 167 µs). Read-only: the singer's state (sing_view), each voice's level (env_out) and the kit's lanes (age, envelope, TOUCH, FLAM), as the UI already read them. - Tests: ui_render draws them (VOICE a e i u s m k t f, the vowels without WORDS, silent, HOME; ANIMAL as bird, CMOS, insect, WING, mammal, half insect / bird, half bird / mammal, HOME; DRUM-X's beings on KIT each sound struck alone (BD SD CP CH OH TM RS CB), a GHOST, a FLAM, a ratchet, silent, and on SOUND 1–4 struck, ghosted, muted, HOME) in every palette, COLORS / BOTTOM / HUD and LARGE, lint and alignment clean, and times them; ui_test: each moves while it plays and holds still in silence (EDIT, KIT and HOME), MODE turned in silence metamorphoses the bird into a mammal and SIZE leans it back, KIT and SOUND 1–4 draw the kit's beings while KIT 2 / KIT 3 / X-MOD keep the colony, each of a ratchet's hits squashes again. No audio change: goldens, cpu_vg and the target budgets as 0.9.3. ### v0.9.3 - **MUTATE can go back** (asked in a YouTube comment: "after the mutation, can I return to the sound I had before? The synth just keeps the changes"). MUTATE always kept its anchor (the music when it came on, PLAY started, KEEP or steps were written); now the track can return to it: - Turn a track's SOUND and PATTERN both **OFF** after MUTATE changed it and the NOTICE asks **BACK TO BEFORE MUTATE?**: **OCT+** BACK puts the track's sound and steps back exactly as the anchor holds them, **OCT−** KEEP leaves it as it is. Nothing changed: no question. - **SEQ + D5 REVERT** (the SEQ layer, every SEQ page) brings the selected track back at any time; **GLO + B4 REVERT ALL** (next to A4 FREEZE) every track that plays. The MUTATE page's OCT+ / OCT− stay KEEP / FREEZE (rule 5: the rest is a layer key); the page and its entry hint name both keys. - Only what MUTATE changes: the engine's values, the filter, its envelope, DEC, REL, the sends and the steps; never LEVEL, PAN, MUTE, the pattern's settings or the other tracks (a track on another engine since: its steps). With DRIFT the anchor is still the starting (or KEEP) point. **GLO + G4 UNDO** undoes a revert (again: redo). After a load or NEW PROJECT the anchor is the other music's: **NO ANCHOR**. - Tests: ui_test mutates four bars, turns MUTATE off (the NOTICE; OCT+ the anchor byte for byte, LEVEL and the other track kept; OCT− keeps), UNDO and redo of the revert, SEQ + D5, GLO + B4 on two tracks, no question when nothing changed, NO ANCHOR after NEW PROJECT; ui_render: the NOTICE in COLORS, BOTTOM and HUD, lint and alignment clean. - No audio change (goldens, cpu_vg, target budgets as 0.9.2): main loop only, the anchor already in the pool; RAM +16 B, image +1456 B (549132 B of 581564). Cheat sheet: GLO's A4 FRZ and B4 REVERT ALL, SEQ TOOLS' D5. ### v0.9.2 - **Navigation: six rules, the same in every section** (the approved mock-up "navegación": "beautiful but hard to navigate"). Every page, knob, picture and function is where it was; only the way between them changed. 1. **SELECT walks the section's pages** as one chain, a page a detent, stopping at the first and last (no levels, no zoom). FX: SENDS → DIST → AUTO PAN → BUSES → DLY → DLY 2 → DLY 3 → REVERB → … → PUNCH, 16 pages. 2. **The section's button**: from elsewhere the page last shown there; already inside, the first page of the next group (round). FX › DLY 2 → REVERB; EDIT › FILTER → FOCUS. 3. **PRESETS always loads presets**: the sounds everywhere (FX, ENV, SAVE included), on SEQ the patterns (the PHRASES loader, hidden since 0.6.37, OCT+ loads), on GEN the genre; nothing in the MENU. It no longer picks the bar, the step, the track, the module, the slot or the row. 4. **KNOB 1 picks**: a new **SEQ › BAR** page (KNOB 1 the bar, KNOB 2 LEN; the bars' picture), STEP's KNOB 1 walks all 64 steps; the track is always ALGORITHM's. 5. **Held = the layer**; held + SELECT kept: HOME GEN, EDIT / SEQ / LFO / FX the dice, GLO the tempo, ENV / SCL / ARP / SAVE their chain. Held + PRESETS (pages) is gone. 6. **The screen says where**: the tabs on top are the section's groups (the one shown lit, a dot a page), the footer **SECTION · GROUP · page** and **n/N** of the chain, in COLORS, BOTTOM and HUD, every palette. - **SCL and ARP** are two sections (KEY · CHORD / ARP · ARP 2). **GEN** is three ordinary HOME pages (GEN 1–3, the last group: the buttons work there, OCT+ makes, OCT− back to ECO), no longer modal. **SAVE** comes back to the page last shown, USER and SECTIONS with SAVE armed when entered from outside (SAVE, OCT+, OCT+ as before). ENV's six-envelope views are pages of their own (TRACKS, TRACKS DEST); NOTE appears once; FX's module picker is gone (BUSES is a page between TRACK and DELAY). The **MENU**: SELECT walks every row across the tabs, ALGORITHM jumps tabs, ABOUT scrolls with SELECT. - **EDIT is always EDIT**: clearing the step is the SEQ layer's new **G5 CLR STEP** (AUTO LIST: DEL REC, the record; NOTE with a note in focus: that note), and TIME turned to REST clears it too; renaming is the SAVE layer's new **C5 NAME** (USER, SECTIONS, PROJECTS). A step held + EDIT still clears its locks. - Inside: one table of chains (`ui_lens.c`) drives SELECT, the buttons, the tabs, the footer and the page titles; each section remembers its page (EDIT one per kind of track); the pages keep the pictures 0.8.5's lenses drew. Tests: ui_test's navigation tests rewritten for the chains, plus a reach test (every 0.9.1 page and its knobs reached by SELECT and the buttons, on every kind of track and LOAD) and the mock-up's 14 tasks, each in the number of actions the mock-up's PROPOSED column says (73 in all); ui_render: SEQ › BAR added, lint and alignment clean. - No audio change (goldens, cpu_vg, target budgets as 0.9.1); RAM 0 B; image −768 B (547676 B of 581564). - The web emulator and editor show no navigation hints of their own (only key maps): unchanged. ### v0.9.1 - **A DJ FILTER on the master** (GLO › MIXER KNOB 4, where the track's MUTE was): one bipolar knob on the whole mix, just before CLIP and the leveler. **In the middle it is out of the chain** (not run at all: the sound bit for bit as 0.9.0's, the CPU too); left a **low-pass** sweeping down (~15 kHz .. ~70 Hz), right a **high-pass** sweeping up (~30 Hz .. ~6 kHz), on a musical (log) scale, with a mild resonance (Q 0.72, 1.1 toward the ends). The cutoff glides and the coefficients ramp every sample (no zipper); into and out of the chain, and from one side to the other, a ~6 ms crossfade: no click crossing the middle, and turning the knob it stops there once. Stereo, a trapezoidal SVF in 64-bit products (the 32-bit one left a -31 dB floor of highs through the closed low-pass). The card shows the cutoff and the side (**1.2k LP**, **OFF**) and a small response curve. - **Automatable**: armed and playing, the knob records into the selected track's automation (AUTO LIST: DJ FILT rows; automation, no lock); a stop or the loop's restart brings the knob's value back; the editor can set and record it. - **Saved with the project** in the place of a global that was never used (G_NAME, always 0): every older project loads with it OFF. Its automation goes in a block of its own after the others, so firmware before 0.9.1 still loads a newer project (without the filter). - **Mutes**: a track is muted from the GLO layer (hold GLO, black keys 1–6, latched), as before; the MIXER still shows the MUTE badge. KNOB 4 was the only knob for it; nothing else muted only there. - Cost: none centred (every golden render, CPU baseline and target budget unchanged); on, ~200 instructions a sample on the FM-1 (target budget `djf_block` 200), the CPU TEST song +1.7 % on the host (`song/cputest.djf`). RAM +52 B (main RAM, in a section of its own so the ISR's other statics keep their places and their code), image +2.9 KB (547880 B of 581564). - The web editor: its DJ FILTER page, the global's name, automation rows named. - **REC off the grid, 4 x finer: MICRO in 64ths of a step** (was sixteenths): -32/64 .. +31/64, ~2 ms a 64th of a 1/16 at 120 BPM. Live recording with REC Q under 100 % writes it (REC Q 0 %: where you played, to the nearest 64th: within 1/64 of a step at any tempo and division, swung or not; 50 %: half way to the grid); playback honours it to the sample (a late step's notes queued, an early one's step before ending sooner); the piano roll and the big step draw it; SEQ › NOTE's KNOB 4 edits it a 64th a detent and shows **+5/64**. - **No RAM, no hot struct moved**: the 64ths are two free bits of the step's flags (bits 5-6), the sixteenth stays in `cwhen` as always, so `step_t` is still 20 bytes (its 6 x 64 in `trk[]`, the project scratch, the section stage, the tools' and GEN's copies: 0 B more). - **Projects**: an older project plays exactly as before (its sixteenths x 4: the same samples, the same bytes when saved again); the 64ths go in a block of their own after the others ('M' 'F', only when a step has some), so firmware before 0.9.1 still loads a newer project and plays each step at the sixteenth at or before it (up to 3/64 sooner). The editor's STEP_SET keeps a step's MICRO; backups carry it. - Cost: no audio change for anything recorded before (goldens, cpu_vg, target budgets as 0.9.0); image +564 B (548444 B of 581564), RAM 0 B. ### v0.9.0 The HUD skin, fixed (every finding of the HUD audit), and a faster screen there. - **HUD's HOME is about 2.5 times faster**: the beings swim under every strip, so the whole screen was sent every frame (~77 ms at the panel's 12 MHz: the UI ran at ~12 frames a second, the keys, knobs and LEDs with it). Now each strip is still drawn whole but only the 8 x 4 cells that changed go to the panel: ~22,500 px a frame instead of 57,600 (~30 ms), exactly the same picture (the beings move as before). - **No frozen beings behind the header** during the count-in or UPDATE MODE's countdown from HUD's HOME: their header is on the background, as on every other page. - **The knob row fades on HUD's HOME only**, and comes back whole when the page, the level or the set changes (it was already dim on arriving at a page). Faded, it no longer cuts dark holes and a band into the beings; the bar's outline is 1 px round the line and the bar. - **Easier to read over the beings**: a 2 px outline (was 1 px) and the grey captions (labels, units, OCT, the tabs, the breadcrumb, the beings' numbers, ROUTES) in the text colour. The header's unlit load bars are outlines, the track box's and the REC dot's corners, the REC ring's and the song disc's holes show the beings, not black. - EDIT > SOUND in BOTTOM / HUD: the page's name and the sound's name outlined over the being's spikes. - **NAME wears the skin** (BOTTOM / HUD: the skin's tabs, no boxes), as NOTICE and DICE. - MONO's inverted label chip and MENU > LARGE's card labels kept their bottom rows while a value rolls; LARGE's GEN scope moves again; the MIXER's meters fall as drawn after any redraw (no segments left lit); messages hold 39 characters (were cut silently at 23: MUTATE's "...A4 FREEZ") and longer ones end in "…"; a layer's hint ("HOLD [EDIT] QUICK") no longer follows you onto the next page. - Opening a dialog, NAME or the MENU, and the count-in's first frame, fill only round what they draw (was the whole screen and then the strips over it); the count-in sends its four cells a beat, not the screen. - The panel's SPI clock stays 12 MHz (20 MHz is within the ST7789's write spec, but not tried on the FM-1's wiring). - No change in the audio path (golden renders, CPU baselines and target budgets unchanged). Image 569528 -> 572252 B (+2724; 9312 B of the 581564 B slot free); the pool +7808 B (the cells' hashes), 23552 B spare. ### v0.8.9 - **Three skins, MENU > DISPLAY > SKIN** (the approved mock-up "skin aireado", options 1, 3 and 4), every page and palette, FLAT and LINE: - **COLORS** (the default; older settings load as it): the LENTE layout in the **0.6 colours**: black, near-black rounded cards with a small mark, **each knob its colour** on its value and bar (violet, yellow, blue, red on JIANT; four per palette), the knob you turn framed in its colour, the level tab filled violet, the track's number in an orange box with a violet ▶ and a big violet BPM, a near-black rounded panel, the beings in the 0.6 heat. - **BOTTOM**: the tabs three words, no cards, no panel box: the middle of the screen is the picture, edge to edge, the four knobs a slim row over the breadcrumb. - **HUD**: on HOME the beings swim under everything, over the whole screen; the header, tabs, knobs and breadcrumb float over them as outlined words; the knob row fades to a fifth a few seconds after the last turn. Values are in a rounded sans again (Inter Tight SemiBold), as in 0.6. MENU > LARGE keeps its tall cards on top in every skin. - **The held layers look like JIANT, not like Felucca**: MAP is the keyboard itself (F3–G5, every key named upright by what it does, held keys lit, the value violet, muted tracks pale), KNOBS the four as gauges in their colours with the layer's key words, STATE what is on as chips; the header names the layer in words ("[GLO] SET", no keycap), and so do the header's messages. The dialogs (NOTICE, DICE) wear the skin too. Every key, knob and combo does what it did. - The sound is the same: no change in the audio path (golden renders, CPU baselines and target budgets unchanged). Image 568320 -> 572288 B (+3968; 9276 B of the slot free). - **A late half no longer loses the next one (a click every time, and audio missing over USB)**: the audio ISR acknowledged a half buffer after rendering it, so a render that ran past its 2.9 ms cleared the next half's request and that half was never rendered (the DAC played 2.9 ms of old audio again; USB got 128 frames fewer). The 0.8.7 field test's heavy song had ~15 of these a second, ~50 with USB audio on. Now the request is taken first and a late render is followed at once by the next one, which catches up without a sound; a half is lost only past ~1.7 halves (the console's new `audio_lost`). - **USB audio never drops a packet and keeps its time**: every 1 ms packet goes with the frames the clocks ask (47..49 at 48 kHz); a short ring repeats the last frame (no step, unlike silence) and the repeats are made up later, a frame a packet, so a capture keeps the length and timing of the music (`uac_repeats_made_up`). Tested over minutes against a simulated 48 kHz host at ±500 ppm, renders up to 131 % and overload bursts: no empty packet, every frame sent once. - **USB audio at 48 kHz costs the render almost nothing with CORES 2**: the 44.1 → 48 kHz resampler runs on the second core after each half (while the first goes back to the screen), from RAM with its table in RAM (bit for bit the same output); about 90 % less work on the first core by instruction count (~11 points of CPU before). With CORES 1 it stays on the first core, ~20 % cheaper. Its table is stored as differences: the image ~2.9 KB smaller. - **The console's voice counters mean what they say**: `voices_given_up` counts each voice ended early once (one already fading is not counted again), split into `voices_trimmed` (tails already under −50 dB the load budget took: inaudible, most of them on a heavy song), `voices_stolen` (taken for a new note with all 8 busy) and `voices_shed` (the overload guard). The sound is the same: every golden render and CPU baseline unchanged. ### v0.8.8 - **HOME's beings roam free again, exactly as before 0.8.5**: no grid, no ring, no names. Each track's being swims by itself over the whole panel under the cards (wandering, bouncing off the walls, a hit kicking it on, swelling and heating with its sound), its MUTATE dots round it and its number under it; the selected track is the larger one, its number in the theme's colour (as 0.8.4). The cytoplasm drifts behind them again; the critters swim among them. The lens around it (tabs, cards, breadcrumb), BEING and GEN as in 0.8.7. - **DRUM-X's KIT 3 colony moves again**: its eight beings swell and shiver with each hit, as on KIT and KIT 2 (the panel was redrawn only when a value changed). The sound is the same: every golden render and CPU baseline unchanged. ### v0.8.7 - **The whole system is LENTE, as the approved HTML mock-up**: every part a lens of three levels that **SELECT** zooms (no wrap), a button's tap going round the level's sets, the levels as three tabs on top and "LENTE · LEVEL · SET k/n" at the foot. On top of SEQ, SAVE and FX (0.8.5) now HOME, EDIT, ENV, LFO · MOD, SCL · ARP, GLO, the MENU, the held layers and the dialogs. Every page, knob and parameter is still there (ui_test checks that every page an engine shows sits in a level of its lens). The sound is the same: every golden render and CPU baseline unchanged. - **FX's pictures live again**: while it plays or sounds, the echoes swell and a pulse runs along them, the reverb's tail swells under a sweep, the chorus waves run at RATE, the slicer frames its step, MASTER's meter follows the output, PUNCH's playhead walks the lane, DIST's level is a dot on its curve and AUTO PAN's dot swings (the panel redrawn every other frame while it sounds, still when silent; host draw cost: DLY's panel 48.8 µs). - **No icons anywhere, as the mock-up**: the last ones (the header's NO FILE, BPM LOCK and SONG marks, MENU > LARGE's card icons, the calibration title, the stars, the song list's marks) are text or a few drawn pixels; the Fukiai icon font is no longer in the image (11.7 KB of flash back; FELUCCA_ICONS now 0 by default). - **The dialogs as the approved mock-up**: tabs NOTICE · DICE · NAME. A question is a card under a violet rule with OCT− NO / OCT+ YES (no warning icon); a part's dice shows BEFORE and NOW side by side (the being then and now, the steps, the values) over a KEEP DICED …? strip, SELECT still re-rolling; a message on a lens page is also a toast in its panel; NAME has the CURSOR, CHAR, LEN, OCT+ cards over the name and its keys. - **The held layers are lenses, as the approved mock-up**: ALGORITHM while the button is held goes **MAP · KNOBS · STATE** (SELECT keeps the layers' combos, so ALGORITHM is the one that was free). MAP: the keys' cells with their names (no icons); KNOBS: the four cards as gauges; STATE: the key hints (were the footer) and what is on. The footer is the breadcrumb. - **The MENU is a lens, as the approved mock-up**: SELECT zooms **MENU · TAB · ROW** (it opens at TAB). MENU: the four tabs as tiles with their rows and values; TAB: the rows, the selected row's four as cards (ROWS 1–4 / 5–6); ROW: the row's values as chips (COLOR: each palette's colours). The header says MENU · DISPLAY; ALGORITHM, PRESETS, the knobs and OCT± as before; ABOUT as before. The tab icons, the switches and the sliding bar are gone. - **GLO is a lens, as the approved mock-up**: **MIX · GLOBAL · SYSTEM**; a GLO tap goes MIXER → SENDS → GLOBAL → SYSTEM → MIXER. SENDS is new: each track's DIST, CHORUS, DLY and REV as bars, the knobs the selected track's (as FX > SENDS). SYSTEM draws the tracks that play, LOAD's three settings, MIDI's route and the CPU load as a line (was the scope). - **SCL · ARP is a lens, as the approved mock-up**: **KEY · CHORD · ARP** (SCL taps KEY ↔ CHORD, ARP goes to ARP and taps ARP ↔ ARP 2). KEY: the notes round a circle with the scale joined, ROOT large, a keyboard under it (was twelve bars); CHORD: the chord every degree plays now (chord_build's, as a key would); ARP: the pattern it plays over a triad (was the scope; OFF: "ARP OFF"). PRESETS: ROOT on KEY, the track on CHORD and ARP. - **LFO · MOD is a lens, as the approved mock-up**: **MOD · LFO · MSEQ** (it opens on LFO). MOD: the matrix as a net, the sources down the left, each slot's curve to its box D1–D4 (DEST, AMT), the slot picked framed with a pulse running along it (was a list); LFO under its rate and wave / LFO DEST: the LFO small and the four amounts as rows lit live; MSEQ / MSEQ 2 under their captions. PRESETS: the slot, the track, the step. - **ENV is a lens, as the approved mock-up**: **TRACKS · ENV · STAGE** (it opens on ENV). TRACKS: the six tracks' envelopes as tiles, the selected one tinted with its level live (DEST: the three amounts under each), PRESETS picks the track; ENV: the envelope / ENV DEST as before; STAGE, a new page: KNOB 1 the stage, KNOB 2 its value, KNOB 3 LOOP, the stage shaded on the envelope over its own curve large. - **EDIT is a lens, as the approved mock-up**: **SOUND · TONE · the detail**, SELECT zooms, an EDIT tap goes round the level's sets. SOUND: the engine's being on the left (graph_being's, alive with the sound; WHEEL's and FM6's EDIT 1 / 2 too, their old pictures gone), the scope in a well and the eight E parameters as chips; DRUM keeps its colony. TONE: FILTER draws the response of TYPE at CUT with RES (was the scope), VOICE and the new **VOICE 2** page (ALLOC, UNISON's DETUNE, both unreachable before) the voices one a row and GLIDE's curve; MORPH, RETRIG, ROTOR and the kit's keep theirs. The detail: FM6's OPERATOR · OP ENV · OPERATOR 2, DRUM's SOUND 1–4, and on the other synths the new **FOCUS**: one E parameter as a gauge, KNOB 3 / 4 the source and amount of the MOD slot aimed at it (a free slot taken from OFF). PRESETS: the sounds on SOUND and TONE, KNOB 1's on the detail. - **HOME is a lens, as the approved mock-up** (LENTE everywhere): **ECO · BEING · GEN**, SELECT zooms. ECO: the six beings on a grid (the mock-up's places), each swimming in its cell with its sound, its name under it, the selected one in a violet ring; MACROS (a HOME tap): KNOB 1–4 are M1–M4, the routes counted, LATCH shown. BEING: the track's being large with its four HOME knobs as organs at the corners / ROUTES: M1–M4 and where they go. GEN is the generator as the last level (a HOME tap its page, PRESETS the GENRE, OCT− closes to ECO, SELECT left back to BEING; HOME held + SELECT still opens it from anywhere). The beings are JIANT's own (the same species, isotherms, swelling, swimming and kicks with each track's sound); new **critters** swim round them: 36 tiny ciliates, spores, drifting cells, flagellates and diatoms that gather round the tracks that sound, scatter on a hit and pulse with the output (drawn by the screen alone, nothing in the audio path). MENU > LARGE keeps its tall cards under the tabs (the scope a strip). - **A small crisp mono face, as the mock-up's labels.** The cards' names, the level tabs, the breadcrumb, the header's middle words and the lens panels' captions and chips (SEQ's STEP chips and notes, SAVE's tiles and slots, FX's tiles and captions) are set in a new 5 x 7 pixel font on a 6 px pitch (capitals 7 px, was 9 in the smallest antialiased face), one bit a pixel, capitals, lower case (the units "ms", "Hz" as the mock-up writes them), figures and punctuation (tools/gen_px_font.py: 94 glyphs, 1127 B of flash); the values keep their face. Names that did not fit now do ("DEEP", "WOBB" in the slots, cut without an ellipsis as the mock-up cuts them). - **With 0.8.5 / 0.8.6 in the lenses**: VOICE's **WORDS** is a set of EDIT's **TONE** level on a VOICE track (FILTER · MORPH · RETRIG · ROTOR · VOICE · VOICE 2 · WORDS), its picture under the lens's tabs and cards; the LYRIC typing screen is the NAME dialog (CURSOR · CHAR · LEN n/63 · OCT+ SET, the field's window following the cursor, "LENTE · LYRIC · K3 DICE · OCT- CANCEL" at the foot). The DRUM grid's HIT card names its sound's mode (x2 x4 x8 SHORT GHOST FLAM), OCT on a DRUM track still names the octave, COMP's TOUCH and ECHO EVEN read as before. HOME's **GEN** level opens on **EXPLORE** (GENRE: EXPLORE, RANDOM, then the 43 genres; PRESETS too). - **What 0.8.7 costs** (0.8.6 → 0.8.7): flash image 561072 → 567968 B (+6.9 KB: the lenses' code and pictures, the 5 x 7 face 1.1 KB, against the icon font's 11.7 KB and the replaced panels' 7.7 KB taken out); the app slot (581564 B) keeps 13596 B free. RAM .data+.bss 88960 B of 98304 (+620: each lens's level and sets, the critters); LOWBUF 18232 B of 28672 and the pool 268412 B (spare 52096 B) unchanged; RAM code 22112 B of 24576. No audio code changed (WHEEL's drw_level kept out of line, as its cost was measured): every golden render and CPU baseline as before. ### v0.8.6 - **The dice always starts in EXPLORE** (the owner: "el dice siempre empieza en modo EXPLORE, que es un modo que no sigue ningún género y rompe todas las reglas"). GEN's **GENRE** now reads **EXPLORE**, **RANDOM**, then the 43 genres; the screen opens on EXPLORE every time (at power-on, after NEW PROJECT, on every HOME + SELECT), so OCT+ straight away throws an EXPLORE piece (**LAST: EXPLORE 0421**). RANDOM (with its A+B mutants) and every genre are as they were, bit for bit: the same settings make the same piece as in 0.8.5 (tests/gen_test.c's metrics unchanged, a fingerprint of 792 pieces over every genre, RANDOM, the three FORMs identical). - **What EXPLORE throws**, field by field from everything the generator knows, its own stream a seed: a tempo from 56 to 200 BPM; any of the 39 drum maps (the procedural IDM's too) and the 8 kits, each sound pulled far from the kit's; any three of the ~60 bass archetypes against any kick rule; any chord play, voicing, arp and lead; a role's sound from a wider pool (a plucked or chip bass, a bell or organ lead, a choir or noise texture); any reverb, delay time and type, how wet, how human, any FORM. - **Its key**: a mode of seven from the SCALE page, the exotic ones likeliest (phrygian, lydian, harmonic and melodic minor, and **locrian**, which no genre takes: its diminished tonic chord is never in the plan), the lead's degrees all seven, a pentatonic, a hexatonic or a gapped set. **Its harmony**: one to four chords on any degrees in any order (non-functional moves: a chord a major or minor triad of the mode, any quality: triad, 7, 9, add9, sus, 6, quartal, power, 11), now and then a borrowed, secondary or flat-side chord where its thrown harmony takes them (the out-of-key notes), any family (loop, jazzy, pop, colour, film, jazz) with its cadences; FORM PARTS' last section moves anywhere (a semitone, a minor third, a fourth, a tritone, down), not a whole step up. - **Its time**: a chord 8 to 48 steps, the loop 8 to 64 (3/4, 5/4, 7/8 ..); **each track its own LEN** (5 to 60 steps against the loop's: polyrhythm, in nine pieces of ten) **and DIV** (1/8, 1/32, 8T, 16T, 1/4), a track's own swing, drum hits off the grid (TIMING) and on chance. - **Its sounds**: **any engine on any role**, ANIMAL and VOICE included (a VOICE sings words seven times in ten: ES, EN or JA, a W phrase or S scat), within the genres' budgets: FM6 on two tracks at most, ANIMAL and VOICE two each, NOISE never the bass, the lead or the arp; the DRUM-X **octaves per sound** on the steps (x2 x4 x8, x8 a hat's or the rim's only, SHORT, GHOST, FLAM); wide pans, glides, vibratos, the distortion's types, detune. - **Its motion**: step components scattered on every melodic part, the bass too (RAND, OCT, BEND, ECHO / EVEN, PULSE, WALK, CLIMB, ARP, TONAL, JUMP, REV; some every other loop or the first only), **PLAYHEADS** (a head on a track or two: 1/4 .. x2 or x3, any direction, -7 .. +7 degrees; a 1/32 track's never past x1), **MUTATE** on a track or two (SOUND or PATTERN every 2 .. 16 bars, ORBIT mostly); the grain delay's pitch (±5, 7, 12) and spray, ping-pong, the feedback held under 86 %. - **What it keeps**: it always plays (two melodic parts at least; LEAD never NONE), at the genres' levels; the SCALE page (ROOT, SCALE, QUANT SNAP) and the chord track's CHORD page say the key and the chords it plays; every note is in that key but the coloured chords' own tones and the bass's approaches. The same seed is the same piece. After an EXPLORE piece a genre's piece puts DIV back to 1/16 and PLAYHEADS off (the only settings EXPLORE writes that a genre's piece does not). - **Compatibility**: GEN's settings are not stored (no project or settings field holds the genre), and the value keeps its meaning: 0 RANDOM, 1 + a genre's index, EXPLORE after them (44); only the knob shows EXPLORE first. The web emulator's `web_gen(genre, ..)` takes 44 for EXPLORE, every other number as before; `dice_all` (the tests, the films, the renders) still throws RANDOM. Projects saved from an EXPLORE piece are ordinary projects (DIV, PLAYHEADS, MUTATE, lane modes, components: the formats of 0.8.5). - **Tests** (tests/gen_test.c): GENRE EXPLORE at power-on, after NEW PROJECT and where the screen opens; the knob's order (EXPLORE, RANDOM, HOUSE .., back from EXPLORE the last genre); 60 EXPLORE seeds at varied ENERGY and COMPLEX, each heard (RMS, never stuck at full scale, no more voices at once than the genres' pieces reach), each with two melodic parts, the budgets, its SCALE and CHORD pages on its key, every note in it but the colours and approaches, storable; varied (46 tempos from 60 to 191 BPM, 9 keys, 29 loop lengths, 29 drum maps, 8 engines, polyrhythm in 54 of 60, DIVs, components, DRUM-X octaves, playheads, singing VOICEs); deterministic; PARTS and SONG sections on the piece's SCALE; HOUSE 0421 identical before and after six EXPLORE pieces. FELUCCA_VERSION is v0.8.6. - **What 0.8.6 costs**: flash image 555928 → 561072 B (+5144 B: the tables 0.4 KB, the throw and the parts' extras in gen.c), the app slot (581564 B) keeps 20492 B free. RAM .data+.bss 88340 B of 98304 (unchanged: EXPLORE's state is 5 bytes in the padding), the pool 268412 B (spare 52096 B), RAM code 22084 B: unchanged. No audio path changed: the CPU baselines (tests/cpu_baseline_vg.txt, tests/target_budget.txt) are untouched; the worst case stays the shared voice budget's (8 voices, the overload guard), which EXPLORE's pieces never pass more than the genres' do. ### v0.8.5 - **VOICE sings words** (the owner: "word generation with the Voice engine in several languages, Spanish, English and maybe Japanese; a multilingual database, many words; phrases that literally sing lyrics, random or written by the user; automatable"). EDIT > **WORDS** > **LANG** ES / EN / JA turns a VOICE track into a singer: **each note sings the next syllable** of its lyric (a held note holds the vowel, a TIE holds it on, the release sings the syllable's last consonants; legato glides from syllable to syllable, a choir sings it together). LANG OFF is VOICE as before, bit for bit (the goldens are unchanged). - **The voice**: the same glottal source and Klatt cascade, now articulated. Every phoneme is a target the formants glide to (6–23 ms, block rate), with three gains: voicing, aspiration (noise into the cascade: *h*, the aspiration after *p t k*: ~45 ms in English, 20 in Japanese, 6 in Spanish) and frication (high-passed noise into the fourth resonator, tuned to the consonant: *s* ~6 kHz, *sh* ~2.7 kHz, *f* broad and weak, the bursts). **Plosives** a closure (silent, a voice bar for *b d g*; the formants at the place's locus), a burst, the vowel's transition; **affricates** (*ch ts j*) a closure into their fricative; **nasals** (*m n ñ ng*, Japanese moraic *n*) and **liquids** voiced with wide bandwidths; the Spanish tap a 22 ms dip, the trill three; glides *y w*. 46 phonemes: the vowels of Spanish / Japanese (*a e i o u*, the Japanese unrounded *u*) and of English (*ih eh ae aa ao uh ah er ax*, diphthongs as a vowel and its offglide). The release sings the coda at the note's level, not faded by the ADSR. - **Reading**: **Spanish** by rules (seseo, *ll y*, *rr*, *j ge gi*, *ch qu gu*, diphthongs and hiatus, the onset clusters *pl br tr* ..; ñ written NY), **Japanese** romaji to morae (Hepburn and kunrei, a note a mora, moraic *n*, doubled consonants as a stop, *ou* sung o-o), **English** through a dictionary of **2095 words** (the most common, from the CMU Pronouncing Dictionary, BSD-2-Clause; syllabified by maximal onset at build time, `tools/gen_lyrics.py`) and rough letter rules for a word it lacks. In a lyric, "-" holds the vowel one more note, "_" joins words (*mi_amor*). - **LYRIC**: **TEXT** (the track's own lyric, up to 63 characters) or **W1–W16**, the dice: phrases of real words from the language's bank (**306 Spanish, 272 English, 169 Japanese words** in seven themes, THEME: LOVE NIGHT SEA SKY ROAD DREAM FIRE or ANY), put together by templates (*mi luna brilla*, *in the cold night*, *kaze ga fuku*; a Spanish adjective agrees with its noun), each phrase exactly as long as the pattern's notes, the same lyric for the same seed; **S1–S8** scat (pseudo-words of the language's syllables). An empty TEXT sings W1. - **Automatable**: with LANG on the EDIT values read **POS THEME ARTIC SHIFT | BUZZ BREATH Q LOOP**. **POS** (AUTO, or 1–127) makes the next note sing that syllable when it changes: a lock on a step starts a line there, automation jumps; **LOOP** FREE / 1 / 2 / 4 / 8 brings the lyric back to its start every so many pattern loops; **ARTIC** crisp .. slurred consonants; **SHIFT** the voice's size. LYRIC (in DRUM's IMAGE slot) records as automation too. - **Writing the lyric**: on the device, EDIT > WORDS, **OCT+** (TYPE): the NAME screen for 63 characters (the field scrolls with the cursor), **KNOB 3** throws the dice into it, OCT+ sets it (also while playing: no flash write). From the web editor: a **Lyric** box on a VOICE track (LANG, LYRIC, the text; accents and ñ converted), protocol command **39 LYRIC** (INFO tag `59 01 63`). Saved with the project: FUNC's optional `L` `Y` block per track (a project without it loads with no lyric; firmware before 0.8.5 stops reading at it, so the rest loads there as before). - **The screen**: a singing VOICE's EDIT pages and WORDS show the language and source, the syllables sung, the word, its syllable's phonemes (the one sounding lit), the text from there, and a vowel chart whose dot moves with F1 / F2 (with the voicing and noise levels): the articulation the UI reads (`sing_view`: the phoneme, its place of articulation and lip rounding, the formants, the gains) is there for the sagittal CT head to come. In the mock-up's skin: the language line small and grey, square phoneme chips and a square chart frame, WORDS' breadcrumb **EDIT · WORDS**; the LYRIC typing screen is the NAME screen's. - **Presets** (appended, every sound before keeps its number): CANTOR ES, CANTORA ES, SINGER EN, UTA JA, WORD CHOIR, SCAT EN, ROBOT EN, WHISPER JA. - **Tests**: tests/voice_test.c (40 Spanish words and 21 Japanese ones against their expected phonemes and syllables, the English dictionary, every bank word's syllables, the generator's determinism and phrase lengths, the vowels' F1 / F2, *s sh f* bands and levels, a plosive's closure and burst, no click at syllable changes, DC, clipping at the corners, notes / ties / "-" / POS / LOOP with the sequencer, LANG OFF bit for bit), the lyrics' project round trip and older projects without them (tests/project_test.c), LYRIC over the protocol and the editor's mock (tests/editor_test.c, web/test_web.mjs), the WORDS and LYRIC screens linted (tests/ui_render.c), cpu_vg's eng/VOICE.ES / .EN. - **DRUM-X octaves** (the owner: "in the centre octave the DRUM-X as it is now; going up the octaves the same sounds in ratchet with the step components that exist, an octave up half the ratchet time and so on; going down something else"). On a DRUM track the keys keep the kit on the same keys at every OCT (C the kick, D the snare …); OCT now says **how** they play, and the screen names it: **+1 RATCHET x2, +2 x4, +3 x8** (in time while held: playing on the step's RATCH grid, swing included, stopped every step/n from the press); **−1 SHORT** (half the decay), **−2 GHOST** (short, ~45 % of the level, darker: a ghost note), **−3 FLAM** (a soft grace hit, the hit ~20 ms later whatever the tempo). OCT 0 is the kit as it was, bit for bit (every golden render unchanged). - **Per sound** (the owner chose it): every step holds a **mode for each of the 8 sounds** (none, x2, x4, x8, SHORT, GHOST, FLAM), on that sound's hit and its notes only. A hi-hat roll recorded onto a step with a kick ratchets the hi-hat alone; a ghost snare leaves the kick as it is. On the DRUM grid (SEQ > STEP) **KNOB 3 HIT** of the selected sound goes --, ON, x2, x4, x8, SHORT, GHOST, FLAM. The step's own RATCH / ECHO / TOUCH (SEQ > COMP; ECHO's new **EVEN** keeps its repeats at one level, TOUCH a whole step's SHORT / GHOST / FLAM) work on the whole step as before. - **Recorded as played** ("y que se graben así en record en la secuencia"): live REC writes the hit and its sound's mode, so the pass after sounds as you heard it (tested to the block); a ratchet held over several steps writes each of them (an early release in the last one puts it back, as a held note's TIE). The last hit recorded on a sound sets it. - **MIDI**: 35–81 play the GM drum map exactly as before. The notes around it, which played their octave of 36–47 plain, are now the octaves' bands by pitch class: 23–34 SHORT, 11–22 GHOST, 0–10 FLAM, 82–93 x2, 94–105 x4, 106–127 x8 (MIDI OUT sends the keys' notes the same way). **A song or setup that sent drum notes below 35 or above 81 sounds different now**: move them into 35–81 to keep the old sound. Notes stored in steps play as before, whatever their number; the keys with OCT moved no longer reach GM 56–81 (MIDI still does). - **Projects**: the same FUNC format; a step with lane modes sets bit 6 of its extension byte and adds 3 bytes (3 bits a sound). Every 0.8.4 project loads unchanged (no modes) and saves byte for byte as before until a mode is set. Firmware before 0.8.5 refuses a project holding a lane mode or a TOUCH (back up first) and plays an ECHO EVEN as an ordinary, fading ECHO. User presets' patterns have no room for the modes. The editor protocol: INFO `4F 01 07`, 8 mode bytes after a step's ratchet (written with them, read with STEP_GET's flag 1); every older reply unchanged. - Tests: tests/drumx_oct_test.c (centre bit for bit, the ratchets stopped and playing on the grid, SHORT / GHOST / FLAM measured, live REC played back as heard both ways, per sound: kick plain + hat x4 + snare GHOST on one step, recorded and played back; the grid's HIT list; MIDI bands and MIDI REC; FUNC round trip, a 0.8.4-style step packed as before, an older FUNB project with none; the OCT message, COMP); editor_test and web/test_web.mjs: the lane modes over the protocol and the installer's notice. The installer (preview and official) shows a notice (EN / JA / ES) whenever 0.8.5 is the version picked and asks to confirm a backup; the landing page does not. FELUCCA_VERSION is v0.8.5. tests/ui_render.c: the grid's HIT x4 / GHOST, the OCT messages (RATCHET x8, FLAM), COMP's TOUCH and ECHO EVEN in the mock-up's skin, every palette, linted. - **What 0.8.5 costs** (0.8.4 → 0.8.5: the words, the DRUM-X octaves, the mock-up's skin and lenses together): flash image 498108 → 555928 B (+57.8 KB: the words +41.7 KB of it, the English dictionary 18.9 KB, the word banks 7.4 KB, their code, phoneme table, UI and protocol ~15 KB; the octaves +1.2 KB; the skin and the three lenses the rest); the app slot (581564 B) keeps 25636 B free. A step is 3 bytes longer (17 → 20 B, the lanes' modes, every copy): RAM .data+.bss 84848 → 88340 B of 98304 (the tracks' 408 steps +1224, the dice / shape / GEN copies +576, the held ratchets; the six singers' state, 104 B each; the lenses' state). LOWBUF was full after 0.8.4: the project's scratch (now with the lyrics, +384 B) and the fonts' decode tables (1.5 KB) moved from LOWBUF to the pool, the section stage grew in it (+1152): LOWBUF 28064 → 18232 B of 28672 (10440 B free). The pool 247584 → 268412 B (the project scratch, the lens panel's canvas +7.5 KB, the decode tables, the lyrics; spare 72928 → 52096 B); RAM code 21676 → 22084 B. No state per voice. CPU (callgrind, instructions a sample): the heaviest section song/cputest 3079 → 3081; eng/DRUM 1579 → 1582 (a table look-up a hit, a byte test a block when nothing is held or ratchets); VOICE's vowels 1606, singing 1744 (ES) / 1727 (EN), against ANALOG's 2314 with eight voices. On the target VOICE's loop (tests/target_budget) 312 → 315 with LANG OFF, 326 singing (ANALOG's 603); drum_render 33 and dx_run 419 unchanged. - **FX is a lens, as the approved mock-up** (FX "LENTE"): **TRACK · BUSES · EFFECT**, SELECT zooms. TRACK: an FX tap goes round SENDS · DIST · AUTO PAN, each with its picture (the sends as bars, DIST's curve, AUTO PAN's swing) and DIST's curve small under it. BUSES (a new page): the six modules DELAY REVERB CHORUS SLICER MASTER PUNCH as tiles with small pictures, the knobs DLY MIX · REV SIZE · CHORUS DEPTH · SLICER DEPTH, PRESETS picks the module, FX opens it. EFFECT: the module large, an FX tap its pages round (DLY → DLY 2 → DLY 3), PRESETS the next module. Every FX page and parameter where it was; the two quick taps (the next section) are gone with the sections. The pictures redraw when their values change (the old FX graphs redrew every other frame). - **SAVE is a lens, as the approved mock-up** (SAVE "LENTE"): three level tabs, **LIBRARY · PROJECT · SOUND**, SELECT zooms (no wrap), a SAVE tap switches the level's two sets. LIBRARY: the eight projects as tiles with their sections A–D as coloured chips (the other projects read from their flash headers, a project a frame, no loading) / TOOLS as a list. PROJECT: the four sections large, the arrangement as chips ("A16", scenes dotted), the song as a strip with its length and END / ARRANGE (ROW SECT BARS SCENE; **OCT+ adds a row** after the last, PLAY plays the song as before). SOUND: the track's being (its engine's creature, alive with its sound) and the 32 user slots with small creatures / the factory sounds. Every page, knob, dialog and the NAME screen as before; SAVE from another page still opens the sound save ready (SAVE, OCT+, OCT+). On the PROJECT level KNOB 1 is the section and KNOB 2 shows its name. The sections' colours on JIANT are the mock-up's: A cyan, B violet, C orange, D yellow. - **The mock-up's skin on every page** (the owner: "I want it to be the same as the model you sent me"). Only the drawing changed; every page, knob, key and function is where it was. - **Header**: one quiet line over a thin rule, as the mock-up's: the play state (a grey square, an orange triangle) and the BPM small at the left (then BPM LOCK's lock and the REC dot), **T1 · ANALOG ACID** in the middle (on the song's pages **P1 NAME**, on FX **T1**), the octave / song row, five small load bars and an outlined battery at the right. The track's big number, the play icon, the metronome and the big BPM are gone (the track is in the middle words; the metronome stood still since 1.1.5). - **Cards**: square RAISE boxes, the name small and grey on top, the value white, a thin violet bar under it; no icons; an action armed (SAVE, LOAD, CLEAR...) a violet-tinted card saying **OCT+**. - **Footer**: the engine and sound moved to the header; the footer's last line is a small grey breadcrumb, **FX · DLY 2/3**, **LENTE · BAR · STEP**. - **The sequencer's lens as the mock-up, closer** (on top of the first pass below): its tabs 76 x 13 square at y 26, the cards 38 tall at 42, the panel 84..223 (140 px: the canvas grew from 124 rows, +7.5 KB of POOL), the footer the breadcrumb alone. BAR's roll across the whole width, 30 semitones of 4 px, the cursor a violet frame, components marked on top, slides 2 px into the next step (the keyboard strip and the C names are gone: STEP names the notes); PATTERN's cells and PLAYHEADS roll as the mock-up's (PRESETS' BAR hint gone); STEP's notes where their pitch puts them and its chips as one line each, "MICRO +3/16", "COMP1 NOTES". The notes in the mock-up's colours (JIANT: warm, an accent near white; another palette: notes in the accent, accents in the text colour). On a lens page the key hints of AUTO LIST (OCT+ / EDIT / OCT-) are not shown: the cards say OCT+. - **The sequencer looks like the LENTE design that was approved** (the owner: "it looks nothing like what you showed me in the HTML"). Only the drawing changed: the levels, the sets, the knobs and the keys work as in 0.8.3 / 0.8.4. - **The level tabs at the top.** On every SEQ page, right under the header and over the cards: three equal tabs **PATTERN · BAR · STEP**, the level you are on filled with the selection colour (violet in JIANT), the others raised. The cards, the panel and the footer move down under them (the cards keep their size; MENU > LARGE's tall cards too); the footer keeps one line, the sound and the set ("PATTERN 1/5", "NOTE 1/3"). The footer's old first row (the levels and the bar numbers) is gone; on the DRUM grid, ACC held says ACCENT in that line. - **PATTERN**: the bars as large thumbnails side by side, each a small piano roll of its 16 steps (a kit: its lanes), the bar you edit framed in the selection colour, the bar playing with its number in orange, bars past LEN dark; under them **PLAYHEADS**, the whole pattern as one small roll with the playhead and PLAYHEADS' extra heads, PRESETS' BAR hint at the right. - **BAR**: a strip of the bars, small, over the piano roll (the roll shows 19 semitones under it, was 21); the DRUM grid gets the same strip, its lanes 12 px. ALL TR sits at the strip's right when it is set. - **STEP**: as the design: **STEP n** on top, NOTE / TIE / REST (or LEN n) at the right; the notes at the left spaced by their interval with their names, the focused note in the accent; the six chips ACC, SLIDE, MICRO, COMP, COMP 2, CHANCE at the right, a value set lit, the set you are on filled. The small bar over it is gone (the tabs and cards say where you are). - Draw cost about the same (host, aligned builds: a full LENTE screen 98-103 us against 98-110 before; the roll's panel +3 us for its strip); RAM and flash about unchanged. ui_test: the tabs, the geometry and the roll / grid read back under the strip; ui_render: every LENTE screen in every palette, FLAT, LINE and LARGE, lint and alignment clean. ### v0.8.4 - **RAM freed for what comes next** (the owner: room for assignable FX buses). The sound is the same (every golden render bit for bit), projects and backups unchanged. - **The reverbs share their lines.** The five models never run at once: a TYPE change fades the old model's block out and the new one starts from silence, never a crossfade of two. So CLOUD's line (32 KB), SHIMMER's (4 KB) and the pre-delay of ROOM and SPRING (4 KB) now live in one 32 KB place: 8 KB of the pool back. A change silences what the next model reads there: all of it going into CLOUD, SHIMMER's part going into SHIMMER, the pre-delay's part leaving SHIMMER or CLOUD (also through RESO: CLOUD → RESO → ROOM finds nothing of CLOUD's). Between ROOM, SPRING and RESO the pre-delay runs on as it always did. In the one block of a change from SHIMMER or CLOUD the pre-delay is skipped (its line still holds theirs; that block only fed the model fading out, never heard). The change itself is as before: the old tail cut with a 32-sample fade (0.73 ms), no click; it applies however TYPE changes (knob, automation / motion, a project or song section, MIDI, the editor, LOAD LITE / ECO). - **Coming back to CLOUD starts an empty cloud**: its line used to be kept from the last time (a frozen cloud came back after a trip to another TYPE or LOAD LITE), and its tone's state was not cleared on a change (a residue fed the next cloud's line). Both silenced now, as the other models always were. - **Main RAM** (.data + .bss, the tightest region): the FM6 user-preset patches (3.7 KB, back in the pool where they were before 0.6.53) and the project's serialized scratch (proj_wire, 3.8 KB) moved to the pool, the fonts' decode tables (1.5 KB) to LOWBUF. All main-loop only: no interrupt reaches them (checked on the call graph from the audio ISR, TIMER5 and the second core); every region is zeroed at boot alike. - **What it costs**: .data + .bss 93952 → 84832 B (13.5 KB free, was 4.3); the pool 311860 → 311236 B (spare 8640 → 9248 B; undoing the two moves would give 7.5 KB more there); LOWBUF 26514 → 28062 B of 28672; RAM code 21580 → 21640 B; flash +124 B. CPU: the target's render loops identical (tests/target_budget), callgrind +1 instruction a sample (+0.05 %) on every section; a change into CLOUD clears 32 KB once, ~6000 instructions in that block (which runs no new model). tests/reverb_test.c: every change between any two models and through a third, PRE on: no click, and silence after (it fails, loud, without the clears). - **The long delay** (the owner: "it's important that it can have a long tail: resample the tail and make it lighter"). Every TIME now plays its real length up to **2.97 s**. Before, everything past 1.49 s was cut to 1.49 s: 1/2 below 81 BPM, 1/1 below 162 BPM, 2BAR and 4BAR always. Now 1/1 at 120 BPM is 2 s, 1/2 at 60 BPM is 2 s, and 2BAR fits from 162 BPM. Free times go on past 1.48 s: 1.67, 1.89, 2.13, 2.40, 2.71 and 2.95 s (appended, so a project's TIME means what it did; a matrix slot on D.TIM keeps its depth). PING-PONG now reaches 1.49 s (was 0.74). The delay's line now runs at three rates, chosen from TIME: | TIME | the line | the repeats' top end | | --- | --- | --- | | up to 0.74 s | the full rate | full, as before | | 0.74 – 1.49 s | half rate | flat to 9.5 kHz, -1 dB at 10 kHz, -3 dB at 10.35 kHz | | 1.49 – 2.97 s | a quarter rate | flat to 4.75 kHz, -1 dB at 5 kHz, -3 dB at 5.15 kHz | The input goes down through a half-band decimator (55 taps, 14 distinct values, Q14) and the output comes back up through the same filter, the way CLOUD and the pre-delay already store their lines at half rate. The whole loop runs at the line's rate: the reads, MOD, the GRAIN, FEEDBK, TONE (its filter moved up the table to the same Hz). So the rate limits the band once, and the repeats do not get darker with each pass. Measured (tests/delay_test.c, echoes of sines through DIGITAL): - any alias or image landing in the pass band is under -75 dB; - the images of a pass-band tone are -75 dB; - the residue of a 1 kHz sine is -92 dBFS at half rate, -86 at a quarter and -93 at full rate; after 8 repeats all three are at -78; - DIGITAL FEEDBK 100 still holds its level (+0.05 dB after 4 repeats); - the first echo is 1.2 ms (half) or 3.7 ms (quarter) late, and the repeats stay exactly TIME apart. A tone between 9.5 and 12.85 kHz is in the filter's transition band and leaves a weaker image in that same band (10 kHz: -26 dB, at 12.05 kHz). That is the half-band's nature, and it sits above the pass band. For comparison, a tape echo or a BBD / PT2399 pedal loses its top end as the time grows too, typically more than this. - **A change of rate never clicks.** When TIME crosses 0.74 s or 1.49 s (the knob, the tempo, automation, a project or section load, an external clock), the delay fades out over 2.9 ms. The line is then cleared, 32 KB a block as rev_line_clear does, and starts again at the new rate with its input faded in. You hear a gap of about 6 ms plus the echo time; the echoes that were in the line are dropped. Going back to the faster rate needs TIME 1/32 inside its reach, so a clock wavering at a boundary restarts the line once, not every beat. Tests: TIME swept 634 ms → 2.95 s and back, the tempo 120 → 60 → 120 → 40 → 200 → 70 at 1/2, and a jump from 1/8 to 4BAR and back, each while a sine plays: the largest sample step stays within the echo's own; nothing of the old line is heard after a change. - **Long echoes come back at their level.** Before, the FX gate closed after 1.5 s with nothing sent, so a 2 s echo came back faded in. For TIME past 1.5 s the gate now stays open while an echo is still due (a send, or a repeat above the floor fed back, within TIME). Shorter times are as before. - **Fixed: the delay read past its end at the longest TIME with MOD on** (found in the RAM pass above). The wow's offset and the Hermite's older taps wrapped round to the newest samples, so the sound being sent leaked into the wet output. With the wow at its peak it measured -32 dB at MOD 20, -28 dB at MOD 42 and -7.5 dB at MOD 127 (the read wraps; PING-PONG and WIDE too). Every read now stays DLY_EDGE (8 samples of the line) inside its end: MOD 127's 4.46 samples of drift, the two older taps and one to spare. tests/delay_test.c checks it at 1/1 at 120 BPM, at the old 65535-sample cap, at each rate's own end and at the longest, plain, PING-PONG and WIDE: nothing comes out before the echo. It fails on 0.8.4's first commit (seven cases). - **Memory: the line is half the size.** Its length is now one constant, DLY_LEN (params.c), set to 32768 samples (64 KB, was 128 KB). With 65536 the rates would reach 1.49 / 2.97 / 5.94 s. Chosen as the plan said: the half rate measures clean (above) and no golden render changed. All 149 renders are bit for bit as before, with either size (none goes past 0.74 s). The cost of 64 KB is the band of 0.74 – 1.49 s: 9.5 kHz instead of the full range. That includes 1/2 at 81 – 161 BPM (1 s at 120), 1/1 from 162 BPM up and the 0.8.3 free times 808 ms – 1.48 s. Above 1.49 s it is a quarter rate where 128 KB would give half: 1/1 at 120 BPM has a 4.75 kHz top end, where 128 KB would give 9.5 kHz. And 2.97 s is the longest instead of 5.94 s. - **What it costs**: - Pool: 311236 → 247584 B, spare 9248 → 72928 B, so 63.7 KB back. The half-band filters' states and the block (1.9 KB) are in the pool too. - .data + .bss: 84832 → 84848 B. RAM code: 21640 → 21676 B. Flash: +4216 B, mostly dly_lo, the loop at the slower rates, kept out of the RAM copy. - CPU at the full rate is the same: fx_run0's loop is not larger (tests/target_budget), and callgrind is ±1 instruction a sample on every old section. - At the slower rates (callgrind, a pad into the delay, new sections dly/full, dly/half, dly/quarter): 1447, 1605 and 1649 instructions a sample, so half rate is +158 (~+2.7 % of the device at reverb_test's ratio) and a quarter +202 (~+3.4 %). dly_lo's own target budget line is added. When the right echo is the left's (no WIDE, PING), only one channel is interpolated. - A rate change clears the line once, 32 KB a block for 2 blocks. - **Found, not changed** (for the owner to decide): the FX gate (0.6.14) also closes in the gaps between sparse repeats once nothing has been sent for 1.5 s, at any TIME. Each later repeat then comes back faded in over ~23 ms. A pluck through 1/4 at 120 BPM loses ~5.6 dB on the peak of every repeat after 1.5 s (FEEDBK 50 and 80; the same before and after this change). Giving every TIME the long delay's hold (fx.c fxg_hold) would fix it, but would change the golden renders with a delay send in their tails. - **A recorded note made longer or shorter** (a tester: only step recording set a length). SEQ > STEP's KNOB 3 (TIME) is one range, REST ← TIE ← NOTE → 2 ST … 16 ST: right lengthens the note at the cursor (TIEs after it, a chord whole, round past the pattern's end as it plays, up to 16 steps or LEN; the next note stops it: NEXT NOTE), left shortens it, then TIE, REST; the card says 3 ST, LENTE's STEP LEN 3. DRUM tracks, locks, step recording and the project format unchanged. ### v0.8.3 - **GEN composes** (the owner: "the melodies too random, little musicality; use the CHORD and SCALE pages"). The piece's key is now **a mode of seven written to the SCALE page** (ROOT, SCALE, QUANT SNAP unless another QUANT was chosen) and the chord track's **CHORD page** set to its chords (TRIAD / 7TH / ADD9 / SUS2 / SUS4 as the progression is coloured, VOICING LEAD): the keys play along in key. A genre's pentatonic or blues is its lead's palette over the mode that holds it, so the chords stay real chords. **Harmony**: progressions as degrees of the mode, each loop ending on its cadence chord (IV–I, bVII–i, V–i, bII–i, the Andalusian and Aeolian cadences, ii–V–I, I–vi–ii–V ..); a mode that would turn one of its chords diminished never takes that progression; the minor key's dominant raised before its tonic, jazz's turnaround, secondary dominants and mixture (IV–iv–I, bVII and bVI in major) only where the genre colours. **Voicing**: voice by voice to the nearest inversion or spread (common tones held; 4.6 semitones of motion a change, 5.5 before), drop 2 for washes and film, rootless 3-5-7-9 for jazz and deep house, no seconds below G3. **Bass**: the root at every chord change (mid-bar ones too), the chord's own third, fifth and seventh, approaches that always resolve, a walking bass's roots in the octave nearest its line. **Lead**: a one-bar motif developed by a phrase template (period, sentence, A A B A', call and response, the techno hook), moved to each chord the voice-led way, with retrograde, augmentation, truncation and ornament as variations; chord tones on beats 1 and 3, passing and neighbour notes between, a leap past a fourth turned back by a step, never past an octave, the phrase closing on a stable degree, no avoid note held, a borrowed chord's tones followed; no more random walks thrown on the lead or the arp at playback. **Sections**: B on the predominant (the chords turned), and the pop genres' last section a whole step up, a real modulation stored with its SCALE page. - **Measured** (tests/gen_test.c, every genre at 12 seeds; the same metrics on 0.8.2 over 860 pieces in brackets): every note in the key but rule-based chromaticism (0 unexplained, [88]); lead beats on chord tones 90 % [64 %]; steps 60 % of the lead's moves [44 %], leaps past a fourth 10 % of them [26 %], turned back by a step 79 % [21 %], none past an octave; phrases closing on a stable chord tone 80 % [32 %]; the bass on the root at every change 100 % [98 %]. - **CHORD page in the scales of five, six or eight notes** (PEN MPEN BLUES WHOLE DIMHW DIMWH): every other note made odd stacks (C minor pentatonic's triad on C was C F Bb); now each tone is the interval the chord asks for where the scale has it, else the nearest it offers: triads, sus chords and sixths in the pentatonics, augmented in whole tone, diminished and dominant sevenths in the diminished scales; every tone in the scale. The modes of seven as before. - **A section's key with a DRUM track selected**: the scale link kept the key before the song brought a section in its own key; the first melodic track's key counts now. - **What it costs**: 9.5 KB of flash; RAM 1152 B less (.data + .bss 93940 B, was 95092: the generator's kept chord steps are made again instead, the kick a bit mask); the pool unchanged. GEN runs in the main loop: a full piece 9 % more instructions (LOOP), 20 % (PARTS), 22 % (SONG), against 0.8.2's (callgrind); the audio path untouched. Project and backup formats unchanged. - **LENTE: the sequencer as a lens** (a tester: reaching a sequencer function took many SEQ taps, eleven pages in a chain, and the next bar sixteen KNOB 1 detents). On a SEQ page **SELECT zooms** between three levels, **PATTERN ↔ BAR ↔ STEP** (no wrap), and a **SEQ tap goes round the level's sets**: PATTERN shows the pattern's bars side by side (up to four, each its sixteen steps small, the edited bar framed, the playhead) with PATTERN (LEN DIV SWING GATE), STRETCH, PLAYHEADS, TRACK and MUTATE, and **PRESETS picks the bar**; BAR is the piano roll (a kit: the grid, its keys as before) with STEP, NOTE, AUTOMATION and AUTO LIST, PRESETS the step; STEP draws the cursor step large (its notes, the one in focus lit, MICRO and RATCH shown, a TIE's held notes; chips for ACC, SLIDE, MICRO, COMP, COMP 2, CHANCE, the set's own lit) with NOTE, COMP and COMP 2. The footer's first row says where you are on every SEQ page: the three levels, the one shown lit, and the bars, the edited one lit, a line under the one playing (the page's name flashes under it). SEQ from another page comes back to the level and set last used on that track. COMP 2 is now SELECT + two taps (was five), the next bar one PRESETS detent (was sixteen), MUTATE SELECT + four taps (was ten). Same edits as before: the pages, their knobs, the editor protocol and the saved data are unchanged (LENTE groups the existing pages); SEQ held is SEQ TOOLS on every SEQ page now, SEQ + SELECT the dice, SEQ + REC clear all, locks, step recording and the hidden pages as they were. KNOB 1 stays LEN on PATTERN (the mock-up had the bar there: PRESETS takes it, so nothing is lost). COMP's own picture (the ladder, TRIG's loops) gave way to the large step. **What it costs**: no audio-path change; 12 B of RAM (.data + .bss 95092 → 95104 B; the level and a 16-bit memory a track), the pool's spare unchanged (8640 B), RAM code unchanged (21580 B), 1088 B of flash (482712 → 483800 B); drawing (ui_render, host): only on a change, as before (a frame that changes nothing: 0.35–0.8 µs, the signature); the footer's pills add 4 texts to every SEQ page (STEP full redraw ~110 → ~115 µs); PATTERN's bars draw about as fast as the roll did there (panel ~55 µs); STEP's large step and chips are the heaviest (46 texts, 10.9k glyph px against the roll's 24 / 5.3k: a full redraw ~114 → ~150 µs, the panel ~59 → ~65–82 µs), still within the roll's league. ui_test checks the zoom, the sets, the memory per track, PRESETS by level, the tools and the dice on every level and the DRUM grid; ui_render draws the three levels (melodic and DRUM, a chord, a TIE, a REST) in every palette, FLAT and LINE, LARGE: lint and alignment clean. - **Two DRUM tracks, one kit, never overwritten by the other** (reported again by a tester): the section keeps one DRUM-X kit. Browsing presets already left another track's kit alone (0.8.1); now the sound dice (EDIT + SELECT) and INIT SOUND do too: a second DRUM track inits or dices its own sound and the screen says KIT OF T4 KEPT / INIT, KIT KEPT. - **A new engine: ANIMAL** (engine 14, after DRUM in the lists), from the research report on bioacoustic synthesis: four cheap primitives (a nonlinear oscillator, a pulse or relaxation generator, a resonator, a slow control layer) make most of the fauna. **MODE** picks the source and every mode relabels the knobs: **CMOS** (the owner's 40106 / 4093 circuit: TOUCH COUPLE CAP · HYST RATE GROUP FM; at C5 it chirps at ~1.05 kHz with rising hooks, 2.4–4.5 a second, or a trill of 8–10, as in his video), **PULSE** (crickets, cicadas, frogs: CLICK Q · DETUNE), **WHSTL** (a Hopf oscillator: no tone below the pressure's threshold, a real onset above it; SWEEP's hooks narrow at fast trills), **WING** (BUZZ DRIFT · DOPPLR) and **GLOTT** (MOUTH ROUGH · AIR: period doubling, then a logistic map once a cycle). The call's rhythm is the same everywhere: RATE syllables a second, GROUP (HOLD, TRILL, 1+1 .. 32+32: syllables and gaps), TEMP in °C scaling every rate (Dolbear). SIZE moves the animal up or down from the key. 24 presets: CMOS BIRD, CMOS TRILL, CMOS MONKEY, CMOS BUG, CRICKET, TREE CRICKT, KATYDID, CICADA, TREEFROG, TOAD, BULLFROG, CANARY, CARDINAL, DOVE, OWL, PEEPER, BAT, MOSQUITO, BEE, FLY, WOLF, DOG BARK, ROAR, PURR. - **What it costs**: no RAM (each voice's state fits the voice's own 44 bytes; .data + .bss unchanged at 95092 B, the pool's spare unchanged), 7.6 KB of flash, no code in RAM. CPU with eight voices (callgrind, instructions a sample a voice): CMOS 103, PULSE 92, WHSTL 86, WING 67, GLOTT 167, against ANALOG's 193 (the heaviest): all eight voices on every mode. tests/animal_test.c checks the CMOS pitch (±2 cents), the video's chirps, the cricket's carrier and rate, TEMP, the Hopf onset, no DC or clipping at any corner, the same samples twice; cpu_vg measures each mode. - **The lists**: ANIMAL comes after DRUM, so every sound keeps its place in PRESETS and its PROGRAM CHANGE number; programs now end inside ANIMAL's presets (the user presets after them are picked on the device or the editor). The web editor, the protocol notes, the cheat sheets and both manuals know it. ### v0.8.2 - **SEQ: the piano roll stays** (a tester: "too many submenus, while they change you forget where you were"). The pages that edit the roll (STEP, PATTERN, NOTE, STRETCH, COMP, COMP 2, PLAYHEADS) keep it on the screen (a kit: the grid); turning SELECT or tapping SEQ changes only the four cards, and a row of segments over the roll shows which of the seven you are on. COMP marks each step's component under it, PLAYHEADS draws its heads where they play. TRACK moves after PLAYHEADS, with AUTOMATION, AUTO LIST and MUTATE: the track's own pages, with their own graphs. ui_test checks which pages keep the roll and the new order. - **The site's front page**: juanjiant-bit.github.io/JIANT now opens on a page for people who just want to play (try, install, edit, what's inside, what comes next); the emulator moved to /emu/. ### v0.8.1 - **Fix: DX7 voices from the web editor sounded distorted** (reported by a user: "digital distortion", fine on the stock firmware). The FM6 macros (FB, MOD, RATIO, DETUNE ...) stayed on the track when a voice arrived, and JIANT's own FM6 presets set them for their factory patch (HARD BASS: FB +2, MOD +25; DX KEYS: MOD +12): left on a DX7 voice they drove its modulators into aliasing, 25 to 40 dB more noise on most of the ROM and Synprez banks. A voice sent from the editor, or picked from a bank slot B1..B32, now plays as its file has it: the macros back to none (turn them from there as before; the factory slots F1..F8 keep them). Measured against stock Felucca with 1056 DX7 voices through the whole mix: the same sound. editor_test and fm6bank_test cover it. - **Fix: browsing one track's sounds could change another track's drums** (reported by a user, and seen here too: T4 on DRUM-X, T5 browsing PRESETS past the DRUM kits, T4's drums changed with every kit). A section has one DRUM-X kit, shared by every track on DRUM; a DRUM preset loads its kit into it, so passing the kits on T5 overwrote T4's. Now a kit preset loads the kit only on the track that has it to itself: while another live track plays DRUM-X, browsing, the editor or a PROGRAM CHANGE on a different track leave the kit as it is and say "KIT OF T4 KEPT". On the drum track itself the kits load as before. ui_test: T4's hand-edited kit survives T5 passing INDUSTRIAL; on T4 a kit loads. ### v0.8.0 - **USB STEMS+IN (test version): MENU > SYSTEM > USB > STEMS+IN** (asked for: record a voice through the FM-1 from the phone, in time). The stems and IN+OUT's audio output together: the host's audio (the phone app's mic) comes into the last live track as in IN+OUT (its LEVEL, PAN, MUTE, CHORUS / DELAY / REVERB sends, the FX) and 10 channels go back: T1–T6, the FX return L R, then the input as the track mixed it, in a channel of its own (not in the track's stem: the app moves it earlier by the latency, the track's own sound stays where it is), and the input as it came (the reference the app measures the latency against). 16 bit 44.1 kHz, 920-byte packets (5 words a frame in the ring, now 10 KiB), bcdDevice + 0xC0, no console. The input's sends go into the shared FX return, which cannot be moved: its share of the reverb and the delays stays the latency late (~20–30 ms). The phone app reads and writes the USB audio with its own driver: Android passes only some of a USB device's channels on to apps (an S23 Ultra: two of 8). - Tests: uac_test (the 10-channel configuration with the output as a host parses it; a block as five words a frame: the stems, the input mixed, the input as it came, silent while none comes), audio_test (STEMS+IN: the input in its own stem, the last track's without it; IN+OUT with the 8 stems as 0.7.5), ui_test (the USB row's STEMS+IN). - JIANT Probe (android/probe), the USB audio study: test 2 counts the channels that carry sound; 2b tries the ways of opening the input; 5 reads the FM-1 with its own driver (usbfs isochronous reads); 6 with the phone's mic beside it; 7 sends the mic to the FM-1 in STEMS+IN and measures the latency (the phone near the speaker: the stems against the raw mic). One debug key for every build: a new APK installs over the last. ### v0.7.9 - **Lighter audio** (reported: clicks on 0.7.8). The FM-1's code measured again (tests/target_budget.py, the instructions in each audio loop; valgrind for the whole path): DIST no longer tests for AMP on every sample of the other types (AMP has a loop of its own, dist_amp) and keeps its filter state in registers through the block; DRUM-X's STEREO no longer divides on every sample (the kit's curve's gain every 4th, none where the curve is flat) and reads its core's state once; DRIFT and the NOISE source have no divides; the ROOM reverb (also SHIMMER's) keeps its combs' and allpasses' indices and filters in registers instead of memory: its loop on the FM-1 down 38 %, the same sound sample for sample. The whole path is back at or under 0.7.6 on the host (song 3059 instructions a sample, was 3096); drum_bus, dist_amp, dx_hands_step and drw_dust join the target budget. - **DRUM-X KIT 3 > HANDS** (asked for: several hands clapping at once): KNOB 3, OFF and 1..15. Each extra hand strikes the CLAP's noise again at a moment of its own (3 .. 45 ms after the hit, the dice thrown again on every hit: no tempo in it) and at a level of its own, then dies as the hit does: one running gain over the noise (dx_hands_gain), so the cost is a few multiplies a sample on the clap alone. Kept with the project in the high nibble of the kit's byte 0 (beside the group mutes; 0 in every older project: off). drumx_test: OFF as before, 15 about x5 the energy in 1 .. 60 ms, the strike as it was, under full scale, the kick untouched; ui_test: KNOB 3 turns it, the project keeps it. ### v0.7.8 - **DIST TYPE AMP** (asked for: an amp emulator): two triode stages, each a biased tanh leaning its own way (even and odd harmonics), a coupling high-pass between them (~110 Hz: the bias moves with the level, the sag and bloom), the second stage's gain rising with DIST (clean, crunch, lead); then a cabinet: a two-pole low-pass at a speaker's corner (TONE ~2.5 .. 6 kHz) and a state-variable resonance at ~1.8 kHz added (a 12" cone's presence). Its graph draws the two stages' curve; the web editor lists it. mod_test: AMP sounds its own, within 6 dB of SOFT. - **DRIFT** (EDIT > MORPH, KNOB 2, on ANALOG PHASE LOFI): each voice's pitch (up to ~27 ct) and filter wander, a smooth value noise of its own (a new point every ~0.6 .. 1 s, smoothstep between), no state per voice. 0 % off. - **WHEEL: EDIT > ROTOR**, DEPTH (the rotary speaker's AM and Doppler, 100 % as before) and DUST (an old organ's crackle and hiss, once a part, on its first sounding voice). - **The matrix's NOISE source**: a smooth random wander per track (a new point every ~46 ms, eased), bipolar; on the web editor too. - **DRUM-X STEREO fixed** (reported: grit like a downsampling and clicks on one side). Its sides (what each sound's pan takes from one channel) and their "image on" flag were one set for both cores; the two cores render two parts at once (0.6.71), so the other core's part cleared them mid-render: the image on and off block by block. Now a core each (dx_core, as mod.c's mod_c). And the kit's curve (DRV, the knee) now scales the sides as it scales the sum, so a loud hit's side is never over-taken. ui_test: a sound panned hard keeps the other side silent; the other core's part leaves this core's image. **STEREO comes right after X-MOD** (the kit's pages first: KIT, KIT 2, KIT 3, X-MOD, STEREO, FILTER; then SOUND 1-4; the volumes last: LEVELS, LEVELS 2). - The new parameters live in the retired DIGITAL's last slots (P_FM3_SUS, P_FM3_LEVEL, P_FM4_SUS): every project and preset before them holds 127 there, which each reads as "as before" (DRIFT and DUST 0 %, DEPTH 100 %). mod_test: at 127 each is bit-identical, at 0 % / 100 % each sounds its own. ### v0.7.7 - **The screen, polished** (asked for, from the HTML studies: "R.1 Pulido"). The values are set in Chakra Petch again (SemiBold, the labels' family; IBM Plex Mono retired from the device) and drawn in white: only the knob just turned lights orange, its bar with it, so the cards hold one colour. The bars are a hairline with the value on it, 2 px, in grey; fine lines divide the four cards and one sits under the header; the step bars in the footer stand four under each card. JIANT's palette only (the others as before); HOME's beings and every graph untouched. UI renders: 0 lint findings, 0 alignment misses (the step bars declared under the cards). ### v0.7.6 - **MASTER is FX's second page** (asked for: the master at hand). FX's sections are now MIX (FX, MASTER: the sends and the master), TRACK (DIST, AUTO PAN), DELAY, REVERB, CHORUS, SLICER and PUNCH; a tap on FX goes from FX to MASTER, two quick taps to the next section; the footer says "MASTER 2/2", "AUTO PAN 2/2". The web editor lists MASTER after FX. - **SCL: KNOB 4 is ALL TR** (asked for), the global move of every sequence along the scale, where the track's TRANS was; SCL 2, which held ALL TR alone, is gone (SCL, then CHORD). TRANS stays a track parameter, kept in projects and on the web editor's SCL page, off the device's pages. ui_test: KNOB 4 turns ALL TR, TRANS untouched, no SCL 2. - The web installer's notice no longer says "a fork of Felucca"; the credits stay in its small print, in ABOUT and here. ### v0.7.5 - **USB audio in (test version): MENU > SYSTEM > USB > IN+OUT.** The FM-1 is the computer's or the phone's USB audio output as well as its input (UAC1, stereo 16 bit 44.1 kHz on EP4 OUT, isochronous adaptive; the device re-enumerates, bcdDevice + 0x80, no console). What the host plays comes into the last live track (T6, or T4 with TRACKS 4): into the dry mix with its LEVEL and PAN (a balance), its CHORUS / DELAY / REVERB sends from the sum, ducked by DUCK, silenced by its MUTE and the mute layer, on top of whatever the track's engine plays; the recording side is the stereo master with the input in it. TIMER5 takes each 1 ms packet into a ring (2 KiB, in the pool); the audio ISR reads it at the I2S clock through a linear interpolation whose step follows the ring's fill (the host's 44,100 Hz against the FM-1's ~44,117.6: ~3.6 ms behind, steady within 0.01 %); a host that stops fades out and is primed again. Not on by default: some hosts make a new USB audio device their default output. - Tests: uac_test (the duplex configuration as a host parses it; the ring against a fast and a slow I2S clock: no glitch once settled, a 1 kHz sine at 65 dB, the step steady; a 200 ms gap: one fade out, primed again), audio_test (the input through the last track: LEVEL, PAN, MUTE, LEVEL 0, the REVERB send), ui_test (the USB row's IN+OUT). - The build's RAM-code reach check (tools/build.py) measures the calls RAM code makes, not the whole image: the farthest callee (master_out) has ~400 KB of reach to spare, where the image's end had 12 KB. ### v0.7.4 - **The GEN screen (HOME + SELECT) no longer flickers on every knob or SELECT turn (reported).** The 0.6.96 fix cleared the screen's body only on entering, or so it meant: its test also cleared it whenever the header had been drawn since, and the header is drawn after every frame, so every turn still blanked the body before the cards were repainted. It is cleared on entering only now; a turn repaints its cards in place. ui_test counts the full-body clears while the knobs and SELECT turn on GEN (none). ### v0.7.3 - **The speaker's buzz once the music stops (reported): the LEDs' idle glow drew a current pulse.** Since 0.6.96 LEDS DIM HI holds every idle key and button at the mid level, lit as a lit LED on one frame in eight; all of them in the same frame was a current pulse at ~114 Hz on the supply, heard from the speaker whenever the music stopped (the music masked it). The columns now take the mid level in turn, a frame apart (hal/fm1_input.h fm1__mid_q): one or two columns lit in any frame, the current near even, each LED as bright as before. The DRUM grid's beats and the scale's root, a level above (three frames in eight), take turns the same way. input_test checks the turns. ### v0.7.2 - **Nine DRUM-X kits as DRUM presets**: DRUM-X (the factory kit), 909 CLUB (driven kick, bright snare and hats, the snare and clap into the reverb), 808 BOOM (the long-decay kick and tom, the sine snare, soft hats, a metal cowbell), LOFI DUST (dark, short, noisy, with layers and feedback on the snare and rim), INDUSTRIAL (FM kick driven, metal snare, glitch rim and bell, delay on the tom and rim), ACOUSTIC (bell-toned snare and tom, soft hats, a little reverb on everything), DUB ROOTS (deep kick, the snare and clap wet, the rim and bell into the delay), TECHNO RAW (FM kick, hard snare, loud hats), BREAKS (snappy snare, band-passed hats). Browsing them on a DRUM track (PRESETS, the editor, PROGRAM CHANGE) loads the whole kit into the section: the eight sounds' A and B, their LAYERs and SENDs, plus the track's MORPH, TUNE, TONE, DECAY, NOISE, FM ENV and DRIVE. An engine switch, INIT SOUND, a project load and the generator leave the section's kit as it is; browsing back to DRUM-X brings the factory kit. ### v0.7.1 - **Stems over USB: MENU > SYSTEM > USB > STEMS.** The device re-enumerates as an 8-channel USB audio input (44.1 kHz, 16 bit): channels 1–6 the six tracks, each mono with its LEVEL, DIST, SLICER routing and mutes in (its PAN not: what it adds to the mix, L + R halved), channels 7–8 the FX return in stereo (the DELAY, REVERB and CHORUS buses, the SLICER's when it is on). All before the master (no leveler, limiter, clip or MASTER knob: the mix's own scale; USB LEVEL −6 dB or more gives headroom). Record the eight in Ableton, Logic or Reaper and post-process each track. The row replaces USB SERIAL: **CONSOLE** (the serial console with stereo audio, as ON was), **STEREO** (audio + MIDI only, as OFF was), **STEMS**. - **Stems from the browser: the emulator page renders a backup's song as separate WAV tracks in a ZIP.** Back up the FM-1 (the editor's or the installer's "Back up"), load the file on the emulator page (Stems), pick a song or the live section with a bar count, and get T1..T6 and MIX, all the same length, 16-bit 44.1 kHz, each track alone with its own share of the DELAY, REVERB and CHORUS (the others' sends left out), the song's rows once (a LOOP song once round). Faster than real time, no USB limits, nothing on the device. (Taken off the emulator page in 0.9.13.) - The USB audio ring moved into the pool (8 KiB: the stems need four times the stereo stream's); the RAM-code reach margin 12 KiB (was 16: RAMTEXT has moved up twice already, each move off the user stack). ### v0.7.0 - **46 new factory presets**, a palette the song generator and the player share: ANALOG JUNO PAD, REESE, HOOVER, DUB STAB, CELLO, ARP PLUCK, MOOG LEAD, DARK PAD, GLASS KEYS, ORGAN SQR; PHASE CZ PIANO, GLASS PAD, DIGI STAB, SYN BASS, VOX PAD, HARP, PD LEAD, RING KEYS; LOFI CHIP PAD, GB ARP, TRI BASS, SOFT CHIP, SAW CHIP; VOICE OOH PAD, CHANT, TALK BOX; WHEEL DUB ORGAN, SOFT KEYS, CHURCH, WAVE ORGAN, REED BASS; NOISE SEA, HISS PAD, CRACKLE, TAPE AIR; FM6 ICE BELL, DX KEYS, FM PLUCK, SOFT BELL, FM STRINGS, HARD BASS, WOOD. Appended: every stored preset number stays. - **GEN: the sounds from that palette** (every recipe's words point at the new presets first: a pad is a JUNO PAD or a GLASS PAD, a stab a DUB STAB or a DIGI STAB, a lead a MOOG LEAD or a PD LEAD, a texture the SEA or TAPE AIR ..), and **melodies that hold together**: the line stays in its octave (a leap past a sixth takes the octave nearer the last note), the motif follows the chord the nearer way (a fourth up is a fifth down, never an octave's worth of leap, and less often), every phrase ends on a chord tone. - **GEN: HOME closes the screen** (OCT− still does). - **The modulation matrix reaches the FX buses**: eight destinations after CLIP and PNCH, D.TIM D.FB D.TON D.MIX (DELAY), R.SIZ R.DMP (REVERB), C.RAT C.DEP (CHORUS); AMT 64 at a full source = the whole range, every track's slots add. A STEP source (the mod sequence) on D.TIM sequences the delay time; an LFO on R.SIZ breathes the room. - **MENU > AUDIO > USB LEVEL: −6 / −12 / −18 / −24 dB** after MASTER and FIXED: USB audio fixed and attenuated, for a phone or a computer whose input clips at the full level (the recordings came out distorted). The speaker and the headphones keep the MASTER knob. - **The device is JIANT everywhere it speaks**: USB MIDI and audio "JIANT FM" (the updater "JIANT Update"), the editor's version string "JIANT v0.7.0", the splash, ABOUT, CREDITS, the console and the crash screen. The web editor and the installer accept both names, so an older firmware still connects. - **Fix (a community report): browsing presets switched SCL > CHORD off.** A sound load now keeps CHORD, VOICING and STRUM, and with them C.LEN, CHANCE and MUTATE: the sequencer's settings, not the sound's. ### v0.6.99 - **FX > PUNCH: the punch-in effects' sequencer.** The lane that records them gets a page: **LEN** 1 … 64 steps, **RES** 1/8, 1/16 or 1/32 of a beat, KNOB 3 its state (REC, PLAY, or how many steps hold an effect), **CLEAR** (KNOB 4, OCT+). The page draws the lane's cells in the effects' colours with the playhead, the last effect's name and the tracks it acts on. Recording as before: REC armed and playing, FX held with the effect's key; G5 erases. LEN and RES are saved with the section (a new block: older firmware ignores it, older projects load as 64 steps of 1/16). ### v0.6.98 - **WALK and CLIMB, evolving step components** (after the OP-Z's and OP-XY's): the step's notes move a degree of the scale (WALK) or an octave (CLIMB) every so many loops (1 … 10, 12, 16), over a range (3, 5, 7, 12 degrees; 1 … 4 octaves), UP, DOWN, UP-DN or RND, then round again. They stack: a WALK on COMP with a CLIMB on COMP 2, a TONAL or an OCT on top, an ARP walking with its chord. Four notes, two of these, and the pattern evolves for dozens of loops before it comes back to itself. The COMP page draws the moves round the range, this loop's lit; GEN uses them on leads and arps. Older projects are untouched (new component ids). ### v0.6.97 - **GEN: the drums less alike.** A throw takes its closed hats, open hats, rim, cowbell and toms from pools of patterns (eighths, driven sixteenths, offbeats, shuffles, tresillos ..) now and then instead of the genre's map, swaps the snare and the clap now and then, adds a kick on a weak step more often; FORM PARTS / SONG give **each section its own fill** (roll, toms, hat roll, drop, linear, kick sixteenths). - **The kit's space**: the snare and the clap into the reverb (the kit's own SENDs, by how wet the genre is), the rim into the delay and a touch of reverb on the open hat where the genre is wet; **MORPH automated** over the loop on the drum track now and then (the kit's character drifting and back). - **Effects by genre**: the wet genres (dub, dub techno, shoegaze, ambient ..) get long delay tails with the tape's wobble (FEEDBK 58–80, MOD 20–50); a **punch-in lane** in the SONG form: a stutter into the drop (1/8, then 1/16 on the build's last beat), the synths an octave up on the break's last bar. - **Sounds**: leads no longer at full sustain (SUS 30–90, their decay in play), a late vibrato on half the leads, a slow tremolo or pan on pads, arps panning on the beat; **more step components** (from COMPLEX 30 up: echoes, octaves, bends, pulses, ratchets, some every other loop). - **Lead melodies** from a library of rhythmic cells that hold together (a long note and two short ones, a tresillo, a pickup into the three, a dotted push ..) thinned by COMPLEX, instead of onsets drawn one by one. - **POST PUNK after Joy Division and New Order**: Hook's bass high on the neck (Transmission's eighths over root, fifth, octave and seventh; Blue Monday's sequenced sixteenth octaves; Ceremony's run), Morris's drums (the kick syncopated against flat sixteenth hats, or four on the floor with a clap, open hats and toms into the one), Sumner's pulsed chords, an octave arp, strings and a choir behind, 118–148 BPM. - **PLAY on the GEN screen** runs and stops the transport: the piece heard without leaving the screen. - The memory map: the RAM code 4 KiB higher (the image grew past a call's reach from it), the user stack 4 KiB shorter (19.75 KiB). ### v0.6.96 - **MUTATE** (reported on r/MVaveFM1): a new piece from GEN or the dice turns MUTATE off on every track and makes the piece its anchor (a reroll kept the lanes, the drum track's above all, and ORBIT mutated around the previous piece's sounds); a sound loaded onto a mutating track re-anchors too. The MUTATE page shows the selected track alone since 0.6.92 (it showed six with TRACKS 4). - **LEDS DIM HI brighter** (reported): the idle glow was the pulse alone (~1/30 of lit), too dim to find the keys; now the glow plus a lit frame in eight (~15 %), the grid's beats and the scale's root a level above (~40 %). DIM LO stays the darker one, OFF and INV as they were. - **STRETCH over REPEAT**: the other knob's result is the base now, so REPEAT x2 then STRETCH x2 stretches the repeats (it went back to the sequence before the repeat); the same knob still works from its own base. - **ABOUT / CREDITS** opens on the project's own information (JIANT FM for the MVAVE FM-1, by Juan Jiant, Argentina: the site, the videos, Ko-fi and Cafecito), Felucca's credits and licences below as before. - **GEN screen**: the body is cleared once on entering, not on every knob or page (it flickered). - **MIDI CC for the engine's knobs** (asked on YouTube): CC16–23 set the engine's eight values (EDIT 1 / EDIT 2's knobs, E1–E8, whatever the engine), CC102 / CC103 the post filter's cutoff / resonance, CC104 DRIVE, CC105 SUSTAIN; recorded as automation like a knob, as the rest of the map. ### v0.6.95 - **GEN: every throw its own.** A genre's throw may take a neighbour's drum map (the map's family: HOUSE takes DEEP's or TECH HOUSE's, TECHNO DETROIT's or HYPNOTIC's ..), another chord play (stabs become pulses or dub chords ..) and a role's neighbouring recipe (a pluck a bell, a pad strings ..), each about a third of the time, so two throws of a genre are no longer the same piece in another key. The hats and the percussion thin with the DRUMS amount a hit at a time. - **RANDOM throws mutants** half the time or so: the drums of one genre, the bass of another, the chords, arp, lead and space from either, a tempo between the two, more components, and an arp or lead in another metre (12, 20, 24 or 28 steps against the 16). Named after both: **EBM+JAZZ 0421**. - **EBM after Nitzer Ebb**: three new bass archetypes (relentless sixteenths on the root, the octave and the minor third, a rest where the body hits, accents on the beat), a square bass recipe, short and driven, 118–132 BPM. - **POST ROCK after Radiohead**: add9 / sus progressions (i add9, VI7, VII sus2, iv add9; i, III, VI, V sus4), long roots walking up at the phrase's end, a clean arpeggio, an electric piano, a voice lead, strings behind. - A power chord voiced over the top of its range came down an octave (HARD TECHNO's pads). ### v0.6.94 - **GEN: the snare a snare.** The generated kits' snare came out tonal (the FM oscillator's sweep over the noise): now mostly noise (NOISE +26..40 on both ends of the lane), shorter (DECAY −10..18), less pitch sweep, the noise's band a little brighter, and its own FEEDBK (3..6) on top of the factory LAYER. Every genre's kit, over the genre's offsets. **The hats** a band-pass high up (COLOR +10..18, the factory kit's high-pass replaced) with more noise in them (NOISE +18..28). ### v0.6.93 - **GEN opens on RANDOM** every time (a genre is that visit's choice), and the generator tuned against its own labels (every genre dumped as text and read: tempo, sounds, drums, bass, chords, arp, lead): - **ARP**: the amount is its density (20–95 % of the steps; under 35 % in eighths): no more sixteenths everywhere. - **Chords**: stabs and comping present at the genre's amounts (the comp figure varied a bar, an anticipation of 3 or of the bar), POWER pushes every bar. - **Sounds**: a recipe's words tried in order (a reese is FAT BASS before SAW LEAD), its cutoff and resonance set as written (plucks were dull, square basses squelchy), no LOFI for leads, keys, strings or sine keys (chip sounds only where the genre asks: electro, micro house, IDM), the texture track quieter (the noise drone half). - **Drums**: ENERGY in the density and the velocities, the hats driven to sixteenths above 66 %, the open hats and percussion thinned under 34 %; hat rolls in TRAP, DUBSTEP and UK GARAGE; the disco cowbell softer. - **Lead**: SPARSE varied (a long note, or two short ones stepping into it, from the one or the third beat); the HOOK and McCARTNEY basses back in the bass's octave. - Harmonic minor out of TECHNO, ELECTRO, EBM, TRIBAL PUNK and DRUM & BASS. ### v0.6.92 - **A compact sequencer: 11 SEQ pages instead of 15, the same powers** (an audit of every parameter: what each does, what was twice, what did nothing). The order: STEP, PATTERN, NOTE, STRETCH, COMP, COMP 2, TRACK, PLAYHEADS, AUTOMATION, AUTO LIST, MUTATE. - **EVERY** (COMP and COMP 2, KNOB 4): one setting a step saying on which loops of the pattern its components play: ALWAYS, 1:2, 2:2, 1:3, 2:3, 3:3, 1:4 … 4:4, 1:8, FIRST, !FIRST, SKIP. An arpeggio that comes in every fourth bar, an echo on the odd loops, a JUMP only the first time (it is JUMP / REV's TIMES too). It replaces the WHEN page (its A read as is; a step saved with a B other than ALWAYS reads as another EVERY: set it again) and the components' lane C.LEN. - **ARP RATE in musical time** (COMP, KNOB 4): x1 (a note a step), 1/32, 1/32T, 1/64, 1/64T, 1/128 — the card says the note value for the track's DIV. KNOB 3 ORDER and range as one list (UP … RND over 1 … 4 OCT; SCALE 3 … 15 DEG). - **TRACK** (it was SHIFT + HUMAN): PITCH, CHANCE, **HUMAN** and REC Q. HUMAN is one amount: each note's velocity (±50 at 100 %), start (up to 40 ms late), length (±40 %) and its envelope's DECAY and RELEASE (±20) vary a little every loop. Projects saved with VEL / TIME / GATE load with the smallest of the three. SHIFT's OFFSET is **ROTATE** on the STRETCH page (and the SCL layer's KNOB 3). - **STRETCH and REPEAT act as the knob turns** (no OCT+), always from the sequence as it was before the first turn (x2 then x4 is x4; back to the middle: back to it); the message says LEN before > after; UNDO as ever. KNOB 3 NUDGE, KNOB 4 ROTATE. - **NOTE** gained **MICRO** (KNOB 4; the TIMING page's OFFSET): the focused step's place off the grid by sixteenths. The TIMING page is gone; REC Q is on TRACK. The step's LEN is the TIE on STEP (the WHEN page's LEN is gone). - **AUTOMATION** and **MUTATE** say what they are: a hint line on entering, MUTATE's page the selected track's next 32 bars as one strip (SOUND / PATTERN marks, the playhead) and a line a knob. - GEN writes HUMAN as the one amount. The tests (`tests/ratchet_test.c`, `tests/ui_test.c`) cover EVERY, RATE, the TRACK page, HUMAN's spread and STRETCH / REPEAT on the turn. ### v0.6.91 - **GEN: the song generator, rewritten, with a screen (HOME + SELECT).** Three pages: **GENRE** (43: HOUSE, DEEP HOUSE, MICRO HOUSE, TECH HOUSE, ACID HOUSE, TECHNO, DETROIT, DUB TECHNO, HARD TECHNO, HYPNOTIC, TRANCE, ELECTRO, EBM, ITALO, SYNTH POP, DARKWAVE, POST PUNK, TRIBAL PUNK, MINIMAL SYNTH, MAN MACHINE, MOTORIK, INDIE, SHOEGAZE, POST ROCK, FUNK, DISCO, BOOM BAP, TRAP, UK GARAGE, DUBSTEP, BREAKS, DRUM & BASS, DUB, STEPPERS, JAZZ, BOSSA, AFROBEAT, AMBIENT, NEO CLASSIC, IMPRESSION, SOUNDTRACK, IDM, BROKEN; or RANDOM), **SEED** (0000..9999), **ENERGY**, **FORM** (LOOP, PARTS: sections A B A C in ARRANGE, SONG: intro, build, drop, break); **DRUMS BASS CHORDS ARP** and **LEAD** amounts (OFF .. 100 %, AUTO the genre's); **COMPLEX**, **SWING** (AUTO the genre's), **HUMAN**. **OCT+** makes the piece; the same settings and OCT+ again throw a new seed; a knob turned and OCT+ re-make the same piece with that one part changed (each part draws from its own stream). **OCT−** closes; **UNDO** (GLO + G4) as before. - How it writes: the **drums** from a map of priorities a genre (after Mutable Instruments' Grids: a hit where the level clears the density, ghosts first to go, the kick's anchors last; the snare's ghosts on the best positions, the hats' accent cell, a variation on the even bars, the genre's fill on the phrase's last bar — a roll, toms, the kick dropped, a hat roll, a linear fill — and the snare laid back where the genre plays late); the **bass** from ~50 archetypes written against the kick (offbeat, bounce, deep walk, rolling sixteenths, Detroit, EBM, italo, psy, UKG, Jamerson, around the kick, on the one, slap, Good Times, walking, two-feel, boogie, country, ska, tumbao, bossa, rock eighths, punk sixteenths, McCartney, Hook, motorik, angular, indie, one drop, steppers, rockers, dub, boom bap, trap, DnB, jungle, wobble, pedal, fifths, Suicide, Kraftwerk, acid by the 303's rules), the root at every chord change, approaches by a semitone, the kick doubled, answered or interlocked; the **chords** from progressions with a quality a chord (sevenths, ninths, add9, sus2, sus4, sixths, fourths, power; a dominant's raised third in minor), voiced in C3..G5 and led to the nearest voicing (or moved in parallel), played held, stabbed, pulsed, dubbed, skanked, comped, broken or trance-gated; the **arp** an order over the voiced chord (up, up-down, Alberti, Glass, pulse, sequencer, walk, cycles of 3 and 5, a trance gate, octaves); the **lead** a one-bar motif (its onsets by the metre, its contour by the key's weights, leaps filled, chord tones on the strong steps) in a four-bar phrase (A A A A', A A' A A'', A R A R' ..) varied by one operator a bar, or an ostinato, long notes, a tintinnabuli line, a machine's figure, a two-bar call and answer; the **sounds** by recipe a role (sub, acid, Reese, FM bass, rock bass, Hook's chorused bass, pad, strings, choir, organ — WHEEL at last —, EP, stab, dub chord, pluck, bell, lead, vox, chip, keys, drone, noise, texture, hoover, wall, tremolo guitar), the **kit** a kit (909, 808, click, industrial, soft, dub, breaks), the **mix** by role, **HUMAN** and the snare's TIMING by how human the genre is, the reverb and the delay (type, ping-pong, time) the genre's. The lead keeps off minor seconds and tritones against the bass. With TRACKS 6 the sixth track is a texture (drone, noise, choir, organ). The old DICE ALL's genres are inside (DARKWAVE, POST PUNK, EBM, MAN MACHINE, HYPNOTIC, SOUNDTRACK, IDM, BROKEN ..). - The tests: `tests/gen_test.c` measures every genre (one scale, the kick anchored, the bass's roots at the changes, the lead's chord tones, every piece storable, the forms); `web/emu/gen_bench.mjs` renders every genre to WAV from the browser build. ### v0.6.90 - **DLY 3 > TYPE: ANALOG or DIGITAL.** ANALOG is the delay as it was (soft saturation, resonant TONE, past 100 % it self-oscillates); DIGITAL repeats clean, TONE a plain filter, FEEDBK 100 % at most (past it the repeats hold, never grow). - **DLY 3 > PING: ping-pong.** The repeats go left, right, left … across the stereo field, each FEEDBK softer (one delay line read twice: no extra memory; TIME up to 0.74 s). - **SEQ pages in a sensible order**: the piano roll (STEP) and the pages that edit it come one after another, NOTE, TIMING, STRETCH, COMP, COMP 2, WHEN; then the track's, PATTERN, SHIFT, HUMAN, PLAYHEADS, AUTOMATION ... - DICE ALL: an accent left on a drum lane without its hit (it was never heard, but undo / redo lost it) no more. ### v0.6.89 - **The delay, fixed and cleaner.** Long FEEDBK tails were cut off abruptly after a few seconds: the effects' noise gate, meant for the reverbs' residue, took them for silence; now a delay tail is never gated while it is heard. With **TONE in the middle** each repeat is a copy of what went in (no fixed darkening any more; a DC block at 1 Hz only), and at **FEEDBK 100 %** the echoes hold for a long time (about −0.2 dB a second). **TONE at either end** with high FEEDBK self-oscillates at its band. The loop's saturation is exact up to half scale (it colored every repeat a little). **MOD** reads the line with 4-point Hermite interpolation (as DaisySP's delay line), so drifting repeats stay bright; its default is now 0. - README: new images (TIMING, HUMAN, STRETCH, CHORD, the delay) and what's new on top. ### v0.6.88 - **Record off the grid.** SEQ > TIMING's **REC Q** (per track): at 100 % (the default) live recording snaps to the grid as always; lower, each step keeps where you played it, up to half a step early or late (in sixteenths of a step), and plays it back there. 50 % keeps half of it, 0 % all of it. - **SEQ > TIMING** (after NOTE): KNOB 1 the step, KNOB 2 its **OFFSET** (−8/16 … +7/16: early / late; EDIT puts it back on the grid), KNOB 3 REC Q. The piano roll draws each note where it plays. Early notes really play early (the step before ends that much sooner, the grid kept); a moved, stretched or repeated step keeps its offset; stored with the project, no extra memory. ### v0.6.87 - **SEQ > HUMAN**: the sequencer plays like a person, each note a little different every time round (the steps stay as written). **VEL** varies each note's velocity (up to ±38 at 100 %), **TIME** starts it a little late (up to 30 ms, never early; a chord stays together), **GATE** varies its length (up to ±40 %). 0 % (the default, and every project before) plays exactly as written. Per track, kept when you change the sound, automatable. ### v0.6.86 - **The delay feeds back like an analog one** (a tape, a PT2399). Its FEEDBK reached only 84 % and the loop clipped hard, so the echoes always died within a couple of seconds. Now each repeat gets a little darker and thinner and wobbles slightly (wow and flutter); around **100 %** the echoes hang on for many seconds, and **past 100 %** they grow into themselves and hold, saturating softly (turn it down to let them go). Up to 80 % it sounds as before; the screen shows FEEDBK as 0–120 % (100 % = the loop's gain 1). - **DLY 2 > MOD**: the delay's tape drift (slow wow, fast flutter) on the repeats, as the reverb has its MOD: 0 none, 20 the default, up to a seasick chorus. Saved with the project. - **Resonant TONE (delay) and FILT (reverb)**: one way a low-pass sweeping down, the other a low cut sweeping up, both with a peak at the cutoff, like a band-pass: carve where the repeats and the room sit. The delay's repeats narrow to that band pass after pass. All this costs about 2 % more audio CPU. ### v0.6.85 - **SEQ > STRETCH**, a new page after NOTE, to reshape a whole sequence (pick with a knob, OCT+ does it, UNDO brings it back): - **STRETCH x2 … x8 or /2 … /8**: the steps spread that many times apart (held notes held, short ones short) or squeezed together; automation and locks move with their steps. - **REPEAT x2 … x8 or TO 64**: clone a pattern of any length after itself, e.g. four notes into a 64-step bed for an arpeggio to record more notes over. - **NUDGE**: the whole sequence a step left or right at once (one note or chord: NOTE > MOVE, as before). ### v0.6.84 - **CHORD records whole in step recording too.** Armed and stopped on STEP, a key now writes the chord it plays (it wrote its note alone); live recording already did. - **STRUM records cleanly.** A strummed chord went into the grid note by note, its later notes falling into the next step, irregular and ugly. Now the chord goes whole into the step where the key went down, and the sequencer strums every chord step back as you played it, low to high (STRUM 0: all at once, as before). - **The keys show every note sounding**, a chord's whole shape included (CHORD, LATCH, a chord gliding, MIDI): see the chords as you play them, and learn them. - **SAVE > TOOLS > 6 CPU TEST**: builds a heavy test song (chords of four, two step components a step, long glides, the kit on every lane, every FX, 160 BPM) to measure the CPU on the device and listen for clicks; UNDO brings your music back. - **CPU watched on Linux too**: the tests count the audio path's instructions under valgrind (every engine, every reverb, a full mix, the sequencer at its heaviest, the CPU TEST song) and fail on +8 %; the Mac-only reverb check follows what the FM-1's own code measures. ### v0.6.83 - **Long, smooth chord slides.** The glide into a chord now lasts as long as that chord, its TIEs included (GLIDE: how much of it). Hold a chord over TIEs on slow steps and it slides for seconds (DIV 1/4 at 120 BPM, ten steps: 5 s), smoothly: the pitch moves in fractions of a step, and a new note fades in as it glides (it rises from the nearest other note, never from its own pitch). - **Step components on drums.** OCT, RAND and TONAL tune the hits, BEND bends each one over the step; ARP NOTES plays the step's sounds one after another, ARP SEQ the pattern's in the order they play, ARP SCALE retriggers the step's hits a degree further up each part. ### v0.6.82 - **Two step components on one step, and WHEN for every one (SEQ > COMP, COMP 2, WHEN).** COMP 2 gives a step a second component; both play (an ECHO with an OCT: the repeats an octave up). One that keeps the note silent wins: a TRIG or FILL in either place decides first whether the step plays. WHEN sets the loops each plays on: ALWAYS, 1:2, 2:2 or SKIP (kept but off). - **Division and duration**: RATCH and ECHO get a **DIV** (the step shared out, or the hits 1/2 … 1/8 of a step apart), ECHO goes up to x8, and a step's **LEN** sets each note's (or each RATCH / ECHO / ARP part's) gate on its own. ARP SEQ now plays the pattern's melody in its order (it was sorted like NOTES). - **Chord glide**: a POLY chord with SLD glides into the next one, each note to its partner; with **GLIDE** up on a POLY track every chord glides by itself. Three into four: the new note fades in from the nearest; four into three: the extra one glides on and fades out. It follows the voices actually sounding. - **Piano roll: SEQ > NOTE** focuses one note of a chord: PITCH moves it, MOVE moves it (or the whole step) along the steps, LEN stretches it, EDIT deletes it; holding a step shows how far its length reaches. - **SEQ pages in a new order**: STEP, PATTERN, SHIFT, **PLAYHEADS** (was FUGUE), then NOTE, COMP, COMP 2, WHEN, AUTOMATION, AUTO LIST, MUTATE. - **Fixes**: ANALOG MORPH sounds on every wave (SIN round to saw, PWM's width, SYNC / RING's ratio, SAW3's spread); every LFO and ENV destination is heard on every engine; SCL TRANS moves the sequence too; FM6's ENV page (SUS did nothing) moves the carriers' envelopes; AUTO PAN named on its page and the SLICER before MASTER in FX. ### v0.6.81 - **CHORD is back, light (SCL > CHORD; after the Omnichord and the Orchid).** A key plays a chord: in the scale (TRIAD 7TH ADD9 SUS2 SUS4, always in key) or a shape on any key (MAJ MIN 7 MAJ7 MIN7 POWER); VOICING CLOSE, **LEAD** (each chord the inversion nearest the last: voice leading), OPEN, +BASS; **STRUM** the notes in one by one, low to high, as a harp. It records into the step and feeds the ARP. Old projects: OFF. - **DICE ALL learned from records.** Post punk measured on Joy Division and Bauhaus: the kick on every beat, the hat on the offbeat eighths, the bass repeating each note two to four eighths, one or two chords over four bars, major too, open filters. **GOTHIC** slower and on one chord; a new genre, **DARKWAVE** (Boy Harsher: four on the floor, a low bass hammering its root). And **EBM, GOTHIC, BREAKBEAT, IMPRESSION**; songs of two to four parts sequenced in ARRANGE (PLAY plays the song); sevenths, ninths and suspended chords, ambient arps; leads always moving (filter envelope, LFO, auto pan or chorus); a short cowbell, a low or middle kick; the master glued (DUCK, CLIP, PUNCH). - **No more clicks turning things** (found sweeping every parameter over a held chord): the delay's TIME, WIDE and PITCH crossfade instead of jumping; the chorus DEPTH, its width and the delay MIX glide; the filter TYPE fades (into and out of the COMB too); the COMB no longer crackles on a loud part (an overflow); FM6's ALG and PHASE's FB smooth. - **DRUM-X IMAGE**: no clicks turning it, no bitcrusher-like grit through the kit's filter. - **ARRANGE survives power-off** (the power-on reset it, then saved the empty rows over it). - **The palette**: settings from Felucca (often GREY or MONO, a black and white screen) are set to JIANT once at the first power-on; a palette picked after that stays. ### v0.6.80 - **DICE ALL (HOME + SELECT): less cheesy, closer to the wave.** The generator wrote textbook pieces: a lead phrased like a nursery tune (a motif, its sequence, a cadence held on the tonic), every chord four lush notes, the arps up and down. Now: - **Four new genres** after Joy Division, Suicide, New Order and Kraftwerk, two throws in five: **POST PUNK** (the bass singing the tune high, power chords, a tight kit with sixteenths on the hat), **SYNTH POP** (a melodic bass, a sequencer, four on the floor and a handclap, Blue Monday's sixteenth kicks at the loop's end), **MINIMAL SYNTH** (a rockabilly bass ostinato over one organ chord held through, a cheap rhythm box) and **MAN MACHINE** (a sequencer bass, root, octave, fifth; a machine's tune repeated exactly, the same strength every note; a dry machine kit with its metal). They take the places of COLD WAVE, INDIE POP and ELECTRO PUNK. Their chords are one or two, never the scale's diminished one. - **Every genre:** the lead repeats its motif (A A A A', the last note moved or left out) instead of ending on the tonic; its strong notes a chord tone three times in five, a ninth or an eleventh the others; repeated notes in its contour. Chords may be power chords (root, fifth, octave) or triads. - **A fix:** the arps built their chords a scale step above the harmony (against the bass); now on it. - `tools/dice_render.c` writes thrown pieces as WAV files, to judge the generator by ear. - **MIDI: sections and projects by PROGRAM CHANGE on channel 16** (the song's channel: it never loads a sound there). Programs 0–3 jump to section A–D (playing: on the next bar, as the song layer's keys; stopped: at once), 16–23 load project 1–8 (stopped only). A foot controller or a DAW can run a set. A test sends them. - **MIXER: the six columns with every COLOR and STYLE** (they showed only with COLOR JIANT FM and STYLE FLAT; any other showed Felucca's four). MENU > LARGE still shows four, bigger. ### v0.6.79 - **Credits:** praztalfractal ([GitHub: gospodindilly-ops](https://github.com/gospodindilly-ops)), who tests JIANT on a real FM-1 and brings the CPU ideas (the effects' guard, the code in RAM), joins the credits: MENU > ABOUT and [Credits](#credits). Welcome! ### v0.6.78 - **Experimental: the hottest sound code runs from RAM** (another idea from a tester, after Melodee). The firmware runs from the flash through a cache; between two audio blocks the screen and the keys fill that cache with their own code, and the next block has to fetch its code from the slow flash again: likely one source of the load peaks (LATE, SHED in ABOUT). Now 18 KB of it is copied to RAM at power-on and runs from there: the mix and the master, the FX layer, the SLICER, and the first core's copies of a track's mix and the effect buses. The second core keeps the flash copies (it now and then misreads RAM on some units). The code itself is the same as before (only its place changed), so the sound is identical; whether the peaks go down can only be measured on a real FM-1: compare PEAK, LATE and SHED in MENU > ABOUT with 0.6.77 on the same song. If it does not help, it goes. ### v0.6.77 - **FM6: the operator graphs follow the knobs again.** On EDIT > OP ENV the envelope's curve did not move while you turned RATE or LEVEL (nor when you changed the stage or the operator), and OPERATOR's chart missed its edits too: the screen redraws a graph only when something it shows changed, and on these pages the patch was not on that list. It is now, with a test that turns each knob and checks the graph redraws. ### v0.6.76 - **The effects guarded on the second core** (a tester's idea, thanks!). On some FM-1s the second core now and then reads a word of memory wrong; the check word guards the hand-over of each job, not the numbers the job reads. With the effects there since 0.6.75, a test now feeds every value of their state a wrong word (on all five reverbs): their lines are 16-bit and clamped, so nothing can grow through the feedback, at worst a short burst the master's limiter holds. Two guards came out of it: ROOM's modulation, given a wrong offset, now puts it back instead of reading far outside its buffers; and if the effects' output ever goes far out of range (as the known wrong read would make it), that block is muted, every delay and reverb line is cleared, and the second core is stopped as a BAD READ (one core until switched off). USB console `status`: `fx_trips`. ### v0.6.75 - **The effects on the second core.** The chorus, delay and reverb buses ran on the first core after both cores had rendered their tracks: a fixed piece of every block the second core could not help with (up to a quarter of the work, more with a heavy reverb). Now they run on the second core while the first renders its tracks, on the sends of the block before, so the wet signal comes 0.7 ms later than the dry one, too little to hear. With one core they run at the same point, so the sound is the same either way (the test still checks it bit for bit). In the simulation of a heavy six-track song the mean load falls from 77 % to 63 % of one core, and the peaks (the ones that make the LATE and SHED counts in ABOUT) are now about 18 % lower than on one core (before, they barely moved). ### v0.6.74 - **Fewer clicks.** When the FM-1 has to let a voice go (all 8 voices busy and a new note comes, or the load guard freeing time), it cut it in 0.7 ms: on a loud note, a bass note most, that is a click, and it happened a few times a second in a busy song. Now the voice fades out over ~4.4 ms along a half cosine (gentle in and out): measured on a 55 Hz bass, the click is about 7 times smaller. A new test keeps it so. The voices fading do not count in the budget, so the new note never waits. ### v0.6.73 - **Both cores, better shared** (after the first tests on a real unit: mean load 54 %, but a few blocks near the limit, a click now and then): each track's render is now **timed** as it plays, and the tracks are split between the cores by what they really take (it was an estimate from their voices and engines). The **drums can go to the second core too** (all the DRUM tracks together, on one core or the other): they were always on the first, often the heaviest part of a song, which left the cores uneven. - USB console `status`: `cpu2`, `cpu2_jobs`, `cpu2_tracks`, `cpu2_wait_max_us` (0.6.72), to see the second core at work. ### v0.6.72 - **MIDI OUT** (MENU > CONTROL > MIDI OUT, over USB): **KEYS** (as before), **CLOCK** (and the clock with START / STOP while the tempo is the FM-1's own: drum machines and DAWs follow it), **ALL** (and every note the FM-1 plays: the sequencer, the arp, FUGUE, the punch-in repeats with OCT and RANDOM, each track on its channel, every note ended), **OFF**. - **PROGRAM CHANGE**: program *n* on a track's channel loads the PRESETS list's sound *n* + 1 into that track. (0.6.80) On **channel 16**, the song's: 0–3 jump to section A–D (on the next bar), 16–23 load project 1–8. - MIDI check: USB / TRS MIDI IN, clock, Start / Continue / Stop and the punch-ins verified by the tests. MIDI OUT on the TRS jack is not possible (the jack is an input only) and neither is Bluetooth MIDI (it needs JieLi's closed SDK). ### v0.6.71 - **Both cores** (experimental, [details](#both-cores-dual-core)): the FM-1's chip has two cores and JIANT used one. Now, while the first renders its tracks, the second renders some synth tracks of its own (the drums stay on the first), whichever has less to do; the sound is bit for bit the one core's (a test checks it). The way to start it safely and the guard for units that cannot run it come from Melodee (keremimo) and fm1-x0x (Charles Vestal), GPL-3.0: if the second core reads a wrong job, faults or does not answer, it is stopped and the first plays every track again, no crash; such a unit stays on one core until switched off. **MENU > ABOUT** says CORES 2 or CORES 1 and why. Hold **REC** while powering on for one core that session. ### v0.6.70 - **LOAD ECO really lighter** (4 tracks with reverb and delay still crackled on ECO): the SPRING every reverb becomes on ECO was heavier than a plain ROOM; on ECO it now runs a shorter chain (4 stages instead of 10, a third of the reverb's cost gone). The voices all tracks share drop from **8 to 6** on ECO, and the load budget steps in sooner (at half the time instead of 65 %), taking only tails that are nearly silent: the peaks when every track hits at once no longer reach the point where the sound breaks. ### v0.6.69 - **SELECT scrolls inside the section**: alone it goes through the pages of the section you are in (EDIT's on an EDIT page, FX's on an FX page …), stopping at its first and last page; on HOME it opens DICE EVERYTHING? as before. The button combos stay: HOME / EDIT / SEQ / LFO / FX + SELECT their dice, GLO + SELECT the tempo. - **The presentation film**: a new one for this version (tools/video/capture_promo.c, promo.html): dark hypnotic techno by the real engines, the screen floating in a living membrane, annotated like a specimen, and the list of all that is new. ### v0.6.68 - **Fix: a cleared sequence came back by itself.** With MUTATE PATTERN on, clearing a track while it played let the old melody return a few bars later (ORBIT mutated around the anchor taken before the clear), and DRIFT could add drum hits to an empty kit. Now the anchor follows the steps you write or clear, and MUTATE never fills an empty pattern. ### v0.6.67 - **SELECT scrolls the pages**: turn it alone and it goes through every page, one a detent, in the panel's order (HOME, EDIT, ENV, LFO, FX, SCL, ARP, SEQ, GLO, SAVE), the page's name shown below for a moment. - **A button held + SELECT is its dice**, heard at once under **KEEP?** (OK keeps, CANCEL puts back what was there): **HOME** everything (DICE EVERYTHING?), **EDIT** the sound, **SEQ** a new sequence for the track (as DICE ALL writes a part, in its scale), **LFO** the track's LFO, **FX** its effects and the shared reverb and delay. **GLO + SELECT** is the tempo; ENV, SCL, ARP, SAVE + SELECT (and any button + PRESETS) jump through their pages. The macros' dice is F3. ### v0.6.66 - **Pages with SELECT**: hold a page button and turn **SELECT** to go through its pages (PRESETS still works too). While it pages, SELECT dices nothing, nor in the moment after you let go. GLO + SELECT stays the tempo; with LFO held, F3 rolls the macros. ### v0.6.65 - **Sound dice with OK / CANCEL**: EDIT + SELECT rolls the sound and you hear it at once under **KEEP DICED SOUND?** (DRUM: KEEP DICED KIT?). Turn SELECT again for another roll; **OCT+ OK** keeps it, **OCT− CANCEL** brings back the sound you had, only that track's, with the music playing on. No more sounds lost by accident. ### v0.6.64 - **FX held opens the punch-in FX and stays**: hold FX until its map opens and let go: the FX screen stays open, both hands free, until you press FX again. The effects are **momentary** again by default (a key plays its effect while held); MENU > CONTROL > FX LATCH ON makes them toggle, as in 0.6.44–0.6.63. - **Page name at the bottom**: the page's name now shows for a moment over the footer (which says the same), so the header, the cards and the graph stay in sight. - **Granules for free**: the drifting dots behind the panels move only when the panel redraws anyway (a knob, the LFO, the envelope); they no longer redraw the panel on their own. ### v0.6.63 - **A safer installer**: before writing, it checks the FM-1's firmware by itself (no tick box any more): official V15 or JIANT, it installs; Felucca, baudgirl or anything else, it writes nothing and sends you to **Return to official V15 first** (going straight from another custom firmware has bricked an FM-1). JIANT now tags itself in the editor's INFO for it; older JIANT versions are recognised by their six tracks. ### v0.6.62 - **Step components with TIMES**: JUMP and REV get KNOB 4, **TIMES**: ALWAYS (as before), **x1** (once a pass, then the pattern plays on past it: a section twice, then the rest), **x2**, **1:2** (once, every other pass). A jump back no longer has to shorten the sequence. Old projects play as before (ALWAYS). ### v0.6.61 - **The page name in the header**, not over the parameters or the graph: for 0.9 s the header shows the page (and the track and engine at the right); on HOME a track change shows its engine, with "HOME" small. - **Granules in the panels**: a few dots drift behind the graphs, as on HOME (LOAD FULL with ANIM ON; not on the lists and the step grids). ### v0.6.60 - **All black**: cards, panels, menu rows and dialogs are their text, graphs and beings on black, with no box drawn (the chosen row and the buttons keep their fill). ### v0.6.58 - **Page name over the cards, shorter**: the big name now covers the four cards for 0.45 s (was the graph for 0.7 s), on one line with the track and engine at the right; the graph stays in sight. - **INIT SYSTEM in the MENU** (SYSTEM tab): everything back to zero for a new song, after OCT+ asks (as SAVE > TOOLS > NEW PROJECT; UNDO brings the music back). - **FX LATCH on in the browser emulator too** (the punch-in FX latch was ON on the device only). - **DRUM-X pages: the kit, a sound, then the volumes and the stereo**: KIT, KIT 2, KIT 3 (BP, FEEDBK), X-MOD, FILTER; SOUND 1–4; LEVELS, LEVELS 2 and **STEREO** (IMAGE, moved from KIT 3). ### v0.6.57 - **LOAD LITE / ECO also lighten the screen**: the beings, the scope and the animated graphs redraw at most every 50 ms (LITE, ~20 frames a second) or 70 ms (ECO, ~14), the beings' outlines with fewer points (LITE about half the lines, ECO a third), and values snap instead of rolling. The main loop keeps that time for the keys, the knobs and the LCD. A new page or track still draws at once; FULL is unchanged. ### v0.6.56 - **The landing's typography and windows** (the JIANT palette; the beings, DRUM-X and the colours stay as they are): values in **IBM Plex Mono**, page names and big numbers in **Michroma**, labels still in Chakra Petch. Cards, panels, rows, tabs and buttons are square with four **HUD corners**; the page banner is the landing's tag (a dark window, orange corners, the name in Michroma, the track under it). The fonts take 4 KB less flash than before; no CPU cost. ### v0.6.55 - **ALGORITHM only offers the tracks that play**: with TRACKS 4 it stops at T4, T5 and T6 no longer show up (they were asleep and confusing). TRACKS 6 brings them back; going back to 4 while on T5 / T6 selects T4. ### v0.6.54 - **DRUM-X pages in order**: first the whole kit, then one sound. **KIT** (EDIT 1), **KIT 2** (EDIT 2), **KIT 3** (TONE's BP and the kit's FEEDBK, with IMAGE), X-MOD, FILTER, **LEVELS**; then **SOUND 1–4**, KNOB 1 always the sound: SOUND (SIDE PITCH PMOD), SOUND 2 (DECAY NOISE COLOR), SOUND 3 (MODE PM.TYPE DRIVE), SOUND 4 (LAYER FEEDBK SEND, the bus and amount on one knob). 14 pages became 12; the TONE, LAYER, SEND and IMAGE pages are folded in, SOUND 3's WAVE (MODE has it) is gone. ### v0.6.53 - **Memory check.** Flash 392 KB of 568 KB; RAM 80 KB of 96 KB; the big-buffer pool 325 KB of 336 KB. The pool was the tight one (3.9 KB usable over its 8 KB reserve): the DRUM-X hits' state and the FM6 user-voice buffer moved to the ordinary RAM, so the pool has 11 KB to spare and the RAM 16 KB. No sound or behaviour changed. ### v0.6.52 - **FUGUE** (SEQ > FUGUE), after the Fugue Machine: three more playheads on every track, each with its RATE (1/4 .. x4), DIRECTION (FWD, REV, PING, RND) and INTERVAL in the scale (-14 .. +14 degrees), reading the same steps: canons, counterpoint, a pattern phasing against itself. Saved with the section. Cost: a few operations a block a head; RAM +0.4 KB. ### v0.6.51 - **LFO in time and free-running** (asked on YouTube): RATE turned left past the slowest goes in time with the tempo (4BAR … 1/32, triplets and a dotted eighth), locked to the bar while playing; PHASE turned left past 0 is **FREE**: the LFO never restarts with a note. The mod matrix moves RATE within its kind (free or in time). - **The page's name, big**: changing page or track by hand shows the page's name in the middle for 0.7 s, with the track and its engine, so the pages need no memorising. - **The power-on signature** stays a little longer (written in 0.8 s, held 0.9 s). ### v0.6.50 - **Fix: MORPH clicked when turned** (ANALOG, PHASE, LOFI). It moved in steps once a block; now it is slewed and ramped sample by sample across each block, including in and out of 0. ### v0.6.49 - **DRUM-X LAYER** (EDIT > LAYER, each sound): a second, out-of-tune oscillator frequency-modulated by the sound, from a metal edge to a clang with no note, so drums melt into the rhythm and stop fighting the harmony. **FEEDBK** per sound on the same page (on top of TONE's, the kit's). Saved with the kit; the dice (SELECT, DICE ALL) set both boldly. - **Cowbell tamed**: the factory one shorter, noisier, with a LAYER, and the cowbell 4 dB under the other sounds in every kit (it stuck out). The factory snare and hats get a LAYER too. - **Power-on is a clean INIT**: every track its engine's own defaults (not its first preset), every effect send at 0, FM6 the init voice; INIT SOUND and NEW PROJECT the same. (The power-on still loaded the presets with their sends.) - Cost: a sound with a LAYER costs about what FEEDBK does; the factory kit with all 8 sounds ringing at once +13 % on the drum voices (host), nothing on sounds without one. RAM: +200 B of pool, +16 B. Older projects keep their kit as it was (no LAYER). ### v0.6.48 - **DRUM-X IMAGE** (EDIT > IMAGE on a DRUM track, one knob, automatable): sweeps the kit through its stereo placings (each sound on its own curve), so you turn it until the image sits right. 0 = all in the middle, as before. The kick stays near the middle; with DRV, DIST or the FILTER the image narrows (they work on the kit's sum). - **DRUM-X SEND** (EDIT > SEND): each sound its own send to CHORUS, DELAY or REVERB and an AMOUNT, so one hit goes to an effect without the whole kit. Saved with the section's kit. - Cost, measured: about +3 % of the mix with IMAGE on and every sound sending (host); nothing when IMAGE is 0 and no SEND is set. RAM +1.3 KB, no pool. ### v0.6.47 - **C.LEN** (SEQ > SHIFT, KNOB 4): the step components get a length of their own. OFF: each step its own component, as before. 1–64: the components of steps 1..C.LEN are read in turn as the track plays, so over a pattern of another length they drift across the notes (polymeter, as the OP-Z's). The COMP page marks the lane and where it is. Automatable. Costs nothing on the audio: a copy of the step once per step. ### v0.6.46 Feedback from users (YouTube, Reddit): - **INIT SOUND is dry**: every effect send (DIST, CHORUS, DELAY, REVERB) at 0, so the effects are yours to add. On **FM6** INIT is the init voice (OP1 alone at full level, the rates at 99: a plain sine) instead of a factory patch. - **NEW PROJECT** (it was INIT SYSTEM: SAVE > TOOLS, 5th row): a clean start, every track its engine's sound, dry, FM6 the init voice, no steps or automation. - **NOISE DUST** never silent: at DENS 0 it still crackles softly (DUST is only the crackle). - **FM6 EDIT 1**: the chart says the algorithm's number also when ALG follows the patch ("ALG 05 PAT"). - **Web installer**: pick an earlier version to go back to (the last few stay there), and links to the manual (English, Español). ### v0.6.45 - **MORPH** (EDIT > MORPH) on ANALOG, PHASE and LOFI: the wave slides continuously into the next ones; on ANALOG and LOFI the SHAPE modulation sweeps it too. The page draws the morphed cycle. - **Fix (reported on Reddit): "the sequence pitch drops by itself"**. It was SCL 2's STRN, a global transpose of every sequence that is easy to turn by mistake next to ROOT. Renamed **ALL TR**; when it is not 0 the piano roll shows an **ALL TR** badge and PLAY warns. 0 = off. ### v0.6.44 - **Punch-in FX latched by default** (asked by many): **FX LATCH** is now ON (turned on once for everyone; turn it OFF in MENU > CONTROL if you prefer holding). **Lock**: hold FX until its map opens and let go without touching anything: the FX layer stays open (**[FX] LOCKED**), as the macros latch with LFO; keys toggle effects, knobs are FX's macros, OCT− all off. Press FX again to unlock. ### v0.6.43 - **MUTATE** (SEQ > MUTATE, a suggestion from the community): each track's **SOUND** and **PATTERN** change by themselves every 1 to 32 bars, on the bar, in time with the clock; **AMOUNT** how much; **ORBIT** varies around an anchor (KEEP: OCT+ on the page) so the music stays itself for minutes, **DRIFT** wanders on. Never LEVEL, PAN or MUTE, never the kick. **FREEZE** (OCT− on the page, or GLO + A4) stops it all. The page draws the next 32 bars of every track; on HOME each being gets a ring filling up to its next change. ### v0.6.42 - **Step components, the second set** (SEQ > COMP): **RAND** (the note at random in the scale), **OCT** (an octave, every loop or every other one, by turns, at random), **TONAL** (the rest of the loop moved along the scale), **BEND** (the note glides over the step), **ECHO** (repeats, each softer), **PULSE** (again on the empty steps after it), **JUMP** (then another step), **REV** (back to step 1: ping-pong), **FILL** (only while FX is held) and **KILL** (cuts what the track sounds). Each with its picture on the page. ### v0.6.41 - **Smooth engine and waveform changes**: another engine fades the old one out (~12 ms) and what is held (keys, the sequencer's notes) goes on in the new engine, fading in, instead of being cut. A list value changed while notes sound (WAVE, CHIP, a type) dips for ~3 ms instead of clicking; the notes go on. ### v0.6.40 - **INIT SYSTEM** (SAVE > TOOLS, 5th row, with a dialog; UNDO brings the music back): everything to zero at once: every track its engine's default sound, no steps, automation or locks, the mix, effects, tempo and SLICER at their defaults, the song empty, macros at 0, the factory DRUM-X kit. Saved projects, user presets, MENU, CLOCK, TUNE and MIDI stay. - **Power-on at zero**: the device starts as INIT SYSTEM leaves it. **RESTORE LAST** (MENU > SYSTEM) is now **OFF** by default; turn it ON to get the last session back at power-on (if you had set it OFF before, it reads ON once: set it again). ### v0.6.39 - **Step components** (OP-Z style), on a new page **SEQ > COMP** right after STEP: one per step, picked with KNOB 2. **ARP NOTES / SEQ / SCALE** turn a step into an arpeggio (its own notes, every note of the pattern, or the scale up from it; UP, DOWN, UP-DN, RND; x2 to x8 in the step; 1 to 4 octaves or 3 to 15 degrees) that goes on over the ties after it. **TRIG** plays a step only on some loops (1:2 .. 4:4, 1:8, FIRST, NOT FIRST). The step's own **CHANCE** and **RATCH** are back here too. The page draws the arpeggio's ladder (the note playing lit) and TRIG's loops. ### v0.6.38 - **Step recording, chords with a length and arpeggios**: on STEP with REC (stopped), hold a note or a chord and turn **KNOB 1**: it lasts that many steps, written when you let go. Press **ARP** while holding it: the chord goes into the roll as an arpeggio, KNOB 1 its resolution (1/16 .. 1/4), KNOB 2 the order (UP, DOWN, UP-DN, RND), KNOB 3 the octaves. - **DICE ALL**: the lead never goes past G5 on any of its paths (a FRANTIC cell could reach C#6). ### v0.6.37 - **SEQ pages, lighter**: PHRASES and the step CHANCE page are out of the cycle; **SHIFT** is now the last SEQ page and has a third knob, **CHANCE**: the whole track's probability (100 % plays every step as written, lower thins it out), automatable like OFFSET and PITCH. Old projects and presets keep playing as they were. - **Films**: the presentation video in the landing page's look, with a dark minimal techno track (low FM chords, acid, a cyber line). ### v0.6.36 - **DRUM-X: FM becomes FM ENV.** The old FM knob put a fixed FM over every hit and muddied the kit (the macros' dice liked it a lot). **FM ENV** strikes the FM with each hit and lets it go with the pitch envelope (a few ms): a beater, a click, a metal edge on the attack, the tail as the kit has it. Projects keep the value; its effect is the new one. - **DRUM-X: EDIT > TONE**, a new page after X-MOD: **BP**, a band-pass on the hats, the rim and the cowbell (OFF or 15 centres, about 1.5 to 9 kHz), and **FEEDBK**, every sound's oscillator fed back into itself (warm to growl to noise). Saved with the section's kit in a byte it already reserved: older projects open with both OFF, sections no bigger. - **Films**: the features film's music is new and darker (E harmonic minor, Em(add9) Cmaj7 Am7 B7, a rolling sub, a low arp, the robot low and spaced) and the camera cuts to HOME's beings every two bars of a long scene; the DICE ALL film shows HOME's beings instead of the mixer. ### v0.6.35 - **DICE ALL: the drums as before, darker.** The chords, the variety and the guard rails of 0.6.34 stay; the drums go back to 0.6.33's, which sounded better: the DRUM-X kit rolled around the factory one through a soft low-pass, the patterns written whole (the energy no longer thins or fills them), and in the night's genres they almost always play. The night's genres come up four throws in five (IDM and DARK IDM still the most). - **Two new films**: the DICE ALL film (one minute: a throw every few seconds, an animated die rolling between them, no names) and the features film updated; thumbnails for both (`tools/video/thumbnails.py`). ### v0.6.34 - **DICE ALL: a generator of pieces, not of conditions.** Each throw makes three choices and guard rails keep it musical inside the chaos (see the manual, chapter 8): - **A genre**: the dark ones, plus five new worlds: **SOUNDTRACK** (enveloping pads, no drums or a heartbeat), **HARD TECHNO**, **INDIE POP**, **ELECTRO PUNK** and **NEO CLASSICAL** (Reich's pulses and phases, Glass's additive arps, Pärt's tintinnabuli). - **An energy**: **SPACE** (two or three things, long tails: minimalism with cared-for timbres), MID, **FRANTIC**. - **An orchestration**: which roles play; **the drums may not play at all** (about a third of the throws). - Guard rails: **chords always of four notes**, **deep basses** (from E1), **arps in the middle octaves** (C3–C5: Alberti, Glass groups, a Reich pulse, a walk), **coherent melodies** (a motif in steps developed over four bars, ending on a cadence), **space between notes**, **high notes softer** and high parts quieter, the lead under G5. - **Seven drum kits** built on DRUM-X: 808, HARD, CLICK, INDUS, SOFT, GLITCH, ELECTRO. - Sounds always fit their role (never a bass sound off the bass); envelopes shaped for the role and the energy. - **A twist** in one throw in five: two loops phasing, a comb, the grain delay down, a polymetric lead, a drone. ### v0.6.33 - **DICE ALL: more IDM, darker, never flat.** IDM and a new **DARK IDM** (slow, phrygian, a drone, in-scale fourths, a few long notes) come up about 4 throws in 10; IDM's scales and progressions darker (PHRY, HARM; the flat second). - **A filter envelope on every sound** (strongest on the bass and the arps, their envelope made a pluck), so each note opens and closes instead of sitting still. - **The filter TYPE changes**: LP mostly, BP on chords, arps and textures, the COMB tuned to the note on arps and textures; a slow LFO of its own shape (SIN, TRI, S&H for the IDM arps) on the cutoff; a little drive (SOFT, FOLD) on some basses and leads; the drums through a soft low-pass (the hats not glassy). - **Delay and reverb vary**: the delay time (1/4, 1/8, 8T, 16T, 1/16), the GRAIN delay pitched an octave or a fourth down or a fifth up (often on IDM), the reverb type among ROOM, SPRING, RESO and CLOUD, its size, modulation and width; each track its own space, now and then one soaked and one dry, chorus on some chords. - Measured over 90 throws: brightness 1714 Hz (0.6.31) → **722 Hz**, the same loudness. ### v0.6.32 - **DICE ALL goes dark.** "Out of 30 sequences one is OK": the song ideas were shrill, cheesy, too bright and happy. Now they are night music: **DARK MINIMAL**, **DUB TECHNO**, **IDM**, **DARK ELECTRO**, **ACID NIGHT**, **COLD WAVE**, **BROKEN**, **HYPNOTIC**, **DEEP BREAKS**, in minor modes only (MIN, DOR, PHRY, HARM, MEL, MPEN; no major, mixolydian, lydian or blues), no pop progressions. - **A harmony bug fixed**: the chords were built from the scale's fifth and the lead from its third, so a v chord sounded over a i bass. Every part now starts from the same tonic. - **Chords with colour**: voiced as 7ths, 9ths without the 5th, in-scale fourths or suspended, and led to the nearest voicing in a middle register (no leaps); dub stabs keep one voicing, offbeat after offbeat, into the delay. - **Filtered**: every synth's cutoff goes down by role (chords and arps darkest), with some resonance; a slow LFO makes the chords breathe, the envelope plucks the arps. Bright factory sounds (bells, brass, marimbas, organs, chiptune) are never picked. - **Melodies lower and stranger**: the lead around C3–C4 in small steps, or a hypnotic euclidean ostinato that turns on itself (Marc Houle, The Hacker), or a few long notes; arps an octave lower without octave jumps. - **Grooves**: a rolling offbeat sub and a dub bass, minimal and deep-techno beats with ghosts, rims and chance, velocities a little human; darker delay and reverb (lower tone, more damping, no SHIMMER, CLOUD pitched down). - Measured over 90 throws: the mix's brightness (its spectral centroid) **1714 Hz → 1376 Hz**, the average note **an octave lower** (65 → 55). ### v0.6.31 - **The full manual, in English and Spanish**: [docs/MANUAL.md](docs/MANUAL.md) · [docs/MANUAL.es.md](docs/MANUAL.es.md). Every page and its four knobs, every layer's keys, the engines, DRUM-X, the sequencer, ARRANGE, the dice and UNDO, effects, modulation, performance, the MENU, MIDI, the web tools and troubleshooting, and a careful chapter on **saving**: what is saved where, how the autosave really works (10 s after the last change while stopped, never at power-off), quick stores, copying, switching projects, names and user presets. - **SELECT on the MIXER sets the tempo**, as on GLO's other pages (GLO's button opens it); it said DICE: HOME / EDIT. - **New README images** and **presentation video v3**: the screens as they look now, taken from the video's footage (song ideas, ARRANGE, UNDO, TRACKS and LOAD, one scale), with the support links at the end. - README and cheat sheets corrected against the firmware: the autosave, ARRANGE instead of the SONG page, what the punch-in lane records, UNDO on GLO's G4, HOME held for MENU, the reverbs' AIR knob, DRUM-X's labels. ### v0.6.30 - **LOAD, next to TRACKS** (GLO > SYSTEM: KNOB 1 **TRACKS 4 / 6**, KNOB 2 **LOAD ECO / LITE / FULL**; also MENU > SYSTEM > LOAD). TRACKS says how many tracks play, LOAD how heavy the sound may get, so you choose: a lean, ultra-optimised system to push to the limit, or a slow one full of heavy effects. Everything is swapped only while it sounds; the project keeps its settings and sounds as saved back on FULL (or on another unit). - **FULL** (the default): everything as set. - **LITE**: the heavy parts swapped for their nearest light kin: SHIMMER and CLOUD reverbs as ROOM, RESO as SPRING, the GRAIN delay as a plain delay, FM6 two voices. - **ECO**: LITE, and every reverb a light SPRING (0.6.70: a shorter chain), **no SLICER** (its tracks go straight to the mix) and **no chorus**: their pages disappear until you leave ECO. Every synth track plays at most **4 voices** (the drums as ever), **6** between all tracks (8 otherwise), and the load budget steps in sooner. - Since 0.6.71 the second core takes part of the synth work ([both cores](#both-cores-dual-core)): FULL goes much further before LOAD is needed. - The cards of what's swapped say **LITE** or **ECO** under their value. - Why CPU and not RAM: the firmware reserves all its memory at boot, so nothing can be freed while it runs. What runs out is the audio time (the load meter, the CPU % card next to LOAD), and that's what LOAD gives back. - 0.6.29's **6 LITE** comes up as TRACKS 6 + LOAD LITE. GLO > SYSTEM's USB card is gone (the header shows USB). - **Ko-fi / Cafecito**: support links in the README, the web installer, the web editor and the emulator. ### v0.6.29 - **TRACKS has a middle option: 6 LITE.** GLO > SYSTEM > TRACKS (and MENU > AUDIO > TRACKS) now reads **4 FULL** (the default), **6 LITE** or **6 FULL** (the old 6 HIGH). With 6 LITE all six tracks play and the heaviest parts are swapped for their nearest light kin while they sound: the **SHIMMER** and **CLOUD** reverbs play as **ROOM**, **RESO** as **SPRING**, the **GRAIN** delay (DLY 2 PITCH / SPRAY) as a plain delay, and **FM6** plays two voices instead of four. Nothing in the project changes: back on 6 FULL (or on another unit) it sounds as saved. The cards that are swapped say **LITE** under their value. - **Fixed**: when a message covered the header while the BPM was rolling, the old BPM could stay half-rolled. ### v0.6.28 - **"After clearing a sequence it still triggers notes on all tracks" — fixed.** The punch-in FX lane (effects recorded by holding FX keys while REC is armed) kept repeating the last notes of the cleared steps with STUTTER and ARP, and ARP played random fills on a DRUM track with no steps. Now a clear ends those repeats and forgets the notes, a DRUM track with no steps gets no fill, and an effect **latched** with FX LATCH no longer records itself into the lane (only one held by hand does). A section jump or quick chain waiting for the next bar is called off by a clear (it brought the steps back). To erase the lane itself: hold REC and press FX. - **Clears say which track**: "T3 CLEARED", and below it "SEQ+REC: ALL TRACKS" (the others play on; SEQ held + REC clears all six). - **T5 and T6 asleep (TRACKS 4) can't go unnoticed**: when a note is sent to them (a key, MIDI, their steps) or PLAY starts with steps on them, the screen says T5-T6 ASLEEP · GLO>SYSTEM>TRACKS 6. ### v0.6.27 - **DICE ALL never repeats itself**: the moment you press (the timer's ticks) stirs the random numbers on every throw, and the last 32 pieces are remembered by a fingerprint (every track's steps, engines and the tempo): a piece that matched one would be thrown again. **The tempo moves on every throw** (at least 3 BPM, inside the style's range), unless MENU > BPM LOCK is on. ### v0.6.26 - **HOME + SELECT is a song-idea generator.** Each throw picks a **style** with its own tempo, swing, scales, chord progressions, drums, bass, how much silence it leaves, the engines it likes and its delay and reverb: **ROBOT POP**, **ELECTRO**, **BIG BEAT**, **ORGANIC**, **ART ROCK**, **DUB PUNK**, **MINIMAL**, **SYNTH POP**, **IDM** (the screen says which). Every track gets a **role** (DRUMS, BASS, CHORDS, LEAD, ARP, TEXTURE; with TRACKS 4 the first four), a **new engine** the style likes for it (FM6 on two tracks at most: its CPU), a factory sound whose name fits the role, moved a little, its voice mode, gate, level, pan and sends, and a part written from **one harmony**: the bass on the chords' roots (octaves, pumping, acid with slides, walking, drones, blips), chords voiced in the scale (7ths in some styles; held, stabbed, pulsed or sparse), the arp over the chord's notes with holes, the lead a motif repeated with a variation or answered, and whole bars left silent. ORGANIC, MINIMAL and IDM put loops of odd lengths against each other. Drums from each style's bars with fills, ghosts and accents; IDM's euclidean, ratcheted and by chance. No automation and no modulation beyond the macros' routes (nothing that takes RAM). UNDO (GLO + G4) as before. ### v0.6.25 - **Interface audit, second round.** - **SAVE > TOOLS is a list**: KNOB 1 (or PRESETS, or any knob) moves the pick down and up, OCT+ does it (its dialog first). It was one knob per action. - **The footer on the song's and the instrument's pages** (PROJECT, ARRANGE, TOOLS, GLOBAL, SYSTEM) shows the project and its name, not the track's engine and sound. - **Clearer messages**: SAVED (NO FLASH) instead of SAVED (RAM); an empty favourites list says NONE (was --/0). - **Layers**: on GLO, a track asleep (TRACKS 4) has its SOLO and MUTE dim and its key quiet. ### v0.6.24 - **Interface audit, first round.** - **The song in one place**: SAVE > ARRANGE (SEQ > SONG was the same page twice and is gone from SEQ). - **Readable names**: LEVEL, SWING, CLOCK, DEPTH, STEREO, FEEDBK, SPRAY, FOLLOW, PUNCH, TRACKS, ROUTE, SCALE, QUANT, TRANS, OFFSET, PITCH, FILTER, SHAPE, PHASE, ORDER, VOICE, GLIDE, DEST, DETUNE, NOISE, CRUSH, DRIFT, DECAY, COLOR, VOWEL, BREATH, MORPH, MOTION, DRIVE, ROTOR, RATIO... instead of LVL, SWG, CLK, CDP, STER, FDBK, SPRY, FOLW... Library files saved by the web editor with the old names load as before. - **Mixer (6 columns)**: each sound's name cut to fit (no "..."); a muted track keeps its name, in the accent colour. - **FX in sections** (TRACK, SLICER, DELAY, REVERB, CHORUS, MASTER): a tap the next page, two quick taps the next section; the footer counts within the section. ### v0.6.23 - **ARRANGE: delete a row right there**: KNOB 2 (SECT) turned left of A asks **DELETE ROW?** (OCT+ yes). ### v0.6.22 - **ARRANGE (SEQ > SONG) redrawn, after SLOOP's arranger**: the song as a column of rows, each a coloured section chip (A, B, C, D each its own heat), its bars as blocks that fill as they play, the count on the right and a dot for its scene; a section with nothing stored says EMPTY. Under them **+ ADD** (how many rows of the 16 are used) and **END**. On the right the whole song as one strip (each row as long as its share of the bars, the play head on it) and the bars in all. KNOB 1 the row, 2 its section (left of A: DELETE ROW?), 3 its bars, 4 its scene. - **END: STOP, x2 .. x8 or LOOP**: the song plays once, that many times, or round and round (KNOB 2 on END). - **Tracks asleep (TRACKS 4) in grey**: on HOME as a muted being, on the mixer greyed with OFF. ### v0.6.21 - **HOME + SELECT dices everything** (after **DICE EVERYTHING?**, OCT+ yes / OCT− no): one musical scale for every engine and the effects, each track a new engine, sound and sequence in that scale (T1 a bass; the others a lead, pad or arpeggio; DRUM a beat), the macros' routes and the delay, reverb and chorus. Tempo, levels and mutes stay. - **SELECT by page**: the tempo on GLO's pages (GLOBAL, SYSTEM, MIXER), the sound's dice on EDIT only, nothing on the others (it says where). - **UNDO: GLO held + G4**: the last big change taken back (DICE ALL, a sound diced, a clear, INIT, RECALL, a pattern or project loaded); again: forward. The transport keeps playing. - **Installer**: a warning to return to official V15 first when coming from another custom firmware (a brick was reported going straight from one), with the button right there; Install is enabled once you confirm the FM-1 runs official V15 or JIANT. ### v0.6.20 - **SCALE is global, strictly**: ROOT, SCALE and QNT are one for the whole song. Before, a project, MIDI or automation could leave a track in its own scale; now every melodic track follows the selected one's at once. ### v0.6.19 - **TRACKS on GLO > SYSTEM** (KNOB 2: TRKS 4 LOW / 6 HIGH), next to the tracks: the same setting as MENU > AUDIO > TRACKS, saved. Going to 4, T5 and T6 now fade out (they were cut: a click). - **Less stutter under load** (a full check of the last updates): - the overload guard sheds a voice again only after two overloaded blocks in a row (since 0.6.17 one spike, e.g. a key scan, was enough: a voice cut every 3 ms, clicks and cut tails); - the load budget is measured on the sound alone, and it only takes tails under -50 dB (was -30: audible); - a track let go from a black-key mute or a solo no longer keeps the FX layer working every block. - **GRAIN delay without clicks**: with a long TIME, a grain's new spray moved the other grain in the middle of its window (a click every grain); and the FX buses' quiet gate now opens and reopens with a short fade (it jumped). - **DRUM-X DRV**: several loud hits at once with DRV high could wrap into a full-scale click; held now. - **LATCH**: turning HOLD off or ARP on with a key down, SEQ TOOLS CLEAR and REC CLEAR ALL now let the latched notes go (they kept droning and stacked up); a panic also ends them on MIDI OUT. - MENU > ABOUT's AUDIO LOAD updates live. ### v0.6.18 - **MENU > AUDIO > TRACKS: 4 LOW (the default) or 6 HIGH.** With 4, tracks 5 and 6 sleep: they keep their sound, steps and mix but don't play or cost anything, and the whole CPU goes to T1-T4 (selecting T5 or T6 says so). With 6, all six play and you know you're near the limit: watch the load meter. The setting is kept with the others. - **Release tails ring out again with a sequence running.** Since 0.6.16 the load budget took the oldest released voice for every new note once the audio passed 65 %, so with the sequencer playing the tails were cut. Now it only takes a tail that is nearly gone (under -30 dB); otherwise the note is added and the tails ring. The guard at 80 % stays the last line. ### v0.6.17 - **DRUM-X at half the work**: each hit computed at 22 kHz (it is low-passed at ~8 kHz anyway) and brought back to full rate, its noise kept at the same level: the kit costs about 45 % less, the heaviest part of a busy song. - **The guard acts sooner**: the load budget from 65 % (was 70), and over 80 % a voice fades after a single overloaded block (was two in a row). - **MENU > ABOUT shows the audio's load** (scroll with PRESETS): NOW and PEAK (% of the time the audio took), LATE (blocks that came too late: each one a click) and SHED (voices the guard faded), since power-on. Send a photo of it after a click to tell what happened. ### v0.6.16 - **Stable under load: the load budget.** The device measures how much of its time the audio takes. Past 70 %, the sound may not grow: a new note takes a voice (the oldest released first) instead of adding one, and CLOUD spawns half its grains; under 60 % for a while, back to normal. The overload guard (80 %) stays as the last line. The load stops climbing before the screen lags or the sound clicks, whatever you turn on. - **Mutes and solos cost nothing**: GLO's solo and the FX layer's black-key mutes were the sound silenced after being made; now they are MIDI mutes: the track gets no new notes and, once faded, its voices end. - **FM6 plays 4 voices a track** (was 6): six operators a voice, the heaviest engine. - **DRUM-X's DRV and knee on the kit's sum** (were each hit's): the same glue on the bus, half the work. ### v0.6.15 - **No hiss at rest with CLIP up**: the clipper rounded a tail's tiny negative residue down (-1) and drove it x4: a constant offset with a faint hiss on one side, even with every track off. Now rounded; and the FX buses (delay, chorus, reverbs) fade their own last residue to silence once nothing has been sent to them for a while (1.5 s at -55 dB, 4 s at -36 dB, 8 s at -30 dB), so the tails' rounding never leaves a hum. CLOUD's FREEZE is never gated. - **CLOUD always dies out**: past SIZE ~80 its loop rang on for ever (its tail fed back into its own line); now only the grains feed it: a long tail that ends (SIZE 126 stays a faint wash for long, close to FREEZE). - **More headroom**: DRUM-X stops computing a hit at -66 dB (was -84), FM6 ends a released note once its carriers are under ~-66 dB (its six operators no longer run for seconds on an inaudible tail), and the overload guard steps in at 80 % of the audio's time (was 85 %): it fades a voice before the sound clicks and the screen starves. ### v0.6.14 - **No more sharp highs when changing presets**: the notes still sounding used to take the new sound's values at once (its filter, its envelope amounts), jumping bright and loud. Now they fade out in ~3 ms with the sound they had (all of it, kept the moment before the change), and the new notes start clean. Also on user presets and sections. - **SEQ TOOLS** (SEQ held): each cell shows its key with the octave (F3 CLEAR, F4 CLR AUTO: both read "F" before), and the footer shows **REC: CLEAR ALL** (all six tracks' steps and automation, OCT+ confirms), which was nowhere on screen. - **Key LATCH**: with ARP OFF, **ARP 2 > HOLD ON** latches the keys: the notes keep sounding when you let go, the next chord replaces them, HOLD OFF lets them go. - **CLOUD costs about a third less CPU**: its grains computed every other sample (the line they read is written at half rate anyway), the same sound. First step against the lag and clicks with six tracks busy. ### v0.6.13 - **AIR on SHIMMER and CLOUD** (REVERB's fourth knob, PRE on ROOM / SPRING): ±24 semitones. Down, the reverb goes lower and darker; up, higher and airier, in pitch and in filter at once. SHIMMER's loop climbs octave + AIR on each pass (an octave down to two up); CLOUD's grains move with it. 0 sounds as before. - **CLOUD's graph** is a swarm of moving dots: AIR lifts or sinks the cloud, MOD splits it into octave layers, the grains playing now drawn bigger. - **AUTOPAN's graph** fixed (SIN came out wrong) and drawn like LFO's: two cycles across, the playhead and a dot on where the pan is now, L up, R down. - **CHORUS STER** moves its graph: the three taps fan apart with it, and fold into one line at mono. - **SAVE > TOOLS** says what each knob does (CLEAR SEQ, INIT SOUND, DELETE ROW n, CLEAR SONG) instead of "TURN TO PICK"; the page name in the footer is lit, so you always see where you are. - **LOFI BYTE / FLOAT: RETRIG** (EDIT > RETRIG, after EDIT 2): **RTRG ON** starts the formula from the top on every note, instead of carrying on where it was. ### v0.6.12 - **Projects in SAVE**: SAVE > PROJECT now shows the project (1–8, each a whole song) and its four **sections A–D**, each with its own sequences and sounds for the six tracks. KNOB 1 opens another project (stopped; the music you are playing stays, ready to be stored into one of its sections), KNOB 2 or PRESETS picks the section, LOAD makes it the music, SAVE stores the music into it. Each section shows whether it's saved, **NOW** on the one playing and the bars it plays in the song; the arrangement sits below in a line (A4>B8>D4>B8). - **ARRANGE**, right after PROJECT: the project's song, sections chained by bars as in SLOOP (the same rows as SEQ > SONG; OCT+ plays it). To copy a section, LOAD it and SAVE it into another letter. ### v0.6.11 - **FM6 voice bank**, from Felucca 1.5.1: a whole 32-voice DX7 cartridge (.syx) sent from the web editor (6-OP FM tab, **Send to the device's voice bank**), picked on the device with **SLOT B1–B32** after F1–F8 and OWN (empty slots skipped; the voice's name above the algorithm). Loading a voice copies it into the track, so projects and presets keep it whatever the bank holds later. Its own flash sector (0xE7000), written so a power cut leaves the old bank or the new one, never half; editor commands 74–77 as Felucca's. The full backup doesn't include it: keep the .syx. ### v0.6.10 - **FM6 fully editable on the device**, brought from Felucca 1.5.1: EDIT > **OPERATOR** (operator 1–6, RATIO / FIXED, FINE, LEVEL), **OP ENV** (each stage's RATE and LEVEL, drawn) and **OPERATOR 2** (MODE, DTUN, VEL), on an FM6 track only. The patch becomes the track's own (SLOT OWN), saved as always; no new format, a few bytes of RAM. An edit keeps the patch's volume trim (0.6.8), so the level doesn't jump while you turn. - **Fix**: a card could keep a stale gauge colour or width (or lose its tail with a long label) until the page was redrawn; its cache now holds the whole card. ### v0.6.9 - **AUTOPAN** per track (FX > AUTOPAN, after DIST): DPTH, RATE, SYNC (BEAT: 4 BARS .. 1/32 in time with the bar; FREE: Hz) and WAVE (SIN TRI SAW SQR S&H), through the pan's glide so even SQR doesn't click; its own graph. It lives in the slots of the old per-track slicer (a bus since 0.6.3): no more memory, the project format unchanged, every old project and preset loads with it off. - **CHORUS > STER**: the chorus's stereo amount, 0 as it always sounded, down to mono, up to about twice as wide (in a stored slot that was unused). - Cheat sheets and manual updated. ### v0.6.8 Fixes from the first users' reports: - **No more crackles turning knobs.** Measured on every engine, a knob turned fast against the same move made smooth: - **FILTER** (every engine but ANALOG): going in and out of the chain (CUT at the top with RES 0, the LP open) and changing TYPE now crossfade, the filter starting from the sound instead of a stale state. It clicked each time CUT or RES crossed the open point (FM6's CUT 17x the high-frequency energy, now as smooth as a slow turn). - **LEVEL and PAN** glide (~3 ms) instead of stepping at each knob move. - **DIST** comes in smoothly from 0: DST 1..8 blend the dry sound into the drive (at 1 it was the full drive, with its low cut, at once). - **FM6: SysEx voices no longer distort.** DX7 voices with several carriers at full came out up to 5x louder than the factory patches, and their chords kept the master's limiter about 10 dB down (that was the glitchy, noisy sound). A voice above the level every voice is made for is now trimmed to it, per patch and automatically: its chords sit where the factory patches' do (the limiter about 2 dB, as theirs). Quieter voices and the 8 factory patches are untouched; nothing is ever boosted. Tested with 71 classic DX7 voices. - **SEQ TOOLS: F4 CLR AUTO** clears the selected track's automation and parameter locks (every step), the steps stay. It breathes when there is automation to clear. Next to F3 CLEAR (the sequence). - **Video v2** (`tools/video/`): every effect, DRUM-X's pages, the modulators, sequencers and automation, a beat from soft to industrial at 132 BPM, fast montage cuts; the captions come from the capture's own script. ### v0.6.7 - **Cheat sheets** in the README: controls, and sound · effects · modulation, as images and printable PDFs. - **Page jump fix**: once you turn PRESETS with a page button held, that button's layer (its map) stays off until you let the button go, even if you keep holding past the HOLD time or the first turn came at the very moment you pressed it. Hold it again afterwards and the layer works as always. - **Presentation video tools** (`tools/video/`): `capture.c` plays a 60 s demo song on the real engines in the host build and records the FM-1's screen and audio; `compose.py` makes a 1080p video from them in the project's look. ### v0.6.6 - **Jump straight to a page**: hold a page button (ENV, LFO, FX, SCL, EDIT, GLO, SAVE, ARP, SEQ) and turn **PRESETS** to go through that button's pages forwards or back (FX has 13, EDIT up to 16), the title on screen; let go and you stay on that page. It doesn't take anything away: with a button held, PRESETS did nothing before; a tap still goes to the next page, and once you used a layer's knobs or keys while holding, PRESETS stays out of it. ### v0.6.5 - **RESO (reverb) changes chords now.** On RESO, the REVERB page's PRE knob becomes **PITCH** (the strings' chord 0–14 steps up the scale) and DAMP becomes **FOLW**: OFF, or T1–T6, the chord built on the lowest note that track plays, so the strings follow your bass line or your chords, gliding from one to the next (the chord stays when the track goes quiet). The pre-delay and the damping were barely used on RESO; ROOM, SPRING, SHIMMER and CLOUD keep them. ### v0.6.4 - **LOFI FLOAT: DRV is gone, FBK takes its place.** DRV had a scaling bug that silenced the engine as soon as it was turned up, and it duplicated the DIST on the FILTER page anyway. **FBK** (feedback) sends the output back into the formula's time: the floatbeat modulates itself like FM, from a slight shimmer to chaos, a different deformation on every ALGO. Projects saved before keep their values (FBK starts where DRV was). ### v0.6.3 - **The SLICER is now one slicer on a bus, like a sampler's chop.** Its settings (mode, pattern, rate, depth) are the section's, and on **SL BUS** / **SL BUS 2** you choose with seven ON/OFF switches what goes in: **T1–T6** and **FX** (the delay, reverb and chorus returns). Everything ON turns it into a **stutter sequencer for the whole mix, after the effects**: the reverb and delay tails get cut too. With FX OFF the tails ring free over the cut. The routed tracks enter after their DIST, filter, level and pan; their sends still go to the effects. - **SL PITCH**: the repeats (STUT) follow a **16-step pitch sequence** (±24 semitones, with the mod sequencer's page layout: KNOB 1 the step, KNOB 2 its pitch, LEN, QNT). Played like a tape (higher = faster), the loop keeps the step's rhythm; **QNT SCL** snaps the steps to the song's scale. One sample turns into an arpeggio. - No limit of tracks any more (STUT on four was the 0.6.2 compromise), the same memory as before (32 KB, now a stereo recording of 371 ms), and less CPU: one slicer instead of one per track. - Each section of a song keeps its own SLICER settings. Projects from before load with their slicer settings turned into the bus's: the first track that had it on gives the mode, pattern, rate and depth, the tracks that had it on go in, FX stays out. ### v0.6.2 - **SLICER memory shared**: GATE works on all six tracks as before; **STUT** (the one that records and repeats) can run on **up to 4 tracks at once**. A fifth STUT track plays live without repeats and the screen says **STUT: 4 TRACKS MAX**; when one of the four leaves STUT, the waiting one takes its place on the next step. Each track keeps its own pattern, rate and depth, and its sends still follow the chopped sound. This frees 16 KB of the big-buffer memory (pool now at 92 %, 25 KB free) for future effects. ### v0.6.1 - **MIXER: the six tracks at once** in the JIANT style, as six thermal columns (number, sound, LEVEL as the heat column with the meter over it, its dB, PAN and REV as two bars underneath). The other styles keep four cards that follow the selected track. ### v0.6.0 - **Six tracks instead of four.** T5 starts on PHASE and T6 on WHEEL (any engine can go on any track, as always), each with its own sequence, sound, effects sends and automation. **ALGORITHM** scrolls T1..T6. - **Same storage, everything kept**: still 8 songs × 4 sections plus the 4 project slots, and the song sequencer (rows of sections with repeats and scenes) works as before, so you can build whole songs with intro, verse, chorus and bridge. To fit six tracks in the same space, sections are now saved **compressed**: only the steps that have something, and only the parameters you changed, are stored. The music at power-on takes about a quarter of a section; even six tracks with 4-note chords on all 64 steps fit. - **A fill warning**: a moment after you stop editing, if the music is near the size of a section the screen says **SECTION 90% FULL**; if it no longer fits, **TOO FULL TO SAVE**. Saving a section in that state says **SECTION FULL** and changes nothing: the section already saved stays as it was. All memory is fixed at build time (nothing is allocated while you play), so a full section can never crash the system. - **Projects and sections from 0.5 load as they were**: their four tracks keep their sound and steps, T5 and T6 start empty on their default sounds. - **GLO** (held): black keys 1–6 mute T1–T6, 7–10 the DRUM groups (KICK, SNARE, HAT, PERC); white keys F3–D4 solo T1–T6 while held, E4 unmutes everything, F4 tap tempo. The four knobs are T1–T4's levels, or T3–T6's when T5 or T6 is selected. **FX** (held): black keys 1–6 mute T1–T6. - **MIXER** shows four tracks at a time and follows the selected one (T5 or T6 selected: T3–T6). (0.6.1: all six in the JIANT style.) - **HOME**: six beings in the ecosystem, a bit smaller. - **Song scenes** remember the mutes of T5 and T6 too. **Automation** (knobs and per-step locks) works on all six. - **MIDI IN**: ROUT **CH1-6** (was CH1-4): channels 1–6 play tracks 1–6, 7–16 stay free for other instruments. - Web editor: six tracks in the track selector, the mixer and automation. ### v0.5.5 - **FLOAT is a floatbeat generator now**: bytebeat's sibling in floats. Each of the 32 ALGOs is a formula of `t` made of sines, as in the floatbeat scene: `sin(t·(t>>11 ^ t>>13 & 7))`, FM whose index walks with `t`'s bits, melodies read from nibble tables, kicks, snares and hats inside the formula, Sierpinski partials, drive and folds, staircase sines, xor'd and dropped bits, risers, polyrhythms, chords whose root walks… rhythm, melody and timbre at once. `t` runs 32 steps per cycle of the note, so every formula plays in the key you hold (and, as in bytebeat, its rhythm runs faster up the keyboard). It shares BYTE's controls: **VAR** mutates `t` (8 ways), **MOTN** runs its slow bits faster or slower, **BEND** folds it, **LOOP** locks it into a short window; the new **DRV** folds the output from clean to wild. ### v0.5.4 - **FLOAT makes patterns now, not just waveforms.** Every ALGO is a step sequencer: 8 patterns (an arpeggio, a melody, a Sierpinski rhythm, a 5-in-8 euclid, a random walk, a `t>>9 % 13` line, a drone with 3-against-4 accents, octave leaps) × 4 smooth timbres (sine, FM that darkens as each note falls, wavefold, hard sync sweeping down). The notes are harmonics of the key you play (just intonation), the steps are the song's 1/16 notes. - **New knob, MOTN (motion)**, on BYTE and FLOAT, in the slot that was empty: the speed of the formula's time. In FLOAT it goes from one step per bar to steps so fast the pattern turns into a timbre; in BYTE it speeds up or slows down the formula's slow bits (its rhythm and melody) without changing the pitch. 64 is as written. - **VAR is drastic now**, on every BYTE and FLOAT formula: it mutates the formula's time in 8 different ways (stairs that transpose as they go, xor and or with itself, holes in the rhythm, the phrase backwards, multiplied, scrambled), so each formula gives many timbres and sequences. - **The second LOFI page cleaned up**: BYTE shows MOTN · GRIT · BEND · LOOP (GRIT holds samples longer, a rate crusher), FLOAT MOTN · DCY · BEND · LOOP (DCY: from short plucks to legato). The second RES (already on the FILTER page) and the empty slot are gone. Projects saved before keep their sound (MOTN set to 64, GRIT/DCY to 0). ### v0.5.3 - **A new power-on screen**, after feedback from the community: the signature used to be drawn as straight segments (it looked like MS Paint next to the rest of the interface). Now each stroke is smoothed and drawn as a curve with a round pen that tapers at the ends, like ink; the pen's tip is a glowing nucleus; and three small beings (a radiolarian, an amoeba, a hydra) swim in from outside the screen and circle the signature while it is written, warming up as it grows and pulsing once it is done. It costs 16 bytes of RAM, and the splash now runs on the clock (drawing the beings does not make it longer). MENU > ANIM OFF still shows it whole at once. ### v0.5.2 - **BYTE: new formulas, no silent starts.** The 17 most familiar one-liners (`t*(42&t>>10)`, `t&t>>8` and friends) were replaced by less obvious ones: rhythms and arpeggios after Tejeez, xpansive's "lost in space", a melody of `t>>9` modulo 13, textures built from `t%24` and `t%19`, and more. Each formula now starts where it is already moving: 14 of the 32 used to sit silent for up to half a second after the note; now all 32 sound within 30 ms. - **FLOAT: 32 formulas** (16 new): drifting unison, sub-and-fifth organ, self-FM, glides through partials, gated rhythms, CZ-style phase distortion, formants, breath, harmonic chords, breathing bells, stepped sines, PWM, random held partials, hard sync, three-against-four. **CHIP now sets FLOAT's resolution**: FULL (smooth, the default), 4BIT, 4B/2, 1BIT, STEP. - **LOFI presets in order**: browsing shows the BYTE presets, then FLOAT, then the classic chip sounds. - **Parameter check**: NOISE's resonance is now **PEAK** (it sat next to the FILTER page's RES with the same name). - **Lighter audio interrupt**: 0.5.1's X-MOD LFO had been compiled into the audio interrupt's inner path with its divisions (its cost estimate almost tripled); it now runs once per block, outside it, and the interrupt is back to its 0.5 budget. ### v0.5.1 - **Master no longer smears the mix.** The always-on leveler was riding every hit: measured on the demo song, its gain swung about 5 dB inside each beat and the limiter was working 95 % of the time. Now it follows the song's loudness over about a second and a half (0.3 dB of movement per beat) and leaves the limiter more headroom (active less than half as often, and lighter). Same loudness, transients and space come back. - **CLOUD is bigger**: 12 overlapping grains instead of 8, each one a few cents off (a chorused shimmer), the grains fed back into the cloud so it keeps building, and a louder bloom. - **RESO rings much longer**: the top of SIZE now sustains for many seconds. - **Chorus rebuilt as an ensemble**: three voices swept a third of a cycle apart, left, right and centre: stereo even with WIDTH at 0, wider with it. - **New LOFI wave: FLOAT** (floatbeat, bytebeat's smooth sibling): 16 formulas made of sines (FM, harmonic arpeggios, folded sines, beating pairs, plucks, pads), tuned to the note; VAR, BEND, RES and LOOP as in BYTE. Three new presets: FLOAT FM, FLOAT ARP, FLOAT PAD. - **New DRUM-X page: X-MOD**, a modulator for the whole kit: a tempo-synced LFO on MORPH (RATE from 4 bars to 1/32, DPTH, SHPE: sine, triangle, saw, ramp, sample & hold) and RAND (every hit its own MORPH and tune). Saved with the kit; the A–B bar shows the morph moving. ### v0.5 First public release.