INES Mapper 085
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iNES Mapper 085 is used to represent the Konami VRC7 mapper.
Here are Disch's original notes:
========================
= Mapper 085 =
========================
aka
--------------------------
VRC7
Example Games:
--------------------------
Lagrange Point
Tiny Toon Adventures 2 (J)
VRC7a vs. VRC7b
--------------------------
Lagrange Point ('VRC7a') and Tiny Toon Adventures 2 ('VRC7b') both operate exactly the same, but are wired a
bit differently. VRC7a uses $x010 for regs, and VRC7b uses $x008. Registers below are listed as they exist
on VRC7a. For VRC7b, make the appropriate adjustments
Also, only Lagrange Point seems to use the extra sound. It's unknown whether or not the sound hardware
exists on VRC7b, as Tiny Toon doesn't use it.
CHR-RAM note:
--------------------------
Lagrange Point, for some reason I still don't understand, swaps its 8k CHR-RAM around. How this offers any
functionality is beyond me, but the game does it, so your emu must support it.
Registers:
--------------------------
$8000: PRG Reg 0 (8k @ $8000)
$8010: PRG Reg 1 (8k @ $A000)
$9000: PRG Reg 2 (8k @ $C000)
$9010: Sound Address Reg (see below)
$9030: Sound Data Port (see below)
$A000-$D010: CHR Regs
$E000: [.... ..MM] Mirroring:
%00 = Vert
%01 = Horz
%10 = 1ScA
%11 = 1ScB
$E010: [IIII IIII] IRQ Reload value
$F000: [.... .MEA] IRQ Control
$F010: [.... ....] IRQ Acknowledge
PRG Setup:
--------------------------
$8000 $A000 $C000 $E000
+-------+-------+-------+-------+
| $8000 | $8010 | $9000 | { -1} |
+-------+-------+-------+-------+
CHR Setup:
--------------------------
$0000 $0400 $0800 $0C00 $1000 $1400 $1800 $1C00
+-------+-------+-------+-------+-------+-------+-------+-------+
| $A000 | $A010 | $B000 | $B010 | $C000 | $C010 | $D000 | $D010 |
+-------+-------+-------+-------+-------+-------+-------+-------+
IRQs:
--------------------------
VRC7 uses the "VRC IRQ" setup shared by several VRCs. It uses the following registers:
$E010: [IIII IIII] IRQ Reload
$F000: [.... .MEA] IRQ Control
$F010: [.... ....] IRQ Acknowledge
For info on how these IRQs work, see the "VRC IRQs" section in mapper 021
Sound:
--------------------------
VRC7 has additional sound channels! It is a slightly dumbed down version of the YM2413 (aka OPLL). There
are only 6 harmony channels and no rhythmic channels. Note that some older docs claim it's an OPL2 -- but it
is, in fact, OPLL.
Due to the complexity of FM-synth ... details will not be covered here. For details, refer to a YM2413 data
sheet or technical doc.
$9010 is the address port
$9030 is the data port
They behave just like the address/data ports on the YM2413. Though remember that there's no rhythm, and
only 6 channels.
Channels can choose from 16 instruments. One is customizable by the game, the other 15 are fixed with the
following values:
{
0x00,0x00,0x00,0x00,0x00,0x00,0x00,0x00, // custom instrument
0x03,0x21,0x04,0x06,0x8D,0xF2,0x42,0x17, // begin fixed instruments
0x13,0x41,0x05,0x0E,0x99,0x96,0x63,0x12,
0x31,0x11,0x10,0x0A,0xF0,0x9C,0x32,0x02,
0x21,0x61,0x1D,0x07,0x9F,0x64,0x20,0x27,
0x22,0x21,0x1E,0x06,0xF0,0x76,0x08,0x28,
0x02,0x01,0x06,0x00,0xF0,0xF2,0x03,0x95,
0x21,0x61,0x1C,0x07,0x82,0x81,0x16,0x07,
0x23,0x21,0x1A,0x17,0xEF,0x82,0x25,0x15,
0x25,0x11,0x1F,0x00,0x86,0x41,0x20,0x11,
0x85,0x01,0x1F,0x0F,0xE4,0xA2,0x11,0x12,
0x07,0xC1,0x2B,0x45,0xB4,0xF1,0x24,0xF4,
0x61,0x23,0x11,0x06,0x96,0x96,0x13,0x16,
0x01,0x02,0xD3,0x05,0x82,0xA2,0x31,0x51,
0x61,0x22,0x0D,0x02,0xC3,0x7F,0x24,0x05,
0x21,0x62,0x0E,0x00,0xA1,0xA0,0x44,0x17
};
And here are Disch's extended notes:
----------------------------------------------------------------------------
----------------------------------------------------------------------------
----- VRC7 Sound -------------------------------------------------
----------------------------------------------------------------------------
----------------------------------------------------------------------------
VRC7 has additional sound channels! It is a slightly dumbed down version of the YM2413 (aka OPLL). There
are only 6 harmony channels and no rhythmic channels.
Strap yourself in. FM-Synth is a beast.
---------------------------------------------
Disclaimers:
---------------------------------------------
Information here is pieced together from the Yamaha YM2413 Application Manual ("YM2413.pdf"), and Mitsutaka
Okazaki's "emu2413.c" emulator. Anyone whose looked at those sources know they are not the easiest things
to comprehend without prior experience with FM synth, so here I attempt to explain things in a more
traditional form.
I don't really care about YM2413 (I hate FM synth... I find it extremely ugly), so I only cover items on the
VRC7 here (ie: no rhythmic information). If you want details about a full YM2413, you'll have to look elsewhere.
I am NOT confident about this information being 100% accurate. I made every effort to be as accurate as
possible, and my implementation based on the below info sounds *very close* to recordings of the real thing,
but I do hear some subtle differences. I graciously welcome any corrections anyone can offer.
Bitwidths of various counters are kind of an educated guess. With the exception of the phase accumulator,
which is the only counter whose size is hinted at in the documentation... so I'm fairly certain it is in
fact 18 bits wide.
I mention the use of various lookup tables. I do not know if these lookup tables actually exist on the
hardware, or if the values are calculated at runtime. Likewise the actual size of these lookup tables is
entirely unknown to me. You can choose your own size in your implementation.
---------------------------------------------
FM-Synth basics & other fundamental concepts:
---------------------------------------------
The basic idea of FM-Synth is you have 2 sine waves (aka, "slots"), a "modulator" and a "carrier". The
output of the carrier is what you actually hear. The output of the modulator alters the frequency of the
carrier, effectively acting like a supersonic vibrato. This bends and twists the carrier's waveform into
a myriad of different shapes, producing all kinds of different sounds.
Each of the 6 channels have 2 slots (a Carrier and a Modulator). Each slot behaves independently and has
its own settings and counters. Note that I will refer to "slots" often in these docs. Do not confuse
a slot for the whole channel.
"ADSR" stands for Attack/Decay/Sustain/Release. These represent 4 phases of amplitude (volume) changes in
synthesized audio. This is a common technique in all synth audio (not just FM-Synth).
- Attack is when the tone begins, and you have a rapid increase in volume, increasing to *above* the
desired output level.
- Decay is when attack has reached its maximum, and the volume starts to decline to the desired
output level.
- Sustain is when the volume has reached the desired level. It holds the volume at that level for as
long as the tone is to be played. Although sometimes the volume might slowly drop.
- Release is when the tone is done, and volume gradually decreases until it's completely silent.
"Key on" / "Key off" represents the entry and exit into ADSR. You can think of it like a piano or a keyboard...
when you "key on", you are pressing a key, and when you "key off" you are releasing a key. Effectively,
this means that when you key on, you enter "Attack", and when you key off, you enter "Release".
---------------------------------------------
Volume and Attenuation:
---------------------------------------------
VRC7 doesn't really have a concept of an output volume. Instead, it does everything with "attenuation",
which is basically the opposite of volume. Attenuation is like a forced reduction -- so high attenuation
means low output. Zero attenuation means the output is as high as possible.
All attenuation levels are expressed in decibels (dB), which is a logarithmic (non-linear) scale. VRC7's
threshhold or maximum attenuation is 48 dB. This means that at 48 dB, output is zero.
Note that even though dB are non-linear, you can still work with them as if they were linear. That is,
10dB + 10dB is still 20dB. The only thing is that when converted to linear units, 20dB is MUCH
MUCH more than 2x 10dB.
Since VRC7 handles all its output levels in terms of dB, this means you will only need to convert from
dB to linear units in exactly one place: when determining the linear output of the "slot".
Converting dB <-> Linear can be accomplished with the below formulas:
dB = -20 * log10( Linear ) * scale (if Linear = 0, dB = +inf)
Linear = 10 ^ (dB / -20 / scale)
'scale' is an optional factor you can use to scale up dB so that they're in an easier to use base.
I recommend using (1<<23)/48 for a scale (this would mean that 1<<23 would represent 48 dB). This will
make envelope calculations much easier (see Envelope Generation section for details).
Remember the threshhold is 48 dB. So if you have 48 dB or higher, Linear=0.
---------------------------------------------
Clock rate:
---------------------------------------------
VRC7 has its own oscillator to drive the clock rate. It's clocked at 3.6 MHz (exactly 2x the NTSC
NES CPU clock rate), but those clocks are divided by 72, effectively making the rate at which each individual
unit is clocked 49715.90909 Hz.
I find it very likely that clocking each individual unit is done serially across the 72 cycles, but the
effect that detail has on the generated audio is tiny to the point of being insignificant.
To think of this in terms of CPU cycles, you could say that all units are clocked once every 36 CPU
cycles on NTSC. However, this is techncially inaccurate, as the NES clock does not drive the VRC7.
And on PAL systems, the clock rate doesn't sync up like that.
---------------------------------------------
Registers:
---------------------------------------------
Register descriptions to follow. Details as to what each field actually does will not be covered here
but will be explained in future sections.
$9010: [..AA AAAA]
A = Address for use with $9030
$9030: [DDDD DDDD] -- data port
R:00-R:07 -> Custom instrument settings (see below)
R:1x: [FFFF FFFF] (where x=0-5, selecting the channel)
F = low 8 bits of F-Num (frequency control)
R:2x: [..SK BBBF] (where x=0-5, selecting the channel)
F = high bit of F-Num
B = Block select (or octave)
K = Key on (1=key on, 0=key off)
S = Sustain On (poorly named, has no impact on Sustain mode -- actually affects Release)
R:3x: [IIII VVVV]
I = Instrument select
V = 'Volume' (poorly named, it's more like "Carrier Base Attenuation Level")
(regs R:1x, 2x, and 3x apply to both Carrier and Modulator
regs R:0x apply differently to each )
R:00: [AFPK MMMM] (applies to Modulator)
R:01: [AFPK MMMM] (applies to Carrier)
A = Enable Amplitude Modulation (AM)
F = Enable Frequency Modulation (FM)
P = Disable Percussive Mode (0=percussive, 1=normal)
K = Key Scale Rate (KSR)
M = 'MULTI' Freqency multiplier
R:02: [KKLL LLLL]
K = Modulator Key Scale Level (KSL)
L = Modulator base attenuation level
R:03: [KK.C MFFF]
K = Carrier Key Scale Level (KSL)
C = Carrier rectify sine wave (0=full sine wave, 1=half sine wave)
M = Modulator rectify sine wave
F = Modulator Feedback level
R:04: [AAAA DDDD] (Modulator)
R:05: [AAAA DDDD] (Carrier)
A = Attack Rate
D = Decay Rate
R:06: [SSSS RRRR] (Modulator)
R:07: [SSSS RRRR] (Carrier)
S = Sustain Level
R = Release Rate
There are 16 selectable instruments (selected via R:3x). Instrument 0 is configurable via regs
R:00 through R:07. The other instruments are fixed at the below values:
0x03,0x21,0x04,0x06,0x8D,0xF2,0x42,0x17 // instrument 1
0x13,0x41,0x05,0x0E,0x99,0x96,0x63,0x12 // instrument 2
0x31,0x11,0x10,0x0A,0xF0,0x9C,0x32,0x02 // instrument 3
0x21,0x61,0x1D,0x07,0x9F,0x64,0x20,0x27 // instrument 4
0x22,0x21,0x1E,0x06,0xF0,0x76,0x08,0x28 // instrument 5
0x02,0x01,0x06,0x00,0xF0,0xF2,0x03,0x95 // instrument 6
0x21,0x61,0x1C,0x07,0x82,0x81,0x16,0x07 // instrument 7
0x23,0x21,0x1A,0x17,0xEF,0x82,0x25,0x15 // instrument 8
0x25,0x11,0x1F,0x00,0x86,0x41,0x20,0x11 // instrument 9
0x85,0x01,0x1F,0x0F,0xE4,0xA2,0x11,0x12 // instrument A
0x07,0xC1,0x2B,0x45,0xB4,0xF1,0x24,0xF4 // instrument B
0x61,0x23,0x11,0x06,0x96,0x96,0x13,0x16 // instrument C
0x01,0x02,0xD3,0x05,0x82,0xA2,0x31,0x51 // instrument D
0x61,0x22,0x0D,0x02,0xC3,0x7F,0x24,0x05 // instrument E
0x21,0x62,0x0E,0x00,0xA1,0xA0,0x44,0x17 // instrument F
**** SIDE NOTE ****
Writing to Regs R:00 through R:07 do NOT seem to have an immediate effect on channels using
instrument 0. Lagrange Point (Track 2 of the NSF) will write to these regs while a channel
using instrument 0 is still keyed on and audible, resulting in an ugly and very noticable
"blurp" noise at the end of a note. This is not heard on the real hardware, so instrument
data must be cached somehow. Perhaps it only takes effect when the channel is keyed on,
or when R:3x is written to? Don't know exactly.
---------------------------------------------
Phase / Frequency Calculation:
---------------------------------------------
Each slot has an 18-bit up counter which determines the current phase (position in the sine wave).
Each clock, this counter is incremented:
phase += F * (1 << B) * M * V / 2
where:
F = 9-bit F-num of the channel
B = 3-bit Block of the channel
M = see below
V = vibrato (FM) output
R:00 or R:01 specify a 4 bit 'MULTI' value. That MULTI value is run through the below LUT to get 'M':
MULTI: 0 1 2 3 4 5 6 7 8 9 A B C D E F (hex)
M: 1 2 4 6 8 10 12 14 16 18 20 20 24 24 30 30 (dec)
If FM is enabled for the slot (see R:00 or R:01 for the enable bit), 'V' is the output of the
FM unit. See AM/FM section for details.
If FM is disabled, 'V' = 1
Another 'phase_secondary' value is used to actually generate the phase:
phase_secondary = phase + adj
For the Carrier:
adj = the output of the Modulator. Note that slot output is 20-bits wide, but the phase is only 18
bits wide... this means that the high 2 bits of the modulator output are effectively dropped.
For the Modulator:
R:03 has a 3-bit 'F' value specifying the feedback level.
if F=0: adj = 0
otherwise: adj = previous_output_of_modulator >> (8 - F)
The bits of the phase_secondary value are extracted and used to generate the sine wave:
phase_secondary: [RI IIII III. .... ....]
R: rectification bit
I: index to half-sine lookup table
** 'I' may be more or less bits depending on how big your half-sine lookup table is **
'R' determines what to do with output after it's been converted to a linear level. See next section
for details of this bit, and details of the half-sine table.
---------------------------------------------
Attenuation / Output calculation:
---------------------------------------------
The attenuation level determines the slot output on each clock. Attenuation level is determined
as follows:
TOTAL = half_sine_table[I] + base + key_scale + envelope + AM
half_sine_table[I]:
--------------
The half-sine table mentioned in the previous section does not actually hold the output of the sine
function. Rather, it holds the attenuation level of the sine function. Example:
sin(pi/2) = 1 ~~~> I='0100 0000' ~~~> half_sine_table[ I ] = 0 dB
sin(0) = 0 ~~~> I='0000 0000' ~~~> half_sine_table[ I ] = +inf dB
This table is effectively:
half_sine_table[I] = Convert_Linear_To_dB( sin( pi * I / (1 << bitwidth_of_I) ) )
base:
--------------
For Modulator: base = (0.75 * L), where L is the 6-bit base level (see register R:02)
For Carrier: base = (3.00 * L), where L is the 4-bit 'volume' (see register R:3x)
key_scale:
--------------
Key Scale Level, 'K', is a 2-bit value (see regs R:02, R:03) that adds attenuation as the pitch
of the tone increases (ie: higher pitches = quieter).
If K=0: key_scale=0
Otherwise:
F = high 4 bits of the current F-Num
B = 3-bit Block (Octave)
A = table[ F ] - 6 * (7-B)
if A < 0: key_scale = 0
otherwise: key_scale = A >> (3-K)
table:
F: $0 $1 $2 $3 $4 $5 $6 $7 $8 $9 $A $B $C $D $E $F
A: 0.00 18.00 24.00 27.75 30.00 32.25 33.75 35.25 36.00 37.50 38.25 39.00 39.75 40.50 41.25 42.00
envelope:
--------------
Output of the envelope generator. See Envelope Generation section for details.
AM:
--------------
If Amplitude modulation is enabled for the slot (see R:00, R:01), AM is the output of the amplitude
modulation unit. Otherwise, AM=0.
See AM/FM section for details.
Finally... after all that, we have our 'TOTAL'. This is the total attenuation for the slot.
1) This attenutation is then converted to linear units to get the preliminary output. This is
scaled up to a 20-bit value
2) If the high bit ('R') of the 18-bit 'phase_secondary' value (see previous section) is set, this
means we are in the negative portion of the sine wave, which means output needs to be negated.
However, if we are rectifying to a half sine wave (see R:03), output is zero'd instead.
3) Output is then run through a filter which averages this output with the previous clock's output
4) The result is the FINAL, actual output.
Pseudo-code to clarify:
total = half_sine_table[I] + base + key_scale + envelope + AM
prevoutput = output
// 1)
output = convert_dB_to_Linear( total ) * (1<<20)
// 2)
if R:
if halfsine: output = 0
else: output = -output
// 3)
FINAL = (output + prevoutput) / 2
'FINAL' is what the slot actually outputs. This is a 20-bit value. The modulator's output will
be sent to the carrier, and the carrier's output will be audible (though you will want to scale it
down... 20-bit audio is crazy loud when ouputting 16-bit samples).
'FINAL' is also the value used when calculating the modulator's feedback (see prev section).
---------------------------------------------
Envelope Generation:
---------------------------------------------
Each slot has a 23-bit up counter (hereon 'EGC') for envelope generation, very similar to the
18-bit phase counter. It determines the output of the envelope generator... which adds attenuation
to the output (see previous section).
The envelope generator operates as an ADSR unit. When the channel is keyed on, both the Carrier
and the Modulator enter the Attack Phase. When keyed off, they enter Release phase.
When the ADSR unit completes a full ADSR cycle, it enters a 5th 'Idle' phase.
EGC is incremented every clock. The value by which it's incremented depends on which phase of ADSR
we're in. Those rates are then adjusted by a 'Key Scale Rate' factor (see R:00, R:01).
EGC also serves as the direct output of the envelope generator (except in the Attack phase).
When EGC=0, output is 0 dB, and whdn EGC=(1<<23), output is 48 dB. Because of this, I
recommend scaling all units in your emulator to work with dB in this (1<<23)/48 base. Doing
so results in minimal unit conversion.
Formula for determining the rate to increase EGC:
BF = (3-bit Channel Block << 1) + high bit of F-Num... forming a 4-bit value
K = Key Scale Rate bit (see R:00, R:01)
if K: KB = BF
otherwise: KB = BF >> 2
R = base rate (see subsections below)
RKS = R*4 + KB
RH = RKS >> 2 (if RH > 15, use RH=15)
RL = RKS & 3
The subsections below will provide a value for R, then will use RH and RL to determine
the rate by which EGC is incremented.
Note that if R=0, then EGC is not incremented at all.
Attack:
-------
R = slot attack rate (4-bits as written to R:04, R:05)
EGC += (12 * (RL+4)) << RH
Once EGC wraps, reset EGC to zero and enter Decay phase
Decay:
-------
R = slot decay rate (4-bits as written to R:04, R:05)
EGC += (RL+4) << (RH-1)
Once output level reaches the slot sustain level (see R:06, R:07), set EGC to the sustain
level (do not reset it to 0!), and enter Sustain phase.
The sustain level is (3 dB * L), where L is the 4-bit value written to the register.
This means you enter Sustain when EGC >= (3 * L * (1<<23) / 48)
Sustain:
-------
If slot is percussive (see R:00, R:01): R = slot RELEASE rate (R:06, R:07, low bits)
otherwise: R = 0
When EGC reaches (1<<23), output is fixed at 48 dB and enter Idle phase
Release:
-------
If channel has "Sustain On" set (see R:2x), R = 5
otherwise, if slot is percussive: R = slot release rate (R:06, R:07)
otherwise: R = 7
When EGC reaches (1<<23), output is fixed at 48 dB and enter Idle phase
Idle:
-------
R=0
Output fixed at 48 dB
As previously mentioned, the output of the envelope generator is EGC, except in Attack phase.
In Attack, the actual rate of attack is logarithmic (it also decreases attenuation, rather than
increasing it).
attack_output = 48 dB - (48 dB * ln(EGC) / ln(1<<23))
(ln = natural log)
---------------------------------------------
Key On / Key Off:
---------------------------------------------
R:2x has the Key On bit for the channel. This bit only has an impact when its state transitions.
Upon transition, do the following for both Carrier and Modulator:
When being set (0->1): (key on)
- Reset EGC to zero
- Reset 18-bit phase counter to zero
- Enter Attack phase
When being clear (1->0): (key off)
- If currently in attack, EGC must be set to the current output level
- Enter Release phase
---------------------------------------------
AM/FM:
---------------------------------------------
There is one AM unit and one FM unit. The output of these units are shared across all slots.
Both units have a 20-bit counter that is increased by 'rate' every clock.
sinx = sin(2 * pi * counter / (1<<20))
AM unit:
'rate' = 78
AM_output = (1.0 + sinx) * 0.6 dB (emu2413 uses 1.2 dB instead of 0.6, but that sounds way too steep to me)
See the "Attenuation / Output calculation" section for how this output is applied
FM unit:
'rate' = 105
FM_output = 2 ^ (13.75 / 1200 * sinx)
(note: '^' is exponent, not xor)
See the "Phase / Frequency Calculation" section for how this output is applied
