Below is an example of some song data you might have in your program: A 2ĭon't worry about what each of those commands above means-yet. Most of the time spent writing a PMD program is generally spend creating beautiful song data.
Song sequence data are the actual song sequence, delineated by channel declarations (ABCDEF 123) and containing notes, rests, macro commands, envelope switches, octave jumps, loops, and more. It's also useful for defining percussion parts, since emulating percussion through the soundchip's various possible commands generally takes more than a single note. Macros are handy specially defined segments, which wrap up a piece of song sequence data to potentially be transplanted someplace else without having to copypaste the code, thus saving space and saving the programmer a massive headache if the song needs to be "debugged" in various parts where the same song sequence plays.
We'll discover those in more detail later. PMD players will generally take and display metadata and some can display the notes as well.įM tone data are special instrument definition sections, where all of the FM sound generation parameters are specified and organized into instruments, accessed by FM channels using the command. LFOs can be specified on their own in-line, as can tempo. M2 are the focus of this guidebook, though PMD can certainly output programs for a variety of sound boards), optional memos and notes, detune and LFO parameters, tempo, and song title. The metadata of the song program includes the composer, arranger, the output filetype (.M and. Song sequence data (where macros are expanded by the compiler and SSG envelopes can be specified in-line)Ī PMD program doesn't necessarily need all components of each piece specified, and macro definitions can be omitted entirely, though they confer various quality-of-life advantages that the savvy music programmer can't afford to ignore for long.The Basic PMD ProgramĪ PMD MML program consists of several key parts, which are in no particular order besides the preprocessor and metadata coming first. This guidebook will be broken up into multiple chapters for covering the various components of programming SSG envelopes, FM tone data, and special features (including PMD preprocessor macros, LFOs, and more). Now that you've gotten to know the chips a little bit, dear reader, you have some context for actually making music with them. The 86 SoundBoard for PC-9801 includes a different PCM sound source, allowing for a somewhat more limited PCM channel in place of the ADPCM sound source on SpeakBoard/YM2608.
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An additional sound source is supplied in the form of an ADPCM ROM that has stored drum samples, referred to as the Rhythm Sound Source for more rhythm options the programmer can use to free up FM channels.An ADPCM channel is included, allowing the playback of small ADPCM samples.The number of FM channels available is increased by 3, for a total of 6 stereo FM channels.There exists a few other features that makes the OPNA a bit special though: Otherwise, programming FM tones is exactly the same. The YM2608 or OPNA, is an expansion of the YM2203 chip-all the FM channels are stereo pannable thanks to an internal stereo DAC. This gives the programmer 6 total sound channels to work with, with the FM channels being markedly more complex to program instruments for. It is monoaural with 3 4-operator FM channels, and includes an onboard YM2149F as its Sound Source Generator, conferring an additional 3 square wave PSG (Programmable Sound Generator).
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The YM2203 is the first OPN series FM chip from Yamaha. To create music for this sound chip series for NEC FM boards, first you need to know the basics about these chips. Perhaps you're a fan of Ys, Snatcher, Popful Mail, or even Touhou and would like to discover and make the best use of a world of charming FM sound. Hello, dear reader! If you're looking through this guidebook, you have some interest in programming the YM2203 and YM2608 sound chips using PMD for NEC PCs. Introduction to PMD The OPN Series Sound Chips
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