The Korg Volca FM (2016) is a neat tiny remake of a Yamaha DX7 (1983) digital FM synthesizer.
The cheapness does come with some strange omissions, and the most astounding is that it doesn't understand the MIDI Program Change signal.
Also, editing the sounds fully on the Volca is not really possible. The knobs cleverly access multiple operators and the overall algorithm through a few knobs. (Edit: Actually there is a way to edit the parameters and it's not too bad.)
One selling point of the Volca is that as it's a DX7 clone, it can load DX7 patches, i.e. programs/voice data. As the Volca can receive a single-voice patch, I thought I could simply send the whole instrument data at once, and ignore the lack of Program Change messages.
This model also means the Volca can interpret all the original DX7 parameters, such as the meticulous editing of 6 separate operators, Feedback, Pitch envelope and LFO. It's just all under the hood, as the parameters are not accessible with MIDI Control Change messages.
There's an unofficial firmware update that expands the Volca capabilities in these respects, but I wanted to avoid that route as yet.
I used to think System Exclusive packets were something arcane, possibly because I didn't get them to work reliably with an Atari ST and a BASIC in the 1990s, having very little information at hand.
With better hardware and better drivers, plus all manuals and information on the Internet you could hope for, it's much more easy to experiment. It's simplicity in itself, a number of 7-bit bytes are bookended by $F0 and $F7 bytes.
Volca doesn't have MIDI out so I couldn't just sniff the contents of the SysEx package.
The device can send/receive patches using audio(!) and for a moment I thought I'd examine that format as I did with the Panasonic JR-200 tape format those
long short years ago.
However, the Volca SysEx patch is well documented and there's a lot of DX7 material around on the web so I felt I should be able to pull this off without going to extremes.
Almost 100% of all Yamaha DX7 patches on the internet are in the 32-patch (4kbytes) format, whereas I'm far more interested in the single-voice (156-byte) format.
Even MIDI can easily send that much data in an eyeblink, so although I don't expect real-time editing of the voice it should be comfortable. 4Kbytes wouldn't be that slow either, as MIDI moves stuff by 31250 bits per second, with a stop bit that becomes 3125 bytes per second I'm told.
Just to give a further idea of the speed, MIDI moves roughly 52 bytes during a frame if I'm working on 60fps screen (Not that MIDI has anything to with the screen sync) It's not a huge amount when presented like this!
Well, after a few misunderstandings and typos I could send the SysEx dump to Volca, proven by having the text display show my instrument name. By the way Volca only shows 8 characters of the 10, which can be annoying when making a disction between Trombone1 and Trombone2 and so on...
|It says MyPatch1, not NyPatchI!|
SysEx is initiated by sending $F0 over MIDI, and terminated with $F7. As MIDI data contents tend to be 7-bit, the data within a SysEx dump is within 0-127 range ($00-$7F).
$F0 - Exclusive status
$43 - YAMAHA ID
$00 - Global MIDI Channel (Device)
$00 - Format Number (1-voice as opposed to 32-voice)
$01 - Byte Count MSB (1=128)
$18 - Byte Count LSB (128+
$F7 - End of Exclusive
I was worried that the Global MIDI channel (Device) does not really do anything. If I had two Korg Volcas in my MIDI chain, there's no software way to differentiate between the two and they would both receive the same data. So a setup with multiple Volcas wouldn't work with this approach, unless I had separate MIDI buses for different MIDI interfaces.
Well, as I don't have multiple Volcas, the remaining real problem was to decipher the patch data as something meaningful, and I didn't undertand the DX7 patch structure that well. (I used to have a Yamaha DX11 instead.)
Using Processing/Java and midibus library, the below sends a bare Sysex, excluding all the program setup and given that "output" is an already set midi bus.
I've colorized the areas to correspond with the comment lines.
Some notes on the patch structure
A human-readable DX7 patch sheet might say Frequency Coarse 1.0 and Frequency Fine 0.0, but would not tell which bytes would represent such information. In turn the Volca MIDI specification says that Coarse frequency can be described with 0-31 and Frequency Fine is 0-99, but not tell the relation to the frequency.
I couldn't find a full "Rosetta Stone" that would solve all this, but at least the source to this DX editor served as a starting point. Here I could already see that Keyboard Level Scale values 0-3 correspond to -LIN, -EXP, +EXP and +LIN and the oscillator mode is R/F, pointing to Frequency Ratio and Fixed Frequency.
It's worth to note that the six Operators are "upside down" in the SysEx bank, starting from 6 and ending with 1.
So, I'm onto something here, and the original DX7 manual was also helpful here.
The FM synthesis is based on the idea that an oscillator frequency is modulated with another oscillator. If you first modulate the frequency of one oscillator and then in turn use this to modulate the frequency of another, you can get quite complex sounds. There's a feedback in the algorithm too, which often provides that 'raspy' or 'crunchy' digital DX sound.
The way the 6 operators interact with each other depends on the overall Algorithm (0-31). The algorithm decides which of the operators are carriers and which are modulators. If you can't see how the algorithm is built, then editing the sound is quite pointless. The Volca of course bypasses this rather neatly.
For example, algorithm 4(of 31) means that Operators 1,3,5 are carrier (sound-generator) operators, and 2,4,6 act as modulators for the respective carriers. (6 also feeds back into itself).
|Algorithms 1 and 21 (#0 and #20)|
You have to refer to the algorithm chart of the DX7 or Volca, bearing in mind these are often numbered 1-32 whereas the MIDI data is 0-31. Roughly, these start from algorithms where all operators feed into each other in turn, ending with algorithms where all or most operators are parallel carriers.
Operators can feed a proportional frequency or a fixed tone. It's usually better to start from having all operators in Proportional Ratio mode.
Frequency Coarse in Ratio mode:
0 = 0.50 Hz
1 = 1.0
2 = 2.0
3 = 3.0
29 = 29.0 Hz
30 = 30.0 Hz
31 = 31.0 Hz
Frequency Fine (0-99) complements Coarse so that Frequency Ratio is
Coarse Freq * (1+F*0.1)
where F is the 0-99 setting.
... meaning that 0 = 0.50 * 1.99 would be 0.995hz and 1 = 1.00 * 1.99 would be 1.99Hz obviously.
It's a good idea to start with carriers that have 1 = 1.0 and modulators not too far off either. Voices easily become weird if you mess with disproportionate carriers.
Detune can add some "life" to a sound, ranging from -7 to 7 and the effect depends also on whether the operator is a carrier or a modulator.
0 = -7
1 = -6
2 = -5
3 = -4
4 = -3
5 = -2
6 = -1
7 = 0
8 = +1
9 = +2
10 = +3
11 = +4
12 = +5
13 = +6
14 = +7
Each operator has an amplitude (volume) envelope, and these have 4 rate values and 4 level values. Instead of single decay there are two. This makes for 6*8 parameters for envelopes alone!
The scaling of these envelopes is too much to go into here now, just remember rate values are "inverse", smaller the rate longer it will take.
Rate Scaling means the envelope will be played faster in proportion to the note pitch, so if this is 7 the envelope part of the operator will be fast in any case.
When forming a sound it might be useful to first set all the attacks to 99 and all levels to 99 for all carriers, and then start reducing the effect of the different operators.
The velocity sensitivity (0-7) part is important, as this adds expressivity to a sound. Setting them all to 0 means all operators are indifferent to velocity change, which might be a good starting point. (Keeping in mind that operators also have levels).
Subtly adding values to some of the operators means that the proportion of the action taken by the operators on the sound will depend on the velocity. Bear in mind the "velocity" slider on Volca is not an overall "amplitude" but rather feeds in this 0-127 velocity value.
The velocity data that comes in with notes does not affect this velocity. After the voice has been triggered, changing the velocity CC (41 decimal) does not change the sound already being played.
|It's all so much clearer now! (sarcasm)|
As only 156 bytes are sent, I could send this individual voice data about 15 times a second without observing any kind of buffer build-up.
There's a chance the SysEx dump could even be used as a kind of in-song sound manipulator depending on where and how often notes are played. But it's probably much better idea to create sounds that are responsive to velocity and only send the SysEx patch at the beginning of a song.
Both in theory and in practice, the lack of Program Change interpretation can be bypassed using the SysEx. The practical issue remains of building a library of sensible patches to send... So I need to decipher the 32-voice banks after all.