NES提取NSF用的文件

------------------------------------------------------------------------ MCKC: MML > MCK Converter Ver 0.14 by Manbow-J (manbow-j@hamal.freemail.ne.jp) NES/NSF sound driver by Izumi English Translation and additional documentation by virt (virt@vgmix.com | virt.vgmix.com) ------------------------------------------------------------------------ Introduction As you may or may not know, MML (Music Macro Language) is a popular form of sound programming in Japan, and has been shaped into a creation tool for everything from music for various game consoles to General MIDI sequences. Its huge array of commands and extremely simplified macro structure make it quite fast and adaptable for composition in many forms, past a relatively simple learning curve. Americans and Europeans have typically relied on module trackers to create chiptunes - or, as they're called in Japan, VGM. A tracker is certainly an incredibly precise, visually straightforward, and otherwise logical tool. However, in imitating a NES, there are many things that it just can't pull off, and others that take far more effort than they should. For one thing, in such a restrictive timing grid, it's difficult to cram a lot of timbral changes into a short space. There's no facility in a sample- based tracker for programming changes in the sound into the instrument script, so a quick change of timbre at the beginning of the note has to be put into the pattern each time, and this can drastically complicate the composition of a tune. Every note echo, every timbral attack, all by hand. We do it out of necessity, but it's extremely inefficient, and leaves me wanting for more control. Plus, there's that whole feeling of disconnection one gets when working with audio samples to emulate the realtime synthesizer of the NES. Sampled noise sounds fake and reacts too predictably, since it's not at all random. The triangle's aliasing is weak and unconvincing. DPCM doesn't sound right when mixed at 44.1khz. We need to be composing for the actual console's limits and structure, not a crude imitation. While NSF might still be an emulation, it's a LOT closer than an S3M or XM module. But NSFs are just big chunks of ASM instructions! What's a NES-obsessed musician to do? Either devote months (or years!) to perfecting 6502 assembly and code your own sound driver, then worry about a script for the music itself -- or use the fantastic MCK driver, and program it with MML, then compile it into a finished NSF or NES binary. Let the authentic Western NESchip love begin! ------------------------------------------------------------------------ Using MCKC MCKC, specifically, is the program that you run to convert your raw MML sequence (just a plain old text file) into assembly-language source code compatible with the MCK sound driver, to be compiled with NESASM into a finished NSF or NES rom. Once you have created your MML document, you run MCKC on it like so: Mckc [switch] [mml file] ([output file, optional]) You'll probably want to name the file songdata.h so it won't be necessary to edit the compilation scripts, but you can change the file that the scripts call for from songdata.h to whatever you like, and thus the filename becomes unimportant. * Command-line switches: -h or -? A help message is printed out. -n Helpful information is written to the screen but "effect.h", an assembly file defining the various macros used in the song, is not created as it normally would be. -o[str] The same data is printed and "effect.h" is created with a filename equivalent to [str]. -w Suppress warnings. ------------------------------------------------------------------------ Explanation of conventions used in this text * Note: Hexidecimal Notation Within this document there are several instances where a number is preceded by a "$" and may contain the letters A ~ F. This is standard hexidecimal notation, and it is assumed that the reader is familiar with hex numbers, although for most functions described no hexidecimal values are necessary. * Duration Conventions and Timing MML's notation works much like traditional staff notation. Quarter notes, Hemisemidemiquavers, 16th notes, Half rests, they're all used. "c4", in addition to being a powerful explosive, is a "c" quarter note. c16 is a 16th note. Furthermore, you can 'dot' your notes, extending them by half their length, by adding a period. "c4." is equivalent to c4 with a c8 added to the end. An interesting thing about MML is that you can chain certain modifiers like dots - you can type "c4..." and it will be equivalent to c4 with c8, c16, and c32 tied onto it. There is another division within notes: 'Count Length', which works as follows: All notes are broken up into 192 equal pieces, regardless of their time duration. This is used in such commands as the "q" effect as noted below, when it is necessary to divide a note proportionally in order to alter some part of it. Finally, in the terms of the NES, a 'frame' is a period of time equal to 1/60 second. This is not related to tempo in the traditional musical sense, but the values for many commands are stepped through once per frame and thus take the same amount of time regardless of the song's tempo. Things like volume envelopes have discrete values that are not scaled to match the speed of the song. ------------------------------------------------------------------------ The Script Header There are a number of fields that you will find at the top of the file, before all of the note data. This information is the header, and it sets forth a number of parameters that define the properties of the song, and establishes "macros" that will allow you to automate volume, pitch, and timbre changes by issuing simple commands in the sequence script. Credits None of the following three fields are included in the final output assembly file once run through MCK. To have them show up in the final NSF, you will have to edit the appropriate fields in the make_nsf.txt assembly file included with your MCK distribution. These fields are simply included in the format so that MML files can be identified upon examination. #TITLE[str] The title of your tune. #COMPOSER[str] The name of the person who composed the tune. #PROGRAMER[str] <--sic, typo is correct form The name of the person, if applicable, who created the MML file from a pre-existing composition in another format and compiled it into binary data with the player code. In the Japanese VGM industry, it is not uncommon for a composer to work with a sound programmer. Definitions and Includes #OCTAVE-REV[num] (0) Normally, the way you change octaves within your sequence is by writing > (raise octave) or < (lower octave) in between notes. If you use #OCTAVE-REV, however, with a non-zero value for [num], the "polarity" of octave-changes will be reversed; < will increase the octave by one. and > will decrease it.> " with +1, " < " with -1). #INCLUDE[str] Inserts a separate, supplementary file into the current file at the conversion-to-assembly stage. You can chain together up to 16 files in this manner. This will allow you to have un-changing or oft-used values such as #COMPOSER or a