Hey had these laying around felt like I should post them. Sorry for scratching out the midi in on the second diagram, everything should still work accordingly.

https://youtu.be/55KC3xwzZ0I

GBS/LSDj visualizer based on SameBoy and FFmpeg
https://github.com/nununoisy/gb-presenter-rs
Автор - Noah Sweilem
https://www.youtube.com/@UCEw9I1c2hL44XQac87Z8CzQ

https://youtu.be/HHDx7lP-VXE

Hi mates, here you can see the livestream that was recorded today at the OCM Oldenburg in northern Germany. My friend Marcel show some stuff at the Pro Tracker on an Amiga 500 and i at 31:12 show you some first steps in the Houston Tracker on an TI83Plus.

https://youtu.be/zNLCbun59_c

Best regards duality micro

Hello, here are the four parts of the livestream series that i done at the Oldenburger Computer Museum.
I do this streams with my team mates because the museum is closed while the pandemic situation is still going on.

1. Pro Tracker, Houston Tracker

https://www.youtube.com/watch?v=zNLCbun59_c&t=1809s

2. Making music like in the past over 25 years ago with an Atari ST1040, Cubase and some Midi Gear

https://www.youtube.com/watch?v=_zRWiRV6RgI&t=72s

3. Rebirth RB - 338

https://www.youtube.com/watch?v=Gvloe-uoeLk&t=7s

4. Making electronic music on an Gameboy Classic DMG01 with lsdj and nanoloop mono

https://www.youtube.com/watch?v=TpPv5BDgCY8&t=441s

Please enjoy

Best regards Manfred from duality micro

www.evadum.de

I wanted to try learning milkytracker again, but tutorials by Brandon Walsh is just vanished from youtube. Do anyone know what happened? Is there any archive with his lessons?

For this you need:
https://bgb.bircd.org/bgb.zip
https://www.littlesounddj.com/lsd/lates … stable.zip

Go To https://www.youtube.com/playlist?list=P … _QmEnyTueW for Info!

Is there anyway to get the digital audio signal out of the APU before it is converted into analog? Or is it done internally  in the chip with no access to the routing. Be nice to have the option to use a 3rd party DAC.

Thanks

PAGE 3 OF THIS POST HAS IMAGES RE-UPLOADED BY A KIND FORUM MEMBER.

Bass Mod and Noise Filtering Mod for the GBC... 56K Death!!!
by Katsumbhong

The purpose of performing these mods is to help give the GBC a clean line-out signal with a bump up in bass frequencies.

Difficulty: Intermediate

This mod requires steady hands to solder very small gauge wires onto SMT components.

Parts Needed:

+ (2) Female Chassis Mounted RCAs
+ (2) 4.7UF 16V non-polar (bipolar) electrolytic capacitors
+ (1) 470UF 6.3V polarized electrolytic capacitor
+ 30-gauge wire
+ Wire strippers for 30-gauge wire

I purchased the capacitors from Digikey. The following are their parts numbers and pricing at the time of writing this tutorial.

4.7uf Capacitors
Digikey
$0.51ea
493-10248-1-ND

470uf Capacitors
Digikey
$1.12ea
493-10387-1-ND

Tools that I used:

+ Soldering iron with a very fine tip
+ Solder
+ Drill w/ drill bits
+ Dremel w/ grinding bit
+ Headphone Amplifier
+ Small diagonal cutters or nail clippers
+ Needle nose pliers
+ Shrink wrap
+ Small screwdrivers, flat tip and philips-head

Here we go!

This is the area that we will be focused on for the bass mod.

This is tricky. For the left and right output, we will have prep the left side of the SMT components with a small dab of solder. If you remove or damage the connection of these SMT components, you will disconnect the bridge to the speakers and headphones. We will also prep the top tab of the volume potentiometer for ground. You may also alternatively choose to use a different grounding point as you see fit. Make sure to take your time with this step.

This is the area you will be working with for the noise filtering mod.

Take your 470UF capacitor and bend the legs and test fit in this area. The positive leg of the capacitor will go on the top post on the left while the negative leg will get soldered to the ground pad on the right side. You will have to heat up and add solder to the ground pad. After you are finished soldering, snip off the excess capacitor legs with diagonal cutters or nail clippers.

Cut three lengths of 30-gauge wire, roughly the length of the GBC, or a little longer than the length of the GBC.

We will then need to strip the ends of the 30-gauge wire and solder them to the points we prepped on the GBC board for the bass mod.

A close up of the wires soldered into place.

Next we will routing the wires through the right side of the cartridge connector in the gap between the cartridge connector clip and pcb.

Another shot of how the wires were routed.

At this time we will prep the battery tabs. We will be needing to remove battery tab from the rear case. You should be able to slip a small flat tip screw driver to push a tab to remove the battery tab.

You will want to heat up the underside of the spring portion of the tab and flow solder through the gap. I do this mod to all the gameboys I mod. Whenever there are issues with batteries not making good contact in the battery compartments of gameboys, to what I have found, it is the contact between the spring and the battery tab. They are two separate pieces and the spring is crimped onto the tab. Corrosion tends to get between the tab and the spring, causing no continuity for current to flow.

This is what the battery tab should look like after flowing solder through the gap under the spring tab. Reinstall the battery tab into the rear case of the GBC.

Do the same with the battery tab on the pcb.

We will then trim away this plastic section from the rear case of the GBC using diagonal cutters.

This is what it should look like after you have removed the plastic section.

In this photo, I have the different parts of the RCA separated. I source internal star washers from a local hardware store, which I then use to help center where I want to drill holes into the case.

This is the area that we will be wanting to drill for the RCAs.

We want to place the star washer under the battery cover ledge molding and to the outside of the battery cover clip molding. Take a small drill bit and make a small pilot mark for where you will be drilling.

Working your way up, starting with small drill bits, use the smallest drill bit to drill out where you made your pilot holes in the inside of the rear case, then flip the case over and continue drilling with incrementally larger drill bits until [in my case] you finish off with a 1/4” diameter drill bit. This is what the case should look like when you are done. Please make sure to test fit your RCAs. Your RCAs may have a different diameter and may require a hole of a different diameter drilled.

Before we install the RCAs, we will need to shave off the tips.

Using a dremel with a grinding bit, you will want to shave off the ends of the RCAs to help give extra clearance from the PCB.

This is what the RCAs should look like, for the most part, once you are done shaving off the tips. Make sure to de-burr the RCAs with a razor blade if there are any shavings left on them.

Install the RCAs with the RCA itself, the grounding tabs, star washers, and nut. Have the grounding tabs face each other and have the “crescent” portion of the RCAs facing outward, as shown in this photo. You don’t have to tighten the RCAs down all the way as we will be doing so in a few steps.

Strip a section of 30-gauge wire, snip it off, loop and wrap the wire in the grounding tabs.

Flow solder between the two grounding tabs and wires. At this time, making sure that the RCAs are placed correctly, tighten the nuts down with needle nose pliers.

Strip the ends of the three wires that we soldered to the pcb earlier.

Next we will prepare the 4.7UF capacitors.

Bend the capacitor legs in an “L” shape.

Using the wire that is soldered to the left output on the pcb, wrap the exposed end of the wire onto the bent leg of the capacitor near its base.

Apply solder where the wire and capacitor leg meet. Snip off the excess material off the capacitor leg past the solder joint.

Bend the other leg of the capacitor around toward the top of the capacitor as pictured.

Cut two sections of shrink wrap that is long enough to both cover the soldered end of the capacitor and over the top of the capacitor itself. Slide it over the capacitor.

Apply the flame of a lighter, match or other heat source to the shrink wrap. Wait for it to cool down and slide over another section of shrink wrap over the same area and repeat the process of heating the shrink wrap. It should look similar to this after you are done. Repeat the same steps to prepare the second capacitor with the wire that is soldered to the right output on the pcb.

Once you are done preparing the capacitors, take the capacitor which is soldered to the wire for the right output, loop the exposed leg from the outside of the right RCA and wrap the leg over the top and to the outside of the RCA.

Solder the leg of the capacitor to the RCA as shown in this photo.

Repeat the previous steps to solder the capacitor which is soldered to the left output to the left RCA. At this time, solder the ground wire to the grounding tabs. Snip off any extra material from the legs of the capacitors at this time.

Close the Gameboy Color back up and you should be ready to rock! It will be a snug fit, but there shouldn't be any excessive resistance or pressure from the components to close the case securely. To test out the mod, I used my altoid tin headphone amp.

The output will be pre-potentiometer so if you want to adjust levels you will have to do so through a mixer or to whatever you are plugging your GBC into. There will be a definite boost in bass frequencies.

This mod will make the GBC a well desired gameboy unit for LSDJ. The GBC processor will be able to handle high tempos, handle complicated table commands and reproduce accurate samples in the WAV channel. The bass mod will bring up the bass frequencies and the noise filtering will take care of any hum or white noise. You will also use half the batteries as you would in a DMG.

I apologize for the quality of the photos. I used my iPhone 4s and edited the images in Photoshop. Hopefully this tutorial was informative and had enough photos to document the process accurately enough to be followed through.

A big shout out goes to Scannerboy who to my understanding was the first person to list this mod on this site.

You can bass mod with 1/4” stereo and 1/8” stereo as well. After sending Nonfinite photos of this tutorial he sent back photos of doing the bass mod with a 1/8” stereo jack using SMD/SMT capacitors.

If you have any questions, please feel free to message me or post in this thread.

***edit***
Corrected typo on capacitor value.

I made a video walking through the SAV file for the title track of my album. Let me know if you find it helpful and would like to see more.

Over the past eight years that I've been using MidiNES to make chiptunes, I've occasionally searched for tutorials and documentation detailing the specific use of all of the parameters but have only ever found demos and the original manual which simply outlines the CC signal designation and contains, at best, a brief explanation of their implementation. What all of the resources seemed to lack was a comprehensive explanation of how these parameters can be used in conjunction with one another and how this can translate into creating better sounds and maximizing the limitations of the sound chip. I've been considering writing a tutorial of sorts for years but just never got around to it until now.

What I'm hoping is to post in this thread regularly with each 'entry' highlighting a different topic. For example, some will cover technical aspects such as how to set up a MidiNES compatible file in your DAW, programming all of the CC's, which of those CC's to implement for different styles of note, etc., while others will cover topics related to composition and how to achieve certain results with the available parameters, and so on. I'm hoping for some decent responses so the time isn't wasted but I'll play it by ear. As long as people are interested, I'll continue adding to the guide! I'm not too concerned about having others post between my own since mine will be quite long in comparison so anyone who's browsing will be able to find them easily. Plus, I'll try to answer questions that pop up which will add to the overall usefulness of this thread as a comprehensive guide. If this continues on for long enough, I'll probably just end up transferring all of the text to a guide on my own website but for now, this is a good place to begin.

For starters, I'm going to focus on the bare bones basics for complete beginners - if you have a MidiNES cart, a NES, USB MIDI interface and a DAW (Digital Audio Workstation) that can send programmable MIDI control signals, the following will show you how to set everything up to get started. I realize most people with a MidiNES cart in their possession may already know the basics but it's better to explain too much than not enough!

Personally, I use FL Studio, so that will be in all examples but I'll try to use terminology universal to all DAWs and go into more detail to cover alternative methods when there may be differences between them.

Here is a brief description of my setup for reference:

- MidiNES with prosound modded NES (two 1/4" audio out jacks)
- Tascam US-122mkII midi interface to connect the MidiNES (via output cable) to my computer (via USB)
- Alesis USB Multimix8 (optional, but preferable to a direct line from the NES to speakers)
- M-Audio AV30 Speakers (not the best but sufficient for this)
- FL Studio 11 Producer Edition

Hooking Everything Up

Firstly, be sure your NES is fully functional, the MidiNES cart is inserted and secure, and the system powers on to the MidiNES title screen properly. If you're like me and you don't have a display hooked up to the NES, you can turn the volume on your mixer/speakers up a bit higher than you would to listen to music at a comfortable volume and listen in - whether you have a prosound modded NES or are working from the stock system, there will be some degree of hum. If it's consistent, then press the select button on the controller. This is a MidiNES feature which disables the visuals and trades the more noticeable hum for a subtle, solid, high pitched frequency. Pressing select again should return to the hum. If all these results are as expected, you have a good connection between the cart and 72-pin connector in the system and I recommend never removing the cart. This is your dedicated MidiNES system now!

Next, connect the MIDI out cable coming from the MidiNES cart to the MIDI OUT on your MIDI interface. You can also connect the USB cable from the interface to your computer now but I've found it can be finicky depending on what interface you're using. My previous Tascam US-122L interface almost always needed to be plugged in after I started up FL Studio (otherwise the program would freeze) but the US-122mkII has been much more reliable and FL Studio only freezes once in awhile (in which case I would unplug the USB, force close FL Studio then reopen the program before plugging the USB in again). I honestly don't know the underlying cause of this issue but that's been my fix thus far.

NOTE: Depending on what interface you're using, there may be a latency setting. Latency determines how quickly the MIDI data is sent to the interface (and therefore how close to 'real time' the NES responds to them), so the lower the latency, the better. For mine, it's an option within the software that installed with the driver for the interface but you may have a plug and play device with no associated software in which case the latency may be controlled via a knob or switch on the device itself. Regardless, latency isn't much of an issue if you aren't using additional synths that need to keep time with each other.

Now, open up your DAW and find the MIDI settings. In the settings options, there should be a list of MIDI INPUT and MIDI OUTPUT devices. The OUTPUT is what is important to us here. Plug in your device if it isn't already plugged in. If you don't see your specific interface listed in the outputs, there may be a 'refresh list' or 'rescan devices' button somewhere that will look for it. Once it pops up, select it and locate the 'PORT' option. I have this set to 1 but it really doesn't matter exactly what you set it to. What's important is that you use the same port number you select here later on when setting up the five MIDI output channels.

At this point, your DAW should recognize the interface and be able to send MIDI CC's to the MidiNES cart to make sound on the NES. You may have to enable MIDI output from another location but worry about that if it's not working later on. We'll set up the five channels now but you can test it after setting up the first.

Creating MIDI Out Channels

Okay, we're getting there! The next step is basically knowing how to do a few things then repeating the process a number of times. For reference, these are the five channels we'll be creating:

1) Pulse 01
2) Pulse 02
3) Triangle
4) Noise
5) DPCM

Let's create the Pulse 01 channel.

Add a MIDI Out channel to the instruments/voices/channels, wherever they may be located. This is done in a wide variety of ways in different DAWs so you may have to familiarize yourself with the specifics first. If you're working in a MIDI specific program (as opposed to a sequencing or pattern based sampling program like FL Studio), it will probably be easier to find and may be readily visible in the default interface layout. In FL Studio, there is a panel called 'Step Sequencer' which contains channels and a channel is added by going to CHANNEL>ADD ONE>MIDI OUT. You can name it whatever you like but for the sake of consistency and accuracy, I name it "Pulse 01". Upon adding it in FL Studio, the options for the newly created channel are opened (alternatively, clicking on the channel label does the same). Within these settings, you'll be looking for a few things:

CHANNEL - this determines which of the five available channels on the NES will be controlled by this MIDI Out. Set this to '1' (and the rest to 2-5).

PORT - set this (as well as every other channel) to the same number as you set in the MIDI settings. As I have my port set to '1', I've also set all of the channel ports to the same.

After setting these two parameters, open up the piano roll and lay a note or two down to see if you're getting sound from the NES. Be sure to add a note somewhere above A#2 as that is the lowest note the pulse channels can play. Assuming the results are as expected, continue! If not, then trouble shoot the connections, double check the MIDI settings, etc. until you've identified the problem.

Programming Midi Controls

The locations for the controls we'll be programming will be different for every DAW but in FL Studio, it's essentially a grouping of unidentified knobs and sliders with a blank drop down above it, all located in the channel settings. This area allows you to create groups of controls and then set the specific parameters of each control within (right clicking the knob brings up the available options). Whatever your setup gives you, you will need a total of 12 controls for the two pulse channels and less for the remaining channels. Access the settings/options for the first knob (for me, it's under "configure") and you should see the following among the options: Name, Controller # (be sure that, if given options between control types, 'CC' is selected), and a set of values determining the min and max possible value. Your program may have these organized in some fashion by CC# specifically but the same correlation of values will apply regardless.

Below are the settings I've chosen for all control knobs on this channel:

- Duty Cycle, CC#1, 0>127
- Mod Period, CC#6, 0>127
- Master Volume, CC#7, 0>127
- Fine Pitch, CC#8, 0>127
- Length Envelope, CC#9, 0>127
- Loop Envelope, CC#10, 0>127
- Volume Envelope,  CC#11, 0>127
- Mod Hack, CC#12, 0>127
- Enable Sweep, CC#13, 0>127
(the following apply to the sweep functions)
- Sweep Up/Down, CC#14, 0>127
- Sweep Period, CC#15, 0>127
- Sweep Shift, CC#16, 0>127

Truth be told, I only use a few of these controls regularly, but having them all programmed in for possible future use is probably the best practice. Generally, I prefer to manually create some of the effects that can be done with certain parameters but on a regular basis I implement the Duty, Length, Loop and Volume controls in conjunction with general channel controls that are standard in most DAWs (like channel pitch, channel volume, note velocity, etc). But I'll save all that for later. We have four more channels to create!

Fortunately, everything about the Pulse 02 channel is the same as Pulse 01, with one exception - the Channel #. Remember, all channels will have the same port # but the channel needs to reflect one of five available channels on the NES. So naturally, Pulse 02 will be on channel '2'. Hopefully, your DAW has an option to duplicate the MIDI Out channel you just created (after which you can change the channel # and name) but if not, just do everything you just did again changing the name and channel # as mentioned above.

For the next three channels, we'll repeat this process but the channels will be designated 3-5 and the custom MIDI controls will be as follows:

TRIANGLE (channel 3):
- Fine Pitch, CC#8, 0>127

NOISE (channel 4):
- Master Volume, CC#7, 0>127
- Length Envelope, CC#9, 0>127
- Loop Envelope, CC#10, 0>127
- Volume Envelope, CC#11, 0>127

DPCM (channel 5):
- Pitch, CC#3, 0>127
- Loop, CC#4, 0>127
- Bank Switch, CC#14, 0>127

While I've included all of the Pulse channel controls previously, I've not done the same for the DPCM channel. This is one of those features that is 'expandable' in the sense that with additional hardware/software you can load different sample sets and do crazy stuff with it, but for the vast majority of compositions, I use this strictly as a drumkit (in conjunction with the noise channel) and so you can feel free to explore the others on your own to see what you can do once you've learned the basics and a bit more after that.

Well, that's it for this tutorial.

I hope this will be informative for some people just starting out as I know a lot of people here already know most of this but we'll get into the more advances stuff down the road!

Just showin' a little bit about my initial workflow and getting drafts and ideas down. Once the steps I show in the video are complete, the stuff I like usually gets transcribed into MML.

In this tutorial I'm gonna show you how you can make a very punchy kick using the triangle wave.

I'm using the Magical8Plug VST for this demonstration, but this technique should work with any other triangle wave generator.

So, let's get started

Step 1:

Select your triangle wave

Step 2:

Set your release as short as possible

Step 3:

Set up a negativ sweep.

Step 4:

Sweep time very short.

And there you have it! A very punchy kick using the triangle wave. Experiment a little with the parameters and you'll get some very cool sounding kicks out of the triangle .

https://www.youtube.com/watch?v=D3L7UNmEPao&t=12s

* Only Logic Pro X's built-in instruments and plug-ins is used.
* Once Upon A Time - Undertale OST.
* If you have any help, please subscribe.
* Questions please comment.(welcome any comments)

Hello I have modded my dmg-01 wiht a backlight and the vibert hex module but every time I press any button screen contrast changes.
any suggestion to this? I can post a video if needed.
thank a lot!
here's the module:
https://handheldlegend.com/collections/ … ion-module