1. Github

SiON MML reference Manual (version 0.6.5)

(c) keim +Si+ 2016

System operations

System commands

Statement Range Description
#TITLE{...}; (String) Specify title. 
#TITLE{title};
#SIGN{...}; [A-G][+#-b]?m? Specify key scale and set default key signitures group. 
#SIGN{Fm}; fgab<cdef;  // Set key signitures as Fm (flats on b,e,a and d)
#REV{...}; (octave|volume) Reverse the octave or/and volume shift signs．With 'octave' option, the '<' is octave down and the '>' is octave up. With 'volume' option, the '(' is volume down and the ')' is volume up. Without any options (write only '#REV;'), reverse both meanings. 
#REV; cdefgab>c;  // Same as "cdefgab<c"
#MACRO{...}; (static|dynamic) Spesify how to expand a macro in a macro. With 'static' option, expand in the macro definitions (default). With 'dynamic' option, expand when its expand. 
#MACRO{static};  #A=cde;#B=Afg;o5B; #A=gfe;o4B; // Expand as "o5cdefg; o4cdefg"

#MACRO{dynamic}; #A=cde;#B=Afg;o5B; #A=gfe;o4B; // Expand as "o5cdefg; o4gfefg"
#VMODE{...}; (n88|mdx|mck|tss|%x|%v) Set all tracks %x and %v commands. 
#VMODE{n88}; v15cv12cv9c; // v command on log scale
#TMODE{...}; (unit|fps|timerb)=?n Specify the unit of 't' command. With 'unit' option, t command parameter is divided by specifyed number. With 'fps' option, t command based on frames per beat. The 'timerb' option sets supplied clock speed (kHz) by n value, t command is based on OPMs timerB register value for 1/192 note. 
#TMODE{unit=100}; t10050cde; // t10050 means bpm=100.5

#TMODE{fps=60}; t30cde; // t30 means 30[frames/beat](bpm=120)
#QUANTn; 1 - (8) Specify the maximum value of 'q' command. The default value of 'q' is 75% of the maximum value. 
#QUANT16; q8cde; // Set maximum value of 'q' to 16
#FPSn; 1 - 1000 (60) Specify the default value of '@fps' command. 
#FPS100;  // Set default value of '@fps' to 100
#END;   Ignore text after this command. 
#END; Ignore text here.
The format of '#SIGN{...};' system command
C, Am(no key signifures)
G, Emf+
D, Bmf+, c+
A, F+m, F#mf+, c+, g+
E, C+m, C#mf+, c+, g+, d+
B, G+m, G#mf+, c+, g+, d+, a+
F+, F#, D+m, D#mf+, c+, g+, d+, a+, e+
C+, C#, A+m, A#mf+, c+, g+, d+, a+, e+, b+
F, Dmb-
B-, Bb, Gmb-, e-
E-, Eb, Cmb-, e-, a-
A-, Ab, Fmb-, e-, a-, d-
D-, Db, B-m, Bbmb-, e-, a-, d-, g-
G-, Gb, E-m, Ebmb-, e-, a-, d-, g-, c-
C-, Cb, A-m, Abmb-, e-, a-, d-, g-, c-, f-
Or, specify the key signitures spareted by comma.
#SIGN{f+,g-,a-,b-}; // Whole tone scale

Macro definitions

Statement Range Description
#[A-Z]=...; (MML text) Define macro．Write '#ABCD=c;' or '#A-D=c;' to set macros A,B,C,D to 'c'. 
#A=cde;   l8AAgedAd;    // Expand as "l8cdecdegedcded"

#A-C=cde; l8ABgedCd;    // Expand as "l8cdecdegedcded"
#[A-Z]+=...; (MML text) Add text to macro．Write '#ABCD+=c;' or '#A-D+=c;' to add 'c' to macros A,B,C,D. 
#A=cde; #B=efg; #AB+=fg; l8AB;    // Expand as "l8cdefgefgfg"

Table definitions

Statement Range Description
#WAVBn{...}; n;0 - 255 Define the wave shape by hex refer from SCC sound module (%4). The hex is expressed with unsigned char (-128=0x80, -1=0xff, 127=0x7f). 
#WAVB0{36454d4b41362f303639332309efd9cc362f220df2d9c8c3c6cbccc6bab0aeb7}; %4@0 cde;
#WAVn{...}(formula...); n;0 - 255 Define the wave shape by array of numbers refer from SCC sound module (%4). The number of entries is 32, and the entrie are between -128 and 127. When the number of entries are less than 32, remains are filled up with 0. 
#WAV0{(0,127)8,(127,-128)16,(-128,0)8}; %4@0 cde;
#WAVCOLOR/#WAVCn{...}; n;0 - 255 Define the wave shape by wave color refer from SCC sound module (%4). The wave color is an unsigned int hex expressing 7 draw bars(from 8th to 1st) of Hammond organ by each 4bits. The 4 MSBs are the wave shape number. 
#WAVCOLOR0{08400f0f}; %4@0 cde;
#TABLEn{...}(formula...); n;0 - 254 Define the envelop teble refer from the commands of @@,na,np,nt,nf,_@@,_na,_np,_nt and _nf. The range of entry is depended on the commands. 
#TABLE0{(64,0)5,(32,0)5,(16,0)5}; q8 na0 cde;
The format of #TABLEn{...}; and #WAVn{...};
  • Entries are separated by comma.
    ex) #TABLE0{0,2,4,6}
  • Entries are continue with "|" position.
    ex) #TABLE0{0,2|4,6} // execute like (0,2,4,6,4,6,4,6...)
  • Format '[]n' makes repeating inner numbers.
    例) #TABLE0{[0,1]3,2,3} (0,1,0,1,0,1,2,3)
  • Format '(a)n' means repeats 'a' n times.
    ex) #TABLE0{(0)4} // same as #TABLE0{0,0,0,0}
  • Format '(a,b)n' means interpolates the range of [a,b) with n numbers. The expansion DOES NOT include last number 'b'.
    ex) #TABLE0{(0,8)4} // same as #TABLE0{0,2,4,6}
  • Format '(a,b,c,...)n' means interpolates the list of [a,b,c,...) with n numbers.
    例) #TABLE0{(0,6,3,9)9} // same as #TABLE0{0,2,4,6,5,4,3,5,7}
  • The numbers are rounded when they are interpolated.
    例) #TABLE0{(0,1,3)8} // same as #TABLE0{0,0,1,1,1,2,2,3}
  • You can repeat, magnify and offset the entries with writing '[repeat]*[magnify]+[offset]' after {...}.
    Entries are rounded before calculations and the result is rounded again.
    • #TABLE0{0,1,2,3}3 // same as #TABLE0{0,0,0,1,1,1,2,2,2,3,3,3}
    • #TABLE0{0,1,2,3}*2 // same as #TABLE0{0,2,4,6}
    • #TABLE0{0,1,2,3}+2 // same as #TABLE0{2,3,4,5}
    • #TABLE0{0,1,2,3}3*2-2 // same as #TABLE0{-2,-2,-2,0,0,0,2,2,2,4,4,4}
    • #TABLE0{(0,3)6}*5 // same as #TABLE0{0,5,5,10,10,15}
    • #TABLE0{(0,6)6}*0.5 // same as #TABLE0{0,1,1,2,2,3}

Parameters of FM sound module

Statement Range Description
#@n{...}(sequence...); n;0 - 255 Write the parameters specifyed in @al,@fb and @ commands (Except for this command, you can specify decimal number in parameter 'multiple'. This dicimal number is corresponding to the 2nd argument of @ml command). The number of operators depends on the number of parameters, 1 operator for 18 parameters, 2ope for 33param, 3ope for 48param and 4ope for 63param. See also @al command. 
#@0{
  alg[0-15], fb[0-7], fbc[0-3],
  (ws, ar, dr, sr, rr, sl, tl, ksr, ksl, mul, dt1, detune, ams, phase, fixedNote) x operator count
};
%6@0 cde;
#OPL@n{...}(sequence...); n;0 - 255 Write the parameters of OPL3. The number of operators depends on the number of parameters, 1ope for 13param, 2ope for 24param, 2ope for 35param, 4ope for 46param. See also @al command about algorisms. 
#OPL@0{
  alg[0-3], fb[0-7], 
  (ws[0-7], ar[0-15], dr[0-15], rr[0-15], egt[0,1], sl[0-15], tl[0-63], ksr[0,1], ksl[0-3], mul[0-15], ams[0-3]) x operator count
};
%6@0 cde;
#OPM@n{...}(sequence...); n;0 - 255 Write the parameters of OPM. The number of operators depends on the number of parameters, 1ope for 13param, 2ope for 24param, 2ope for 35param, 4ope for 46param. See also @al command about algorisms. 
#OPM@0{
  alg[0-7], fb[0-7], 
  (ar[0-31], dr[0-31], sr[0-31], rr[0-15], sl[0-15], tl[0-127], ks[0-3], mul[0-15], dt1[0-7], dt2[0-3], ams[0-3]) x operator count
};
%6@0 cde;
#OPN@n{...}(sequence...); n;0 - 255 Write the parameters of OPNA. The number of operators depends on the number of parameters, 1ope for 12param, 2ope for 22param, 2ope for 32param, 4ope for 46param. See also @al command about algorisms. 
#OPN@0{
  alg[0-7], fb[0-7], 
  (ar[0-31], dr[0-31], sr[0-31], rr[0-15], sl[0-15], tl[0-127], ks[0-3], mul[0-15], dt1[0-7], ams[0-3]) x operator count
};
%6@0 cde;
#OPX@n{...}(sequence...); n;0 - 255 Write the parameters of OPX. The number of operators depends on the number of parameters, 1ope for 14param, 2ope for 26param, 2ope for 38param, 4ope for 50param. The range of alg depends on the number of operators. See also @al command about algorisms. 
#OPX@0{
  alg[0-15], fb[0-7], 
  (ws[0-7], ar[0-31], dr[0-31], sr[0-31], rr[0-15], sl[0-15], tl[0-127], ks[0-3], mul[0-15], dt1[0-7], detune[], ams[0-3]) x operator count
};
%6@0 cde;
#MA@n{...}(sequence...); n;0 - 255 Write the parameters of MA3. The number of operators depends on the number of parameters, 1ope for 14param, 2ope for 26param, 2ope for 38param, 4ope for 50param. The range of alg depends on the number of operators. See also @al command about algorisms. 
#MA@0{
  alg[0-7], fb[0-7], 
  (ws[0-31], ar[0-15], dr[0-15], sr[0-15], rr[0-15], sl[0-15], tl[0-63], ksr[0,1], ksl[0-3], mul[0-15], dt1[0-7], ams[0-3]) x operator count
};
%6@0 cde;
How to define and refer the FM module parameters.
Define the FM module parameter as above, and write as '%6@[0-255]' in mml sequence to the load the FM sound.
In the definition of FM module parameters, letters other than digits are recognized as a separator (The comma, space and tab is recommended for a separator due to readability). And the MML sequence after "{...}" block is executed when '%6@[0-255]' commands are called in MML sequences (see below example), however note commands(c,d,e,f,g,a,b,r) and tone commands(%,@) can not be included in it. 
// Modify filter and quantize settings when change tone in a sequence.
#@0{ 8,  0,  0;
16, 40,  0, 34, 34,  0, 13, 1, 0, 1, 0,  0, 0, 0, 0;
 1, 34, 28,  0,  0, 15, 35, 1, 0, 2, 0,  0, 0, 0, 0;
 4, 63, 63,  0,  0,  0, 42, 1, 0, 5, 0,  0, 0, 0, 0;
 0, 36,  0,  0, 34,  0,  0, 1, 0, 1, 0, -3, 0, 0, 0;
} @f96,2,32,72q4;

%6@0 cdefedc;

Parameters of PCM sound module

Statement Range Description
#SAMPLERn{waveID, oneShotFlag, pan, channelCount, startPoint, endPoint, loopPoint}; n;0 - 127
waveID;String
oneShotFlag;0,1(0)
pan;-64~64(0)
channelCount;1,2(2)
startPoint;Number(-1)
endPoint;Number(-1)
loopPoint;Number(-1)		 Specify note number of this sample by n, and specify id string by waveID. When oneShotFlag is 1, the sound does not stop by gate time. The pan sets panning of this sample, The channelCount sets stereo or monoral. Refer the appendex about startPoint, endPoint and loopPoint.
Statement Range Description
#PCMWAVEn{waveID, samplingNote, keyRangeFrom, keyRangeTo, channelCount, startPoint, endPoint, loopPoint}; n;0 - 255
waveID;String
samplingNote;0,1(0)
keyRangeFrom;0~127(0)
keyRangeTo;0~127(127)
channelCount;1,2(2)
startPoint;Number(-1)
startPoint;Number(-1)
loopPoint;Number(-1)		 Specify PCM voice number by n, and specify id string by waveID. The samplingNote sets sampling point, keyRangeFrom and keyRangeTo set keyboard range of this wave. The channelCount sets stereo or monoral. Refer the appendex about startPoint, endPoint and loopPoint.
Statement Range Description
#PCMVOICEn{volumeCenterNote, volumeKeyRange, volumeRange, panCenterNote, panKeyRange, panRange, ar, dr, sr, rr, sl}; n;0 - 255
volumeCenterNote;0-127(4)
volumeKeyRange;0-127(0)
volumeRange;-128~128(0)
panCenterNote;0-127(64)
panKeyRange;0-127(0)
panRange;-128~128
ar;0~63
dr;0~63
sr;0~63
rr;0~63
sl;0~15		 Specify PCM voice number by n, and changing rate of volume and panning by note number. And last 5 arguments set envelope. See appendex.
Setting of PCM samples playing position
#SAMPLER and #PCMWAVE set playing position by startPoint, endPoint and loopPoint. These values are in sample count. SiON can detect and skip the silence at head and tail of mp3 file.
  • The startPoint sets starting position. Specify -1 to set starting point with skipping head silence.
  • The endPoint sets ending position. The negative value sets endPoint by the sample count from tail.
  • The loopPoint sets returning position by looping. Specify -1 for no-loop. Specify 0 (or less than startPoint) to set loopPoint to startPoint. The negative value sets loopPoint by the sample count from tail.
You cannot specify loopPoint less than startPoint. Use @ph command for that purpose.
Parameters of #PCMVOICE
#PCMVOICE sets the changing rate of volume and panning by note number. The negative value of volumeRange and panRange sets opsitte direction of slope.
pcm volume parameters pcm panning parameters

FM Channels Connecttion

Statement Range Description
#FM{...}; (formula) Connect channels after this command (see also @i,@o commands). Following sequences are indexed alphabetically and discribe the connections by "+"(mixing) and "(...)"(modulating).
Write 'An(B)' to connect A frequency modulated by B (n(0-7);degree of modulation，default as n=5(this value is same modulation as an OPM does)), and 'A+B' to mix A and B, (You can abbreviate '+'). So 'A(B+C)' means A modulated by mixed output of B and C. 
#FM{B3(A)}; %5q8s63cde; %5q2cde;   // same as "@o1%5q8s63cde; @i3%5q2cde;"
Difference between emulated FM module(%6@n) and FM Channel Connecttion(#FM)
In FM Channel Connecttion command,
  • you can play differnet sequence for each FM connected channels.
  • you can use the output after filtering by LP-Filter as FM modulator.
  • you can use the ring modulation.
  • you can apply differnet LFO and differnet table envelops for each FM connected channels.
On the other hand in emulated FM module,
  • you can connect feedback output from chosen operator (multi-operater feedback like an OPX).
  • of course you can play one sequence for all operators.
  • Light weighted (especialy with LFO).
You can connect emulated FM module channels by @o, @i and #FM commands. In this case, operator#0 of carrier channel is modulated by the output of modulator channel.

Effector Settings

Statement Range Description
#EFFECTn{...}; (MML for effector) Connect effector to specifyed slot. The value of n=0 is for master effect. 
// Connect LPF->delay to Slot1．EffectSendLevel=32．
#EFFECT1{lf3000delay300,32,1}; @v64,32q0cder;

// Slot0 is the master effect. Effects final output.
#EFFECT0{autopan}; q0$cdefed;

// Slot1 output is connected to Slot2 by send_level of 64.
#EFFECT1{dist}@v128,64;#EFFECT2{delay}; %11@v0,32 cder;
the MML for effector
When you connect effectors by #EFFECT system command, you should use the MML for effectors (see following reference).
SiON MML allows to write "p", "@p", "@v" commands after "#EFFECT{}" (except for master slot), and you can specify the panning("p","@p") and mixing level("@v"/default at 128) for effector slot.
Otherwise, the arguments of "@v" commands specifies not only mixing level but also effect send level to following effector slots. For example, write "#EFFECT2{...}@v96,64,32;" in slot2, mixing level of slot2 is 96, send level to slot3 is 64 and send level to slot4 is 32.You can specify send level only to following effector slots.
Statement Range Description
eqlg,mg,hg,lf,hf lg;Low gain[%](100)
mg;Middle gain[%](100)
hg;High gain[%](100)
lf;Low freq.[Hz](800)
hf;High freq.[Hz](5000)		 3Band EQualizer
wsdist,level dist;Distortion[](50)
level;Output level[%](100)		 Wave Shaper
delaytime,fb,cross,wet time;Delay time[ms](200)
fb;Feedback[%](25)
cross;Stereo channel crossing(0)
wet;wet level[%](100)		 DELAY
reverbdly1,dly2,fb,wet dly1;Long delay time[%](70)
dly1;Short delay time[%](40)
fb;Feedback[%](80)
wet;wet level[%](100)		 REVERB
chorustime,fb,depth,wet time;Delay time[ms](20)
fb;Feedback[%](50)
depth;Depth[](200)
wet;wet level[%](100)		 CHORUS
distpre,post,lpf,slope pre;PreGain[dB](-60)
post;PostGain[dB](-12)
lpf;LPF Freq[Hz](2400)
slope;LPF Slope[oct](1)		 DISTortion
compthres,wnd,ar,rr,gain,level thres;Threshold[%](70)
wnd;Window Width[ms](50)
ar;Attack[ms](20)
rr;Release[ms](20)
gain;Max gain[db](6)
level;output level[%](50)		 COMPressor
autopanfreq,depth freq;Frequency[Hz](1)
depth;Panning width[%](100)		 AUTOPAN
stereowide,pan,phase wide;enhancement[%](140)
pan;Panning(0)
phase;Phase invert(0)		 STEREO enhancer
dsfreq, bits, ch freq ; Freq.Shift(0)
bits ; bit ratio(16)
ch ; channel count(2)		 Down Sampler. Freq.Shift=0 sets 44.1kHz, 1 sets 22.05kHz, 2 sets 11.02kHz ...
speakerhardness hardness ; diaphragm hardness[%](10) SPEAKER simulator
lffreq,band freq;Frequency[Hz](800)
band;band width[oct](1)		 Low pass Filter
hffreq,band freq;Frequency[Hz](5000)
band;band width[oct](1)		 High pass Filter
bffreq,band freq;Frequency[Hz](3000)
band;band width[oct](1)		 Band pass Filter
nffreq,band freq;Frequency[Hz](3000)
band;band width[oct](1)		 Notch (band stop) Filter
pffreq,band freq;Frequency[Hz](3000)
band;band width[oct](1)		 Peaking Filter
affreq,band freq;Frequency[Hz](3000)
band;band width[oct](1)		 All pass Filter
lbfreq,slope,gain freq;Frequency[Hz](3000)
slope;slope[oct](1)
gain;gain[dB](6)		 Low Booster
hbfreq,slope,gain freq;Frequency[Hz](5500)
slope;slope[oct](1)
gain;gain[dB](6)		 High Booster
nlfcut,res cut;cutoff table index(255)
res;resonance table index(255)		 ENvelope controlable Low pass Filter
nhfcut,res cut;cutoff table index(255)
res;resonance table index(255)		 ENvelope controlable High pass Filter
vowelout,f1,g1,f2,g2 out;output[%](100)
f1;1st freq.(800)
g1;1st gain[dB](36)
f2;2nd freq.(1300)
g2;2nd gain[dB](24)		 Vowel filter

MML commands

Sequence control commands

Statement Range Description
tn 1 - 511 (120) (Tempo)Specify BPM.This command changes the BPM of all channels wherever this command is written in, initial/default value is 120. In the 2nd repeat of '$' command, the 't' command is ignored. You can change the tempo in the repetition of "[]" command. 
t100cde t200cde;
$   (segno)Repeat infinitely.Repeat from this command point when the playing pointer achieves to the end of the sequence. 
l8 $cde;     // "cdecdecde..."(repeat infinitely)
[...|...]n 1 - 65535 (2) (loop)Loop.Specify repeating count at the end of '[...]'. Repeat 2 times when you omit the repeating count. When you write '|' command inside of loops '[...]'，the pointer skips a sequence after '|' command in the last repetition. You can specify the repeating count at both of the start '[' and the end ']', but the number at the end has priority. [Recommended] Specify the repeat count at the end except for some special cases. 
l8 [cd|e]3;   // "cdecdecd"
@mask 0 - 63 (0) (event MASK)Ignore mask for the events．Ignore some events after this command. initial/default value is 0 (see below appendex). 
@mask1 v1c;   // ignore "v1"
[A-Z]
[A-Z](n)		 -128 - 127 (0) Expand macro.Expand the macro defined by "#[A-Z]". The expantion is note-shifted when you specify the argument after this command. The expansion way of the macro in macro is specifyed by '#MACRO{dynamic|static}' command. 
#A=cde; l8 AAA;         // expand as "cdecdecde"

#A=cde; l8 AA(2)A(-2);  // expand as "cdedef+>b-<cd"
// ...   Comment.Ignore the text after '//'. 
// Comment
/* ... */   Multi-line comment.gnore the text between '/*' and '*/'. 
/* Comment */
![n...!|...!] 1 - 256 (2) [NOT RECOMMENDED] You can expand the loop when its comiping. You cannot nest this loop and the maximum value of repitation is 256.
the argument of '@mask' command.
Specify a sum of below values you want to ignore.
1; (Volume related) x,v,@v,(,)
2; (Panning related) p,@p
4; (Key off timing) q,@q
8; (Operator settings) s,@,@al,@fb,@rr,@tl,@ml,@dt,@ph,@fx
16;(Table envelops) @@,na,np,nt,nf,_@@,_na,_np,_nt,_nf
32;(LFO modulations) ma,mp
Statement Range Description
[a-g][+#-]?n 1 - 1920 (default value is specifyed by "l" command) (note)Specify notes. From 'c' to 'b' are corresponding to the notes. Shaped by '+', '#' and flated by '-' after these notes. You can specify the length of note by argument and apply the value specifyed by 'l' command when you abbreviate the paremeter. The '#SIGN' command makes shapes and flats in some notes. 
#SIGN{G}; cdef-gab<c  // natural on 'f'.
rn 1 - 1920 (default value is specifyed by "l" command) (Rest)Specify rest. You can specify the length of note by argument. Same as notes. 
cder cder gedcdedr;
on 0 - 9 (5) (Octave)Specify octave. The center frequency 440kHz is 'o5a'. The initial/default value is 5． 
o4[co5c]  // plays 'o4c o5c o4c o5c'. the 'o' command is little strange at the entry of the loop.
[<>]n 1 - 9 (1) (octave shift)Increment/decrement octave value. '<' increments octave and '>' decrements octave in the default setting. The meaning is inverted when '#REV' command appears. This command is ignored when the octave is out of range(0-9). 
o4c<c<c  // plays 'o4c o5c o6c'

o4[c<c]  // plays 'o4c o5c o4c o5c'. the '<' command is also strange at the entry of the loop.
kn -8192 - 8191 (0) (Key detune)Key detune. The unit of argument is a halftone divided by 64. The initial/default value is 0． 
k-2cde; k2cde;
ktn -128 - 127 (0) (Key Transpose)Key transpose. The unit of argument is a halftone. The initial/default value is 0. 
cde; kt7cde;
*   (pitch bend)Pitch bending. This command makes intergradation between two notes. 
c*<c;  // pitch intergradation for 1 octave
pon 0- (POrtament)Portament. This command makes intergradation between two notes connected by slur. The stating timing of intergradation is different from pitch bending, it starts at 2nd notes attack. The argument sets intergradation term in frames. The initial/default value is 0. 
po6l8c&g&f&b&&ag&&fe&d&c4;  // portament on notes with slur.
!@krn -8192 - 8191 (0) [NOT RECOMMENDED] (Key detune Relative)Relative key detune.
!@nsn -128 - 127 (0) [NOT RECOMMENDED] (Note Shift)Relative key transpose.
Statement Range Description
ln 1 - 1920 (4) (Length)Specify default value of note/rest length．'l1' means whole, 'l4' means quarter, 'l16' means 16th. The initial/defanult value is 4. 
cder l8cder l16cder;
^n 1 - 1920 (default value is specifyed by "l" command) (extension)Extension of note length. Increment note/rest/l commands argument. The default value is specifyed by "l" command. 
c4^16;  // play c with a length of 'quarter + 16th'
qn 0 - 8 (6) (Quantize) Quantize.Specify the timing of key-off. 'q0' sets key-off at the timing of key-on. 'q4' sets key-off timing at the half length. 'q8' sets no key-off. The initial/default value is 6. 
q0cr q4cr q8cr;
@qn1,n2 0 - 192 (0) (Absolute Quantize)Quantize specifyed by the absolute value/The dekay of key-on timing. The 1st argument sets key-off timing by the absolute value (The unit is a whole note divided by 192). The 2nd argument delays the timing of key-on. The initial/default value is 0. [SPECIFICATIONS]When the slur command appears with a setting of [key-on delay]>0, SiOPM ignore the key-on delay of the 1st note and the slur of the 2nd note. 
q8 @q48cr @q24cr @q0cr;  // same as "q0cr q4cr q8cr"

q8 @q,24 o5c2c2; q0 l8o4[8c]; // The timing of key-on delays 8th.
&   (slur)Slur. This command ignores the key-off, so the next note is played smoothly. The envelop and wave phase is NOT reset at the beginning of 2nd note. 
cd&e; // No key-off between "d" and "e"

c&c;   // No phase reset, so the boundary cannot be recognized.

#TABLE0{(0,128)90};na0 c&d&e;   // No envelop reset.
&&   (weak slur)Weak slur. This command ignores the key-off. The envelop and wave phase is reset at the beginning of 2nd note. 
c&&c; // Phase reset at the beginning of 2nd note, so the boundary can be recognized.

#TABLE0{(0,128)90};na0 c&&d&&e;   // The envelop reset at the beginning of 2nd note.
The formula for key-on length
The 'q' and '@q' commands are independent for the key-on length. the negative value of [key-on length] set 0.
[key-on length] = [length of note/rest] x [argument of 'q'] / 8 - ([1st argument of '@q'] + [2nd argument of '@q'])
Statement Range Description
vn 0 - 32 (16) (Volume)Volume. 'v0' makes silent and 'v16' sets at the maximum. 'v16-32' makes wave shape distorted. The inital/default value is 16. 
%5 v4c v8c v12c v16c v20c v24c v28c v32c;
[()]n 1 - 32 (1) (volume shift)Increment/decrement volume. '(' increments volume and ')' decrements volume at the default setting. The meaning is inverted when '#REV' command appears. This command is ignored when the volume is out of range(0-32). 
v1l8 c(c(c(c(c(c(c(c(c(c(c(c(c(c(c(c)4c)4c)4c)4c;
xn 0 - 128 (128) (eXpression)Expression. The initial/default value is 128. 'x0' makes silent and 'x128' sets at the maximum. The table envelop commands for expression (na,_na) overwrite this value, so the value specifyed by this command is ignored when the 'na' or '_na' appears. 
v8 x32c x64c x96c x128c v4 x32c x64c x96c x128c;  // "v" and "x" are independent. see below appendex.
%vn1,n2 n1=0 - 4(0)
n2=0 - 7(4)		 (Volume setting)Volume setting．The 1st argument represents scaling mode, 0=linear, 1-4=non-linear(log scale, dynamic range of 96dB,64dB,48dB,32dB respectively. The 2nd argument represents maximum value of 'v' command as (256>>[n2]). default value = 4 (means v max@16). This setting is applyed also on volume shift command. 
%v3,1 v128c v96c v64c v32c;  // non-linear scale(dr=48dB)，v command max@128
%xn 0 - 4(0) (eXpression setting)Expression setting．The argument represents scaling mode, 0=linear, 1-4=non-linear(log scale, dynamic range of 96dB,64dB,48dB,32dB respectively. This scale is applyed also on table envelop. 
%x1 x128c x120c x112c x104c;  // non-linear scale(dr=96dB)
@vn1,...n8 0 - 128 (n1=64/n2-n8=0) (m@ster Volume)Master volume and effect send level. The initial/default value is 64 for n1 and 0 for others. The n1 sets the master volume of this channel, and n2-n8 sets effect send level to the #EFFECT slot. The n1 value is also independent from 'v' and 'x' values. 
@v64 v4c v8c v12c v16c @v32 v4c v8c v12c v16c;  // "@v" and "v" (and "x") are independent. see below appendex.

#EFFECT1{chorus}; @v64,32 cde;  // [effect send]=32 for effect slot #1 (chorus)
pn 0 - 8 (4) (Panning)Panning. 'p0' sets output left only, 'p4' centers panning, 'p8' sets output right only. The initial/default value is 4.
[Argument of '@p'] = ([Argument of 'p'] - 4) x 16. 
p0c p2c p4c p6c p8c;
@pn -64 - 64 (0) (fine Panning)Fine panning. '@p-64' sets output left only, '@p0' centers panning, '@p64' sets output right only. The initial/default value is 0. 
@p-64c @p-32c @p0c @p32c @p64c; // same as above
The formula for output
[Monoral output] = ([Argument of 'v'] / 16) x ([Argument of 'x'] / 128)
[Stereo left output] = [Monoral output] x ([Argument of '@v'] / 128) x cos(([Argument of '@p'] + 64) / 128 x PI/2)
[Stereo Right output] = [Monoral output] x ([Argument of '@v'] / 128) x sin(([Argument of '@p'] + 64) / 128 x PI/2)
The monoral output is used for the bus pipe specifyed by "@o" and the input for "%e", so "@v" and "@p" are ignored in these situation.
Statement Range Description
%n1,n2 n1; 0 - 9 (0)
n2; 0 - 7 (0)		 (module)Select sound module. The sound module type specifies on the 1st argument and the channel number specifies on the 2nd argument. This command changes the meanings of '@' commands 1st argument. 
%0c %1c %2c %3c;
@n1,...n15 n1; 0 - 1023 (0) (tone)Select/Modify tone color. Select tone color and modify operator settings. This command has 15 arguments(can be abbreviated, see below appendex). The meaning of 1st argument depends on sound module type(1st argument of "%"). 
%5 @0c @1c @2c @3c @4c @5c @6c @7c; // select wave shape by 1st argument

@0,32,28,28,28,2,0 cde;   // modify envelop by 2nd-7th arguments.
@fn1,...n10 n1; 0 - 128 (128)
n2; 0 - 9 (0)		 (Filter)Modify filter. Modify the filter and its envelop. The 1st argument sets cut-off and the 2nd argument sets resonance. This command has 10 arguments(can be abbreviated, see below appendex). 
%2 @f64,3 q0 c;   // noise with LPF(cutoff=64, resonance=3)

@f0,2,32,32,32 cde;    // filter envelop specifyed by 3rd-10th arguments
%fn n; 0,1,2 (0) (Filter)Filter mode. 0=low-pass, 1=band-pass，2=high-pass filter for envelop. 
%f2 @f96 cde;   // high pass filter
sn1,n2 n1; 0 - 63 (28)
n2; -256 - 255 (0)		 (Sustain sweep)Modify release rate. The 1st argument sets the release rate of final carrior operator. The 2nd argument sets pitch sweeping after key-off.
[Pitch sweep speed[halftone/frame]] = [2nd argument] / 21 
q4 s63cr s32cr s24cr s20cr s12cr;

q4 s28,-32cde;    // pitch sweep after key-off
@aln1,n2 n1; 1 - 4 (1)
n2; 0 - 15 (0)		 (ALgorism)Select connecting algorism. The 1st argument sets the number of operators, the 2nd argument sets connecting algorism (see below appendex). The initial number of operator is 1. In this case the output is simple wave (not frequency modulated). This command initializes all settings of all operators. The default value of 2nd argument is the parallel connecting argorism (2ope;alg=1, 3ope;alg=5, 4ope;alg=7). 
%5 @al2,0 cde;  // 2ope frequency modulating connection [o1(o0)]
@fbn1,n2 n1; 0 - 7 (0)
n2; 0 - 3 (0)		 (FeedBack)Modify feedback connection. The 1st argument sets feedback，the 2nd argument sets the index of operator feedback from (If you want multi-operator feedback like OPX, specify 2nd argument). 
%5 @al2,0 @fb5,1 cde;  // feedback from 2nd operator [o1(o0(o1))]
in 0 - 3 (last operators index) (operator Index)Select operator to modify. This command chooses a operator for '@','@rr','@tl','@ml','@dt','@ph','@fx' and '@se' commands. 
%5 @al2 i0@0 i1@1 cde;   // The operator#0 outputs sin wave and the operator#1 outputs saw wave.
@rrn1,n2 n1;0 - 63 (28)
n2;-256 - 255 (0)		 (@ Release Rate)Same as 5th argument of '@' command.The 2nd argument sets pitch sweep after key-off (same as 2nd argument of 's').
@tln 0 - 127 (0) (@ Total Level)Same as 7th argument of '@' command.
@mln1,n2 n1;0 - 15 (1)
n2;-128 - 127 (0)		 (@ MuLtiple)Same as 10th argument of '@' command.The 2nd argument sets non-integral harmonics.
[frequency ratio] = [1st argument(In the case of "0"->0.5)] + [2nd argument] / 128
@dtn -8192 - 8191 (0) (@ DeTune)Same as 12th argument of '@' command.'k' modifies all operators, and '@dt' modifies only one operator specifyed by 'i'.
@phn -1 - 255 (0) (@ PHase)Same as 14th argument of '@' command.
@fxn 0 - 127 (0) (@ FiXed note)Same as 15th argument of '@' command.
@sen 0 - 17 (0) (@ SSG Envelpe control)Emulate SSGEC Register of OPNA.The argument of 16 and 17 are extension of SiOPM. 16;Argument=8 with same gain repetition, 17;Argument=12 with same gain repetition.
@ern 0 , 1 (@ Envelop Reset)Envelop reset.The argument of 1 sets envelop to bottom at the begin of attack. This parameter sets all operators.
The 1st argument of '%' and '@'
Select sound module type by 1st argument of '%', and select tone color index by 1st argument of '@'. The index of tone color depends on selected module type.
(*click index to play sample sound.)
1st argument of '%' 1st argument of '@'
'%0' PSG Emulation for AY-3-8910/SN76489. The pitch is also PSG emulated (poor pitch for high note/narrow pitch range). @0-2 is available.
@0: %0@0cdeSquare wave
@1: #TABLE0{(0,16)16};%0@1nt0,20q8o0c1^1^1Pulse Noise(o0c - o2g+ are the NoisePeriod of 0-31 respectively.)
@2: %0@2cdePeriodic Noise of SN76489.
'%1' NES Emulation for NES pAPU(2a03). The pitch is also PSG emulated (poor pitch for high note/narrow pitch range). @0-11 is available.
@0-7: #TABLE0{(0,8)8};%1@@0,20q8c1.Duty changable square wave. [Duty]=[argument]x12.5%. '@0' sets output=-1(constant).
@8: %1@8cdeNES traiangle wave (8bit quantized).
@9: #TABLE0{(0,16)16};%1@9nt0,20q8o0c1^1^1Pulse Noise(o0c - o1d+ are the NoisePeriod of 0-15 respectively.)
@10: #TABLE0{(0,16)16};%1@10nt0,20q8o0c1^1^193bit Noise(o0c - o1d+ are NoisePeriod of 0-15 respectively.)
@11: PCM. same as "%7@0"[NOT IMPLEMENTED]
'%2' Noise Noise unit. Select noise type by @0-15.
@0: %2@0cWhite Noise
@1: %2@1cPulse Noise (2 values [1/-1] noise)
@2: %2@2c93bit Noise (Short noise from 15bit LFSR)
@3: %2@3cHi-pass Noise (White Noise with high-pass filter)
@4: %2@4cPinkNoise(1/f noise)
@5: %2@5c128bit Noise (Short noise from 16bit LFSR)
@6-7: (reserved)
@8: %2@8cdePeriodic Noise (wave from rotate shifted 16bit LFSR)
@9: %2@9cde93bit Noise with pitch
@10-15: (reserved)
'%3' MA3 Wave shape from YMU762(MA3) (same as OPL3/OPX from @0 to @7). Select wave shape by @0-31.
@0: %3@0cdesin(p)
@1: %3@1cde(p<PI)?sin(p):0
@2: %3@2cdeabs(sin(p))
@3: %3@3cde(p<PI/2||(PI<=p&&p<PI*3/2))?abs(sin(p)):0
@4: %3@4cde(p<PI)?sin(2p):0
@5: %3@5cde(p<PI)?abs(sin(2p)):0
@8-13: #TABLE0{(0,6)6}+8;%3@@0,20q8c1@0-7 waves modulated by double frequency triangle waves.
@16-21: #TABLE0{(0,6)6}+16;%3@@0,20q8c1All sins of @0-7 formula are changed into triangle wave function.
@24-29: #TABLE0{(0,6)6}+24;%3@@0,20q8c1All sins of @0-7 formula are changed into saw wave function.
@6: %3@6cde(p<PI)?1:-1
@14: %3@14cde(p<PI)?1:0
@22: %3@22cde(p<PI/2||(PI<=p&&p<PI*3/2))?1:0
@30: %3@30cde(p<PI/2)?1:0
@7: %3@7cde(p<PI*0.5)?1-sin(p):(p>PI*1.5)?-1-sin(p):0
@15,23,31 : Same as %4@[0-2]
'%4' WaveTable Emulation for KONAMI SCC chip. Use wave shapes defined by #WAV, #WAVB. Select wave shape by @0-255.
'%5' all All wave shapes. Select wave shape by @0-511.
@0: %5@0cdeSin wave
@1: %5@1cdeUpward saw wave
@2: %5@2cdeDownward saw wave
@3: %5@3cdeNES Triangle wave (8bit Quantized)
@4: %5@4cdeTriangle wave
@5: %5@5cdeSquare wave
@6: %5@6cdeWhite noise (same as @16)
@7: %5@7cde(reserved) ... ?
@8: %5@8cdePseudo sync for lower freq. output = -p/2PI
@9: %5@9cdePseudo sync for higher freq. output = p/2PI
@10: %5@10cdeOffset. output = 1
@11-15: (reserved)
@16-31: #TABLE0{(16,32)16};%5@@0,20q8c1^1^1Noise wave. same as %2@([argument]-16)
@32-63: #TABLE0{(32,64)32};%5@@0,10q8c1^1^1MA3 wave. same as %3@([argument]-32)
@64-95: #TABLE0{(64,96)32};%5@@0,10q8c1^1^1Pulse wave. same as %8@([argument]-64)
@96-127: (reserved)
@128-255: #TABLE0{(128,256)128};%5@@0,4q8c1^1^1^1Ramp wave．same as %9@([argument]-128)
@256-511: Wave table. same as %4@([argument]-256)
'%6' FM Emulation for frequency modulation sound module. Load setting defined by #@, #OPL@, #OPM@, #OPN@, #OPX@ and #MA@. Select voice by @0-255.
'%7' PCM Sampling wave module. Play mp3 data loaded internaly. Select bank by @0-255. 'o5a' is original frequency.
@0(sample)%7@0l8c.c.gf.f.<c>rccgf.f.<c* The SWF loaded some mp3 data for demonstration.
'%8' Pulse Pulse wave (duty changable square wave) unit. Select duty ratio by @0-15 or @16-31.
@0-15: #TABLE0{(0,16)16};%8@@0,20q8c1^1^1Pulse with 2 states(-1/1). output = (p<PI/8*[index])?1:-1;
@16-31: #TABLE0{(16,32)16};%8@@0,20q8c1^1^1Pulse with 3 states(-1/1/0). output = (p<PI/16*([index]-16))?1:(p<PI/8*([index]-16))?-1:0;
'%9' Ramp Ramp wave. Interplation of saw and triangle wave. @0=upward-saw -> @64=triangle -> @127=downward-saw
@0-63: #TABLE0{(0,64)64};%9@@0,2q8c1^1@0=upward-saw -> @64=triangle
@64-127: #TABLE0{(64,128)64};%9@@0,2q8c1^1@64=triangle -> @127=downward-saw
'%10' Sampler Sampler module without pitch control. Play mp3 data loaded internaly. You can select wave by note number like a drum track of MIDI sound module.
@0(sample)%10v16l8cre4cce.c16rc16c16ercce.e16;%10o4l16[v16c8cv12c]8v16f1* The SWF loaded some mp3 data for demonstration.
'%11' PMS Guitar Physical Modeling Synthesize GuitarPhysical Modeling Synthesizer with Karplus-Strong alogrism.
@0,48,48,0,0,20s8(default)%11@ph-1o3e1^1^2^8;%11@ph-1o3r8a1^1^2;%11@ph-1o4r4d1^1^4.;%11@ph-1r4.o4g1^1^4;%11@ph-1r2o4b1^1;%11@ph-1r8^2o5e1^1^8;Classic guitar
@0,48,48,0,0,16s4#T=%11@0,48,48,0,0,16s4@ph-1q8;t160;To3v12a1^1;To4v8r64e1^1;To4v7r32a1^1;To4v7r32.b1^1;To5v6r16e1^1;Acoustic guitar
@0,48,40,4,0,16s6@f96,0#EFFECT0{chorus delay};#T=%11@0,48,40,4,0,16s6@ph-1@f96,0q8;t160;To3v12$a1^1;To4v8r4$e1^1;To4v7r4.$a4a4a2a4a4a2;To4v7r2.$b2b2b1;To5v6r1$e1^1;Clean sound (w/ chorus)
@0,48,24,8,0,17s2@f80#T=%11@0,48,24,8,0,17s2@f80mp0,6,10,10@ph-1@v64,16;t160;#M=o3q8l8aga<c^2>aga<c*d0rc4.>aga<d*edc>s,-63a1^1;Tv12M;Tv8kt7M;Distortion
@0,48,40,4,80,18s32t144;%11@0,48,40,4,80,18s32q8o2q8l8$v16av12a<c16cc+s40c+16s32deg>a16<s48a16>s32a<c&c+16de16>v8s48ev12s32f+g+;Slap bass
The 2nd-15th argument of '@'
The '@' command has 15 arguments to modify operators output, 1st argument for tone color, 2nd-7th arguments for envelop, 8th and 9th for key-scaling, 10th-12th for frequency, 13th-15th for others. These parameters are based on OPM. The operators parameter does not changed when the argument abbreviates. For the FM-module emulation (%6), these arguments modify an operator specifyed by 'i'. 
@ [ws], [ar], [dr], [sr], [rr], [sl], [tl], [ksr], [ksl], [mul], [dt1], [detune], [ams], [phase], [fixed pitch]
n1; (Wave Shape)Select tone color[0-1023]. See above appendex.
n2; (Attack Rate)Output amplification speed after key-on[0-63(63)]. Small values for slower attack. No rising edge (becomes maximum suddenly) for ar=63. Slowest rising for ar=1.
n3; (Decay Rate)Output attenuation after achieving maximum[0-63(0)]. Small values for slower decay. dr=63 makes Sustain Level suddenly after attack. dr=0 keeps maximum output until key-off.
n4; (Sustain Rate)Output attenuation after achieving Sustain Level[0-63(0)]. Small values for slower sustain. sr=63 makes silent suddenly after achieving Sustain Level. sr=0 keeps Sustain Level until key-off.
n5; (Release Rate)Output attenuation after key-off[0-63(28)]. Small values for slower release. rr=63 makes silent suddenly after key-off. rr=0 makes keeps output until next note. same as '@rr'.
n6; (Sustain Level)Output level of changing point from dr to sr. This is relative value with Total Level[0-15(0)]．[Changing point level]=[argument]x-1.5[dB]
n7; (Total Level)Maximum output level of envelop[0-127(0)]. [Maximum level]=[argument]x-0.375[dB]. Same as '@tl'.
n8; (Key Scale Rate)Correction faster envelop for higher pitch[0-3(0)]. 0.4[rate/octave] for ksr=0, 0.8 for ksr=1, 1.6 for ksr=2 and 3.2 for ksr=3.
n9; (Key Scale Level)Correction lower output for higher pitch[0-3(0)]. No correction for ksl=0, -0.15[dB/octave] for ksl=1;，-0.3 for ksl=2 and -0.6 for ksl=3.
n10; (Multiple)Multiplier for wave frequency[0-15(1)]. x0.5 for mul=0. Same as '@ml'.
n11; (Detune1)Parameter 'dt1' of OPM/OPN[0-7(0)]. Fine detune. 0-3 for pitch up and 4-7 for pitch down.
n12; (Detune)Detune [-8192-8191(0)]. The unit is same as 'kt'(64 for 1 halftone). Same as '@dt'.
n13; (Amplitude Modulation Shift)The width of Amplitude Modulation('ma' command) [0-3(1)]. ams=0 sets the amplitude modulation off.
n14; (Phase)Wave phase at the timing of key-on[0-255(0)]. ph=255 makes no phase reset on key-on. ph=-1 randamizes. [phase]=[argument]/128*PI. Same as '@ph'.
n15; (Fixed note)Fix wave frequencey. fx=0 makes not fixed. The argument of 60 means 'o5c'. Same as '@fx'.
The arguments for '@al' (or also for the 1st argument of '#@')
The '@al' command has 2 arguments to modify the number of operators and connecting algorism. The default value of 2nd argument is the parallel connecting argorism (2ope;alg=1, 3ope;alg=5, 4ope;alg=7). *The feedback connection can be modifyed by '@fb', but below figures are written with self-feedback connection in order to simplify.
Operators Algolism
1
2
3
4
The table for translate algorisms of various FM sound modules
The connecting algorism of each FM tone color setting is translated to '@al' (and '@fb') command by below tables.
#OPM@/#OPN@
alg:0 alg:1 alg:2 alg:3 alg:4 alg:5 alg:6 alg:7
2ope@al2,0@al2,1@al2,1@al2,1@al2,1@al2,0@al2,1@al2,1
3ope@al3,0@al3,1@al3,2@al3,3@al3,3@al3,4@al3,3@al3,5
4ope@al4,0@al4,1@al4,2@al4,3@al4,4@al4,5@al4,6@al4,7
#OPL@
alg:0 alg:1 alg:2 alg:3 alg:4 alg:5 alg:6 alg:7
2ope@al2,0@al2,1error error error error error error
3ope@al3,0@al3,3@al3,2@al3,2error error error error
4ope@al4,0@al4,4@al4,8@al4,9error error error error
#MA@
alg:0 alg:1 alg:2 alg:3 alg:4 alg:5 alg:6 alg:7
2ope@al2,0@al2,1@al2,1@al2,1@al2,0@al2,1@al2,1@al2,1
3opeerror error @al3,5@al3,2@al3,0@al3,3@al3,2@al3,2
4opeerror error @al4,7@al4,2@al4,0@al4,4@al4,8@al4,9
#OPX@
alg:0 alg:1 alg:2 alg:3 alg:4 alg:5 alg:6 alg:7 alg:8 alg:9 alg:10 alg:11 alg:12 alg:13 alg:14 alg:15
2ope@al2,0@al2,0
@fb0,1		@al2,1@al2,2error error error error error error error error error error error error
3ope@al3,0@al3,0
@fb0,1		@al3,1@al3,2@al3,3@al3,3
@fb0,1		@al3,5@al3,6error error error error error error error error
4ope@al4,0@al4,0
@fb0,1		@al4,1@al4,2@al4,3@al4,3
@fb0,1		@al4,4@al4,4
@fb0,1		@al4,8@al4,11@al4,6@al4,6
@fb0,1		@al4,5@al4,9@al4,12@al4,7
The arguments of '@f'
The '@f' command has 10 arguments, the 1st and 2nd arguments for LPF setting and 3rd-10th arguments for LPF envelop. 
@f [co], [res], [ar], [dr], [sr], [rr], [co2], [co3], [sc], [rc]
n1; (Cutoff Freq.)Cut off frequency[0-128(128)]. 128 for full open.
n2; (Resonance)Resonance[0-9(0)]. 0 for no resonance, 9 for maximum.
n3; (Attack Rate)Attack[0-63(0)]. The changing speed from Cutoff Freq. to Cutoff Freq.#2. ar=0 keeps Cutoff Freq. ar=63 changes suddenly.
n4; (Decay Rate)Decay[0-63(0)]. The changing speed from Cutoff Freq.#2 to Cutoff Freq.#3．dr=0 keeps Cutoff Freq.#2. dr=63 changes suddenly.
n5; (Sustain Rate)Sustain[0-63(0)]. The changing speed from Cutoff Freq.#3 to Suatain Freq. sr=0 keeps Cutoff Freq.#3. sr=63 changes suddenly.
n6; (Release Rate)Release[0-63(0)]. The changing speed from key-off to Release Freq. rr=0 keeps cutoff frequency at key-off. rr=63 changes suddenly.
n7; (Cutoff Freq.#2)Cutoff frequency #2[0-128(128)]．2nd cutoff frequency after Attack.
n8; (Cutoff Freq.#3)Cutoff frequency #3[0-128(64)]．3rd cutoff frequency after Decay.
n9; (Sustain CutOff)Cutoff frequency after Sustain[0-128(32)]．4th cutoff frequency. This frequency is kept until key-off.
n10; (Release CutOff)Cutoff frequency after key-off[0-128(128)]. The cutoff frequency changes into this value after key-off, when rr>0.
filter parameters
%7;PCM and %10;Sampler
Both of them play mp3 data loaded in the SWF.
PCM sound module can control the pitch and you can use all commands as FM sound module except for @al and @fb.
On the other hand, Sampler cannot change the pitch and you cannot use ADSR envelop and filter, but you can assign waves on each note.
* In this example, the SWF loaded some mp3 data for demonstration. 
// PCM sound module can control pitch.
%7@0l8c.c.gf.f.<c>rccgf.f.<c;

// Sampler assigns a wave on each note.
%10v16l8cre4cce.c16rc16c16ercce.e16;
%10o4l16[v16c8cv12c]8v16f1;
%11; Control the voice of PMS guitar
The voice of physical modeling synthesis guitar (%11) is controled by "@", "s" and "@f" commands.

"@" command defines a plunk profile. The meanings of 2nd and following arguments depend on the 1st argument.
@0,[ar],[dr],[tl],[pitch],[ws]
When the 1st argument is 0, voice is defined by following 5 arguments.
The 2nd, 3rd and 4th arguments are for the attack rate, decay rate and total level of a plunking energy, respectively. The meanings are same as FM synth.
The 5th argument is for the pitch of plunking noise and specifyed by note number (defalut=60=o5c).
The 6th argument is for the wave shape of plunking noise and specifyed by wave number of %5 (defalut=20=pink noise).
@1,[FM voice number]
@2,[PCM wave number]
When the 1st argument is 1 or 2, the 2nd argument specifies FM voice number or PCM wave number, respectively. In this case, you can use FM voice or PCM wave as a plunk noise.

"s" command defines the attenuation of string energy.

"@f" command defines low-pass filter same as other voices.
Statement Range Description
%tn1,n2,n3 n1; - (0)
n2; 0 - 3 (1)
n3; 0 - 3 (1)		 (event Trigger)Event trigger setting. This command is used to interlock with ActionScript. The 1st argument sets trigger ID, 2nd argument sets trigger type for note on and 3rd argument sets trigger type for note off.
%en1,n2 n1; - (0)
n2; 0 - 3 (1)		 (dispatch Event)Dispatch note on event once. This command is used to interlock with ActionScript. The 1st argument sets trigger ID, 2nd argument sets trigger type.
Event trigger
After the "%t" command, SiONTrackEevnt.NOTE_ON_STREAM, SiONTrackEevnt.NOTE_OFF_STREAM, SiONTrackEevnt.NOTE_ON_FRAME and SiONTrackEevnt.NOTE_OFF_FRAME events are dispatched at each timing of note command(c-b).
The 2nd and 3rd argument sets which type of event are dispatching (0;Do nothing, 1;dispatch NOTE_*_FRAME，2;dispatch NOTE_*_STREAM, 3;dispatch both).
The NOTE_*_STREAM event is dispatched when the note appears in the rendering timing, And the NOTE_*_FRAME event is dispatched when the note sounds.
The "%e" command dispatches note on events once at that timing. The arguments are same as "%t".
Statement Range Description
@lfon1,n2 n1; 1 - (20)
n2; 0 - 3 (2)		 (Low Frequency Oscilator)Setting of LFO. The 1st argument sets time cycle of LFO (60=1[sec]) and 2nd argument sets wave shape (0;downward saw, 1;square, 2;triangle, 3;random, 4-7;phase invered 0-3, 8-255;refer #TABLE). When you refer #TABLE, the table length is 256 and the value is ranged in 0-255. This command initilaizes settings of 'mp' and 'ma' ("mp0ma0"). 
@lfo30 mp32c1 @lfo10 mp32c1
mpn1,n2,n3,n4 n1; 0 - 8191 (0)
n2; 0 - 8192 (0)
n3; 0 - 65535 (0)
n4; 0 - 65535 (0)		 (Pitch Modulation)Setting of pitch modulation (Vibrato). This command swings pitch by LFO. n1(modulation) and n2(end modulation) values are on 64=1 halftone．n3(delay) and n4(changing time) values are on frame count. 
mp8,32,60,40 c1^1
man1,n2,n3,n4 n1; 0 - 8191 (0)
n2; 0 - 8192 (0)
n3; 0 - 65535 (0)
n4; 0 - 65535 (0)		 (Amplitude Modulation)Setting of volume modulation (Tremolo). This command swings volume by LFO. n1(modulation) and n2(end modulation) values are same as Total Level when ams=3. The width of modulation depends on 'ams' parameter of each operator. n3(delay) and n4(changing time) values are on frame count. 
ma0,32,60,40 c1^1
The arguments of 'mp' and 'ma'
When key is on, modulation is [1st argument]. And if [1st argument] < [2nd argument], it keeps modulation of [1st argument] during [3rd argument] frames, and then it changes modulation into [2nd argument] for [4th argument] frames.
modulation parameters

Table envelope

Statement Range Description
@fpsn 1 - 1000 (default value is specifyed by #FPS) (Frame Per Second) Setting of frame counter. This command sets the speed of '@@','na','np','nt','nf','_@@','_na','_np','_nt','_nf','po','@rr','mp' and 'ma' by frame per second. 
#TABLE0{(0,12)30}; q8 nt0 @fps30 c1 @fps120 c1;
@@n1,n2 n1; 0 - 255 (255)
n2; 1 - 65535 (1)		 (tone envelop) Tone color number changing by table. This overwrites '@' by table during key-on. 
#TABLE0{(0,32)32}; q8 %3 @@0,5 c1^1;  // Changes tone color from '%3@0' to '%3@31' for 5 frames each.
nan1,n2 n1; 0 - 255 (255)
n2; 1 - 65535 (1)		 (Amplitude ENvelop) Volume envelop by table. This overwrites 'x' by table during key-on. 
#TABLE0{(128,0)10 (64,0)10|(32,0)10}; na0q8 l2cde;
npn1,n2 n1; 0 - 255 (255)
n2; 1 - 65535 (1)		 (Pitch ENvelop) Pitch envelop by table. This controls 'k' by table, but it is independent from 'k' commands value. 
#TABLE0{(0,128,-64,0)60}; np0q8 c1;
ntn1,n2 n1; 0 - 255 (255)
n2; 1 - 65535 (1)		 (noTe ENvelop) Note changing by table. This controls 'kt' by table, but it is independent from 'kt' commands value. 
#TABLE0{|0,4,7}; nt0 cde; // high speed arpeggio by table
nfn1,n2 n1; 0 - 255 (255)
n2; 1 - 65535 (1)		 (Filter ENvelop) Filter envelop by table. This controls '@f' by table, but it is independent from '@f' commands value. 
#TABLE0{|(128,64,128)20}; nf0 c1; // Wah-wah
_@@n1,n2 n1; 0 - 255 (255)
n2; 1 - 65535 (1)		 (release tone envelop) Tone color number changing by table after key-off. This overwrites '@' by table after key-off. 
#TABLE0{|1,5};q4 %5 _@@0 cdef;
_nan1,n2 n1; 0 - 255 (255)
n2; 1 - 65535 (1)		 (release Amplitude ENvelop) Volume envelop by table after key-off. This overwrites 'x' by table after key-off. When you want control envelop after key-off only by this command, you have to set 's0' because this command is independent from '@rr' or 's'. 
#TABLE0{32}; _na0 q4s0cder _na255x0c;
_npn1,n2 n1; 0 - 255 (255)
n2; 1 - 65535 (1)		 (release Pitch ENvelop) Pitch envelop by table after key-off. This controls 'k' by table after key-off, but it is independent from 'k','s' and '@rr' commands value. 
#TABLE0{(0,64,0)20}; _np0 q4cde;
_ntn1,n2 n1; 0 - 255 (255)
n2; 1 - 65535 (1)		 (release noTe ENvelop) Note changing by table after key-off. This controls 'kt' by table after key-off, but it is independent from 'kt' commands value. 
#TABLE0{|0,3,7}; _nt0 q4cde;
_nfn1,n2 n1; 0 - 255 (255)
n2; 1 - 65535 (1)		 (release Filter ENvelop) Filter envelop by table after key-off. This controls '@f' by table after key-off, but it is independent from '@f' commands value. 
#TABLE0{(0,128)20}; _nf0 q2cde;
!nan1,n2 n1; 0 - 255 (255)
n2; 1 - 65535 (1)		 [NOT RECOMMENDED](Amplitude ENvelope) Relative volume envelop. This command adds table values on original 'x' value.
The arguments of table envelop commands
These table envelop commands refer a table defined by #TABLE. When [1st argument] = 255, the envelop is canceled. And the 2nd argument specifys speed of a envelop by frame count. 
#TABLE0{|0,4,7}; nt0,1c nt0,2c nt0,5c; // 2nd argument sets speed

Bus pipe control commands

Statement Range Description
@on1,n2 n1; 0 - 2 (0)
n2; 0 - 3 (0)		 (Output pipe)Pipe output. You can connect channels by '@i' or '@r' after this channel.
The 1st argument sets output mode (0;Normal stereo output, 1;Overwrite pipe, 2;Add pipe). The 2nd argument sets output pipe index(0-3). 
@o1 %5q8s0 cde; @i5 %5 cde;
@in1,n2 n1; 0 - 7 (5)
n2; 0 - 3 (0)		 (freqency modulating Input pipe)Pipe input as a modulator of FM connection. You can use the data in pipe as a modulator of FM connection. The 1st argument sets modulation (0-7, 0;off, 5;modulation of OPM). The 2nd argument sets input pipe index(0-3). 
@o1 %5q8s0 cde; @i3 %5 cde;  // frequency modulation
@rn1,n2 n1; 0 - 8 (4)
n2; 0 - 3 (0)		 (Ring modulating input pipe)Pipe input as a modulator of Ring modulation connection. You can use the data in pipe as a modulator of Ring modulation connection. The 1st argument sets modulation (0-9, 0;off, 4;modulation of C64 SID chip). The 2nd argument sets input pipe index(0-3). 
@o1 %5q8s0 cde; @r5 %5gab;  // ring modulation