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Editing Winkysoft Music Format
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Winkysoft Music Format of Super Robot Wars 4
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This article explains the structure of the sound data used in several SNES games developed by Winkysoft, for example [*Super Robot Wars 4*](https://superfamicom.org/info/dai-4-ji-super-robot-taisen). ## Transfer Block Format Each transfer block consists of multiple chunks laid out contiguously, having the following format: (all integers are little-endian, unless otherwise noted) ``` $0000: xxxx # size of chunk 1 $0002: yyyy # SPC start address of chunk 1 $0004: .. .. .. # chunk 1's xxxx bytes follow $0004+xxxx: xxxx # size of chunk 2 $0006+xxxx: yyyy # SPC start address of chunk 2 $0008+xxxx: .. .. .. # chunk 2's xxxx bytes follow # ... ?: 0000 # transfer ends when xxxx == $0000 ?+2: zzzz # BGMs only; zzzz must be the song ID ``` As a special case, a transfer block that begins with `00 00` contains no chunks. The SPC main program and all BGMs use this transfer format. BRR samples use a different format and have no separate chunks: ``` $0000: xxxx # loop point relative to start of sample, in bytes $0002: yyyy # length of the sample, in bytes $0004: .. .. .. # yyyy bytes follow ``` ## Instrument Definition Each instrument consists of 8 bytes: ``` $00: uu # sample slot number $01: vvvv # controls the ADSR envelope, but doesn't seem to map directly to DSP register values? $03: wwww # *big-endian* sample pitch $05: xx # instrument volume, $FF = highest $06: yy # pan, $40 = center, $00 = right, $7F = left $07: zz # transpose, $00 = none, $0C = +1 octave, $E8 = -2 octaves ``` Instrument definitions are laid out contiguously. ## Sequence Data Format There is no header for sequence data; track 1's data immediately starts from the beginning of the sequence data area. Tracks 2 - 8 must be initialized using command `$6E`. A typical "header" looks like: ``` $5200: 69 0F 0C # set up the FIR filter coefficients $5203: 69 1F 21 $5206: 69 2F 2B $5209: 69 3F 2B $520C: 69 4F 13 $520F: 69 5F FE $5212: 69 6F F3 $5215: 69 7F F9 $5218: 69 0C 00 # silence everything $521B: 69 1C 00 $521E: 69 6D D9 # set up echo $5221: 69 7D 03 $5224: 7F 22 # wait for a while to clear the echo buffer $5226: 69 6C 00 $5229: 7F 22 $522B: 69 0C 7F # reset SPC main volume $522E: 69 1C 7F $5231: 6D FF 5F 2C 2C # toggle echo on selected channels, set feedback and echo levels $5236: 6E 01 9C 53 # start tracks 2 - 8 $523A: 6E 02 C1 54 # e.g. track 3's sequence data begins at $54C1 $523E: 6E 07 18 56 $5242: 6E 04 DA 57 $5246: 6E 06 7C 59 $524A: 6E 05 38 5A $524E: 6E 03 2E 5B $5251: 74 # sequence data for track 1 follows ``` ### Sequence Commands | Command | Description | Arguments | |:----------|:------------------------------------|:----------| | `$00-$66` | [Note](#note) | `none \| (7D xx) \| (7E yy) \| (7F tt) \| ([80-FE] yy tt)` | | `$67` | [Pan Envelope](#pan-envelope) | `pppp` | | `$68` | ??? | `xx` | | `$69` | [DSP Write](#dsp-write) | `xx yy` | | `$6A` | [Vibrato](#vibrato) Rate | `xx` | | `$6B` | [Noise Config](#noise-config) | `xx` | | `$6C` | [Pitch Bend](#pitch-bend) Depth | `xx` | | `$6D` | [Echo Config](#echo-config) | `xx yy ll rr` | | `$6E` | [New Track](#new-track) | `xx pppp` | | `$6F` | [Percussion Mode](#percussion-mode) | `none` | | `$70` | [Detune](#detune) | `([80-FF] tt [80-FF]*)? [00-7F] tt` | | `$71` | [Vibrato](#vibrato) Depth | `([80-FF] tt [80-FF]*)? [00-7F] tt` | | `$72` | [Track Volume](#track-volume) | `([80-FF] tt [80-FF]*)? [00-7F] tt` | | `$73` | [Pan](#pan) | `xx` | | `$74` | [Loop](#loop) Start | `none` | | `$75` | [Loop](#loop) End | `xx` | | `$76` | Call [Pattern](#pattern) | `pppp` | | `$77` | End of [Pattern](#pattern) | `none` | | `$78` | [End of Track](#end-of-track) | `none` | | `$79` | [Tempo](#tempo) | `xx yy` | | `$7A` | [Transpose](#transpose) | `xx` | | `$7B` | [Instrument](#instrument) | `xx` | | `$7C` | [Rest](#rest) | `tt` | | `$7D` | [Note](#note) velocity suffix | `xx` | | `$7E` | [Note](#note) length suffix | `yy` | | `$7F` | [Note](#note) wait time suffix | `tt` | ### New Track Spawns a track at the given pointer and starts playing it immediately. The track number ranges from `$00` to `$07`; SFXs also use `$08` and `$09`. (There is no need to use track number `$00` because all tracks are spawned from track 1.) ``` $0000: 6E 03 CD AB # point track 4 at $ABCD $0004: 01 $ABCD: 02 # plays `01` and `02` simultaneously ``` ### End of Track Stops the current track from reading new sequence data. All tracks should end with this command even if there is an infinite loop. ``` 78 # end of track ``` ### Loop Repeats all commands within the loop range for a given number of times. Up to 8 levels of nested loops are supported. A loop can also be made to repeat indefinitely by specifying a loop count of 0. ``` $0000: 74 # start loop 1 $0001: 74 # start loop 2 $0002: 0A $0003: 74 # start loop 3 $0004: 0B $0005: 75 02 # end loop 3 $0007: 0C $0008: 75 03 # end loop 2 $000A: 0D $000B: 75 00 # end loop 1 # the above repeats `0A 0B 0B 0C 0A 0B 0B 0C 0A 0B 0B 0C 0D` indefinitely ``` An indefinite loop resets the [tempo multiplier](#tempo). ### Pattern Calls a pattern; the track pointer continues from the given address until the end-of-pattern marker is found, then control returns to the point just after the pattern call. There are no nested patterns; calling a pattern inside another pattern will crash the sound engine. ``` $0000: 76 CD AB # call pattern at $ABCD $0003: 03 $ABCD: 01 $ABCE: 02 $ABCF: 77 # end of pattern # the above is equivalent to `01 02 03` ``` ### Note Plays a note. The command byte gives the note pitch in the number of semitones (unless [percussion mode](#percussion-mode) is enabled), but there isn't a unique middle C because each instrument might be tuned differently; usually `$3C` is customarily chosen as middle C. The full form takes 3 arguments, and specifies the velocity (+ `$80`, default is `$C0`), note length (in ticks, `$C0` = whole note), and wait time (also in ticks) all at once: ``` $0000: 3C C0 16 18 # C-5, velocity 64, 22 ticks, 8th note $0004: 3F E4 5D 60 # Eb5, velocity 100, 93 ticks, half note ``` If the second byte is `$7D`, `$7E`, or `$7F`, then the next byte changes only the velocity (without the + `$80`), note length, or wait time of subsequent notes respectively: ``` $0008: 30 7D 50 # C-4, velocity 80, 93 ticks, half note $000B: 35 7E 2E # F-4, velocity 80, 46 ticks, half note $000E: 3A 7F 30 # Bb4, velocity 80, 46 ticks, quarter note ``` Otherwise, the second byte must be either another new note or a sequence command. In this case all these settings are copied from previous notes: ``` $0012: 39 # A-4, velocity 80, 46 ticks, quarter note $0013: 40 # E-5, velocity 80, 46 ticks, quarter note ``` Normally the note length must be shorter than the wait time, so that the current note is cut before a new one is played. To suppress this, a note length of `$FF` should be used, which indicates the note should never be cut, producing a tie or a legato depending on the next note. This is useful for e.g. having notes longer than `$FF` ticks or changing the volume in the middle of a note: ``` $0014: 3C C0 FF C0 # C-5, velocity 64, tie, whole note $0018: 3C 7D B0 # C-5, velocity 48, tie, whole note $001B: 3C 7E BE # C-5, velocity 48, 190 ticks, whole note # plays a single note for 3 full measures, with a lower velocity in the last 2 ``` `7F tt` alone is occasionally used to represent rests, but this is only valid if no notes have been played. ### Rest Plays nothing for the given number of ticks. ``` 7C 30 # quarter note rest ``` ### Percussion Mode Toggles percussion mode on or off. The following apply while percussion mode is on: * The channel's pitch is always exactly the pitch value given in the active instrument, so all pitch effects are disabled. * Each new note's command byte selects the instrument for that ID, instead of representing a pitch value. ``` $0000: 6F # turn on percussion mode $0001: 01 C0 2E 30 # play instrument $01 at a fixed pitch $0005: 6F # turn off percussion mode $0006: 01 # play the C#0 note ``` ### Instrument Selects the instrument with the given ID. Resets the [pan](#pan) and [transpose](#transpose) commands. ``` 7B 13 # select instrument $13 ``` ### Pan Sets the channel pan position. `$7F` is left, `$00` is right, and `$40` is the center. This modifies the pan setting of the active instrument directly. ``` 73 20 # set pan to 50% right 73 50 # set pan to 25% left ``` ### Transpose Transposes all following notes on the current track by the given (signed) number of semitones. This modifies the transpose setting of the active instrument directly, so `00` will not always reset the transpose. ``` 7A 04 # set instrument transpose to +4 semitones 7A E8 # set instrument transpose to -2 octaves ``` ### Pan Envelope Applies a pan envelope starting at the given address that runs independently of new notes. The pan envelope has the following interpretation: `$F0` is right, `$FF` is left, `$F8` is the center, `$01-$EF` are wait times, and `$00` stops the envelope. (These wait times seem to desync from notes quite easily.) ``` $0000: 67 CD AB # play pan envelope at $ABCD $ABCD: F0 14 # pan 100% right for 20 ticks $ABCF: FC 28 # pan 50% left for 40 ticks $ABD1: 00 # end pan envelope ``` ### Pitch Bend Applies a linear bend to the frequencies of all subsequent notes by the given signed depth. ``` 6C 05 # bend upwards slowly 6C F1 # bend downwards, 3x as fast as above 6C 00 # disable pitch bend ``` ### Detune Applies a detune multiplier. All notes' frequency are multiplied by `xx / $40`, the maximum value for `xx` being `$7F`. The last argument is a wait time, measured in ticks. ``` 70 60 00 # multiply all note frequencies by 150% 70 30 18 # multiply all note frequencies by 75%, then wait for an 8th note ``` If the multiplier is greater than `$7F`, that value minus `$80` is the actual detune value used, and a detune envelope is produced. Multiple envelope values greater than `$7F` may follow, all having the same wait time, until the last non-envelope value is found (this multiplier value has its own required wait time argument). ``` 70 FD 09 # multiplier 125, wait for 9 ticks F8 # multiplier 120, wait for 9 ticks EE # multiplier 110, wait for 9 ticks E4 # multiplier 100, wait for 9 ticks 5A 12 # multiplier 90, wait for 18 ticks, end of envelope ``` ### Vibrato Causes the current track to oscillate in pitch. The vibrato depth and rate are controlled by commands `$71` and `$6A` respectively, the former of which supports envelopes like the [detune](#detune) command. ``` 71 08 00 # moderate vibrato 71 32 00 # strong vibrato 6A 01 # extremely slow vibrato 6A 50 # fast vibrato ``` ### Track Volume Changes the current track's volume. Default is `$40`. Supports envelopes like the [detune](#detune) command. ``` 72 50 00 # set track volume to 80 ``` ### Tempo Applies a multiplier to the global tempo, with `$80` being the default. The resulting BPM can overflow if it is too high. Some BPM values may cause tracks to desync. ``` 79 C0 00 # set tempo to 150% (overflows if song BPM is greater than 170) ``` The second argument controls the rate of the BPM change. A value of 0 represents an instant change, 1 represents a slow change, and higher values produce a faster change. ``` 79 60 02 # change tempo to 75% slowly ``` ### DSP Write Writes the given value to the given SPC DSP register. ``` 69 0F 7F # write $7F to register $0F (COEF0, filter coefficient 0) 69 1C 64 # write $64 to register $1C (MVOL (R), right main volume) ``` ### Echo Config Changes several echo parameters at once: enabled tracks (`EON`), feedback level (`EFB`), left echo volume (`EVOL (L)`), right echo volume (`EVOL (R)`), in that order given. ``` 6D FF 5F 2C 2C # enable echo on all tracks, set feedback to +95, set echo volume to 44 ``` ### Noise Config If the given argument is within `$00-$1F`, enables white noise on the current track with that given pitch (`$1F` being the highest), otherwise disables noise output. ``` 6B 1D # enable noise 6B FF # disable noise ``` ## Game-Specific Notes ### *Super Robot Wars 4* (第４次スーパーロボット大戦) The main SPC program is referred from `$E20000` (file offset `$220000`). It has 3 chunks: * `ROM:$E20304-$E20583` -> `SPC:$0380-$05FF`: Instrument definitions for ID `$30-$7F`, probably all for sound effects. * `ROM:$E20588-$E21942` -> `SPC:$07F8-$1BB2`: 4 unknown pointers, followed by a 64-entry table of tempo and main volume values for each BGM. The rest of the chunk appears to be for sound effects. * `ROM:$E21947-$E224A0` -> `SPC:$F180-$FCD9`: The sound driver code. Some of the tempo and main volume values are as follows: ``` # ... ROM:$220596, SPC:$0806: AA 96 # BGM $03: 170 BPM, 150 main volume (Valsion) ROM:$220598, SPC:$0808: 92 E9 # BGM $04: 146 BPM, 249 main volume (Gallant Char) ROM:$22059A, SPC:$080A: B3 A0 # BGM $05: 179 BPM, 160 main volume (Mazinger Z) # ... ``` BGMs `$00-$3F` are referred from the far pointer table at `$E28000-$E280BF`. Some song IDs are unused; these BGMs have no chunks, but nonetheless contain `00 00 xx 00` as their data where `xx` is the song ID. The remaining used BGMs each use 2 chunks. The first chunk is mapped to `$0200` and contains custom instruments; all IDs within `$00-$2F` are available. The second chunk is mapped to `$5200` and contains the sequence data. Custom samples immediately follow the sequence data so there is usually no need to worry about running out of space. The far pointer table at `$E20003-$E202FF` refers to samples `$01-$FF`. A separate near pointer table at `$E30000-$E301FF`, indexed by the song ID, controls which samples are loaded into which slots for every BGM and SFX. The actual load table has the following format: ``` $0000: aa xx # load sample xx into slot number aa $0002: bb yy # load sample yy into slot number bb # ... ?: FD # end of BGM load table (SFX load tables end with FF instead) ``` BGM `$01` loads the sample data for slots `$00-$10`; these samples are shared across all BGMs and SFXs. Songs are free to use the slot range `$18-$20` (and probably higher slot numbers too, provided the samples don't overlap with the echo buffer). All SPC transfers are complete at `$808404`; SPC files can be readily dumped if a breakpoint is placed there. #### Karaoke Mode The bytes at `$CDEF41-$CDEF4E` contain the song IDs for the BGMs available in karaoke mode. Lyrics are accessed through the near pointer table at `$CB667C-$CB678B`, which in turn is referred from `$C9010B`. The cue points for the lyrics are stored as if they were a BRR chunk with a loop point of 0 and an ID of the BGM's ID + `$C0`. For example, the cue points for Mazinger Z (song ID `$05`, cue ID `$C5`) look like: ``` $E22531: 00 00 # must be 0 $E22533: 80 00 # length of the following chunk (i.e. $E225B4 - $E22535 + 1) # note that 8 measures total 192 * 8 = 1536 ticks, so the lyrics are slightly ahead of the actual song $E22535: F0 F0 F0 F0 F0 F0 F1 56 # wait for 240 * 6 + 86 = 1526 ticks $E2253D: 48 78 18 18 18 18 48 30 18 18 18 30 30 C0 # 空にそびえる くろがねの城 $E2254B: 18 30 18 60 18 18 18 18 60 18 18 18 0C 3C 30 C0 # スーパーロボット マジンガーＺ $E2255B: 18 30 18 48 0C 0C 18 18 18 18 18 30 18 C0 F1 C0 # 無敵の力は ぼくらのために $E2256B: 30 18 18 48 18 18 18 18 18 18 48 02 02 BC C0 # 正義の心を パイルダーオン！ $E2257A: 18 30 18 60 0C 3C 0C 0C 48 18 F1 18 18 18 18 18 30 18 C0 # とばせ てっけん ロケットパンチ $E2258D: 18 30 18 60 18 18 18 18 60 18 18 18 18 0C 0C 30 18 C0 C0 # いまだ だすんだ ブレストファイヤー $E225A0: 18 0C 24 0C 60 0C 18 0C 24 0C 60 0C # マジンゴー マジンゴー $E225AC: F1 30 30 30 30 0C B4 C0 # マジンガーＺ $E225B4: FF # end of cue points ``` A value lower than `$F0` advances the lyrics by one character and then waits for that number of ticks; all spaces and end-of-string markers also count as characters. `$F0` and `$F1 xx` wait for exactly 240 or `xx` ticks respectively, without consuming a character, and `$F2` to `$FF` all finish the cue points (only `$FF` is used). Displaying the lyrics during the karaoke sequence is done with the near pointer table at `$D25E80-$D25E9F`, indexed by song list order. Again, using Mazinger Z as an example: ``` $D25EA0: C6 00 EB 01 00 01 # display lyrics $00-$01, offsetted by 5 and 10 tiles respectively $D25EA6: C6 02 EB 03 02 03 $D25EAC: C6 04 EB 05 04 05 $D25EB2: C6 06 F0 07 06 07 # lower line ("マジンガーＺ") is offsetted by 15 tiles here $D25EB8: FF ``` The different commands are as follows: * `$00-$BF`: Steps through the lyrics of that given line. * `$C0-$DF xx`: Clears both lines, then displays lyrics `xx` on the upper line, offsetted by (command byte - `$C1`) tiles. * `$E0-$FE xx`: Clears the lower line, then displays lyrics `xx` on it, offsetted by (command byte - `$E1`) tiles. * `$FF`: Finishes the karaoke sequence. All the karaoke sequences in the game have the form of `[C0-DF] xx [E0-FE] yy xx yy` or `[C0-DF] xx xx`. ### *Super Robot Wars 3* (第３次スーパーロボット大戦) The main SPC program is referred from `$288000` (file offset `$140000`). It has 5 chunks: * `ROM:$1400EE-$140454` -> `SPC:$F180-$F4E6`: Presumably contains the tempo and main volume values for each track. * `ROM:$140459-$140460` -> `SPC:$23F8-$23FF`: 4 unknown pointers. * `ROM:$140465-$1405B4` -> `SPC:$04B0-$05FF`: Instrument definitions for ID `$5A-$7F`, probably all for sound effects. * `ROM:$1405B9-$14103E` -> `SPC:$1770-$21F5`: Probably sequence data for sound effects. * `ROM:$141043-$14190E` -> `SPC:$F500-$FDCB`: The sound driver code. Instrument definitions are mapped to `$0200` as above. Sequence data is mapped to `$0600` instead, which means only `$1170` bytes are available. The BRR table is located at `$288003-$2880E6`, the BGM table at `$298000-$298071`, and the sample load table at `$2A8000-$2A80FF`. The sample load entries appear to use a slightly different format than *SRW4*. This earlier revision of the sound driver does not support commands `$67` and `$68`, so these become note commands. ### *Super Robot Wars EX* (スーパーロボット大戦ＥＸ) The main SPC program is referred from `$298000` (file offset `$148000`). The data layout resembles *SRW3*. Instrument definitions are mapped to `$0200`. Sequence data is mapped to `$0600`. The BRR table is located at `$298003-$2980EF`, the BGM table at `$2A8000-$2A8071`, and the sample load table at `$2B8000-$2B8109`. The same caveats for *SRW3* should also apply here. ### *Super Robot Wars Gaiden: Masoukishin – The Lord Of Elemental* (スーパーロボット大戦外伝 魔装機神) The main SPC program is referred from `$E30000` (file offset `$230000`). The data layout resembles *SRW4*. Instrument definitions are mapped to `$0200`. Sequence data is mapped to `$3C00`. The BRR table is located at `$E30003-$E302FF`, the BGM table at `$E38000-$E380BF`, and the sample load table at `$E40000-$E401FF`. ### *Battle Robot Retsuden* (バトルロボット烈伝) The main SPC program is referred from `$D80000` (file offset `$180000`). The data layout resembles *SRW4*. Instrument definitions are mapped to `$0200`. Sequence data is mapped to `$7400`. The BRR table is located at `$D80003-$D802FF`, the BGM table at `$D88000-$D880BF`, and the sample load table at `$D90000-$D901FF`. ## About This article is authored by HertzDevil. The most up-to-date revision can be found [here](https://github.com/HertzDevil/mitsumete-patch/blob/main/winkysoft-music-format.md).
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