Bigorna

A firmware for the M-VAVE FM-1, for rhythmic noise, power noise, industrial and IDM.

Bigorna takes the Elektron Digitone II as its model. It is not a copy of its machines: it tries, as far as the FM-1 allows, to bring the same grit and harshness the Digitone II is known for, and the same range of tones. Six tracks, four machines (4-OP, DRUM, WAVY, HIVE), the Digitone II's page layout, a 16-step sequencer with parameter locks, a looper, and send effects. Bigorna is Portuguese for anvil.

Website, browser installer and manual: https://nzimas.github.io/bigorna/

[!WARNING] Bigorna is unofficial. It is not made, endorsed or supported by M-VAVE or Elektron, and installing it may void any warranty that applies to your FM-1. See the disclaimer.

Install

From the browser: open the installer in a desktop Chrome, Edge or Opera, connect the FM-1 with a USB data cable and press Install. After installing, switch the FM-1 off and on once.

From the command line (macOS or Linux): ./setup.sh once, then ./install.sh (builds, then installs) or ./install.sh FILE.fwsc (installs a package). ./install.sh --info says what the connected FM-1 runs.

Manual

Playing it

While a knob turns, the screen shows its value as a large dial for a second.

Tracks and sounds

6 tracks, each with its own machine, sound, octave, level, pan, steps and loops. Each track keeps a sound for each of the 4 machines, so turning PRESETS back finds the sound it had. The tracks share 12 voices; when all 12 sound, a new note takes the quietest one. DRUM tracks choke: each hit fades the track's previous one.

The FM-1's second processor core plays half the voices and the effects. If it ever faults, the first core carries on alone until the FM-1 is switched off, and the screen says 1 CORE.

Subtracks

A track on DRUM has subtracks, ST-A to ST-D, and each is a track in its own right: its own sound, steps with their locks, length, clock, direction, phrase, octave, transposition, level, pan, sends and MANGLE. All of a track's subtracks play through its mute and its sidechain, and on its MIDI channel. So 1 track can hold a whole kit, and the other 5 are free for other parts. A track not on DRUM has none (ST-A is the track itself).

• ST-A is the track's own sound; until another is chosen, everything acts on it.
• A new subtrack gets the kit's next piece after the track's own: on a kick's track, ST-B a snare, ST-C a hat, ST-D a tom. HOME, SHIFT + HOME and SHIFT + PRESETS draw its sound; PRESETS on it says DRUM ONLY.
• Everything then acts on the subtrack chosen: the keys and MIDI notes play it, EDIT shows its sound, the step view its steps, the TRACK and PHRASE pages are its (TRACK 1B), SELECT and ALGORITHM set its level and pan, OCT its octave. The screen shows it under the pattern, at the left: ST-A to ST-D.
• There are 3 subtracks past ST-A in all, shared by the tracks: 1 track with all 4 (ST-A to ST-D), or several tracks with 2 or 3. When none is left, NO SUBTRACK shows.
• A track turned off DRUM puts its subtracks away: silent, kept, back as they were when it is on DRUM again. Another DRUM track can take one of them when none is free.
• A muted subtrack fades out, its sends with it, and its steps keep running silently; it sends no MIDI notes and ducks nothing. ST-A's mute is the track's own sound only, and holds only while the track is on DRUM. The track's mute (MUTE mode) still mutes all its subtracks; the two are separate, so a subtrack muted stays muted when the track is unmuted. A subtrack given up loses its mute.
• Patterns keep each subtrack's steps, settings and mute; the session keeps its sound, level and pan. The looper notes which subtrack each note was played on; SHIFT + OCT− / OCT+ moves every subtrack.

Sounds

HOME draws a new sound for the chosen track from a recipe of its machine: a family such as TIGHT KICK, METAL HAT, FM BASS or SWARM DRONE, leaning each time towards industrial, IDM or abstract. SHIFT + HOME draws another from the same family; SHIFT + PRESETS moves to the family before or after. The screen shows the machine and the family. There are 56 families: 29 for DRUM, 9 for 4-OP, 10 for WAVY, 8 for HIVE. Drone, pad and texture families come with LFOs already set.

GEN LOCK (on the session's page, saved with the session): with ON, HOME and SHIFT + HOME draw nothing and the sound stays as it is (GEN LOCK shows), so a press during a performance changes nothing. With OFF (at first, and for sessions saved by older builds), HOME draws as above.

Sound pages (EDIT)

Black key 10 (EDIT) shows the sound's pages: SYN 1 to 4 (the machine's), FLTR 1, FLTR 2, AMP, FX and MANGLE. Each page has 8 parameters: KNOB 1–4 set A to D; PRESETS turned right shows E to H, left goes back. OCT− / OCT+ move between the pages. EDIT again leaves.

4-OP

4-operator FM after the Digitone II's FM TONE: operator C and the modulators A, B1 and B2.

DRUM

3-operator FM percussion after FM DRUM.

AB NOISE mixes operators A and B towards a noise that follows their pitch: at 0 the waveform only, at 127 the noise only. Modulating C, it gives metallic, grainy hits. With NOISE RST on, every hit gets the same noise.

WAVY

2 wavetable oscillators with phase distortion, and a noise generator.

HIVE

A swarm of 6 detuned oscillators and a main oscillator.

FLTR, AMP, FX and MANGLE

These pages are the same on every machine.

• FILTER: MULTI (multimode), LP4 (4-pole low-pass), LEGACY (low- or high-pass), COMB−, COMB+, EQ.
• OD TYPE: VALVE (2 valve-style stages), RAT (a RAT-style clipper, darker as it rises), FOLD (a wavefolder, which bites only once the signal is loud). RAT and FOLD come from the LXR firmware.
• DESTROY breaks the sound digitally; DST MODE chooses how: WRAP, XOR, FLIP, DROP.
• SLICE is a gate in time with the tempo: 16 patterns at 1/8, 1/16, 1/32 or 1/16 triplets, with its depth, edge and shift.

Keys and scales

The white keys play the chosen track in the scale: the first key is the root, each key the next degree. The keys that play the root glow dimly. USB and TRS MIDI notes play the chosen track as the keys do (MIDI).

Scales

ARP opens the SCALE page: SELECT sets the root, ALGORITHM the scale. ARP again, or a track button, leaves it. SHIFT + ARP draws a scale and a root at random and shows them for 1.5 s over any page. The scale and root belong to the session. A new session draws them at random.

The scales: CHROMATIC (the black keys play too, except the first 5 and the last 3), MAJOR, MINOR NATURAL, MINOR HARMONIC, DORIAN, PHRYGIAN, MINOR PENTA, MAJOR PENTA, WHOLE TONE, JAPANESE IN, MINOR MELODIC, ENIGMATIC, LYDIAN, MIXOLYDIAN, LOCRIAN, BLUES, HUNGARIAN MINOR, DOUBLE HARMONIC, PHRYGIAN DOMINANT, JAPANESE HIRAJOSHI, JAPANESE IWATO, PELOG, OCTATONIC, PROMETHEUS.

Transposition

In the step view, OCT− / OCT+ move the chosen track's steps and loops 1 step of the scale down or up (in CHROMATIC, a semitone). SHIFT + OCT− / OCT+, in the track's view or the step view, move every track's. Notes stay in the scale. The transposition shows at the top right, under the octave (T+2, T−1), up to 24 steps each way. It is part of the pattern: saved with it, and copied with it. It moves only the loops of the pattern playing; a loop being recorded is left as it is. The keys' octave does not change.

CHORD mode

Black key 1 turns CHORD mode on or off for the chosen track (lit while on). Each white key then plays a chord from its note, in the scale. SHIFT + black key 1 chooses the next form: TRIAD, INV 1, INV 2, SUS2, SUS4, OPEN, FOURTHS. The form shows at the top left. Steps, recording and the looper take the chords. DRUM tracks play no chords.

Arpeggiator

Black key 5 turns the chosen track's arpeggiator on or off (lit while on; ARP shows at the top left). The keys held, and MIDI notes for the track, then play one at a time on the tempo's grid: with the sequencer's 16ths while it plays, on their own at the tempo while it is stopped. With CHORD mode on, each key gives it the chord's notes.

Hold black key 5 (0.8 s) to open or close the ARP page (KNOB 1–4 rows A to D; PRESETS right, E to H):

REC records the arpeggio into the steps and SHIFT + REC into a loop; with either armed, its first note starts the sequencer. The arpeggiator and its settings are saved with the session and the pattern.

MUTE mode

Black key 2 turns MUTE mode on or off (lit while on; the screen reads MUTE MODE). The track buttons then mute instead of choosing:

A muted track fades out, its sends with it; its steps keep running silently. The mutes stay when MUTE mode is turned off. They are saved with the pattern. MUTE mode also works on the PATTERNS grid.

MUTE QT (on the session's page, saved with the session): with YES, a mute, unmute or solo waits for the start of the pattern's next cycle, the moment the chosen track begins its steps again (as a pattern switch does), and its button blinks until then. Stopped, it happens at once. Choosing a pattern drops mutes still waiting: the pattern brings its own. With NO (at first), they happen at once.

BREAK

While the sequencer plays, hold black key 3 to break up the chosen track's pattern; SHIFT + it, every track's. Nothing is written into the steps: when the key is let go, the pattern carries on from where it would have been. PLAY stops the sequencer during a break, SHIFT held or not, so a piece can end on the break.

Each press draws one way of playing the steps, shown on the screen, and keeps it while the key is held. The break starts on the track's next beat, and what is on a beat stays on a beat:

On top of the way, a break may add ratchets (faster the longer the key is held), flams on drums, octave leaps on melodic tracks, a gap at the end of each bar, and accents. A kick keeps the bar's first step and takes no leaps; drones are left alone; loops play on as recorded.

Saving a break. BREAK also works on the PATTERNS grid. There, with black key 3 held and the sequencer playing, hold a white key 0.8 s: the break, as it plays, is saved into that pattern slot (BREAK SAVED, PATTERN n). The pattern playing goes on.

PERFORMANCE

Black key 7 (in the step view, SHIFT + black key 7; also on the PATTERNS grid) turns PERFORMANCE on or off, after Elektron's temporary edits and CONTROL ALL. The key is lit while it is on, and PERF shows in red at the right of the track's view (REC, LOOP or ARM take its place while recording).

Turned on, it keeps the state playing: every track's and subtrack's sound, the steps and their locks, lengths, clocks and directions, levels, pans, mutes, octaves, chords, arpeggiators, sidechains, the effects, tempo, scale and MUTE QT. Change anything: sounds, EDIT pages, phrases, steps, breaks. Turned off, all of it is put back as it was (RESTORED), and nothing is left marked unsaved. Sounds still ringing are not cut; they and the effects' tails ring out. Loops are not part of it: a loop recorded or emptied meanwhile stays so. With a pattern on its way, it does not turn on: WAIT shows.

While it is on, KNOB 1–4 (and SHIFT + them) turn their parameter on the chosen track and on every other track and subtrack with notes (steps or a loop), each on its own sound, by the same steps.

Keeping a pattern. SAVE still opens the PATTERNS grid: hold a white key 0.8 s to keep what is playing as that pattern, its steps and the tracks' state. Keeping a pattern also keeps the session as it plays at that moment (sounds, effects, tempo, scale); changes made after the last pattern kept are undone as PERFORMANCE goes off. If no pattern is kept, nothing stays. The machine returns to the pattern it started on; if it was kept over, as kept. The pattern reaches the flash as PERFORMANCE goes off.

Meanwhile, sessions (SHIFT + SAVE, SAVE held), switching patterns (keys or program changes), copying, pasting or emptying patterns, and the Backup page wait till it is off: PERF MODE shows. MIDI LEARN's bindings are written to the flash as it goes off. If the copy it keeps did not check as it goes off, the steps come back but the rest stays as it is: NOT RESTORED shows.

CTRL on each session's page (KNOBS or ALL; saved with the session) sets what else follows the chosen track while PERFORMANCE is on:

• KNOBS (at first): only the knobs.
• ALL: also a new phrase or new locks (black key 1, SHIFT + it, in the step view), a direction, the TRACK page's LENGTH, CLOCK, PROB and SWING, the PHRASE page's DENSITY and COMPLEXITY, the step view's transposition, HOME's and SHIFT + HOME's new sound, and every turn on an EDIT page: the same page and row on each other track, by the same steps (on another machine that row may be another parameter). Lists, such as a machine type or a route, are left alone.

Each track and subtrack does it on its own steps and sound; those without notes are left alone.

Effects (SEQ)

SEQ shows CHORUS, COMP, DELAY and REVERB, then the chosen track's LFO 1, LFO 2 and LFO 3, in turn, then goes back. OCT− / OCT+ move between them. KNOB 1–4 set the first 4 rows; PRESETS turned right shows the next 4. A track button goes back to the track; SHIFT + a track button chooses another track and stays on the page.

Sidechain

On the COMP page, SC SOURCE chooses whose hits duck the chosen track (OFF: none) and SC LEVEL how deep, 0 to 100; at 100 the track is all but silenced on each hit. The duck lets go at the compressor's RELEASE, and the track's effect sends duck with it. The chosen track ducks as a whole, all its subtracks with it.

The source is one sound, not a whole track. A track with subtracks is listed as each of them: T1-A, T1-B, T1-C, T1-D (those it has); a track without them as T2. Chosen as a track, or from a session or pattern that names only the track, the source is its kick: the first of its subtracks whose sound is a kick (none: ST-A). If the subtrack chosen is given up, the kick is the source again.

LFOs

Each sound has 3 LFOs, on the pages LFO 1 to 3. They belong to the sound, so each machine's sound on a track has its own, and they are saved with the session. All of a track's voices follow the same LFO.

SHIFT + SEQ draws the chosen track's 3 LFOs anew (LFO RANDOM): 2 or 3 of them on, each to a different parameter, with any wave, speed, mode and depth. It takes risks on purpose: press it again for another. LFO settings cannot be step-locked.

Sequencer

Each track has 16 steps, with its own length (1 to 16), clock (1/8, 1/4, 1/2, 1X, 2X, 4X), direction, probability and swing. PLAY starts and stops it.

On the TRACK page (black key 2 in the step view), KNOB 3 sets PROB, 0 to 100% (100% at first): the chance that each of the track's steps plays, decided each time the step comes round. KNOB 4 sets SWING, 50 to 80% (50%, straight, at first): the share of each pair of steps the first one takes. The second step of each pair, counted from the track's first step, plays late by (SWING - 50) / 50 of a step.

Step view

Black key 9 (STEP) turns the step view on or off. The white keys are then the chosen track's 16 steps: lit, a note; dim, empty; the step playing the other way round; past the track's length, dark. Steps are silent while you edit them.

The black keys, lit dimly, do this in the step view:

Step pages

TRIG: KNOB 1 the step's note (in the scale), 2 its velocity, 3 its length, 4 its trig condition; with PRESETS turned right, KNOB 1 its RATCHET (the step played 2 to 8 times). The conditions are the Digitone II's: PRE and !PRE (as the last condition was met or not), NEI and !NEI (as the track before met its condition), 1ST and !1ST (the first time through), probabilities, and A:B (the A-th time of every B).

MOD: KNOB 1 MUTATE (the note moved by up to N steps of the scale, or RND), 2 MUT EVERY (how often), 3 MIDI FX (ECHO, ECHO UP, ECHO DN, STUTTER, FLAM, LATE, GRACE, FIFTH, TRIAD, OCT UP, OCT DN, DROP), 4 FX EVERY.

Phrases

In the step view, black key 1 writes a new phrase for the chosen track: steps, notes, velocities, lengths, conditions, ratchets and locks, made for the role of its sound (KICK, SNARE, HAT, PERC, NOISE, BASS, LEAD, STAB, DRONE). On the PHRASE page, DENSITY and COMPLEXITY (0 to 100) thin it out or fill it.

Recording

REC records the keys into the chosen track's steps, each note with its velocity and length, until REC again. Stopped, REC arms (it flashes, the metronome counts in) and the first note starts the sequencer. SHIFT + PLAY turns the metronome on or off.

Looper

SHIFT + REC arms a loop on the chosen track; the first note starts it (and the sequencer, if stopped). REC ends it. Its length is rounded to whole bars (1 to 32), so it stays in time with the steps (LOOP 1 4 BARS shows). 3 loops a track, up to 256 notes each.

A loop belongs to the pattern it was recorded in. Another pattern does not play it, and an empty pattern plays nothing. When a pattern comes in, its loops start with its steps. Saving, copying or pasting a pattern takes its loops along; emptying it removes them. All patterns share room for 40 loops and 4608 notes: when it is full, arming a loop shows NO ROOM, and a pattern saved into another slot shows LOOPS LOST for the loops that did not fit.

Tempo

Hold PLAY (0.8 s) for the TEMPO page: PRESETS sets the session's tempo, 10 to 300 BPM. A track button leaves it.

Patterns

A session has 16 patterns. A pattern holds every track's and subtrack's steps (with their length, clock, direction, probability, swing and transposition), its loops, and each track's mute, subtrack mutes, machine, octave, level, pan, sidechain, CHORD mode and arpeggiator. The sounds, the effects, the tempo, the scale and the root belong to the session.

SAVE opens the PATTERNS grid; SAVE again leaves it. The white keys are the 16 patterns, the one playing brighter. On the screen the pattern playing is green (orange with changes not saved), saved patterns white, empty ones grey, and the white square is the cursor: it opens on the pattern playing, and PRESETS moves it.

A changed pattern keeps its changes when you switch away, until the session is saved or loaded. A pattern that unmutes a track starts that track cleanly, without notes left over from the muted time. Every note is always saved; on a pattern crowded with locks, the last locks may be left out. MUTE mode, BREAK and PERFORMANCE work on the grid too, and MIDI program changes 0 to 15 choose patterns 1 to 16 (MIDI).

Sessions

16 sessions are kept in the FM-1's flash. A session holds everything: every track's and subtrack's sounds and settings, the effects, the tempo, the scale and root, the 16 patterns with their loops, and the pattern playing.

SHIFT + SAVE opens the SESSIONS grid, laid out as the PATTERNS grid; SHIFT + SAVE again leaves it. The white keys are the 16 slots (lit dimly; the session playing brighter). On the screen the session playing is green (orange with changes not saved), saved sessions white, empty ones grey, and the white square is the cursor: it opens on the session playing, and PRESETS moves it. SAVE opens the page of the slot under the cursor: BACK, LOAD, SAVE, COPY, DELETE, TEMPO, MUTE QT (MUTE mode), CTRL (PERFORMANCE) and GEN LOCK (Sounds). SAVE runs the row chosen, or moves to its value (PRESETS changes it, SAVE sets it, SHIFT + SAVE leaves it as it was); SHIFT + SAVE goes back to the grid. On the page, loading over changes not saved, saving over another session, copying over one and deleting ask first: NO or YES on PRESETS.

Loading a session brings all of it back; while the sequencer plays, its loops start at the next bar. Loops take room in a store shared by all the sessions: if it is full, NO ROOM FOR LOOPS shows and nothing is saved; deleting a session frees room. Sessions saved by older builds load as they played. Changes not saved before the FM-1 is switched off are lost. During PERFORMANCE, sessions wait: PERF MODE shows.

How the FM-1 starts is set in GLOBAL SETUP > START: with a new session (NEW) or the last session loaded or saved (LAST).

Backup

The website's Backup page (desktop Chrome, Edge or Opera, over USB MIDI) copies every session, with its patterns and loops, and GLOBAL SETUP to a file on the computer, and writes them back. Use it before installing another firmware: Bigorna keeps its sessions where Tonitor keeps its own, so either may overwrite the other's. A restore puts each session back into its own slot and leaves the others; RESTORED S3 (or SETUP) shows as each lands.

GLOBAL SETUP

SHIFT + SAVE held (0.8 s) opens GLOBAL SETUP: the FM-1's own settings, kept apart from the sessions. PRESETS moves through the entries; SAVE opens one, or moves to a value and sets it; SHIFT + SAVE leaves a value as it was or goes back a level. A track button leaves. Changes are saved as you leave.

START: how the FM-1 starts. NEW (at first): with a new session, as Tonitor starts: new sounds on every track, a scale and root at random, tempo 120. Hold SAVE to keep it. LAST: with the last session loaded or saved.

MIDI

MIDI goes over the USB cable both ways (the FM-1 shows up as FM-1 Bigorna) and comes in through the 3.5 mm MIDI IN jack (TRS Type A). The settings follow the Model:Cycles' MIDI CONFIG:

Clock in. With CLK IN on, the FM-1 follows the clock that arrives: its tempo, START (from step 1), CONTINUE (from the song position) and STOP. The sending device must send its transport as well as its clock (on Elektron machines, CLOCK SEND and TRANSPORT SEND). The TEMPO page shows EXT TEMPO. If the clock stops for half a second, the FM-1 goes back to its own tempo.

Clock out. With CLK OUT on, the FM-1 sends its clock all the time, so another device can lock to it before it starts; PLAY sends START, stopping sends STOP.

Notes. A note on a track's IN channel plays that track; on the AUTO channel, the chosen track. Notes on the chosen track are recorded as the keys are. With SEND NOTES on, every note a track plays (steps, loops, keys, notes received) goes out on its OUT channel; a muted track sends nothing.

CCs. Each track answers to, and with SEND CC sends, these CCs on its channel: level 7, pan 10, mute 94 (64 and up mutes), and each page's 8 parameters (A to H), whatever the machine:

Program changes 0 to 15 choose patterns 1 to 16, in time as the PATTERNS grid does.

The jack takes everything USB does except SysEx. With both inputs on they are merged; a clock should come from only one of them. A controller cannot be plugged straight into the FM-1's USB-C port (both are USB devices and need a computer between them); one with a 5-pin MIDI OUT goes into the jack.

Tested with:

• Elektron Digitone II, into the TRS jack (a Roland TRS-to-DIN cable, Type A): the FM-1 follows its clock, starts and stops with it, and its keyboard plays the FM-1's tracks by channel. On the Digitone II, in SETTINGS > MIDI CONFIG: SYNC > CLOCK SEND and TRANSPORT SEND on; PORT CONFIG > OUTPUT TO MIDI (or MIDI+USB), TRIG KEY DEST INT + EXT, OUTPUT CH TRK CH (or AUTO CH). On the FM-1: GLOBAL SETUP > MIDI > SYNC > CLK IN on.
• A computer over USB (macOS): notes, CCs, and MIDI LEARN with an M-VAVE SMC Mixer in MIDI mode.

MIDI LEARN

Black key 4 turns MIDI LEARN on or off (lit while on; the screen reads MIDI LEARN). The EDIT pages and the effects' pages then show, in each row, the CC learned for it, or -- if none. PRESETS chooses the row; OCT− / OCT+ turn the pages.

A learned sound parameter moves on the track it was learned on; an effect's moves for all. Each CC and channel controls one parameter, and each parameter has one CC. Up to 64 are kept, with GLOBAL SETUP. RECEIVE CC must be on.

USB audio

Plugged into a computer, a phone or a tablet, the FM-1 is also a USB audio input named FM-1 Bigorna: its master output in stereo, 16-bit, 44.1 kHz. Record or monitor it like any class-compliant audio interface; nothing to install. The headphone jack plays on as usual. The USB sound does not follow the MASTER knob, so a recording keeps its level whatever the headphones are set to. MIDI goes on alongside on the same cable.

The other end must be a USB host: a computer, or a phone or tablet that takes USB audio devices (on Android, most do through USB-C). A host that works at 48 kHz converts the sound itself.

Tested with:

• POCO X7 Pro (HyperOS), over USB-C: the phone's camera app records video with the FM-1's sound. Switch on OTG first (Settings > Additional settings > OTG), with nothing plugged into the phone; HyperOS turns it off again after 10 minutes with no device.
• MacBook Air M5 (macOS), over USB-C: FM-1 Bigorna, 2 input channels, 44,100 Hz, every packet in order with 6 tracks playing.

Screen

Few words, very large type, high contrast, and a colour for each track. The track's view shows, from the top: the pattern playing (orange with changes not saved) and the chord form (or ARP) at the top left; the battery, the octave and the transposition (T+2) at the top right, with REC or LOOP while recording (otherwise PERF, in red, while PERFORMANCE is on); the track's number, its machine and its sound's family.

The battery shows 3 green bars when full, then 2 green, 1 amber, and 1 red when it runs low. On USB power it shows a white bolt instead.

Rescue

Hold OCT− while switching the FM-1 on for the rescue screen, from which the installer can run again; 2 failed starts in a row also lead there. If the FM-1 starts but no longer answers over USB, hold OCT− and OCT+ for 5 seconds while it runs: the chip's own update mode, from which a firmware can be restored with Melodee's recovery tool.

Building from source

Needs macOS or Linux, Python 3, and on macOS Docker Desktop (JieLi's toolchain is Linux x86-64 only).

./setup.sh                  # once: a Python environment, JieLi's toolchain, three files of the AC79 SDK
./build.sh                  # writes build/bigorna.fwsc
./install.sh --no-build     # installs it on the FM-1 connected over USB
tests/run_tests.sh          # the host tests: no FM-1 or toolchain needed

The host tests build the firmware for the computer and render every sound recipe through the real mixer (checked for silence, clipping, DC and runaway tails), run the sessions, patterns and controls through their paths, and draw the screens to build/screens. Versions are build numbers: BUILD in tools/build.py.

tools/build.py --telemetry builds a diagnostic version that reports the audio's timing over USB MIDI; tools/telelog.py reads it.

Credits

• Built on Tonitor (Nuno Zimas), itself built on Felucca (Leo Kuroshita, Hügelton Instruments) and SLOOP (isod89): the hardware layer, the USB stack, the update loader and the installer.
• The dual-core start, its fault handling and the stock supply setup are from Melodee (Kerem Kilic, Ellic Studio).
• The sound recipes are ported from SynthSeeder, the same author's patch generator for the Digitone II.
• The website and installer page follow Tonitor's.

Licence

The firmware is GPL-3.0-only (LICENSE); the website and the logo are MIT. See LICENSING.md for each part's origin and licence.

Disclaimer

Bigorna is an unofficial firmware. It is not made, endorsed or supported by M-VAVE or Elektron. M-VAVE and FM-1 are trademarks of their owner; Elektron and Digitone are trademarks of Elektron Music Machines. They are used only to say which device Bigorna runs on and which instrument it takes as its model. No Elektron code or data is in this firmware.

Installing it replaces the FM-1's firmware and may void any warranty that applies to your device. An interrupted update can leave the FM-1 unable to start until it is recovered. The software is provided as is, without warranty of any kind; you install and use it entirely at your own risk.