FM1 Dub

DUB-1 1.4.3 brings MIDI CC in, a page for the chord's filter, stabs that open and close like the records', and fuller intros and outros.

Try it in the browser: https://sbegueria.github.io/fm1-dub/emu/ Install from Chrome or Edge: https://sbegueria.github.io/fm1-dub/install/ Manual: https://sbegueria.github.io/fm1-dub/manual/ Cheat sheets: https://sbegueria.github.io/fm1-dub/cheatsheets/

New

• MIDI CC in, on channel 1: a controller's knobs and faders turn DUB-1's, through the same path as the panel's (the table is in the manual, "MIDI"). Contributed by Christian Meier (@christianmeier, PR #4); thank you!
• The Chord filter page, ENV a third time (Chord, Chord voice, Chord filter, Chord FM, Chord LFO): Cutoff, Reso, Env (how far each stab opens the filter) and Env decay (how fast it closes). Its picture draws the cutoff falling after each strike, with how far it opens and its half-time ("1.3 oct, half 30 ms").
• Colour on the Chord voice page (KNOB 3), next to Attack and Decay; it stays on the Chord FM page too.

Changed

• The stabs' filter, after the records. Measured on the classic albums and the Munich set, a dub chord's filter falls about half an octave within some 45 ms of the strike; DUB-1's closed about three times faster. Basic, Steppers, Concrete and Pressure now close at their model albums' pace; the other four pieces sound as before.
• ENV held (the nudge) moves Env and Env decay too.
• Fuller intros and outros. Measured against the classic albums, DUB-1's intros stayed far too quiet for too long: an Ambient piece's could sit more than 10 LU under its body for 11 or 12 bars. Now the noise and the chord come in from the downbeat, the kick and the bass sooner, and the first parts fade in over a bar or two; an LP outro keeps its bass and kick longer, thinning out at the end as the records do.
• Segue comes in from the next piece's second phrase, as the Mix does since 1.4.2: the new kick, bass and noise start under the held echo, the chord and the pings once it lets go. No more quiet hole at the start of an Ambient piece.

Fixed

• The chord's filter envelope was drawn about seven times slower than it plays.
• A warning that stopped the build with GCC 12 and later (reported in PR #4).

Upgrading

Projects saved by earlier versions load as they are, and every piece keeps its sound: a piece you changed keeps its filter envelope as it was. They're saved as format 36 from now on. Going back to 1.4.2 or earlier after saving on 1.4.3 starts every piece from its recipe again, as with any older firmware.

Installing

Use the web installer above, or download dub-1.4.3.fwsc below and run python3 tools/fm1_install.py dub-1.4.3.fwsc from a checkout of the source. To go back, use the installer's "Back to the stock firmware", or M-VAVE's M-UPGRADE. Installing other firmware is at your own risk; an FM-1 that fails to start twice comes up in a safe mode the installer can reach.

Everything new in 1.4.0 is in the 1.4.0 release; 1.4.1 fixed PRESETS turned fast, 1.4.2 made a Set's Mix seamless.

GPL-3.0-only. A fork of AMB-1 by Charles Vestal. M-VAVE and FM-1 are trademarks of their owners; DUB-1 is not affiliated with M-VAVE or Hügelton Instruments.

DUB-1 1.4.2 makes a Set's Mix sound like a DJ's mix: the next piece now comes in under the old one, with no silence between them.

Try it in the browser: https://sbegueria.github.io/fm1-dub/emu/ Install from Chrome or Edge: https://sbegueria.github.io/fm1-dub/install/ Manual: https://sbegueria.github.io/fm1-dub/manual/ Cheat sheets: https://sbegueria.github.io/fm1-dub/cheatsheets/

Changed

• Mix: no more hole between two pieces. In 1.4.0 the old piece emptied out first: its kick left five to ten bars before the end, the echo faded, and the next piece came in thin, up to twelve seconds without a beat. Now the old kick plays on to two bars before the end, as a DJ's outgoing record, and the next piece's intro plays as from its second phrase, its kick (one and three) under the held echo. Across a Mix the music never drops away for more than about a bar.
• The held echo's swell kept near the music. Fog's echo used to swell 10 to 15 dB over the music in its last bars; it now stays close to the music's level, in a Mix and a Segue.
• Segue: the old kick plays on to two bars before the end too, and the echo is held a bar longer, into the next song's second bar.
• The outro called in a song's intro (HOME held + PLAY), in a Set's Segue or Mix, is now as long as the intro had been, and the chord is thrown into the held echo at the end. Before, it played the whole outro with almost nothing left, then twenty seconds of silence.

LP and Endless sound exactly as before.

Upgrading

Projects saved by 1.4.0 and 1.4.1 load as they are (the save format is still 35), and so does everything saved since 1.0.0.

Installing

Use the web installer above, or download dub-1.4.2.fwsc below and run python3 tools/fm1_install.py dub-1.4.2.fwsc from a checkout of the source. To go back, use the installer's "Back to the stock firmware", or M-VAVE's M-UPGRADE. Installing other firmware is at your own risk; an FM-1 that fails to start twice comes up in a safe mode the installer can reach.

Everything new in 1.4.0 is in the 1.4.0 release; 1.4.1 fixed PRESETS turned fast.

GPL-3.0-only. A fork of AMB-1 by Charles Vestal. M-VAVE and FM-1 are trademarks of their owners; DUB-1 is not affiliated with M-VAVE or Hügelton Instruments.

DUB-1 1.4.1 fixes a bug in 1.4.0: turning PRESETS quickly while DUB-1 plays could leave the piece you land on sounding partly like the pieces you passed through.

Try it in the browser: https://sbegueria.github.io/fm1-dub/emu/ Install from Chrome or Edge: https://sbegueria.github.io/fm1-dub/install/ Manual: https://sbegueria.github.io/fm1-dub/manual/ Cheat sheets: https://sbegueria.github.io/fm1-dub/cheatsheets/

Fixed

• PRESETS turned fast while playing. 1.4.0 hands a new piece to the sound engine over a few milliseconds, to keep the CPU from spiking. Four clicks or more in quick succession could overflow that hand-over. The piece you landed on then played with some of the settings of the pieces in between (an LFO's rate, the kit, the trims), while the screen showed its own. DUB-1 now sends the piece again as soon as there's room, so it always plays as it shows. If a piece sounded wrong after a fast spin, it was this; your saved projects were never affected.

Upgrading

Projects saved by 1.4.0 load as they are (the save format is still 35), and so does everything saved since 1.0.0.

Installing

Use the web installer above, or download dub-1.4.1.fwsc below and run python3 tools/fm1_install.py dub-1.4.1.fwsc from a checkout of the source. To go back, use the installer's "Back to the stock firmware", or M-VAVE's M-UPGRADE. Installing other firmware is at your own risk; an FM-1 that fails to start twice comes up in a safe mode the installer can reach.

Everything new in 1.4.0 (songs and sets, the dub desk, Vary, Motion and Drift, the new screen) is in the 1.4.0 release.

GPL-3.0-only. A fork of AMB-1 by Charles Vestal. M-VAVE and FM-1 are trademarks of their owners; DUB-1 is not affiliated with M-VAVE or Hügelton Instruments.

DUB-1 1.4.0 is the desk and the set. A piece can now be a song, with an intro that brings the parts in one by one and an outro that takes them away into the echo, and a set plays the pieces one after another, mixed into each other as a DJ would. The Arrangement page is a dub desk: a meter for every part, a channel strip with its sends and a filter, a throw into the echo for every part, and four dub sirens. Three knobs say how the music changes, after measuring the classic records: Vary (how much the loop changes), Motion (how much the arrangement changes) and Drift (how much the sound moves). The DJ filter is always on SELECT, every layer has its pages in the same order, and the screen is clearer, with a big ring for whatever you turn.

Try it in the browser: https://sbegueria.github.io/fm1-dub/emu/ Install from Chrome or Edge: https://sbegueria.github.io/fm1-dub/install/ Manual: https://sbegueria.github.io/fm1-dub/manual/ Cheat sheets: https://sbegueria.github.io/fm1-dub/cheatsheets/

New in 1.4.0

• Songs: an intro, the main, an outro. Set the Song mode (GLO again) to Song, and PLAY starts the piece's intro. The parts come in one by one, each fading in over two to four bars, off the phrase lines. The kick goes from the downbeat to one and three to four on the floor, and the hats come in last. The chord's filter starts dark and opens, and the echo starts wetter. Then comes the main, the piece as Endless plays it. Then the outro, the mirror of the intro: the hats leave first and the chord and the noise last, every stab thrown into the echo, then silence, and PLAY goes off by itself. Endless plays as ever, starting full, and it's still where DUB-1 starts.

• The Song page (HOME again, between Form and Key): Intro, Main and Outro in bars, a phrase (8 bars) a click (Intro or Outro can be None), and its Kind: Ambient (the noise and the chord's wash first, then the kick) or Pulse (the kick and the bass first). Each piece has its own song. The middle draws the song's shape, a row a part from where it comes in to where it leaves.

• Outro now: hold HOME and press PLAY, and the outro starts from the next phrase, in any mode (in Endless too: a way to land a piece by hand). Do it again to go back to the main.

• Set plays the pieces in turn, from the one you're on to the last (Haze), then rests. Transition (the Song mode page's KNOB 2) says how one piece hands over to the next:

  • LP, as an album: each song ends, a pause of about six seconds, then the next from its intro;
  • Segue, no stop: the old chord's dry fades out over the outro's last bars while its stabs go on into the echo, the echo is held on a last stab, and the next piece's intro starts on the downbeat under it. The echo's time glides to the new tempo, like a tape slowing down or speeding up;
  • Mix, a DJ's hand-over: over the outro's last phrase the tempo glides to the next piece's, the echo keeping time, and the old harmony is left in the held echo. The new piece's kick comes in at full level on the downbeat with its noise, its bass a bar later, then its chord, pings and hats once the old echo has gone.

• The Arrangement page (SEL; PERFORM until now) is a mixing desk. LED meters, a row a part: the chord, pings, bass, kick, hats and noise, and the master, from −48 to 0 dB in green, yellow and red. Each row shows the peak held for a second and the part's level as a white fader notch. A muted row is dark and a soloed-out one dimmed. Under them, DUCK shows the duck as a compressor's gain reduction, eating segments with each kick. A red ! in the header means the master is clipping. The knobs: Width (the whole mix from mono to wide, the piece's own, moved here from the Echo page), KNOB 2 empty, Wet and Duck.

• Six parts on white 1–6: the chord, pings, bass, kick, hats (with the rim and the clap) and noise. The kick and the hats are apart now, and the noise has its own key. A tap mutes the part (when you let go). Held, the key gives that part's channel strip on the knobs:

  • Level (the kick's and the hats' each their own fader now), Echo send and Plate send (50 as the piece sends them, 100 twice). The bass and the kick send nothing into the echo in any piece: turn the bass's Echo up for a dub bass;
  • Filter, centred like the DJ filter: left a low-pass (12 dB, down to about 200 Hz), right a high-pass (up to about 2.5 kHz), Off in the middle. It's before the sends, so the part's echo and plate are filtered too. (Asked for by KellyOffski, on GitHub.)

• A throw for every part (black 1–5, each above its part's white key: F♯3 the chord, G♯3 the pings, A♯3 the bass, C♯4 the hats, and D♯4 the kick). A tap solos the part. Held past a third of a second, the key throws it into the echo at its own level, whatever its sends, as an engineer slams an aux. The feedback climbs so the repeats stack, and they ring on after you let go. The bass goes in driven, as through an overdriven aux, so its throw is heard.

• The rest of the keys: white 7–8 are a dark gap; white 9–12, held, are the global moves (Open, Shut, Drop, Echo); white 13–16, held, are four of the effects grid's effects (Time x2, Freeze, Tape stop, Stutter).

• Four dub sirens (black 8–11): Wail (A♯4), Whoop (C♯5), Hi-lo (D♯5) and Laser (F♯5), one siren voice, into the echo. A tap plays a short one, about a bar. Held, it turns into the slow one and loops until you let go, then fades and leaves its tail in the echo. Wail, Hi-lo and Laser are tuned to the piece's key (the root, the fifth, the octave); Whoop is out of tune on purpose, as the classic siren box is. Wail and Hi-lo follow the tempo (Hi-lo tapped, a swap a corchea (8th)).

  • A siren held is its own page: Pitch, Rate (Wail's and Hi-lo's in note values, from a semicorchea (16th) up to 8 bars; Whoop's and Laser's per second), Depth and Echo (past halfway the echo's feedback is pushed too, so the repeats stack). Each siren keeps its own settings for its next tap, the same for every piece, and they're saved.

• The dub mixer: the desk rides itself, as a dub engineer's hand on the faders. Each part's level and sends, the chord's filter and the echo's feedback move slowly, to a new place every 10 to 60 seconds, starting anywhere in the bar rather than on the phrase lines. How far they go is the Form page's Drift. Now and then a part is ridden right out and back, or its echo is swelled, which is Motion's (below). The rides move around your settings, never on them, and the meters' notches and a held strip's knobs show them. They rest in Breaks and Thins, and under Lock and dub hold.

• How the music changes: the Form page (HOME; the Dub page until now): Energy, Vary, Motion, Drift. The three new ones follow what the classic dub techno records do: at 50 the records' middle, at 0 still, at 100 the most restless of them.

• Vary (in Evolve's place, on a new scale: 50 is the classic records' middle): how much the loop changes, from held to restless, every step heard. The stab pattern turns, stabs and whole bars drop out, the shaker's steps trade places, the pings change notes, the bass's and the drums' phrase plan is drawn again, and the kick's shape wanders. At 0 there's no variation at all: every stab every bar, the kick keeps its shape, the plan stays as drawn, no throws.

  • Each layer's own Vary (on its part page) is a trim on it: 0 follows the Form page, right is more restless, left is stiller, and at the far left Hold that layer never changes, whatever the Form page says.

• Motion is the arrangement alone, in three zones, each one adding a new kind of event:

  • Breathes (0–39): at 0 nothing ever leaves. From there, parts are ridden out and back (the pings, hats or noise fully out, the chord or the bass 12 dB down), echoes swell, and the kick drops out for a bar or two, off the 8-bar grid;
  • Sections (40–69): Thin and Groove phrases join, rarely at first, then often;
  • Breaks (70–100): Breaks join, the kick and the bass out for a phrase.

• Drift: how much the sound moves, one amount for all of it: the chord's and the noise's LFOs, the filter's long sweeps (a new place every 6 to 20 bars, Basic's every 4 to 14, off the phrase line), the stabs' filter, the echo's heads and feedback wandering, and the dub mixer's rides. At 0 the sound holds still; at 50 the chord's filter moves about an octave, the levels a few dB. Turning it leaves the notes and the arrangement as they were.

• Energy is on the Form page alone. It leans the arrangement but never locks it: far down a Groove comes as a Thin, far up a Break comes as a Groove.

• The zones on the screen: Motion's ring is drawn in segments, and while it turns the big ring shows the zone's name and what it adds ("Parts out and back, the kick out a bar or two"). The Drums page's Hits (Shaker, Open hat, Offbeats, Rim) and the Bass page's Density (Sparse, Pickups) show theirs the same way. Every other knob changes something at every step (see Fixed).

• The LFO pages: Chord LFO (ENV a fourth time) and Noise LFO (SAVE a third time). Each moves two ways at once: a wave, a sine locked to the bars, and a wander, slow and random, like a hand riding the filter (a new place every 8 to 32 bars, glided to). The records drift far more than they cycle. The knobs:

  • Drift: more or less of the Form page's Drift for this LFO (the far left, Still);
  • Wave: the share between them, 0 the wander alone, 100 the wave alone;
  • Rate: 1 to 32 bars;
  • Target (ALGORITHM too): the chord's Cutoff, Reso or Colour; the noise's Filter (a low-pass on the whole noise, hits and hiss), Tone or Air.
  • The picture runs across the screen: what it did at the left (the wave's part and the wander's part drawn apart), now in the middle, where the wave is going at the right, and its reach in Hz at the left edge.
  • The bass and the pings have no LFO now: the records never move a dub bass that way, and the pings' was hardly heard.

• The moving knob: the knob an LFO moves (the Chord voice's Cutoff or Reso, the Chord FM page's Colour, the Noise voice's Tone or Air) shows its reach and a white dot where it is now.

• SELECT is the DJ filter, on every page (after the volume, the control you reach for most): left shuts it, right opens it, a notch at Off, a big ring in the middle as it turns. HOME held + SELECT is still the tempo. The pages are on their buttons.

• Every layer's pages in the same order: its part (what it plays and how often that changes), its voice (how it sounds), its FM page, then for the chord and the noise their LFO. An empty place stays empty, so the same thing sits in the same place on every layer:

  • Chord (ENV): Density (now a count, 1 to 6 stabs a bar), Throws, Change (how long a chord lasts, from HOME), Vary; Chord voice: Cutoff (now centred on the piece's own), Reso, Attack, Decay; Chord FM: Algo, Ratio, Feedback, Colour (on every voice); Chord LFO;
  • Pings (ARP): Density, Vary; Pings voice: Octave, Tone, Length, Bend; Pings FM: Algo, Ratio, Feedback, Upper;
  • Bass (LFO): Groove, Vary, Density, Fifth; Bass voice: Octave, Shape, Gate, Glide; Bass FM: Algo, Ratio, Feedback, Bite (on every voice);
  • Drums (SEQ): Kick, Hits, Vary; Kick: Tune, Length, Punch, Rumble; Hats: Level, Tone, Length; Pattern;
  • Noise (SAVE): Density, Vary; Noise voice: Air, Tone, Decay, Width; Noise LFO.

• The kick's shape is a switch (the Drums page's KNOB 1): Four, Ghost (two and four ghosted), Half, One, a click a shape, heard from the next bar.

• The rumble (the Kick page): dub techno's rumble kick, a dark unpitched bed under the kick (about 30–80 Hz, mono), ducked on each kick and swelling before the next. Every piece has some.

• The Echo page (FX again): Blur, Tone, Size and Cloud (from the Pings page).

• The Key page: five Japanese scales (Hirajoshi, In, Iwato, Yo, Insen), their chords stacked in fourths, a half-step never two notes side by side in a stab (the upper one an octave up, a minor ninth); and tempos from 40 BPM (they started at 90). Under about 43 BPM a one-bar echo stays at the tape's 5.6 s. (Both asked for by KellyOffski.)

• The Chords page shows a keyboard under the slots (C3 to G5): the chord of the slot you're on, its four notes as the stabs play them, the root marked.

• The Walk page (EDIT again): the walk on the circle of fifths, the root's journey: the root a dot, an arrow from the root before fading over four bars (a close move or a far one), and dots filling towards the next chord. Its knobs: Walk (Home, Wander, Free) and Change.

• A big ring for every knob: while you turn a knob, its value shows large in the middle on a panel that darkens what's behind, its name over it and what it does under it. A centred knob fills from the top, a choice shows its name.

• Knobs without numbers: the rings under the page are bigger and the names brighter. A number shows for a second and a half when a page opens, and in the big ring while it turns. A knob with a word or a unit shows it ("LP 2.6k", "64 bars", Wander), and a choice shows its word with a dot for each option. Values: Always (the Song mode page, KNOB 4) keeps the numbers in the rings.

• The header shows where you are: the piece's name, the section (FULL, GROOVE, THIN, BREAK; INTRO, OUTRO in a song) and the phrase's eight bars as cells. The B bars are taller, the bar playing flashes on the beat, and the eighth blinks before a change. On the right, only what's on now: HOLD, LOCK, SOLO, a small disk for unsaved changes, EXT, the clip's !, the battery when it's low or charging. In a song a line along the bottom is the whole song (the intro teal, the main grey, the outro coral). The tempo is on the Key page now.

• The rule above the knobs: the page's name and its place among its button's pages at the left (CHORD VOICE 2/4), the voice, kit or character at the right.

• The lanes: seven rows (CHD, PNG, BAS, KCK, HAT, R/C, NOI), the pings' and the noise's hits new, each row with a short level meter at its left. The level strips and the duck meter have left the other pages (the Arrangement page has them).

• A layer's page shows its own lane, large: the chord's stabs (each as tall as it was struck, its tail, its repeats, a throw framed), the pings' four loops drifting against each other, the bass's notes as long as they hold, the kick and the hats, the noise's two bars. The phrase's A and B bars are marked, and turning Density, Groove or Hits shows there at once.

• Bigger pictures: the ripples spread to the screen's sides, the bass's notes are gold rings beside the chord's, and the chord's name flashes white with each kick. The scope and the spectrum span nearly the whole width.

• The tape (a new view on ALGORITHM): two reels turning with the tempo and winding through a song, the record and play heads lit. Its counter shows where the song is and the bars left of that part, the time since PLAY and a song's whole length.

• Lighter on the CPU: a piece change is spread over a few blocks (it spiked to 100%), and the engine's busiest code runs from fast memory. Measured on the FM-1, the heaviest moments fell from 4.5–5.1 ms to 3.0–4.4 ms of a 5.8 ms block, with no dropouts on the heaviest pieces. The Setup page shows the CPU's clock, the build and where the time goes.

• The pieces, measured against their records: each piece's Vary, layer trims, Motion and Drift were set from the albums it's modelled on, measured the same way on both. Basic, Chamber, Steppers and Haze change less from one 8 bars to the next (Vary 50, 31, 58, 40). Fog's chord and pings sit back, its drums and bass forward, Drift 100. Concrete and Night Drive drift further (90, 85), and Night Drive's LFOs wander more. Pressure's stabs nearly hold. The filter's long sweeps are slower, except Basic's. A piece you've changed and saved stays as you left it. A piece you haven't changed takes its new recipe.

• Fourteen cheat sheets (new, printable on A4): The panel, Arrangement, Chords, Chord voice, Pings, Bass, Drums, Noise, The space, Effects grid, Variety, Songs and sets, The pieces, The screen.

Changed

• The pages' names: HOME's first page is Form (it was Dub), FX's is Dub (it was Space), SEL's is the Arrangement page (it was PERFORM).
• SELECT no longer steps through the pages: it's the Filter. Energy moved to the Form page, Width to the Arrangement page, Cloud to the Echo page. HOME's Drift (how long a chord lasts) is now Change on the Chord and Walk pages.
• Evolve is now Vary. Its own nudges are gone: the sound moves with Drift, and a layer's button held still nudges it by hand. How loosely each piece plays (each stab's cutoff, the hats' lean, how many throws get through) is now the piece's own, on no knob.
• The chord's and the pings' Wet left their pages: their sends are their channel strips', the dry against them is each piece's own, and the Arrangement page's Wet still moves it all.
• Gone: the Noise space page (its Width is on the Noise voice, its Plate and Echo on the noise's strip), the Mix (white 6 held: each part's level is its strip's now), the FM pages' LFO, the pings' and the bass's LFO, and PERFORM's Siren key (the grid's Siren is unchanged). The Drum sound page is now the Kick and the Hats pages.
• The noise's Air runs from no hiss at 0.
• The cards (a nudge, a shake, a key on the Arrangement page) stay for about a second, fade and all (they stayed a second and a half).

Fixed

• Energy no longer locks the arrangement. Past halfway it held the phrases Thin or Full, and Motion stopped working.
• The chord's LFO no longer pulls the plate about. Since 1.3.0 the two shared one value, so the chord's LFO moved the plate's shimmer.
• Every step of a knob is heard. Some knobs had steps that changed nothing: the chord's Density (95 steps for six counts: now the count itself), Hits and the bass's Density (now each step fades in the next hit or note), the noise's Density, the hats' and the pings' Tone (now reaching both ends on every piece), the noise's Tone and Decay, the echo's Tone at the top, the Pad's Attack, Drone's Gate and Energy's ends. Motion 40, its mark, still played Full only, and the bass's pickups started at 31: both now start where marked.
• The CPU's peaks: a piece change could spike the load to 100%, and Steppers, Pressure and Haze broke up now and then (see Lighter on the CPU, above).
• A Mix into a piece with no intro (Intro None): its parts came in full on the downbeat, dropped out and came back. Now they enter as into any piece: the kick on the downbeat, the bass a bar on, the chord, the pings and the hats two bars on.
• PRESET turned fast could hand a piece the chords of the one it passed through, and the other piece lost them. Each piece now keeps its own.
• A key on a gap slot (the Chords page) gave the chord the wrong root. Now it writes a minor chord on the key's note.
• The centred knobs' notch didn't let go of 0 on a slow turn: the three clicks to leave it now count over 3 s.

Upgrading

Every project saved by DUB-1 since 1.0.0 loads (the save format is now 35), converted so it sounds as it did. A piece you never changed takes its new recipe, as it always has. A piece you changed keeps what you set, moved to its new place: Evolve becomes Vary, moved to Vary's new scale as near as it sounded, and each layer's old Vary becomes the trim that sounds the same. The LFOs' depths become the Form page's Drift and each LFO page's Drift and Wave. An old Motion becomes the new Motion, as near as it played. A chord Cutoff you set is kept as its offset from the piece's own, HOME's Drift becomes Change, the chord's Density becomes its count of stabs, and the kick's Density shows as its nearest shape. A piece you changed keeps the filter's sweeps at their old pace. The Noise space page's values are on their new pages. What's new comes from the recipe: the channel strips (the sends as the piece sent, the Filter off), the song (Intro 32, Main 160, Outro 32 bars, the piece's Kind), the LFOs' Rate and Target (Cutoff and Filter, as they played) and the rumble. The Song mode starts on Endless, Transition on LP, the sirens as they come and Values on Peek. To hear a changed piece as 1.4.0 tunes it, hold GLO on for 1.5 s on that piece: it goes back to its new recipe (save to keep it).

Installing

Use the web installer above, or download dub-1.4.0.fwsc below and run python3 tools/fm1_install.py dub-1.4.0.fwsc from a checkout of the source. To go back, use the installer's "Back to the stock firmware", or M-VAVE's M-UPGRADE. Installing other firmware is at your own risk; an FM-1 that fails to start twice comes up in a safe mode the installer can reach.

Credits

A fork of AMB-1 by Charles Vestal. The granular cloud follows JIANT's CLOUD. The noise machine follows Bahadirhan Kocer's "Using Resonators in Live". The platform is Felucca by Leo Kuroshita (Hügelton Instruments), by way of X0X, FoMni-1 and AMB-1. Thanks to @KellyOffski for the per-part filters, the Japanese scales and the slow tempos. GPL-3.0-only. M-VAVE and FM-1 are trademarks of their owners; DUB-1 is not affiliated with M-VAVE or Hügelton Instruments.

DUB-1 1.3.0 is the musical release. After measuring seven classic dub techno albums, the loop now holds the way theirs do, the echo comes back clean and then dissolves, the sound is wider, and the eight pieces are eight different ideas. The chord machine opens up too: the progression DUB-1 is about to play is on the screen, eight chords ahead, to change before it arrives or catch in a loop. The drums and the bass play in phrases you can lock, and the noise is a new voice that rings on the chord.

Try it in the browser: https://sbegueria.github.io/fm1-dub/emu/ Install from Chrome or Edge: https://sbegueria.github.io/fm1-dub/install/ Manual: https://sbegueria.github.io/fm1-dub/manual/

New in 1.3.0

• The Chords page (EDIT) shows the eight chords coming. The random walk that picks DUB-1's chords now writes them into the eight slots ahead of time:

  • the walk's chords are shown in teal. They're degrees of the scale, so they follow the key and the mode when you change them;
  • the chords you write are shown in white, and stay as written;
  • a gap ("(HOLDS)") keeps the chord before it going.

• Endless: the chord playing is always slot 1. When it moves on, every slot moves up one and the walk writes a new chord into slot 8. Change a chord before it comes; make a gap and it stays a gap.

• The walk's character (ALGORITHM on the Chords page): Home ("stays near home": the walk as it was, home often, the IV most), Wander ("roams wider", the new default: more of the scale, rarely bouncing straight back) or Free ("goes anywhere": the most varied). Turning it rewrites the walk's chords at once, so you hear the difference; in Loop it rolls a new loop.

• Endless or Loop (KNOB 4).

• Loop: the eight in turn, nothing new. Switch to it to keep a progression you like as it goes by, and shorten it by turning the last slots into gaps.

• Editing a walk's chord (a key for its root, or KNOB 2 or 3) makes it yours, starting from how it sounds. The page is just the slots now; a knob's help line says the rest.

• ALGORITHM turns the screen view (ripples, scope, spectrum) on every page but a layer's, the Noise page and the Chords page, so you can change the picture wherever you play. The mode, a piece's choice, stays on the Key page (HOME again), safe from a stray turn mid-set.

• The modes, the most common first (ALGORITHM and the Key page): Minor, Major, Dorian, Mixolydian, the pentatonics, Phrygian, Lydian. Aeolian and Ionian are now shown as Minor and Major.

• A new sound, closer to classic dub techno. After measuring DUB-1 against Basic Channel and modern dub techno: the kick softer and further back, the bass held under it and pumping on its own, the chords half an octave higher and brighter, the hats moved down into the 2-8 kHz range, the pings less dry, mono below 150 Hz. The drums and the bass now sit back, as from the next room; the chords come forward.

• The echo, clear then dissolving. The first repeat comes back clean, a copy of the stab on its time; each repeat after it goes through a chain of allpass filters on its way round, softer and darker than the last, until it melts into a wash (the dub way). Each new stab ducks the returns for a moment, so the repeats are heard between the stabs, not over them; a thrown stab's ride over. Less of the echo goes into the plate, and the repeats sit above the chord's low mids, where the mud was. The echo plays from one head (the second joins in only while a thrown stab rings); the Echoplex's short taps are out of the mix.

• A wider sound. The echo's right side a few milliseconds behind its left, and the stabs and the pings each side taking a little of the other's, slowly drifting: the music as wide as the classic records without the voices panned further. Under 80 Hz the mix stays mono. The Echo page's Width sets it all (Fog and Night Drive at 85).

• The Echo page (FX on the Space page, again; FX blinks): Blur (clean repeats to a dissolving wash), Tone (the repeats darker or brighter), Width (the echo, the stabs and the pings mono to wide) and Size (how long the plate rings, until now the piece's alone).

• Feedback is the tail's length, shown in seconds: how long the repeats take to die away, 1.5 s to 15 s. The loop's gain follows the echo's time, so a long echo fades as soon as a short one. Throws, PERFORM's Echo key and the grid's Swell still push it past. The pieces' tails are now 4 to 8 seconds (they were 10 and more).

• Density first, on every layer's page (KNOB 1), and each page's four in a new order:

  • Chord: Density (the stabs a bar), Throws, Wet, Cutoff. Decay moved to the Chord sound page (ENV again), in place of Env, which is now the voice's and the piece's;
  • Pings: Density, Octave (KNOB 2, as the bass's), Wet, Cloud;
  • Bass: Density (was Notes), Octave, Groove, Fifth;
  • Drums: Density (the kick's shapes), Hits, Hats, Tone (the hats dark to bright, from the Drum sound page). Duck moved to PERFORM; Swing is on the Key page only;
  • Noise: Density, Air, Tone, Decay; its level on OCT− / OCT+, as the layers'.

• The sound pages: the chord's is now Attack, Decay, Colour, Reso; the drums' fourth is Hat len (how long the shaker and the open hat ring). The knobs whose lower half did nothing are now one-sided, 0 to 100 from the voice's own: the chord's Attack (slower only), the pings' Bend (more only), the FM pages' Feedback (more only). The sound pages show their layer live (its ripples, scope or spectrum, and the chord's name) in place of the envelope.

• The FM pages' fourth knob is an LFO in time with the bars: the chord's filter over two bars, the pings' brightness over one, the bass's bite over four. It works on every voice, FM or not (the page greys the other three on a voice that isn't FM). Mod dec is gone (the voices keep their own). Ratio is grey and rests on a two-operator algorithm, which has no operators 3 and 4.

• The other new knobs:

  • Throws (Chord): how often a stab is thrown into the echo: none at 0, about one stab in eight at 50, about one in three at 100 (more in a Break). They no longer follow Evolve, but there are none at Evolve 0. A thrown stab's dry is 6 dB down, so it's the echo you hear;
  • Wet (Chord): the stabs dry against their echo, from up front through −6 dB (50) to almost all echo, the echo up to 1.7 times;
  • Wet (Pings): the pings dry against their echo, from up front through as the pieces have them (50) to almost all echo;
  • Density (Bass): how many of the groove's notes play, 100 all of them; fewer, some left out at random, the bar's first kept;
  • Hats (Drums): the shaker and the open hat against the kick, about ±12 dB around the pieces' (50).

• The loop holds: Motion in three regions (marked on its ring at 40 and 70). Under 40, Full only: the kick never leaves, and the music moves by its filter, its echo and its texture, as the classic records do. From 40 to 70, a Groove or a Thin now and then; from 70, Breaks too. Departures are at least 32 bars apart; fills only from 40. PERFORM's Energy and Drop still break it by hand.

• The kick, a few phrases at a time: none, the downbeat, one and three, four with two and four ghosted, or four on the floor, drawn round the Drums page's Density and kept for two to six phrases (Evolve). From Density 90, four on the floor in every Full phrase; at 100, always. A piece starts on four on the floor, and the kick comes back whole after a Break.

• The drums and the bass in phrases: A A A B A A A B. A is the main bar, played exactly the same each time; B, on bars 4 and 8, is a variant drawn once a phrase, sparse (the kick on the downbeat, the shaker on the eighths, the bass every other note) or busy (a ghost kick and the hats' pickup into the next bar, the bass's whole groove). Which of the hats' and the bass's notes rest, the hats' feel (their accents, how late they come) and the bass's octave note are drawn once a phrase too, and are the same every bar, instead of a new throw of the dice on every note. At a phrase's start the plan is kept or drawn again, more often as Evolve rises, never at 0. The shaker's pattern now changes only at a phrase's start. Your own patterns (the Pattern page) play as written, with each lane's Chance.

• Shake everything: hold HOME for 1.5 s and the chord, the pings, the bass, the drums and the noise all take a shake at once (another voice, kit and character, every sound value a big step). Again and again, to explore until something sounds right.

• Lock (SEL held for half a second, from any page; a tap is still PERFORM): found a groove you like? Each new phrase keeps the kick's shape, the noise's groove, the plan (its B bars still B) and the shaker's pattern, and Evolve's own nudges and groove moves rest, while the chords, the sections, the stabs and the pings go on. "lock" shows in red above the page's name. Not saved: off at every start.

• The ghost duck: the music breathes on every beat, the kick or not: a beat without one ducks it a little less, and less again in a Break, so the pumping goes on whatever the kick does.

• Looser and sparser, all of it tightening as Evolve goes to 0: now and then a bar with no stab (about one in five at Evolve 40), more gaps, the stab pattern turning every two bars; each stab its own cutoff (up to half an octave either way), and the arrangement's filter sweep wider (an octave and a half), the echo's band moving further with it; in Auto, the hats looser (some steps resting, wider accents, a few milliseconds late: the phrase's feel, above).

• The noise machine. The noise is no longer a bed but a voice: a crackle groove, hits on a two-bar pattern of sixteenths (redrawn by the phrase, or kept, so a motif comes back; fewer in a Break and Thin), each striking three resonators tuned to the chord's root, third and fifth, low, through a band-pass that keeps almost nothing above 2 kHz. Under it the Air, a quiet hiss, and now and then a dry click. It sits under the duck, deeper than the music: it dips on each beat and swells between. Into the plate, a little into the echo, more on a throw.

• The Noise page, on SAVE: a tap opens it (again, Noise space, below): Density (how many hits in two bars), Air (the hiss), Tone (the rings darker or brighter) and Decay (how long each hit rings on the chord); the level on OCT− / OCT+. ALGORITHM for its character: Vinyl (the groove rung on the chord), Tape (the hiss through the resonators too, a pad swelling between the beats), Dust (dry clicks and bursts, no ringing), Room (on the key's tonic triad, long) or Machine (inharmonic, metallic). Each piece has its own. SAVE held nudges the noise; held on, shakes it.

• Noise space (SAVE again): Width (the rings mono to wide), Plate and Echo (how much of the noise goes into each, none to twice) and LFO (the rings' tone swept over a bar, brightest on beat 2 where the chord's is on beat 3). Each piece has some, and its chord a little of the chord's LFO.

• Eight pieces, eight ideas. After measuring seven classic albums, each piece now follows one: Basic Basic Channel's BCD (held, short stabs, a clean dotted-eighth echo, almost no hats), Steppers Maurizio's M-Series (the most frozen loop, one chord, the open hat on the ands, swing), Chamber Fluxion's Vibrant Forms (128, the chord up front, a half-note echo), Night Drive Intrusion (120, offbeat bass, very wide, a played filter), Concrete Monolake's Hongkong (136, a glassy top, loud hats, deep sweeps), Pressure Porter Ricks' Biokinetics (never breaks, a wide noise bed), Fog Echospace's The Coldest Season (pads, hiss, very wide), Haze the sparse intro. The drums and the bass forward again, the master 2 dB louder, the level steadier.

• The pages in the panel's order: SELECT steps through them as their buttons sit, FX ENV LFO GLO then HOME SAVE ARP SEQ: Space, Chord, Bass, Setup, Dub, Noise, Pings, Drums. Eight dots under the page's name, top right, show where you are. The Texture page is now the Pings page. SELECT from the Noise page goes on from the Noise page's own place in the round.

• One rule for the buttons: a button with one page stays on it when pressed again (EDIT, SEL, GLO); one with several steps through them (HOME: Dub, Key; FX: Space, Echo; SAVE: Noise, Noise space; a layer's: its page, its sound page, its FM or Pattern page). A page's button or SELECT leaves PERFORM (the keys the scale again; SEL brings it back).

• A notch at 0 on every centred knob: turning through, it stops at 0, and leaving it takes three clicks the same way. Switches of up to ten positions show them as dots (Algo, Drift, Mode).

• The levels on OCT− / OCT+: on a layer's page (Chord, Pings, Bass, Drums, Noise, and their sound pages) they turn that layer down or up, 5 a press, held to keep going; the header says it ("BASS 55"), and the level ring shows it (below). Press both together and let go: the layer is muted, its level kept ("BASS MUTED"); again, back. Held five seconds, they still start the update mode, and never mute. PERFORM's mix (white 6 held) has the four levels too, a muted layer's knob grey. The pings' octave moved to the Pings page.

• PERFORM's knobs: Filter, Wet, Energy, Duck. Wet is a master action: the chord's and the pings' Wet, the echo's send and the noise together, the whole music dry and close or drowned in the echo, an offset for playing (not saved). Duck is the piece's own, moved here from the Drums page. (1.2.0's Dub and Space are gone: the Space page has the echo and the reverb, and Wet the echo for playing.)

• True mutes in PERFORM: white 1–5 mute the chord, pings, bass, kick and hats without touching their levels, the same mutes as OCT− + OCT+: a mute made one way shows on the other.

• Saving moved to GLO: hold GLO and let go to save (a card says SAVED); or turn the Setup page's new Save knob (it shows Save while there are unsaved changes, Saved after). Hold GLO on for 1.5 s to put the piece back to its recipe. DUB-1 still saves by itself while resting.

• The nudge: hold a layer's button (ENV the chord, ARP the pings, LFO the bass, SEQ the drums) for half a second, and its sound takes a step somewhere new: three or four of its values each move, like a random walk pulled back to the piece's own sound, so nudges explore round it and never wander off. A card in the middle says what changed, and the layer's sound page comes up with that knob lit.

• The shake: keep holding (1.5 s) for the wild one: the layer gets another voice (the drums another kit) and all its sound values take a big step.

• The bass, sparser or busier: the Groove knob runs from sparse to busy (Drone, Offbeat, Dotted, Sync, Roller), and Density thins any of them; Energy in PERFORM thins or fills the bass line along with the rest.

• The bass's groove moves too: the bass's shake (LFO held on) changes its groove to a neighbour (Drone, Offbeat, Dotted, Sync, Roller), and with Evolve above 60 the groove now and then moves by itself, and comes back, every few minutes at the most.

• The space too (FX): a nudge to the echo, the reverb, the plate and the cloud; its shake gives a new echo time.

• New chords (EDIT held on, 1.5 s): the walk rewrites its whole progression at once (yours, the gaps and the chord playing stay); a shorter hold still moves on to the next chord.

• Evolve nudges too: above 40, now and then on a phrase's first bar, one layer's sound takes a smaller step by itself, so a long run slowly changes colour. It never shakes.

• A card for every long press, in the middle of the screen for a second and a half: a nudge (amber) or a shake (red) with what changed, the next chord (EDIT held; gone the moment the chord changes), new chords (EDIT held on), saved (GLO held), reset (GLO held on), Lock on or off.

• A level ring: OCT− / OCT+ show the layer's level as a big ring in the middle of the screen, in the layer's colour, gliding to the new value; muted, it turns grey. It fades a second after the last press.

• The screen, rearranged: the page's name top right, larger, in teal (PERFORM's there too), the round's dots under it, SOLO beside it, "hold" and "lock" in red above it; the knob strip keeps the voice's name and its rule. The Drift bar is a thin line under the phrase's eight dots, top left. Dots 4 and 8, the B bars, are brighter; on the last bar dot 8 blinks when the next phrase brings a change (a new plan, kick shape or section). A new chord comes in big and teal, bouncing big, small, big, small, and settles white.

• Each layer's page shows that layer alone: the ripples are its own notes, in its colour (the stabs, the pings with their loops' dots, a ring a bass note, a ring a drum hit), and the scope and the spectrum its own sound; the Noise page shows the noise's spectrum. The lanes below show the layer's own in colour and the others in grey. Dub, PERFORM and the other pages show the whole piece.

• Ripples drawn from the sound: each ring's outline is the wave as it sounded when the note was struck (a soft pad a smooth ring, a bright stab a jagged one), and the echo's repeats are measured from what the echo really puts out, so a filtered, ducked or dropped echo shows as it sounds. Under it all, the noise: a grey speck for each of its hits and clicks you can hear, a brighter one for a strong hit.

• What a knob does, on screen: while you turn a knob, the line above the knobs says what it does ("HOW LONG THE REPEATS GO ON"); the rule comes back a moment after.

• Lighter on the CPU: the plate at half the rate (it sounds the same, and frees memory), the noise a third cheaper, the master's soft clip cheaper, the stabs stop working once they're inaudible; and a safety valve: when a moment runs heavy (past 75%), DUB-1 sheds for half a second what is least heard (the quietest tails, the cloud's and the noise's new grains and hits, the width), so a crowded moment doesn't break up.

• The help cards are gone (a held button now nudges, and the firmware is a little smaller); the manual has it all. The cards now say what a long press did.

Fixed

• Holding REC for the effects grid on the Chords or the Pattern page flickered between the grid and the page.
• The grid's Crash was white noise 15 dB over the music: now a darker burst, eased in, at about the music's own level. The Siren and the Riser are 4 dB down (they stood 6 dB over the music).

Upgrading

A piece you never changed takes its new recipe, so it sounds as 1.3.0 tunes it (DUB-1 recognises it against that piece's recipes since 1.0.0, and its scale). A piece you changed keeps its settings (the save format is now 17; older projects are converted). Its values that are new come from the piece's recipe: Throws, the pings' Wet and Hats as the pieces have them, the bass's Density, the chord's Wet, the kick's Density, the echo's Blur, Tone and Width, the noise's Decay, Width, Plate, Echo and LFO, the hats' length. The one-sided knobs (the chord's Attack, the pings' Bend, the FM pages' Feedback) keep a value you set where it fits, a negative one becoming 0; a Mod dec you set comes back as the LFO's depth (a negative one as 0). Duck keeps its value, on PERFORM now. Your Feedback keeps its number, now read as the tail's length, and the noise keeps its level and its knobs (Colour now Tone, Grain now Density, Room now Air). To hear a changed piece as 1.3.0 tunes it (the new noise level, the shorter tails, the recalibrated stabs and kick), hold GLO on for 1.5 s on that piece: it goes back to its new recipe (save to keep it). A piece with chords you wrote keeps them; its empty slots become gaps. A piece with no chords written starts with eight from the walk. "Random" is now the walk on Wander, and "Prog" is Loop.

Installing

Use the web installer above, or download dub-1.3.0.fwsc below and run python3 tools/fm1_install.py dub-1.3.0.fwsc from a checkout of the source. To go back, use the installer's "Back to the stock firmware", or M-VAVE's M-UPGRADE. Installing other firmware is at your own risk; an FM-1 that fails to start twice comes up in a safe mode the installer can reach.

Credits

A fork of AMB-1 by Charles Vestal. The granular cloud follows JIANT's CLOUD. The noise machine follows Bahadirhan Kocer's "Using Resonators in Live". The platform is Felucca by Leo Kuroshita (Hügelton Instruments), by way of X0X, FoMni-1 and AMB-1. GPL-3.0-only. M-VAVE and FM-1 are trademarks of their owners; DUB-1 is not affiliated with M-VAVE or Hügelton Instruments.

DUB-1 1.2.0 is made for playing live: a DJ filter under your hand on the main page, and PERFORM's knobs turned into master actions (Filter, Dub, Energy, Space), with the mix one key away. The pages are tidied: the piece's key and tempo on a page of their own, and Setup only for what holds for every piece.

Try it in the browser: https://sbegueria.github.io/fm1-dub/emu/ Install from Chrome or Edge: https://sbegueria.github.io/fm1-dub/install/ Manual: https://sbegueria.github.io/fm1-dub/manual/

New in 1.2.0

• The Filter (HOME, KNOB 1): the DJ filter on the whole music, the kick left out so it keeps pumping. Turn it down and the music goes under water (a low-pass to about 230 Hz). Turn it up and it thins and brightens (a resonant high-pass to about 400 Hz). It's Off in the middle, where the knob stops on its way through. PERFORM's Open and Shut keys push on top of it.
• PERFORM's knobs are the master actions (SEL), each 0 in the middle, the piece as written:
  • Filter, the same as on HOME;
  • Dub: the echo's send and feedback, from dry and tight to a runaway;
  • Energy: from a sparse, dry groove to a busy, bright one: the ping notes and level, the shaker's hits and level, the stabs and their length; far down, the next phrases go Thin (no bass, no shaker); far up, they stay Full, with a fill into each;
  • Space: the reverb, the cloud and the plate.
• Hold white 6 (it blinks slowly in PERFORM) for the mix (chord, pings, bass, drums) on the knobs, as they were. The mutes still act the moment you press them.
• For playing, not saving: the master actions stay where they are when you change piece, so a transition can be played by hand: Filter down, change piece, open it up. They're back in the middle when the FM-1 starts.
• The Key page (HOME again): Tempo, Root, Mode and Swing, the piece's settings a dub track seldom changes. HOME blinks while you're on it; HOME + SELECT is still the tempo from any page.
• The screen view (ripples, scope, spectrum) is now on ALGORITHM on the Dub page. It was HOME again.
• Each piece keeps its own screen view: Haze on the spectrum, say, and Pressure on the scope. Changing piece brings back that piece's view, and SAVE keeps them all.
• Setup (GLO) keeps only what holds for every piece: Tune, MIDI out and Lights. The root moved to the Key page.

Fixed

• Tape stop with a long echo, in dub hold, could read past the end of the tape's memory at a slow tempo with a one-bar echo (reported by genkigenki). The slowing tape now stops at the tape's end.
• ALGORITHM and PRESETS count every detent of a quick turn (a fast turn used to skip steps).
• The kick or hats back in PERFORM keep the Drums level as it was. Un-muting one while the other played set Drums to 100, a jump of about 4 dB.
• Swing swings everything. It used to delay only the shaker and the rim, so in most pieces you could hardly hear it. Now the whole off sixteenth comes late: the stabs, the bass, the pings and the drums together. The MIDI clock out stays straight.
• The clap no longer clicks: each of its three bursts fades in over a fraction of a millisecond instead of starting at full level.

Upgrading

Your saved pieces from 1.1.0 and 1.0.0 are kept as they are. A few things moved:

• Tempo is on the Key page (HOME, then HOME again), or HOME + SELECT as before;
• the Root left Setup for the Key page;
• the screen view turns with ALGORITHM on the Dub page;
• in PERFORM, hold white 6 for the levels.

Installing

Use the web installer above, or download dub-1.2.0.fwsc below and run python3 tools/fm1_install.py dub-1.2.0.fwsc from a checkout of the source. To go back, use the installer's "Back to the stock firmware", or M-VAVE's M-UPGRADE. Installing other firmware is at your own risk; an FM-1 that fails to start twice comes up in a safe mode the installer can reach.

Credits

A fork of AMB-1 by Charles Vestal. The granular cloud follows JIANT's CLOUD. The platform is Felucca by Leo Kuroshita (Hügelton Instruments), by way of X0X, FoMni-1 and AMB-1. GPL-3.0-only. M-VAVE and FM-1 are trademarks of their owners; DUB-1 is not affiliated with M-VAVE or Hügelton Instruments.

DUB-1 1.1.0 makes the FM-1 more playable: PERFORM gets solos and a real Drop, Open and Shut you can hear, and the pings can stay as you leave them.

Try it in the browser: https://sbegueria.github.io/fm1-dub/emu/ Install from Chrome or Edge: https://sbegueria.github.io/fm1-dub/install/ Manual: https://sbegueria.github.io/fm1-dub/manual/

New in 1.1.0

• PERFORM, reworked (SEL). Three sets of keys with a dark key between them, and every key that does something lit:
  • white 1–5 mute the chord, pings, bass, kick and hats;
  • black 1–5, above them, solo them (more than one at once; their echoes ring out; SOLO shows on the screen);
  • white 7–11, held: Throw, Open, Shut, Drop, Echo.
  • Hold SEL for the key map.
• Drop (white 10): the kick and the bass out while held, back on release: the floor falls away. (It was Kick drop, which did the same as the kick's mute.)
• Open and Shut you can hear. Shut sweeps the whole music under a low-pass while the kick keeps pumping; Open thins it with a resonant high-pass and opens the chords' filter three octaves. Both sweep in over about half a second.
• Pings that stay. At Evolve 0 the ping loops keep their notes, pass after pass; they only change when you change Density. SAVE keeps each piece's pings, so the melody comes back after a reboot or a trip to another piece.
• Feedback shows what it does: 45% to 112%, the loop's real gain (past 100%, the soft clip holds the echo as it swells).
• The screen: the chord's name bigger, on a dark backing so the rings pass behind it (readable in dub hold too). On the Setup page the battery's charge sits in the header next to its icon, and the leftover raw battery reading is gone; nothing in the header shifts as the CPU figure changes.

Upgrading

Your saved pieces from 1.0.0 are kept. Their pings are grown afresh once, then kept from your next SAVE. Note that the PERFORM moves moved up one key (they were white 6–10).

Installing

Use the web installer above, or download dub-1.1.0.fwsc below and run python3 tools/fm1_install.py dub-1.1.0.fwsc from a checkout of the source. To go back, the installer's "Back to the stock firmware", or M-VAVE's M-UPGRADE. Installing other firmware is at your own risk; an FM-1 that fails to start twice comes up in a safe mode the installer can reach.

Credits

A fork of AMB-1 by Charles Vestal. The granular cloud follows JIANT's CLOUD. The platform is Felucca by Leo Kuroshita (Hügelton Instruments), by way of X0X, FoMni-1 and AMB-1. GPL-3.0-only. M-VAVE and FM-1 are trademarks of their owners; DUB-1 is not affiliated with M-VAVE or Hügelton Instruments.

DUB-1 turns the M-VAVE FM-1 into a generative dub techno machine. It plays itself from the moment it's switched on: chord stabs thrown into a tape echo, FM pings on loops of unequal length, a sub bass, a kick tuned to the key that ducks the rest, a shaker, an off-beat hat, a rim and a rare clap, vinyl crackle, and eight-bar phrases that drop the kick for a break and bring it back with a fill. Leave it running, or play it.

Try it in the browser: https://sbegueria.github.io/fm1-dub/emu/ Install from Chrome or Edge: https://sbegueria.github.io/fm1-dub/install/ Manual: https://sbegueria.github.io/fm1-dub/manual/

In 1.0.0

• Eight pieces, each remembering how you left it; the keys are the scale
• A voice per layer on ALGORITHM (7 chord voices, 5 pings, 5 basses, 5 drum kits), a sound page under each layer's button, an FM page with the algorithm drawn (a 4-operator FM engine)
• A Chords page (EDIT): eight slots, root, kind and type, played in turn, or chords chosen by themselves
• A drums Pattern page: five lanes of sixteen steps on the white keys, accents, chance
• PERFORM (SEL): the knobs a mixer, the keys mutes and dub moves (throw, filter, kick drop, echo)
• REC: a tap holds the echo (dub hold); held, sixteen effects on the white keys (tape stop, filters, stutter, siren, riser...)
• A tape echo that feeds back past 100%, a granular cloud, a plate reverb
• The screen shows the echo: each stab a ring, its repeats following, the ping loops circling; the bar as it plays, its echoes flashing. HOME again on the Dub page: a scope, or a spectrum
• A screen reader can follow it (FM-1 Screen Reader)

Installing

Use the web installer above, or download dub-1.0.0.fwsc below and run python3 tools/fm1_install.py dub-1.0.0.fwsc from a checkout of the source. To go back, the installer's "Back to the stock firmware", or M-VAVE's M-UPGRADE. Installing other firmware is at your own risk; an FM-1 that fails to start twice comes up in a safe mode the installer can reach.

Credits

A fork of AMB-1 by Charles Vestal. The granular cloud follows JIANT's CLOUD. The platform is Felucca by Leo Kuroshita (Hügelton Instruments), by way of X0X, FoMni-1 and AMB-1. GPL-3.0-only. M-VAVE and FM-1 are trademarks of their owners; DUB-1 is not affiliated with M-VAVE or Hügelton Instruments.