An alternative firmware for the M-VAVE FM-1, for electroacoustic experimentation, live ambient music and sound exploration.

Install via browser · Manual · Website · Changelog

[!WARNING] Installing Tonitor replaces the firmware M-VAVE ships with the FM-1. It is unofficial, is not made, endorsed or supported by M-VAVE, and installing it may void any warranty that applies to your device. You install it at your own risk; read the disclaimer first.

What it is

Tonitor turns the FM-1, a small FM groovebox, into an instrument for acousmatic and electroacoustic music — sound heard for itself, its texture, its grain and its movement — and for live ambient music, dark ambient above all.

It is not a groovebox. There is no tempo, no step sequencer, no pattern, no drum kit. Instead there are six tracks of sound objects: each track has its own engine, its own sound, voices drawn from a shared pool as it needs them, and its own free loop recorder, and every sound is drawn by algorithms that aim for surprise rather than for a preset that sounds nice. You play textures, drones, gestures and their slow transformations, layer them, loop them freely out of time with each other, and shape them while they play.

The screen is made for low vision: very few words, in very large type, with high contrast, and each track in its own colour.

Highlights

• Eight sound engines, chosen per track:
  • FM — six-operator, DX7-style FM, generating sound objects: bells and gongs, spectral drones, noise, impacts, iterations, glissandi, beating spectra, sub-bass, creaks.
  • ANIMA — a lo-fi synthesizer played by a simulated hand (oscillators, FM, grains, noise, filters, folding, a phaser and a resonator), all moved by the hand's gestures.
  • CALIGULA — a restless eight-oscillator organism after the architecture of the LYRA-8, with cross-modulation, a hyper-LFO, bursts and surges, and a simulated hand on its plates.
  • RUSSOLO — noise, logic and broken buffers: sample-and-hold and dusty noise, oscillators combined bit by bit, generated buffers read with their address bits bent, chance-driven tones; crushed and sample-held like a small DAC.
  • DRUID — strings and resonant bodies after Mutable Instruments Rings: a Karplus-Strong string with dispersion, sympathetic strings, and a modal resonator, plucked, struck, bowed or rattled.
  • BAYAREA — a West Coast voice: a morphing oscillator with two FM modulators, a wavefolder, and a low-pass gate or a sustaining envelope over resonant low-passes.
  • HIVE — a swarm of seven oscillators per voice, detuned, stacked or on inharmonic partials, moved by slow LFOs and noise, through a 4-pole filter with its own envelope and a drive; melodic kinds and textural ones.
  • OBRADOR — an analog polysynth after the Oberheim SEM: two oscillators and a second voice card, the SEM's filter morphing from low-pass through notch to high-pass, analog envelopes and drift.
• Generative paths — lean each track's new sounds towards AMBIENT (ethereal, melodic, dark) or EXPERIMENTAL (edgier, gnarlier, more textured), or leave it OPEN.
• Play along: other tracks improvise with the one you play (REACT), shadow it (SHADOW) or arpeggiate its chords (ARPEGGIO).
• Six free loopers, one per track, with up to ten overdubs each, every loop with its own length.
• Envelope: attack, decay, sustain and release per track, on the ENVELOPE page, drawn on the screen.
• Latching: hold notes, press SHIFT, and they sustain as drones while you play on top.
• Per track: DJ resonant filter, granulator (dark ↔ scatter), bit/rate crush, distortion, level, pan and a send to a lush master reverb (Dattorro plate).
• Scales on the white keys (23: the seven modes, minors, pentatonics, blues, whole tone, octatonic, Hungarian minor, double harmonic, enigmatic, Prometheus, Japanese and Balinese scales), any root.
• 64 session slots in the FM-1's flash: every track, sound, loop and setting.

Installing

The easiest way is the browser installer: connect the FM-1 with a USB data cable, open the page in a desktop Chrome, Edge or Opera (they support Web MIDI with SysEx), and follow it. It finds the FM-1, checks what it runs, writes Tonitor and checks the result. Nothing is uploaded anywhere: the page talks to the FM-1 directly.

It installs over whatever the FM-1 runs now — M-VAVE's own firmware, another alternative firmware or an earlier Tonitor. Do not unplug the FM-1 while it writes.

To build and install from source instead, see Building from source.

If something goes wrong: hold OCT− while switching on for the USB rescue mode (the screen says RESCUE), then install again. Two failed starts in a row also enter it. Holding OCT− and OCT+ for five seconds enters the chip's own updater (UBOOT). If the FM-1 no longer starts at all, recovery needs FM-1-transporter.

Going back: the installer and ./install.sh install any FM-1 package; to return to M-VAVE's firmware, use M-VAVE's own updater. Apart from the update itself, Tonitor writes to the FM-1's flash only when you save a session — into a user data area that other firmwares may also use, so saving Tonitor sessions overwrites any projects another firmware left there.

Manual

Playing it

Generative paths

Each track has a path that steers the sounds HOME draws next on it; sounds already playing do not change. Every track starts on OPEN, and sessions keep each track's path.

Macros

Press EDIT (black key 10) and KNOB 1–4 become four macros that reshape the chosen track's sound. The middle is the sound as HOME drew it; turn either way. The screen shows the macro's name and position. Press EDIT again to get the knobs back. Each sound keeps its macros, and sessions and presets store them.

Envelope

Black key 9 opens the ENVELOPE page with the chosen track's amplitude envelope (AS DRAWN until you change it). KNOB 1–4 set ATTACK (1 ms – 10 s), DECAY (5 ms – 10 s), SUSTAIN (0–100 %) and RELEASE (5 ms – 20 s). A change applies from the next note, and after that to the notes sounding too. HOME or loading a preset brings back the sound's own envelope. Sessions store the envelopes; presets do not.

PLAY, sequencers and looper

A track runs one sequencer at a time: with BALLSY on, BRICKLAYER shows NOT ALLOWED, and the other way round. A sequencer waits for PLAY on its own page. On every other page PLAY is the looper's, so you can record loops over a running sequencer. The looper records only the keys, never the sequencer.

BALLSY

SHIFT + EDIT turns on BALLSY, a sequencer of bouncing balls, for the chosen track and shows its page (EDIT blinks while it is on). PLAY starts and pauses the balls. Hold EDIT (0.6 s) to hide or show the page; the balls keep playing.

Each time a ball hits a wall it plays a note in the scale, of random length and level, with chord mode and the loops' transposition. The pitch rises clockwise, one octave per wall:

BRICKLAYER

SHIFT + black key 9 turns on BRICKLAYER, a step sequencer built a note at a time, for the chosen track and shows its page (the key blinks while it is on). PLAY starts and stops it. Hold black key 9 (0.6 s) to hide or show the page; it keeps playing.

On its page, REC is the entry, not the looper:

The notes are spread evenly over the length (3 notes in 8 steps fall on steps 1, 4 and 7) and follow the scale, the root, the loops' transposition and chord mode.

On its page, black keys 4–8 set BRICKLAYER's own direction and speed.

Latched keys

Hold white keys and press SHIFT: they latch and stay lit. SHIFT + a lit key releases it. Latches belong to the track they were made on; on another track the same keys play as usual, so a drone can sound on one track while you play another. Loading a session releases every latch.

Chords

With chord mode on (black key 3 held 0.6 s; CHO on the screen), each white key plays three notes of the scale. Press black key 3 to step through the forms (in steps of the scale from the key's note):

One chord sounds at a time on a track. Chords latch, loop and are saved like single notes.

Direction and speed

Black keys 4–8 set how the chosen track's loops play. They work only while that track has loops and they are playing (PLAY lit): then they glow dimly, and the setting in use is lit. With no loops, or the loops stopped, they are dark and do nothing. They have no effect on the sound itself:

The three direction keys exclude each other, as do the two speed keys; a direction and a speed combine. Press the lit key again to go back to forwards or normal speed. Emptying the loops (REC held) resets both.

Copying a track

Hold a track's button until the screen shows COPIED / TRACK n (the button blinks). Choose another track and hold its button until PASTED / TRACK n. The track pasted onto gets everything of the copied one, its sounds, settings and loops, except its own level and pan; its latched notes are released.

Loopers

Each track has a looper of up to ten loops, and they run free: no tempo, no grid. Each overdub is as long as you played it, so the loops drift against each other. A note held from the loop's first moment to its last (still down when REC ends it) is tied over its end: while it still sounds (a drone, a pad) it goes on, one unbroken note; once it has died away (a pluck, a bell) it is struck again at the start of each round. Other notes still held when REC ends the loop are let go at its end, their release ringing on into the next round. Loops share the twelve voices with the keys and the other tracks.

Bringing loops in and out. Hold PLAY: the chosen track's loops appear on the white keys, the first loop on the leftmost, lit while they play. Press a key to take its loop out, or to bring it back in from its start. With the loops stopped, this chooses which loops the next PLAY starts.

Moving the loops along the scale. SHIFT + OCT+ / OCT− moves every loop of every track one step of the scale (TRANSP +1), up to two octaves either way; the white keys and latched notes move with them, and an overdub recorded meanwhile plays back as you played it. SHIFT + a track's button held + OCT+ / OCT− moves that track's loops only (TRANSP T3 +2). Emptying a track's loops resets its own move.

Screen

From the top: the track number in the track's colour, with the octave, VAR (while the loops VARY) and the battery at the top right; the engine; the sound's family, or a short message; ARMED or REC while the looper records; the track's level meter, with a mark at its SELECT level; and its pan. KNOB 1–4 show a full-screen dial while they turn.

Track colours: 1 yellow, 2 cyan, 3 pink, 4 green, 5 orange, 6 lilac.

Scales

One scale and root for all the tracks, saved with the session. At start, and in an empty session, both are drawn at random (ARP shows which); SHIFT + black key 1 draws them again, and the loops follow the new scale. The root is the first white key (C3 to B3, moved by each track's OCT), and the scale climbs across the 16 white keys.

MIDI notes are not quantised to the scale.

Global setup and MIDI

SHIFT + SAVE held (0.8 s) opens GLOBAL SETUP, the FM-1's own settings (MIDI and AUDIO), kept apart from the sessions. PRESETS moves through the entries; SAVE opens one, or selects a value and sets it; SHIFT + SAVE cancels or goes back a level. A track button leaves; changes are kept.

AUDIO has one setting, USB: what the FM-1 sends to a computer as USB audio (USB audio). STEREO (at the start): the master, as the headphones hear it. TRACKS: the six tracks, each on its own mono channel. Changed, the FM-1 leaves the USB for a moment and comes back as the new device; the sound on the headphones goes on.

MIDI's parts:

A note plays every track whose IN channel it arrives on (and the chosen track on AUTO). Each track answers to, and with SEND CC on sends, these CCs on its channel:

With SEND NOTES on, each track sends the notes it plays (keys, loops, sequencers, MIDI) on its OUT channel over USB. There is no MIDI clock, transport or program change.

Modulation

Each track has two LFOs and four modulation slots. Press SEQ three times for the MOD page: PRESETS chooses the entry, KNOB 1–4 set its rows.

SHIFT + SEQ draws a random modulation for the chosen track; press again for another. HOME also draws one with some sounds, mostly slow FM, HIVE, BAYAREA and DRUID sounds. Sessions keep each track's modulation.

Play along

Other tracks play along with the one you play. The chosen track is the guide. The tracks you take in listen to everything the guide sounds (its keys, latches, chords, MIDI in, loops, BALLSY and BRICKLAYER) and play their own sounds in answer, in the scale. Three modes: REACT, SHADOW and ARPEGGIO. After the SMK-37 Pro port of Tonitor.

To turn it on:

1. Press the track button of the track you will play: it becomes the guide.
2. Press SEQ four times: the PLAY ALONG page.
3. Turn PRESETS to choose the mode: REACT, SHADOW or ARPEGGIO.
4. Press the track buttons of the tracks that should play along (2 IN, 3 IN ...). At first no track is in, and with none in, nothing plays along.
5. Press PLAY: the mode is on, its name in its colour (grey while off).
6. Press SEQ to go back to playing, and play the guide.

To turn it off, open the page again and press PLAY (REACT OFF ...). While it is on, PLAY flashes with each note the guide plays, and SEQ blinks slowly off the page.

On the page:

• PRESETS: the mode. Changing it lets go of the notes the tracks are playing.
• PLAY: the mode on or off.
• The track buttons: tracks in or out (2 IN, 2 OUT). The guide's button stays lit; a track taken in glows dimly; a track out is dark. The guide's own button says GUIDE TRACK (a track cannot follow itself).
• KNOB 1–4: the mode's values, 0–100; ARPEGGIO has two more, on SELECT and ALGORITHM. In REACT and SHADOW, SELECT and ALGORITHM stay the guide's level and pan. The page shows the knob turned last, its value large, and a bar for each.
• SEQ: back to playing; the mode goes on running. Choosing another track there makes it the guide.

The tracks taken in play their notes as a sequencer's: the looper does not record them, and they never play on the guide. When the guide stops, they stop. Sessions and snapshots keep PLAY ALONG: on or off, the mode, the tracks taken in and the values.

REACT improvises from a memory of everything the guide plays: its last 128 events (notes or chords), with their levels, lengths and the gaps before them. Each track taken in goes on as the guide once went on, or jumps to another place where the guide played the same intervals, so its lines are the guide's own, recombined, in the guide's rhythm. Its notes fit the harmony the guide holds. At each of the guide's phrases the tracks regroup, each taking a way to play: FOLLOWS (with the guide), CONTRASTS (slow under a busy guide, moving under long chords), ECHOES (the guide's line a few events behind, a third, sixth or octave away), ANSWERS (in the guide's rests), or RESTS. After François Pachet's Continuator, IRCAM's OMax and Somax, and George Lewis's Voyager.

SHADOW: each track taken in shadows what the guide sounds, from its own distance behind, at its own pace; now and then backwards or to and fro, resting and coming in again, moved along the scale.

ARPEGGIO: the tracks taken in break the guide's chord (what it holds; a single note over its octaves) into arpeggios, each at its own pace, its own way and in its own octaves, and follow the chord as it changes, at their next step.

Presets

Each engine has 64 presets. SHIFT + ARP opens the PRESETS page of the chosen track's engine; PRESETS chooses a slot. Each preset is named by its sound's family and numbered within it, in the order of the slots: BRASS 1, BRASS 2, STRINGS 1.

• ARP held (or SAVE held) saves the track's sound there, asking before overwriting.
• ARP (or SAVE) loads it and goes back to playing.

Saving silences the audio for a moment.

Snapshots

A snapshot is the state of the machine at one moment. Each session holds 16 of them.

SAVE opens the SNAPSHOTS page: 16 squares, one for each white key. A filled square holds a snapshot; the one last stored or recalled is white.

On this page the white keys do not play notes. Stored snapshots glow on the keys; the last one recalled is lit.

What a snapshot holds. The whole state of the machine. For each track: the engine it plays; the sound on every one of its eight engines, each with its macros and envelope; level, pan, reverb and delay sends, filter, granulator, crush, distortion, octave, the track's transposition, its path, chord mode and modulation; its latched notes and chords; BALLSY's and BRICKLAYER's settings, BRICKLAYER's notes, and whether each plays; and its loops: which loops there are, where each stood against the others, which are taken out, whether they play, and their direction, speed and VARY. For the machine: the reverb, the delay, the scale, the root, the loops' transposition and PLAY ALONG (on or off, its mode, the tracks taken in, the values on its pages). Not stored: the track chosen, EDIT and which page is up.

For example: record a loop and store snapshot 1; record an overdub and store snapshot 2. Snapshot 1 brings back the loop alone and snapshot 2 brings back both. Loops that are in both snapshots keep playing when you switch; a loop that comes back is placed where it stood against the others when it was stored.

A loop that a snapshot holds stays in the FM-1's memory even after you empty the looper (hold REC). It shares the looper's room with what you record: when the looper has no room left, REC says LOOPER FULL. Snapshots that share sounds, latched notes or loops store them once. If there is no room for a new snapshot, the screen says FULL; empty snapshots you no longer need (SHIFT + hold the key).

Morph. With a morph time of 0 (OFF), a recalled snapshot is applied at once. With a longer time, the machine moves to it over that time; the snapshot's square and key blink until it is reached:

• Levels, pans, sends, filter, granulator, crush, distortion, the macros and envelope of a sound that stays, the modulation amounts, LFO rates and fades, the reverb's DECAY, DAMP and MIX, the delay's REPEATS, DAMP and MIX, and the sequencers' speed, rate, harmony and instability change gradually.
• Everything that affects pitch changes at once, halfway through: scale, root, octaves and transpositions. So do the delay's TIME and the reverb's SIZE, the loops, the latched notes, chord mode, the sequencers and their notes, the modulation routings and LFO shapes, and PLAY ALONG.
• A track whose sound changes fades out from a quarter of the way, switches sound halfway and fades back in by three quarters.

Recalling another snapshot during a morph starts a new morph from the current state. The morph runs in the main loop and adds no load to the audio.

Snapshots are saved in the flash with the session (hold SAVE to save). A new session has none.

Sessions

There are 64 session slots; the FM-1 starts with none loaded. SHIFT + SAVE opens the SESSIONS page. A session stores the whole machine: every track's sounds, settings, latched notes and loops, the scale, the delay, the reverb, PLAY ALONG and the 16 snapshots with the loops they hold. Sessions saved under an older Tonitor load with the same sounds after an update. Saving silences the audio for a moment.

Sessions are kept in the FM-1's flash: saving overwrites any projects, presets or samples another firmware left there.

Backing up. The backup page (desktop Chrome, Edge or Opera, over USB MIDI; Tonitor build 47 or later) copies every session and preset to a file on the computer and writes them back. Use it before trying another firmware and after reinstalling Tonitor.

Granulator

Each track's granulator plays grains from the last half second of the track's sound (KNOB 2). Off in the middle; to the left, long, overlapping, drifting grains, sometimes frozen; to the right, short grains, scattered, reversed and stuttered. Each track's granulator has a character of its own, drawn anew at power-on and when a session is loaded. Grains ring on for about two seconds after the notes end.

Distortion

SHIFT + KNOB 3, 0–100 (0 is off): a two-stage drive after the track's filter, granulator and crush, before its sends, so the delay and the reverb receive the distorted sound. Its output is matched to the dry level, so the amount changes the tone, not the loudness.

Delay

A master delay, before the reverb, fed by each track's delay send (SHIFT + KNOB 4); half its echoes also go into the reverb. The repeats are slightly dark and grainy. SEQ once opens its page:

Reverb

A plate reverb (after Jon Dattorro), fed by each track's reverb send (KNOB 4). SEQ twice opens its page:

USB audio

Connected to a computer, phone or tablet, the FM-1 is also a class-compliant USB audio input ("FM-1 Tonitor"), 16-bit, at 48 or 44.1 kHz (44.1 kHz is the FM-1's own rate: nothing is converted). GLOBAL SETUP > AUDIO > USB chooses what it sends:

Both are taken before MASTER, which sets only the headphones' level. No driver is needed, and MIDI works over the same cable. To hear the FM-1 while a computer records it, use its headphone output: a program's own monitoring (Audacity's software playthrough) adds a delay and may break up.

Engines

FM — six operators, DX7 style

Six-operator FM after the DX7 (msfa, the core of Dexed). HOME draws a patch from one of these families and levels it to one loudness:

GLISSE and RUBBER, families of older builds, are now part of WARP; sounds saved with them load as they were.

ANIMA — a lo-fi synthesizer played by a simulated hand

A port of the anima opcode from Vascular, at half the sample rate. While a key is held, a simulated finger drags figures across a virtual surface; where it is, how hard it presses and how fast it moves change the timbre, never the pitch. HOME draws one of twenty-two kinds: HAZE, VOYAGE, GLASS, BELLS, GOLDEN, BREATH, GRIT, SWARM, TIDE, CHOIR, SHARDS, BOWL, DUST, MACHINE, PLUCK, REED, FOG, ORGAN, BITS, DRIFT, MURMUR and HOWL.

CALIGULA — an organism

After SOMA's LYRA-8, as Mike Moreno's LIRA-8 emulates it (BSD licence): eight cross-modulating oscillators in four pairs, a total feedback, gating LFOs and a short modulated delay, played by a simulated hand that touches the plates while a key is held. It is silent until a key is down and is tuned around the note played; a second key moves it to the new note, and letting go of the last key lets it ring out. It is one organism per track, outside the twelve voices. HOME draws one of ten species:

RUSSOLO — noise, logic and broken buffers

The techniques of Robert Heel's Noisferatu (GPL-3.0), at a low sample rate and bit depth. Like CALIGULA it is silent until a key is down, one organism per track, and a key sets its pitch. HOME draws one of seventeen kinds; the first two macros are the kind's own parameters, the others CRUSH and RANDOMNESS.

DRUID — strings and resonant bodies

A port of the resonators of Mutable Instruments Rings by Émilie Gillet (MIT licence): strings, sympathetic strings and modal bodies, plucked, struck, bowed or rattled. Letting go of a key damps the sound by an amount set per sound.

BAYAREA — a West Coast voice

A port of the bayarea opcode of Vascular: an oscillator from sine to saw, frequency-modulated by two sines, a wavefolder, then a low-pass gate (struck) or a sustaining envelope over resonant low-passes, a drive and a bank of resonators, all moved by an LFO.

HIVE — a swarm of oscillators

A port of DigiRust's SWARMER, extended: seven oscillators per voice, each at its own place around the note (an octave, a fifth, a cluster step or an inharmonic partial), each moved by slow LFOs, through a filter with its own envelope.

CLUSTER, METAL, SPECTRA, GROUND, AIR and TIDES are for textures rather than melodies.

OBRADOR — an analog polysynth

An analog polysynth voice after the Oberheim SEM and the two-voice Oberheims, written for Tonitor with OberVave (an Oberheim-style firmware for the FM-1, by zvenson) as its frame of reference. Per voice: two oscillators (saw, pulse or both, band-limited), the second detuned or an interval away, hard-synced or cross-modulating now and then; in the lush kinds a second voice card, detuned against the first; a drive into the SEM's 12 dB filter, its output morphing from low-pass through notch to high-pass, its resonance soft-limited; a second low-pass stage for 24 dB, or the band-pass; filter and amplifier envelopes on analog curves; an LFO that comes in after a delay; and each card's own small offsets of tune and cutoff with a slow drift.

Building from source

Once:

./setup.sh

It makes a Python environment in .venv (Pillow, mido, python-rtmidi), downloads JieLi's Linux toolchain to ~/.jieli/toolchain, and fetches the three files of the JieLi AC79 SDK the package needs into ~/fw-AC79_AIoT_SDK. On macOS the toolchain runs in Docker, so Docker Desktop must be running to build. ./setup.sh --font also fetches Atkinson Hyperlegible (the Braille Institute's typeface for low vision), for smoother large type than the default Terminus.

Then, with the FM-1 connected by USB and switched on:

./install.sh

It builds build/tonitor.fwsc and installs it over USB-MIDI. ./install.sh --info tells what the connected FM-1 runs; ./build.sh only builds.

Testing without the FM-1

tests/run_tests.sh

needs only clang, Python and (for the browser installer) Node. It checks the firmware for anything the chip cannot run (it has no FPU and no compiler runtime), then runs the real DSP, sound generators, mixer, loopers, sessions and screen code on the computer, and the browser installer against a simulated FM-1:

• build/sounds/ — WAVs of every engine, family and path, and mix.wav, the six tracks entering one after another;
• build/screens/ — the screen in its states, as PNGs.

How it is built

firmware/src/tonitor.c is the single compilation unit: fm.c (FM, around msfa's fm6_core.c), anima.c (ANIMA), cal.c (CALIGULA), russolo.c (RUSSOLO), druid.c (DRUID), bayarea.c (BAYAREA), hive.c (HIVE), gran.c (the granulator), reverb.c, layers.c (the six tracks, the loopers, the mix; each block the voices, the organisms and the master effects are dealt to the FM-1's two cores, audio_worker.h and hal/fm1_multicore.h), ui.c (panel and screen), sessions.c, gfx.c, dsp.h (fixed-point helpers), main.c (boot, interrupts). Based on Felucca and earlier open FM-1 firmware work: firmware/hal/, firmware/loader/, usb.c, ota.c, recovery.c, lcd.c, libc.c, the build checks and the installer. The website and the browser installer are in docs/ (served by GitHub Pages); tools/make_site.py builds its pages from site/ (home, install), this README (the manual) and CHANGELOG.md and publishes build/tonitor.fwsc for the installer.

Licence

• The firmware is free software under the GNU General Public License, version 3 only (GPL-3.0-only, LICENSE): it is a work based on GPL-3.0 code (see LICENSING.md). The browser installer (docs/js/fm1ota.js), a port of Felucca's installer, is GPL-3.0 too.
• The website, the logo and the documentation written for Tonitor (docs/ except docs/js/fm1ota.js and the firmware package, and this README's text) are under the MIT licence (LICENSES/MIT.txt).
• Third-party parts keep their own licences: msfa (Apache-2.0), the LIRA-8 architecture (BSD 3-clause), Noisferatu's techniques (GPL-3.0), Rings (MIT), the fonts (SIL OFL 1.1), the JieLi SDK files placed in the package (Apache-2.0).

LICENSING.md lists every file and its licence.

Credits

Tonitor is by Nuno Zimas. It stands on the work of others:

• Felucca by Leo Kuroshita / Hügelton Instruments — the hardware track, USB stack, update loader, rescue mode and installer that made an FM-1 firmware possible at all.
• msfa by Google Inc. and Pascal Gauthier (Apache-2.0), from Dexed, in Felucca's integer port — the FM.
• ANIMA is ported from the anima opcode of Vascular.
• CALIGULA follows the architecture of LIRA-8 by Miguel Moreno (BSD), an emulation of SOMA Laboratory's LYRA-8.
• RUSSOLO re-makes, in fixed point, the techniques of Noisferatu by Robert Heel (GPL-3.0).
• BAYAREA is ported from the bayarea opcode of Vascular.
• HIVE is ported from the SWARMER machine of DigiRust.
• DRUID is a fixed-point port of the resonators of Mutable Instruments Rings by Émilie Gillet (MIT).
• Atkinson Hyperlegible by the Braille Institute (SIL OFL 1.1) and Terminus (SIL OFL 1.1).

M-VAVE and FM-1 are trademarks of their owner, used here only to say which device Tonitor runs on.

Disclaimer

Tonitor is an unofficial firmware. It is not made, endorsed, approved or supported by M-VAVE or by the maker of the FM-1, and it is not affiliated with them.

Installing it replaces the device's original firmware and may void any warranty that applies to your FM-1, if any applies at all; check the terms of your warranty before installing. Installing any firmware carries a risk: an interrupted or failed update can leave the device unable to start until it is recovered (see Installing), and saving sessions overwrites data that other firmwares may keep in the same flash area.

The software is provided "as is", without warranty of any kind, express or implied, including but not limited to the warranties of merchantability, fitness for a particular purpose and non-infringement. In no event shall the authors or contributors be liable for any claim, damages or other liability — including damage to your device, loss of data, or loss of the use of the device — arising from, out of or in connection with the software, its installation or its use. You install and use it entirely at your own risk. See also sections 15 and 16 of the GPL.