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Jangada 🛶

Alternative firmware for the M-VAVE FM-1, with a dark, industrial and Brazilian accent.

Drones that breathe and evolve on their own, rust, worn tape, machines and manguebeat, on a €70 pocket synth. Thirteen synth engines (a 6-operator FM that talks to Dexed, a superwave analog with a Moog-style ladder filter), four tracks, a modulation matrix, our own drum kits, effects made to be played live.

A fork of Felucca by Leo Kuroshita (Hügelton Instruments). A felucca is a Nile sailboat; a jangada is the Brazilian one.

Play it in the browser · Play it from a mixer · Install · Listen · Releases

Use at your own risk. The FM-1's boot area is never touched, and you can go back to the official firmware at any time.

Philosophy

Jangada does not want to be a compendium of the other FM-1 firmwares. It has a taste:

• Dark and industrial. For people who think of Nine Inch Nails, The Downward Spiral, Ghosts I–IV, film scores: sounds with rust, grain, worn tape, a hum underneath, metal, broken pianos.
• Drones as a language. A chord that holds and breathes on its own while you play the rest, and that evolves slowly, with a tension that opens over bars. It is the most Jangada idea of all.
• Brazilian. A jangada is a boat from the Brazilian northeast. Manguebeat (Chico Science & Nação Zumbi) already crossed maracatu with industrial weight: that is our crossing. Alfaia, zabumba, gonguê, agogô and cuíca; maracatu, baião and coco; the northeastern scale; rabeca and sanfona drones.
• Made to be played live. Hold a button and everything changes, effects that come in with one finger, nothing that makes you stare at the screen.

We bring in the good things from the other forks (Felucca 1.0, SLOOP, Felucca [Salt], Melodee) when they serve that taste, always with Jangada's name and look and with credit to whoever made them. What is only more of the same stays out.

Listen

All rendered by the firmware's own DSP (the same C code that runs on the FM-1, running on a PC).

Drones that evolve (about a minute each: the sound moves on its own)

FERRUGEM	a superwave that rusts, its tension rising over 16 bars
SERTAO	the accordion that turns sour
CINZA	the ash of a struck plate, in grains
ABISMO	FM that keeps opening
tension ramp	TENS from 0 to 100 % over 16 bars
static × evolving	the same drone without and with EVOL

Mangue · MARACATU (baque virado) · BAIAO · COCO · baião with bass and sanfona · coco with rabeca

Machines · RUST · FORGE · PISTON · HURT

Grit · dry → worn tape → hum, tape and dust → everything · bass through FUZZ, FOLD and RING

From 0.1 · RUST BASS · HURT PAD · GRIND LEAD · MACHINE · METAL HIT · BROKEN BELL · STATIC · GHOST KEYS · DIRTY ORGAN · DRONE SAW · DRONE RING · DRONE FM · DRONE VOX · SUPER SAW · SUPER PAD · HP SHIMMER · four tracks together

Play it in the browser

The Jangada Studio runs the firmware's DSP as WebAssembly, sample for sample the same as the device: pick a track and a preset, play with the computer keyboard (or a MIDI keyboard), hold drones, run the sequencer, turn the master. No FM-1 needed, and nothing leaves your browser.

Play it from a mixer

Plug the FM-1 into Nirbija, a Linux mixer, and it becomes one of its instruments: the four tracks in an editor on screen, each engine's parameters read from the device and moving both ways, the whole project saved with the session, a track's sound swapped by a scene on the bar line, and a step sequencer per track. Both sides speak Jangada's own SysEx protocol (1.0.1), opened after a user asked to keep the synth's edit buffer with their DAW projects (#7). Any host can use it: web/EDITOR_PROTOCOL.md.

By the numbers

Engines	13: ANALOG (superwave, Moog-style ladder filter), FM6 (6-operator, Dexed), PHYS (physical models), ROBO (VOSIM, GENDYN, Walsh, scanned), NOISE, DIGITAL (4-op FM), PHASE, LOFI, SAMPLE, VOICE, TRIO, WHEEL, GRAIN
Voices and tracks	8 voices over 4 tracks (3 synths + drums, or 4 synths)
Parameters	16 per engine, a 4-slot modulation matrix with 13 sources (4 of them macro knobs)
Presets	145 factory (45 dark, drone, industrial and northeastern ones by Jangada), 32 user, 72 FM6 patches (8 + two banks of 32)
Drums	5 Jangada kits + 32 synthesised + GM; 49 factory beats, each with its own fill
Sequencer	64 steps per track, chords, ratchet, chance, velocity, accent, slide, swing; VIVO (Euclid, chance with memory, cycles, a cellular automaton); 13 arp modes up to 4 bars; metronome and count-in
Effects	per-track distortion (5 types) and INSERT (8 types), SLICER, chorus, delay, 3 reverbs, DUST / DUCK / FILT / TAPE / HUM on the master, 16 punch-ins
Live	5 layers (hold a button), MOMENTARY (hold LFO), REV / ECHO THROW, drones with HOLD, EVOL, TENS, RAMP
Connections	USB MIDI + audio (stereo 44.1 kHz input) + console, TRS MIDI, clock in (USB / TRS) and out, MIDI LEARN (16 CCs), Program Change
Storage	4 projects, autosave, full backup from the editor, projects and presets with stable keys
Hardware	a stock FM-1: nothing to solder, the boot area is never touched

Install

Current version: Jangada 1.0.1. Plug the FM-1 straight into the computer with a USB data cable.

Mac / Windows / Linux, in the browser: open the Jangada web installer in Chrome or Edge and press Install. It carries the latest release; the editor and the Studio are next to it.

Linux, from a terminal: clone this repository and run

./instalar-linux.sh                    # downloads and installs the latest release
./instalar-linux.sh jangada-1.0.fwsc     # installs a file downloaded from the releases
./instalar-linux.sh --original         # back to M-VAVE's official firmware (V15)
./instalar-linux.sh --info             # what the FM-1 is running
./instalar-linux.sh --console          # serial console access (a udev rule, asks for sudo)

It sets up its own Python environment (mido + python-rtmidi) in ~/.local/share/jangada/ and checks the SHA-256 of what it downloaded.

• If an install fails: hold OCT− while switching the FM-1 on (USB rescue) and install again. We have been through it for real: a 0.5.1 write dropped halfway (the cable), the FM-1 came up in JANGADA USB RESCUE, the installer wrote through it and the device came back whole.
• Back to the official firmware: from the web installer (a backup first), ./instalar-linux.sh --original, or M-VAVE's M-UPGRADE.
• Since 0.2 the FM-1 shows up on the computer as Jangada (MIDI and audio). Felucca's web installer no longer finds an FM-1 running Jangada: use Jangada's.

First steps

1. A drone. PRESETS to FERRUGEM (ANALOG), play a chord and let go: it keeps breathing and evolving on its own. Tap ARP until the DRONE page and turn TENS. Hold ARP to let the drone go; hold it again to cut the tails.
2. The mangue. ALGORITHM to track 4, PRESETS to the MANGUE kit: its maracatu beat comes with it. Press PLAY. In GLO → KIT, the BEAT knob switches to baião, coco, ijexá, samba, xote, frevo or funk. Hold GLO + 9 and the beat plays its fill.
3. Grit. Hold FX: the white keys become 16 effects (loops, reverse, tape stop…) and the knobs become FILT, DUST, DUCK and TAPE.
4. Live mix. Hold GLO: keys 1–4 mute, 5–8 solo, 9 held a fill, 10 the next bar a fill, the last one is tap tempo.
5. Record. REC on a page with nothing to record opens the tracks view; the FM-1 is also a sound card: record the master on the computer from the Jangada input.

What's in it

Drones

The drone presets run the arpeggiator in RPT every 4 bars with HOLD: play a chord, let go, and it keeps breathing on its own, even while you play the other tracks.

• Hold ARP → DRONE OFF (the latched chords fade with their release); again → SILENCE.
• DRONE page (tap ARP until it): HOLD, EVOL, TENS, RAMP, per track.
  • EVOL: slow, smooth random walks (cycles of tens of seconds to minutes, never the same) move the filter, the shape and the engine's natural parameter; each voice detunes and breathes its own way. It stops when the drone stops; a new drone starts from the preset's sound.
  • TENS: opens the filter, raises resonance, drive and brightness, spreads the voices (up to ±12 cents) and makes the walks deeper and faster. At 0, nothing changes.
  • RAMP: OFF or 1 to 32 bars for the tension to reach TENS, in time. A drone born from silence starts at 0 and builds.
  • The screen shows the four walks and the tension bar.
• In the modulation matrix, the DRIFT source is the track's walk, for any destination.
• Presets: FERRUGEM (ANALOG), ABISMO (DIGITAL), SERTAO (WHEEL), CINZA (GRAIN), CARVAO (FM6), LODO (ANALOG through the ladder), RABECA and SANFONA, and DRONE SAW, RING, FM, DUST, VOX and ORGAN.
• To sequence a drone: arp OFF, PATTERN with DIV 4BAR, one chord per step.

Mangue and the northeast

• MANGUE kit: alfaia and its middle drum, zabumba and its bacalhau stick, maracatu snare, low and high gonguê, agogô, rising cuíca, ganzá, triangle (closed chokes open), claps and tamanco, with the mangue's weight.
• Factory beats (GLO → KIT, BEAT knob): MARACATU (baque virado), BAIAO, COCO, IJEXA (afoxé), SAMBA, XOTE, FREVO and FUNK (tamborzão), all on the MANGUE kit. A kit on an empty drum track brings its beat along; over a pattern of yours, BEAT asks for a second turn of the knob.
• NORD scale (SCL): mixolydian with a raised 4th, the northeastern mode. NORD or MIX for baião, DOR for xote and toada.
• BAIAO BASS (ANALOG), RABECA (ANALOG) and SANFONA (WHEEL) presets, the last two as drones.

Grit: tape, master and punch

• TAPE (GLO → MASTER, or knob 4 while holding FX): worn tape, with saturation, wow (the pitch swaying slowly), flutter (the fast tremble) and treble loss, all on one knob.
• HUM (GLO → MASTER 2): the 60 Hz mains hum with hiss and crackle, only while playing.
• DUST (an old sampler and a record: bits, rate, crackle), DUCK (the kick dips the synths for an eighth note), FILT (DJ filter: left low-pass, right high-pass).
• Distortion per track (FX → DIST, TYPE): SOFT (as always), FUZZ (a gated pedal), FOLD (wavefolder), CRUSH (bits and rate) and RING (ring mod, carrier on FREQ).
• Punch-in (hold FX + a white key): loops 1/4 to 1/32, stutter, reverse, tape stop, half, LP / HP sweeps, phone, crush, alias, gate, echo and wobble on the whole mix, while the key is held.
• Reverbs (FX → REVERB, TYPE): ROOM, SPRING and PLATE (a stereo feedback delay network).
• INSERT per track (FX → INSERT, after DIST; MIX on INSERT 2): SOFT, HARD, FOLD, FUZZ (DRIVE TONE LEVEL), CRUSH (BITS, a sample-and-hold RATE from 689 Hz to 44 kHz, LPF), PHASR, FLANG and CHOR (RATE DEPTH FDBK), DISP (AMNT STRCH FDBK: a chain of all-passes that pulls the partials' phases apart, from a stiff string's chirp to a metal sheet, ringing with FDBK). After the DIST, so the grit stacks: a FUZZ into a FOLD, a CRUSH into a FLANG, an FM6 into a FOLD into a DISP. OFF (the default) leaves the track as it was, bit for bit.

Drums

• Jangada's kits, first in the list (PRESETS on the drum track, or GLO → KIT): RUST (dry industrial: distorted kick, gated snare, crushed hats), FORGE (anvil, chains, plates), PISTON (clicks, steam, valves), HURT (low, muffled, breathy) and MANGUE, each with its beat (GRIND, ANVIL, ENGINE, FRAGILE, maracatu), and five more dark ones for them: CORRODE, FOUNDRY, TURBINE, WOUND and DESCENT.
• 32 more synthesised kits (808, 909, TECHNO, INDUSTR, GLITCH, DUBSTEP, JUNGLE…) and the sampled GM kit, each synthesised kit with its own beat (HIPHOP, CLUB, ACID, TRAP, DRILL, BOOMBAP, LOFI, PHONK, HOUSE, DEEP, TECHNO, ELECTRO, 2STEP, JUNGLE, DUBSTEP, DEMBOW, AMAPIANO, AFRO, LATIN, EBM, SWING…).
• Fills: every factory beat brings its own. Hold GLO + 9 (or GLO + 10 for the next bar) and it plays in place of the bar: its steps are steps with a FILL / NO FILL condition, so they can be edited on the SEQ layer. Some steps have a chance (75–25 %), so the beat breathes.
• The BEAT knob speeds up when turned fast.
• Track 4: DRUM or SYNTH (TRACKS, knob 1 TYPE): it becomes a fourth synth part.

Engines

• Turbo ANALOG (EDIT 3 / 4): SUPR superwave (up to 6 detuned copies), SDTN, SUB, DRFT (slow per-voice detune), FTYP LP12 / LP24 / BP / HP / LADR: a Moog-style filter, a four-pole transistor ladder (24 dB/octave) with saturated feedback: RES makes it sing and thins the lows as the hardware does, DRV pushes it into a growl. To find it: tap EDIT (don't hold it) up to the EDIT 4 page and turn knob 1 to the end; CUT, RES and DRV are on EDIT 2. Presets PICHE BASS, MOTOR LEAD and LODO (a drone). SAT (EDIT 4, knobs 2 and 3): a saturation per voice after the filter, before the VCA (OSC → FILTER → SAT → VCA): WARM (tube, even harmonics), HARD (a wall: buzz) or FOLD (a wavefolder); SDRV how hard. Each voice is shaped alone, so chords stay clean where the track's DIST would smear them. Preset SUCATA. SPOS (EDIT 4, knob 4) moves it before the filter: PRE is OSC → SAT → FILTER → VCA, so the filter and its envelope sweep through what the folder made (POST, the default, keeps the raw harmonics after the filter); the same cost either way. Preset DOBRA.
• LFO 2 (LFO → LFO 2): SYNC the LFO to a note value (4BAR to 1/32, dotted and triplets; locked to the beat while playing, a MIDI clock too), TRIG NOTE or FREE, POL BI or UNI. ESYNC (ENV DEST, knob 4): ATK, DEC and REL as note values of the tempo.
• Modulation into the filter: the MOD 1–4 matrix reaches every engine parameter, so CUT, RES, DRV and SDRV are destinations: LFO → RES, ENV → CUT, VEL → DRV, ENV → SDRV. They move per voice, every block.
• FM6: 6-operator FM (Dexed's msfa core), 32 algorithms, 8 factory patches (PTCH F1–F8) and two banks of 32 in flash (B1–B32 and B33–B64: two whole cartridges), with macros on the knobs (ALG FB MLVL MRAT MEG VMOD DTUN). Each track's patch goes along in the project, the autosave and the backup.
• The bank voices in PRESETS: after the factory presets, PRESETS lists every voice stored in the banks by name (tagged BK1 / BK2), before the user presets; picking one puts the track on FM6 with that patch. Hold HOME and turn PRESETS to jump a group at a time (each engine's presets, FM6 BANK 1, FM6 BANK 2, the user presets; the group shows in the top bar, and that HOME press opens nothing); KNOB 3 (KIND) on the PRESETS page does the same.
• Preset categories: every factory preset is a BASS, LEAD, PAD, KEYS, PLUCK, PERC, DRONE or FX. KNOB 2 (CAT) on the PRESETS page picks one, and from then on the PRESETS knob, KNOB 1 and the group jump walk only those presets, across all the engines (No. counts within the category). ALL is the whole list. FM6 bank voices and user presets show under ALL.
• The PRESETS page: tap SAVE (again: USER, PROJECT, TOOLS) with a synth track selected. KNOB 1 No. one preset at a time, KNOB 2 CAT the category, KNOB 3 KIND a group at a time (with the engine's icon); KNOB 4 shows how many there are. To change only the engine, use the EDIT layer (keys 1–12).
• Dexed edits Jangada live: point Dexed's (or another DX7 editor's) MIDI at the FM-1 and turning a knob there changes the FM6 track at once; send a voice to the track or a 32-voice cartridge to a bank, and ask for them back. The cartridge goes to the bank the FM6 track's PTCH is in (B33–B64: bank 2); with PTCH on a factory patch the screen asks FM6 BANK 1? SAVE=YES: OCT- / OCT+ choose bank 1 or 2, SAVE writes it, any other button cancels.
• PHYS: physical models (DaisySP and Rings, in fixed point). MODAL (bells, bars, plates), STRNG (a plucked string: a curved bridge that buzzes, or a stiff one), MEMB (a drum head that drops in pitch after the hit) and SYMP (a string with three sympathetic strings ringing along); BRIT, DAMP, POS, ACC, BOW (sustains it) and EXC. Jangada's presets: BERIMBAU, VIOLA CAIPIRA, ALFAIA, BIGORNA (an anvil), TRILHO (a struck rail), SINO RACHADO (a cracked bell), PIANO PODRE (a rotten piano) and FERRO VELHO (bowed scrap, a drone).
• NOISE: ANLG (white noise and impulses), DUST (only the impulses: crackle, drops), LFSR (a shift register clocked above the key) and META (a short register sequence: a metallic tone); COLR from white to pink to brown, a filter from low-pass to a narrow band, DRFT, CRSH. Jangada's presets: FORNALHA and CHAMINE (brown-noise drones), ESTATICA, ENGRENAGEM, VAPOR, SUCATA NZ. Two machines of Jangada's own: MOTR (bursts of noise, a gear's teeth, struck in time with the key: DIV divides it from a pitched saw blade down to slow pistons, GRIT from a click to a grind, every 4th tooth harder; the picture is a gear turning) and COMB (the noise rung by a comb tuned to the key: a pipe, a plate, a hammer on iron; FDBK how long it rings). Presets SERRA, PISTAO, BETONEIRA, ESTEIRA, TUBO, MARRETA, GARGANTA.
• ROBO: machine voices (ideas from issue #4). VOSIM (bursts of sin² pulses at a formant, each smaller than the last: vowels, buzzes, a talking chip; FORM, PULS, DCAY, TRK), GENDY (Xenakis' dynamic stochastic synthesis: the period's breakpoints walk in level and length every cycle while the pitch holds; STEP, PTS, TIME, SEED: 0 a new walk each note, 1–127 the same one) and WALSH (a sum of ±1 Walsh functions, band-limited; SEQ, TERM, BLND from cal to sal, SWP) and SCAN (scanned synthesis, Lite: a ring of 16 masses on springs moving at haptic rates, read round at the note's pitch, so pitch and timbre are apart; STIF, DAMP (0 rings on), CNTR, HIT the starting shape, DRFT pushes it). DRFT, CRSH and TONE for all. Presets: ROBO VOX, CORAL MORTO (a dead choir, a drone), LATA, ABOIO (the sertão's cowherd call), XENAKIS, ENXAME, GERADOR, ESTILHACO, WALSH BASS, TELEX, SINAL, CHAPA, MARE (a tide, a drone), ONDA PRESA, ESTACA, VIDRO.
• And the others: DIGITAL (4-operator FM), PHASE, LOFI, SAMPLE, VOICE, TRIO, WHEEL, GRAIN.
• 16 parameters per engine (Felucca has 8).
• Modulation matrix (LFO → MOD 1–4): sources LFO, ENV, VEL, KEY, RND, MODW, AT, EXPR, DRIFT and MAC1–MAC4; destinations filter, pitch, shape or any engine parameter.
• Macros for playing live (LFO → MACRO): four knobs, MAC1–MAC4, for the whole song. Point matrix slots at the same MAC, on one part or on all of them, and one knob moves them together: MAC1 → CUT on every part is a BRIGHTNESS, MAC2 → DRV + SDRV a DRIVE. MIDI CC 16–19 move them from a controller (any channel). They belong to the hands, not the song: a project does not store them, and loading one leaves them where they are.
• One-key chords (SCL → CHORD): TRIAD, 7TH, 9TH, SUS4, POWER; the white keys walk the scale and each plays its chord.

Live: hold a button

Tap a function button and its pages open; tap again for the next page, with OCT− held for the one before. Hold it and it becomes a layer: the 16 white keys and the 4 knobs change job, and the screen shows 16 tiles and 4 dials. HOME tapped while a layer is held locks it open, and so does a double tap of its button; a tap lets it go. PLAY, REC and OCT keep working inside it.

Hold	Keys	Knobs 1 · 2 · 3 · 4
FX	the 16 punch-in effects; black keys F#3 REV THROW, G#3 ECHO THROW	FILT · DUST · DUCK · TAPE
GLO	1–4 mute, 5–8 solo, 9 held = a fill, 10 = the next bar a fill, 14 = MIDI LEARN, the last one tap tempo; SELECT turns the BPM (alone only on HOME, since 0.9.9)	levels of tracks 1–4
SEQ	the 16 steps of the page (empty = set, set = press and release clears); black keys: page, shift, half / double, transpose, F#5 held erases what the playhead passes	NOTE · DIV · SWG · LEN; steps held: NOTE · RTCH · CHNC · FLAG
SCL	any key = the key of the song	CHRD · SCL · QNT · TRN
EDIT	the track's engine; the last one = track 4 DRUM / SYNTH	PRST · VOICE · GLIDE · LVL

With SEQ held, OCT− / OCT+ = undo / redo of the pattern. With steps held, the other knobs work on them too: SELECT nudges them off the grid (1/64 of a step, up to half a step early or late), ALGORITHM picks a sound parameter and PRESETS gives it another value on those steps only (a parameter lock; it goes back at the next step without one), OCT+ sets their condition (ALWAYS, FILL only in a fill, NO FILL never in one) and OCT− takes their locks and nudge away. The title shows the picked parameter, its value on the step, the nudge and the condition; a small square at the top right of a tile marks a lock or a nudge, one at the top left a condition (full: FILL, hollow: NO FILL). REC on a page with nothing to record opens the TRACKS view: BPM, bar.beat, one row per track with its steps and playhead.

• MOMENTARY: hold LFO and turn knobs (HOME or any page); let go of LFO and every value you turned goes back. OCT+ while holding LFO keeps them. While held, the top line says so (TURN A KNOB, how many values will go back, KEPT). A tap of LFO opens its pages.
• THROWs (FX layer): F#3 held sends every track's reverb to full, G#3 every delay send (and FDBK up to 70 % if lower); they glide in and out in ~12 ms and nothing is saved.
• FX LATCH: tap an effect's key twice, quickly, and it stays on after you let go, out of the FX layer too (the top line says LATCH: and which); a tap of that key again lets it go, another effect replaces it.

Sequencer and arpeggiator

• 64 steps per track, chords, ties, accent, slide; live recording (it keeps how hard you played).
• RTCH ratchet x1–x4, CHNC chance 100/75/50/25 % and VEL velocity per step (STEP 2).
• VIVO (SEQ → VIVO, VIVO 2, VIVO 3), the pattern alive: a layer that decides step by step what plays, without changing what is written (all at their defaults: the pattern as written).
  • PULS Euclid's rhythm (k hits spread over LEN, ROT turns them): each hit plays the next note step of the pattern in turn, so the melody walks over the rhythm; an empty pattern plays the key played last.
  • DENS the chance a step plays; MEM gives it memory (+ bursts, − alternation).
  • CYC the chances repeat every CYC steps, a cycle of their own against LEN; ACC an accent every ACC steps, another cycle.
  • EVOL a cellular automaton (R30, R90, R110, R150, R54, R184, R22) born from the rhythm, changing it every LOOP passes; FRZ holds what you hear.
  • SEED: every chance comes from it and the count since PLAY, so the same settings play the same.
  • The page draws the pattern as a ring: the rhythm outside, what played in the last pass inside, accents white.
• Metronome (GLO → CLICK): CLICK OFF, REC (while a track is armed) or ON, a blip on each beat, higher on the bar's first; LEVEL; COUNT OFF, 1BAR, 2BAR: PLAY with a track armed counts in first. To the headphones and the speaker only, never into USB audio. PREV: stopped, turning STEP on the STEP page plays the step the cursor lands on.
• The arp follows TRN, ROOT, SCALE and QNT on the keys it holds (HOLD too): change the key and the arpeggio moves with it.
• CHORD+: with a chord mode on (SCL → CHORD), the black keys change the chord, held before the white key or pressed while the chord sounds: F# major ↔ minor, G# + 7th, A# sus4, C# + 9th, D# inversion (they combine; the 7th and 9th come from the scale). On the same page STRM spreads a chord's notes like a strummed guitar (1–60 ms a note; right low to high, left high to low; on the keys and the chord steps) and VLEAD voices each chord nearest the last one.
• Delay TIME up to the dotted 1/8D and 1/16D.
• FILT on every track (FX → DIST, knob 4): left a low-pass, right a high-pass, centre off; it stays when the sound changes and can be locked on a step.
• Micro timing, parameter locks (12 a track) and fills per step, in the SEQ layer; they are saved with the project.
• Arpeggiator: UP, DN, UPDN, RND, ORD, UDI, RPT, DNUP, CONV (outside in), DIVG (inside out), PINKY, THUMB (the top / bottom note every other), WALK; divisions up to 4BAR (in the sequencer too).

MIDI and USB

• MIDI in on the TRS jack (3.5 mm) and over USB: channels 1–3 the synth tracks, 4 track 4 when it is a SYNTH, the drum channel (default 10) the drums, the others the selected track. GLO → SYSTEM ROUT = SEL: every channel plays the selected track (a keyboard on channel 1 plays what PRESETS browses); CH5-8, CH9-12, CH13-16: tracks 1–4 on another block of channels (two FM-1s on one cable).
• Program Change on a track's channel loads its engine's sound n, in PRESETS' order (FM6: then the bank voices); on the drum track, kit n. Past the last: ignored.
• MIDI LEARN (hold GLO + key 14): turn a knob, move a controller, and that CC drives that parameter of that track, on any channel; then the next knob. OCT− clears the picked one's CC; GLO + 14 again is done. Up to 16, kept with the settings; HOME → MIDI LEARN shows how many and clears them.
• Pitch bend, sustain, all notes off, mod wheel, aftertouch and expression (as matrix sources).
• Clock (GLO → GLOBAL CLK): INT, USB or TRS, pulse by pulse, no drift; SYNC OUT sends clock over USB.
• HOME → MIDI OUT = SEQ: the sequencer and the arp go out over USB too (each track on its channel, the drums on theirs), every note ended; KEYS (default): only the keys. MIDI IN = CLOCK follows the clock and START / STOP and ignores incoming notes. Both are settings of the FM-1, not of the project.
• USB audio: the FM-1 shows up as a stereo audio input named Jangada (44.1 kHz, no driver). HOME → USB AUDIO: the level follows MASTER, or FULL. On Linux: arecord -D hw:Jangada -f S16_LE -r 44100 -c 2 take.wav. Since 0.9.7 the audio interface comes before MIDI in the descriptors, so macOS 15 and earlier show the audio input too.
• In a DAW or a mixer (1.0.1, editor protocol v8): a host reads a track's whole sound in one SysEx frame and sends it back later (F0 7D 46 4C 60 <track> F7, #7), sets many parameters in one frame and reads any engine's parameter names. Nirbija uses it (0.6.0). The protocol: web/EDITOR_PROTOCOL.md.

Screen, lights and menu

• Antialiased font (Inter Tight), icons, cards; the CHOQUE palette (hot pink) by default, and NIGHT (true black, green).
• Menu (hold HOME): COLOR, SPEAKER (a low cut for the speaker), LIGHTS (the buttons glow dimly, for playing in the dark), KEYS (lights the C keys, the white ones or the track's SCALE, its root brighter), NOTES (sounding notes light their keys), USB AUDIO, MIDI OUT, MIDI IN, NEW PROJECT, ABOUT.
• Pages without a graph (EDIT, DIST, CHORD, GLOBAL, SYSTEM…) show their four values large, each knob as a circle that grows with its value, its name and value below; the one you turn in white. The shape follows what the parameter does: a disc (amounts), ripples (RES, FDBK, REV, DECAY…), a spiral (RATE, TIME, GLIDE…), a wave turning stormy (SHP, DRV, FOLD…) and interference (MOD, DTN, RATIO, PAN). Bipolar values grow from zero (below it the disc is hollow); lists show the value. Note values (1/4, 1/8, 8T, 1/8D…) show as dots, as many as the notes they make in a bar.
• The engine on its EDIT pages: the middle of the screen shows the engine at work, the four knobs as small circles in a row on top (a turned knob shows its value in place of its name). The picture comes from the engine's own state as it plays (SCAN's masses, GENDY's walking points, WALSH's wave, GRAIN's grains, each FM6 operator's level, SAMPLE's play position, WHEEL's drawbars) and moves with the track's sound: it swells with the level, gets busier with the brightness and is struck on an attack. ENV, LFO and MOD 1–4 have the same row on top: the envelope drawn filled with a dot where the playing voice is, the LFO's waves with a dot at its phase, and the matrix slot as SRC → DST → SOUND with the source's shape as tall as its amount.
• Its own samples: SAMPLE and GRAIN play IRON (a struck steel plate), WIRE (a plucked wire), TABLE (a wavetable sweep: in GRAIN, POS walks the timbre) and MOTOR (a machine running), all synthesized by Jangada, plus PERC and your own three slots. Presets SCRAP BELL and ENGINE ROOM.
• Visualiser: on the TRACKS screen, tap HOME: the whole screen shows what plays. SELECT changes the style: OSC (the wave with a phosphor trail), SONAR (the wave round a circle, a sweep a bar), VU (a meter per track and the mix), ESTEIRA (each track's level scrolling by) and MAR (the raft riding the tracks' swells). HOME again goes HOME; the keys and the layers keep working.
• Nothing blinks hard: what can be pressed breathes (a slow fade), such as a locked layer's button or OCT+ in a dialog.

On the site

• Studio: Jangada in the browser.
• Editor (Chrome or Edge, FM-1 on USB): every parameter, the steps, the presets; the 6-OP FM tab (the whole FM6 patch, the banks B1–B32 and B33–B64, DX7 .syx both ways); CHOP (cut a recording of any length into up to 16 chops for USR1–3); Backup and restore of everything in one jangada-backup-DATE.json file.
• Installer: installs the latest release, or goes back to the official firmware.

Storage and safety

• Autosave: stopped and untouched for a few seconds, the project goes to flash and comes back at power-on. OCT+ held at power-on starts empty; HOME → NEW PROJECT clears everything.
• Projects and presets store each value under a stable key: newer versions open what older ones saved. Felucca's projects and presets are read and converted. Since 0.9 a value takes one byte (projects "JNG2", user presets "UPB3"): what 0.8.2 saved opens, and room is left for what comes.
• Safe updates: the installer refuses a damaged package; the loader checks the CRC before it lets the new firmware start; OCT− at power-on (or two failed boots) opens the USB rescue, proven on a real interrupted write. The boot area is never written, so an FM-1 running Jangada always has a way back.

Tools

tools/fm1_console.py status	CPU, audio, USB, MIDI, battery
tools/fm1_console.py check	on-device test: CPU peak, late audio, resets
tools/fm1_console.py voices	what sounds on each track, and why (with EVOL and TENS)
tools/fm1_console.py preset E I [T]	loads preset I of engine E on track T
tools/fm1_console.py t4 synth|drum	track 4 type
tools/fm1_console.py droneoff	as holding ARP
tools/fm1_console.py color CHOQUE	screen palette
tools/fm1_console.py g ID [VALUE]	reads or sets a global parameter (e.g. g 28 90 = DUST)
tools/fm1_console.py punch N|off	starts a punch-in effect (0–15) or stops it

Build and test

See BUILDING.md. On Linux x86-64 the JieLi toolchain runs natively, no Docker:

tools/get_toolchain.sh        # the toolchain, in ~/.jieli
tools/get_sdk_files.sh        # only the 3 AC79 SDK files the package uses
./build.sh                    # build/felucca.fwsc
sh tests/run_tests.sh         # every test, on the PC
python3 tools/build_studio.py --get-zig   # the Studio (WebAssembly), once

• Reproducible build: the date comes from the last commit; two builds give the same bytes.
• The tests cover the sound (renders of every preset with a fingerprint), health (clipping, DC, stuck notes), the CPU budget, formats and compatibility, MIDI and clock, DX7 SysEx, the drones, the grit, the kits, the layers and screens, the installer, the editor, the backup and the Studio (the WebAssembly comes out sample for sample the same as the same C compiled on the PC).
• CI on every push; a vX.Y tag publishes the .fwsc on a release and updates the site.

Next

• Finer MIDI (per-channel bend range, CC1 vibrato) and the chord name on HOME.
• More broken pianos (The Social Network), after PHYS's PIANO PODRE.
• RUST, ASH and MANGUE palettes; the jangada on the boot screen.

Ideas, sounds and bugs: open an issue.

Credits and license

Jangada is GPL-3.0-only, as Felucca is. The original work is Leo Kuroshita's (@kurogedelic), Hügelton Instruments. Parts come from other forks, with our thanks:

• Felucca 1.0: FM6, USB audio, the SPRING reverb, the look (Inter Tight, Fukiai icons), the FM6 bank. From 1.1 to 1.5.1: the INSERT, MIDI LEARN, the metronome and count-in, MOMENTARY, the THROWs, LFO SYNC, ENV SYNC, Program Change (renebohne's PR), the arp modes, the macOS USB audio and encoder fixes.
• SLOOP (isod89): the layers, punch FX, the master, the synthesised kits, the chords, PLATE, autosave, safe updates and rescue, the lights, TRS MIDI, micro timing, parameter locks and fills.
• Felucca [Salt] (Chance Roth): the Studio in the browser.
• Melodee (Kerem Kilic / Ellic Studio): DX7 SysEx, and how to start the FM-1's second core.
• X0X (Charles Vestal): the second core, from Melodee's work (AUTO, with an opt-in BOOST of the supply: see BUILDING.md).
• msfa / Dexed (Google, Pascal Gauthier): the FM6 core (Apache-2.0).
• gospodindilly-ops: the ideas behind ROBO, VIVO and the pictures of the engines (issues #4 and #5).

Going the other way: the ratchets went upstream and ship in Felucca 1.0.5 (PR #100).

See README.felucca.md and LICENSING.md for the full credits (fonts, samples, engines).

M-VAVE and FM-1 are trademarks of their respective owners. Jangada is not affiliated with or endorsed by them, nor by Felucca.