plain looking.
link control families together with color (background or border)

Don't write them to text area- have own fields in UI so more obvious

easy to enumerate ports. User must select Mirage port in order for editor to work.

UI would have an "add to workflow" button. "run workflow" button. Process Log text area needs to shrink to accommodate. App margins are too big- shrink those to gain mire space overall. UI would show the flow- source, flow, destination. Technically the flow is a DAG. Cannot reuse ANY folders to avoid race condition.

Write functions to read and write single parameters using sysex. Arguments are mirage parameter number and value. Two functions to do it all.

Parse the sound program data out of a program dump. I believe the sysex command to get a dump actually retrieves two- lower and upper- since it returns 1255 bytes. Each full program is 625 so math works given 5 byte sysex overhead.

When to get dump and load into UI? Right after user selects the mirage midi ports. Could send a sysex packet onchange to see if configured properly, like current test piece. Design would be to load lower 1 program 1. disable the sound and program select buttons until midi is configured.

May still want a test midi feature in midi menu

Be sure to keep a copy of all program data for undo feature. one level of undo. That is, after a save operation you can perform an undo.

Some functions ported. do the rest. may need separate issues for them but most pretty simply and build on utility functions.

could build into the namespace or have own namespace. Trick is must be linked to the function so easy to get. Intent is show all help for all functions? won't scale well. Little help dictionary?

MIDI values read and sent are NOT what the Mirage displays. Displayed values are a fraction. Need UI display to match what synth shows, but the values behind the scenes need to match the regular range of values the synth uses in sysex and hence, its own memory.

I think you need to go back and forth between programs. Warn user about being dirty when you change programs

I don't have a save program concept, only save sound to floppy. I also don't have a switch program concept for mirage. I just load sounds then mess with programs in the app. That is wrong. I think my changes are only affecting whatever loaded into Mirage (probably defaults to 1).

better state tracking needed.

add a function to update global object for state of current sound/program.

the 32bit to 8 bit writes unsigned 8 bit values. Pretty sure that is what I need in Mirage, too. Need to fix this since it impacts what mirage does with data.

do everytime there is a UI change? I think this is best. Use ports, program, sound data in arguments.

Implement it.

would be a little crazy to make you push a button to update.

sysex midi callbacks are not going where expected as evidenced by logging. Put in a standard function that can identify the strings by their header and display the data.

My inclination is use samples from Journey Into Sound or perhaps the vintage percussion sounds LP.

See what is changeable over MIIDI. Can write code to send changes. Save changes to disk. Compare to original (use software to find/show differences). Differences will show changes made. Not impossible, but tedious. Overall intent is create sounds from wavsyn (set all params) and write to the disk image. That is, a visual editor for Mirage for the sounds (patches).

Grab list of files to convert. compare to list of file converted (destination directory). If different, there was an error. Send info to renderer. Have renderer show modal warning and remove dialog from main process.

tracking the sounds required two things:

upper bank # in mirage
lower bank # in mirage

tracking what is edited requires what program dump is loaded:
one bank value - 1-6 (lower - upper)
program

A big change in parameter all at once won't work using up and down arrows. They get dumped in the proverbial bit bucket and a quarter or less make it through. Some delay in the sending loop may fix.

8 wavesamples per sound so can make a pretty good kit. need a template that defines the key mapping (range) to each wavesample. Wavesample lengths for drums- are they all the same? 8KB would be ~0.25 sec. Could unless you need a gong or along cymbal sound, I suppose.

https://www.atarimagazines.com/startv3n7/sampleditors.html

Review
SampIe Editors For The Ensoniq Mirage
ST Sonic Editor, Soundworks Mirage and Sound Designer
by Jim Pierson-Perry
START Contributing Editor

Samplers may qualify as the most versatile and complicated electronic musical instrument. They're the instrumental equivalent of playing a tape recorder. The sound you record (a sample) goes into a sampler to be processed to yield the final sound--and it may not sound anything like what you started with! Samplers give you the freedom to include any type of sound in your music, be it an animal noise, orchestra, choir, acoustical musical instrument or a car crash.

Enter the Mirage
The Ensoniq Mirage was the first affordable sampler for the home musician and hobbyist. It's an eight-voice polyphonic instrument, available as a keyboard or rack-mount unit. Samples are digitized to 8-bit resolution with a variable sampling rate of 10 to 33 kHz (up to 50 kHz with optional input sampling filter).Digital equalization dialog box for Digidesign Sound De-signer. This program's depth of specialized sample proces-sing options sets it apart from other sample editors.Internal memory is split into an upper and lower half, corresponding to a split keyboard. Each half holds one sound, consisting of eight wavesamples and four sets of program parameters. The wavesamples are the actual sample data and the program parameters control how the Mirage plays the raw sample data (e.g. amplitude envelopes, filter effects, modulation, etc.). Each wavesample may be a separate sound so it's possible to have up to 16 different sounds in memory at a time--great for a full drum set. An advanced operating system (MASOS) is available to assist with sampling and sample data manipulation. Earlier this year, Ensoniq released their Performance Sampler (EPS), the next generation Mirage which can read sound disks from the original Mirage.

Sample Editor Basics
Unlike a synthesizer, a sampler cannot make any sound on its own. Sampler editing programs are typically more complex than those for synthesizers as two editing levels are involved: instrument parameters and the sample itself. Instrument parameters are equivalent to normal synthesizer patch parameters--amplitude and filter envelopes, modulation source and amount, detuning, etc. Examples of sample editing are cutting and pasting sounds together, reversing the sample (Beatles, anyone?), replicating parts of a sound (m-m-m-Max Headroom), deleting segments, creating fade in/out effects and applying digital equalization (boosting the treble, cutting the bass frequencies, etc.).The most important sample editing operation is creating good loops. Normal sampler operation is to start at the beginning of the digitized sample data and play through to the end, finis. We may, however, want the sound to sustain at some point similar to holding down a piano pedal. This requires the sampler to replay a piece of the sample data over and over again (looping) until the sustain is released. The trick is finding a good sample segment to loop. If the start and end points do not match well, you'll hear pops, clicks and thumps. Good sample editor programs graphically display the data to help locate loop points and have several algorithms for automatically creating loops once you set a "ballpark" working region.Three sample editor programs are available for the ST that work with the Mirage: Soundworks Mirage by Steinber/Jones, ST Sonic Editor by Sonus and Sound Designer by Digidesign. A fourth, Oasis ST from Hybrid Arts, has been recently withdrawn from the market. The first two are dedicated to the Mirage and address both sample and program parameter editing. The third is solely a sample data editor that works with a number of samplers.

Soundworks Mirage
This program is part of the Soundworks series for popular samplers from Steinberg/Jones. Sound sample data files created by any of these programs are compatible with others in the series. It requires one megabyte of memory and runs in both color and monochrome. Soundworks uses a hardware key for copy protection; you can then back up the program and run it from a hard drive. The manual covers basic program operation and includes several useful examples, although it's short and filled with spelling errors. A desk accessory is included with the program to handle disk file operations: Get Info, Copy, Rename, Delete, Create Folder and Format Disk.Program parameter editing screen for Soundworks Mirage.All program parameter editing is done in real-time; you cancopy parameters between programs.Separate display screens are used for the four main operations: program parameter editing, sample data editing, MASOS/sample data manipulations and a software synthesizer for creating new sound samples. Each screen is based on a background DEGAS picture. Desk accessories are available but not handled well. You must click on most several times before the accessory window opens, which leaves a "hole" in the screen background that is cleared only by moving to another screen. Several screens also have extraneous unlabeled or nonfunctional buttons that are not mentioned in the manual (ea. System Reset, Copy Wavetable). There is no sound preview capability; all wavesamples must be transferred back to the Mirage to audition the edited results. Also lacking is any abiliy to play the Mirage from the program, almost a necessity when working with rack-mount units. All MIDI communication is fixed to channel 1.The program parameter editor is complete and well implemented. All parameters are presented on one screen in logical groupings. You can change values with the mouse, but you can't type in values directly, often the most expedient route. The program can display graphs of the amplitude or filter envelope settings but you cannot edit them graphically. Many parameters are set via sliders--easy to use but they don't provide a numerical value for their settings. All program parameter editing is done in real-time; you can copy parameters between programs.Sample data is transferred as an entire sound or just a single wavesample and is shown graphically in a display window that you cannot size or move. The display resolution can be adjusted to show from 2 to 256 pages of sample memory by powers of 2 (2, 4, 8, etc.). The starting point of the display can be set to any point in the sample data using screen scroll buttons. Wavesample parameters (which you may edit) are displayed next to the sample plot. There is no way to clear the sample data buffer, so loading a short wavesample after previously loading a longer one will show residue from the former in the display.Wavesample editing is restricted to changing amplitude values--no cut and paste, insert or delete operations are provided. Sample data amplitude editing can be done in three ways: cursor mode is the default and simply moves a line through the display window while showing the current position and amplitude; magnify mode shows a small rectangle that you can position within the display window and thus "blow up" the enclosed data for exact editing; line mode lets you draw a new contour shape for the sample data. When finished, the data amplitudes are recalculated to fit the contour.Wavesample editing screen for Soundworks Mirage. Eachwavesample may be a separate sound so it's possible to have16 different sounds in memory at once.Loop editing is virtually nonexistent. An end of loop marker can be toggled On/Off in the sample display and the Ioop parameter values can be numerically edited, but there is no provision for matching loop start and end segments nor are any automatic looping routines provided.The only advanced editing operations are those provided by the Mirage MASOS. A screen is provided for setting up appropriate memory markers and selecting the MASOS commands. The operations are done by the Mirage and the wavesamples must be recalled to the ST to view the edited results. This screen is also used to set up the Mirage for user sampling.A sophisticated module is provided for computer generation of wavesample data that simulates a four-oscillator analog synthesizer. Starting oscillator waveforms include triangle, sine, noise and square (with fixed or modulated pulse width and 4 types of modulation). A four stage envelope can be set for each oscillator. Both amplitude and frequency modulation of individual oscillators are supported. A library of 96 presets are included and you may store up to 96 more of your own design. Wavesamples generated this way can be viewed, edited and transferred to the Mirage the same way as normal samples.

ST Sonic Editor
This was the first Mirage sample editor released for the ST. It works with all ST models and monitors, and uses a hardware key protection scheme that lets you copy and install the program on a hard drive. The key goes into the cartridge slot, but it's a very touchy fit and often it took me more than five attempts to seat it without bombing the program.The working screen has a single display window for sample data that cannot be moved or sized. Eight icons for common operations are provided: display zoom in/out, drawing tool, play sequencer and set loop start/end points. The manual covers all program operations but suffers from an extreme technical orientation, lack of appropriate screen shots and poor layout. A very good section on looping techniques is provided, but is also for the Mirage hacker, not a new user.The Sonic Editor allows for editing of selected Mirage program parameters, MASOS sample data operations, cut and paste editing manual looping and rudimentary FM sample synthesis. There is no way to set overall Mirage configuration parameters such as MIDI channels (channel 1 is used) or to set up the Mirage for sampling. A sequencer is provided (notes only, no controllers) to play back short sequences while editing.Wavesample data is transferred between the Mirage and ST through menu commands. A dialog box is called from the menu bar to select the specific sound (upper/lower), waveform and Mirage program to be transferred. Separate commands are used to transfer the wavesample and program parameters data. There is no sound preview capability; you must continually transfer the waveform data back to the Mirage to hear the results of your editing. Ten simple sound files are included on the program disk.Mirage program parameters are edited numerically in either hex or decimal. Only amplitude or frequency envelope parameters can be edited, each in a separate dialog box. You cannot use the sequencer when a dialog box is active to audition editing effects. Oddly enough, the remainder of the Mirage program parameters such as LFO, detune, mix mode etc. cannot be edited or viewed from the program. There is no provision for copying parameters between programs or sounds.Wavesample editing screen for Digidesign Sound Designer.Each sample is shown in its own GEM window that can bemoved, resized, resealed and scrolled at will.The main use for this program is to visualize the sample data, particularly for creating loops. Resolution can be taken from an overview of the entire waveform currency in memory to a blowup of just 512 individual sample points. When the loop editor is activated, the display shifts to a split-screen arrangement with the loop start and end memory regions adjacent. Scroll arrows make it easy to move the loop points to try and find matching waveform regions. You must do all looping; the program merely shows data as a guide.A cut and paste buffer is provided to take snippets from one sound and graft them onto another or for similar editing, the buffer contents cannot be displayed and you must keep close track of what is in it. You can perform MASOS functions from a dedicated dialog box or, in a few cases, from the menu bar. Using the menu bar, the display window automatically shows the results. Going through the dialog box, the work is done within the Mirage memory rather than the ST and you must retrieve the sample data from the Mirage to see the results.Two additional features are a waveform drawing tool and FM sample synthesis. The drawing tool is for smoothing loop points or editing out blips. The synthesis routine lets you create a sample simulating a one operator FM algorithm (1 carrier/1 modulator) for a desired number of sample points.

Sound Designer
This is a Mac port of the most popular sampler editor program currently available. The functions and interface design were faithfully preserved, plus we get color and a larger monitor screen!Sound Designer is a sample data editor that is not dedicated to the Mirage, but works with many sampler instruments (including the EPS from Ensoniq). It will not edit program parameters. Sample data files are created and stored in a common format regardless of the sampler instrument; a sound file originally sampled on an Akai S900 can be sent to a Mirage. This opens up a huge library of existing sample files on BBS (see the sidebar with this review). Sound files from Softsynth and Digidesign's companion sample creation program (reviewed in the October 1988 issue of START), are both compatible with Sound Designer.Wavesample editing screen for the Sonus ST Sonic Editor.You must continually transfer the waveform data back tothe Mirage to hear the results of your editing.The program can run on any model ST or Mega with either a monochrome or color monitor. Data manipulations are carried out using temporary disk files rather than risking memory limitations (sample data files are notoriously long). Although the program will work using a single-sided drive, you may need a double-sided drive for lengthy samples. For safety, sound files are automatically backed up on disk when you open them. A master disk copy protection scheme lets you copy and install the program on a hard drive. You get a free backup master disk when you send in your program registration card. The manual is very well written, contains a number of illustrative screen shots and is well layed out, although the program is so intuitive that you rarely need to read the manual!One of the most useful program features is that sample data in memory can be previewed at any time through the ST monitor speaker. While not high fidelity, the sound quality is good enough for most editing needs. The preview quality can be improved by sending the sound to a stereo system via the Monitor Master or external D/A sound digitizer cartridges (ST Replay and ST Sound Digitizer are supported). A simple sequencer is also provided to play notes on the Mirage from the ST, either real-time or a recorded pattern. This is quite useful with the rack-mount Mirage unit. All MIDI operations are restricted to channel 1.Program functions can be broken into 3 main classes: basic editing, looping and digital signal processing. All feature excellent use of interactive graphics. Several icons and controls are located on the left side of the screen to handle data transfer between sampler and ST, play sequencer, sound preview, zoom, enter edit and processing modes, change display axes scales and draw waveforms. Most normal editing can be done without accessing the command menu.Basic editing functions are view sample, cut and paste, insert, delete, reverse order and set to zero. These are performed on sample data in the active window. Up to three samples can be opened at the same time, along with a clipboard for temporary storage. Each sample is shown in its own GEM window that can be moved, resized, resealed and scrolled at will. An entire sample data set or just a segment can be edited by dragging the mouse through part of the display. Noise spikes can be cut out or initial sounds repeated for stutter effects with just seconds of work. A smoothing function can be set to work automatically during your editing to polish rough spots. The zoom function lets you magnify any sized part of the sample data, selected by drawing a box with the mouse. Double clicking on the zoom icon restores the default full view scale display. You can even activate an electronic pencil to draw sample data changes-sometimes useful to remove glitches or smooth previous editing effects.A number of tools are provided to create good loops. Ballpark start and end loop markers can be set in the normal sample display window. More critical positioning is done in a dedicated loop window which shows sample data about both the start and end markers in a split view. Scroll buttons can be used with the mouse to slide the loop pointers about and seek a good match. An automatic crossfade looping routine is provided with the signal processing options to handle more difficult samples.What sets Sound Designer apart from other sample editors is its depth of specialized sample processing options. These include simulating the action of various equalization filters (low/high pass, notch and low/high shelving), normalizing the data amplitude for maximum signal strength, mixing and merging samples, crossfade looping and displaying an FFT plot of the sample (useful in choosing appropriate types of filters to apply). The processing is done within the ST, rather than going to MASOS on the Mirage. All options are clearly explained in the manual.

Summary
It is a sad but accurate statement that none of these programs meet all the desirable goals for a Mirage sample editor. Each has its own strong points, but none qualify across the board. So what is the best compromise?Your best option is to go with Sound Designer. There is simply nothing in its class for fast, powerful editing and special effects. It is easy to use, makes excellent use of the ST's capabilities and actually makes editing fun. It costs more up front but will more than make it up by saving you significant time and effort. Availabiliy of numerous sample files on various BBS is just frosting on the cake. Program parameter editing must be done at the Mirage; Sound Designer was created for sample data only.Coming in second is ST Sonic Editor. While it is far from being as intuitive or powerful as Sound Designer, it still packs the tools needed for basic editing and looping and will still save you some dollars. Be warned, this program is not well suited for novices and can cause a lot of frustration. The incomplete parameter editing capabilities will send you back to the Mirage front panel and the lack of sound preview wastes time on MIDI transfers. It is best used by those with experience editing just from the Mirage.In its present state, the Soundworks Mirage cannot be recommended. While the program parameter editing is good, the sample data editing and looping functions are insufficient. It also cannot be used on 520 STs without memory upgrades. The good news is that a major upgrade, essentially a new program, will become available before the year's end and address the current shortcomings. It will sport a dedicated loop editing screen, work on any MIDI channel, be compatible with the EPS and much more. That will definitely be worth a return look and may provide real competition for Sound Designer.Jim Pierson-Perry is a research chemist and semiprofessional musician. He lives in Elkton, Maryland.

Do you think these files are still out there anywhere? Sound Designer Mac version samples. Hmm. Archive.org??

Sound Designer Sample Files: Mac to ST

Sound Designer Sample Files: Mac to STThere are a large number of existing sample files on various BBS from Sound Designer's Macintosh incarnation, and with some simple touch-up editing, they work just fine for its ST version. There are two ways to do this. First, download the sample files from a BBS using a standard ST telecommunication program and save them to disk. Boot up the Byte Mechanic file editing program (from START Special Issue #4) and delete the first 128 bytes from the start of the sample file; then save the file. That's all--it gets even easier if you set up the trimming as a macro in Byte Mechanic.The other approach requires the Magic Sac from Data Pacific. Download the sample files with a Macintosh telecommunication program using the MacBinary protocol. Use the Data Pacific program Mover to translate from Mac (or Magic) format to ST. These files can be used without trimming.The advantage of going the Magic Sac route is that you may run into sample files that have been compressed via Packit or Stuffit (similar to ARC on the ST). These files must be decompressed with the appropriate Mac utility before translating to the ST. Often the BBS description will mention that the files have been compressed. You can also use the Byte Mechanic program to look at the start of the file in ASCII mode. If you see the notation ".pit"; it was probably compressed via Packit.Using both of these methods I have obtained over 15 sample files that worked flawlessly with Sound Designer and my Mirage, including several huge ones that were initially compressed. The original samplers used to create these files included the Emulator II, S900, Prophet 2002 and DSS-1. I downloaded them from East Coast MIDI BBS, (516) 928-4986 and PAN (voice), 215 584-0300).

UI to have harmonic synth and FM synth. What else?

current UI only has one sound selector and it is getting used by savesound by accident. save sound needs its own selector to target where to save the sound to independent of current sound loaded in mirage and UI.

Load sound will also need its own (need part of UI). When a load is done, be sure to update the current sound to reflect what is loaded.

On startup I had thought to auto load a sound, but better to have user use the UI to load what they want to keep things in sync from beginning.

note that user could make this out of sync if the change sounds or programs on mirage directly when using wavsyn. Warn them.

simple UI. changing program causes Mirage to load new one from floppy. changing program just changes to new memory region- no disk operation.

What about save program? My big hassle with mirage is forgetting what sound I am in and/or forgetting to save it. The editor can fix that in two ways:
save a copy of the programs/sounds as you work on them and allow restoration if you screw up
show using a visual indicator that the settings have change to alert them about saving
ask to save program if editor is 'dirty' (has changes)

see other methods for simple technique of building up a string array and displaying in the text area.

Really should refactor and add a channel for logs in preload. Receveir code should be responsible for display vice me adding a newline to end of each string. Separation of responsibilities.

Canreplace console.log with this. Maybe be better than what I am using with log module.
https://www.npmjs.com/package/debug

In any case, may want a separate logger for debug statements; advanced logs to a separate file. I have user logs. This would be developer logs for my purposes.

I think we at least need a "test MIDI" menu item. pop up a modal to tell status of MIDI connection.

currently hardcoded. depends on having right display values (scaling in UI).

delta = old value in UI - new value in UI.
don't use the internal mirage value without scaling.
need a scaling function

getScaleForUI(name, value)

lookup up scale factor based on name and return value. Many have a factor of 1. just do it this way for all. Need map of name to scale factors.

Have not seen many of these midi files for Mirage in the sample dump standard format (only one). Other mirage waveform editors (from the 90's) use SDS for transferring edited wavesamples. The advantage I see is transferral of data without having to go through the disk image route. Sending and also constructing a disk image this way sounds interesting- more immediate.

CR_8000.MID.zip

Instructions for loading via sequencer. Probably could just pull samples out if I knew the format. This would be an alternate technique for making images, albeit a roundabout way.

There should be 1 midifile , CR_8000.MID, and this READ.ME in the
.ZIP archive. The Midifile contains all the information to load the
sounds , including wave sample select and program changes.
Before trying to send the midifiles to the Mirage it is important
to setup a few of the Midi parameters first.
First of all boot-up the Mirage with MASOS as it is required for
receiving data dumps.
The Midifile is a fully automated dump but does require that the
Mirage be set up to receive the dump data.
77 User Multi - ON
81 Omni mode - OFF
82 Midi Chan - 01
83 Thru Mode - OFF
After setting these parameters select Upper Program 1 and then
param 26 , current wave sample. Make sure it is set to 1 then
select Lower Program 1 and check that 26 is again set to 1. Leave
the LED displaying the value of param 26 - 0.1
Load the Midifile CR_8000.MID into a sequencer, check the Tempo is
set for 100 bpm and that any cycle modes are turned off - we only
want the dump to transmit once.
Once this is all done play the file to the Mirage. Once it's
finished transmittiing all the data ,a short demo of all the
sounds should play. When that is finsihed stop the sequencer
and save the sounds to Disk. Dont forget there is Data on both
the Upper and Lower sides so do a " Save All using param 13.

Take a pair of single cycle waves. Interpolate between them to make a new looping wave of full mirage sound size-64KB. Make it symmetric so if 1KB, wave 1 is start, 33 is end, and 64 is same as 2, creating 64KB loop.

Need to test for header- examine first few bytes and look for WAVE. Also, why do I have 32bit floating point files with 100 byte headers? Normal or not?

use dom and onfocus event

I have Mac, windows, and Linux plus an old winXP machine. Check my Target settings for publishing- not sure if even making a mac version at the moment.

display same as Mirage for parameters (only wavesamples, loop points, use hex)

need a utility to either average stereo files or just pick a channel. Must read header to see if stereo or not. could be a new batch function. so could strip header, for that matter.

simple sysex select parameter

as long as hxcfe is on PATH this is a simple shell call. Add error handling in case it is not on the path.

changes to mix and mono mode are not causing changes on the mirage (may not implemented)
wavsample in UI starts at 0. should be 1 to 8.
attack envelope peak- no effect on mirage
aevs magically had extra hex characters in its display that is supposed to be limited to two. had about 7.
another one did, too, but not sure which. more testing.
maybe have mirage change to new parameter when selected in the UI.

I can send/receive now. pretty cool, but long way to go. Much specialized decoding of Mirage sysex data formats.

Mirage has multiple save modes.

save lower, upper, all

choose what to support and implement it.

I would write to user home directory ($user/.wasyn/logs for example)

Need an object that has flag and message for errors (that is, a nested object) and a separate array (logSring) of all messages. Renderer is responsible for formatting of this. Add a method to do it pretty. Also look for errors and pop warning/error dialog as appropriate (modal).

I found a ton of sounds - not complete disks- on archive.org. Many may already be in other mirage disk collections, so, redundant, but I don't know. May be worth playing with.

Listen with audacity.

Odd sizes but I just want the data parts. Audacity can open them (no need for raw import) but it does not not know how to remove the extra bytes. For example, files claiming 66KB length are really 64KB plus 32 samples (bytes) at the end. Any of these could be trimmed and used as "intermediate" files for loading into Mirage wav files for making disk images.

https://wiki.amigaos.net/wiki/8SVX_IFF_8-Bit_Sampled_Voice

ugh.

https://getbootstrap.com/docs/4.0/components/forms/#custom-forms

getting flashing XL message where X is a number . command must be bad,

sending: sending sysex 240,15,1,1,6,10,127,247

for loading upper 3. looks wrong.

a JSON object will work fine {name:value,...}

put examples in help text.

use default value in parameter of null so to allow for no parameters. Point is all should have same basic interface.

read from header and choose data start point based on file length minus data length. This only matters if we get weird things going on, which guarantees it will be needed!