The sad news is that FM with feedback cannot be done the naïve way.
You need to account for aliasing. Someone upthread suggested adding
noise instend of feedback, this is probably a good idea. But it will
not make your FM synthesis engine sound like the real thing.
--
dupswapdrop -- the music-dsp
On 14 Sep 2011, at 10:29, Emanuel Landeholm wrote:
The sad news is that FM with feedback cannot be done the naïve way.
You need to account for aliasing. Someone upthread suggested adding
noise instend of feedback, this is probably a good idea. But it will
not make your FM synthesis engine
On 14/09/2011 10:56, Tom Wiltshire wrote:
..
How did Yamaha deal with this in in 1983? Given the resources they
had at the time, it must have been fairly basic. I know the DX7 used
a reasonably high sample rate, but it wouldn't have been enough on
it's own. Anyway, doesn't the DX7 have quite
On 13/09/2011 21:06, Theo Verelst wrote:
Hi
..
Remember that Frequency Modulation of only two operators already has
theoretically (without counting sampling artifacts!) a Bessel-function
guided spectrum which is in every case infinite, although at low
modulation indexes the higher components
I believe FM sounds got back in fashion at the time everyone had forgotten
that shitty GM FM bank in Windows, when FM meant cheesy MIDI files.
..but the problem with FM is that no one can program presets, it's very
unpredictable when you deal with more than 3 operators, and I'm not sure
today's
I don't think musicians mind tweaking and poking presets (what's the worst that
can happen?), so it's really up to the makers to provide plenty of decent
preset sounds. NI FM8 for example has a pretty good selection of presets and is
a popular FM synth these days, I rate it pretty highly
The evolution seems to be going towards some kind of middleware guys,
in-between musicians engineers, who program presets for engines put in
black box instruments, so that the musican can get access to non-sampled
FM presets, while not having access to FM at all.
Well, seems to be what NI is
On Wed, 14 Sep 2011 12:09:45 +0200 (CEST)
Laszlo Toth to...@inf.u-szeged.hu wrote:
Our problem is that the number of samples differs significantly
between the recordings collected on different days (the largest diference
is up to 5 minutes!).
What is the condition for exit?
You should write
On Wed, 14 Sep 2011, Richard Dobson wrote:
How is the recording controlled - some external timer telling the process
to start and stop?
Actually, we are recording a fixed number of samples (which is calculated
from the sampling rate). So we ask the system time - record N samples -
ask the
When I wrote my very first sound recording application, I encountered
the very same issue. The problem was that I didn't write asynchronously
to the disk (that is in an extra thread).
Make sure that you don't write the buffer to disk in the audio thread or
dropouts might occur occasionally.
It's totally ok to make presets yourself with a beta team, as long as the
full editor is given to the user (so that he or others can do presets
himself), but when it's a rompler or a black box, you really need artists
to be using your private tools.
Also it's pretty hard to keep backwards
The DX7 was an all digital instrument. Analog oscillators generally implement
exponential FM, which has the effect of changing the fundamental pitch when
varying the modulation index. In the Bristow/Chowning FM book I think they
calculated the sampling rate to be around 60kHz. Aliasing could
Interesting. I was referring to 'propper' synths really, which I wouldn't
really group with romplers and black boxes personally, but I guess end users
don't necessarily make the same distinction. I can definitely
Personally I'm not making black boxes, because to do this you can't just be a
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