I always understood FM feedback to require a 1 sample delay.
Hello,
I was just wondering, if I need a graph structure from my OP-Matrix to sort the
processing chain of my operators.
Before I was thinking, that I need to sort my operator matrix to get a linear
processing chain (top sort).
On 18/09/2011, Rainer Buchty rai...@buchty.net wrote:
On Thu, 15 Sep 2011, Gwenhwyfaer wrote:
The SY77 has more algorithms and three arbitrary feedback loops - and
in fact, will allow entirely arbitrary operator patching over MIDI,
with each operator able to accept two scaled inputs.
Did
A few points:
On 12/09/2011, Andy Farnell padawa...@obiwannabe.co.uk wrote:
If you are heading towards DX7 style FM then notice
that only two of the oscillators (2 and 6) can have
feedback, and that this is self feedback.
Not so - for example, in algorithm 4, operator 4 feeds back to op 6.
On Thu, 15 Sep 2011 16:05:52 +0100
Gwenhwyfaer gwenhwyf...@gmail.com wrote:
A few points:
On 12/09/2011, Andy Farnell padawa...@obiwannabe.co.uk wrote:
If you are heading towards DX7 style FM then notice
that only two of the oscillators (2 and 6) can have
feedback, and that this is
I was quite non-professionally (in both meanings) doodling with Maxima
and got back to where I was in lke 1985 too, to thing about what the
right Frequency Modulation definition might be, for instance: is it more
phase-distortion (modulation), or, when it is actually the frequency
which
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
.
-Original Message-
From: music-dsp-boun...@music.columbia.edu
[mailto:music-dsp-boun...@music.columbia.edu] On Behalf Of Didier Dambrin
Sent: 14 September 2011 11:19
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] FM Synthesis
I believe FM sounds got back
highly
myself.
-Original Message-
From: music-dsp-boun...@music.columbia.edu
[mailto:music-dsp-boun...@music.columbia.edu] On Behalf Of Didier Dambrin
Sent: 14 September 2011 11:19
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] FM Synthesis
I believe FM sounds got
-dsp-boun...@music.columbia.edu] On Behalf Of Didier Dambrin
Sent: 14 September 2011 11:32
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] FM Synthesis
The evolution seems to be going towards some kind of middleware guys,
in-between musicians engineers, who program presets
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
/effect industry and if it
pays well.
-Original Message-
From: music-dsp-boun...@music.columbia.edu
[mailto:music-dsp-boun...@music.columbia.edu] On Behalf Of Didier Dambrin
Sent: 14 September 2011 13:49
To: A discussion list for music-related DSP
Subject: Re: [music-dsp] FM Synthesis
It's
Another instance where there is (almost) no delay feedback is
presumably FM feedback of analogue oscillators. Does anyone know
whether analogue FM sounds much different to digital FM, due to the
lack of a 1-sample delay?
Cheers,
-Chris
On 13 September 2011 06:05, Andrew Simper a...@cytomic.com
:59
To: music-dsp@music.columbia.edu
Subject: [music-dsp] FM Synthesis
Hi all,
I just started an implementation of a FM-Synth and I am struggling with a
certain effect, which I am not sure, if it is caused by a bug or conceptional
error.
The structure is straight-forward. I have N operators
Hi,
I'm not sure about the block size issue, but FM patches with feedback often
give chaotic/noisy outputs. It'd depend on the levels of feedback from A to B
and then from B to A again. The second issue there is that you've got a
2-sample delay for the feedback to A's modulation input.
I
I guess, that's it and it makes sense now to me.
This can make FM synthesis quite cpu expensive however. Everything must be
included into a big for-loop.
Thanks.
--
aM
On Sep 12, 2011, at 4:56 PM, Brad Smith wrote:
I always understood FM feedback to require a 1 sample delay. The
output of
i am not a Java programmer, but i think i can read this code.
where does the symbol buffer[] get declared? i resume you're getting
opBuffer[] operator.buffer.
private void modulate( final int numFrames )
{
clear( numFrames ); // zero buffer
for( @NotNull final Link
If you are heading towards DX7 style FM then notice
that only two of the oscillators (2 and 6) can have
feedback, and that this is self feedback. There are
no arbitrary feedback paths containing more than one
node and no nodes that aren't leaf nodes, so none have
self feedback + modulation from
what Brad Smith points out (that at least 1 sample delay is necessary
for feedback) is true for any discrete-time processing alg. and we know
that if block processing or chunk processing (whatever you wanna
call the technique) would require a minimum delay of BLOCK_SIZE samples
for any signal
On 13 September 2011 05:24, robert bristow-johnson
r...@audioimagination.com wrote:
what Brad Smith points out (that at least 1 sample delay is necessary for
feedback) is true for any discrete-time processing alg.
Although not practical in many situations it is easy enough to code
algorithms
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