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<DIV><FONT face=Arial color=#0000ff><SPAN
class=370545522-17022004>Cynthia,</SPAN></FONT></DIV>
<DIV><FONT face=Arial color=#0000ff><SPAN
class=370545522-17022004></SPAN></FONT> </DIV>
<DIV><FONT face=Arial color=#0000ff><SPAN class=370545522-17022004>Filters are a
natural for Dx kind of FM (as well as analog FM).
As </SPAN></FONT><FONT face=Arial color=#0000ff><SPAN
class=370545522-17022004>the FM technique generates freq. side bands both above
and below the sounding Frequency bandpass and high pass filters
demonstrate increased effectiveness. Also because FM provides
another form of timbral "dynamism", filter techniques long
considered boringly standard, sound new working in contrast or in concert
with the dynamism occurring upon the DCO, this leads to a complexity of sound
that moderates and enhances the timbral palette resulting from
FM.</SPAN></FONT></DIV>
<DIV><FONT face=Arial color=#0000ff><SPAN
class=370545522-17022004></SPAN></FONT> </DIV>
<DIV><FONT face=Arial color=#0000ff><SPAN class=370545522-17022004>I'm looking
forward to the SDIY meet and will surely bring the DCO's to play
with.</SPAN></FONT></DIV>
<DIV><FONT face=Arial color=#0000ff><SPAN
class=370545522-17022004></SPAN></FONT> </DIV>
<DIV><FONT face=Arial color=#0000ff><SPAN
class=370545522-17022004>regards,</SPAN></FONT></DIV>
<DIV><FONT face=Arial color=#0000ff><SPAN
class=370545522-17022004>p</SPAN></FONT></DIV>
<DIV><FONT face=Arial color=#0000ff><SPAN
class=370545522-17022004></SPAN></FONT> </DIV>
<DIV><FONT face=Tahoma size=2>-----Original Message-----<BR><B>From:</B> Cynthia
Webster [mailto:cynthia.webster@gte.net] <BR><B>Sent:</B> Tuesday, February 17,
2004 2:32 PM<BR><B>To:</B> philgallo@attglobal.net; synth diy<BR><B>Subject:</B>
Re: [sdiy] Yamaha DXy DCO's<BR><BR></FONT></DIV>Hi Phil!<BR><BR>The recent
thread comparing DX7 and Buchla FM synthesis <BR>techniques pondered the use of
Analog Filters on Digital <BR>FM Oscillators as something worthwhile to play
with.<BR><BR>This reminded me of the experience that I had when<BR>you brought
your Yamaha DCO board to a SciSound<BR>meeting. I was rather amazed at the
quality of the sounds <BR>when no filters at all were involved.<BR><BR>Being a
total filter junkie myself, I was humbled by the <BR>filtered types of sounds
that you were getting without any.<BR><BR>So naturally, I would love to hear
that wonderful DCO<BR>combination through a juicy analog filter like the
(4-pole)<BR>Nyle Steiner design!<BR><BR>Maybe we'll finally get to try this at
Jim Patchell's next <BR>DIY meet? (March 27th same location as last
year)<BR><BR>It is so odd that folks with fairly large systems typically
<BR>seem to dedicate only a single filter to each "voice"<BR>(when it get far
more interesting when multiple filters <BR>are involved) <BR><BR>Clever use of
Digital Oscillators suggests that if some <BR>of the "filtering" is done without
filters...<BR>then some total magic may be possible when they're <BR>combined
with um, (forgive me)... The real thing!<BR><BR>There are some keyboard synths
that combine the two, <BR>anyone care to share their experiences
here?<BR><BR>Cyn<BR><BR><BR><BR><BR>on 2/17/04 12:26 PM, phillip m gallo at
philgallo@attglobal.net wrote:<BR><BR>
<BLOCKQUOTE><BR><FONT face=Arial>Posts regarding polyphony so far have only
dealt with multiple "like" voice channels. There is more to
polyphony than implementing this way. Polyphonically driving
multiple "different" voices is a very potent technique. It does
require a more sophisticated "Note control".</FONT> <BR><BR><FONT
face=Arial>As an example, in my pre-MIDI days, i built a controller which
drove 9 Yamaha DXy DCO's with my SDIY modular tracing the highest key
(descant) , and my MG-1 tracing the lowest key(basso). The DXy's where
given all notes but even here i did not program the DCO's to have the same
voice. This was a digital implementation of what i had done in an analog
way with a Lancaster Poly and the two synths.</FONT> <BR><BR><FONT
face=Arial>This technique provides a really interesting ensemble effect that
resulted in two "performance" characteristics:</FONT> <BR><BR><FONT
face=Arial>1)</FONT> <BR><FONT face=Arial>You playing stop's being pianistic
or organ-tuan but becomes very precise as notes allocate to "voicings" and
repeatability requires precise technique,</FONT> <BR><BR><FONT
face=Arial>2)</FONT> <BR><FONT face=Arial>Alternatively, pianistic playing
resulting in very cool ad hoc voice assignment which provided a "uncertainty"
to the "orchestration" which had the dangerous side effect of keeping you
playing the synth way past bed time and bending your orchestrational "ear".
Reminded me of the insite gained from playing a "prepared piano".</FONT>
<BR><BR><FONT face=Arial>Now MIDI make all this very easy. Your M2CV
needs to have rules in it for not to voice assignment, an example being how to
detect new voice activations vs. "overlap" between key activations.
Since MIDI provide velocity information as well as channel info it's
pretty easy to make decisions as to voice allocation. You do need to
provide a buffer for key's pressed but not presently assigned to help govern
these rules. <BR></FONT><BR><FONT face=Arial>I have always disliked the
rotary note assignment that poly synths often do and am sure this is a major
contributor to polysynths sounding like really neat but non-the-less
organ-like instruments.</FONT> <BR><BR><FONT face=Arial>regards,</FONT>
<BR><FONT face=Arial>p</FONT> <BR><BR><FONT face=Arial>-----Original
Message-----</FONT> <BR><FONT face=Arial>From:
owner-synth-diy@dropmix.xs4all.nl [<FONT
color=#0000ff><U>mailto:owner-synth-diy@dropmix.xs4all.nl</U></FONT>] On
Behalf Of Grant Richter</FONT> <BR><FONT face=Arial>Sent: Tuesday, February
17, 2004 10:37 AM</FONT> <BR><FONT face=Arial>To: Rainer Buchty; Andalong
Dudigual</FONT> <BR><FONT face=Arial>Cc: synth-diy@dropmix.xs4all.nl</FONT>
<BR><FONT face=Arial>Subject: Re: [sdiy] poly?</FONT> <BR><BR><FONT
face=Arial>> Now for the fake solutions:</FONT> <BR><FONT face=Arial>>
<BR>> The cheapest way to turn a monophonic synth into some sort of</FONT>
<BR><FONT face=Arial>> polyphonic machine is the arpeggiator. Works nicely
with chords, but <BR>> is rather unusable for true polyphonic play.</FONT>
<BR><BR><FONT face=Arial>My electronic music teacher (Dr. August Wagner)
pointed out that echo devices like the Echoplex allow you to achieve polyphony
with a mono-synth by layering in real time. It was one reason they were so
popular to use with early synths.</FONT> <BR><BR><FONT face=Arial>He also
pointed out that electronic instruments are the only ones without inherent
acoustic ambience, which all acoustic instruments have. Hence electronic
reverb is practically an essential for imitative synthesis.</FONT>
<BR><BR><FONT face=Arial>This was in response to my comment that using effects
units with synthesizers was "cheating". His response was that, not only was it
not "cheating", but imperative for the above reasons.</FONT> <BR><BR><FONT
face=Arial>I know that is not what the original poster intended. But I thought
they were rather keen insights on his part (and for 1976). He died very young,
and I try to keep his memory alive in some small way.</FONT>
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