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<TITLE>Re: [sdiy] Yamaha DXy DCO's</TITLE>
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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>
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<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> <BR>
<BR>
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