<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD><TITLE>Message</TITLE>
<META http-equiv=Content-Type content="text/html; charset=Windows-1252">
<META content="MSHTML 6.00.2713.1100" name=GENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=#ffffff>
<DIV><FONT size=2>to be honest, i find the aliasing and noise from an fm synth
adds to its timbre and personality. just like early digital can give certain
drum sounds that extra 'something'. especially in bass sounds, you can really
make a dx synth sound nasty. filtering will pretty much remove
that..</FONT></DIV>
<DIV><FONT size=2></FONT> </DIV>
<DIV><FONT size=2>r./</FONT></DIV>
<DIV><FONT size=2>(always the devils advocate..;-)</FONT></DIV>
<DIV><FONT size=2></FONT> </DIV>
<DIV><FONT size=2></FONT> </DIV>
<BLOCKQUOTE
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=philgallo@attglobal.net href="mailto:philgallo@attglobal.net">phillip
m gallo</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=cynthia.webster@gte.net
href="mailto:cynthia.webster@gte.net">'Cynthia Webster'</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Cc:</B> <A title=synth-diy@dropmix.xs4all.nl
href="mailto:synth-diy@dropmix.xs4all.nl">synth diy</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Wednesday, February 18, 2004 12:02
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> RE: [sdiy] Yamaha DXy
DCO's</DIV>
<DIV><BR></DIV>
<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>
<BR><BR></BLOCKQUOTE><BR></BLOCKQUOTE></BODY></HTML>