on 12/19/02 8:10 AM, Jerry Aiyathurai <
tuskerfort@...> at
tuskerfort@... wrote:
Let me get back to you on this. I have some new age stuff and a prog thing.
There is some AN1X on the Widdershins sampler mp3, but also Ensoniq ASR-10,
Kawai K-3 and K-4, and DX-7.
http://www.dachtyl.com/Widdershins.mp3Linda
http://www.dachtyl.com > Linda:
>
> You do some interesting and impressive things. Do you happen to have
> any mp3's with the AN1X? I am not sure where I think the AN1X's sweet
> spot is. It's quite the competent chameleon, but doesn't seem to have
> anything unique to it (yet). I still think about it though, and spend
> some time programming it.
>
> --- In AN1x-list@yahoogroups.com, Linda Dachtyl <lindaleed@e...>
> wrote:
>> Glad to help you out, especially someone who sounds like they know
> the
>> science behind trying to get these sounds. Like I said I just
> tweak, tweak,
>> tweak. But I do know where to start to get there. FM programming
> however is
>> not my forte. I would like to understand how this works better. I
> have never
>> been able to make 1+1=2 doing FM. Subtractive synthesis and a little
>> additive synthesis (from my experience with Hammond) is about all I
> can do
>> at this time!
>
> Well, you clearly know what you are doing, if you could just name the
> pitch relationships off-hand! I've done three things with FM on the
> An1X that I like:
>
> 1 - For plucked sounds (momentary FM), I use the pitch eg to sweep
> osc 2, with fm on. Or just modulate fm depth instantanously with a
> free eg. Either way you get a useful burst of noise and side-bands at
> the point of impact.
>
> 2 - For sustaining sounds with FM, there are a few sweetspots. FM
> depth=42 allows you to retain the current pitch of both osc. I've
> done a couple of others (21, 25 if I recall right) where you end up
> retuning the oscillators. This works well for reedy timbres if you
> adjust osc1 volume and octave/harmonic to taste, allowing osc 2 to
> give the fundamental (make it mellow, so that osc 1 provides the
> character). The downside is aliasing at the high end of the keyboard.
> So I just don't play there. But it helps to tune your oscillators
> (with the FM) if you test it with the high notes.
>
> 3 - FM as a "modulation" effect. Two ways. a) I sometimes map FM
> depth to the pitch wheel and wiggle it a bit for rasp. (I pitch bend
> with ribbon x instead) The pitch wheel is smoother than any of the
> other controllers for this effect, because of it's 128 X 128
> resolution. b) One other way is to have two "consonant" patches in
> the two scenes. One with FM, one without. The osc pitches may not be
> the same as a result. As you morph, the FM relationships (being non-
> linear) cause side-bands to come in. When you are all the way to
> scene 2, the sidebands have gone away and you have a consonant sound
> again. You control the degree of side-bands based on where your mod
> wheel is.
>
> Hope this helps. I am enjoying this give and take of ideas. Do you
> have any suggestions for expressive lead sounds?
>
> Jerry
>
>
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