Paul sez:
>>>>>
The secret is:
a) use Linear FM on a '300
b) use Sine or Triangle waves only (FM input and VCO output)
c) Use a fast, enveloped sine wave as the FM input
<<<<<
I'd say that b) above is the most important by far! If you start with
harmonically rich waveforms like saw and pulse and then pile on loads
of more harmonics via FM, you'll get mush. Stick to a couple of sine
waves and experiment.
Other ways to create interesting waveforms:
Get yourself a Blacet MiniWave (properly Stooge panelled of course),
and mangle your waves with the Serge non-linear transfer algorithms
in Bank 13.
Check out the upcoming MOTM WaveWarper module's sound demo. It's like
a wave clipper/rectifier module, but on steroids. The sound file
really makes this apparent.
http://www.synthtech.com/demo/wavewarper.mp3The interesting thing about these last two techniques is that the
waveform varies dynamically according to its strength, and so these
techniques benefit from being applied further down the synthesis
chain, after enveloping and performance dynamics have been added.
Moe