Wednesday, 23 October 2019

FM synthesis - timeline

This is a brief list of FM synthesizers.

1967
Discovered by John Chowning in 1967

1973
+Yamaha first licensed John Chowning’s FM synthesis technology from Stanford University

"It should be remembered that  Don Buchla implemented FM on his instruments in the mid-1960s, prior to Yamaha's patent. His 158, 258 and 259 dual oscillator modules had a specific FM control voltage input, and the model 208 (Music Easel) had a modulation oscillator hard-wired to allow FM as well as AM of the primary oscillator. These early applications used analog oscillators" (Wikipedia).

1977
+ Synclavier I

1980
+ Synclavier II

1981
+ Yamaha GS-1
    8-operator FM synthesizer (4 Carrier/4 Modulator/8 EG)

1983
+Yamaha DX 7 Mk 1
  6 operators and 32 algorithms. 
+Yamaha DX 1 - only 140 produced. Flagship of the DX series.
   Dual 6 operators
+ Yamaha DX 9
  4 operators, 8 algorithms

1984
+ Synclavier III
+ Yamaha TX816 Tone Generator System
    Rack unit taking up to eight TF1 modules. Each module was a 6 operator/32 algorithm synth.
+ Yamaha TX 216 Tone Generator System
    Rack unit The TX216 contains two TFIs (2 DX7 sound engines), mounted in the same
    4U rack frame which is capable of powering up to 8 TF1 sound modules.
    Each TF1 module consists of a 16-voice, 6-operator FM synth
+ Yamaha CX5M - MSX computer
    8 voice. Yamaha produced a range of cartridges including a programmer
    for Yamaha's DX range of FM keyboards and a real-time sequencer.

1985
+Yamaha DX 5
   Dual 6 operator
+Yamaha DX 21
   4 operators and 8 algorithms.
+Yamaha DX 27
  4 operators. 8 voice polyphony and 192 preset and 24 user writable patches.
+Yamaha DX 27s
  4 operators
+Yamaha DX 100 (same as the DX27 but with mini keyboard)
   4 operators, 8 algorithms. (Chromeo, Aphex Twin & Autechre)
   8 voice polyphony and 192 preset and 24 user writable patches.
+ Yamaha TX 7 - desktop module version of DX7
    6 FM operators and 32 algorithms

1986
+ Yamaha DX7 MkIID / DX7 MkIIFD
   6 operators and 32 algorithms. (upgraded the DX7 Mk I from 12 to 16 bit, Stereo added.
   Also allowed "keyboard split" sounds & increased the number of voices to 64)
+ Yamaha FB-01 Synth module
   4 operator
+ Yamaha PSS-170 - two-operator preset FM synth. Synthesizer Chip: YM2413
+ Yamaha PSS-270 Synthesizer Chip: YM2413 (FM 2-operator)

1987 
+ Yamaha TX81z - rack module (half-space 1U rack model of the DX11)
   4 operator (Yamaha's first true multitimbral FM synth)
+ Yamaha TX802 - rack module (basically a rack-module version of the DX7mkII)
   6 operator, 32 algorithms 
+ Yamaha DX 7s 
    6 operator, 32 algorithms
+ Korg DS-8
    4 operators per voice. 8 voices of polyphony and 8 parts multitimbrality
    The DS-8 uses the same YM2151 / YM2164 OPM chip set as the Yamaha DS-9, 
    FB-01, and CX5M computer
+ Korg 707 
   The 707 uses the same YM2151 / YM2164 OPM chip set as the Yamaha DS-9, 
   FB-01, and CX5M computer
+ Yamaha SHS-10 (shoulder Keyboard - Sholky - Keytar). 2 operators, 6 voices
    


1988
+ Yamaha DX 11
    4 operators , 
    8-part multitimbrality, whereas older DX synths (apart from the TX81z) were monotimbral.
     Instead of just sine waves, the DX11 offers 8 different waveforms. 
+ Yamaha TQ5 - tone generator / workstation
    4 operators (with 8 waveforms) per voice. 8 voices. Built-in digital effects and an 8-track sequencer
     8-parts multitimbrality
+ Yamaha PSS-140 - 2 operator. 100 preset sounds.,,,
     5 percussion sounds {closed cymbal, open cymbal, conga, snare, base}
+ Yamaha WT11 (1988) - designed to be used with a wind controller.
    The WT11 is IMO a greatly underrated module. 
    It shares the same Yamaha 4-op engine as the DX11 and the TX81Z, adding the 
    PEG (pitch envelope) of the DX11.

 1989
+Yamaha V50 FM synth workstation
   4 operator . Has a drum machine, & a 16,000 note sequencer
+ Yamaha SY77
    6 operator AFM synth with 45 algorithms, 3 feedback loops and 16 waveforms


1990
+Yamaha TG33 (Tone Generator) - desktop module. Combines FM with 12 bit rom samples
   2 digital FM operators (256 FM vector voices)
   32-note polyphony
   16 part multi-timbral
+Yamaha SY22 - keyboard. - Vector synthesis - Samples & FM sounds are combined using the joystick
   2 digital FM operators & ROM samples
+ Yamaha TG 77 (Tone Generator rack) - same as the SY77
   6 operator AFM synth with 45 algorithms, 3 feedback loops and 16 waveforms


1991
+ Yamaha SY99
    6 operator AFM synth

1992
+Yamaha SY35
   2FM operators & 2 (AWM) Digital acoustic Sample playback oscillators
    

1995
+Expiration of the Stanford University FM patent. 
  Digital FM synthesis can now be implemented freely by other manufacturers 

1998
+ Yamaha FS1R (rack)
    8 operator, Combines formant synthesis with FM.

2001
 +Yamaha DX 200
   6 Operator FM, 32 algorithms

2002
+ Native Instruments FM7 - software
   8 Operators (The first six operators (A-F) are modeled after the DX-series.)
   Instead of just sine waves therere are 32 ranging from sine to complex formant waves.
   32 algorithms ???

2005
+ Alesis Fusion 
+ Abelton Operator - hybrid synth combining FM, additive & subtractive synthesis.
    5 operators (4 main operators & a 5th LFO), 11 algorithms, 7 envelopes, multiple filters.
    It's possible to edit preset waves forms or draw your own by adjusting the oscillator’s 
    harmonic frequency.

2011
+ Korg Kronos
   6 operator
+ Teenage Engineering OP-1
    4 Operator (there are actually 10 interchangeable synthesis types of which FM is just one.)

2013
+ PX-7 Reason  (software) Rack
    6 operator,  32 selectable algorithms

2015
+ Yamaha ReFace DX
    4 operators 12 algorithms, 8 voices.
+ Dexed - free! Software. Can use it to control and program a real DX7. Its also a great way to
    load and save patches

2016
+ Yamaha Montage
    Hybrid synth (FM-X engine with AWM2, a sample-based synth engine.)
    FM-X is capable of  8 operators with 88 algorithms.
    Ability to process external audio and use it as a modulation source in its FM-X engine
+ Korg Volca FM
    6 operators, 32 algorithms, 3 voices
+ ALM Busy Circuits Akemie’s Taiko - eurorack
     4-operator FM, Six algorithms, 8 waveforms
+ ALM Busy Circuits Akemie’s Castle - eurorack
     4-operator FM, Six algorithms, 8 waveforms

2017
+ Synstrom Deluge
   2 carriers, 2 modulators,. 8 algorithms (4 operators ??)
+ Arturia DX7 V - software plugin
   6 operators (25 waveforms instead of just sine as with a DX7), 32 algorithms.

2018 
+Elektron Digitone
   4 operator 8 algorthims 
+ Yamaha MODX 
+ NERD Sequencer (XOR Electronics) 
     Four Operators

2019 
+ Arturia Microfreak
    2 operators  
+ Humble Audio Quad Operator & Algo (Eurorack)
   4 operators 
+ Kodamo Essence FM
   6 operators, 300 voice polyphony

2020
+ MegaFM Synth - Twisted Electrons
   4 operators, 8 algorithms. Uses a YM2612 chip.
+ PreenFM3
    6 operators, 16 voices



This list is by no means complete.
I'll add to it over time

Yamaha DX 7 - envelopes

The envelope generator will determine how the volume (amplitude) or timbre (tone) of a note will vary over time.

What is impt to know is whether the envelope is being applied to a carrier or a modulator operator.


Envelope modulation of a modulator will effect timbre.
Envelope modulation of a carrier will effect volume.
(this is kind of like envelopes applied to filters vs VCAs in subtractive synths)

The parameters that determine the shape of the envelope are RATE (R1 to R4) & LEVEL (L1 to L4).
The Rate parameters determine how long it takes the envelope to reach each level.
Each RATE and LEVEL can be set from 0 to 99
Each operator can have a unique envelope.

to be continued...............

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FM Index
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Tuesday, 22 October 2019

Bodalla - Old Cheese Factory

This was part of our Road trip to the Bega Synth festival of 2019.


Sadly the old cheese factory was closed when we arrived.













God's country. Such a beautiful afternoon

For more travel postcards click here:

Buchla Power Supply Conventions

Buchla Power Supply conventions 

These PSUs changed over the decades so are confusing at times.
As I work my way through the modules that I own I'll update this post.
Please let me know if there are any errors.

Buchla 100
+15V, +24V, single ground.

Buchla 200 (early - Black Knob modules)
+15V, -15V, +/-24V, +5V, -5V, dual ground

Buchla 200 (late - "blue knob" modules)
+/-15 volts, +5 volts, +12 volts and 2 ground lines

Buchla 200e
Power on a Buchla 200e module is delivered from a  edac 306-010-500-102 connector.
The 200e cases come with a12 volt DC wallwart that connects to 3 DC-DC converters.
This is much safer & probably also helps in reducing background noise.

I've made some backup Buchla power supplies and the DC-DC converters  that I have successfully
used are:Cincon CHB75-12S05 (for the 5V),and two CHB75-12S15 for the +15/-15 lines.
CHB75-12S12 for the +12V.
If +24 is requited use a CHB75-12S24 DC/DC regulator. These codes are Mouser numbers.
1 Black - quiet ground
2 White: -15
3 Red: +15
4 Dark Green: +12
5 Orange: +5
6 Brown: noisy ground
7 polarizing key - no connection (use this to correctly orientate the EDAC.)
8 Yellow: i2c clock
9 Green: i2c data
10 no connection - (I often use this for supplying +24v)

==================================================================

 This is the type of connector you will see on a 200 and 200e system

1 Black - quiet ground
2 White: -15
3 Red: +15
4 NC
5 NC
6 Brown: noisy ground
7 NC
8 NC
9 NC
10  +24v

There are quite a few PSU's out in the market at the moment.
Of course the official Buchla supply is the standard and if you use anything else you do so at your own risk.

-----------------


Monday, 21 October 2019

Yamaha DX7 - Operators & Algorithms

Some notes on using the DX 7.
Yamaha released the DX7 Mk1 in 1983.
I only just bought a Mark 1 about a week ago so there is a steep learning curve ahead.

These will be added to over time and hopefully help me to master FM synthesis.


FM synthesis was first developed by John Chowning in 1967 at Stanford Uni, then licensed to yamaha in 1973.it's very different to Subtractive synthesis. There are no VCOs, VCFs or VCAs..

It's kind of the opposite of a subtractive synth.
In a subtractive synth you start with harmonically rich wave forms like Saw, Square, etc. and you use filters to subtract those harsh frequencies... to smooth the sound out a bit.
In FM synthesis, you start with a sine wave and you then use other sine waves to distort it to create new
tones

Instead of the VCO, FM uses an operator.
This generates a sine wave.

The DX 7 has 6 sine wave operators
Operators are actually more than just oscillators.
They can be viewed as a package containing an oscillator, an amplifier & an envelope Generator.
The operators can be either a carrier or modulator.

Carrier - this controls the sound output.
Modulator - controls the harmonic content of a sound. It determines the shape of the waveform produced and therefore its timbre

By rearranging the operators, we can generate harmonically rich tones.
These arrangements are known as ALGORITHMs (there are 32 of these).

The operators on the bottom row of each algorithm are sound producing carriers. The ones above are modulators.


Algorithims determine how the 6 operators interact with each other.
There are 32 algorthims.
Picking the correct algorithm is the key to creating a patch.
Each algorithm is suited to a particular type of sound.

For example to make a:
Pad or texture sound.. ---- something complex with layers, ....we need something with multiple sounding operators or carriers.
To make a Bass or lead sound -- we might use an algorithm with less sound producing operators and more modulators.

The algorthims are divided into subgroubs that have similar structures.
(Stacking, Branching, Rooting and Carrier-only)
These groups, will help you to understand how they interact and their sounds

Group 1  - algorthms 1, 2,3, 4, 5, 6.

These are stacked algorithms.
2 to 4 operators.
2 towers to 3 towers.
Between these towers there is no frequency modulation. Instead they are added ... ie they are an example of Additive Synthesis.
These types pf algorthims are used for such things as
Strings ( A4 STRINGS ALG 2),
Piano ( A11E.PIANO 1 ALG 5).
Tubular Bells ( A26 TUB BELLS ALG 5).

Algorithm 2 consists of 2 independent towers with operators stacked on top of one another.
 gREAT for sounds with high harmonics like strings .
Notice also the feedback loop. You can control the amt of feedback by its Level & Output Level.
We use feedback operators to generate higher harmonically rich tones such as sawtooth waves.

We can also adjust the Frequency Ratio of each operator to generate particular harmonics.
The frequency relationships between modulators and carriers are very important.


+ A ratio of 1:1 (ie. equal frequencies) tend to produce a waveform roughly equivalent to a sawtooth.
If Operator 2 = 1.00
     Operator 1 = 1.00
we will generate a sawtooth sound

+ A ratio of 2:1 (modulator 2x the fundamental frequency) would produce
something more square-like. As you increase the ratio you will get more high-end fizz.
So if we change the ratio like so:
Operator 2 = 2.00
Operator 1 = 1.00
we will generate a square wave

If we change the ratio like so:( where the modulator was a non-integer multiple of the carrier)
Operator 2 =3.50
Operator 1 = 1.00
we will generate a metallic or a Bell Tone (in-harmonic tone)

 -------------------------------------------
Algorithm 5 is a bit more complex.
We have 3 independent towers with two operator stacking. This is great for bell & electric piano sounds.
In a DX7 with 6 operators, all can be detuned. So you can get amazing chorus like effects.
Like the "Epic pad" sound.
--------------------------------------------------------------------------------------------------------

Group 2 - Algorthms 7 to 18.

These are a mix of Tower & Branch (like a tree).

Of special note, Algorithms 16, 17 & 18 are pure frequency modulation. (there is no additive component). All FMs converge into operator 1.

 Use group 2 algorithms for things like Strings, Brass, Guitar, & Bass patches.
Examples: DX7 Voice ROM 1
A6 Strings (ALG 15)
A4 BRASS 3 (ALG 18)
A12 Guitar ( ALG 8)
A15 Bass 1 (ALG 16).

---------------------------------------------------------------------

Group 3 - Algorithms 19 to 25

These are rooting algos with or without a tower

There are at least 3 carriers in each of these algorithms.

Of particular note, Algos 23, 24 & 25 have one to 3 operators without any modulators.
These are pure sine wave carrier operators.
Group 3 algorithms are used for things like brass, Vibe & pipes.
For example see Voice ROM 1
A1 BRASS 1 (ALG 22),
A21 VIBE 1 (ALG 23)
A18 Pipes (ALG 19)

-----------------------------------------------------------------------------------------------

Group 4 - Algorithms 26 to 32

These are tower/ branch combinations..
They all have at least 1 pure sine wave carrier only operator.

These are good for organ & bell sounds
Eg : from Voice ROM 1
A17 E.ORGAN 1 (ALG 32)

The Algorithm 32 is the simpliest algorithm.
Each operator is independent. Each generates a sine wave.
There is no Frequency modulation. Thus this is an example of pure additive synthesis.

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FM Index
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Tilba Tilba, NSW, Australia

I stopped off at Tilba Tilba while travelling back from Bega . We were at the synth festival 2019.




tHE old hotel.



Lovely historic town. Great cheese and icecream.




 aLMOST forgotten what these are called:


For more travel postcards click here:

Thursday, 3 October 2019

Jacks & sockets

This may seem simple, but its essential to building any synth these days.
They can be 3.5mm, tiny jacks (buchla), 1/4 inch, or banana.

Apart from the Serge banana & Buchla worlds you'll notice that nearly all the jacks
use "PJ" as part of their description.

The most common socket you will come across is the 3.5mm mono jack socket.
16PJ138 style
It's most often used in Eurorack.
It's also known as a switched socket.
This variety is classified as a closed frame.
The sleeve, is most often connected to ground.
-----------------------------------------------

Here is another mono closed frame:
It's PCB mount also. Called a PJ302 3.5mm

These types of jacks are useful for connecting PCBs to faceplates at right angles


--------------------------------------
This is a PJ301M-12 :Thonkiconn"

This is also PCB mount

--------------------------------------
This is a PJ301BM 3.5mm.
This is mono
..


PJ301CM is the stereo version. Often used as a headphone jack.
I've also seen this used for mini-MIDI jacks
3.5mm






-----------------------


----------------------------

PJ-320 3.5mm headphone jack socket




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5 pin Switched stereo. 3.5mm PCB socket




Buchla

"Switchcraft Tini-Jax” are the standard historical Buchla audio cable connections and are just slightly larger diameter and longer in length than 3.5mm connections. They are sometimes referred to as 1/8” in Don Buchla’s manuals, though they are actually .140” diameter connections".
 (Buchla 200e manual) 

This is the mono variety.
Mouser stocks them.
Mouser Part No

The Switchcraft data sheet says they are 0.141" diameter.
I often use eurorack cables in Tini jax sockets without any probs, but never the other way round.
If you plug a tini-jax plug into a 3.5mm euro style socket, you can damage the euro socket.

-------------------------
1/4 Inch

This is a stereo jack.

----------------
DC Power Jack PJ-20 

2.1mm Jack
3 Pin Contact
tayda a-4118


PJ-102AH
Mouser 490-PJ-102AH
2 mm




These are a standard PCB mounted power socket usually used for plugging in DC Wallwart PSUs