Bega is about half way between Sydney & Melbourne ... about a 5-6 hour trip from Sydney.
It's a lovely neck of the woods.
Thanks to the Festival organisers esp Scott, Chris & Carsten who made me feel so welcome.
It looks like the synth community on the far South Coast of NSW is in very healthy shape.
Some video synths. Thanks Chris.
This is the first time the Bega Synth Surfers Festival has been held
I hope this will become an annual event.
A TTSH & Deluge
Medusa, Lyra,
Korg 770 --- that's a beauty !!!
The AE Modular
Lots of fun.
Murrah Hall
Videos to come.
Here is the official info
http://djjondent.blogspot.com/2019/09/synth-surfers-bega-valley-synth-festival.html
Friday, 1 November 2019
Thursday, 31 October 2019
Yamaha DX7 - FM & Timbre in a digital world
I have recently been exploring the Yamaha DX7 and thinking about how it compares with standard analog subtractive synthesizers....... and contrasting Analog FM with Digital FM
There is something very special about the DX7 and how it produces sounds.
The Yamaha DX7 is of course digital and for many, the DX7 = FM synthesis.
However, FM isn't the sole domain of digital. FM existed in the analog world before the DX range was produced. Below is a pic of a Buchla oscillator... the 158. You can see that Don was very much into wave shaping & FM. This module dates from around 1968/69.
The pic below is of a Buchla 208 with its analog FM, dating from 1973.
Notice the word "timbre".
So in a non FM analog subtractive synth you usually start with harmonically rich wave forms like saw, square, etc. and you use filters to smooth the sound out a bit (technically we are subtracting overtones).
In analog FM synthesis, you start with a wave form and you then use other waves to distort it.... to create new tones & harmonics.
The best way to see this is with a spectrum analyser. This will show the additional harmonics created by the FM process.
It's one of the 3 main parameters of sound. ...which are volume, pitch & timbre.
The Oxford dictionary says that
"timbre" describes those characteristics which allow the ear to distinguish sounds which have the same pitch and loudness.
For example a piano, a flute and a guitar may all play the same (frequency) note, at the same (amplitude) loudness, but we can still tell them apart. This is due to their different timbres.
The timbre of a sound depends on its wave form. Though the frequency & amplitude may stay the same what varies are the number of overtones, or harmonics, that are present, their frequencies, and their relative intensities.
To elaborate further, the timbre of a tuning fork is clear and pure because the sound it produces is almost without overtones. It vibrates at 440Hz. This is known as it's fundamental frequency.
You can use this fork to tune our piano, flute or guitar to 440 Hz (Middle A), but each instrument will sound different because they have unique overtones which are related to the fundamental.
Harmonic Frequency
First 440 Hz
Second 880 Hz
Third 1320Hz
Fourth 1760Hz
Fifth 2200Hz
To calculate the next harmonic, you of course just add 440.
These relationships appear to be very important when using the Yamaha DX FM system.
This is where concept of Frequency Modulation Ratios is impt.
Harmonic overtones are created based on the ratio between the carrier frequency & the modulator frequency. Musically pleasing overtones are based on simple fractional ratios like 1:2, 1:3, 1:5, etc
Complex fractional ratios like 1.73 produce complex waveforms when combined with operators set to other ratios.
Below is a list of the ratios used in the DX21
What's important to remember is that when you hear any sound (in nature or music) you are hearing lots of different frequencies all mixed together.... fundamentals, harmonics of the fundamentals,
dis-harmonics / en-harmonics of the fundamental, etc etc..... this is timbre.
More harmonics = more "musical" sounds
More dis-harmonics = more "non-musical" sounds
Digital synths generally produce sounds in two ways ... FM or additive
Additive digital synths like the Fairlight and the Synclavier can specify a fundamental frequency and add overtones (of harmonics & disharmonics) to create new sounds. The Fairlight allows sampling where it will analyse a inputted sound, and recreate the sound using its additive synthesis ability.
Though the DX7 can do some additive, this is not it's main way of making new sounds.
It's method uses Digital FM
It's all accomplished in a virtual world consisting (not of waveforms distorting one another),. but of programs in a computer calculating what would have happened if these waveforms had really existed and were distorting one another.
The core of the DX7 is the operator.
Its not a physicial thing like a string on a guitar or an oscillating electrical signal.
It's a bit of software.
You can picture it something like this:
The Oscillator is the sound source.
It generates numbers.
The operator also has a digital amplifier and EG
The amplifier's job is to increase or decrease those numbers exiting the oscillator.
It may be changing volume (if the operator is a carrier).
The EG will send numbers (issuing software instructions) to effect the amplifier.... its changing volume over time in this example.
Note That the operators oscillator has two inputs:
1. pitch data
2. modulation data
When the output of one operator is patched into the input of another operator, the result is a complex waveform. This is the essence of FM synthesis.
By varying the ratio of the modulator & carrier frequencies, and by varying the envelope of the modulator, you can create some very complex waveforms.
They use DACs to convert those numbers to analog voltages which we can hear.
----------------------------
FM Index
---------------------------
There is something very special about the DX7 and how it produces sounds.
The Yamaha DX7 is of course digital and for many, the DX7 = FM synthesis.
However, FM isn't the sole domain of digital. FM existed in the analog world before the DX range was produced. Below is a pic of a Buchla oscillator... the 158. You can see that Don was very much into wave shaping & FM. This module dates from around 1968/69.
The pic below is of a Buchla 208 with its analog FM, dating from 1973.
Notice the word "timbre".
So in a non FM analog subtractive synth you usually start with harmonically rich wave forms like saw, square, etc. and you use filters to smooth the sound out a bit (technically we are subtracting overtones).
In analog FM synthesis, you start with a wave form and you then use other waves to distort it.... to create new tones & harmonics.
The best way to see this is with a spectrum analyser. This will show the additional harmonics created by the FM process.
Timbre
We come across this term again and again. It is also called tone or colour. What exactly is it?It's one of the 3 main parameters of sound. ...which are volume, pitch & timbre.
The Oxford dictionary says that
"timbre" describes those characteristics which allow the ear to distinguish sounds which have the same pitch and loudness.
For example a piano, a flute and a guitar may all play the same (frequency) note, at the same (amplitude) loudness, but we can still tell them apart. This is due to their different timbres.
The timbre of a sound depends on its wave form. Though the frequency & amplitude may stay the same what varies are the number of overtones, or harmonics, that are present, their frequencies, and their relative intensities.
To elaborate further, the timbre of a tuning fork is clear and pure because the sound it produces is almost without overtones. It vibrates at 440Hz. This is known as it's fundamental frequency.
You can use this fork to tune our piano, flute or guitar to 440 Hz (Middle A), but each instrument will sound different because they have unique overtones which are related to the fundamental.
Harmonic Frequency
First 440 Hz
Second 880 Hz
Third 1320Hz
Fourth 1760Hz
Fifth 2200Hz
To calculate the next harmonic, you of course just add 440.
These relationships appear to be very important when using the Yamaha DX FM system.
This is where concept of Frequency Modulation Ratios is impt.
Harmonic overtones are created based on the ratio between the carrier frequency & the modulator frequency. Musically pleasing overtones are based on simple fractional ratios like 1:2, 1:3, 1:5, etc
Complex fractional ratios like 1.73 produce complex waveforms when combined with operators set to other ratios.
Below is a list of the ratios used in the DX21
What's important to remember is that when you hear any sound (in nature or music) you are hearing lots of different frequencies all mixed together.... fundamentals, harmonics of the fundamentals,
dis-harmonics / en-harmonics of the fundamental, etc etc..... this is timbre.
More harmonics = more "musical" sounds
More dis-harmonics = more "non-musical" sounds
Digital synths generally produce sounds in two ways ... FM or additive
Additive digital synths like the Fairlight and the Synclavier can specify a fundamental frequency and add overtones (of harmonics & disharmonics) to create new sounds. The Fairlight allows sampling where it will analyse a inputted sound, and recreate the sound using its additive synthesis ability.
Though the DX7 can do some additive, this is not it's main way of making new sounds.
It's method uses Digital FM
It's all accomplished in a virtual world consisting (not of waveforms distorting one another),. but of programs in a computer calculating what would have happened if these waveforms had really existed and were distorting one another.
The core of the DX7 is the operator.
Its not a physicial thing like a string on a guitar or an oscillating electrical signal.
It's a bit of software.
You can picture it something like this:
The Oscillator is the sound source.
It generates numbers.
The operator also has a digital amplifier and EG
The amplifier's job is to increase or decrease those numbers exiting the oscillator.
It may be changing volume (if the operator is a carrier).
The EG will send numbers (issuing software instructions) to effect the amplifier.... its changing volume over time in this example.
Note That the operators oscillator has two inputs:
1. pitch data
2. modulation data
When the output of one operator is patched into the input of another operator, the result is a complex waveform. This is the essence of FM synthesis.
By varying the ratio of the modulator & carrier frequencies, and by varying the envelope of the modulator, you can create some very complex waveforms.
They use DACs to convert those numbers to analog voltages which we can hear.
----------------------------
FM Index
---------------------------
Saturday, 26 October 2019
DX7 - Basic - Play & Function Modes - getting started
There are 3 main modes of operation on the DX7
1. Edit (purple-blue)
2. Play (white)
3. Function (brown)
Everything is colour coded
Play Mode (white) is the simpliest and a good place to start.
Here you can access the sounds contained in the internal & external memory.
The green buttons above PLAY let you select between internal and external sounds.
Just press either green button to activate the 32 (white) switches. Then press the switch to select the preset.
External sounds can be either ROM or RAM.
ROM or Read only memory cartridges are non erasable.
You cannot write data to a ROM cartridge.
Each ROM cartridge contains 64 sounds or presets organised into 2 sides... sides A & B. (32 on each side).
Selecting the side (A or B) is accomplished with the select switch on the cartridge itself.
RAM =Random Access Memory .... this is very flexible ... you can both read and write data to it.
This contains 32 voices
It covers various effects you can apply while playing (like aftertouch & Modulation wheel) as well as things like voice data load/save operations and checking the battery.
Functions parameters cannot be saved to memory after the DX is turned off.
1. Master Tune
2. Poly/Mono
3/4. Pitch Bend (range & Step)
5/6/7 Portamento (mode, Glissando, time)
9. Edit recall
10. Voice Initialize
11. Cartridge formatting
14 Battery Check
15/16 Cartridge (save & Load)
17/18/19/20 Modulation Wheel - range, pitch, amplitude, EG Bias
21/22/23/24 Foot Control - range, pitch, amplitude, EG Bias
25/26/27/28 Breath Control - range, pitch, amplitude, EG Bias
29/30/31/32 After touch - range, pitch, amplitude, EG Bias
-----------------------
1. Master Tune
Adjusts the overall tuning ... 150% range. Use the data entry slider to adjust.
2. Poly/Mono
Controls mono vs poly voice
Use Data Entry -1 for poly , and +1 for mono
3/4. Pitch Bend (range & Step)
Range: between 0 to 12.
0 = no pitch bend. 12 = 2 oct range
Step : Between 0 to 12
0 = smooth pitchbend with no steps.
1 = semitone steps
12 = 1 octave steps.
5/6/7 Portamento (mode, Glissando, time)
Portamento effect depends on mono vs poly mode
eg: on mono use Data Entry -1 for fingered porta , and +1 for full time porta
(see manual)
Glissando - adjusts speed of portamento
----------------------------------------
9. Edit recall
Allows you to recall a voice that was previously being edited or created.
Use the DATA ENTRY "yes key"
10. Voice Initialize
This sets up a basic voice for you to edit and create new voices.
Press the DATA ENTRY "yes key "
11. Cartridge formatting.
Interestingly this is not written on the DX7 itself.
This formats your RAM cartridge
Press the DATA ENTRY "yes key "
14 Battery Check
Battery voltage should be between 2.2 to 3V.
15/16 Cartridge (save & Load)
Save= this saves the 32 internal memeory voices to a cartridge.
Load= This loads all 32 voices from a cartridge into internal memory.
--------------------------------------------------------------
17/18/19/20 Modulation Wheel
Used to control the amount of LFO modulation to range, pitch, amplitude, EG Bias
Range : 0 to 99
Pitch : on or off
Amplitude : on or off
----------------------------------
21/22/23/24 Foot Control - range, pitch, amplitude, EG Bias
---------------------------------------
25/26/27/28 Breath Control - range, pitch, amplitude, EG Bias
29/30/31/32 After touch - range, pitch, amplitude, EG Bias
----------------------------
FM Index
---------------------------
1. Edit (purple-blue)
2. Play (white)
3. Function (brown)
Everything is colour coded
Play Mode
Play Mode (white) is the simpliest and a good place to start.
Here you can access the sounds contained in the internal & external memory.
The green buttons above PLAY let you select between internal and external sounds.
Just press either green button to activate the 32 (white) switches. Then press the switch to select the preset.
External sounds can be either ROM or RAM.
ROM or Read only memory cartridges are non erasable.
You cannot write data to a ROM cartridge.
Each ROM cartridge contains 64 sounds or presets organised into 2 sides... sides A & B. (32 on each side).
Selecting the side (A or B) is accomplished with the select switch on the cartridge itself.
RAM =Random Access Memory .... this is very flexible ... you can both read and write data to it.
This contains 32 voices
Function Mode
Press the brown function key to enter this mode.It covers various effects you can apply while playing (like aftertouch & Modulation wheel) as well as things like voice data load/save operations and checking the battery.
Functions parameters cannot be saved to memory after the DX is turned off.
1. Master Tune
2. Poly/Mono
3/4. Pitch Bend (range & Step)
5/6/7 Portamento (mode, Glissando, time)
9. Edit recall
10. Voice Initialize
11. Cartridge formatting
14 Battery Check
15/16 Cartridge (save & Load)
17/18/19/20 Modulation Wheel - range, pitch, amplitude, EG Bias
21/22/23/24 Foot Control - range, pitch, amplitude, EG Bias
25/26/27/28 Breath Control - range, pitch, amplitude, EG Bias
29/30/31/32 After touch - range, pitch, amplitude, EG Bias
-----------------------
1. Master Tune
Adjusts the overall tuning ... 150% range. Use the data entry slider to adjust.
2. Poly/Mono
Controls mono vs poly voice
Use Data Entry -1 for poly , and +1 for mono
3/4. Pitch Bend (range & Step)
Range: between 0 to 12.
0 = no pitch bend. 12 = 2 oct range
Step : Between 0 to 12
0 = smooth pitchbend with no steps.
1 = semitone steps
12 = 1 octave steps.
5/6/7 Portamento (mode, Glissando, time)
Portamento effect depends on mono vs poly mode
eg: on mono use Data Entry -1 for fingered porta , and +1 for full time porta
(see manual)
Glissando - adjusts speed of portamento
----------------------------------------
9. Edit recall
Allows you to recall a voice that was previously being edited or created.
Use the DATA ENTRY "yes key"
10. Voice Initialize
This sets up a basic voice for you to edit and create new voices.
Press the DATA ENTRY "yes key "
11. Cartridge formatting.
Interestingly this is not written on the DX7 itself.
This formats your RAM cartridge
Press the DATA ENTRY "yes key "
14 Battery Check
Battery voltage should be between 2.2 to 3V.
15/16 Cartridge (save & Load)
Save= this saves the 32 internal memeory voices to a cartridge.
Load= This loads all 32 voices from a cartridge into internal memory.
--------------------------------------------------------------
17/18/19/20 Modulation Wheel
Used to control the amount of LFO modulation to range, pitch, amplitude, EG Bias
Range : 0 to 99
Pitch : on or off
Amplitude : on or off
----------------------------------
21/22/23/24 Foot Control - range, pitch, amplitude, EG Bias
---------------------------------------
25/26/27/28 Breath Control - range, pitch, amplitude, EG Bias
29/30/31/32 After touch - range, pitch, amplitude, EG Bias
----------------------------
FM Index
---------------------------
Thursday, 24 October 2019
Pioneer SQuid - projects
You can store up to 128 projects.
Each project contains 16 midi tracks
Each track can contain up to 64 patterns
To load a existing Project
1. Press Global button
2. Turn rotary knob till "Open (by name)".
3. Turn the encoder till the project to want is displayed.
4. Press the encoder to select
To create a new project
1. Press Global button
2. Turn rotary knob till "Create New"
3. turn rotaty to seleck "OK", then press it.
4. A new project will have been created.
It will be named something generic like "Project 1 or 2 etc"
To Name & Save a project.
1. Press Global button
2. Turn rotary knob till you find the project.
3. Press the encoder
4. Turn the rotary encoder till "Save As".
5. Press the encoder
6. now you can rename the track.
6a. To Delete a character : Shift + Back
6b. use the arrow left/right to move the cursor
6c. To insert a space : Shift + press the encoder
To Delete whole project
1. Press Global button
2. Turn rotary knob till you find "delete".
3. Press the encoder DX 7 - Keyboard Level Scaling
Keyboard Scaling is a parameter found in many keyboards. It's a way manufacturers allow sounds to be altered smoothly across a keyboard (in an attempt to make acoustic type sounds more realistic across the entire range of the keyboard) . In many modern keyboards level scaling changes the loudness of the sound. Many analog synths use this feature to control filter cutoff from the lower to higher octaves.
It's sometimes called keyboard tracking or keyboard following.
The DX7s Keyboard Level Scaling settings allow the envelope levels to be adjusted across the keyboard.
The break points sets the point to split the keyboard's scaling.
ie.. what the DX7 treats as a "high note" and what it treats as a low note.
The breakpoint can be specified anywhere between A1 & C8
Level scaling on the DX7 allows you to change the level of a modulator or a carrier depending on where you play on the keyboard. For example, you can slowly decrease the level of modulation as you go up the keyboard.
Once you set where the break point is, you can then choose the type of curve (of the envelopes)to the left & right of the breakpoint. Pressing the CURVE key alternates between R KEY SCALING and L KEY SCALING displays. Four different curves are available as shown in the figure.
For example, will the operator increase or decrease in volume as you go up the keyboard?
Will this change be in a linear or exponential manner?
The depth of each curve varies between a 0 to 99 range.
A zero setting results in a flat (no variation) curve.
A 99 setting produces a maximum scaling depth.
Keyboard scaling is a separate menu on the standard DX7. Go to edit mode and click through all the menus until you find Keyb Scaling settings.
By giving each operator different values, you can get lots of interesting effects.
Scaling the modulators will make the sound brighter as you go up the keyboard. This emulates many real instruments.
----------------------------
FM Index
---------------------------
Wednesday, 23 October 2019
Tathra
This was part of out road trip to the Bega Synth Festival.
Tathra is a very beautiful seaside village ON THE Sapphire Coast.
This is the old warf.
Tathra is about 18Km from Bega
Tathra is a very beautiful seaside village ON THE Sapphire Coast.
This is the old warf.
Tathra is about 18Km from Bega
For more travel postcards click here:
FM Index
General
+ FM synthesis Timeline+ Timbre & Digital vs Analog FM
+ Yamaha FM synthesis Chips
+ Simple FM synth (Chris Muir)
DAFM synth
+ Build notes+ My quick start notes on the DAFAM
KORG
Yamaha DX7
+Getting Started - Play & Function Mode+ Programming new voices - Edit Mode
+ Envelopes
+ Operators & Algorithms
+ Breakpoints & Keyboard Level Scaling
Yamaha DX5
+ Initial Pics+ 1. Play Mode - Getting Started
+ 2. Function Mode
+ 3. Edit Mode - programming new voices
Yamaha TX81Z
+ Initial pics
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