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300 voice FM module


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Neat product, great to see FM hardware with a modern UI and approach. Touchscreen and user waves, woot. Should fill a certain niche with producers.

 

For those with a Kronos, though, FM curiosity and gig needs are easily met with MOD7. I don't think there is a more comprehensive hardware or software FM platform than MOD7 (other than FS1r's formants).

 

I wish Kodoma well; innovation and delivery are great market movers. But I just want to save Kronos owners bit of $$ and time and research energy when they already have a FM (Freakin' Monster) under their nose.

 

Korg Kronos

Anti-GAS since 2011

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I want To see the Japanese guy who has been demoing synths online forever demo this.

Hes obviously had Jazz Theory as his voice leading demonstrates, but hes really fun to listen to and watch.

I bought an FS1r just because of him.

As a matter of fact whenever theres something new I try and catch him.

 

Seeing him get excited over the UI would be a treat.

 

I like this but with 300 voices I sure hope its multimbral as in 16 x 16+ cut off notes.

That and the fact its rackmounted is very tempting.

Magnus C350 + FMR RNP + Realistic Unisphere Mic
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Definitely some cool potential there.

 

I'm interested how they implement Feedback and Operator Phase.

 

Only 1 LFO and no looping Envelopes is a oversight, as well as no high pass filter which is extremely useful to tame aliasing, but hopefully the overall clock rate will make it less prone to that.

 

I sent them a about a dozen questions and suggestions

 

I want To see the Japanese guy who has been demoing synths online forever demo this.

Hes obviously had Jazz Theory as his voice leading demonstrates, but hes really fun to listen to and watch.

I bought an FS1r just because of him.

As a matter of fact whenever theres something new I try and catch him.

 

Seeing him get excited over the UI would be a treat.

 

I like this but with 300 voices I sure hope its multimbral as in 16 x 16+ cut off notes.

That and the fact its rackmounted is very tempting.

 

Ujiie is great, definitely does some of -- if not the best -- synth demos/overviews out there.

 

FS1r was quite an interesting project. A number of new, unique things done well and some basic & simple things totally underimplemented.

 

Manny

People assume timbre is a strict progression of input to harmonics, but actually, from a non-linear, non-subjective viewpoint, it's more like a big ball of wibbly-wobbly, timbrally-wimbrally... stuff

 

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For those with a Kronos, though, FM curiosity and gig needs are easily met with MOD7. I don't think there is a more comprehensive hardware or software FM platform than MOD7 (other than FS1r's formants).

 

 

 

Korg Kronos

Anti-GAS since 2011

 

Apparently you are unaware of Yamahas greatly expanded FM system, which goes beyond the Kronos MOD7 FM system, featured in both the Montage and MODX series of synths.

 

Definitely some cool potential there.

 

I'm interested how they implement Feedback and Operator Phase.

 

Only 1 LFO and no looping Envelopes is a oversight, as well as no high pass filter which is extremely useful to tame aliasing, but hopefully the overall clock rate will make it less prone to that.

 

I sent them a about a dozen questions and suggestions

 

Manny

 

Why would you want a high pass filter for controlling aliasing? Aliasing is usually at high frequencies so a low pass filter would be useful for that purpose.

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For those with a Kronos, though, FM curiosity and gig needs are easily met with MOD7. I don't think there is a more comprehensive hardware or software FM platform than MOD7 (other than FS1r's formants).

 

Korg Kronos

Anti-GAS since 2011

 

Apparently you are unaware of Yamahas greatly expanded FM system, which goes beyond the Kronos MOD7 FM system, featured in both the Montage and MODX series of synths.

 

I have a MODX7. The Kronos MOD7 FM engine can do about anything FM-X can, including parameter modulation. The reverse is not true.

 

The Kronos has many more features for real-time sound shaping, such as velocity and AT affecting multiple envelope rates and levels. Polyphonic unison, multiple LFOs, 4-velocity PCMs (sample FM), custom algorithms, waveshaping, etc, etc.

 

The MODX7/Montage does have the Kronos beat in voice count though, which has a paltry 52 voices.

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Why would you want a high pass filter for controlling aliasing? Aliasing is usually at high frequencies so a low pass filter would be useful for that purpose.

 

I thought the same thing first time I read this. Most likely he meant LPF...

 

A point has been brought up about the touchscreen versus standard hardware controllers like knobs and sliders. Otherwise ppl would just as soon use an iPad or other software FM synth.

 

If I were designing a basic 6-op FM hardware synth with physical controllers, I think at a minimum you would need these controllers:

 

- OSC level (6 sliders) = 6 sliders

- FM ratio (6 knobs) = 6 knobs

- HADDR ENV rate and levels: 6 * (5/4 knobs and sliders) = 6 sliders, 6 knobs

- Pitch, Filter, and Amp EGs: 3 * (5/4 knobs and sliders) = (round up) 6 sliders, 6 knobs

 

So at a minimum, we're probably looking at 6 knobs/sliders and at least 3 banks of each.

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Why would you want a high pass filter for controlling aliasing? Aliasing is usually at high frequencies so a low pass filter would be useful for that purpose.

 

I thought the same thing first time I read this. Most likely he meant LPF...

 

I know it might seem counterintuitive, but no, I meant a HPF. I could have said it better as "certain aliasing related artifacts" as the generic "aliasing" would have most assuming the well known 'digital noise' charateristic.

 

Aliasing is basically reflections of harmonics around the upper frequency limit of the playback clock rate. Often times these harmonics manifest as 'noise' but there are in fact aliasing related artifacts that can manifest as inharmonic subtones as the Nyquist frequency may be harmonically related to some notes but not others. Sometimes these won't be noticed in the static sound, but become especially notable when adding vibrato in certain harmonically rich timbres in the upper registers. They also show up more frequently when using non-sine modulators.

 

One would control "typical" aliasing by the Modulator Output Level Scaling to decrease the index for the higher pitched notes. An LPF as where they've already implemented in the signal chain would have no effect. Individual Operator LPF's would help when using non-sine Modulators, but since there's already the Level Scaling, they're pretty much redundant.

 

Finally, with the non linear phase & amplitude behavior of sidebands to FM Index, in certain key ranges of high Index (bright harmonic content) timbres there are quirks in the relative Carrier (fundamental) harmonic amplitude that an HPF in the 'post FM' signal chain would be quite useful to help compensate.

 

Manny

 

P.S. I almost forgot, something key to the creation of drum / percussion sounds in FM is the the concept of "tuned" or "intentional" aliasing where you use specific fixed frequency Operators in harmonic relationship to the Nyquist Frequency to get timbrally dynamic pink/white noise behaviors. For most of these types of sounds you don't want to want a noticable 'fundatmental' so again, an HPF is useful here as well.

People assume timbre is a strict progression of input to harmonics, but actually, from a non-linear, non-subjective viewpoint, it's more like a big ball of wibbly-wobbly, timbrally-wimbrally... stuff

 

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