Synthesis

And I shall stay at low size files to load them into mem of synthesizers. Ok, but now you guess, what this is like. If you load prepared instrument files, you avoid any time-consuming settings, just have fun, that's important too, I think.

I tried to make that .krz file in awave, but I don't know what result it would give loaded into a K2500... It's great you have BPFs on K2500, that don't remove too much of an original sounding of a factory patch. I need to prepare the samples so as not to loose frequencies/amplitudes from the original sample, and moreover, I don't like hearing the step in sounding between two different sampled sound of an instrument, because it is there also, if "partials" are reused. Preparing the samples you can avoid as much artifacts as possible .

Have you had any success in loading this .krz file and had any synthesis result? I only know about Yamaha Motif Xs/Xf, these instruments sound there interesting, but I don't know about how a .krz file can be heard in a K2500?

Download it here: https://drive.google.com/file/d/1gITm7BenLiRI0ZFB5mRaOKEMhaVuFj-7/view?usp=drive_link Sorry, now it is shared and available.

What about this .krz file? I'm curious if this works for you on your Kurzweil K2500. It's 22.9 MBytes. This instrument is capable for this easy additive instrument synthesis. If you change the volume of the layers. I think there will be one problem for sure: this seems to be 16 mono layers and not 8 stereo layers. Does this mean, that a layer can only have a mono waveform on Kurzweil K2500? Please let me know your results. Download it here: https://drive.google.com/file/d/1gITm7BenLiRI0ZFB5mRaOKEMhaVuFj-7/view?usp=drive_link

Ok, i dig into it, and going to make an instrument for K2500 the weekend. What is the max filesize you can load into your K2500?

I made the first instrument with some additional subtractive dynamic settings (with "cherry on the top")... https://on.soundcloud.com/vzRt1 Kurzweil K2500 is a great synth. Can you read .kr1 files into your machine? How many waveforms (layers) can be played on simultanously (do you have 8 layers)?

Yes, and yesterday I started to put the cherry onto the top of a synthesized sound this type by adding subtractive dynamic filterings/pitches/lfos on certain layers, and it's eargasmic. I will record some of these cherried instruments too to show you some results. Btw.: do you have a multilayered subtractive synth? If you had, I might try to convert some easy additive instruments for you of this kind to try it on your own.

If we select 8 pieces from a sum of 16 elements, (don't forget, we synthesize 2 instruments = 2x8 elements/layers), there are 12870 pcs of different possible groupings of 8 different elements/layers out of these 16 layers/elements (in this case all layers/elements is on with a sound.)

Today I had 30 mins to record, how I synthesized two medieval instruments into one: The result is many new instruments again. Unfortunately it is impossible to mix and record all sounding variations, if you mix two instruments of mine, the number of possible variations are 9^8= ~ 43 millions and I recorded those only that I found interesting in this 30 mins. So here is the synthesis "mix" of a harpsichord sounds like this originally https://on.soundcloud.com/9nZ97 and a spinet sounds like this originally https://on.soundcloud.com/37MLu into these instruments: https://on.soundcloud.com/aujTm by additive synthesis on my Yamaha Motif XF.

What about a new synthesis journey with a Jupiter 8 Transisto, it is a Depeche Modish instrument a lot, though my secret garden, is not so secret anymore: https://on.soundcloud.com/A4AWw

Here is again a new instrument, a Harpsichord, ready for additive synthesis. I don't know yet what is hidden in it... https://on.soundcloud.com/KuZrM But this one is sounding...check it yourself, it's a simple portable regal organ from the 18th century: https://on.soundcloud.com/AGBXg I know what this instrument hides: e.g.: a real street organ sound.

Not a secret, but it's the know-how part. It's a complex process including Fourier analysis, spectrum analysis, preparation of additive partials and then finally creation of the instrument file itself. Since it's the know-how part, I can't give you more details, but I can tell you, that all input sound sample source go through the same process.

I'm going to make a synthesis journey with this newly built instrument tomorrow: it's inspired by a Thomas Hitchcock Spinet From 17th Century https://on.soundcloud.com/8v3qi

There is. The key here is sampling method and sampling algorithm that I call a sample preparation for this easy additive instrument synthesis.

I made an algorithm to prepare the samples. It is applied for all (the same process).

That's correct. The combination of these partials make an endless journey in sound design without entering into any subtractive lfos/filterings/effects etc... You can enter into it, since it is a wonderful thing, when a sound dynamically changes its physical parameters in a time scale, but when you enter there you've already have your SOUND, stored on your machine with you! From now I can not imagine another way to design a new sound other than that. Yes, you can do it with this method too: you can add or replace non overlapping or overlapping layers/elements in frequency at your choice. But with these instruments, you will replace, or "enrich" a frequency, or a range of frequency only, not a complete spectrum. P.s.: I think you are a clever man, (as people in this forum in general there are). It's a great thing to be a part of this forum.

Here is an additive syntnesis journey on my Yamaha Motif XF ending the sound addition with a 16th centruy Italien Clavichord instrument to check how wide this type of easy additive instrument synthesis capabilities there could be: https://on.soundcloud.com/HQtz2

I see. Regarding a subtractive synth in general, it is not capable for FM synthesis, but can be capable for doing additive synthesis. It is a good thing on Motif to build FM voices by an amplification of different samples to side by side (it is not practically an additive synthesis, if you may program the FM voice samples that way, i think you can get easily a different sounding too), but e.g.: to build a new piano sound additively sounds much more interesting on a subtractive-only synth, or build a new woodwind instrument or anything else without knowing if its samples are from an FM source or from anything else. If you could programm an FM voice with real additive partials (with layers/elements no overlapping frequencies) it is still an FM sound only and it should be a limited sounding one, i think. Since sound source can be anything, this type of additive synthesis is infinite in sounding by a step-by-step easy sound design in my opinion.

If you replace or add a new bunch of harmonics from any external instrument source of this type, then you change the sounding only at a certain frequency or frequency range. The sound changes, but not the complete spectrum, only an aimed partial of it. This gives to a sound design smaller step-by-step transformation, and you can realize how interesting new sounds wouldn't be discovered, if these partials would be made of samples which overwrite too much frequencies in the whole spectrum anywhere. I heard that on a Montage there are 32 layers if I'm not wrong. That 32 layers were a heaven for this non overlapping easy additive synthesis structure...But it works on an 8 layers Motif XS/XF too.

It depends on how you prepare the samples of your instrument. In Motif you can not do a programming about that...

I have Motif Xf, and sliders are used for changing volume levels of a layer/element. I haven't met with any other usage of them...Not on any preloaded voices at least, and I don't know how others (3rd parties) could have programmed them for other function...

It's additive-like, at least on an XF, because a layer of an FM voice in Motif has overlapping frequencies over another one. It's a bit different in sound design. Moreover, the sounding of an FM-voice on a Motif is not so flexibly changing by moving the sliders (changing layer volumes). Small changes are possible only in sounding. Check this audio example, how rich different sounds there are in a type of an instrument having these specially prepared samples and I only moved the sliders of 8 elements on my Motif Xf up and down at my choice (bass sounds of Juno 106 were loaded): https://on.soundcloud.com/Es381 And this next one is an audio result, when I "mixed" two this type of instruments. It is surprising how far you can get with it... https://on.soundcloud.com/YsVNT

You can mantain the strict additive rule not to overlap a frequency or a frequency range over another layer/element if you add to your sound a well selected (well-aimed) layer/element of any other instrument of this slecial additive kind.

Similar, but an instrument is more than one sample in general. If you record e.g, at every octave a different sound of the original instrument then you will have huge disintegration in the sounding where a next octave is starting with its recorded sound. And that is also noticable playing its harmonics along the full keyboard. It is not a smooth transition from octave to ovtave, but a badly sounding jump in original sound and their harmonics both. So in case of a complete instrument this is more complex, regarding the preparation of samples on an instrument for an additiv synthesis of this type.