Drums in deep house
no worries mate.AK wrote:Thanks for the answer to that, this type of stuff fascinates me, I must get into this a lot more.
its actually quite liberating to get away from thinking in terms of the usual chords, jazz or otherwise, and just listen and tune to what feels right.
i find the piano style keyboard limits the possibilities more than say the monophony of a synth.
The stuff you hint to is definitely not for the budding enthusiast, whilst I have a good grounding in theory and playing keyboard, it's only just beginning for me. Harmonics are a different kettle of fish that I have sort of 'skipped upon' but never delved into - I am aware of what I hear and can pick up on stuff. For instance, a 3 osc bass patch i am using for something I am writing with an FM synth produces some overtones that I can hear ( only through headphones ) of diminished intervals - so just from that bass patch, I hear a diminished scale and that's what works because you can hear those harmonics. No one single operator is responsible for those semitone shifts, it's just the cumulative effect of the 3 that sort of edges it that way if you get me.steevio wrote:no worries mate.AK wrote:Thanks for the answer to that, this type of stuff fascinates me, I must get into this a lot more.
its actually quite liberating to get away from thinking in terms of the usual chords, jazz or otherwise, and just listen and tune to what feels right.
i find the piano style keyboard limits the possibilities more than say the monophony of a synth.
It's definitely something I would love to talk more about in the future and I will start a topic about and look forward to your input.
Got any other examples? These sound quite nice... I might have the opportunity to get a Voyager at cost in the near future, I'm debating trying to sell some other pieces of gear to get one.::BLM:: wrote: I have heard a couple of tracks made from the Moog and they are lovely. Check out Dan Berkson & James What for anyone looking to see what the Moog sounds like within house and techno: http://mp3.juno.co.uk/MP3/SF319221-01-01-01.mp3 or http://mp3.juno.co.uk/MP3/SF319635-01-02-02.mp3 The main riff on this was done on one of the Moogs...
Wouldnt it be simpler to use an FM synth for this?steevio wrote:no. (and yes at the same time, multiples doesnt necessarily mean the same notes, 3 multiples of C is a G)AK wrote:I don't understand that, with normal analog oscillators additional harmonics are just multiples of the original no? I can't grasp how a chord can be made from a single oscillator.
a sawtooth wave is a fundamental with all harmonics present.
it is a collection of many sinewaves of different frequencies, so say a sawtooth osc tuned to C = 256 has these frequencies embedded in it;
fundamental C =256, then all the harmonics upwards; C = 512, G =768, C=1024, E = 1280, G = 1536, Bflat = 1792, C = 2048, D = 2304, E = 2560, F# = 2816 etc etc ad infinitum.
with a pulse wave you can adjust the harmonic content drastically by altering the pulse width, (not going to go into this here) which can give you all sorts of different ratios of harmonics, for instance a square pulsewave only has odd numbered harmonics.
you can also filter away harmonics you dont want to hear. thats what a filter is.
I mean it's cool and all but with FM synthesis this is way easier.
i cant think of anything easier than turning a couple of knobs on an analogue synth. its easily the most immeadeate way of making sounds.New Guy wrote:Wouldnt it be simpler to use an FM synth for this?steevio wrote:no. (and yes at the same time, multiples doesnt necessarily mean the same notes, 3 multiples of C is a G)AK wrote:I don't understand that, with normal analog oscillators additional harmonics are just multiples of the original no? I can't grasp how a chord can be made from a single oscillator.
a sawtooth wave is a fundamental with all harmonics present.
it is a collection of many sinewaves of different frequencies, so say a sawtooth osc tuned to C = 256 has these frequencies embedded in it;
fundamental C =256, then all the harmonics upwards; C = 512, G =768, C=1024, E = 1280, G = 1536, Bflat = 1792, C = 2048, D = 2304, E = 2560, F# = 2816 etc etc ad infinitum.
with a pulse wave you can adjust the harmonic content drastically by altering the pulse width, (not going to go into this here) which can give you all sorts of different ratios of harmonics, for instance a square pulsewave only has odd numbered harmonics.
you can also filter away harmonics you dont want to hear. thats what a filter is.
I mean it's cool and all but with FM synthesis this is way easier.
if you've never played a moog, you wouldnt understand.
i dont like the sound of most FM synths anyway. never have.
easy. take a saw wave. hi-pass at the third harmonic. low-pass on the fifth harmonic. you have a major triad. downside is the notes will not be equally loud so you gotta either eq or boost the lowpass resonance more.AK wrote:I can't grasp how a chord can be made from a single oscillator.
about FM - yes it is easier, and too - an FM synth can do stuff that a subtractive can only dream of.