Hello,
An attempt at 2 modulator FM for creating samples.
The basic frequency of the wave from the modulator is still modulated using the envelope.
Both modulators still have the option of feedback signal back to their input.
The full version so far contains 15 waves for each modulator.
It works to save both the envelope and the instrument itself.
The demo has only 4 waves and no load and save data.
Gotta say, @martblek is knockinā these Tools outtaā the park. Support the guy already! These are some amazing sounds, and quick to add to your works. As close to real-sounding FM without the need for a plugin. Can get some beautiful pads and pianos that play out the modulation of the FM waveform. Place your own loop on the sample to work it more if you need it. These sounds can be used for all sorts of instruments - percussion as well if you work the modulator/carrier. All sounds in video below designed in Renoise using @martblekās tone generator(s) with very limited extra sound design being done with CDP. All sounds initially created with the martblek Tools.
Purchased! This is amazing and very timely. I committed to two live sets this month using solely opl3 hardware and renoise via midi, but Iām realizing I need to make some concessions to really get some good kicks and snares in there on separate channels, and I think this will work while still staying true to my concept :]
Also, a few reasons for this concept is how I started learning about computer music just trying to get soundcards to work on games like space quest 4, wolfenstein, doom, the 7th guest, etc, and then in screamtracker, there was the adlib sound editor i never understood at the time, so the goal is to sort of get back to that age of computer music innocence before we all got sent to vst plugin purgatory :]
Would it be possible to add a persistent frequency and bit-depth option for generating? ex: if I want to generate some crazy one-shot percussion samples or frequency sweeps, it would be nice to be able to pitch them down a couple octaves and still sound as if they were synthesized within the full audible spectrum :]
Iām a little late today.
I did a little gardening, the weather is nice, so Iām preparing the ground for future things to eat. Iām not really going to eat crickets, as our politicians think. But I digress a bit.
Maybe Iām interpreting it wrong, but now if the MOD envelope is at its maximum,
the modulator follows the set frequency and does not operate with it in any way.
The envelope is now in the standard range ([0.0 ā¦ 1.0] * modulator frequency)
and this enters the modulator.
And for bit depth.
Do you mean setting the bit depth of the sample or some filter (bit distortion)
that would degrade the sound afterwards?
Maybe I should add an envelope for the carrier frequency
Any idea is welcome.
Last night I tried adding feedback from the output and adding it back to the modulator.
Sounds crazy
I think theyāre talking about adjusting the bit rate/depth to go beyond 44.1, into 192 territory, like on the ADNG. Maybe that keeps the sound from changing character if one were to lower the pitch?
Maybe as high as this - itās possible that the more bits available, the less the character will change if they drop it from C4 to C2? Not sure, never worked with audio that way myself. Bascially, having the option to change the bit rate, not unlike AD/ADNG.
I think they tested it in the .lua, and it worked. Raising the bitrate of the sample kept the grunge/timbre change from happening. I notice now that when I make my AD sounds, if I lower the pitch - say, hi-hats, for example. The sound changes drastically. Now I understand āwhyā. I donāt mind, I work with it, but if one wanted to get more exploratory and work in different pitches besides C4, theyāll get a more consistent sound at varying pitches at a higher bit rate.
I believe 192 would be high enough. I donāt know anybody going any higher than that. So, just like AD - 11025 - 192k might be a nice addition. @protman, feel free to chime in if Iām mistaken?
After some morning coffee, here is a more relatable description of my idea:
A hi-hat sample at 44100 pitched down two octaves has itās highest audible frequency at 5513hz, and will very audibly ālo-fiā
A hi-hat sample at 192000 pitched down two octaves still has itās highest audible frequency at 24000hz, so it wonāt sound lo-fi or diminished, presuming the noise or tones in the sample were generated at the full spectrum. It will sound as if it has a slower decay with tones pitched down, but saw waves and noise will still sound bright.
Also, defaulting to 32bit will avoid quantization noise if i boost the amplitude a bunch with OTT or CRAMIT :]
Iāve tweaked the source code for 1920000000hz and 32bit and Iāll be testing things out to see if the frequency spectrum is maintained for lower notes/octaves like I mentioned. Thanks! @martblek
This is awesome! Also, love to see this moving to a platform like GumRoad. Iām going to play with this when I get off work for the week (if only I had noticed this post when it came out! I could have spent the last several days fiddling with sliders)
Related to the GumRoad debut, I would love to see the rest of your tools move over there (would make it much easier to keep my collection nsync having them all in one place!) And some unsolicited feedback; as a āconsumer,ā I appreciate the price point, not too much and feels like legitimately supporting your time investment.
