COMMUNAUTÉ REAKTOR

DESCRIPTION

I know that you may be thinking “Why another FM synth?”, but wait this ones is a little different. Popular Reaktor synths FM implementations including Fritz FM, FM8, MFM1, Cube-X and InHumanLogic are all based on Frequency Modulation and not on Phase Modulation like in the Yamaha DX Series and FM7. It is unfortunate that the Dr. Chowning’s Synthesis technique is called FM since it is really PM. There are advantages of PM over FM such as the better control over absolute pitch and the ability to provide stable oscillator self-feedback.

Although one could just buy FM7 to have access to DX-styled FM synths this machine was designed to accomplish a few other goals besides enabling Reaktor users to have a DX-Style FM Synth. One goal was to allow users to get DX-style FM building blocks for other reactor creations (as I have done with Auto Harmony). A second goal was to use as a tool with the scope and spectrum analyzer to get a better understanding of how DX-Style FM works and it capabilities. To that end I included FM implementations of basic synth waveforms like the saw, square, noise and bell waves, show examples of stacked and parallel modulators and give examples to show how FM appears to filter by varying the modulator amplitude.

Also included are a new effect (Multi-Filter Array) and analysis tool (Spectrum Analyzer).

Multi-Filter Array: Effect based on Max Mathews work in the 1960’s and 1970’s involving better synthesis of string instruments. Acoustic instruments have many resonances at different frequencies that are NOT harmonically related (unlike Flanging and Phasing). This effect generates 24 parallel high Q band-pass filters (grouped into three banks) whose frequencies are set up as equal pitch durations between the LowP and HighP knobs. What this generates is a woody and organic (not a reference to my organ:) quality to a waveform. Although powerful this effect uses up much throughput so an enable switch is provided.

Spectrum Analyzer: This is simply 16 parallel band pass filters with large Q’s that are tuned to the first 16 harmonics of the most recent pitch. The outputs of the filters are then displayed. Although appearing to be an overly simple approach to display harmonic content it seems to work out well for explaining and understanding synthesis. Many performance oriented snapshots have this disabled as it uses up a lot of throughput.

Finally see the text document in the .zip file for even more information about use and programming.