Відео

very useful, thank you very much, greetings from Austria

Man, I’d love to see a practical comparison between some of the NLC gate and CV modulators (sloths, hyptser, etc). I love my 8-bit cipher and would love to add some more interesting NLC modulation/pattern generation to my setup. It would be really helpful to see how some of these esoteric modules fit into different kinds of patches

Thisis both great ideas and pleasing music. I have been thinking a lot about these sorts of ideas for controlled randomness and I am so glad to have found you. Subscribed!

I got my first mults by ordering PCBs from the designs given away by North Coast Synthesis together with their design documents, "Passive Multiples and Friends", which also give designs for other unpowered circuits: passive mixers, OR combiners, fixed attenuators, fixed low pass filters/slew rate limiters, fixed high pass filters/DC blockers/gate-to-trigs, and envelope followers. Since PCB manufacturers have minimum orders, my first buy got me a fistful of panels, and I've built a bunch of those plus a few powered circuits that just got fit onto them.

Thanks for doing this exploration. A while back i was planning on designing my own 3340-based VCO (I eventually instead got a PCB/panel set from Kassutronics), and I read a blog post by Tom Wiltshire of Electric Druid that went over a bunch of different 3340 circuits from different classic synths. He commented that the chip was unusual in offering both hard and soft sync, and that "neither of them work the way you might expect". I didn't understand what exactly that meant, or what was going on, until I watched this.

if you like the idea of electronic music produced with these rhythms, check out Steevio's track "Primes," Jeff Mills's work on "Growth" [AX-10], or my personal favourite, Dario Zenker's old work as #4.26. on Frozen Border - specifically the track "Whativa"

i wanted to like this video but atm the like count is 420 so i can't ❤

Sine wave: Presence of harmonics: one First harmonic volume: 0 dB Semisine wave: Presence of harmonics: all harmonics of the series of natural numbers First harmonic volume: -1.82 dB Tilt volume by harmonics: -12.04 dB / oct Triangle wave: Presence of harmonics: all harmonics of a series of odd numbers First harmonic volume: -1.82 dB Tilt volume by harmonics: -12.04 dB / oct Sawtooth wave: Presence of harmonics: all harmonics of the series of natural numbers First harmonic volume: -3.92 dB Tilt volume by harmonics: -6.02 dB / oct Square wave: Presence of harmonics: all harmonics of a series of odd numbers First harmonic volume: +2.10 dB Tilt volume by harmonics: -6.02 dB / oct

Damnit, I love/hate watching an awesome informative series in the middle of it being made!

I think this is the best video series on FM synthesis on the internet. Great work!

You explained the qualities that differentiate the two chords, but you didn't explain why we find one pleasing and the other harsh. What about music that uses dissonance deliberately? Anyways, it's not a big deal because you probably were meaning to explain why we can tell a difference and why one sounds organized and the other sounds not-organized.

Wow, I'm so glad the algorithm recommended this video! Now I'm checking out all your older videos and so far loving every one! Thabks so much for making them!

Yes, .. I never knew that FM radio signal's path had a width. I always thought of the signal, like a narrow, single rail .. versus a 3' wide sidewalk, relatively speaking. The FM stations around here .. indeed, they're spread quite far apart on the tuner range, in my location. And Mordax Data, .. what a cool tool. I never considered getting a 2nd one .. but, now I am. .. :)

It has been a minute since I made one, but that is one of the techniques I used to create binaural beats brainwave entrainment. I knew instantly that those two tones were going to 13 hz apart and if you listen to it long enough your brain will focus in on that 13 hz beating and sync with it through the process of entrainment. 13 hz happens to be in the Beta range and is a good dominant brainwave state for alert regular waking consciousness. It is more often used for frequencies that are inaudible like lower than 10hz. 13hz is within the audible range for many. I had never thought about the additional beats that are being generated by the harmonics, but it makes sense. Some people suggest that particular frequency ranges of tones are best to use to create the effect and also with the binaural beats many people recommend that the 2 tones be panned hard left and right. I am not sure why this would increase the effect but maybe there is a biological reason I do not know of. The effect is definitely created when the two tones are combined as you illustrated, whether the tones are coming into your brain from your left and right ear, or not. Something is happening 13 times per second when those two notes are playing at the same time and if you give your brain long enough it will sync into that cycle. Even if it doesn't hear it as a sound, it does as a rhythm.

It really is helpful. Thank you! I love FM sounds and this series is a boon of knowledge.

Adding all this negative connotation is so misleading and is one of the worst practices in music education. You could leave all of that out and keep all the other descriptions and explanations in and be left with the result you should have produced. "Our brains don't like that" should be something like "the difference tones are too close for our perception systems to integrate, so we hear something different, which is this cycle of 13 swells per second, which is perceptually summed into a new, emergent pitch," or some thing like that... It isn't bad, it isn't ugly, it isn't poop, our brains just don't function in a way that allows accurate perception of those small intervals............

I do understand these simple examples, and have for years. And it all rapps up in this simple to understand package. The assumptions: 1. We attach great importance on lower frequencies. Thus we name the note after the first frequency in the harmonic series, and a cord after lowest note. 2. We finde "simple/who number" frequency ratios pleasing. Especially 1/2 therefore we have the octave as the building blocks and consider the note to be the same if the frequency is doubled or hafted. 3. Sadly the maths do not add up. We cannot have 1/2, 1/3 and 2/5 at the same time for all 12 notes. Since we have chosen the Octave as the most important the best we can do equal temperament. (we can do better if we only use 7 notes and don't care about the octave, just intonation) But the think is... When you start to look at tuning, a song og just a single instrument playing, then you have to "look over" some details for the story to keep making sense. Ok our brain likes simple intervals and it hates two frequencies that are close to each other. (do to beating). But we tune in equal temperament, thus some of the frequencies are a little of. On a instrument like the Guitar your not even able to tune to a perfect equal temperament tuning (unless true temperament trets and some luck). Thus when actually playing the guitar non of the frequency ratios are 1/3 and 2/5, the best you can hope for is for a clean octave 1/2. And when you actually look at a song, that you think sounds pleasing to the ears the frequencies are all over the place. You have human singing, drums, base, guitar/piano coming in and out multiple time each second all with there own harmonic series. And it is even difficult to talk about frequencies because they are chaining so fast, so when looking at a EQ you have easily >10 significant frequencies at any giving time and finding the simple frequencies ratios becomes very hard. So my problem is that there are quiet a long distrance from theory to practice. All the simplified examples makes sense to me, and when making actual music the octave, perfect fifth, Perfect fourth etc. are super useful. But in practice the simple ratios are nowhere to find, it seems to me to be an oversimplification.

I wonder if there can be FM done with inharmonic spectrums

Critical Bandwith theory and Sethares Theory of Dissonance has entered the chat

oh heck yeah. x.5 episodes!

This is awesome. What is patch, oscillator?

ensisted maths. also and you cover it, the same maths largely works for beats. moreover you cover the psychoacoustic "it's something else, missing a fundamental" (enter Ogg chat), The only real issue I have with this video is the assumption that all humans "enjoy" this: Abstract composers, jazzers, and indeed just the living exceptions strive to go further down any road that IS NOT THIS, be it via feel, dissonance, rubato, inferred tones, microtones, or just a really well designed synth patch or prime numbered beat patterns and a 10 gamelan jam, all of differing tuning. You discuss the audio bubble gum core of cheawble tree saps not the bad for you and delicious man made flavourings we truly crave. So, other than a 100% disagreement about that being "pleasing", have to agree with everything you said. decent video. good level. easy to access. And totally, utterly wrong about what is "pleasing". ;)

Why do the minor 2nds in this song sound so badass? ua-cam.com/video/pjl5AKpsDoU/v-deo.htmlsi=-xx22cNEzhjwF6go

The BEST UA-cam channel! Thank you for the time and energy you put into each of these videos! PLUS, you are a wonderful presenter!

Man love so much your video! I started 2 weeks ago with a mother 32 and my guitar pedals. Man love it. Can I ask you a question? How high to keep the volume knob. With some weird patches I got some random click noise only when outputting to max level via the back output jack. If I stay at 3 o’clock everything sounds good. I see a lot of people running it at max volume but doesn’t work fine for me. Thanks a lot

Oooofffff, this is definitely my new favorite youtube channel. Great content, sweet narration, lovely visuals... NICELY DONE!

As a side-topic to this, it would also be super-exicting (at least for me as none-traditional musician), to learn more about the psycho-acustic behind frequency combinations and western versus asian/african scales. I mean, asian/african music often sounds more or less unpleasing to western ears (and vice versa), but thats just how you grow up. But the science behind this would be really interesting especially for someone, who didn´t went to a music university. Probably there is already a lot of material on the web about this... But you have the ability to bring those things in a brief way to a good "level of understanding" for people! Thanks a lot for your big effort!

Video Idea Hi Jeff, I really like your channel, I think you are an excellent educator. I'd like to suggest a video idea, which is related to the subject of "sound", or more precisely how the sound is physically created to our ears from voltages. Recently, I came to understand the connection between waveforms (like square waves) and their impact on speakers. For instance, a square wave causes the speaker's magnet to rapidly switch between zero and full strength, creating a "ticking" sound. Multiply this "tick" 440 times per second and you get the A note. I haven't found any videos that illustrate this well. You could also add explanations for other wave types. Another idea, perhaps for the same video, is to explain the speaker movements and their effect on the amount and types of harmonics in different wave types. For instance, why there are no harmonics in a sine wave, more in a triangle wave, and even more in a sawtooth wave. I hope you find these ideas interesting and consider making a video about them. Thanks

Thank you, amazing video!!

Just going to suggest VCVRack if you don't know of it already. Since you assist to like coding as well I'd be amazed if you don't. Might help with making some of these videos.

<3

So well addressed. I can’t wait for the next one! I’ve only now undertaken creating my first modular. I had lots of clocks divided in my brain and hoped to lean on sequencers for the laborious task of setting the frequency for simultaneous notes, one by one by ear. As a NON-musician, I was hoping that all the tech would work like magic. At my age, I probably don’t have the time to become a musician. With my background I’m knowledgeable about module functions and patching principles and always think in terms of voltage and math relationships. This video is a masterclass for me. It’s a revelation for me in terms I can understand. More “music” here I come. Thank you so much!!!

Thank you. Like a teacher I could listen to endlessly ;-)

I'm not sure I understand your point about Eurorack. My sequencer and my quantisers can be used in any scale I choose. Actually it seems to be (the default behaviour of) MIDI that seems to keep us all stuck in 12EDO. I'm also not convinced about the ratios anymore. Or not perfectly satisfied, anyway. A 12EDO fifth really doesn't sound _that_ horrible, despite involving irrational ratios, and small amounts of frequency shift applied to non-sine waveforms (which results in inharmonic harmonics…) can sound good, too. So … the explanation is not complete.

Your video about sidebands has single-handedly multiplied my understanding of FM a thousandfold. Thank you for making this series, it's a true treasure trove.

I'm loving this series. Keep it up.

Very neat to notice during your animated traces, that the sum waveform of the 3:2 appears to resemble a bit of light folding applied to a sine wave. I suspect that the end result is similar because they are simply 2 different ways of adding the same harmonics.

meat circuit incompatible signal. EROORORORORORRRRR

Such nice explanations.. thanks!

Sorry, but my brain prefers the beating 13 times a second…

thank you!!

Agree, this fm series is cool!

thank you for your interesting videos <3

Loving this FM series! Thanks!

Very clear and concise 👌

Just read first few chapters of Gareth Loy's Musemathics.

I love your videos a lot! thank you for your hard work

Why the hell is UA-cam only just recommending this channel to me? It's like a nerdgasm with catnip on it