![most dx7 patches made from sine waves most dx7 patches made from sine waves](https://i.ytimg.com/vi/JlAAbvrtYzQ/maxresdefault.jpg)
The effect can be quite realistic and, even when it's not, it's very useful because it generates a new family of analogue-like sounds that are subtly different from anything you can obtain from a traditional analogue synth. Some people feel that they don't do this very convincingly but, to some extent, that's analogue snobbery. These were described by Casio as "resonant" because, when the PM amount is swept, each of these waveforms simulates the sound of a filter with the resonance (or "emphasis") turned up to a high value.
MOST DX7 PATCHES MADE FROM SINE WAVES MANUAL
If you now step through the waves offered by the First slot, you'll find that the last three are rather unusual waveforms described in the Thor manual as… (See figure 2.) This is a much nicer patch:įigure 2: Adding some interest to the basic bass sound I find that a modulation Amount of 75 works quite nicely. We do this by selecting suitable ADSR values and routing the envelope to the Osc1 PM Amt parameter in the modulation matrix. We can refine this by modifying the Amp Env contour to eliminate the clicks, to generate a pleasing overall shape for the sound, and to control the amount of phase modulation as each note progresses. Shown in figure 1, this is not a pleasant patch: These are not a bug… they're generated by the super-fast envelopes within Thor. What's more, you'll obtain some nasty clicks and thunks at the start and end of each note. If you now play a few notes you'll hear (as I explained in tutorial #7) a sine wave, not a sawtooth wave. Next, switch on the Amp Env and push its Sustain level to maximum. When you have done this, select the sawtooth waveform from the eight possible waves in the First slot within the oscillator, tune the pitch down to Oct=3, and make sure that the PM knob is set to zero.
MOST DX7 PATCHES MADE FROM SINE WAVES MOD
We'll start recreating this patch by making sure that everything except the Gain and Master Volume in Thor is set to 'off' or to zero (as appropriate), by setting the keyboard mode to Mono Retrig, and then by inserting a Phase Mod Osc in the Osc1 position.
![most dx7 patches made from sine waves most dx7 patches made from sine waves](https://reverbmachine.com/wp-content/uploads/2020/08/dx7_diredreams.png)
![most dx7 patches made from sine waves most dx7 patches made from sine waves](https://upload.wikimedia.org/wikipedia/commons/f/fd/Frequencymodulationdemo-td.png)
The patch comprises just two oscillators and two envelope generators, and it's another example of the brilliant Phase Modulation system developed by Casio in the 1980s, which has been almost universally (and unfairly) derided ever since. Four modules generated this, and not one of them is a filter. Given that this sample was generated by Thor, it isn't analogue of course, but it's a great 'virtual analogue' sound, isn't it? Don't you just love that deep, resonant filter sweep? Except… this isn't a virtual analogue patch, and that isn't a filter sweep. I'm sure that you'll recognise this type of sound, which was inspired by some old – but wonderful – analogue bass pedals that I used in the 1970s. Your browser does not support the audio element. Here's a patch that I call "Grod's Reso-Bass": In this tutorial, I'm going to show you how you can imitate analogue filter resonance using Phase Modulation synthesis, and offer two examples – a bass patch and a lead synth sound – that illustrate how you can use this.