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The Eat at Joe's Kawai K5000 Message Board Digest
Out of Series Harmonics


sound (re-)creation
 Thursday, 27-Nov-97 08:17:06

      Message: writes:

      I've read a lot about sound-synthesis lately and discovered that the best way (and
      the most logical) is additive-synthesis. So naturally I turned my attention to
      the K5000s'specs. I don't know if they were true, but it said that you could do
      only whole numbered harmonics!!! Well I have two explanetions for that:1.
      The engineers at Kawai are complete morons. or 2. It's too hard 
      for the k5000s' 32bit processor. So I hope the last, because if I told you that
      most of the acoustic instruments have not-whole numbered harmonics (that is
      the harmonics are not a whole numbered mulitple of the fundamental=pitch\note)
      (yes even a pianosound !!) you would probably say too that those Kawai guys could
      have made the perfect synthesizer! So to make the Kawai perfect 
      we could rewrite the K5000 internal soundengine-software. To do that you should
      be probably a genuis in programming (since the K5000 works realtime
      you must write it in it's processor-code!). What I would like to see implemented
      is: 1. non whole numbered harmonics which can be tuned very, very precise
      about 1/100 of a hertz 2. detailed pitch envelope 3.detailed phase envelope and
      4. (optional) a second LFO if, of course, the k5000 first LFO isn't a
      hardware LFO... So Anyone out there who can do that? Maybe you could even make
      money with it?! (Hope that's a good motivation)
      Now I have a request.... could someone mail this message to some sites? I've
      just started working with the internet 2 months ago and still don't know a lot of
      things and thus also don't know how to publish this message over the internet.
      I would appriciate it!!! Think of that great potential this intsrument has and
      could gain!!!

      For further information about synthesis look for "syntheszer technique" (and
      others) compiled from Keboard Magazine (USA) 

      Paul (Holland)


Re: sound (re-)creation
Thursday, 27-Nov-97 17:27:25 writes:

     You can get harmonics that aren't in the series, but you need to add another source
     (another set of oscillators) which contain the harmonic(s) you want in it's
     series. Then you take out all of the harmonics in the harmonic level screen and
     only add those (in)harmonics you want. If you detune the second source low
     enough (or use the 65th-128th harmonics), the harmonics should be so close to
     each other that you can get most of what you need (especially by fine detuning
     the envelope, giving further accuracy in semitone percents). Granted this is
     definately a work around of what could be implemented much better in a system
     rewrite, and you'd need to do some math to get it right, but still I think with
     six sources you could create a very complex waveform....


Re: sound (re-)creation
Friday, 28-Nov-97 00:46:02 writes:

     The answer is 3.neither; you _can_ do non-whole number harnmonics.

     While each additive generator "only" makes 64 whole-number harmonics, you can
     combine up to 6 additive generators and they can start from 6 different
     fundamentals. Each of the 6 generators has its own pitch envelope. There's no
     phase control, but you can apply LFO in many ways, even to individual
     harmonics. Each harmonic has it's own volume envelope.

     Funny that you mention the piano--one of the guitar patches uses three additive
     generators that start from different fundamentals (not octaves) and have
     different pitch envelopes.


Combining Harmonics of Related Notes
 Friday, 28-Nov-97 00:26:34

      Message: writes:

      I've been getting some interesting sounds by combining the harmonics of different
      notes, something that was suggested here. Generally, take 2 ADD
      generators, remove the first few harmonics of the second one and offset it's
      pitch by some inverval.

      I've found that, to get a good sound, you have to be selective with the harmonics.
      If you leave in too many of the harmonics on both generators it sounds like
      playing an interval, instead of a single note with strange overtones. With close
      intervals, it sounds like car horns in heavy traffic. 

      Also, tuning the interval can make a big difference. For example, if you tune
      the 2d ADD down a major third, (-4 semitones), the 5th harmonic of the 2d
      ADD almost matches the 4th of the primary note. In "just tuning", they would
      be exactly the same, since the frequency of a major third is exactly 5/4 the
      frequency of the tonic. But in the equal-tempered scale, they're off by 14
      cents, which is around 16 on the K5k's fine tuning adjustment, so they sound out
      of tune. When it's tuned, all of the new harmonics are in whole-number ratios
      to the fundamental, like natural harmonics are. The tuning doesn't matter as
      much with intervals of 4ths and 5ths because these are only off by 2 cents to
      begin with.

      The easiest way I've found to tune the interval is to turn down all the harmonics
      except the two that should match and then tune them by ear (which is very
      easy with pure sine waves). There are some weird combinations you can get this
      way, e.g. matching up the 8th harmonic of the 2d ADD with the 7th of the
      primary, or 7 with 6, etc.


Inharmonic Tones
 Saturday, 27-Jun-98 17:29:51 writes:

      This is a trick many of you probably already know, but I thought I would pass
      it along anyway.

      According to a book I have, "The Accoustical Foundations Of Music", vibrating
      bar instruments, like the marimba, produce tones at the fundamental (1),
      2.76 times the fundamental, and 5.40 times the fundamental. 

      In order to create this with my K5, I used two sources. I set the fundamental
      of one source to the highest amplitude setting. I set its envelope to have a short
      percussive decay. I then tuned the second source down 28 semitones. This had the
      effect of dividing all of its harmonics by 5, so 5 became the fundamental,
      10 became harmonic 2, 15 became harmonic 3 and so on. In order to get the
      inharmonic tones, I turned up the 14 harmonic of the second source, which is
      now 2.8 times the fundamental (not exact, but close enough). I then turned up
      the 27 harmonic, which is 5.4 times the fundamental. I gave each harmonic a
      percussive envelope like the fundamental only with shorter decays. To fine tune
      the sound, you may want to raise the second source about 1/4 of a semitone.
      Since you're only dealing with three harmonics, It's not hard to experiment with
      setting them to different ampitudes till you get what you want.

      You K5k owners out there can probably add attack transiets to spice up the sound.

      There are probably other sounds that can be created this way as well. Let me know
      if you know of any. 



Re: Inharmonic Tones
 Saturday, 27-Jun-98 20:00:11 writes:

      It's good to see someone else is taking the textbook approach!

      You could also set the fundamental of the second ADD to 2.76 times the fundamental
      of the first. You can turn the 2.76 ratio into cents like this:

      log(base 1.00057779)2.76 = 1758 cents

      That's 18 half steps (course tuning) minus 42 cents, which is 42*63/50= 53
      notches of fine tuning.

      [1.00057779 is the ratio for one cent. Multiply a frequency by that number and
      you move up one cent. It's equal to 2 to the 1/1200th.]