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the synced sine wave, which is a well-known way to reduce aliasing in digital sync. However, some aliasing is still present due to discontinuities in the function's derivatives. Thus, filter sweep effects are generated the same way as sync effects: by modulating the frequency of the resonance (DCW envelope), the timbre changes, adding and subtracting harmonics to/from the chosen fundamental spectrum around the chosen resonant frequency.
249:(the latter not available in Yamaha's system). Casio's options for combining and routing oscillators are more flexible than Yamaha's. For example, the VZ10-M is capable of 90 unique combinations of oscillators and modulations compared to the 32 algorithms of the DX7. Additionally the VZ-10M oscillators offer 8 different waveforms, allowing more complex sound generation than the DX7 which uses only sine waves.
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per-cycle. The modulators were various angular waves that could 'distort' the carrier's sine into other shapes, to a degree derived from the "DCW" envelope. In doing so, many harmonics were created in the output. As modulators were rich in harmonic content, they could create spectra more linear, i.e.
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at the fundamental frequency. The window function can take various shapes, including sawtooth and triangle, thus determining the 'basal' spectrum upon which the resonant effect is superimposed. Since the amplitude of all available window functions ends at zero, this removes sharp discontinuities in
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under binary logic control and shows characteristic sharp knees (and for some transforms, even sudden jumps) as they move from minimum to maximum, where the frequency counter's accumulator wraps around and starts over. The sharp knees are smoothed by the roundness of the modulated sine wave and not
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as the HS-2 resp. HS-2/E), actually bears very little resemblance to 'actual' PD, being based around an idiosyncratic type of PM instead. In iPD, multiple oscillators are combined in various configurable routings (similar to Yamaha's "algorithms") and can modulate each other using PM or
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sounds, such as those typically associated with analogue synths, which are characterised by linear spectra. These facts demonstrate how although the broad concept - alteration of phase - is the same, implementation and results differ greatly.
50:), in the sense that both methods dynamically change the harmonic content of a carrier waveform by influence of another waveform (modulator) in the time domain. However, the application and results of the two methods are quite distinct.
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As well as being more capable of generating traditional linear spectra, the CZ synthesizers can also emulate resonant filter sweeps. This was done using sine waves at the resonant frequency, synchronised and
228:-derived spectra unless linearised by the application of feedback, whereas PD produces more linear spectra. This manifests in PD synths' reputation for being easier to produce traditional
85:. PD is a different type of PM - whose very different modulators caused significant difference in operation and sound between PD and PM. Thus the two aren't directly equivalent.
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81:(PM/FM) synthesis. PM does not require oscillator sync but was for a long time limited to sine waves, which meant output spectra bore the non-linear hallmark of
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Figure 19 from the USPTO CZ-series patent application depicting how to eliminate the sudden jumps in the variable resonance circuitry (here showing the second
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and commercially used by Yamaha - uses an oscillating modulator that can have its own period, PD applies an angular modulator of straight-line segments
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US4479411 - Tone signal generating apparatus of electronic musical instruments (Masanori
Ishibashi, Casio Computer Co Ltd, Priority December 22, 1981)
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opcode is designed to emulate the "classic" phase distortion synthesis method of the Casio CZ-series of synthesizers from the mid-1980s.Ā»
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is much more similar to the aforementioned phase modulation, rather than a direct evolution of phase distortion; see below.
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US4658691 - Electronic musical instrument (Masanori
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using their original concept of PD synthesis (with variations). The later VZ-1 and co's synthesis method
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to the same period as its corresponding carrier, i.e. modulating each cycle identically. PM/FM produces
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at the fundamental frequency. Frequencies could be controlled but not resonance amount.
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As outlined above, phase distortion broadly applies similar mathematical concepts to
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Note the sudden jump at the reset, which causes significant distortion.
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To summarize in other terms: The resonance is a form of digital
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more similar to traditional subtractive spectra, than Yamaha's
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261:(incl. CZ-101, CZ-230, CZ-1000, CZ-3000, CZ-5000, CZ-1)
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205:Comparison to other types of synthesis
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253:Synthesizers using Phase Distortion
268:'s emulation of the Casio CZ range
238:Interactive Phase Distortion (iPD)
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16:Electronic sound synthesis method
236:Casio's own later engine named
38:. In outline, it is similar to
325:Virtual Phase Distortion Synth
259:Casio CZ range of synthesizers
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97:Simulating a resonant filter
59:Interactive phase distortion
68:Generating harmonic content
55:five different synthesizers
42:synthesis as championed by
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123:voltage-controlled filters
90:piecewise linear functions
74:synchronised to each other
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36:CZ range of synthesizers
330:10 January 2007 at the
288:"Arturia - CZ V - CZ V"
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575:Sound synthesis types
503:KarplusāStrong string
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554:Software synthesizer
398:Frequency modulation
48:frequency modulation
580:Japanese inventions
536:Digital synthesizer
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475:Physical modelling
181:The sudden jump in
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403:Linear arithmetic
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428:Distortion
297:2023-09-28
273:References
450:Wavetable
214:synthesis
194:hard sync
28:synthesis
455:Granular
423:Additive
328:Archived
144:"synced"
115:harmonic
104:windowed
526:Modular
498:Formant
442:Sampler
413:Scanned
347:. Ā«The
266:Arturia
264:CZ V -
34:in its
460:Vector
349:pdhalf
343:Csound
337:pdhalf
242:Hohner
388:types
32:Casio
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