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Questions regarding Creative Music Synth.

Discussion in 'Electronic Design' started by Green Xenon [Radium], Oct 11, 2007.

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  1. From reading the above paragraph it seems like there is no way to
    figure out the exact mechanisms of the patches unless Creative
    Technology tells you. The 'reverse engineering' seems to involve lots of
    guess work and no exact answers. That's what is frustrating. You want
    something exact but know you can't have it.
    So the patch is something that is completely software and not in the FM
    chip? I hope so but fear not.


    ....I try playing Creative Music Synth [220], through my so called
    'karaoke voice canceller' -- which inverts the phase of one stereo
    channel [right or left] and then combines it the other channel -- which
    results in anything identical in both the left and right channels being
    removed. I get a mono of what was different in the left and right channels.

    When I play Creative Music Synth [220] audio through the
    voice-canceller, it sounds more treble, sharper, brighter, warmer, and
    crisper than when I don't use the voice canceller.

    I can get the same effect if I use Wavelab [or other audio software] to
    make a stereo recording of the MIDI audio and then invert the phase of
    the one [but not both] of the channels -- left or right – and then I
    convert the stereo file to mono.

    Whether I use the voice-canceller or Wavelab to cancel the central
    channel, the effect is the same – the sound is more treble, sharper,
    brighter, warmer, and crisper.

    Is it likely the differences I describe [e.g. the differences I hear
    when “voice-canceling” the FM audio] is due to the FM signals
    themselves? I hope not but fear so.

    Do these differences occur because that’s how the FM chip was designed?
    Is this because whoever designed the chip, decided for it to work this
    way? I hope not but fear so.

    In addition, are these differences I describe due to the patches of
    Creative Technology? I hope not but fear so.
  2. Green Xenon [Radium] wrote:
    The product is supplied with a standard set of preset patches; but these
    can all be modified using the patch editor software they will have
    supplied with the card (nobody would have bought the card unless that
    facility were available). With knowledge and skill, the reverse
    engineering can be virtually exact.

    I just told you it is software, user-editable. The operator structure
    in the chip is fixed (just as it is in all other FM synths including the
    DX7 and its descendants), but all the relevant parameters (and there
    will be a~lot~ of them) are variable from outside. The set of all those
    parameter settings constitutes a "patch".

    All these "hopes and fears" can only be answered by you, doing
    ~research~. For example, by systematically comparing the effects with
    other systems. Which again requires technical knowledge and insights as
    a prerequisite. Nobody else can do that for you. But I suspect the real
    nature of these hopes and fears is that you actually realise you don't
    have the knowledge and skills (yet) to conduct this investigation, or
    understand the equipment you have. Only you can change that. People will
    answer precise technical questions, but will not take on the task of
    educating you in the basics online - not least because there are books,
    websites, Colleges etc that already do all that.

    I suggest you learn to use a synthesis language such as Csound, with
    which you can create your own FM synthesiser, and have a go at
    replicating the structure of the OPL3 there. It will be trial and error,
    a lot of the time, but with practice the trials will get more successful
    and the errors more interesting.

    Richard Dobson
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