Very good question. I found nothing about it in the manuals.
It seems I'm missing some knowledge that the creators of FM8 and Ableton's Operator share and use.
So, my question is how do synth makers control the modulator amplitude and how does the interface of the synth and the controls from 0 to 100 change the modulator amplitude in the background?
You basically need to build a cross fader. On one side you have your AM signal, on the other you have a steady signal of 1. You then cross fade over to the AM signal and voila!
I've not got time right now, but will knock one together tomorrow if you're still stuck. If you do solve, it why not post back with the solution as an answer.
The tape delay (as well as other delays) has an LFO that modulates the delay time, in turn this will result in a modulation of pitch. Just keep the output on 100% wet, but use the delay as an insert (not a send).
frequency modulation (FM) is the manipulation of the Hz of a sound or "Operator". Operators generate sound waves at a certain speed (Hz) which dictates the pitch of that specific sound, for example, bass sounds usually have a range of around 20-250Hz whereas leads and synths have ranges between 500-15000Hz. By using Operators the sound is able to shift and ...
A couple beautiful plugins for achieving this effect that are fun to even use in tandem for a richer warble:
I endorse both enthusiastically! And if you want some more grit and hiss, add TB ReelBus to your arsenal. It's designed to simulate magnetic ...
I got this solution from the PD mailing list.
You can place the signal addition of the modulator ([+~ 1]) after the multiplication with the slider, right before you multiply that signal with the carrier. But instead of 1, multiply with 0.5. So the modulator could look like this:
[*~ modulation_amount] (0 to 1)
With no ...
TL:DR You will not be able to do this in any meaningful way on a phone.
I'm not sure what you mean by 'modulation recorded audio' [unless you're referring to PCM, pulse-code modulation] but you can change frequencies most simply by changing sampling rate for playback - in effect speed it up or slow it down.
Alternatively, there are algorithms that can change ...
The code for this VCO plugin can be found here. I think there might be multiple things that interfere with an "ideal" VCO, but here my observations:
The pitch is directly computed as frequency_knob + fm_knob * fm_input, as you can see here.
But then the VCO class uses a Taylor approximation for the exponential function, which might introduce some error, and
Anything is possible - just depends on how much you want to throw at the problem. The people involved need one or all of the following:
Expertise in electronics and digital processing software
.... or a willingness to engage someone who does.
From a hardware standpoint you will require a wearable, battery powered computer that can sample and ...
They are the same in terms of output. The difference in terminology likely comes from the fact that digital oscillators are implemented by incrementing a variable representing phase into a lookup table. The step of each increment is calculated from the intended frequency: phase += freq*modulation_index*table_size/sample_Rate with "freq" being the modulation ...
In the channel effects for your sound, you can apply Logic's AutoFilter plugin, which will allow you to cut off a frequency according to various wave shapes, timings, distortions, amounts, and all of this can be broken into x number of EQ bands. I believe it will have the effect you're looking for.
If you want to specifically control the LFO of a synth, ...
Exactly, that's how vocoder and convolution reverbs work.
What you are after is multiplication in the frequency domain, which is equivalent to convolution in time domain, and that's also how it is generally called: convolution. When the modulator is an impulse response you get a reverb, when it's something stranger a vocoder.
Good software to experiment ...
If your original attempt sounds good, but dry, try adding some effects. A very small, short reverb, a close chorus and maybe a flanger.
Try some other effects to liven it up and give it a more natural feel.
Typical tremolo speed/rate frequency range:
0.1 Hz - 10 Hz
Higher frequencies will start to sound like actual tones and not tremolo pulses (source).
Classic rock BPM is probably around 120-160 bpm or so (1/4). If the tremolo is supposed to roughly follow the 1/8 tempo you'll end up around 4 Hz (but you may want to go a bit lower to match a triplet 1/4 ...
Not entirely sure what you mean with the following phrase?
a waveform stored in frequency domain representation?
However, with FM the frequencies of the partials can be easily calculated as a function of the carriers frequency and the modulators frequency, such that C, C+M, C+2M, C+3M, etc. and C-M, C-2M, C-3M, etc. give the partials.
Calculating the ...