Urs wrote: hakey wrote: Robin from www.rs-met.com wrote:
generally, additive allows free composition of any (possibly time-varying) spectrum. the problem in creating FM spectra would be shifted into the computation of partial frequencies and amplitudes for the additive synthesis engine. and this computation would become unmanagably messy pretty quickly.
Okay. Isn't audio rate modulation unmanageably messy whatever method is used? Seems it's the last bit of analogue behaviour that digital synthesis can't quite replicate properly.
Well, audio rate modulations are typically also quite gritty on the real stuff. A bit of moderate aliasing doesn't really matter IMHO.
Sure, and often enough aliasing is desirable- extra noise for free.
But on an analog modular for example you can do heavy audio-rate modulations which can then be darkened so the highs don't rip your head off, offering complex and noisy, but not aliased-noisy spectra. It's something I dig, because it is a simple way to get sounds which sound to me like they are made out of wood or other materials, so to speak.
For example, this is a single heavily modulated tone, with no filtering other than a fixed non-resonant LP to tame the highs (the descending pitch effect is from altering the pitch of the modulator):