Re: Hammond clone anyone?
Posted: Fri Apr 27, 2018 10:56 am
Nothing much to show yet, apart from a visual clue :
Red drawbars will be played by the 'Unison' generator set, green by the '5th-tuned' generator, and blue by the '7th-tuned' gen. Just 16 at this stage, to try and prove the principle. (Many more greens and blues higher up).
And so far I've successfully managed to decipher MV's ingeneous masking process and made the 9th harmonic drawbar work correctly. Hey, it's a start
Now that I've realised the complexity of this (to me anyway ..) I fear I'm going to be rather short of time in the coming weeks to get much done, so might have to leave it for now and come back to it.
And there's an added dimension which is worrying me. A major failing of Hammond (partly addressed by Compton, and 'nearly perfected' by Makin during the 80's) is that for a proper organ voice the harmonic levels need to substantially change up the keyboard; in general lower harmonics get louder and high harmonics get quieter, indeed inaudible in some cases. And then I want to add stops together.
I know exactly how to do this, I've already perfected it in HB3, but the best I can visualise for this particular format is a 61_note x 64_harmonics array - presumably a mem array - which would need to be read by the keying in place of the simple set of drawbar floats. Yikes...
So why ?? Need to remember the massive advantage with this method is total polyphony and, in principle, a limitless stop list.
Hoping for that Eureka moment at some point ...
H
Red drawbars will be played by the 'Unison' generator set, green by the '5th-tuned' generator, and blue by the '7th-tuned' gen. Just 16 at this stage, to try and prove the principle. (Many more greens and blues higher up).
And so far I've successfully managed to decipher MV's ingeneous masking process and made the 9th harmonic drawbar work correctly. Hey, it's a start
Now that I've realised the complexity of this (to me anyway ..) I fear I'm going to be rather short of time in the coming weeks to get much done, so might have to leave it for now and come back to it.
And there's an added dimension which is worrying me. A major failing of Hammond (partly addressed by Compton, and 'nearly perfected' by Makin during the 80's) is that for a proper organ voice the harmonic levels need to substantially change up the keyboard; in general lower harmonics get louder and high harmonics get quieter, indeed inaudible in some cases. And then I want to add stops together.
I know exactly how to do this, I've already perfected it in HB3, but the best I can visualise for this particular format is a 61_note x 64_harmonics array - presumably a mem array - which would need to be read by the keying in place of the simple set of drawbar floats. Yikes...
So why ?? Need to remember the massive advantage with this method is total polyphony and, in principle, a limitless stop list.
Hoping for that Eureka moment at some point ...
H