From Kenny Balys Sent Mon, Jun 4th 2018, 21:55
From Kenny Balys Sent Mon, Jun 4th 2018, 21:55
Fairlight CMI, Akai S612, S700, E-mu Emulator I/II change the rate on the DAC for playback. Ensoniq Mirage & EPS, Akai S1000, S2000, MPC2000XL, E-Mu Emax, SP-12 have fixed DAC rates and use interpolation. Perhaps one could say the transition to interpolation happened with the release of the Ensoniq Mirage in 1984. It was probably cheaper to let the CPU do the work than have a cascade of logic dividing down clock frequencies. Right now I have an Emax I and an Akai S700 and they both sound different enough that they can sit in the same mix. A sampler from each world. The S700 sounds totally different. No filter, very little to do other than start, end and loop. It gets interesting when a sample is transposed away from its original clock rate. On 04.06.18 15:59 , Mike Perkowitz wrote: > > hello, analog friends! since digital synthesis is now fair game here, I > have some questions. it's my understanding that in the early digital > era, sample playback tended to be done by using a clock to run through a > buffer of samples, and you'd vary the pitch by varying the clock speed. > if you have multiple voices, you'd presumably have multiple clocks, set > for the pitch of each note you want to play, and you'd mix your voices > in analog. I believe this was used for digital delay, synths like the > PPG wave, and early samplers. right? > > I believe later sample playback tended to use a fixed-rate clock, and > pitch would be controlled, I'm guessing, via interpolation or removing > samples. with a fixed clock, all your voices could be computed together > and mixed digitally, and you could provide a single digital output. correct? > > so my question is... when did that transition happen? and does anyone > know which devices (samplers, especially) used which methods? also, how > are various eurorack oscillators doing it? > >