#Frequency Modulation (FM)

[unicornheadnebula]

The History Of Television

Television refers to a system for transmitting visual images and sound that are reproduced on screens, primarily to broadcast programs for entertainment, information, and education. History of Television Early Concepts and Development: 1870s-1900s: The concept of transmitting images wirelessly dates back to the late 19th century. Paul Nipkow’s invention of the Nipkow disk in 1884 was an early…

[cashieu]

Sine gotta be my favorite sound wave. Low frequency sub bass? Beautiful. High end bubbly pluck? Delicious. Tube distortion or Sine Shaping distortion? Unbelievable. But saw-to-sine frequency modulation? Impeccable. Amazing. Perfect. Saw-to-sine frequency modulation my beloved. Sine wave, is there nothing you cannot do?

[truphysics]

Frequency Modulation (FM)

Introduction to Frequency Modulation (FM) Frequency Modulation (FM) is a method of impressing data onto an alternating-current (AC) wave by varying the instantaneous frequency of the wave. This contrasts with amplitude modulation, in which the amplitude of the carrier wave varies, while the frequency remains constant. In analog applications, the instantaneous frequency of the carrier is directly…

[writinginatree]

Adaptability Part 2

Relationship(s): Bodhi Durran/female!reader

Warnings: Canon-typical violence

A/N: Sorry this part is so much shorter than the first. I feel like it wraps the whole thing up pretty nicely as it is, though :)

Part 1

Being a third-year does have its perks, you muse as you sprawl on Bodhi's bed. It's bigger and more comfortable than yours because he's been appointed section leader, and gives you yet another excuse to spend all your free time in his room instead of yours. Not that you need excuses. Bodhi would stay glued to your side every second of every day if he could, and if anyone ever notices you slipping into his room for the night, they don't seem to care.

In the weeks since your return to Basgiath you have discovered that being blind makes people a lot more tolerant of any misbehavior from you in general. They think you're helpless, that it's just a matter of time until you die, anyway. Though even so, leadership still views you as enough of a threat that there have been attempts on your life, too. Not as many as on the others that were at Resson, but still.

The first time it had been close, the attacker taking you by surprise, but since then you've kept on guard, and sharpened your remaining senses with various exercises. Sneaking up on you isn't so easy anymore, especially since your echolocating skills are coming along nicely, too.

Upon your return, you had taken a trip to the archives with Bodhi the first chance you got to borrow some books on echolocation. Of course you couldn't read them yourself, but Bodhi and Imogen had been happy to help — there wasn't much else to do anyway in the five days between graduation and conscription day. One book on the bio sonar — another term for echolocation — of bats had been particularly helpful. From it, you had learned that the animals use it in two different ways. What you had been doing so far were CF calls — constant frequency. These calls have a big range, and are ideal for detecting the movement and velocity of a target out in the open, but as you already noticed yourself, they lack precision. The other 'modus', which is more suitable for close, cluttered environments, is called FM — frequency modulated. Those calls vary in pitch, a downward sweep through a range of frequencies to get all the details. They have a shorter range, but allow for a much more precise localization.

Getting the hang of frequency modulated calls is tricky — the first few days of experimenting with it almost drove you up the walls with frustration —, but you're getting there. It will never be the same as being able to see, of course, but that's okay. You've made your peace with being blind, and know you're still just as capable of being a rider as you were when you still had your eyesight. And when you do need help with something, you can always count on your friends.

Today challenges are starting, and despite all the training you've put in, you're a little nervous. This will be the first time since your injury that you're fighting for real, and not just against one of your friends. Judging by the way Bodhi is pacing the room, he's even more nervous than you.

"Relax," you say, rising from the bed and stepping into his path to pull him into a hug. "I'll be fine."

"I know," Bodhi says, but he's practically vibrating with nervous energy. "Just promise you'll be careful."

"Of course. Come on, let's get breakfast. You are done getting ready, right?"

Little things like that, your signet and sharpened senses don't help with. You feel the soft fabric of his shirt under your hands, but you can't tell if his shoes are tied properly, if he's done styling his hair, if maybe there's a speck of toothpaste left in the corner of his mouth. Though the latter is easy enough to find out — a swift kiss, and nope, you don't taste any toothpaste on his lips.

"Yeah, I'm done," he nods, and takes your hand, and you step out into the hallway together.

You don't need his guidance to navigate the halls anymore, but you enjoy the closeness, and if it makes others think he's guiding you — well, all the better, because life is so much easier when your enemies underestimate you. Though you suppose they will reevaluate if — when, Fonn's voice in your head insists — you win your challenge later. Violet somehow found out who your opponent will be — a guy from second wing, bigger than you, but only an average fighter. In theory, he shouldn't be much trouble for you. You watched him in the gym yesterday — or rather, Bodhi had, while you studied his technique with the help of your signet. Maybe that wasn't entirely fair, but denying yourself the advantage that comes with knowing your opponent would have been stupid.

You're glad when it's finally time to head to the gym. The anticipation is the worst part, the nagging worry that you're not ready, that no amount of training will be enough to get your fighting skills back to what they were before your vision was taken from you. You refuse to let these thoughts take hold in your mind. You'll be fine. In your training sessions, you'd managed to defeat both Bodhi and Imogen multiple times, and you know neither of them would ever do you the dishonor of going easy on you. If you can keep up with them, then some random idiot who's not even that good a fighter won't stand a chance against you.

You'll try if you can win without echolocation, but while the use of signets is technically forbidden during challenges, you won't let that deter you from using it should it become necessary. There is no way for others to detect the sound waves, so it's not like anyone will know what you're doing. The Riders Quadrant doesn't exactly accommodate disability, so you have to help yourself, even if that means breaking a rule here and there.

Bodhi gives your hand an encouraging squeeze when you're called onto the mat, and you know he'll be watching the whole time, ready to step in if anything goes wrong.

You take a deep breath and roll your shoulders as your opponent sneers about having to fight the only blind cadet in the quadrant, complaining that he was hoping for a real fight. He'll change his mind about that soon enough, you think to yourself. After you're done kicking his ass, he'll wish you were as helpless as he thinks you are.

You calm your breathing, turning your focus to the sounds your opponent makes — the soft rustling of his clothes, the drag of a boot against the mat as he shifts on his feet, his breathing, heavy in anticipation of the fight. You've spent endless hours in the gym with your friends, practicing to track an opponent by sound alone. Now it's time to put all that training to use. You'll resort to using echolocation if you need it, but first you want to try if you can win without it.

"Of course you can," Fonn scoffs in your mind. "That fool is no match for you."

"Hush. Let me focus."

Professor Emetterio gives the go, and you immediately attack. Your punch lands on your opponent's shoulder — he tried to twist out of the way at the last second. But you did hit him. You follow with another punch, not giving him any time to recover from the surprise of you knowing where he is. This time your fist collides with his cheek, and he stumbles a step backwards, but by now he has collected himself enough to take a swing at your face. You feel the rush of air preceding his fist and duck, using the opening to land a punch to his stomach.

A pained wheeze tells you the punch landed right on target. You kick where his knee should be, saying a silent prayer that you will manage to take him down and get him into a hold that will force him to surrender. The shorter this fight goes on for, the better. A thud tells you your foe has hit the floor just as intended, and you crouch down, managing to block a punch with one hand as you pull your dagger with the other. It takes precious seconds to find his throat, but then you have him at your mercy, leaving him no choice but to yield, unless he has a death wish.

Fonn's pride reverberates through you as you victoriously step off the mat to where you know Bodhi is waiting for you. You let out a sigh of relief. You did it. And it hadn't even been as hard as you'd feared it would be.

Bodhi's hand slips into yours as come to stand next to him as the next challenge is called. His lips brush your cheek. "I'm proud of you, darling. I knew you could do it."

You smile, leaning your head on his shoulder as you tap into the stream of Fonn's magic to follow the next match through your echolocation. Maybe she's not entirely wrong in constantly telling you you're the fucking best.

[obsidian3ye]

am radio is amplitude modulation and fm is frequency modulation.. so xm radio is...? fucking xanax modulation??

[benjamindehli]

Yamaha CS-80 Blade Runner sound on a DX7

The Yamaha CS-80 and Yamaha DX7 are probably polar opposites in both operation and sound. The CS-80 is an analog subtractive synthesizer, whereas the DX7 is a digital synthesizer that uses frequency modulation (FM) synthesis. The only thing they really have in common is the Yamaha brand name.

This experiment was an attempt to see if I could make the DX7 sound somewhat close to the iconic CS-80 sound famously used by Vangelis in the Blade Runner soundtrack.

The DX7 patch will soon be available for download at store.dehlimusikk.no as part of a DX7 bank/cartridge I'm currently working on.

Instrument:

Yamaha DX7 

Effects: 

Fulltone Tube Tape Echo

Chase Bliss Audio & Meris CXM 1978 

Music: Main Titles from the Blade Runner soundtrack by Vangelis

[quartz-components]

The TEA5767 Module is a single-chip FM Radio IC circuit designed for low-voltage applications, making it ideal for use in embedded systems and microcontroller platforms like Arduino and other 3.3V development boards. This versatile chip includes intermediate frequency selectivity and an integrated FM demodulator. Its ease of interfacing compatibility with the I2C communication protocol makes it straightforward to connect to other development boards. With minimal additional components, it can function as a stand-alone radio receiver. The TEA5767 supports a frequency range of 88MHz to 108MHz, allowing it to tune into FM stations in India, Japan, Europe, and the United States.

[leelee120000]

Generation Loss Part Two: The Interview

June 14, 2023

Introduction: 

In this exclusive interview with Nathan Hanover, I took a deep dive into the world of music design and life as a composer. Hanover is a composer who specializes in creating music for video games, podcasts, and interactive media. His music is everywhere, highlights include The Joy of Creation, a Five Nights at Freddy’s fan game; Dialtown, a phone dating simulation game; Just Roll with It, a Dungeons and Dragons podcast; and most recently the soundtrack of Generation Loss. Hanover has an Undergraduate Degree from the University Centre of Colchester in Film Music and Soundtrack Production.

Photo of Generation Loss logo

Generation Loss:

Generation Loss is an episodic horror semi-scripted live-stream show. The show has had a remarkable impact on the lives of many in such a short time, it’s been a week since the finale. 

McPherson: How would you describe the start of your involvement in Generation Loss? What was the choice to work on it like? Did you know much about it beforehand?

Hanover: I knew about the project very late compared to the rest of the Generation Loss community who have followed the project for around two plus years. After working with one of the members of the Just Roll With It team to compose the soundtrack for their horror Dungeons and Dragons podcast, Blood in the Bayou, I became aware of Generation Loss and planned to reach out to the creator for possible employment in the show.

Surprisingly however weeks later I got a private message in my Twitter inbox from said creator of Generation Loss who had streamed a video game earlier that year which I also was involved in called Dialtown: Phone Dating Sim. He had enjoyed the music in this game a lot, and once my work finished on Blood in the Bayou, its creator suggested me to the Generation Loss creator, complimenting my music, my turnaround time, etc. So, while I planned to contact them, they contacted me. {Ranboo, the Generation Loss creator, uses he/they pronouns.}

McPherson: G.L. has such an already iconic story and aesthetic. What was composing music for it like? Did you find it limiting?

Hanover: As you noted above, I have a Bachelors’s with an honors degree in Film Music & Soundtrack Production however mostly specialize in Video Game music, this project was exciting for me as this was technically the first time I had put my degree to the test, this wasn’t a game. This project was a mix of live theatrical performances and pre-recorded scenes, there weren’t any concept art, cutscenes, or shots I could look upon to brainstorm my ideas as 90% of the show was live, other than looking at the set of the Cabin, the already released marketing, and the script, I had to conjure ideas I thought would fit into the scenes I had built in my imagination.

With the marketing already released and trailers of the show on the internet, stock music had been used of an 80s FM (Frequency Modulation Synthesis) Synthesizer repeating a dissonant stabbing chord pattern, the creator of Generation Loss enjoyed this sound, and I used this as the basis of my soundtrack, taking this idea and creating my own. Generation Loss’s theme includes two main motifs, the stabbing chord pattern, and an arpeggiated sequence of this same chord. The chord I decided to use was an A Minor with a sharp 7th (the G# note in this context) creating an AmMaj7 (A Minor Major 7 chord), in the correct context this dissonant chord can become bittersweet, tugging at the heart, however putting the 7th at the bottom of the chord creates a Minor 2nd clash between the G# and the A, always giving that sense of unease and raw dissonance. This chord progression and the arpeggio outlining the chord show up all over the soundtrack, even hidden in other character themes.

I played around with modulation effects, granular synthesis, and stuttering glitch effects to make the soundtrack sound as unique as it does, this was quite fun for me as most of my other work has been long-drawn-out ambient pieces, Jazz or Swing, or even Orchestral. So to work in this retro 80s aesthetic, but to corrupt it in such a way where it was listenable, but unusual as if the act of Generation Loss had taken effect on the soundtrack was enjoyable to me and opened the door to truly unique ideas.

McPherson: G.L. has some of the hardest-hitting emotions in horror. Your music is a significant part of that impact. How do you do it – how do you create such emotional music?

Hanover: For me, to make emotional music work I have to determine what notes I’m going to use, what scale to write in, and what directions I want to take the piece, but the key factor people may not think of is not what’s written in the music, but what’s written around the music or what the music is actually being paired to. For example, in episode 1 of Generation Loss, there is a mixture of unease, ambiance, and comedic music, when the main character goes into the basement the music is a long drawn-out ambiance, unsettling effects, and detuned piano, but the scene had been juxtaposed by a comedic cooking segment only moments ago. The tonal whiplash in the music makes the scene hit hard, one moment they are cooking slime for a slime demon, and the next they are exploring a dusty basement with literal skeletons. Episodes 2 and 3 were similar but the style had changed, the ambiance had been removed in favor of SAW-esque pieces, driving drums, electronic stings, etc. but still included elements of comedy, “The Lasor Room” for example inspired by old 70s spy films, juxtaposed by the driving rhythm that scored the scene moments before where the characters begged for their lives on a carousel.

McPherson: What, if any, were some of your stresses or worries while making the soundtrack? In contrast, what was the most enjoyable part of the process?

Hanover: My biggest worry was the deadline, while I started the project in January 2023, I had only created the main theme and a random draft of an idea that eventually became the opening to “Live or Die”, my work truly began at the end of March and had around 2 months to create the soundtrack, due to how tight the deadline was I was writing music days before the first episodes premier and is why the soundtrack has a delayed release as online stores request music to be submitted 3-4 weeks before release. I found feedback quite hard as usually I work 1-to-1 with the employer to show off drafts and brainstorm ideas, track titles, etc. but this project was different due to how busy everyone was, I’d essentially write several pieces a week, get feedback, and then create edits to be greenlit the following week and repeat. No one had time to sit down and brainstorm so a lot of the feedback was in bursts but due to a timezone difference, this meant I’d get feedback very late into the day for me to act upon the following morning.

In contrast, I feel my favorite part of the process was to see how excited the creators and actors got about my music which encouraged me to create better and better pieces. One of the actors even now talks about my music and how passionate he is about my soundtrack which is nice to see. Another thing I enjoyed was hiding stuff IN the soundtrack itself, secret codes, visual art IN the music, and hiding motifs in other pieces to show the connection between tracks/themes, the Snowfall Jingle motif crops up in a few pieces, but the Generation Loss motif shows up even more.

McPherson: Did the soundtrack go through any major changes before it was finalized? What song was made first? Which was last? How long does a song normally take you to make?

Hanover: I don’t believe the soundtrack went through any major changes as once I had the style of the project down, I could work within those boundaries however tracks had little changes along the way, even a few cut tracks of failed ideas. The first track I wrote was in January 2023 which was the Generation Loss theme which went through 2 iterations before landing on the one used in the show. The last track was the Button cutscene which was also the longest to create due to severe technical difficulties with the DAW (Digital Audio Workstation) I use which doesn’t score to video well. Most tracks can take anywhere from a day to create to a week, the “Achievement Unlocked!” Jingle naturally only took me a few hours to create and finish as it was only 3 seconds long and is an altered version of the Generation Loss motif, however, “The Button” took me around a week to create and finish to the point I was working on it the day before episode 1’s premier.

McPherson: Do you have any behind-the-scenes stories about Generation Loss?

Hanover: I sadly don’t other than the coincidence of myself wanting to reach out to the Generation Loss creator only for him to actually reach out to me weeks later following his previous encounter with Dialtown: Phone Dating Sim and the suggestions from his friend who hired me for Blood in the Bayou.

Photo of Just Roll With It logo.

Previous Work: 

Prior to Generation Loss Hanover has made music for many video games and series. One, my favorite Dungeon and Dragons podcast, Just Roll With It. Just Roll With It features many online personalities as they play custom D&D campaigns together. Another is Dialtown, a phone dating videogame.

McPherson: What has working on JRWI’s sound been like? How have the different campaigns influenced your process? Do you have a favorite?

Hanover: Working with Just Roll With It was by pure luck if I’m honest, the creator of Blood in the Bayou made a Tweet searching for a composer to work on his project, and one of my friends suggested the link to me, I’m quite pessimistic so I replied to the tweet not expecting any response, but my track “Blood Sugar” had sealed the deal for him and I was hired! Blood in the Bayou was exciting to work on and my first foray into Podcast music. Its deadline was harsher than Generation Loss which made me pivot the soundtrack halfway through, instead of writing music to the episodes themselves to creating looping music like I would a Video Game for the editor to add in and swap on their choosing. Once Blood in the Bayou was complete, the main JRWI member approached me to work on their main campaign, Riptide, a sea shanty pirate podcast with over 100 episodes! Riptide took me a while to get into the swing of the style I and the JRWI team wanted, having just came from BitB my brain had to readjust the musical style to fit this pirate aesthetic, initially there was a lot of trial and error when creating its theme and the mood but luckily since the team uses Video Game music as their background music, I had a plethora of examples to build upon. I feel I enjoy Riptide the most out of the 2 as while it’s pirate music, it has its own universe where genres exist together so for one track I can include fully orchestral, and then write a Punk Rock piece next which despite being so different, the variety of the world and it’s sound allows it to gel well.

McPherson: Dialtown is such a unique game, and your music plays a great part in that. How did you make such a massive soundtrack?

Hanover: I work quite quickly when I create music, I know FL Studio like the back of my hand which allows me to be extremely efficient, Dialtown was also in development for almost 3 years which gave me more than enough time to research, plan and write its music. Dialtown’s soundtrack was fun to work on as like Riptide, was quite diverse in its sonic style, mixing Jazz and Swing, Orchestral, and some ambiance together throughout, Dialtown is also a visually unique game which allowed the music I created to be unorthodox in its creation. Unusual chord progressions to uncommon tonal modulations and creative ways to use the most unusual instruments in its setting, from Camera clicks, snaps, and hits as the percussive basis of “Oliver, aspiring filmmaker, qualified goblin” imitating drums, to the vibrato of the Stylophone’s in “Karen, so, so dunn”.

McPherson: How has the experience of working on so many different projects been for you? Do you have a favorite? Which was the most challenging?

Hanover: A lot of my work has been building experience for my future work, despite starting in 2015, I feel the last 5 years or so have been building up to the start of my career, and the initial 5 years were portfolio-building, I keep my early music up as an example to show off my blunders, from weird mixing, terrible melodies to ideas that worked in theory but failed in practice, but I also keep these early blunders public to show off how my style as grown. I get complimented on my leitmotif skills and how to tie a motif together to be recognizable and fun to listen to, but if you look back at my early 2015-2017 work, you can see that those skills were in their infancy.

I don’t feel I have a favorite project as I see my work from the creators’ point of view, not the listeners so I can hear all the imperfections or things I feel I could have done better on, but every so often I’ll go back to a track of mine to listen to, to re-experience it, but there’s always a threshold that is hit once I stop listening or thinking of my previous pieces in favor of my newer upcoming music.

McPherson: Is there anything you’d change about your work?

Hanover: I like this question as the simple answer would be “No”, but for the long answer, I feel anyone who creates art is a bit of a perfectionist who won’t let go of a particular piece until it’s perfect and I feel like that’s the same for me, I don’t release a piece until I feel it’s perfect At that time. The catch musically is my knowledge is ever expanding, I don’t think you ever stop learning as it’s such a massive topic to the point even individual genres have their own information and knowledge on what makes that individual genre work. There’s also equipment, I have far better equipment, knowledge, and technology than I had 5 years ago, a track I believed was perfect 5 years ago won’t be perfect now and as such, every so often when the mood strikes me, I’ll revisit a track to rearrange and update. I was going to do this with Dialtown’s soundtrack but knew it would be far too costly and time-consuming, but I have done it with my standalone tracks such as “The Castle (2016)” and “Return to the Castle (2018)”, “Autumn (2016) and “From Summer to Winter (2021)”.

Photos of Nathan’s cats Milly and Myrtle.

Personal Life and Thoughts:

Wanting to know more about Nathan outside of his work? In this section we talked advice and his personal life!

McPherson: Do you have advice for other musicians? Do you have any advice for college students?

Hanover: It’ll sound pessimistic, but I feel the best advice I could give is the saying “Don’t put all your eggs into one basket” I’m unsure if this is a cultural saying but essentially don’t funnel all your time, effort and money into one thing. When I first started, I was embarrassed at the thought of music NOT being my primary job and put all my time, effort, and money into it and then realized how BIG the music industry is and how saturated it is more so from the recent Pandemic. Due to this it hindered my developments greatly, couldn’t pay rent, couldn’t fund myself further, etc. because no one was hiring and there were literally thousands of composers out there all wanting a piece of the pie. Naturally feeling deflated by this I’d look on the internet for interviews of bigger composers and what their advice was which always boiled down to “If you continue and do your best you’ll make it” but I feel this is survivors bias, having seen just how BIG the industry is, I feel I’m not even scratching the surface yet.

But I soon learned a lot of their advice came down to one (or more) of three things, Luck, connections, and being in the right place at the right time, one great composer I’ve always been inspired by recounts how he would submit his portfolio to X company for months with radio silence, until he knew a friend who worked at the company who was willing to show his portfolio to executives, eventually getting hired (Connections). Another worked in a music store testing music software, and one day a pair of company executives entered and were surprised to see the music coming from the music software was from the store clerk and offered him the job at the company eventually getting hired (Luck + Right place at the right time). I’m nowhere as big as the previous examples but to use my own example of how I came to work on Generation Loss really starts in 2016 when I worked on two Video Games, Porkchop’s Adventure and Porkchop’s Horror Show, that creator knew the creator of Dialtown: Phone Dating Sim, which got streamed by the creator of Generation Loss which allowed me to be hired thanks to the luck of my hiring for Blood in the Bayou, and thanks to the right connections, allowing me to work on Generation Loss.

I started my portfolio in college, and I feel from my experience building your portfolio as early as possible and getting as many connections as you can from networking as possible is the way to go, My career started by sending a Direct Message to someone on DeviantArt, the creator for a Five Nights at Freddy’s fangame called The Joy of Creation when I was 15, having no idea it would get as popular as it has become to be picked up by the creator of Five Nights at Freddy’s himself soon allowing me to move away from fangames to original IPs. Don’t be embarrassed or afraid to work a second job, and do not make your music career the primary career unless you happen to be born with a lot of money and open opportunities already, it’s oversaturated and pays poorly, work a primary job to help fund your music career, and eventually with luck it may tip the scales where your music career becomes your primary career. This also applies to session musicians, I used to start by playing gigs in bars before jumping to music composition, and even now work Part Time as a composer, naturally, I won’t disclose my primary job but it helps pay the bills, keeping the lights on, while my music income pays for its own bills, and I hope over time I can buy a separate place to have as my own studio but I hindered myself from the start by putting all my eggs into one basket believing if I just funneled as much of my time, effort and money into it, it would simply work. I would class myself as an indie composer and I hope my work can inspire people, but I’m not at the stage where it’s 100% sustainable and it may not be for another 5 years, there still may be a point where I simply stop creating, I’d like to hope not, but it’s never a 0% chance.

McPherson: Are you enjoying your career?

Hanover: I’d say so, but I can be pessimistic so I don’t have the brightest of outlooks, but that is mainly to do with my Anxiety and Depression which I suffer from, music can sometimes be an escape for me, and something I deeply enjoy thanks to my Autism.

McPherson: Generation Loss has recently caused a lot of new people to become fans of your work. How has that affected you?

Hanover: It’s been exciting if I’m honest, I’ve always had a small following over the last 5-7 years or so, but this has been the biggest reaction I’ve had and I hope it continues after the release of the Generation Loss soundtrack. People joke about me simply appearing in comments and scaring them with my presence (which I find extremely funny it’s now become a little internet meme) I am just incredibly grateful for the support and attention, as you can probably tell from the previous 2 questions, under the online presence I’m not the brightest nor happiest of the bunch so it’s nice to see people genuinely enjoying the music enough to pay and help fund me as a creator. I hope it doesn’t sound greedy but it all helps go towards my progress and sustainability, I know money can be a taboo topic in the industry, everyone has to have some heartfelt reason as to why they do what they do, and I guess I do to…but money is also nice. It’s not talked about but it’s fundamental, if all my music income suddenly stopped, other than the passion, nothing else would fuel my creations and I don’t think the taxman or landlord would allow “passion” as a payment option, a lot of passion was used in those first 5 years building my portfolio and earning little to nothing in order to try and get myself off the ground.

McPherson: What would you like the readers to know about you?

Hanover: One of my favorite colors is pink, and I have two cats, Milly (10), Myrtle (4) which you can see me post on my Twitter every so often, I firmly believe Trans rights are human rights! Happy Pride Month!

You can support Nathan Hanover’s music at:

Bandcamp: https://nhsynthonicorchestra.bandcamp.com/

Kofi: https://ko-fi.com/nhsynthonicorchestra

Website: https://nathanhanover.com/

LeAnne McPherson

[mesimees]

I've been seeing some people being confused in the notes so,,,

While modern radios have way more elements than this, if the signal is strong enough that's technically all you need. ... okay and some wire i suppose.

Because radio waves are electromagnetic and they oscillate, they create a small current in a conductor (that's induction!). The diode together with a person holding it serves to "decode" the radio signal. The diode rectifies it and the person, acting as an antenna, both picks up the signal and acts as a crude low pass filter. That's all you need to decode an AM (amplitude modulated) signal. With the magnet and tin can, you can make a speaker to then listen to that decoded signal. Mind you that this would be an untuned radio, picking up many frequencies at the same time. You'd hear them overlap.

I intentionally said AM and not FM because the latter is not that easy to decode and would need additional materials.

In this post I'm slightly exaggerating how easy it'd be to listen to a signal like that with some quality but technically with a strong signal it's absolutely possible and even if you do add some more elements to make the signal clear and specific you still wouldn't need an additional power source. The only thing an AM radio typically needs a power source for is a sound amplifier, but if you use high impedance (2k Ohm) headphones you don't need that. The catch is that these can be hard to find these days, but you can still make them out of e.g. piezoelectric buzzers or indeed a magnet and a tin can.

AM radio is like literal magic. There is music all around us that we can't hear, and to hear it you just have to tap a crystal (diode) to the earth and listen to it with another magic rock (magnet) and a tin can. You dont even need electricity to make it work because this music around us is literally all the power you need. Oh and at night when the sun has set, the light of the day gets replaced by MORE music because the signals can travel further at night. This is magic. If you even care.

[lyra8blog]

HYPER LFO

An LFO which is the output of operations on two square waveforms.

The AND/OR switch: In downward position, an LFO is synthesized by adding FREQ A to FREQ B. In upward position, FREQ A is multiplied by FREQ B, which is the logical operation AND. Maunal page 5

This is incorrect. An OR operation is not an addition of the two waveforms and an AND operation is not a multiplication operation.

Logic operations are not arithmetic operations.

If the operation is an AND then the output should be a value only when both LFOs are high at the same time. If it were a multiplication operation then the voltages would be multiplied at various values in the duty cycle.

Multiplication is not the same as AND: Analog multiplication preserves amplitude and sign, while logic AND just outputs high or low. - Perplexity

If the operation is an OR then the output value is when either waveforms are high.

So, while both operations combine two LFOs, the OR operation is a logic function that results in a binary output, whereas addition is an arithmetic operation that can create multiple stepped levels. - Perplexity

The effect on the voices if logical operations :

if AND then a sparse effect with few bleeps.

If OR then a more busy effect with more bleeps

Tests with HYPER LFO settings

Voice 4 / f34@UP / M34@3

These are only rough indications of the impact of the operators are as these flow through to multiple voices on different MOD setting and the DELAY .

SYNC switch (hsy)

The LINK switch: Adds a soft FM between the operators. FREQ A modulates FREQ B. Lyra Manual page 5

The manual description is not how I would read the printed arrows on Lyra. It appears that it is FREQ B (hFB) that modulates A through the LINK (manual) / SYNC (hsy) printed on the machine.

Having the SYNC switch on/Up does add more distinction to the audio and there is a difference in the audio pulsing.

INITIAL settings + Orange = SYNC off / Yellow = SYNC On Voice 4 (g4) @ 12 / Mod34 (M34) @ 3 hFA@9 / hFB@3 / SYNC (hsy) @ D

Experimentation of the level and type of modulation will possibly provide the required effect. As more experience is gained with the HYPER LFO them there will be more control.

Have a record of the settings by labelling the audio clips or documenting the sound design settings will assist in developing overall skill in using the HYPER LFP

[corduroyinstitute]

Monday, February 17, 2025: Corduroy Institute creates an improvised layer of melodic content for Jam 5 of Corduroy 75. This marked our first recording of multitracked musical material since the summer of 2023. Today, a video document of this event is available with the title "The Number Seventy Five Song in Heaven - Corduroy 75 Jam 5 Layer 2."

For his synth work, W. Ruiz turned to the Roland V-Synth rather than to the Ensoniq EPS 16 Plus. He located a patch called PERSIANAS. Its basic sound consists of a sample of the Korg Monologue with shimmer reverb from Corduroy Institute's second song, "Youth." This sample is frequency modulated by a drum loop recorded at a local rehearsal space in late 2019.

S.A. Morin's melodic contribution involved returning to the Bass VI but processing it with the Electro-Harmonix Mel9 pedal. He chose the High Choir setting, one of the unit's more infrequently used Mellotron colorations. His signal chain also involved using the NUX Atlantic for both delay and reverb.

With our instruments ready and four cameras poised to capture the performance, we began the improvisation. A sort of call and response pattern developed between the previous layer's Squier Jazz Bass, the Bass VI-Mel9, and the V-Synth. Eventually the pattern broke and freeform improv took over.

W. Ruiz took advantage of the V-Synth's control surface by mainly manually modulating the FM amount while also occasionally reaching for the D-Beam and Time Trip pad controls. S. A. Morin, for his part, went on to surmise that he himself "kinda lost it there."

Full video available now.

[jayakody2000lk]

RDA5807M FM stereo receiver module

This project focuses on a simple yet powerful FM stereo tuner module. The core component of the module is RDA5807M, a single-chip broadcast FM stereo tuner that has gained popularity among designers in recent years due to its high level of integration. This integration significantly reduces the need for external components, simplifying circuit design. The RDA5807M supports a wide FM band, covering frequencies from 50MHz to 115MHz, making it adaptable to global FM standards.

Additionally, its use of a low-IF digital architecture streamlines the design process by requiring fewer external parts. The inclusion of an AGC (automatic gain control) feature ensures consistent signal reception, even in environments with fluctuating signal strengths.

The chip's digital stereo decoding capabilities deliver high-quality audio output, providing a rich stereo sound experience. Moreover, the energy efficiency of the RDA5807M makes it suitable for portable, battery-powered devices. The I2C control interface allows for easy integration with microcontrollers, enabling straightforward digital control.

This module is designed as a ready-to-use FM receiver solution, emphasizing compactness and ease of integration. It incorporates the RDA5807M IC and the STM8S003F3P MCU, along with the necessary supporting passive components, standard headers for connections, and flexible antenna connectivity options. The module is engineered to connect with commonly available 0.56-inch, 4-digit common cathode LED seven-segment display modules without any soldering.

The compact footprint of the module makes it ideal for projects where space is at a premium. Importantly, its open-source design allows for complete customization and modification.

It provides standard stereo audio output with separate left and right channels. The antenna input options allow for various antenna types, ensuring optimal signal reception. During testing, we utilized a 30cm long wire as the antenna and successfully received all FM stations clearly.

The tuner module features push switches to perform automatic station scans in both directions. The firmware limits the tuning range of the module to between 87MHz and 108MHz. Additionally, it includes digital volume control with 15 levels and a memory manager for storing up to 10 FM radio stations. The current tuner frequency is displayed on the segment display module, and there are two LEDs to indicate stereo reception and memory manager status.

The output level of this receiver module is not sufficient to drive speakers directly. Therefore, to achieve audio output through speakers, this module needs to be paired with a stereo audio amplifier. During testing, we successfully used the commonly available PAM8403 3W class-D audio amplifier with this module.

Power is supplied via a screw terminal, typically requiring a DC power source between 5V and 9V. The dimensions of the module are 72.85mm × 32.0mm.

This project is available on GitHub, providing schematics, PCB files, firmware source code, and comprehensive documentation. The hardware design of this project is licensed under CERN-OHL-W, while the firmware is licensed under the terms and conditions of the MIT license. All other resources, including documentation, are released under the Creative Commons Attribution 4.0 International license.

[tccicomputercoaching]

Electrical & EC Engineering Key: Concepts Explained

We at TCCI (Tririd Computer Coaching Institute) are committed to delivering high-quality education in Electrical & EC Engineering: Key Concepts Explained. These domains are essential for any student aspiring to excel in modern technologies. In this article, we will highlight some fundamental concepts that define these engineering disciplines.

Introduction to Electrical and EC Engineering

Electrical and EC Engineering are perhaps the most developing streams of engineering and encompass electricity, the electronics and communication system. Their focuses will differ. While Electrical Engineering will emphasize the issues that deal with power generation and transmission, on the other hand, EC Engineering will deal primarily with electronic circuits, communication technologies, and embedded systems.

Fundamental Concepts of Electrical Engineering

1. Electrical Circuit and Components

Resistor, Capacitor, and Inductor: These are the components needed to design a circuit.

Ohm's law: Relationship between voltage, current, and resistance.

Kirchhoff's laws: Used when the circuits are complex.

2. Power Systems

Generation: The conversion of available resources to electricity by power plants.

Transmission: The transfer of generated electricity over long distances by means of high-voltage lines.

Distribution: Supply of electricity to residential and industrial connections.

3. Electrical Machines

Transformers: Get a voltage transformed into another level.

Motors and Generators: Be converted into mechanical energy from electrical energy or vice versa.

AC & DC Machines: These have several industrial applications.

4. Control systems

Simple as well as Closed-Loop Systems: Automation.

PID Controllers: Stability in the system.

Fundamental concepts of EC Engineering

1. Electronic Circuits:

Diodes & Transistors: They are viewed as the basic building blocks of electronic circuits.

Operational Amplifiers (Op-Ab): Minicomputers used for signal processing.

Integrated Circuits (ICs): They are miniaturized electronic circuits.

2. Communication Systems:

Similar to Analog and Digital Communication: Represents the ways information is transferred.

Modulation Techniques: AM, FM and PM.

Wireless Communication: Mobile networks, Wi-Fi, Bluetooth.

3. Signal Processing

Fourier Transform: Signal frequencies are analyzed in it.

Filters: These process signals.

4. Microprocessors and Microcontrollers

Embedded Systems: Increased usage in smart devices.

Programming and Interfacing: Under automation.

Applications of Electrical & EC Engineering Advance Power

Regenerable energy systems

Power Plants

Electronics and Embedded systems

Telecommunications and IOT

Automation and Robotics

Conclusion

At TCCI (Tririd Computer Coaching Institute), we can enjoy providing expert coaching on all Electrical and EC Engineering concepts to establish a solid foundation for the future careers of students. Whether a student dreams of power systems or digital communication, these concepts will have to be mastered for success as they brace in the tech-centered world.

Location: Bopal & Iskon-Ambli Ahmedabad, Gujarat

Call now on +91 9825618292

Get information from: https://tccicomputercoaching.wordpress.com/

[anonnamart]

AFG-2225 Function Generator – 25MHz Importer and Supplier in Bangladesh | Anonna Mart

Looking for a reliable function generator with advanced features? The GWInstek AFG-2225 offers superior performance with its 25MHz bandwidth and dual-channel functionality. This model is perfect for various applications, including laboratory research, educational projects, and industrial usage. Available in Bangladesh through Anonna Mart, this function generator ensures high precision and versatility. GWInstek AFG-2225 25MHz Dual-Channel Arbitrary Function Generator.

Key Features of AFG-2225 Function Generator – 25MHz

1. High-Performance Frequency Range

Wide frequency range from 1μHz to 25MHz. 1μHz resolution ensures precision for any waveform. Multiple standard waveforms: Sine, Square, Ramp (Triangle), and Noise.

2. Dual-Channel Capability

True dual-channel output, with both channels offering identical characteristics. Supports couple, tracking, and phase functions for correlated signals. Ideal for applications such as differential or IQ signaling.

3. Arbitrary Waveform Editing

66 built-in arbitrary waveforms with customization options. PC software for editing and modifying waveforms. Supports CSV file import for advanced waveform design.

4. Advanced Signal Modulation

Supports AM, FM, PM, FSK, SUM Modulation, Sweep, and Burst functions. Frequency counter for additional measurement capabilities. High accuracy with ±20ppm stability.

5. User-Friendly Interface

3.5-inch color TFT LCD for clear operation display. USB Host and Device interfaces for remote control and data transfer. Easy navigation and instant parameter display.

Why Choose AFG-2225 Function Generator – 25MHz?

Reliable Performance for Multiple Applications

Power supply and transformer simulations. Automotive electronics testing. Pulse signal generation for synchronization. Laboratory research and educational purposes.

Enhanced Output Characteristics

10Vpp output amplitude ensures strong signal transmission. Adjustable duty cycle (1%–99%) for pulse applications. 50Ω impedance switch function for flexible testing.

Seamless Connectivity & Integration

Compatible with GWInstek GDS-series Digital Storage Oscilloscopes (DSOs). Waveforms can be captured and reconstructed easily. Data can be transferred via USB flash drive or direct PC connection.

Technical Specifications

Frequency & Waveform Characteristics

Frequency range: 1μHz to 25MHz. Sample rate: 120MSa/s. Resolution: 10-bit, 4k-point waveform length. Waveforms: Sine, Square, Ramp, Pulse, Noise, ARB.

Output & Modulation Features

Amplitude range: 1mVpp to 10Vpp (into 50Ω). Phase adjustment: -180° to +180°. Sweep mode: Linear and logarithmic. Modulation: AM, FM, PM, FSK, SUM.

Connectivity & Display

USB Host/Device interface for waveform transfer and remote control. Display: 3.5-inch TFT color LCD. Power supply: AC100 ~ 240V, 50 ~ 60Hz.

Where to Buy AFG-2225 Function Generator – 25MHz?

For those looking for the best function generator supplier in Bangladesh, Anonna Mart is the trusted importer and distributor. They provide competitive pricing, reliable after-sales support, and fast delivery across the country.

Final Thoughts

The GWInstek AFG-2225 is a powerful and versatile 25MHz function generator with dual-channel capabilities, high-precision signal output, and extensive modulation features. Whether you’re a researcher, engineer, or educator, this function generator provides exceptional performance and value. Get yours today from Anonna Mart, the leading supplier in Bangladesh.

[justhereforthepies]

This is all from memory, but:

AM is amplitude moderation(modulation?), the signal is changing in amplitude ('loudness') to encode the soundwave. It can travel far with low energy, but it can't transmit polyphonic sound well - it works better with narrow frequency bands of sound. So AM stations are usually talk radio because speech is pretty narrowband.

FM is frequency modulation, the signal is encoded by changing the frequency (wavelength). It can't travel as far, but it transmits with very high fidelity - there's even extra bandwidth left to encode text (how some cars show the artist and song title for radio).

As far as I know, marketers prefer FM because it has greater listenership. So it's easier to sell ads for FM radio.

Fewer and fewer radio stations have employees at the tower locations since the internet allowed it. Towers are sometimes in difficult-to-access locations & typically require little maintenance. The building was likely empty for years before the tower failed.

“What do you mean the tower is gone? Are you sure you’re in the right place? I actually used more colorful words than that,” Brett Elmore recounted to NBC News. “He said there’s wires all over the ground and the tower is gone.”