Corgy wrote:May be, I can add one thing to this. If more punch is needed in the MOD7, waveshaping could at least provide more punch. Just use one free oscillator, apply one of the "smoothed step-functions" as a waveshape and experiment with the input gain sensitivity etc. and avoid distortion levels ...Andy Leary wrote:My 2 cents on DX7 to MOD-7 import and the differences between the two here:
http://www.korgforums.com/forum/phpBB2/ ... 955#195955
Overall, the DX7 import works really well especially considering the differences in many of the internal details like EGs, velocity scaling, key scaling, etc. As for the difference in punchiness, I suspect that the 12 vs. 16 bit is a factor but not the largest factor. I have not done a detailed analysis and I did the DX7 to MOD7 conversion many years ago. But, I would guess that the biggest factors are Envelope curvature and the velocity curve / vel. mod depth differences. The Envelopes on the DX7 had rather different curvature (especially the attack segment) and also would sometimes hold at the top before switching to the next segment. Also, the DX7 keyboards would typically only generate velocity up to about the 104 to 112 range. So, when played from an external keyboard (or over midi) you'd get a brighter sound than when played live from the local keyboard. This issue has been covered somewhere else on Korg Forums I think.
Anyway, glad to hear that our DX7 to MOD7 conversion works pretty well for you. I bet you could tweak the imported sounds a bit to make them more punchy if you wanted to take the time. But hey, you already have a DX7 so you can use both! I bet that sounds pretty nice!
BTW - I am not sure - but wasn't there a waveshaper also in the "effects" section?
Yeah, there is a waveshaper - and also Decimator (bit crusher/rate reducer) in the effects section. Difference is that any effect is going to apply to the whole summed sound whilst the waveshapers within mod7 will apply to each note individually.
E.g. it's the same on guitar patches where sampled distorted sounds don't work very well because you don't get that clashing interaction between the notes in the distortion. In some cases it's desirable one way, in some cases the other.
If the DX7 had one DAC per voice then per-voice waveshaping might be more appropriate. However DACs are historically expensive or at least complex to connect within a design so it's more likely for most synths that they have on DAC per output (so two for stereo). All voices are going through that one stage so your percieved output effect is more realistically going to happen at the IFX or TFX stage.