I've found this in the SOS archives!
Gordon Reid rocks!
Thanks again Johan for sharing your knowledge!LeoDaV wrote:
On 16 May 1975 RMI released a note to their dealers on how to mod the RMI HS for external sequencer control. The input responds to +3V pules. Each pulse will increase the sequencer one step forward.
I think JMJ had this mod
J.
The RMI is monophonic with one master oscillator per 'side'. The frequency varies with the corresponding pitch for a note. Mind you the RMI is *NOT* a samplerZooTooK wrote:Thanks again Johan for sharing your knowledge!
Would you also happen to know how the digital oscillator work, in terms of sample frequency? I assume that they didn't work with fixed frequency (as modern equipment do) but rather using variable sample frequency, just as the Fairlight did. But doing the math they need a max sample frequency of 56kHz which seem to be a bit extreem at the time....
There is clearly some aliasing on the RMI sound effect on Rendez-Vouz 3....
Aha, DCO you say - so there's no DACs. Just plain analog oscillators (16 per side) but controlled by the master clock (that is digital...)?LeoDaV wrote:The RMI is monophonic with one master oscillator per 'side'. The frequency varies with the corresponding pitch for a note. Mind you the RMI is *NOT* a samplerZooTooK wrote:Thanks again Johan for sharing your knowledge!
Would you also happen to know how the digital oscillator work, in terms of sample frequency? I assume that they didn't work with fixed frequency (as modern equipment do) but rather using variable sample frequency, just as the Fairlight did. But doing the math they need a max sample frequency of 56kHz which seem to be a bit extreem at the time....
There is clearly some aliasing on the RMI sound effect on Rendez-Vouz 3....it has 2 DCO's.
J.
What's in the boot?GeeJee wrote:No, digital oscillators. There's additive synthesis under the bonnet...Don't confuse that with the commonly found subtractive synthesis...
Damn missed this oneGeeJee wrote:Boot? What boot?