Podcasts about frequency modulation

Ivano Salonia is the creative director of UFO, based in Amsterdam. An artist, musician and creator in extended realities and virtual worlds.He is the artist behind the UFO poster art and NFTs. Since July 2022, Ivano and Nick Hollins have been creating the visual identity, art and brand of UFO. We went to ETH Tokyo in April and hacked on a UFO project with Lens Protocol and Livepeer. And we just built a website at ufo.fm ~ an onchain radio station and club for music, arts and ideas. This podcast is the first on the network.We talk about Ivano's artistic practice starting out in advertising, design and brand. Doing work with global companies and agencies. How he became interested in making art in virtual reality, and experiments with AI and generative tools such as Midjourney. Diving into the web3, crypto and NFTs space from 2020. Working on projects including the motorcycle art video game Night Run with Matto from Hypercastles, and designing the 3D records for the Metalabel Quality Drops.We talk about his creative process and philosophy. About the creative scene in Amsterdam with many artists and musicians, technology projects, extended realities and VR. And the creation of the UFO art style and drops including UFO Genesis Pass and the Frequency Modulation release on Zora, remixing a retro MTV ad from the 1980s.SPONSORSZerion combines every corner of web3 in a simple and intuitive app for self-custodial humans. Discover the hottest NFT collections, track your DeFi rewards, and vote in DAOs across 10+ chains. Get started at zerion.ioLens Protocol is the open-source tech stack for building decentralized social media applications. A permissionless and transparent social graph that is owned by the user. Lens is the last social media handle you'll ever need to create. Visit lens.xyz

Amplitude Modulation and Frequency Modulation are the scientific terms for AM or FM radio.  What can we learn from the modulation of radio waves in the comparison of the waves that can ripple through our lives and the lives of our loved-ones through the use of life insurance portfolio?  Are we planning for the “line of sight” like FM radio waves travel or can we bend the impact from our lives, similar to how AM radio waves can travel over countries and to the four corners of the world? AM radio, like solid whole life insurance can expand our horizon beyond what we can see with our eyes.  

#Frequencymodulation synthesis (or FM synthesis) is a form of sound synthesis whereby the frequency of a waveform is changed by modulating its frequency with a modulator. The frequency of an oscillator is altered "in accordance with the amplitude of a modulating signal". (Dodge & Jerse 1997, p. 115) FM synthesis can create both harmonic and inharmonic sounds. To synthesize harmonic sounds, the modulating signal must have a harmonic relationship to the original carrier signal. As the amount of frequency modulation increases, the sound grows progressively complex. Through the use of modulators with frequencies that are non-integer multiples of the carrier signal (i.e. inharmonic), inharmonic bell-like and percussive spectra can be created. #FMsynthesis using analog oscillators may result in pitch instability. However, FM synthesis can also be implemented digitally, which is more stable and became standard practice. Digital FM synthesis (implemented as phase modulation) was the basis of several musical instruments beginning as early as 1974. Yamaha built the first prototype digital synthesizer in 1974, based on FM synthesis,[1] before commercially releasing the Yamaha GS-1 in 1980.[2] The Synclavier I, manufactured by New England Digital Corporation beginning in 1978, included a digital FM synthesizer, using an FM synthesis algorithm licensed from Yamaha.[3] Yamaha's groundbreaking DX7 synthesizer, released in 1983, brought FM to the forefront of synthesis in the mid-1980s. FM synthesis had also become the usual setting for games and software until the mid-nineties. Through sound cards like the AdLib and Sound Blaster, IBM PCs popularized Yamaha chips like OPL2 and OPL3. OPNB was used as main basic sound generator board in SNK Neo Geo operated arcades (MVS) and home console (AES). The related OPN2 was used in the Fujitsu FM Towns Marty and Sega Genesis as one of its sound generator chips. Similarly, Sharp X68000 and MSX (Yamaha computer unit) also use #FM -based soundchip, OPM. An analog (or analogue) synthesizer is a synthesizer that uses analog circuits and analog signals to generate sound electronically. The earliest analog synthesizers in the 1920s and 1930s, such as the Trautonium, were built with a variety of vacuum-tube (thermionic valve) and electro-mechanical technologies. After the 1960s, analog synthesizers were built using operational amplifier (op-amp) integrated circuits, and used potentiometers (pots, or variable resistors) to adjust the sound parameters. Analog synthesizers also use low-pass filters and high-pass filters to modify the sound. While 1960s-era analog synthesizers such as the Moog used a number of independent electronic modules connected by patch cables, later analog synthesizers such as the Minimoog integrated them into single units, eliminating patch cords in favour of integrated signal routing systems. #synthesizer weki --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/vegansteven/message

#Frequencymodulation synthesis (or FM synthesis) is a form of sound synthesis whereby the frequency of a waveform is changed by modulating its frequency with a modulator. The frequency of an oscillator is altered "in accordance with the amplitude of a modulating signal". (Dodge & Jerse 1997, p. 115) FM #synthesis can create both harmonic and inharmonic sounds. To synthesize harmonic sounds, the modulating signal must have a harmonic relationship to the original carrier signal. As the amount of frequency modulation increases, the sound grows progressively complex. Through the use of modulators with frequencies that are non-integer multiples of the carrier signal (i.e. inharmonic), inharmonic bell-like and percussive spectra can be created. FM synthesis using analog oscillators may result in pitch instability. However, FM synthesis can also be implemented digitally, which is more stable and became standard practice. Digital FM synthesis (implemented as phase modulation) was the basis of several musical instruments beginning as early as 1974. Yamaha built the first prototype digital synthesizer in 1974, based on FM synthesis,[1] before commercially releasing the Yamaha GS-1 in 1980.[2] The Synclavier I, manufactured by New England Digital Corporation beginning in 1978, included a digital FM synthesizer, using an FM synthesis algorithm licensed from Yamaha.[3] Yamaha's groundbreaking DX7 synthesizer, released in 1983, brought FM to the forefront of synthesis in the mid-1980s. FM synthesis had also become the usual setting for games and software until the mid-nineties. Through sound cards like the AdLib and Sound Blaster, IBM PCs popularized Yamaha chips like OPL2 and OPL3. OPNB was used as main basic sound generator board in SNK Neo Geo operated arcades (MVS) and home console (AES). The related OPN2 was used in the Fujitsu FM Towns Marty and Sega Genesis as one of its sound generator chips. Similarly, Sharp X68000 and MSX (Yamaha computer unit) also use FM-based soundchip, OPM. weki --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/vegansteven/message

A trip deep into the far future, to the End of Earth Visit our sponsor, Brilliant: https://brilliant.org/IsaacArthur/ For most of human history, the end of Earth, the Universe, and Time itself were all identical, now we know the world will end in 4 billion years, long before the Universe begins to wind down. Today we will ask how we can extend that, and keep Earth around for far longer. Watch the video version: https://youtu.be/p58yFf7aZsM Visit our Website: http://www.isaacarthur.net Join the Facebook Group: https://www.facebook.com/groups/1583992725237264/ Support the Channel on Patreon: https://www.patreon.com/IsaacArthur To help us grow your SFIA community, follow https://twitter.com/Isaac_A_Arthur on Twitter and RT our future content. Visit the sub-reddit: https://www.reddit.com/r/IsaacArthur/ Cover Art by Jakub Grygier: https://www.artstation.com/artist/jakub_grygier Script Editing Edward Nardella Keith Blockus Mark Warburton Matthew Acker MolbOrg N Kern Sigmund Kopperud (Wicked Woxel) Graphics Team: Edward Nardella Jeremy Jozwik Jarred Eagley Justin Dixon Jeremy Jozwik Katie Byrne Kris Holland of Mafic Stufios: www.maficstudios.com Luuk Warringa Mihail Yordanov Murat Mamkegh Nick Talmers Nieuwoudt Pierre Demet Sergio Botero: https://www.artstation.com/sboterod?fref=gc Stefan Blandin Music Supervisor Luca De Rosa Music: Markus Junnikkala, "Always Tell me the odds" Sergey Cheremisinov, "Back to Home" Kai Engel, "Soli" Ayreon, "Frequency Modulation" Ayreon, "String Theory" Ayreon, "The Theory of Everything, Part 3" Dexter Britain, "After The Week I've Had" Markus Junnikkala, "A Fleet Behind The Moon" NJ Mandavilel, "The Resting Vale" Ayreon, "Age Of Shadows" Lombus, "Hydrogen Sonata" Kevin MacLeod, "Spacial Winds" Brandon Liew, "Into the Storm"

A trip deep into the far future, to the End of Earth Visit our sponsor, Brilliant: https://brilliant.org/IsaacArthur/ For most of human history, the end of Earth, the Universe, and Time itself were all identical, now we know the world will end in 4 billion years, long before the Universe begins to wind down. Today we will ask how we can extend that, and keep Earth around for far longer. Watch the video version: https://youtu.be/p58yFf7aZsM Visit our Website: http://www.isaacarthur.net Join the Facebook Group: https://www.facebook.com/groups/1583992725237264/ Support the Channel on Patreon: https://www.patreon.com/IsaacArthur To help us grow your SFIA community, follow https://twitter.com/Isaac_A_Arthur on Twitter and RT our future content. Visit the sub-reddit: https://www.reddit.com/r/IsaacArthur/ Cover Art by Jakub Grygier: https://www.artstation.com/artist/jakub_grygier Script Editing Edward Nardella Keith Blockus Mark Warburton Matthew Acker MolbOrg N Kern Sigmund Kopperud (Wicked Woxel) Graphics Team: Edward Nardella Jeremy Jozwik Jarred Eagley Justin Dixon Jeremy Jozwik Katie Byrne Kris Holland of Mafic Stufios: www.maficstudios.com Luuk Warringa Mihail Yordanov Murat Mamkegh Nick Talmers Nieuwoudt Pierre Demet Sergio Botero: https://www.artstation.com/sboterod?fref=gc Stefan Blandin Music Supervisor Luca De Rosa Music: Markus Junnikkala, "Always Tell me the odds" Sergey Cheremisinov, "Back to Home" Kai Engel, "Soli" Ayreon, "Frequency Modulation" Ayreon, "String Theory" Ayreon, "The Theory of Everything, Part 3" Dexter Britain, "After The Week I've Had" Markus Junnikkala, "A Fleet Behind The Moon" NJ Mandavilel, "The Resting Vale" Ayreon, "Age Of Shadows" Lombus, "Hydrogen Sonata" Kevin MacLeod, "Spacial Winds" Brandon Liew, "Into the Storm"

We hope you enjoyed your stay in Dead Oaks. Today's episode, "Frequency Modulation," was written by Christopher Waltz. The voice of Otto Gillespie was Aaron Beck. The voice of Clara Beaufort was Erin Lynn. The voice of The King of the Scum was Christopher Waltz. Music in today's episode was "Creepy," written and performed by Nicholas Critney. Join us for the next short story episode of Dead Oaks on 11/12, "Vomit Monsters," by Joe Prosit. For more information, find us on Twitter: @deadoakspodcast.

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Speaker: Dr. V. Lazzarini Abstract: Non-linear distortion methods form a set of elegant and computationally economic methods of synthesis and processing for musical applications. Among these, we find the famous Frequency Modulation synthesis, as developed by Chowning and made popular by Yamaha. In addition, various other techniques, including Discrete Summation Formulae, Waveshaping and Phase distortion, can be cast in the same group (and often be given alternative interpretations) of non-linear distortion methods. Research in the area has been very limited since the mid nineties, until a recent series of developments spurred new interest in these ideas. In this talk, I will first introduce briefly the principles of non-linear distortion, providing an overview of the area. I will then follow this with a tour of recent work, which will include adaptive methods, virtual analogue models and analysis-synthesis applications.

Speaker: Dr. V. Lazzarini Abstract: Non-linear distortion methods form a set of elegant and computationally economic methods of synthesis and processing for musical applications. Among these, we find the famous Frequency Modulation synthesis, as developed by Chowning and made popular by Yamaha. In addition, various other techniques, including Discrete Summation Formulae, Waveshaping and Phase distortion, can be cast in the same group (and often be given alternative interpretations) of non-linear distortion methods. Research in the area has been very limited since the mid nineties, until a recent series of developments spurred new interest in these ideas. In this talk, I will first introduce briefly the principles of non-linear distortion, providing an overview of the area. I will then follow this with a tour of recent work, which will include adaptive methods, virtual analogue models and analysis-synthesis applications.