Doepfer

Hello Anoop


> Thank you for all your advice Zoë, I'm embarrassed,  when I saw the
> umlaut over the "e" in your name I assumed you were from mainland
> Europe! I am in Manchester,  Aiyaaw,  as we say up here

I think you don't have to be embarrassed - I'd expect an "Anoop" more in 
Mumbay than in Manchester... ;-) (and many Germans expect Florians to be 
from Austria :-))) )

> I did not even consider linear vs log scale controls, need to think
> about this point. FM programming of the DX7 was very difficult and
> not intuitive at all, have you ever tried it?
I am sorry, if I have to disappoint you, but I have to tell you, that FM 
with VCOs like the A110 or even A111 is not what FM in a DX7 is. 
Soundwise you will never get results like from a DX7. It is quite 
complicated to explain; it has to do with the waveform of the oscillator 
core (which is FM'ed in fact) and what the waveform converter makes from 
this signal.
As a simple example you may imagine, that the rectangle converter is an 
extreme fuzzbox circuit. Now imagine a monophonic TX81Z sound through a 
fuzzbox. It will be still an interesting sound, but it has nothing to do 
with the FM, that you are expecting.


> I wondered if implementing polyphony was just getting more VCO's
> ADSRs and VFC's?.
Polyphony especially means getting more credit at you bank.

Do you mean "polyphony" in the musical sense (like Johann Sebastian 
Bach), or in a technical sense (like a six voice Jupiter-8). If you 
think of Bach with several single synth voices, then you need for each 
voice at least one VCO, VCF, VCA and an envelope, but they may (and 
should) consist of different kind of modules - like different filters, 
VCOs from different brands. As "bread and butter" modules like ADSR and 
LFO you may use the A-143-2 and A-143-3.
If you think of a modular Jupiter-8, then get a used Clavia Nord Modular 
and an old Laptop for the editor (sorry, Mr Doepfer for spoiling the 
business ;-) ).


Florian