![]() ![]() Those old presets have their charm now (and you can enjoy them in FM8 by simply loading DX7 SysEx files into the synth). Historically, critics have pointed out that FM users often stick to the presets, giving DX7-produced music something of a generic sound. Casual users, meanwhile, can use “easy mode” to quickly adjust their sound using macro controls. An “expert mode” allows for minute control of every parameter, including tweak-able algorithms thanks to a flexible modulation matrix. It features eight operators and a friendlier interface than the forbidding DX7. But FM synthesis has remained a core production tool.įM8 from Native Instruments (the successor to FM7, launched in 2002) expands on the formula perfected in the ‘80s. The initial drive behind FM synthesis–the need to create complex sounds with as few oscillators as possible–became less pressing in the software age. And the individual amplitude and pitch envelopes for each operator allow us to shape sounds whose harmonic content varies over time, like a pluck sound with a harmonically complex attack and a purer tail. Setting our modulators at inharmonic ratios (for instance 1.1) results in crunchy, inharmonic timbres, while using very high ratios (16, 18, or even higher) introduces a whole other flavor. Of course, things get really interesting when we go beyond these basic recipes, into realms that subtractive synthesis can’t reach. For a square wave, adjust your modulator’s ratio to 2 and boost its level to around 75%. For instance: if you modulate a carrier with a modulator with a ratio of 1, turning the modulator’s level up to around 25%, you will create a rich, harmonic waveform which sounds a lot like a sawtooth wave. To get the best out of your FM synth, it’s helpful to know a few basic recipes. A ratio of 2 means that it is double the fundamental frequency (i.e. A ratio of 1 means that the operator’s frequency is the same as the fundamental frequency. This is understood in terms of the frequency ratio. That’s why, for the most part, we don’t tune our operators by their absolute pitch (frequency in Hz), but instead by their frequency relative to the fundamental frequency: the note being played on the keyboard or piano roll. Modern FM synths, such as Native Instruments’ FM8, allow you to tweak your algorithms to your heart’s desire.Īn FM synth’s operators give the best results when they are tuned in relation to one another. Classic FM synths give users a set number of configurations to choose from each configuration is called an algorithm. The specific routing of the modulators and carriers in an FM synth can have a huge effect on the sound. FM synthesis generally involves a combination of modulators and carriers. If it is set to modulate another operator, it’s a modulator if it is connected to the synth’s output, it’s a carrier. An operator can play two different roles in an FM synth. The simple waveforms that are combined in an FM synth are called operators (rather than the oscillators found in a subtractive synth). Once we get our head around these definitions, the world of FM synthesis will seem much less intimidating. ![]() Jump to these sections:įollow along with this tutorial using FM8.īefore we delve into the world of FM synthesis, we need to get our terms straight. We’ll then look at some practical uses of FM synthesis, showing you how to make clean, effective sounds in just a few simple steps using Native Instruments FM8’s powerful audio engine. We’ll explore the principles behind it, tackle the technology and terminology, and learn a little of its history. So what is FM synthesis exactly, and how does it work? In this article we’ll demystify FM synthesis, getting you beyond the presets and under the hood. But FM is also one of the most intimidating forms of synthesis, with its complex interfaces and specialized vocabulary putting off many casual users. FM bells, e-pianos, and ethereal pads formed the soundtrack to the ‘80s and ‘90s, and the latest FM synths remain powerful workhorses for modern producers. FM synthesis has given us some of electronic music’s most recognizable sounds. ![]()
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