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FM Synthesis. A Catalogue of Materials. 01 Metal

This is the first of a series of videos for intermediate level F.M. synthesis. As such, each video shows frequency data of the patches. They are templates to go away with and work with so you can find your own variations. Most of the patches are either percussion or sustained sounds and thus the amplitude envelopes should be obvious at intermediate level (either decays or sustains). The operator levels are found by following each example’s operator steps as they are switched on and then comparing the video with ones own trials. Each video contains the blueprint for the synthesis of the basic sound of physical resonant materials such as metal, wood, air, strings as used in musical instruments. Some of the videos cover more abstract electronic sounds and SFX. The idea of this series is to show how to improve on the original “plasticky” sounding F.M. factory presets that were/are so ubiquitous on the original F.M. Synthesisers of the 1980s. Remember the original “ Tubular Bell” or “ Timpani” ? Subscribe to follow the series. H O W T O U S E Each example has a "structure" (synthesis parameters) and a "creative" context, which in this case are short film clips. Synthesis Parameters C = Carrier M =Modulator (As shown in VOPM) "Detune" is for slightly detuning for phasing and chorusing effects The most universal F.M. parameters (mainly frequency ratio data) are provided from which to create variations of the "material" timbres in the videos. For example, you will be surprised how much variation is possible by changing the fundamental frequency and the inharmonic frequencies of the bells. Ratios, how to: If you are using VOPM, FB01, DX100, CX5 use the CXRatio column. Example: The first number in the CX ratio is the "Mul" or ratio multiplier (0.5 to 15) and the second number is the "DT2" in VOPM or "IF" on the FB01, CX5 etc. (Should be between 0-3). The Detune is more of a standard fine detune you find on any synth's oscillator and is for adding chorusing, beating frequencies etc. On the CX5, VOPM etc it is between 0-7 If you are using a DX compatible synth use the DXRatio columns and use that number in your operator frequency. LFO. This is a very important parameter for creating the rough metallic sound. The LFO wave must be a random wave (sometimes called Sample and Hold) Set the speed to max and then dial in depth/intensity until you get the rough metal texture. You will also notice it creates ambient reverberation. Unfortunately the DX7 LFO's are to slow to create this effect. On the SY77 and TG77 use a noise operator as an alternative. Levels and Envelopes: Level and envelope data varies quite a lot depending on the model of F.M. device you have so they were omitted here, however, it is fairly easy to work them out by listening and following the order in the video. 1. Make sure you have the correct algorithm. 2. Start with the first operator as the loudest operator (full level). Then get the level for each subsequent operator. Follow the order in which they are switched on in the video and experiment to get the timbre as close to the videos as possible. 2. The envelopes are pretty easy to work out if you listen to each operator as it is switched on in the video. If you are are still stuck I recommend learning the basics of FM. Unfortunately because of time constraints, I am unable to offer support. E44 Music: http://tinyurl.com/e433HyFlw E433 Wordpress: http://tinyurl.com/ctvzecks Bandcamp: http://tinyurl.com/e433bndcmp