MATRIXSYNTH: FM Synthesis Tutorials by Element433


Thursday, August 30, 2018

FM Synthesis Tutorials by Element433


Published on Aug 30, 2018 Element433

Playlist (Descriptions for each below):
1. FM Synthesis. A Catalogue of Materials. 01 Metal
2. F.M. Synthesis. A Catalogue of Materials. 02 Wood

1. FM Synthesis. A Catalogue of Materials. 01 Metal
This is the first of a series of videos for intermediate level F.M. synthesis. 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. presets that were/are so ubiquitous on the original F.M. Synthesisers of the 1980s. Remember the original “ Tubular Bell” or “ Timpani”

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
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.

Frequency Ratios
Frequency ratios and detune settings are provided for FB01/CX5 4 operator and DX7 (in red).

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.
2. F.M. Synthesis. A Catalogue of Materials. 02 Wood
This is the second installment from the "FM Catalogue of Materials" synthesis cinematic videos.
These are intermediate level F.M. synthesis, so they require a little knowledge of synthesis in general. Each video contans 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 parameters on the videos are from the VOPM free FM plugin. They are the same as the Yamaha FB01 and CX5M. They will work on most Yamaha 4 operator FM synths. They work well on, Preen FM2, Korg early FM synths and NI FM7 and FM8 too
http://www.geocities.jp/sam_kb/VOPM/

Synthesis Parameters
The idea behind this series is to provide the most universal F.M. parameters (mainly frequency ratio data) from which to create variations of the "material" timbres in the videos. You will be surprised how much variation is possible by changing the fundamental frequency and the inharmonic frequency of the bells.

LFO. This is the most important parameter for creating the "woodiness".

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 wood 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 and are fairly obvious if you listen to each operator as it is switched on in the video.

Unfortunately because of time constraints, I am unable to offer support.

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