How To Learn Yamaha DX7 Synthesizer by Power DX7

Published on Dec 2, 2016 Power DX7

Also see The Yamaha DX7 II FD D Video Manual by The N.Y. School of Synthesis.

Playlist:
1. How To Learn Yamaha DX7 Synthesizer – Tutorial: Fundamentals of FM Synthesis, Algorithm

"This is a foundation level tutorial and it’s the first Yamaha DX7 & FM synthesis tutorial from the FM synthesis tutorial series. This how to learn tutorial gives you an overview of the most important aspect of the Yamaha DX7 and FM synthesis, Algorithm.

Algorithm plays a critical role in the FM synthesis sound design. It determines how all Operators (oscillator with envelop generator) interact with one another. The DX7 algorithm offers both frequency modulation synthesis as well as additive synthesis. Having 32 options of different algorithm, the DX7 FM synthesis offers greater versatility of sonic creation."

2. How to learn Yamaha DX7 Synthesizer - Tutorial: FM Synthesis Sound Design Tub Bells Part 1

"I will use the famous Tub Bells patch as an example for the FM sound design process. I will take you through the DX7 FM parameters, including Algorithm, Feedback and Oscillator. The reason why I picked the famous Tub Bells patch is that it is one of my favourite (and I'm sure a lot of people like the iconic DX7 sound), and it is one of the easiest patch to explain how the FM synthesis works to beginners and new comers to the DX7 and FM synthesis. Initially I will focus on analysing the famous Tub Bells patch, then I will going into improving the famous sound using Priority Parameters."

3. How to learn Yamaha DX7 Synthesizer - Tutorial: FM Synthesis Sound Design Tub Bells Part 2

"This is a third tutorial of the FM synthesis tutorial series that I’m planning. As I need to cater for a wider audience, I decided to create this ‘how to’ tutorial series from the very beginning, starting from the very basics of the FM synthesis and Yamaha DX7 synthesizer."

4. How to learn Yamaha DX7 Synthesizer - Tutorial: FM synthesis Sound Design Tub Bells Part 3

"This is a fourth tutorial of the FM synthesis tutorial series that I’m planning. As I need to cater for a wider audience, I decided to create this ‘how to’ tutorial series from the very beginning, starting from the very basics of the FM synthesis and Yamaha DX7 synthesizer.

Continuing on from the Part 2, I will revise the DX7 envelop generator as it can be complex and confusing for people new to the FM synthesis. In a nutshell, the DX7 has basically 6 advanced ADSR type envelops. After the revision, I will introduce more Priority Parameters such as Keyboard Rate Scaling, Output Level and Key Velocity Sensitivity. You will learn how the famous Tub Bells patch was created using the FM sound design process."

5. How to learn Yamaha DX7 Synthesizer - Tutorial: FM synthesis Tub Bells Improvement Part 1

6. How to learn Yamaha DX7 Synthesizer - Tutorial: FM Synthesis Algorithm Interchangeability

7. How to learn Yamaha DX7 Synthesizer: FM synthesis – Sound Design Tub Bells Improvement Part 2

8. How to learn Yamaha DX7 Synthesizer: FM synthesis – Sound Design Tub Bells Improvement Part 3

B67 ZEN-FM Synthesis - Editor-Librarian 2.0

video uploads by Benedetto Schiavone

Follow-up to New 3rd Party Hidden Sysex Based ZEN-Core Editor-librarian for MC-101 and MC-707

Playlist:

1. B67 ZEN-FM Synthesis - Editor-Librarian 2.0 - ZEN-Core Tone collection 3 (2026)
2. Benis67 - ZEN-Core Tone Collection 3 (2026) - Demo Sounds
3. B67 ZEN-Core editor librarian V.2 - Video manual



Press release follows:

"B67 ZEN FM" synthesis engine (4 operators with linear FM + 4 wave shapes) for all Roland instruments that support the ZEN-Core standard: new editor and sound collection.

The new ZEN-Core Editor Librarian V2.0 (PC and MAC) is now available for Roland synthesizers from the Fantom, AX-Edge, and Jupiter-X/Xm.

Among many new features, it allows editing of a new synthesis engine, fully compatible with the ZEN-Core standard, which uses linear FM synthesis (4 operators) and 4 modulable operator waveshapes

The "B67 ZEN FM" synthesis engine is achieved through a special implementation of a ZEN-Core tone that allows access to only a limited number of synthesis parameters, leaving the others predefined and inaccessible (e.g., Structure 1-2/3-4 = XMOD2, Osc Type = VA).

Specifically, the modulation matrix is ​​"locked" with predefined Source and Destination parameters to ensure correct modulations that operate on the main FM synthesis parameters.

Real-time editing is performed on a new page containing all the synthesis parameters, the operator frequencies settable via the freq. ratio parameter (0.25, 0.5, 0.78, 1, 1.5, 1.57, 1.78, 2, 3, 3.5, 4.5, etc.), the waveforms (SIN, SIN2, TRI, TRI2, TRI3, SAW, SQR, RAMP, JUNO), the graphic display of the 8 envelopes (4 for FM and 4 for shapes), a dedicated librarian (2048 sounds), 20 tone presets, 8 ENV presets, a clipboard, and the ability to copy and paste synthesis parameters.

Each sound is associated with one of the 93 MFX multi-effects, which can be edited in the dedicated section.

By applying waveshaping to the 4 operators' waveforms (via the FAT and PW parameters) and modulating them with 4 dedicated ENVs, the synthesis engine can replicate the phase distortion (PD) synthesis famous in Casio CZ synths.

When using sine wave oscillators and modulating their PW with the dedicated ADSR ENVs, the overall synthesis structure becomes similar to that of an 8-operator FM algorithm, as shown in the image: 4 operators (1, 2, 3, and 4) can have their frequencies freely configured, while the other 4 modulate the corresponding carriers and modulators with a 1:1 ratio.

Polyphony is 22 voices for all synthesizers, pianos, keyboards, wind instruments, guitar synths, and virtual instruments compatible with the ZEN-Core standard. This is reduced to 11 voices for the MC-101, MC-707, and VERSELAB MV-1 grooveboxes.

Simplified graphical editing of all parameters, sound management via the librarian, and parameter recall for subsequent editing is only possible with the ZEN-Core Editor Librarian V2.0.


The new B67 ZEN-Core Collection 3 (197 ZEN-Core tones in total) is also available, including 112 tones created with the "B67 ZEN-FM" synthesis engine.

Thanks to full compatibility with the ZEN-Core standard, these sounds can be used on all compatible instruments and virtual instruments: Zenology Pro, Zenbeats (ZC-1), FP-E50, RD-88, RD-08, Juno-D, Juno-X, V-Stage, MC-101, MC-707, Verselab MV-1, GM-800, Aerophone AE-20 Pro AE-30, GO:KEYS 5, GO:KEYS 3.

Along with the collection, the sounds with the B67 ZEN-FM synthesis engine also come with a proprietary file format that can be edited and managed within the Editor/Librarian V2.0 section, available for Fantom, AX-Edge, and Jupiter-X/Xm.

Among the various sounds in the collection, created with this synthesis, are emulations of some "classic" Yamaha DX7 sounds (Marimba, Vibe, Celesta, Bakket, Jazz Guitar, Tubular Bell, EPiano, Bowed Strings, Brass, Synth Bass, Metal, etc.) and original sounds that use FM and Wave Shape synthesis for new sounds with complex and evolving harmonic spectra.

The upgrade to version 2.0 of the ZEN-Core Editor Librarian for Fantom, AX-Edge, and Jupiter-X is free (it can be found in the Gumroad repository or through the paywall of those who purchased it).

Collection 3 (197 ZEN-Core tones, including 112 created with the B67 ZEN-FM synthesis engine) is available individually, in the "best of" version, and bundled with other collections and editors.

Manuals, Specs, Changelog V.2 https://www.benis.it/cm/ZC_Editor/ben67_zeneditor.htm

Editor Page https://www.benis.it/cm/ZC_Editor/ben67_zeneditor_ENG.htm

Tone collection Page : https://www.benis.it/cm/ZC_Editor/Zen_Bank_ENG.htm

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

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WTFM Wavetable FM Synthesizer (RackExtension for Reason)

video by Turn2on Software

"WTFM is not an FM synthesizer in the traditional sense.
Rather it is a hybrid synthesizer which uses the flexibility of Wavetables in combination with FM synthesizer Operators.
WTFM Wavetable FM Synthesizer produces complex harmonics by modulating the various selectable WT waveforms of the oscillators using further oscillators (operators).
Imagine the flexibility of the FM Operators using this method. Wavetables are a powerful way to make FM synthesis much more interesting.

https://www.reasonstudios.com/shop/ra...
Available in Reason AddOn Shop"

WTFM is not an FM synthesizer in the traditional sense.

Rather it is a hybrid synthesizer which uses the flexibility of Wavetables in combination with FM synthesizer Operators.

WTFM Wavetable FM Synthesizer produces complex harmonics by modulating the various selectable WT waveforms of the oscillators using further oscillators (operators).

Imagine the flexibility of the FM Operators using this method. Wavetables are a powerful way to make FM synthesis much more interesting.

WTFM is based on the classical Amp, Pitch and Filter Envelopes with AHDSR settings. PRE and POST filters include classical HP/BP/LP modes. 6 FXs (Vocoder / EQ Band / Chorus / Delay / Reverb) plus a Limiter which adds total control for the signal and colours of the Wavetable FM synthesis.

Operators Include 450+ Wavetables (each 64 singlecycle waveforms) all sorted into individual Categories.

The synthesizer includes a basic Modulation matrix for the main settings, special FX mod matrix, and also individual modulation routings to the various synthesizer elements.

WTFM includes 5 special modes:

Traditional Wavetable (WT) synthesis. 4 oscillators, each including 450+ Wavetables sorted into categories.

Classical 4-OP FM synthesis: each operator use 450+ Wavetables to modulate other operators in various routing variations of 24 FM Algorithms.

FM WT MOD SYNTHESIS: The selected Wavetable modulates the frequency of the FM Operators (Tune / Ratio).

RINGMOD Synthesis: The selected Wavetable modulates the Levels of the FM Operators similarly to a RingMod

FILTER FM Synthesis: The selected Wavetable modulates the Filter Frequency of the synthesizer.

This is a modern FM synthesizer with easy to program traditional AHDSR envelopes, four LFO lines, powerful modulations, internal effects, 24 FM algorithms. Based on the internal wavetable's library with rich waveform content: 32 categories, 450+ wavetables (each with 64 single-cycle waveforms), up to 30,000 waveforms in all.

Classical oldschool FM synthesizers give control of the Operator Levels and Ratio as a main function. WTFM additionaly works with the Operators, morphing waveforms of the selected wavetable. The era of oldschool FM synthesis is now moving to the future.

Should you wish however, you can of course go back to its origins using the included classical waveforms

Tone2 Nemesis Feature Overview

Published on Nov 15, 2013 Tone2 Audiosoftware·33 videos

"Available the 1st of December from Tone2.com, Nemesis takes FM synthesis to its next evolutionary step: NeoFM synthesis.

NeoFM is an exclusive new and improved approach to FM synthesis that is extremely powerful and intuitive. Nemesis includes traditional FM synthesis as well as a completely new and improved approach to FM called NeoFM synthesis. It is now easier than ever to get very good sounding results.
The sound quality of Nemesis surpasses conventional synths, making it easy to locate the sonic sweet spot.
Nemesis features an easy-to-use interface, which ensures that you will experience FM synthesis at its best and most entertaining.

* Unrivaled sound quality.
* Offers a new and user-friendly approach to FM synthesis. Nemesis makes FM synthesis accessible to everyone, regardless of skill level or experience.
* Easy to tweak presets or program your own sounds with.
* NeoFM covers all important aspects of traditional FM synthesis, but is in no way limited only to bell-style sounds. It offers a very large sonic range, one that is much more varied than other FM synths.
* Due to its innovative technical approach, neoFM does not suffer from a metallic sound or from the weaknesses of conventional FM.
* No fewer than 22 combinable synthesis types. Nemesis expands FM with further synthesis methods such as Additive, Formant, Wavetables, Waveshaping, Phase distortion, Sync and Reso synthesis.
* Contains 1000 inspiring patches from professional designers.
* Unique signature sound.
* Nemesis features a large number of exclusive sounds that are not possible with other synthesizers.
* Perfect for modern, as well as all other music styles.
* Wave import, resynthesis and the additive spectral editor offer unlimited sonic possibilities.
* True 4x stereo unison.
* An extensive number of high-end quality effects, with flexible and innovative routing options.
* Trancegate with an extensive selection of setup options.
* High-End sound quality with low demands on your CPU.
* Powerful, easy-to-use arpeggiator."

Korg Introduces the opsix "Altered FM" Synthesizer

Own FM with Korg’s opsix Altered FM Synthesizer

Update: Kraft Musik video added to the playlist below.

The KORG opsix is here. It appears KORG went with the smaller Wavestate-like body. You might remember the full size keyboard teasers from previous posts. That said, details:

"The legendary sound of FM synthesis had graced hundreds of albums, from its introduction in the 80’s to today. Korg’s opsix puts the power of expanded six-operator FM synthesis in your hands, with instant on-panel controls that help you create custom FM sounds with unparalleled ease.

'Altered FM' takes you light years beyond classic FM with 32 voices of polyphony, five modulation types, a user algorithm mode, multiple filter models 1 “logue”-style 16-step note and motion sequencing, effects for days, a 12-point modulation matrix, and much more."

User videos:

Use the player controls at the bottom left of the player once started to skip around. Some are long.
See the dealer links in the playlist below and the banners on the right for availability.

Playlist:
1. KORG opsix Altered FM Synthesizer - First Look! with Tom Butcher of Patchwerks Seattle - video by Matthew Piecora (aka EZBOT)
2. KORG OPSIX - All Playing, No Talking - Kraft Music
3. Korg opsix Sound Demo (no talking) - Bonedo Synthesizers
4. Korg OPSIX Review, tutorial and 10 patch tips // All 250 Presets played - loopop
5. Korg OPsix FM synthesizer // Hands-on Easy to Use FM Synth! - BoBeats
6. Korg Opsix Sound Design - Kinda Tutorial - True Cuckoo

"Rethink everything you know about FM synthesis.

The opsix represents a new and expansive reimagination of classic digital synthesis. Much like Korg did when bringing wave sequencing back in a more powerful, more musical, and more immediately accessible way with wavestate, so was the approach to FM sound generation of the opsix, resulting in another incredibly flexible and unique synth.

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Intro to FM Synthesis

Intro to FM Synthesis pt1 : Envelopes

YouTube Uploaded by lazerbeat on Mar 15, 2012

"Intro to FM synthesis, using envelopes." FM Synthesis Tutorial

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Sublime Wavelengths: The Cosmic Bliss of FM Synthesis

You might remember Clan Analogue Accepting Contributions for Upcoming FM Synthesis Compilation Album from back in July of 2024.

Nick Wilson of Clan Analogue in Australia wrote in to let us know he is excited to report that they have finally released the album!

Additional details via the release on Bandcamp:

Q1. What is FM synthesis?
A1. The cheesy sounds of mid-80s pop music
A2. A technique enabling sound designers to tap into the underlying mathematical structures of the Universe
Q2. Can both of these be true?

Australia’s pioneering electronic music collective Clan Analogue explore these important questions with their dazzling new release - Sublime Wavelengths: The Cosmic Bliss of FM Synthesis. This compilation takes listeners on a journey through the shimmering tones, intricate modulations, and futuristic landscapes of FM synthesis. Sublime Wavelengths is a celebration of the iconic synthesis method of frequency modulation which revolutionised sound design in the 1980s and defined an era of electronic music.

The artists on Sublime Wavelengths explore FM synthesis in all its manifestations. Jacek Tuschewski and Darrow explore the transcendant qualities of frequency modulation with their expansive contributions, while KOshowKO and Boris Divjak each embrace driving rhythmic and melodic possibilities with their cosmic melding of digital precision and human expression. Meanwhile experimental harpist Kris Keogh pushes sonic transformation to the limit with a mutated strain of crushed and squished FM processing while Sussiguala creates an unrelenting rhythmic structure pulsing with dubbed-out sine wave modulation. The technology employed from the artists’ studios ranges from the classic 1980s Yamaha DX7 synthesizer, heard on contributions from Infinity Deck and BluNjin, to the newest hardware, VST synths and coding environments, such as those used by Acidalius and Marcus Newman. Sublime Wavelengths doesn’t neglect the party vibe of 80s-flavoured pop, with celebratory grooving contributions from Swinging Tasty Bag and Just the Tip-pet. The compilation culminates with the high energy sounds of Mr Rachele before dissipating into hypnotic closing tracks by Intermodd and Cylan.

The album reflects the collective spirit of experimentation that Clan Analogue has nurtured since the early ‘90s, while embracing the retro-futurist charm and crystalline complexity that FM synthesis offers. Whether you’re a synth enthusiast, an electronic music aficionado, or simply a listener ready for a sonic adventure, Sublime Wavelengths invites you to tune into a higher frequency.

Sublime Wavelengths is dedicated to the memory of Jacek Tuschewski who passed away prior to the release of the compilation.

released September 2, 2025

Executive Producer: Tieran Kimber
Design: James Wingrove
Label support: Nick Wilson
Mastering: Darren Ziesing at Millennium Mastering, except track 1 mastered by Martin Koszolko
Listening panel: Wade Clarke and Marcus Newman

FM Drift Demo - Ableton Move/Live Sound Pack by A Force Truly Evil

video upload by A Force Truly Evil

"Available here: https://sci-fiaudio.com/?product=fm-d...

FM DRIFT IS A DEEP EXPLORATION OF FM SYNTHESIS INSIDE ABLETON DRIFT, DELIVERING FOUR NEW POWERFUL FM INSTRUMENTS THAT RIVAL — AND SOMETIMES SURPASS — SYNTHS LIKE OPERATOR

FM Drift is a sound pack focused exclusively on FM synthesis within Ableton Drift, and designed to demonstrate that Drift’s FM engine is powerful, flexible, and very expressive.

Fully compatible with Ableton Live and Push.

FM Drift delivers four complete FM instruments, each built on a clear FM architecture and fully controlled via eight carefully designed macros. All the sounds in the pack have been created exclusively using these FM instruments (Ableton Instrument Racks built with Drift).

Drift’s FM capabilities are on par with classic synthesizers like Operator, and even surpass it in certain aspects.

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Elektron Interview with John Chowning, the Father of FM Synthesis & How to Explain FM to a Child

Elektron recently announced the Digitone Digital FM Synthesizer. They've posted an interview with the creator of FM synthesis, John Chowning, on Elektronauts here. The following is the beginning excerpt including how John would explain FM synthesis to a child, meaning anyone new to FM synthesis.  :)  Note when he mentions vibrato depth increasing he is referring to one operator or oscillator modulating another.  In FM synthesis you have different mappings of operators modulation each other.  Be sure to see the full interview for more, including other topics.

"We had a good, solid talk with John Chowning, inventor of FM synthesis. Since its first musical use, FM has greatly expanded the musical possibilities of digital instruments. Its impact on every imaginable genre cannot be overstated, from contemporary classical music to dubstep. It was the synth sound of the 1980s, immortalized through the Yamaha DX7. John, however, does not refer to it as an invention. According to him, FM is a gift of nature that was just waiting to be discovered.

Now, understanding FM may seem daunting at first, as it incorporates some fundamental properties of math, music and acoustics. The beauty of John’s discovery is that (once properly used in a synthesizer) you don’t need to fully understand it. Just use your hands and ears to intuitively produce musical results that are pleasing, surprising, harmonic or inharmonic to your heart’s desire.

How would you explain FM synthesis to a child?

I would show the child how he or she might begin clapping two hands together, faster and faster and faster, them jump to the computer and show that we can make the claps even faster than the child is able to clap, and have the child listen to what happens. How the rate of claps changes from once per second, gradually through 8 times per second, to 16 times per second, all continuously increasing the rate until the child begins to hear a pitch.

At some point, I would say: 'why don’t you hum the pitch that you hear?' Now, I would do the same thing in reverse, you hear the pitch which the child has hummed, maybe something like 400 Hertz, which would be pretty close to G above middle C. Then I would reverse it, and as it slows, ask them to jump at in the moment they think they can clap that fast, and then slow down the computer-produced clap. We’ve established the fact, that when things happen at a certain rate, about 20-30 times per second, you no longer hear things as individual claps. You begin to hear things as tone quality (timbre) and then pitch.

Then I would do the same thing using the computer, with a sinusoid changing pitch — a vibrato. With a violin at hand, I would show what vibrato is — at the same pitch that the child hummed — and let my finger go up and down the fingerboard at an increasing rate. Again, jump to the computer with a sine wave at the hum pitch of 400Hz, with a vibrato depth increasing to ±40Hz at a rate of 1Hz. Then gradually increase the vibrato rate from 1Hz to 400Hz. As a last step I would gradually increase the vibrato depth to ±400Hz and we have caused the quality of the tone at 400Hz to change. All of a sudden we hear frequency modulation synthesis as a model of the original violin. That’s one way of explaining it!

It’s a phenomenon that has to do with the auditory system, and I think it’s partially understood why it happens. It can be intuitively understood when we connect it to a real-life case, like vibrato in a musical instrument, which is a special case of frequency modulation. Once we’ve got the sinusoid modulating the carrier from 1 -400 Hertz, then we can change the distance up and down the keyboard, and show how the quality of the tone changes with deviation. That’s basically how I would explain the properties of modulation rate and modulation depth to a child.

(I would also change the order in the demonstration, which is equally, if not more interesting — that is, first increasing the deviation of the 400 Hz sinusoid from ±0Hz to ±400Hz at a rate of 1Hz and then gradually increasing the rate from 1Hz to 400Hz.)"

How To Learn Yamaha DX7 Synthesizer – Tutorial: Fundamentals of FM Synthesis, Algorithm

Published on Dec 2, 2016 Power DX7

"This is a foundation level tutorial and it’s the first Yamaha DX7 & FM synthesis tutorial from the FM synthesis tutorial series. This how to learn tutorial gives you an overview of the most important aspect of the Yamaha DX7 and FM synthesis, Algorithm.

Algorithm plays a critical role in the FM synthesis sound design. It determines how all Operators (oscillator with envelop generator) interact with one another. The DX7 algorithm offers both frequency modulation synthesis as well as additive synthesis. Having 32 options of different algorithm, the DX7 FM synthesis offers greater versatility of sonic creation.

Future tutorials will include FM synthesis sound design, as well as further explanation of algorithm."

Luminous Trilogy & A CATALOGUE OF FM MATERIALS by Element433 ( a.k.a. Pere Villez)

via Element433 (Pere Villez)

"When I made the popular YouTube series 'FM Catalogue of Materials', many viewers commented that they would love to see some more of the 'music tech as cinema' style created in the videos.

My new project 'Luminous Trilogy' release, does exactly that. In part 1 'WTD', synths and synth technical diagrams, together with Pure Data/Max patches, become casual parts of the film's environment, which is set in an alt near future. Part 1 was realised with analogue modular, whereas Part 2 "Breath" was scored using binaural audio, VCV rack and live Indian tablas. Part 3 'Contrails' uses physical models, Samplicity's Berlin Studios and vintage FM hardware."

Update: Element433 has made the VCV patch and assets used in the film "Breath" below a free download. You can find instructions on downloading the patch and setting it up here: http://tinyurl.com/e433WpBrvcv.

Luminous Trilogy

video uploads by Element433 ( a.k.a. Pere Villez)

"Three music shorts around the theme of light, from incandescent urban folklore set in the near future, electric neon glowing medussae to impossible skies, all to the sound of dark ambient and techno-world music"

Playlist:

Walking The Dulzaina - Luminous Trilogy - Part 1

Walking The Dulzaina is an edited one-shot music film which details the manic walkthrough time-lapse of an imaginary synthesised dulzaina (Spanish folkloric instrument) being taken for a walk through the "Las Vegas" like dressed streets of a small village festive celebration set somewhere in the near future.

The visuals are nods to the Bladerunner, Lynch, Weirdcore and Kubrick where the glow of transparent neon CRTs, display technical diagrams with a music technology theme. Some suddenly slide up from the ground, while others cross from one side of the street to another.

The music is inspired by minimalism, industrial techno synth-folk where Steve Reich and Techno meet Raymond Scott and 1960's BBC radiophonic.

Musical Equipment Detail:

Intro: Moog Subharmonicon through Fairfield Randy's Revenge ring modular - into two crunchy Elby Systems stereo valve preamps and out into a stereo pair of Doepfer A-199 spring tanks).

Dulzainas: Buchla Easel Command sometimes untreated and sometimes solo through a J.H. 'Son of a Storm Tide' stereo analogue studio flanger (built by Van Daal Electronics (second dulzainas and very low transition whoooses). Buchla and Subharmonicon sync locked and clock divided by Ornaments and Crime clock divider.

Final wormhole sequence: Subharmonicon through stereo A-199 Doepfer spring reverbs and Paulstretched.

This work is not sponsored by any the manufacturers mentioned. They are personally purchased pieces of equipment.

Album:
https://distrokid.com/hyperfollow/ele...

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How To Learn Very Basics Of FM Synthesis - Minimoog Syntronik & FM4, From VCO, VCF To VCA

Published on Sep 10, 2017 Power DX7

"This FM synthesis tutorial series is designed for people who love analog/ subtractive synths and want to start a FM synthesis journey without complexity of the DX7 6 operator FM synthesis. I will explain the similarities and differences between analog synths VCO, VCF and VCA, comparing them to FM4 FM synthesis. I will show you how you can learn 4 operator FM synthesis using FM4. I will take you through sound design of a sawtooth sound using FM synthesis. You need to learn this step for Part 2 of this tutorial in order to make saw pads.

FM4 is an iPad FM synthesizer. FM4 can teach you how easy it is to make a great sound on a FM synth, using only 4 operators. Its interface is quite similar to analog synths, making transition from analog synths to FM synths easier and smoother."

FM Synthesis - A Practical Tutorial Guide

video uploads by ChrisLody

"Here's something I've been meaning to get round to starting for ages, a practical guide to FM synthesis. In my experience FM tutorials usually over explain all the wrong things and rarely get as far as the important things like the predictable way operator ratios change the waveform and frequency responses. So I've tried to approach things from an entirely practical view point showing you how to make saw, square, noise etc with filter like responses."

Playlist: 1. FM Synthesis - Practical Tutorial 1 : Ratios, Basic Waveforms, Low Pass and High Pass Sounds

0:00 Intro
2:53 How the meters works
3:23 Operators and Algorithms
3:58 Carriers and Modulators
4:29 MEGA Synthesis envelope generator
5:48 Reface DX envelope generator
6:56 Adjusting algorithms and operators
8:35 Making a basic organ sound
9:47 Saw feedback
10:47 Square feedback
11:48 1:1 modulation (saw sounds)
13:03 Low pass like sweeps
14:12 1:2 modulation (square sounds)
15:34 2:1 etc modulation (band pass sounds)
16:37 Ratio chart
17:10 Quick demo bass patch
18:20 Summing up

2. FM Synthesis - Practical Tutorial 2 - Pad Example, Vibrato, Tremolo, Wubs and Wonk!, Reface DX

0:00 Coming Up
0:30 Intro
0:43 FM Diagrams - Quick saw patch
1:10 Non-integer ratios
3:37 Non-integer ratios with decay
4:10 Moving individual operators with the LFO (Vibrato and wonk)
5:42 Creating Tremolo
6:16 Wub-wubs!
6:35 "2x OSC" Algorithm detuned saws
7:23 Detuning operators away from each other
8:14 Liven Mega - Mild Pad
9:27 Pad example diagram
9:48 Pad example on Reface DX

3. FM Synthesis - Practical Tutorial 3 - How operator stacks work, truth about modulation, Reface DX

0:00 Coming Up
0:14 Intro
0:30 Additive synthesis vs FM
1:32 "Modulation creates sidebands"
1:54 Calculating 1-10 sidebands example
4:15 Calculating 1-1 sidebands example
5:40 Calculating 1-2 sidebands example
6:33 Calculating 1-5 sidebands example
7:29 Summarise 2 OP sidebands
7:48 1-1-10 sideband example
8:58 5-5-1 sideband example
9:24 2-1 with feedback example
10:20 Stacked modulator summary
11:00 "Disgusting Bass" example

4. FM Synthesis - Practical Tutorial 4 - Rate & Level Scaling, Velocity Expression, Reface DX, FB01

0:00 Coming Up
0:15 Intro
1:14 Aliasing noise
2:36 Level Scaling
4:32 Rate Scaling
5:40 Velocity Sensitivity
7:02 Funky Clavinet Example
10:36 Editing the Yamaha FB-01
11:28 Yamaha FB-01 weirdness
14:40 FB-01 Clav examined

XILS-lab Introduces KaoX Virtual FM Instrument

video by xilslab

"XILS-lab creates KaoX as virtual instrument inspired by legendary FM synthesizer bolstered by virtual analogue and chaotic algorithms


GRENOBLE, FRANCE: virtual instrument- and effect plug-in-specialising software company XILS-lab is proud to announce availability of KaoX — a virtual instrument inspired by a legendary FM (Frequency Modulation) synthesizer, albeit bolstered by virtual analogue sound synthesis and additional chaotic algorithms in an advanced two-layer architecture allowing for a powerful sound creation tool to fuel DAW-driven synthesizer dreams with a much more easily understood signal path than its iconic FM forefather — as of April 12…

To appreciate its iconic inspiration is to truly appreciate the power of KaoX, XILS-lab’s latest virtual instrument. Indeed, the early-Eighties synthesizer market was dominated by analogue synthesizers using analogue circuits and analogue signals to generate sounds electronically, which, when made available as programmable polysynths with patch storage, were costly with limited polyphony. Putting paid to that dominance, an Eighties-dominating 16-voice FM synthesizer changed course — changing the course of musical history in the process — by generating sounds via frequency modulation, a form of sound synthesis whereby the frequency of a waveform is changed by modulating its frequency with a modulator. Mass manufactured using very-large- scale integration chips by a Japanese giant of a company who had licensed the technology from Stanford University, California — composer, musician, and professor John Chowning developed the digital implementation of FM synthesis while there, the world’s first commercially-successful digital synthesizer subsequently sold over 200,000 units within three years — around 20 times more than the most iconic analogue synthesizer of all time sold in its impressive decade-long lifespan — and its preset sounds soon became staples of the Eighties pop pantheon with E PIANO 1 purportedly ending up on 40% of the US Billboard Hot 100 chart toppers throughout 1986. Therein lay the rub. Really complex menus and a lack of conventional controls meant that few learned to program the comparatively keenly-priced instrument in depth — despite FM synthesis lending itself to creating brighter, glassier sounds, as well as imitative acoustic sounds so much better than its instantly unfashionable analogue adversaries, programmable polyphonic or otherwise. Of course, fashions change with time and technology; the instrument in question has long since fallen out of favour. Although analogue synthesizers — somewhat ironically — are now more commonplace than they ever were with a perceived warmth of sound and appealing hands-on control working in their favour, the convenience of an ITB (in the box) workflow with DAW-driven virtual instruments and effect plug-ins has far from lost its appeal for today’s music-making masses. Time to revisit the wonderful world of FM synthesis with a modern-day twist? Knowingly, KaoX does just that. After all, as a virtual instrument- and effect plug-in-specialising software company, XILS-lab loves to create tools that inspire its users to create more imaginative music than they ever dreamed possible!

Put it this way: with KaoX, XILS-lab has created a virtual instrument inspired by that legendary FM synthesizer, albeit bolstered by virtual analogue sound synthesis and additional chaotic algorithms in an advanced two-layer architecture allowing for a powerful sound creation tool to fuel DAW-driven synthesizer dreams with a much more easily understood signal path than its iconic FM forefather since said signal path is easily understood through the use of illuminated modules in a GUI (Graphical User Interface) that is equally easy on the eye. KaoX’s knowing nod towards the preset-powered popularity of its iconic FM forefather is immediately obvious for all to see and hear in an easy-to-tweak simplified view allowing its UP (upper) and LO (lower) synthesizer layers — each with independent synthesis modules — to be combined in three different ways. Working in single mode, only the selected layer is active and heard, while both layers are active and heard in SPLIT and DOUBLE modes — the lower part of the keyboard playing the LO layer and the upper part of the keyboard playing the UP layer in the case of the former, while both the UP and LO layers are simultaneously played across the keyboard in the case of the latter. Limited controls are available in this simplified view, including TUNE, DRIFT, GLIDE, VIBRATO, FREQ (vibrato frequency), DEPTH (vibrato), W (wheel), TREMOLO, FREQ (tremolo frequency), and DEPTH (tremolo), plus CHORUS, DELAY, PHASER, and REVERB effects, enabling users to easily play presets and to tweak them accordingly — adding vibrato and tremolo or switching effects on and off, for instance.

Alternatively, activating an advanced settings view brings the wonderful world of KaoX into full view, allowing more adventurous users access to the virtual instrument’s internal modules to tweak or change any parameter therein, aided by contextual help windows, while active modules are helpfully illuminated. FM synthesis options are available on each of the two available layers with eight operators grouped in two banks with independent pitch — perfect for creating chorus-like FM sounds or punchy stereo patches — and two outputs (O1 and O2). Each FM OPERATOR features one LFO (Low Frequency Oscillator), one envelope, WHEEL and VEL (velocity aftertouch) access, two user-definable external modulators (assignable to any KaoX modulation source), KEYB (keyboard follower) 2D pad, RATIO or FIXED frequency selection, and a lowpass filter. Furthermore, virtual analogue synthesis options are also available on each of the two available layers with two continuous waveform analogue oscillators (ANALOG OSCILLATOR 1 and ANALOG OSCILLATOR 2), two zero-delay-like analogue filters (FILTER 1 and FILTER 2), four D-ADSR envelopes, and four VCA outputs for bringing a depth and warmth to the sound creation table. That said, KaoX also allows its users to create sounds that they had never thought possible, thanks to two chaotic oscillators (CHAOS OSCILLATOR 1 and CHAOS OSCILLATOR 2) and two chaotic ring modulators (CHAOX 1 and CHAOX 2). And as if that was not enough to keep committed sound creators seriously satisfied, KaoX comes complete with a flexible four-track step SEQUENCER, where each track can be assigned to the UP or LO layer with independent sustain and gating or used as a modulation source.

Sound-wise, KaoX comes packed with 500-plus presets programmed by world-class sound designers Mikael Adle, Soundsdivine, Status, Nori Ubukata, Tom Wolfe, Xenos, Yuli-Yolo, Zensound, and many more — more than enough to point anyone of any ability in the general direction of where they might musically want to go. Getting there is made much easier with its integrated single-window preset manager making finding the right patch for the task, managing presets and sound banks, as well as creating custom tags, an efficient easy-going experience that could barely be dreamt of back in the early Eighties. Today the time has clearly come to revisit the wonderful world of FM synthesis with a modern-day twist and appreciate the power of KaoX, XILS- lab’s latest virtual instrument par excellence — from France with love... and all without the need for very-large-scale integration chip mass manufacture!"

Inside Synthesis - EP 4 - FM Synthesis Part 1 (2007)

Inside Synthesis - FM Synthesis, Part 1 YouTube Published on Apr 14, 2012 by insidesynthesis
Update: re-published & re-named 12/30/2019

"This is the original first installment of FM Synthesis. It presents a method of understanding FM for those who know subtractive synthesis."

Also see:
Intro to FM Synthesis
FM Synthesis Made Easy
New York School of Synthesis - Intro to Synthesis

And see the Synth Tutorials label at the bottom of this post for more.

Clan Analogue Accepting Contributions for Upcoming FM Synthesis Compilation Album

This one is in via supporting member Nick Wilson.

Deatils via Clan Analogue:

"Clan Analogue are seeking tracks for their new compilation album, a celebration of FM synthesis.

Just over 40 years ago, in 1983, Yamaha released the DX7 synthesizer and inaugurated a new age of digital FM synthesis. To celebrate the rich history of this innovation in sound creation, Clan Analogue are looking for new explorations of FM synthesis for their next compilation album. FM synthesis takes many forms. Whether you use a classic Yamaha DX7 or its Dexed emulation, Operator in Ableton Live or Native Instruments’ FM8, FM-patched modular rigs or analogue synths with FM functionality, your contributions are welcome.

FM synthesis was the sound of funky basslines and keyboard riffs in many 80s pop hits but was also heard in the hypnotic ambience of Brian Eno and experimental compositions by FM guru John Chowning. Whatever your inspiration, we invite you to move beyond the preset to explore sounds of the future, the past or a sideways alternative reality.

Submissions are being accepted up until the 31st of July."

See Clan Analogue for additional details on how to enter.

Synthmas '21 w/ Synthfluencer

Door #6: Lasst uns froh und munter sein (Let us be happy and cheerful) - Synthmas '21
video upload by Synthfluencer

"The gear:
This song is played on the Casio CZ-5000 digital synthesizer. With the CZ series Casio stepped into the professional music market after getting famous with the VL-1, PT-1 and other casual instruments. All CZ synths used a synthesis technology called phase distortion. Some preferred PD before FM synthesis, since it can create bell-like sounds as well as warm analog sounding pads. Even though missing velocity and aftertouch as built in the CZ-1, the CZ-5000 was the second best equipped synth of the family. The two DCOs are capable of playing 8 different wave forms, can be ring modulated and formed by 3 envelopes for each DCO (DCA = VCA, DCW = VCF, DCO = VCO). The envelopes can have up to 8 stages what gives huge possibilities for sound design. Key split, layer sounds, a sequencer - not really easy to operate but unique in the price range at the time - and a really good sounding chorus made the CZ-5000 a dream synth for many electronic music enthusiasts.

Because operating the internal sequencer is a fiddly job I used a Korg-SQD1 for sequencing the song. The simple multi track sequencer was very popular in the 80s Detroit techno scene.

Trailer material: Pexels.com (image @seurafrancis99, video @cottonbro)"

Door #5: Morgen, Kinder, wird’s was geben (Tomorrow, Children, Something Will Be) - Synthmas '21
video upload by Synthfluencer

The song:
Originally named "Die Weihnachtsfreude" (The Joy of Christmas) the song occured first in the 18th century. It describes the childrens thrill of anticipation awaiting Christmas Eve.

The gear:
For this song I used the Yamaha MODX. The modern digital synth is basically using two synthesis engines: AWM2 is a sample based engine while the FM part is an enhanced version of legendary DX-7 engine that shaped 80s pop fundamentally. As the AWM2 synthesis allows an instrumentation in any thinkable fashion, the song's version presented here makes use of original DX-7 factory patches only. That gives the desired retro touch.

FM synthesis was a giant leap in synth architecture. Not only that digital synthesis was available for a broad customer base; the DX-7 put cutting edge expression technologys into play like breath control and MIDI and made upper class features like after touch available for the ordinary synthesist. The (then) unique e-piano patch defined a new standard and became a mandatory element of 80s synth ballads. The possibility of adding a (digital) filter and effects to the FM engine's sounds makes the MODX kind of a 'super DX7'. Hence the name MOreDX?

Trailer material: Pexels.com (image @seurafrancis99, video @cottonbro)"

Door #4: Es ist für uns eine Zeit angekommen (Unto us a time has come) - Synthmas '21


"The song:
The melody came up in the 19th century as a traditional Swiss star boys' singers Christmas carol. From it's origin, the Wiggertal in the Canton of Lucerne it found it's way to Germany. While first sung with the original lyrics, under the reign of the Nazis a secular version was created. Like years later the communist GDR regime, the Nazis tried to remove the christian aspects from Christmas - our celebration of commerce we all love so much today. Nevertheless, this version is the most common used for the song today.

The gear:
The song is played by a Roland JV-1010. Sometimes derided as a "ROMpler", this multi-timbral digital synth is equipped - like it's bigger brother the JV-1080 - with many legendary sounds of Roland's 80s flagship D-series (10/20/50). Like Roland D-synths the JV-1010 creates it's sounds using LA-Synthesis. Therefore calling it "ROMpler" is simply wrong. LA-Synthesis was Roland's bold move to finally break the success of Yamaha's FM-Synthesis intruduced in early 80s with the legendary DX-7. The idea behind LA-Synthesis is that real instrument sounds (back then synths aimed most notably to imitate real instruments) are recognized by the very first parts of a sound. So LA or linear arythmethic synthesis using very short samples at the beginning of a sound continued with subtractive synthesis.

For this song I only used factory presets. I think the JV-1010/1080 has a wonderful warm sound. A Roland D-10 was my very first synth that broke a few years ago and I always thought about replacing it by another one or a D-50. But the JV-1010 turned out to be much more than a makeshift. Love it!

Trailer material: Pexels.com (image @seurafrancis99, video @cottonbro)"

CLICK FOR MORE »

Elektron Digitone Ambient Works

video uploads by Benjamin Brodie

"Combining deep FM synthesis with a familiar subtractive synthesis signal flow, the Elektron Digitone is an amazingly powerful 8-voice synth. And with Elektron's acclaimed sequencing onboard, your creative potential is practically unlimited. Digitone is ready to create with four independent synth tracks, each with a 4-operator FM synth engine featuring eight different FM algorithms. Those algorithms — along with pretty much everything else — can be locked to different values for each sequence step. Factor in four MIDI tracks, an arpeggiator for each track, two LFOs per synth voice, multimode filtering, and built-in effects, and the Elektron Digitone may just be the FM synth you've always wanted to perform with.

The complex timbres and sonic animation you can create with FM synthesis make it a unique method of sound creation, and Digitone presents it in a welcoming fashion. Each of the four synth tracks features its own 4-operator FM synth engine with eight algorithms. Elektron gave Digitone a familiar subtractive synthesis-style workflow that makes tweaking these voices fun and intuitive. And with the potential to lock a different synth sound into every sequence step, Digitone offers far more sonic potential than most 8-voice synthesizers — or most FM synths in general for that matter.

The elusive song of the desert, caused by grains of sand rubbing against each other, is nature’s own FM synthesizer. Sometimes roaring, sometimes wailing, always enchanting. Enter the alluring dunes of Digitone: a compact synthesizer that fits snugly at home, in the studio, and on stage.

FM synthesis occurs when you modulate the pitch of one oscillator with another, to achieve rich and unexpected timbres. The ratio and rate of modulation impact the resulting sound. Digitone uses four oscillators, or operators, per voice. A particular configuration of operators is called an algorithm. For classical FM synthesis, it ends here.

With the Digitone, you get to shape, enrich and modulate the sound even further, using the powers of subtractive synthesis. Use the multimode filter with its custom envelope to soften or pronounce the wild overtones. Cut off the low, mid, or high frequencies. Sculpt with style and precision. Define the sound decisively using the full-featured amp envelope. Carve the contour of the sound.

You can add more movement to the sound using an LFO or two. Set any sound-shaping parameter in automated, repeated motion. At a very slow or a very fast speed, using a variety of different waveshapes, including a random one. Make your sound sway gently like the ocean, or flutter like a butterfly."

Elektron Digitone "Cataphyll"

video upload by Benjamin Brodie

"Combining deep FM synthesis with a familiar subtractive synthesis signal flow, the Elektron Digitone is an amazingly powerful 8-voice synth. And with Elektron's acclaimed sequencing onboard, your creative potential is practically unlimited. Digitone is ready to create with four independent synth tracks, each with a 4-operator FM synth engine featuring eight different FM algorithms. Those algorithms — along with pretty much everything else — can be locked to different values for each sequence step. Factor in four MIDI tracks, an arpeggiator for each track, two LFOs per synth voice, multimode filtering, and built-in effects, and the Elektron Digitone may just be the FM synth you've always wanted to perform with.

The complex timbres and sonic animation you can create with FM synthesis make it a unique method of sound creation, and Digitone presents it in a welcoming fashion. Each of the four synth tracks features its own 4-operator FM synth engine with eight algorithms. Elektron gave Digitone a familiar subtractive synthesis-style workflow that makes tweaking these voices fun and intuitive. And with the potential to lock a different synth sound into every sequence step, Digitone offers far more sonic potential than most 8-voice synthesizers — or most FM synths in general for that matter.

The elusive song of the desert, caused by grains of sand rubbing against each other, is nature’s own FM synthesizer. Sometimes roaring, sometimes wailing, always enchanting. Enter the alluring dunes of Digitone: a compact synthesizer that fits snugly at home, in the studio, and on stage.

FM synthesis occurs when you modulate the pitch of one oscillator with another, to achieve rich and unexpected timbres. The ratio and rate of modulation impact the resulting sound. Digitone uses four oscillators, or operators, per voice. A particular configuration of operators is called an algorithm. For classical FM synthesis, it ends here.

With the Digitone, you get to shape, enrich and modulate the sound even further, using the powers of subtractive synthesis. Use the multimode filter with its custom envelope to soften or pronounce the wild overtones. Cut off the low, mid, or high frequencies. Sculpt with style and precision. Define the sound decisively using the full-featured amp envelope. Carve the contour of the sound.

You can add more movement to the sound using an LFO or two. Set any sound-shaping parameter in automated, repeated motion. At a very slow or a very fast speed, using a variety of different waveshapes, including a random one. Make your sound sway gently like the ocean, or flutter like a butterfly."