Thank you so much @anthonymarinellimusic ! It was great fun participating and big kudos to your talent for translating our nerdiness to familiar musical/synth contexts!
White is all colours at once, noise is all frequencies at once. Every colour on the spectrum is a different frequency. Black is the absence of all colour. Silence is the absence of frequencies. Awesome video Anthony, thank you 🙏🏻
As a professor in a medical school, I must say you're a natural teacher and explainer, Anthony! I'm a big fan of your professional body of work and really enjoying this channel. Sending well wishes and good vibes up the 5 from San Diego. ☀
Just watched this after watching the John Chowning interview. Passion never dies does it? Loved seeing the child-like excitement in the eyes of these masters as they hit that mental moment, that oh so sweet-spot they've committed their lives to sharing. This channel is such a force for good. I recognize instability is an unavoidable, infinitely scalable phenomena we all manage as best we can, but if we can somehow focus on the 'right' clusters at 'suitable' amplitudes on 'appropriate' scales... so much beauty and majesty awaits? The good news is I think it awaits discovery, as John Chowning says "It was already there, I just discovered it." Thank you Anthony Marinelli and team. : )
Speaking as a visual learner. Something to keep in mind for future demos and educational videos like this, would be an oscilloscope overlay in the corner to show what the waveforms look like!
This is a most needed tutorial. What makes this especially great is that the explanations are clear, concise, and understandable for one not fluent in FM synthesis!
omg is THAT what it is ? Ive been wondering why I can lock in so easily it really is like the shows from back then! Actually absorbing the information.
This looks like a really nice synth. I've been really loving the Korg OpSix. It's changed how I think about, program, and use FM synthesis. Great to see more people creating different ways to use and enjoy FM.
I came here to comment this. I picked up an Opsix when it first released to use it in my sound design practice. It's completely changed my world re: FM synthesis. Love it.
+1 love programming the opsix, it's not just an incredible FM synth, it's an incredible synth. The possibilities of user algorithms plus the many operator options (including using them as processors) is out of this world.
@@jairkerker2821 I suppose it reads that way, but in my World 'nerd' isn't an insult. It's just a friendly descriptor for people who are able to achieve incredible levels of knowledge and understanding. Communicating clearly with the rest of us plebs can be difficult for them because they often underestimate how much we don't know
@@leowalless9328 It may not read as such but I meant insult in a playful way. My inadequate communication is no proof of incredible knowledge though: I didn't invent a modern synth I would buy.
That's was excellent. The sound C15 can make are unbelievably stunning. I think for adding atmosphere to either music or film, this is a must have in your box of tools.
FM synthesis, or frequency modulation synthesis, is a method of sound synthesis where the frequency of a waveform, the carrier, is modulated by another waveform, the modulator, to create complex timbres. The origins of FM synthesis can be traced back to the work of John Chowning at Stanford University in the late 1960s and early 1970s. Chowning discovered that by using a simple sine wave to modulate the frequency of another sine wave, he could produce a wide range of complex harmonic and inharmonic sounds. This was a significant breakthrough because it allowed for the creation of rich, dynamic sounds that were difficult to achieve with the existing additive and subtractive synthesis methods. Chowning's research was patented in 1975, and the technology was subsequently licensed to Yamaha. Yamaha's engineers further developed the concept and implemented it in their DX series of synthesizers, starting with the DX7, which was released in 1983. The DX7 became immensely popular and played a pivotal role in shaping the sound of 1980s music, thanks to its ability to produce a wide variety of tones, from realistic instrument emulations to entirely new, synthetic sounds. FM synthesis remains a fundamental technique in sound design and electronic music production, both in hardware synthesizers and software instruments.
This was very special. Grateful for all of y’all who made this happen. These hands on discussion’s are some of my favorite video’s on TH-cam ✨🌊✨thank you and many blessings
@MattJohnsonJamiroquai Your video with Stephan and the C15 is excellent, and I thoroughly enjoyed your Montage M8x presentation at SuperBooth as well. There is just something so 'musical' with the interactive dynamics of FM based synthesis !
An occasionally maligned and misunderstood synth, for whatever reason. Personally, I think it's amazing. I don't play live any more and neither do I have any room left in my studio, or I'd probably invest in one! This must be the best video I've yet seen on it. Looking forward to seeing the interview with Chowning, that will be worth watching!
This synth is a real handcrafted instrument from the xxi century. Beautifully showing the mindset and craftsmanship of the devoted persons who brought it to life. Like in the Times of the old Guarneri or Stradivari violins or the great Angster organs, or the beautiful Flamenco guitar builder traditions from Antonio Torres... The same heart, knowledge & devotion...
I have a kodamo essence fm mk2. It's great i can create sequences with fm drums, and fm sounds. It's an amazing instrument that i still haven't fully discovered yet.
Hell yes brother! The mega FM is so much fun. Have you discovered the feature for envelope looping? You can create some very interesting choppy strobe-y sounds with that feature
Having once programmed my own FM synth engine I really really appreciated this interview. I was expecting a review of how FM synthesis works but instead was treated to a much more far reaching philosophical idea. This instrument can be tuned into limitless acoustic expressions, and it is going to take a lot of skill and experimentation for mastery. Looking forward to more videos of this and Anthony! I love the fact that in certain situations FM synth becomes astable and unpredictable by its very nature (the whale sound part)... it's fascinating!
Three legends in one top class FM breakdown vid. great content as always Anthony! another very interesting watch, what a great sounding and very unique instrument!
Re: your comment about guitar distortion, it’s not just analogue, it’s also _mechanical_ feedback that causes the “distortion”! The mathematical magic of Karplus-Strong is in being able to model/mimic those mechanical feedback mechanisms that we hear all the time and inform how we perceive what we hear. Like FM, the basic maths of physical modelling are (relatively speaking) pretty straightforward. It’s the _interactions_ of the signal with feedback where the complexity comes from (like what you and Dr Fernandez were talking about with the phase modulations). Here’s the same idea: Play a D minor chord. Now put a Bb under it. Now you don’t have a D minor, but a Bb major 7th. That’s the interaction of tones that has changed your perception of the sound!
The C15 is a very interesting instrument that's around for some time. However, the lion's share is not its 2-OP FM engine, but rather the physical modeling section and the spontaneous access. With some effort, other synthesizers would perhaps achieve similar results. Karplus & Strong synthesis (comb filtering) & resonators are not that seldom like one might think. The question, however, is if it sounds that good and if the effort is worth it, especially since the C15 primarily invites to perform.
Ohhhh !! Manny Fernandez !!! i want to thank you for your support over so many years with my favorite sinth, the Yamaha VL1. I still use you patches !! Anthony, thank you for bring us this videos !
You're very welcome. The VL1 is a phenomenal musical instrument. I've been very fortunate to be able to work with two giants of digital synthesis creativity in Stephan Schmitt and Toshi Kunimoto
Thank you guys for this! As someone messing around with really simple FM synthesis for simple effects, so many of the ideas in here opened up a lot of way higher level sound design techniques using FM. Using phase to adjust timbre, comb filtering with delays, feedback loops etc. all awesome, and incredibly helpful and inspiring
Rarely have I had such an instant connection with an instrument like I had with the C15. It reminded me of a really good early 50s Steinway L I once owned in that it actually plays you back as you play it. Hard to explain but it’s like playing a fine acoustic instrument. It truly is a player’s instrument and I’m proud to be an enthusiastic endorser.
It’s mind blowing how you can take only two operators (along with additional elements) and create such complex sounds, compared to early 6 and 4 op synths. FM has really come a long way in 40+ years.
I still have my old DX7 and I have a V-Synth, which can be very expressive. This machine reminds me of both, it is just brillant! Intellectually rewarding and it seems fun to play
Very interesting. The concept is very close to the Synclavier REGEN. i own a REGEN, but being more a producer/sound designer than a good keyboardist/musician, as much as i love this sound design concept with REGEN (and the C15 this last one being inspired by the original synbclavier concept aswell), i recon i would feel ridiculous with such a nice kb instrument. Cant wait to see whaty people do playinmg with these in real musical creations...
Love to watch stefans emotions when he listens to somebody else explaining functions of his instrument. You did a great job in moderate and keep his lovely wickedness and nerdiness within a boundary that normal people can follow. Truly a genius mind.
Hopefully one step more towards the end myth: FM is made for glass- and bell sounds.. nope.. FM is killing it as you can build a world on this technology
Anthony never lets anything go unexplained in the simplest of terms which is obviously impressing the designers because they take it for granted that everyone understands it and can see that simplified explanation is a huge deal to get people excited about the c15 obviously. Less is more ! People don’t learn things when they feel overwhelmed something daw designers could learn a lot from 👽
Awesome innonative engine! ❤ - I'm so glad they call it PM for Phase Modulation just like the DX7 ... (Yamaha's FM was in fact PM since actual frequency modulation - vibration - makes the instrument out of tune whereas PM does not)
Love this! I’m using a 1985 DX7 with Patchbase. FM is so interesting - an American gent by the name of John Chowning invented it and he was turned down by many American instrument manufacturers when he tried to offer the tech… It took the forward thinking Japanese company Yamaha to get it off the ground and it eventually lead to the Yamaha DX7 which was a ground breaking instrument in eighties music! Neat to see two parts of the world work together to make music history.
This instrument is extremely powerful following two requirements. Build harmonically complex and dynamic waveforms, do it in a human acceptable way to allow further enhancements step by step. IMHO a wonderful solution. I played that thing in a fair near my home in Turin, Italy, years ago and it was a wonderful experience. Stephan told me that original development started with software simulation (Reaktor maybe?). So my question to Nonlinear Labs is: why not making a full software implementation? It would be chaper and more open to all musicians worldwide...
Thanks for the video!! This is by far the best eye into this instrument that I have ever seen!! I could see a version of Anthony & Friends doing your own version of Automatic Gainsay. A
Imagine what Vangelis could've done with this synth. Remarkable. Are you getting one of these Anthony? Would love to hear what kind of patches you're able to craft with this beauty.
Awesome way to introduce FM Synthesis. Explain, play show and nerd into it. Awesome that you brought Stephen and Manny with you! Please make more content with them (and also with the guy who played the examples!). You opened so much for me with your MJ Series and now I am so sad that I missed you in Berlin. Thank you.
Also just getting into fm after nearly 40 years with a tx802 and a tx81z. Loving the expressiveness and combined with modern fx still sounds fresh and current to my ears. Was in Berlin a few months back and took the opportunity to try an osmose OB8x and the C15.... Osmose was super interesting but the C15 blew me away... superb weighty build quailty and so nice to play... not quite in my budget but a dream synth to aspire to own for sure. Thanks for making these!
Watching this demo of the C15, a revelation is hitting my head that probably has hit many others over the last 40 years. The DX7 would have been a different form of success if a model with per-function selectors like the C15 had preceded it on the instrument market.
Here comes some FB. ;) FM programming for me required the same level of concentration and practice as learning how the complex non-linearity of compression or saturation works. It required tgd same level of patience abd practice to understand how to coax out incredible fm patches. Admittedly I learned FM on software first but then some years back got an Opsix and then a Hydrasynth just because of my love of these timbres. Combining and using multi-stage ENV with FM operators is pure joy. I really want a C15 now. Thanks guys. One of my fav artists Uwe Zahn (who I think is also a friend of Stephan) has done some fantastic design on his C15. He may have even helped w the factory bank, not sure. Any Uwe is a sound desiger that thinks out of the box and that is partly what I think C15 is all about looking atcthe signal flow. Really appreciate Stephan bringing out the chart! Also, Manny is a hero to FM programming. I learned a lot from one of his books I found and some of his various articles. I do not recall the guy's name who sat and played some examples now and then during this, but he was the fantastic player that showcased this at one of the big audio gear conventions. Truly talented. Huge thanks to all involved here and big appreciation as ever to Anthony n fam for this presentation.
Tim Sund is who was playing the examples so well. Check out Anthony's companion video with Tim just playing for 40 minutes, he really has a great sensitivity to bring out the best in the patches me make.
I found out about this synth from watching Synth Sumurai this afternoon and WOW!!! First impressions = LOVE!! Then I watched this and can't help thinking where I'm gonna put one!!! As always Thank You for your Top of the Line videos!!!
@@dankeplaceYeah, it’s not the most well known bit of kit, but it was featured at their rollout on Sonic State at a NAMM show quite a while ago. I was intrigued by it but there’s so much competitive gear coming out that makes it hard to pull the trigger on one. I ended up getting a 3rd Wave first simply because I was more a fan of the bands who used PPG stuff than FM instruments.
I wish I could afford a C15. I love my TX7 and FM8 is a decent compromise 😂 but it would be very fun to use a synth, focused on literal playing. As a guitarist who moved into synths 15 years ago, there is a real appeal to this instrument.
would be cool to have an oscilloscope graphic in the display to visualize the waveform modifiers in realtime. I find it very difficult to visualize the mechanics of FM modulation in a DX7, compared to a subtractive synth. The idea of a subtractive attenuator gating the flow of harmonics is a very intuitive analogy, but ratiometric frequency modulated waveshaping much less so, particularly with complex envelopes, etc. I think the lack of visual analogy is what makes FM difficult. I just have to remember the results of particular settings, without much intuition of what it's doing.
be careful with just a scope visualization -- you really need to see the frequency spectra as well. phase shifts in the harmonics can make the scope waveforms look very different but can sound the same as non-phase-shifted versions.
Mate... The Algo brought me Back.....! YES! (I so wish they used a Data dial like a Microwave...Even a K2000. Hmmmm 3rd party data knob replacement idea?)
Fabulous vid! The DX7 came out in my early synth playing days, when I was around 16. I couldn't dream of affording one at the time, but read every article, every tutorial- and there were many. Was able to work with FM later on and thankfully was able to navigate thanks to all of the fantastic info published during those earlier years.
I've found these to be interesting, since I first heard about them a couple years ago. I don't see many videos, that have people using them, though. They sound great. I would be interested in watching someone produce a song, using one.
I first found out about the C15 from Eric Mouquet’s channel. He seems to really enjoy it. I’m not sure whether or not he takes it out of the studio though.
Great video, as usual. This is a BEAUTIFUL instrument. I say that, having watched as many demo videos as I could find. It really does go into that territory of "almost needing to be classified as it's own particular type of keyboard instrument". If I had good and proper keyboard chops I would definitely buy one.
You guys have to find out the reason for the flickering. Amazing instrument, Im I not the target group but it's a nice exercise for a programming project.
Thank you so much @anthonymarinellimusic ! It was great fun participating and big kudos to your talent for translating our nerdiness to familiar musical/synth contexts!
White is all colours at once, noise is all frequencies at once. Every colour on the spectrum is a different frequency.
Black is the absence of all colour.
Silence is the absence of frequencies.
Awesome video Anthony, thank you 🙏🏻
I love watching Stephan literally biting his lip trying not to interrupt! ❤
As a professor in a medical school, I must say you're a natural teacher and explainer, Anthony! I'm a big fan of your professional body of work and really enjoying this channel. Sending well wishes and good vibes up the 5 from San Diego. ☀
Thank you sir, I deeply appreciate your kind words!
Man, I don't understand most of the FM terms, but I enjoyed watching these 3 guys discuss so passionately about a subject they're experts at.
😊0 ++
Just watched this after watching the John Chowning interview. Passion never dies does it? Loved seeing the child-like excitement in the eyes of these masters as they hit that mental moment, that oh so sweet-spot they've committed their lives to sharing. This channel is such a force for good. I recognize instability is an unavoidable, infinitely scalable phenomena we all manage as best we can, but if we can somehow focus on the 'right' clusters at 'suitable' amplitudes on 'appropriate' scales... so much beauty and majesty awaits? The good news is I think it awaits discovery, as John Chowning says "It was already there, I just discovered it." Thank you Anthony Marinelli and team. : )
Same, loved that interview with John
Speaking as a visual learner. Something to keep in mind for future demos and educational videos like this, would be an oscilloscope overlay in the corner to show what the waveforms look like!
This synth is a masterpiece! Kudos to the brilliant designer!
This is a most needed tutorial. What makes this especially great is that the explanations are clear, concise, and understandable for one not fluent in FM synthesis!
I like your calm, PBS (public broadcast system)-style of educational videos.
agreed! Focused questions, homely and cheerful vibe, letting people talk
omg is THAT what it is ? Ive been wondering why I can lock in so easily it really is like the shows from back then! Actually absorbing the information.
Whouw -This is SO Rad !!! It´s Dr. Manny ! 😮 🙏 Mr. FM himself ! 😉👍
This looks like a really nice synth. I've been really loving the Korg OpSix. It's changed how I think about, program, and use FM synthesis. Great to see more people creating different ways to use and enjoy FM.
I came here to comment this. I picked up an Opsix when it first released to use it in my sound design practice. It's completely changed my world re: FM synthesis. Love it.
Opsix here too 😂
+1 love programming the opsix, it's not just an incredible FM synth, it's an incredible synth. The possibilities of user algorithms plus the many operator options (including using them as processors) is out of this world.
Sam,e with the MegaFM as its hands-on
Opsix is definitely a future classic for me
Endlich jemand der noch Instrumente für Live-Musiker entwickelt. Dankeschön
FM simplified broadens to a Physical modelling- mind blown!
What a beautiful, expressive instrument - very impressive!
This is WONDERFUL! Watching Anthony teach nerds how to communicate about the brilliance of their creations. Can't tell you how much I enjoyed this
Love this comment!
@@leowalless9328 An insult and a compliment wrapped in one great little summary.
@@jairkerker2821 I suppose it reads that way, but in my World 'nerd' isn't an insult. It's just a friendly descriptor for people who are able to achieve incredible levels of knowledge and understanding. Communicating clearly with the rest of us plebs can be difficult for them because they often underestimate how much we don't know
@@leowalless9328 It may not read as such but I meant insult in a playful way.
My inadequate communication is no proof of incredible knowledge though: I didn't invent a modern synth I would buy.
@@jairkerker2821 oh! Sorry! HaHaHa! I misunderstood. I'm happy were all in awe of these synth wizards
That's was excellent. The sound C15 can make are unbelievably stunning.
I think for adding atmosphere to either music or film, this is a must have in your box of tools.
I have the C-15 and it’s stunningly great. They’ve really dragged their heels on releasing new engines, but the first one is GrEaT.
FM synthesis, or frequency modulation synthesis, is a method of sound synthesis where the frequency of a waveform, the carrier, is modulated by another waveform, the modulator, to create complex timbres.
The origins of FM synthesis can be traced back to the work of John Chowning at Stanford University in the late 1960s and early 1970s. Chowning discovered that by using a simple sine wave to modulate the frequency of another sine wave, he could produce a wide range of complex harmonic and inharmonic sounds. This was a significant breakthrough because it allowed for the creation of rich, dynamic sounds that were difficult to achieve with the existing additive and subtractive synthesis methods.
Chowning's research was patented in 1975, and the technology was subsequently licensed to Yamaha. Yamaha's engineers further developed the concept and implemented it in their DX series of synthesizers, starting with the DX7, which was released in 1983. The DX7 became immensely popular and played a pivotal role in shaping the sound of 1980s music, thanks to its ability to produce a wide variety of tones, from realistic instrument emulations to entirely new, synthetic sounds.
FM synthesis remains a fundamental technique in sound design and electronic music production, both in hardware synthesizers and software instruments.
I can’t wait to release the interview we did with John!
@@anthonymarinellimusic Can't wait for that !!!
@@anthonymarinellimusic me too! ❤️
This was very special. Grateful for all of y’all who made this happen. These hands on discussion’s are some of my favorite video’s on TH-cam ✨🌊✨thank you and many blessings
Great video Anthony, the C15 is such an original synth and Stephan is a great guy!
matt johnson and anthony collab when?
@MattJohnsonJamiroquai Your video with Stephan and the C15 is excellent, and I thoroughly enjoyed your Montage M8x presentation at SuperBooth as well. There is just something so 'musical' with the interactive dynamics of FM based synthesis !
An occasionally maligned and misunderstood synth, for whatever reason. Personally, I think it's amazing. I don't play live any more and neither do I have any room left in my studio, or I'd probably invest in one! This must be the best video I've yet seen on it. Looking forward to seeing the interview with Chowning, that will be worth watching!
Nice, just learning FM on a Yamaha TX802 and it's great fun! Cool stream... This synth is amazing!
This synth is a real handcrafted instrument from the xxi century. Beautifully showing the mindset and craftsmanship of the devoted persons who brought it to life.
Like in the Times of the old Guarneri or Stradivari violins or the great Angster organs, or the beautiful Flamenco guitar builder traditions from Antonio Torres...
The same heart, knowledge & devotion...
I have a kodamo essence fm mk2. It's great i can create sequences with fm drums, and fm sounds. It's an amazing instrument that i still haven't fully discovered yet.
I have many FM synths... but last week I bought a MEGAfm by Twisted Electrons... my god... real time control, lofi organic sound, it´s so cool....
Hell yes brother! The mega FM is so much fun. Have you discovered the feature for envelope looping? You can create some very interesting choppy strobe-y sounds with that feature
@@allenpaley Yeah!!! the so called SSEGs! (I don´t know what that means!).
Having once programmed my own FM synth engine I really really appreciated this interview. I was expecting a review of how FM synthesis works but instead was treated to a much more far reaching philosophical idea. This instrument can be tuned into limitless acoustic expressions, and it is going to take a lot of skill and experimentation for mastery. Looking forward to more videos of this and Anthony! I love the fact that in certain situations FM synth becomes astable and unpredictable by its very nature (the whale sound part)... it's fascinating!
Three legends in one top class FM breakdown vid. great content as always Anthony! another very interesting watch, what a great sounding and very unique instrument!
Re: your comment about guitar distortion, it’s not just analogue, it’s also _mechanical_ feedback that causes the “distortion”! The mathematical magic of Karplus-Strong is in being able to model/mimic those mechanical feedback mechanisms that we hear all the time and inform how we perceive what we hear. Like FM, the basic maths of physical modelling are (relatively speaking) pretty straightforward. It’s the _interactions_ of the signal with feedback where the complexity comes from (like what you and Dr Fernandez were talking about with the phase modulations). Here’s the same idea: Play a D minor chord. Now put a Bb under it. Now you don’t have a D minor, but a Bb major 7th. That’s the interaction of tones that has changed your perception of the sound!
Probably one of the most useful videos on FM synthesis in decades. Thank you Anthony for this opportunity.
Stephan Schmitt the legend, very shy person.
The C15 is a very interesting instrument that's around for some time. However, the lion's share is not its 2-OP FM engine, but rather the physical modeling section and the spontaneous access. With some effort, other synthesizers would perhaps achieve similar results. Karplus & Strong synthesis (comb filtering) & resonators are not that seldom like one might think. The question, however, is if it sounds that good and if the effort is worth it, especially since the C15 primarily invites to perform.
Ohhhh !! Manny Fernandez !!!
i want to thank you for your support over so many years with my favorite sinth, the Yamaha VL1. I still use you patches !!
Anthony, thank you for bring us this videos !
You're very welcome. The VL1 is a phenomenal musical instrument. I've been very fortunate to be able to work with two giants of digital synthesis creativity in Stephan Schmitt and Toshi Kunimoto
Thank you guys for this! As someone messing around with really simple FM synthesis for simple effects, so many of the ideas in here opened up a lot of way higher level sound design techniques using FM. Using phase to adjust timbre, comb filtering with delays, feedback loops etc.
all awesome, and incredibly helpful and inspiring
Rarely have I had such an instant connection with an instrument like I had with the C15. It reminded me of a really good early 50s Steinway L I once owned in that it actually plays you back as you play it. Hard to explain but it’s like playing a fine acoustic instrument. It truly is a player’s instrument and I’m proud to be an enthusiastic endorser.
It’s mind blowing how you can take only two operators (along with additional elements) and create such complex sounds, compared to early 6 and 4 op synths. FM has really come a long way in 40+ years.
What a magnificent instrument! Thank you Anthony for the tour!
Another fabulous video. We all learn so much from your presentations and all the great guests. The best!
I still have my old DX7 and I have a V-Synth, which can be very expressive. This machine reminds me of both, it is just brillant! Intellectually rewarding and it seems fun to play
Very interesting. The concept is very close to the Synclavier REGEN. i own a REGEN, but being more a producer/sound designer than a good keyboardist/musician, as much as i love this sound design concept with REGEN (and the C15 this last one being inspired by the original synbclavier concept aswell), i recon i would feel ridiculous with such a nice kb instrument. Cant wait to see whaty people do playinmg with these in real musical creations...
Love to watch stefans emotions when he listens to somebody else explaining functions of his instrument. You did a great job in moderate and keep his lovely wickedness and nerdiness within a boundary that normal people can follow. Truly a genius mind.
Extremely informative both theoretically and on what makes the C15 special. Now excuse me, I'm off to rob a bank ;)
11:06 My favorite type of sound. SO GORGEOUS! 😭
I love this insight. Now all young musicians interested in the nuts and bolts of sound creation everything FM synthesis can find this.
Hopefully one step more towards the end myth: FM is made for glass- and bell sounds.. nope.. FM is killing it as you can build a world on this technology
Anthony never lets anything go unexplained in the simplest of terms which is obviously impressing the designers because they take it for granted that everyone understands it and can see that simplified explanation is a huge deal to get people excited about the c15 obviously. Less is more ! People don’t learn things when they feel overwhelmed something daw designers could learn a lot from 👽
Great talk about fm synthesis from the masters
Awesome innonative engine! ❤ - I'm so glad they call it PM for Phase Modulation just like the DX7 ...
(Yamaha's FM was in fact PM since actual frequency modulation - vibration - makes the instrument out of tune whereas PM does not)
Love this! I’m using a 1985 DX7 with Patchbase. FM is so interesting - an American gent by the name of John Chowning invented it and he was turned down by many American instrument manufacturers when he tried to offer the tech…
It took the forward thinking Japanese company Yamaha to get it off the ground and it eventually lead to the Yamaha DX7 which was a ground breaking instrument in eighties music! Neat to see two parts of the world work together to make music history.
Electronic music has always made the most sense to me , so glad i found your channel Anthony
This instrument is extremely powerful following two requirements. Build harmonically complex and dynamic waveforms, do it in a human acceptable way to allow further enhancements step by step. IMHO a wonderful solution. I played that thing in a fair near my home in Turin, Italy, years ago and it was a wonderful experience.
Stephan told me that original development started with software simulation (Reaktor maybe?).
So my question to Nonlinear Labs is: why not making a full software implementation? It would be chaper and more open to all musicians worldwide...
Thanks for the video!!
This is by far the best eye into this instrument that I have ever seen!! I could see a version of Anthony & Friends doing your own version of Automatic Gainsay. A
*KORG OPSIX SE!!!!*
*BEST FM SYNTH.... EVER!!!*
Imagine what Vangelis could've done with this synth. Remarkable.
Are you getting one of these Anthony? Would love to hear what kind of patches you're able to craft with this beauty.
Or JMJ or Kitaro...
Awesome way to introduce FM Synthesis. Explain, play show and nerd into it. Awesome that you brought Stephen and Manny with you! Please make more content with them (and also with the guy who played the examples!). You opened so much for me with your MJ Series and now I am so sad that I missed you in Berlin. Thank you.
Also just getting into fm after nearly 40 years with a tx802 and a tx81z. Loving the expressiveness and combined with modern fx still sounds fresh and current to my ears. Was in Berlin a few months back and took the opportunity to try an osmose OB8x and the C15.... Osmose was super interesting but the C15 blew me away... superb weighty build quailty and so nice to play... not quite in my budget but a dream synth to aspire to own for sure. Thanks for making these!
Watching this demo of the C15, a revelation is hitting my head that probably has hit many others over the last 40 years. The DX7 would have been a different form of success if a model with per-function selectors like the C15 had preceded it on the instrument market.
Here comes some FB. ;) FM programming for me required the same level of concentration and practice as learning how the complex non-linearity of compression or saturation works. It required tgd same level of patience abd practice to understand how to coax out incredible fm patches. Admittedly I learned FM on software first but then some years back got an Opsix and then a Hydrasynth just because of my love of these timbres. Combining and using multi-stage ENV with FM operators is pure joy. I really want a C15 now. Thanks guys. One of my fav artists Uwe Zahn (who I think is also a friend of Stephan) has done some fantastic design on his C15. He may have even helped w the factory bank, not sure. Any Uwe is a sound desiger that thinks out of the box and that is partly what I think C15 is all about looking atcthe signal flow. Really appreciate Stephan bringing out the chart! Also, Manny is a hero to FM programming. I learned a lot from one of his books I found and some of his various articles. I do not recall the guy's name who sat and played some examples now and then during this, but he was the fantastic player that showcased this at one of the big audio gear conventions. Truly talented. Huge thanks to all involved here and big appreciation as ever to Anthony n fam for this presentation.
Tim Sund is who was playing the examples so well. Check out Anthony's companion video with Tim just playing for 40 minutes, he really has a great sensitivity to bring out the best in the patches me make.
@@DrSynthAhh, i missed that. Yes, I agree!
Thank you for this video. Received my C15 yesterday. ❤ it.
Great to see this group together! C15 might anyway be just the right instrument for you.
I liked all the in depth and advanced look into unusual synthesis. Very cool.
I found out about this synth from watching Synth Sumurai this afternoon and WOW!!! First impressions = LOVE!! Then I watched this and can't help thinking where I'm gonna put one!!! As always Thank You for your Top of the Line videos!!!
Loopop did a review of this synth back in 2022, only 2 years a little late eh?
@@dankeplaceYeah, it’s not the most well known bit of kit, but it was featured at their rollout on Sonic State at a NAMM show quite a while ago. I was intrigued by it but there’s so much competitive gear coming out that makes it hard to pull the trigger on one. I ended up getting a 3rd Wave first simply because I was more a fan of the bands who used PPG stuff than FM instruments.
@@entropybentwhistle if all goes well, I should have a 3rd Wave next week.
Tangerine Dream used PPG in the early 80s and that's my vibe.
Great interview, love the C15!
I wish I could afford a C15. I love my TX7 and FM8 is a decent compromise 😂 but it would be very fun to use a synth, focused on literal playing. As a guitarist who moved into synths 15 years ago, there is a real appeal to this instrument.
Love FM, got Yamaha´s 81z, 802, 33 , FS1R, DX 100 etc
I regret I only have one like to give for this video. Thank you so much for doing this. We need more videos like this concerning the C15
Synth university on screen ❤
John Chowning??? wtf? This channel is getting better, and better, and better, and better...
Just wow 😮 😮😮😮😮😮😮 thank you for bringing your fame to bring us the best education Ty Ty Ty
Anthony, thank you for, as is your custom, making complex ideas understandable to dummies like me.
Very informative and better still digestible
would be cool to have an oscilloscope graphic in the display to visualize the waveform modifiers in realtime. I find it very difficult to visualize the mechanics of FM modulation in a DX7, compared to a subtractive synth. The idea of a subtractive attenuator gating the flow of harmonics is a very intuitive analogy, but ratiometric frequency modulated waveshaping much less so, particularly with complex envelopes, etc. I think the lack of visual analogy is what makes FM difficult. I just have to remember the results of particular settings, without much intuition of what it's doing.
be careful with just a scope visualization -- you really need to see the frequency spectra as well. phase shifts in the harmonics can make the scope waveforms look very different but can sound the same as non-phase-shifted versions.
WOW
Agreed
Agreed 💯
Viewing the waves on an oscilloscope would have been so helpful.
Is there even such a thing as _mastering_ the FS1R?
I particularly love this synth's ability to "invent" middle-eastern sounding flutes and horns.
Really insightful. Thank you Anthony!
Mate... The Algo brought me Back.....! YES!
(I so wish they used a Data dial like a Microwave...Even a K2000. Hmmmm 3rd party data knob replacement idea?)
Anthony , amazing guests .... and host
Wonderful conversation! I only wish I could use synths in this way in my own performances.
That’s a beautiful instrument!
Wow! Complex 😮
great content! very good balance between technological principals AND musical usage. three masters in a room. thank you!
Great stuff as always , so much knowledge here
Fabulous vid!
The DX7 came out in my early synth playing days, when I was around 16. I couldn't dream of affording one at the time, but read every article, every tutorial- and there were many. Was able to work with FM later on and thankfully was able to navigate thanks to all of the fantastic info published during those earlier years.
Another great interview, thanks for putting this together and sharing it.
Thank you guys, that was so so so instructive 🙏🏻
I've found these to be interesting, since I first heard about them a couple years ago. I don't see many videos, that have people using them, though. They sound great. I would be interested in watching someone produce a song, using one.
MIND BLOWN!!!
Amazing stuff, I want one. I'm in love !!!
I first found out about the C15 from Eric Mouquet’s channel. He seems to really enjoy it. I’m not sure whether or not he takes it out of the studio though.
Love it! Not gonna say I understand FM, but now I know I can.
Great video, as usual. This is a BEAUTIFUL instrument. I say that, having watched as many demo videos as I could find. It really does go into that territory of "almost needing to be classified as it's own particular type of keyboard instrument". If I had good and proper keyboard chops I would definitely buy one.
Also, I have to mention the combined experience and knowledge in this room. This is a living demonstration of the astounding beauty of synthesis!
Glad you like it!
Really nice video! I’ve seen a lot of C15 videos and this one achieved a fresh angle.
You guys have to find out the reason for the flickering.
Amazing instrument, Im I not the target group but it's a nice exercise for a programming project.
5 min in, blew of my seat!
Two sine waves and a saw tooth, having an educated chat 😊
Reminds me Yamaha VL (and FDSP as well as most algorithms there have configurable feedbacks). But VL impossible to edit without external editor.
Cool. Thanks for sharing.
Dr synth!
Very much like a physical/tactile version of the Objekt modelling synthesizer in Reason