Short Introduction to FM Synthesis in 3 minutes
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- เผยแพร่เมื่อ 28 ม.ค. 2023
- FM synthesis is powerful and confusing. This is a quick guide to give you some basic understanding.
If you do not have an FM synth, grab Dexed for free and check out the Intro guide.
More resources:
Introduction to Dexed free FM synth VST: • Get started with Dexed...
Making IDM & Glitch with Dexed: • Dexed / DX7 An IDM Gli...
Download Dexed: asb2m10.github.io/dexed/
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Thanks for your explanation... I understand my Korg volca FM now much better...👍☺️
this is the clearest explanation i've seen, great job!
I can confirm wibblywobbly is a word.
What about timeywimey though? 🤔
@@allyouracid if wibblywobbly is, why should timeywimey has to suffer?
I think we might have to ask The Doctor about that… or as they say in the show, "the dockter" 😁@@giobass
Understanding how FM works is the easy part and your beautiful papercraft synth was awesome... getting FM to do what you want it to do, now that's the dark arts! 😆
Dark arts! I love it 😂, thanks for making this video too. With an opsix,Volca fm, and Digitone collecting dust, this pulls the curtain back a bit.
*new found respect for the DX7. Thanks!
I havs just bought a volca fm and was completely baffled by it especially with the algorythmn sheet that came with it.
After your explanation I am beginning ti " get it".
I am newbie to syntheseis in general so FM isa hard pill to swallow.
I am 73 so need this techno to keep my brain ticking.
Thanks.
Sorry for the belated reply. Good on you, FM is really the deepend if you are a beginner at synthesis. I do not own a volca, but had a look at the volca algorithm sheet. Algo 1 indicates that you hear operator 1 and 3, all the others are modulating. I suggest, turn down the volume on all operators appart from 1. Then slowly turn up the volume on operator 2 and hear how it affects its sound. Change its envelope. And you will get a feeling for how FM behaves. You can also try the free software DEXED. I have made a video on it. It makes controlling FM very visual. I believe you can transfer the DEXED patches to the volca, but do not quote me on that. Good luck!
This is a phenomenal way to take something abstract and make it grokable. Since you already have the understanding it would be great if you did these for other musical concepts and made playlist/series
As quick as clear! Cool!
Excellent explanation
Brilliant and short explanation. Well done! 😃
Very informative and well put together. Liked and subbed.
Thank you!!
Thank you! This was very helpful.
great, super clear explanation!
Great to hear!
This is gorgeous ilysm
I am a 56 yers old kid, and I love to learn. THANKS!!
it's helpful, and really cute, thanks!
Thanks! Subbed
Wibbly wobbly is a certified word in the english dictionary.
Subbed, what a great tutorial...🙂
Thank you
thank you
Very good explanation for complete dummies to begin with!
I’m wondering, are LFO’s actually doing FM as well? It sounds like to me, e.g. when I use an LFO to modulate the pitch of an oscillator…?
Yes absolutely, FM = frequency modulation, pitch = frequency and you use an LFO to modulate it. FM synthesis is usually associated with one oscillator modulating another at audio rate. But an LFO is an oscillator too, but at such a low frequency, way below bass frequencies human ears can pick up. However some LFOs can run at audio rate if cranked up
@@TheFellowPassenger Thank you 👍🏻
Nice explanation! What's the speaking cat's name? :)
Mr Edward Bee
If the oscillator waves are additive, what is the difference applying in series or in parallel, i.e., between a (3 into 2 into 1) algorithm, compared to a (3 into 1 and 2 into 1) algorithm?
The short answer is that it affects the shape of the final waveform you are hearing. In your first example 3 -> 2 -> 1, Adds harmonics to Operator 2, creating a richer waveform, that waveform then modulates operator 1, adding even more harmonics. In your second example, you create 2 harmonically rich waveforms that is then modulating Operator one, This will be far more pronounced if you set Op 3 and Op 2 are set to different tunings and envelopes. I do not have any particular use case for when I would use one or the other, but the two different algorithms will result in a different timbre. It is so easy to go overboard with FM, and you will end up in the high frequency register very quickly. It is interesting to modulate which algorithm you are using with an LFO or something, resulting in very varied harmonically rich sounds. Open an EQ after Operator to see where the different harmonics land on the frequency spectrum
Nice attempt. But there are min 2 mistakes that shows you did not understand it completely. 1. An operator is the combination of an oscillator and an envelope 2. The waveform you replaced the waveform of osc 1 waveform with, is just a result of addition and not of frequency modulation
Confusing, YES. Puposeful systematic for crafting a determined sound, no. Powerful, 40 years ago. Modern state of the art, no. Ancient, nostalgic. Without those workstation-freaks this ancient technique would be forgotten since 30 years. Without those people, sitting infront of hightech-machines, dreaming of sounds and technologies of the ancient greeks... FM wouldn't exist any more. I was there, 40 years ago, when FM was state of the art. I remember that it solved big problems, but didn't produce "quality" sounds. But ever since all other oscillators around, latest since the supersaw-oscilator, and the most latest with Romplers, FM had to be burried!!!
My impression is that FM was used to mimic other instruments such as pianos and trumpets in it's infancy, which would sound cheap at best. But it's not been until recent years I have seen it as an interesting tool to create very unique sounds. Especially as parameters can be modulated in a far more complex way by usin controlers and software. Allowing instruments like the DX7 to produce mind-blowing sounds compared to what was even imagined in the 80s
@@TheFellowPassenger Exactly! What younger freaks don't know anymore, are the needs/problems of those times. You are abolutely right: emulate native instruments with cheap technology and no affordable memory... which would have been needed for sampling. There was sampling too, but also with this memory-problem and therefore ridiculous sample-/bit-rates. I had an organ capable of this. It neede affordable memory (end 90s) and the developement of CDs with theoretical standards.
You are right: there were signature FM-Sounds. But what was the DX7? For me a better ePiano. Electronic improved, cracks made their way and created nice FM sounds. But it remains: 1) FM is not accessible for normal people and 2) it is limited at all corners. I just built the signature "laser harp sound" of JMJ... with subtractive synth. Not possible with FM. Plingeling, blong, blubb and pads... that's it. Ever tried to emulate a sawwave with FM? Absurd task😉
thankyou @andrewhuang