It would be great if you could do a more detailed, in depth video covering how to make different families of sound using fm (piano, brass, woodwinds, organs, etc)
1st generation DX7 was my first synth. Mono output only. Being an Electrical Engineer, I picked up the programming fairly quickly. I probably spent most of my time exploring naturalistic instrument sounds such as horns, sax, and piano, and produced some interesting results. I discovered one of the biggest limitations was lack of a noise operator. It took 3 out of the 6 operators to create something like brown noise, but is wasn’t always adequate. Now that FM is integrated into multi-synths like Falcon 2 and Vital, we can use it for what it is best at - complex dynamic harmonics + inharmonics.
I just got a Behringer 2600 and it's interesting how the early modularity in subtractive synths allowed for FM synthesis, even patching noise in as an operator.
This is fantastic. I feel like a lot of us have a good handle on basic synth stuff, ADSR, filters, oscillators etc, but I'm still trying to figure out some of the more complex things like FM so this rules.
@@VenusTheory I really should´t - but DAMN , the prices on EBAY for a perfect kept Yamaha VL-1 - it will so DEFF. be my next purchase ... :-O - Do you have any hands-on-knowledge of those resonating fm Physical Modeling marvels ???
Cameron, I wish you the best for growing your channel. Only if I could like multiple times in TH-cam! Discovering your channel is one of the best achievements of my life. Also please add monetisation options on your channel. People would easily contribute for such quality content.
[x] Video doesn't start with "SUP GUYS, IT'S [CHANNEL NAME] BACK WITH ANOTHER VIDEO" [x] Provides information beyond "how to make this exact sound from a song I heard once" [x] Presenter acts like a normal person and speaks with a normal voice [x] Subscribed
First of all, I am sorry for my poor English skills. This is the best video out of the many FM synths tutorial videos I've ever seen. Phase Plant is the best instrument to visually understand the fundamentals of FM synthesizers. Honorable applause to Venus for choosing Phase Plant for the FM Synthesizer tutorial.
The problem with PhasePlant is its business practice of selling the synth in parts like a Lego. You can also learn FM synth with Surge XT or SonicBits EXAKTLite, which are free. EXAKTLite allows to follow this video quite easily.
This tutorial is simply stellar. I've been playing with synths for a long time without feeling like I get it. I have just about every major soft synth on the market, but something about Phase Plant just clicks with me. This video did for me what Phase Plant has been doing for me - it simplified synthesis. This is the single best video tutorial I've seen on synthesis period. Thank you!!
i am not a fan of videos that start with intros, and overviews, and hey theres, and whatnots, but I am glad I stuck around for the sound design tips parts because they gave me a lot of ideas.
I gave up on YT tutorials a while back, maybe I just stopped needing them as much for the most part. I bought Phase Plant recently and there were a few things I couldn't figure out how to do or was wondering if there was a better way of doing them. This was my third video and I really got a lot out of it, just a great job all around.
This guy woke up and provided us with a so good explanation i'm in my third simple patch and feel like a modular synthesis god already, this stuff is so freaking complicated yet simple if you use it with some minimalism
I had a Yamaha SY77 in the 80s, which had 6 operator FM and oh my it was about the same complex unintuitive UI with (at least) a bigger display than the DX7. The idea of FM synthesis, sends a shiver down my spine. I've spent way too of my life trying to get something that doesn't sound like banging pieces of metal together or crash test sound effects.
Great video! I find FM synthesis to be one of the easiest types of synthesis to understand what it is and how it works (maybe only additive synthesis is simpler since it's literally just adding waves), but simultaneously one of the most difficult to dial in a specific tone. What I mean is, it's really easy to get wild, crazy, and inharmonic results, but if I'm looking to make something similar to some patch I heard on a song, it can be hair-pullingly frustrating. When you combine this with the horrible interface of the DX-7 as you mentioned, I think it's easy to see why so many stuck with the presets. Maybe an interesting aside is that the sound cards of the 90s (like SoundBlaster) were essentially FM synths on a card. FM was used specifically because it was so good at making inharmonic sounds, and if you were making a game, you weren't just making music, you also had to use the card to produce every sound effect in the game -- explosions, bullets, punches, etc. -- since playing back actual audio files was unheard of given how much space they took up on a disk. There were eventually cards that came with some simple wavetable-type synthesis and some rudimentary sampling support, but backwards compatibility concerns meant that devs mostly stuck with the FM stuff. Here's an interesting article/interview on the topic: custompc.raspberrypi.com/articles/the-sound-blaster-story
Maaan - Cameron yuo're just like my math professor - explaining everything to it's roots so it becomes easey peasy :) Watched it, liked it added to my favs and now I know how FM synths works :D
Thanks mate, got myself a volca FM which is the baby dx7 apparently but couldn't get my head around the carrier/operator/algorithm situ, makes a lot of sense seeing its shape on your system ✌️
Two foundations that can't be over emphasized. One... one operator is one organ pipe, or flute, or ... very simple tone. Ten, lone ranger, single operator tones, composing one patch is Ten Simple Tones. To get the full power, when simple isn't enough, you need groups of At Least two operators, modulator and carrier. More than two gets Extremely Complex, (and often ugly) quick, as you pointed out admirably. Therefore, one and two need to be what they need to be, and 3/4... 5/6...7 alone, 8 alone... probably need to be very short or very quiet, or both. When it gets weird, save it, then turn stuff off. Foundation part 2.... There are a few... super critical... building blocks, that you need to have memorized so solid they become perfectly broken in tools, in well worn holsters, 24/7/365/78.6. You covered the s8ne wave fine. Your other three Standard All Day Everyday Tools are the Square Wave, Sawtooth, and Triangle Wave. These are built using two operators, with standard frequency and volume ratios. Those ratios are readily available online. Bonus tip. Throw an instance of Voxengo SPAN on your master buss, last. Every project. FM or not. Put it in your standard template.
I skipped the history lecture of almost 5 minutes. Although it sounded interesting. Life goes fast and we have to use our time as efficient as possible. So I always go straight to what I need to hear or see. 🤗💪 But your explaination and showcase is the best I have seen on this synth ever. Well done ❤
Hi. I have been struggling to figure out which synth to buy and use. There are so many!!! This tutorial has shown me I am not so interested in sound design, as far as starting sounds from scratch. I think i am more of a rompler type of guy. I hope I don't catch a beating from the smart people who read this. Thank you for this video. It was eye opening for me! You really helped me move forward!
On the point of phase plant being good way to learn fm synthesis. I think it's probably a great teaching tool for way more general mixing and ear training principles since it gives you such a clear picture of how you are manipulating the wave form. Even when mixing and mastering we are rarely doing more than making two wave forms sound a certain way. I think teaching audio starting with just a sine wave in phase plant has a lot of potential to get someone up to speed on a lot of basic audio terminology like phase, harmonic versus equal tuning and all kinds of other things that come to mind.
Awesome tutorial. I have finally understood why the pitch is changing when i'm applying fm to an oscillator on my analog synth. -exponential. Love you man!
This will also be helpful in my understanding of Sines, the new 4-sine-osc synth from cherry audio. I have Dexxed but haven't gotten into patch creation much yet.
If you want to learn how to be creative with FM, you need the Korg OPsix. The interface with 6 sliders and 6 knobs works miracles to get aa feel for what you are doing.
Good stuff. I'm just learning about different synthesis types, and have been playing with a free subtractive VST as I'm learning how to produce beats and music. This was very helpful with explanation and demonstration side by side.
Just watched a documentary on the huge and rare DX1. The youtube algorithm wants me to do some FM patches I guess.I already know how FM works but can't stop myself from watching this. Very good video !
your best advice was at the end when you said DONT OVER COMPLICATE THINGS! I liked that! ALso, an idea for a future video?? how about Modular synth! Eurorack,Complex-1 type of stuff! Im glad i found you Cam !!
Bought a DX7 not long after introduction. My focus was more on it's MIDI function than sound design. At that time, pulling together a MIDI-based music production arsenal was, to me, an absolute genius idea and I fell in love. I'd had some grounding in analog synths with an old Korg monophonic and then a MicroMoog mono and kinda grasped what was going on. Upon hearing the DX7 I knew I have to have one. So I sold my soul and picked one up. The factory patches were cool, but I wanted more. So I started to tweak. It was THE most convolved and confusing process I'd ever tried. Totally lost. I read and tweaked, and read and tweaked, and, in the end, just ended making the most of the factory sound set. UNTIL, I heard the DX7 associated term "additive synthesis." FM meant nothing to me. But adding waveforms together to make something even better...I got it! Modulating frequencies with frequencies "added" up for me. And now I see it everywhere. In fact, and on what would definitely be a side note, this process is the basis for the entire universe. But I digress. Thanks for this vid and a nice intro to Phase Plant.
My story is very close to yours with the exception that I was very well acquainted with FM from my electronics hobby later college Electronics courses. I had a couple of early synths including the ARP 2600. When the DX7 came out I immediately knew that it was the opposite of a subtractive analog synth. When my brother in-law bought a first series DX7 and let me borrow it from time including a 3-week stint, I had it pretty well figured it out to the point that I bought one about a year later. The programming was tedious but there was no other way so I just ran with it.
In my closet (I'm looking at it right now) is my original 1st-generation DX7, the first synthsizer I ever bought. Contrary to general opinion, it was NOT that hard to program. When I first read a review in Keyboard magazine ideas for how to get unheard sounds kept me up a night. It was obvious I would have to buy one. When I got it home, checked out the flaccid factory sounds, I decided to try out some of my late-night inspirations, and got comfortable with it in only few hours. l discovered some interesting glitch "features" that could be used to get some great aleatoric sounds and warbly underwater textures that are impossible to get on modern emulations. I was particularly disappointed in the Arturia version, which won't glitch at all, and all my way- bichen patch ideas failed in translation. I still like, program, and use my DX7, and have come to regard Brian Eno as not just a complete ignoramous when it comes to music in general, but a total amateur at DX7 programming. I did better around 4 AM in 1984, when I hadn't even gotten my hands on one yet. Yes, FM7 is much easier to program because of its graphic interface, and it doesn't glitch like the 1983-vintage DX7, which is both happy and sad. If you thought the DX was a pain to program, try doing it on a Synclavier or emulation. You'll learn to stop hating and start really appreciating what John Chowning and Yamaha teamed up to produce almost 40 years ago.
@@wiegraf9009 Well, not in the sense of cassettes, CD's or online; let's face it - it's mostly crap. I did "display" it to the public in collaboration with a sculptor I met at a weird art gang party, and I did the sound design for his works from Sept. 1990 to Oct. 1991, including a few "guerilla" installations around town. So it has been heard, and I did have one request for how or where it could be bought. But there was nothing to buy; I didn't make any copies. It was only for this or that unique sculptural installation. Formless and meaningless without the sculpture.
nice I just woke up and said I wonder if there are any new videos about production to watch while I drink my coffee, low and behold a topic I enjoy very much by one of my favorite youtubers. cheers ☕ Edit: great video I learned a bit about FM and you reminded me to update my phaseplant to 1.8.15 I've been mainly using Dexed for learning, not realizing the full capabilities phaseplant's framework has for working with fm. I still love Dexed and will always use it but after this video I'm going to have to put dexed down for a few months.
I grew up in the 80's and many bands I liked had a DX7 after Ultravox and their analogue synths, so it' always been a shiny thing that I've wanted. So a friend of mine is selling a DX7s so I've bought it and should have it in the next couple of weeks. I am absolutely NOT a musician but I am an electronics engineer and understand a bit about modulation so I'm really looking forward to having a play with it. This video has been really interesting - thank you :)
This went at a pretty fast pace. I feel like this would have been easier for a beginner to absorb if you started from a goal and worked backward. Some goal that a synth noob could relate to, such as "Let's figure out how to get some particular synth sound". Then start with basics.
If we route the modulator signal to the carrier: - Phase: its called phase modulation - Frequency or Semicent: its frequency modulation Then, if I set the frequency of the modulator to a fixed value and modulate the carriers frequency its linear fm. If the frequency not fixed its exponential, correct?
I've replied elsewhere about this - I believe this part of the video might be misleading. My understanding is that linear/exponential refer to the effect the changes in modulator amplitude have on the carrier: if the frequency is going up and down +/- 100Hz, that's linear FM. If it's going up and down +/- 2 semitones, that's exponential (because musical pitch is in an exponential relationship to actual frequency).
I confess to you, I don't like you. I hate rabbit holes. Yes I want to make synth music but I hate the way things are going... things are too advanced when they are supposed to be simple. Endless rabbit holes and no results. An endless ocean of possibilities. I miss just using traditional synths and triangle waves. But the fact is, you are pro synth master. You have both the skill and the philosophy, a true understanding of this feild. I have watched many of your videos now as a nessesity for my own learning. So thanks. BTW I just got Dune 3. As you said, a beast of a synth. But I'm gonna have to demonstrate ALOT of self control with it. Don't need 10 different filters.
My stepdad, who was easily the best jazz pianist in this part of the country in the 70s and 80s, got a DX7 when they were brand new, and adored his. But he was really not the type to sound-sculpt. They had expandable cartridges with other voices on them, as I recall? Between what he had onboard and what he could download to it, it did everything he needed it to.
There were indeed a number of additional voice cartridges. They, as well as the default voices, are available on the web, and Dexxed can load them, don't know about any of the other synths.
by 1986 howard massey had published his incredible tutorial/patch guide to the foundational fm instrument: *the complete dx7*. that book, in combination with dx7 manual itself, allowed me to seem like a "genius" at programming it. had it not been for budget cuts i would have been hired by the film department at my university to do sound design for student and faculty projects. with respect to dexed, while i agree it does make dx7 programming much, much easier, for my money--and i mean that literally unfortunately--the dx7 contained in the arturia v collection is the pinnacle of dx7 programming. numerous wave forms, three types of envelopes, quick and intuitive controls, a mod matrix, built-in effects, plus the ability to apply changes while listening to the sound as you make the changes. it's not free or even cheap but if you like the dx7 it is worth the expense.
Huh, I'll have to see if I can find a copy of that book somewhere. That sounds really interesting! And absolutely agree - the Arturia DX7 is hands down the best way to get a feel for what that monster of a synth was capable of without wanting to pull your eyes out haha. They really nailed their interface design (as usual) and brought that thing to life. I briefly owned an actual DX7 (funny enough, bought it AFTER I got the V Collection) and after maybe 10 hours total with it I was like "yep, nope" and sold it. Happily using DX7 V since haha.
@@VenusTheory If You're looking... Search for "SY Programming" by Herbert Janssen .. its a free pdf, even if topiced on the most versatile FM-Synth ever - the Yamaha SY99 - there is a lot of tips, hints and theory and a huge list of literature. And that all for free.
One note on the "the DX7 is hard to program" thing... there have been editors that allow you to program the DX7 from the comfort of a computer since at least the mid-80es. They didn't have Dexed back then but for most of the DX7's lifespan, there were alternatives to its horrendous native user interface.
Exactly! DX7 editor/librarians allowed full-screen editing of patches in Apple II, Commodore 64, and eventually IBM PC, Mac, Atari ST, Amiga, way back in the mid '80s.
So I had Phase Plant up, and I was thinking, "I want to learn some FM synthesis. I better find some videos on it." And then you said, "I'm going to be using Phase Plant." Well isn't that convenient!
This video is incredibly helpful and informative. Now Surge XT is beginning to make sense. (I've owned Z3TA+2 by Cakewalk for years. Always seemed too hard to program - maybe now I can start using it.)
Big ups for mentioning the Synclav! I think this is a really good tutorial, however there is something that could be helpful to mention is what I believe to be one of the most fundamental aspects of FM synthesis: It is a monstrously powerful synthesis tool, but for the most part, it is a wasteland of absolute shit tones, with these little pockets of pure magic. Your tip about tiny adjustments is probably the most import one. To add to that, I'd suggest multiple saves of iterations as you build your tones, so that when they do almost inevitably fall apart, you can jump back to a point where things were working well, and try a new direction of tweakage, until you get to the point you want to be at with the particular patch you are programming.
Thanks for this! I keep referring back as I mess around with FM. Are there any new relevant features for FM in 2.0? It would be nice if Phaseplant let you view algorithms in a tree structure like how they are usually shown in dedicated FM synths :/
This is awesome, but that's not my understanding of linear vs exponential FM... I thought exponential meant pitch modulation - so you modulate oyur carrier's pitch up one octave and down one octave (twice the freq vs half the freq)... whereas linear is modulating the carrier's frequency up and down by the same number of Hz (as in, up 500Hz and down 500Hz... maybe going into "negative frequency" territory)?
I have access to an FM synth thanks to FL Studio's Sytrus plugin. While I am grateful for tutorials like this that sort of give an introductory lecture to the history and concepts of FM synthesis, I feel that beginner tutorials for FM synthesis are oversaturated (this is one of the better ones). I suppose I'm wishing for a more intermediate level FM synthesis lesson. Like you said, there's only one tweak away from missing the mark completely (turning a bell-ish sound into a rubber-band-dentist-drill-incinerator). Maybe I'm asking for too much -- as I guess that's the lazy-apprentice request instead of blunt force trial and error -- but some targets to shoot for would be useful.
Great tutorial. Quite practical and really helpful, too. I am getting into this topic within Eurorack realms so it's nice to get help with the first steps. I really can relate with keeping stuff simple an not overcomplicating things. But what I asked myself: Why are there so many options then? Man, even the DX7 had six operators. Who really makes a good use of all these choices (without ever killing cats with all the harsh noise)?
Just bought myself Opzilla FM (yeah, I know) so this is just the explanation I need because effem is deep and I have no idea what I'm doing. Best description I heard about programming the DX7 was it was like decorating the interior of your house through the letterbox.
Great video, Cam. Kudos. If you ever do an addendum to this video, please cover when the operators are non-integer relationships, provided that Phase Plant will allow it.
amazing video! at 7:45 when you show basic fm, you modulate the frequency/pitch. then for the rest of the video you switch to modulating the phase instead. and not the "semi" / "harmonic" / "shift" like before. is it easier to modulate the phase instead? i dont understand the difference
Awesome video! Thanks for sending the link. I don't have much access to FM synthesizers yet, so I'll apply what I've learned to my Reface CS and maybe download a soft synth to expand my field of vision. Maybe once I get my HS Deluxe, I won't look too foolish. It's true, I should have embraced FM sooner, but you pointed it out: my first experience was the Yamaha DX7, and that was going to be a hard sell to someone who was still playing with a synthesizer made by Radio Shack. Keep up the great work!
Man, I so need to learn this stuff, and thanks to Venus Theory for presenting it in a way I might actually retain it. That said, I need to come back first thing in the morning, freshly caffeinated, with pen and paper lol!
When OP is Square or SAW as Modulator, I like use them to modulation SHIFT in Hz, like true FM. Use these waveforms in PM, most time's result is not good...Phase Plant is so nice, even can use wavetable OSC as Modulator with true FM
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It would be great if you could do a more detailed, in depth video covering how to make different families of sound using fm (piano, brass, woodwinds, organs, etc)
1st generation DX7 was my first synth. Mono output only. Being an Electrical Engineer, I picked up the programming fairly quickly. I probably spent most of my time exploring naturalistic instrument sounds such as horns, sax, and piano, and produced some interesting results. I discovered one of the biggest limitations was lack of a noise operator. It took 3 out of the 6 operators to create something like brown noise, but is wasn’t always adequate. Now that FM is integrated into multi-synths like Falcon 2 and Vital, we can use it for what it is best at - complex dynamic harmonics + inharmonics.
I just got a Behringer 2600 and it's interesting how the early modularity in subtractive synths allowed for FM synthesis, even patching noise in as an operator.
One of the best FM explanations I've ever seen. Cheers.
Glad it was helpful!
Amazing. Phaseplant visually showed what could not be seen in Massive X, which I use regularly. And thank you so much, it is very informational.
This is fantastic. I feel like a lot of us have a good handle on basic synth stuff, ADSR, filters, oscillators etc, but I'm still trying to figure out some of the more complex things like FM so this rules.
Glad to hear it was helpful! I've got another video in the works all about Physical Modeling synthesis next!
@@VenusTheory awesome
@@VenusTheory I really should´t - but DAMN , the prices on EBAY for a perfect kept Yamaha VL-1 - it will so DEFF. be my next purchase ... :-O - Do you have any hands-on-knowledge of those resonating fm Physical Modeling marvels ???
The origin of the Taco Bell bell is the best thing I have learned from a synth video in a long time.
Cameron, I wish you the best for growing your channel. Only if I could like multiple times in TH-cam! Discovering your channel is one of the best achievements of my life. Also please add monetisation options on your channel. People would easily contribute for such quality content.
[x] Video doesn't start with "SUP GUYS, IT'S [CHANNEL NAME] BACK WITH ANOTHER VIDEO"
[x] Provides information beyond "how to make this exact sound from a song I heard once"
[x] Presenter acts like a normal person and speaks with a normal voice
[x] Subscribed
First of all, I am sorry for my poor English skills.
This is the best video out of the many FM synths tutorial videos I've ever seen.
Phase Plant is the best instrument to visually understand the fundamentals of FM synthesizers.
Honorable applause to Venus for choosing Phase Plant for the FM Synthesizer tutorial.
At first I was skeptical to be honest, but it worked out quite well! I'd imagine Arturia Pigments would've been a good choice too.
The problem with PhasePlant is its business practice of selling the synth in parts like a Lego. You can also learn FM synth with Surge XT or SonicBits EXAKTLite, which are free. EXAKTLite allows to follow this video quite easily.
@@lolilollolilol7773 Problem? What problem?
@@SpeccyMan Exaggerated price problem
This tutorial is simply stellar. I've been playing with synths for a long time without feeling like I get it. I have just about every major soft synth on the market, but something about Phase Plant just clicks with me. This video did for me what Phase Plant has been doing for me - it simplified synthesis. This is the single best video tutorial I've seen on synthesis period. Thank you!!
i am not a fan of videos that start with intros, and overviews, and hey theres, and whatnots, but I am glad I stuck around for the sound design tips parts because they gave me a lot of ideas.
I gave up on YT tutorials a while back, maybe I just stopped needing them as much for the most part. I bought Phase Plant recently and there were a few things I couldn't figure out how to do or was wondering if there was a better way of doing them. This was my third video and I really got a lot out of it, just a great job all around.
I am completely lost, totally confused and absolutely fascinated. It was so very interesting!
This guy woke up and provided us with a so good explanation i'm in my third simple patch and feel like a modular synthesis god already, this stuff is so freaking complicated yet simple if you use it with some minimalism
liked the operator gag, perfect for a segment on fm too.
Spent way too much time trying to work that joke in somewhere. I'm glad my efforts were worth it haha.
I got PhasePlant because of your videos. I love it so much and my production work has really stepped up since I got it.
I had a Yamaha SY77 in the 80s, which had 6 operator FM and oh my it was about the same complex unintuitive UI with (at least) a bigger display than the DX7. The idea of FM synthesis, sends a shiver down my spine. I've spent way too of my life trying to get something that doesn't sound like banging pieces of metal together or crash test sound effects.
That's what literally any DAW synth is for. It's much less complicated when you can see it
@@kimyona9746 yes, true. My fm trauma was from the 80s
Just study patches that work!
Thanks Cameron, this was great! I loved the focus on guidelines for getting useful, musical results rather than an extensive explanation of it all. 👍🏻
Thank you! I’d written off fm as metallic DX7 type sounds I would never use - but this opens up a whole new dimension.
Great video! I find FM synthesis to be one of the easiest types of synthesis to understand what it is and how it works (maybe only additive synthesis is simpler since it's literally just adding waves), but simultaneously one of the most difficult to dial in a specific tone. What I mean is, it's really easy to get wild, crazy, and inharmonic results, but if I'm looking to make something similar to some patch I heard on a song, it can be hair-pullingly frustrating. When you combine this with the horrible interface of the DX-7 as you mentioned, I think it's easy to see why so many stuck with the presets.
Maybe an interesting aside is that the sound cards of the 90s (like SoundBlaster) were essentially FM synths on a card. FM was used specifically because it was so good at making inharmonic sounds, and if you were making a game, you weren't just making music, you also had to use the card to produce every sound effect in the game -- explosions, bullets, punches, etc. -- since playing back actual audio files was unheard of given how much space they took up on a disk. There were eventually cards that came with some simple wavetable-type synthesis and some rudimentary sampling support, but backwards compatibility concerns meant that devs mostly stuck with the FM stuff. Here's an interesting article/interview on the topic: custompc.raspberrypi.com/articles/the-sound-blaster-story
Maaan - Cameron yuo're just like my math professor - explaining everything to it's roots so it becomes easey peasy :) Watched it, liked it added to my favs and now I know how FM synths works :D
Thanks mate, got myself a volca FM which is the baby dx7 apparently but couldn't get my head around the carrier/operator/algorithm situ, makes a lot of sense seeing its shape on your system ✌️
Two foundations that can't be over emphasized.
One... one operator is one organ pipe, or flute, or ... very simple tone. Ten, lone ranger, single operator tones, composing one patch is Ten Simple Tones.
To get the full power, when simple isn't enough, you need groups of At Least two operators, modulator and carrier. More than two gets Extremely Complex, (and often ugly) quick, as you pointed out admirably.
Therefore, one and two need to be what they need to be, and 3/4... 5/6...7 alone, 8 alone... probably need to be very short or very quiet, or both. When it gets weird, save it, then turn stuff off.
Foundation part 2.... There are a few... super critical... building blocks, that you need to have memorized so solid they become perfectly broken in tools, in well worn holsters, 24/7/365/78.6.
You covered the s8ne wave fine. Your other three Standard All Day Everyday Tools are the Square Wave, Sawtooth, and Triangle Wave.
These are built using two operators, with standard frequency and volume ratios. Those ratios are readily available online.
Bonus tip. Throw an instance of Voxengo SPAN on your master buss, last.
Every project. FM or not. Put it in your standard template.
I skipped the history lecture of almost 5 minutes. Although it sounded interesting. Life goes fast and we have to use our time as efficient as possible. So I always go straight to what I need to hear or see. 🤗💪
But your explaination and showcase is the best I have seen on this synth ever. Well done ❤
the best FM synthesis video I've ever seen
brian eno shoutout! wow, cooll man. yeah he said the dx7 was something he'd get lost in for hours at a time creating atmospheres and stuff.
Hi. I have been struggling to figure out which synth to buy and use. There are so many!!! This tutorial has shown me I am not so interested in sound design, as far as starting sounds from scratch.
I think i am more of a rompler type of guy. I hope I don't catch a beating from the smart people who read this. Thank you for this video. It was eye opening for me! You really helped me move forward!
I jumped on the sound design bandwagon and started using kilohearts phaseplant and ‘ecosystem’. thanks for your help buckaroo
this is great, thanks so much for this visual guide to fm! makes doing it in phase plant specifically so much more obvious too
Thank you for giving a little lesson on FM synths this was so neat to learn about
On the point of phase plant being good way to learn fm synthesis. I think it's probably a great teaching tool for way more general mixing and ear training principles since it gives you such a clear picture of how you are manipulating the wave form. Even when mixing and mastering we are rarely doing more than making two wave forms sound a certain way. I think teaching audio starting with just a sine wave in phase plant has a lot of potential to get someone up to speed on a lot of basic audio terminology like phase, harmonic versus equal tuning and all kinds of other things that come to mind.
Totally agree - their UI/UX people did an absolutely incredible job with PhasePlant!
Hi, I'm from the future. This really helped me wrap my head around FM synthesis. Thanks, Cameron!!
Awesome tutorial. I have finally understood why the pitch is changing when i'm applying fm to an oscillator on my analog synth. -exponential. Love you man!
So glad to hear it was helpful! Cheers!
This will also be helpful in my understanding of Sines, the new 4-sine-osc synth from cherry audio. I have Dexxed but haven't gotten into patch creation much yet.
i can't believe this content on this channel is all just here for free. thanks man.
Finally, I feel like I understand how to _use_ FM synthesis. I got the basic theory ages ago, but there's a big leap from there to here.
If you want to learn how to be creative with FM, you need the Korg OPsix. The interface with 6 sliders and 6 knobs works miracles to get aa feel for what you are doing.
I think one of the best tools you can have handy for taking an FM synth is a low pass filter.
Good stuff. I'm just learning about different synthesis types, and have been playing with a free subtractive VST as I'm learning how to produce beats and music. This was very helpful with explanation and demonstration side by side.
Just watched a documentary on the huge and rare DX1. The youtube algorithm wants me to do some FM patches I guess.I already know how FM works but can't stop myself from watching this. Very good video !
22:25 *alt tabs>one track in ableton with phase plant in it>100% cpu usage when i hit the space bar* 👀
your best advice was at the end when you said DONT OVER COMPLICATE THINGS! I liked that!
ALso, an idea for a future video?? how about Modular synth! Eurorack,Complex-1 type of stuff! Im glad i found you Cam !!
Great tutorial. Just wanted to mention that the Korg Opsix is even easier to program than Phase Plant for FM synthesis IMO.
I have korg op six and it’s easy but work flow is a tad slower. 🤷🏿♀️
Fantastic, Cameron, as usual. Thank you!
Bought a DX7 not long after introduction. My focus was more on it's MIDI function than sound design. At that time, pulling together a MIDI-based music production arsenal was, to me, an absolute genius idea and I fell in love. I'd had some grounding in analog synths with an old Korg monophonic and then a MicroMoog mono and kinda grasped what was going on. Upon hearing the DX7 I knew I have to have one. So I sold my soul and picked one up. The factory patches were cool, but I wanted more. So I started to tweak. It was THE most convolved and confusing process I'd ever tried. Totally lost. I read and tweaked, and read and tweaked, and, in the end, just ended making the most of the factory sound set. UNTIL, I heard the DX7 associated term "additive synthesis." FM meant nothing to me. But adding waveforms together to make something even better...I got it! Modulating frequencies with frequencies "added" up for me. And now I see it everywhere. In fact, and on what would definitely be a side note, this process is the basis for the entire universe. But I digress. Thanks for this vid and a nice intro to Phase Plant.
My story is very close to yours with the exception that I was very well acquainted with FM from my electronics hobby later college Electronics courses. I had a couple of early synths including the ARP 2600. When the DX7 came out I immediately knew that it was the opposite of a subtractive analog synth. When my brother in-law bought a first series DX7 and let me borrow it from time including a 3-week stint, I had it pretty well figured it out to the point that I bought one about a year later. The programming was tedious but there was no other way so I just ran with it.
Once again, thanks for the great content! I would love to see you going through recreating a patch from ear of an old 80s song.
In my closet (I'm looking at it right now) is my original 1st-generation DX7, the first synthsizer I ever bought.
Contrary to general opinion, it was NOT that hard to program. When I first read a review in Keyboard magazine
ideas for how to get unheard sounds kept me up a night. It was obvious I would have to buy one. When I got
it home, checked out the flaccid factory sounds, I decided to try out some of my late-night inspirations, and
got comfortable with it in only few hours. l discovered some interesting glitch "features" that could be used
to get some great aleatoric sounds and warbly underwater textures that are impossible to get on modern
emulations. I was particularly disappointed in the Arturia version, which won't glitch at all, and all my way-
bichen patch ideas failed in translation. I still like, program, and use my DX7, and have come to regard Brian
Eno as not just a complete ignoramous when it comes to music in general, but a total amateur at DX7
programming. I did better around 4 AM in 1984, when I hadn't even gotten my hands on one yet. Yes,
FM7 is much easier to program because of its graphic interface, and it doesn't glitch like the 1983-vintage
DX7, which is both happy and sad. If you thought the DX was a pain to program, try doing it on a
Synclavier or emulation. You'll learn to stop hating and start really appreciating what John Chowning and
Yamaha teamed up to produce almost 40 years ago.
Did you ever release your music?
@@wiegraf9009 Well, not in the sense of cassettes, CD's or online; let's face it - it's mostly
crap. I did "display" it to the public in collaboration with a sculptor I met at a weird art gang
party, and I did the sound design for his works from Sept. 1990 to Oct. 1991, including a few
"guerilla" installations around town. So it has been heard, and I did have one request for how
or where it could be bought. But there was nothing to buy; I didn't make any copies. It was
only for this or that unique sculptural installation. Formless and meaningless without the
sculpture.
nice I just woke up and said I wonder if there are any new videos about production to watch while I drink my coffee, low and behold a topic I enjoy very much by one of my favorite youtubers. cheers ☕
Edit: great video I learned a bit about FM and you reminded me to update my phaseplant to 1.8.15
I've been mainly using Dexed for learning, not realizing the full capabilities phaseplant's framework has for working with fm. I still love Dexed and will always use it but after this video I'm going to have to put dexed down for a few months.
Easily the best FM tutorial I've seen. Thanks so much!
Glad it was helpful!
This is the best vid ive seen on fm, excellent stuff
Whomp! Another great video, love the intro!
I grew up in the 80's and many bands I liked had a DX7 after Ultravox and their analogue synths, so it' always been a shiny thing that I've wanted. So a friend of mine is selling a DX7s so I've bought it and should have it in the next couple of weeks.
I am absolutely NOT a musician but I am an electronics engineer and understand a bit about modulation so I'm really looking forward to having a play with it. This video has been really interesting - thank you :)
I think I've said it before but you are an excellent teacher
I was looking for a great synth channel.Subscribed !
Phase Plant is absolutely beast, one day I'll get it ^.^
1000% worth it.
The subscription is worth it and not a big investment. You will also get multipass, which is just as good for effects.
Definitely learned a lot here. Thanks. It would be super useful to follow up with a use these techniques in a concrete musical project
This went at a pretty fast pace. I feel like this would have been easier for a beginner to absorb if you started from a goal and worked backward. Some goal that a synth noob could relate to, such as "Let's figure out how to get some particular synth sound". Then start with basics.
If we route the modulator signal to the carrier:
- Phase: its called phase modulation
- Frequency or Semicent: its frequency modulation
Then, if I set the frequency of the modulator to a fixed value and modulate the carriers frequency its linear fm. If the frequency not fixed its exponential, correct?
I've replied elsewhere about this - I believe this part of the video might be misleading. My understanding is that linear/exponential refer to the effect the changes in modulator amplitude have on the carrier: if the frequency is going up and down +/- 100Hz, that's linear FM. If it's going up and down +/- 2 semitones, that's exponential (because musical pitch is in an exponential relationship to actual frequency).
Nice tutorial for those interested in fm synthesis!
I confess to you, I don't like you. I hate rabbit holes. Yes I want to make synth music but I hate the way things are going... things are too advanced when they are supposed to be simple. Endless rabbit holes and no results. An endless ocean of possibilities. I miss just using traditional synths and triangle waves. But the fact is, you are pro synth master. You have both the skill and the philosophy, a true understanding of this feild. I have watched many of your videos now as a nessesity for my own learning. So thanks.
BTW I just got Dune 3. As you said, a beast of a synth. But I'm gonna have to demonstrate ALOT of self control with it. Don't need 10 different filters.
Man, this is such a good channel. Top stuff Venus Theory!
My stepdad, who was easily the best jazz pianist in this part of the country in the 70s and 80s, got a DX7 when they were brand new, and adored his. But he was really not the type to sound-sculpt. They had expandable cartridges with other voices on them, as I recall? Between what he had onboard and what he could download to it, it did everything he needed it to.
There were indeed a number of additional voice cartridges. They, as well as the default voices, are available on the web, and Dexxed can load them, don't know about any of the other synths.
by 1986 howard massey had published his incredible tutorial/patch guide to the foundational fm instrument: *the complete dx7*. that book, in combination with dx7 manual itself, allowed me to seem like a "genius" at programming it. had it not been for budget cuts i would have been hired by the film department at my university to do sound design for student and faculty projects.
with respect to dexed, while i agree it does make dx7 programming much, much easier, for my money--and i mean that literally unfortunately--the dx7 contained in the arturia v collection is the pinnacle of dx7 programming. numerous wave forms, three types of envelopes, quick and intuitive controls, a mod matrix, built-in effects, plus the ability to apply changes while listening to the sound as you make the changes. it's not free or even cheap but if you like the dx7 it is worth the expense.
DX-7 V is quite nice
Huh, I'll have to see if I can find a copy of that book somewhere. That sounds really interesting!
And absolutely agree - the Arturia DX7 is hands down the best way to get a feel for what that monster of a synth was capable of without wanting to pull your eyes out haha. They really nailed their interface design (as usual) and brought that thing to life.
I briefly owned an actual DX7 (funny enough, bought it AFTER I got the V Collection) and after maybe 10 hours total with it I was like "yep, nope" and sold it. Happily using DX7 V since haha.
@@VenusTheory If You're looking... Search for "SY Programming" by Herbert Janssen .. its a free pdf, even if topiced on the most versatile FM-Synth ever - the Yamaha SY99 - there is a lot of tips, hints and theory and a huge list of literature. And that all for free.
Is a DX7 (or similar rack unit) worth having if you have DEXED?
One note on the "the DX7 is hard to program" thing... there have been editors that allow you to program the DX7 from the comfort of a computer since at least the mid-80es. They didn't have Dexed back then but for most of the DX7's lifespan, there were alternatives to its horrendous native user interface.
Exactly! DX7 editor/librarians allowed full-screen editing of patches in Apple II, Commodore 64, and eventually IBM PC, Mac, Atari ST, Amiga, way back in the mid '80s.
Man this really helps me to start to make sense of Sytrus's modulation matrix. I'm excited to get home haha.
Very very well explained, my favourite bucckaroonie-master❤🎉
So I had Phase Plant up, and I was thinking, "I want to learn some FM synthesis. I better find some videos on it." And then you said, "I'm going to be using Phase Plant." Well isn't that convenient!
Great job, from now if somebody ask me to explain FM synthesis will save my time and just send him this video :) Excellent !
This video is incredibly helpful and informative. Now Surge XT is beginning to make sense.
(I've owned Z3TA+2 by Cakewalk for years. Always seemed too hard to program - maybe now I can start using it.)
Also, thanks very much for this tutorial. Lots of very insightful and useful info.
I'd like all tutorials on TH-cam would meet that level of quality. Great work, thank you. 👍🏻
Amazing teacher, love your background history as well.
That funky pad you developed at 18:00 sounded just like the keyboard intro to Kansas' "Magnum Opus" :D
Great video. 👍 I've only touched sine wave FM so interesting to see how much more power is available.
Omg you're like the Anthony Fantano of sound design!!!!
Very nice overview and demonstration. Thank you !
Glad you enjoyed it!
Big ups for mentioning the Synclav!
I think this is a really good tutorial, however there is something that could be helpful to mention is what I believe to be one of the most fundamental aspects of FM synthesis: It is a monstrously powerful synthesis tool, but for the most part, it is a wasteland of absolute shit tones, with these little pockets of pure magic. Your tip about tiny adjustments is probably the most import one. To add to that, I'd suggest multiple saves of iterations as you build your tones, so that when they do almost inevitably fall apart, you can jump back to a point where things were working well, and try a new direction of tweakage, until you get to the point you want to be at with the particular patch you are programming.
Thanks for this! I keep referring back as I mess around with FM. Are there any new relevant features for FM in 2.0?
It would be nice if Phaseplant let you view algorithms in a tree structure like how they are usually shown in dedicated FM synths :/
👂I can hear Steve Duda pulling his hair out and going back to the drawing board frantically sketching ideas. Still love Serum and always.
This is awesome, but that's not my understanding of linear vs exponential FM... I thought exponential meant pitch modulation - so you modulate oyur carrier's pitch up one octave and down one octave (twice the freq vs half the freq)... whereas linear is modulating the carrier's frequency up and down by the same number of Hz (as in, up 500Hz and down 500Hz... maybe going into "negative frequency" territory)?
Maybe that's more the geek pedant dickhead's guide to FM anyway though
yep he explained it incorrectly
The visual explanation is awesome
I really appreciate the strategies you shared, but do you know of any good resources or cookbooks for going deeper into FM algorithms? thanks
thank you great info :)
I have access to an FM synth thanks to FL Studio's Sytrus plugin. While I am grateful for tutorials like this that sort of give an introductory lecture to the history and concepts of FM synthesis, I feel that beginner tutorials for FM synthesis are oversaturated (this is one of the better ones).
I suppose I'm wishing for a more intermediate level FM synthesis lesson. Like you said, there's only one tweak away from missing the mark completely (turning a bell-ish sound into a rubber-band-dentist-drill-incinerator). Maybe I'm asking for too much -- as I guess that's the lazy-apprentice request instead of blunt force trial and error -- but some targets to shoot for would be useful.
Great tutorial. Quite practical and really helpful, too. I am getting into this topic within Eurorack realms so it's nice to get help with the first steps. I really can relate with keeping stuff simple an not overcomplicating things. But what I asked myself: Why are there so many options then? Man, even the DX7 had six operators. Who really makes a good use of all these choices (without ever killing cats with all the harsh noise)?
Just bought myself Opzilla FM (yeah, I know) so this is just the explanation I need because effem is deep and I have no idea what I'm doing. Best description I heard about programming the DX7 was it was like decorating the interior of your house through the letterbox.
That's a great way to explain the DX7 😂
Glad the video was helpful!
Great video, Cam. Kudos. If you ever do an addendum to this video, please cover when the operators are non-integer relationships, provided that Phase Plant will allow it.
Glad you enjoyed it! Also covered that at 12:10 and 14:51 / 16:05
@@VenusTheory HA! That's what I get when watching at work and have divided attention...
amazing video! at 7:45 when you show basic fm, you modulate the frequency/pitch. then for the rest of the video you switch to modulating the phase instead. and not the "semi" / "harmonic" / "shift" like before. is it easier to modulate the phase instead? i dont understand the difference
Awesome video! Thanks for sending the link. I don't have much access to FM synthesizers yet, so I'll apply what I've learned to my Reface CS and maybe download a soft synth to expand my field of vision. Maybe once I get my HS Deluxe, I won't look too foolish. It's true, I should have embraced FM sooner, but you pointed it out: my first experience was the Yamaha DX7, and that was going to be a hard sell to someone who was still playing with a synthesizer made by Radio Shack. Keep up the great work!
I like a synth with more knobs to twist and less buttons to press.
Thanks for this. Very useful
Man, I so need to learn this stuff, and thanks to Venus Theory for presenting it in a way I might actually retain it. That said, I need to come back first thing in the morning, freshly caffeinated, with pen and paper lol!
When OP is Square or SAW as Modulator, I like use them to modulation SHIFT in Hz, like true FM. Use these waveforms in PM, most time's result is not good...Phase Plant is so nice, even can use wavetable OSC as Modulator with true FM
you sir are a smooth operator
Great Video, would love to know if the example from phaseplant used in the beginning of the vieo 4:54 is available as a preset?
This is a great demonstration. Unfortunately i was hoping to find the same deep dive but limited to the sines featured in a DX or Volca FM.
That intro made we wanna have a coffee now. Superb video btw!
This is amazing... so helpful. Thank you, man
Just got the trial bundle. Many noise. Such yes.
Is there a way to modulate the output signal you're using for FM with say an envelope or lfo like you can with serum?