FM Synthesis Basics Explained.

Discussion in 'Production' started by dirty breaks, Jan 15, 2013.

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  1. dirty breaks

    dirty breaks Guest

    "the basics of fm programming are very easy to grasp. imagine the beatles on a stage. john, paul, george and ringo represent the four operators of your fb01.

    john sings a note and holds it. in fm-speak he is the carrier (carrying a tune, if you like). now paul grabs johns throat and begins shaking it gently, making john's voice warble a little as he holds his note. paul is acting like an fm modulator. if you make paul shake john's voice faster, the sound john makes will change. in fm-speak, you've just changed the frequency of the modulator. if you make paul squeeze john's neck harder while he's shaking, john's voice will grow more alarmed and sound brighter (while still singing the same pitch). in fm-speak, you've just changed the volume of the modulator. while paul is modulating, you can tell him to squeeze john's throat gently, then give give it a quick tight squeeze, then slowly relax his grip. this will make john's voice sound dull, then quickly brighten then gradually recede back to the sound he makes when paul is just modulating his voice, without squeezing it. in fm, you've used the modulator's output envelope generator (or EG) to vary the carrier's brightness over time.

    you now have the basics of fm. a modulator's frequency and volume will change a carrier's tone. the higher the frequency or the louder the modulator, the more drastically the carrier's tone is changed. you can change the modulator's volume over time, but not its frequency.

    this is where george and ringo come in. while paul shakes john's throat, george shakes paul's arms. poor john's voice is warbling like crazy now! and if you make ringo shake george's arms while george is shaking pauls arms while paul is shaking john's throat, you can only imagine the sound that's coming out. so in fm-speak, modulators can modulate other modulators.

    but that's not all. let's replace ringo with pete best. well, this guy is just shaking with rage at not being a real beatle. so when he shakes george's arms, he does it super fast, which ultimately changes how fast paul shakes john's throat. pete is an fm feedback operator and he can change the sound more drastically than any of the other beatles (maybe i should have used george martin? lol). if you want, you can have pete screaming in another beatle's ear, giving that beatle feedback about what it's like to not have all that fortune and fame.

    but john isn't the only beatle who can sing. you can have john and paul sing while ringo and george shake paul. the result is john's voice will blend with paul's to make one harmonically rich sound. by deciding who will be shaking whom and whom the feedback operator will affect, you are setting the fm algorithm, which will determine what sounds you can make.

    so that's your 4-op synth. add george martin and billy preston and you have a dx7."

    http://www.gearslutz.com/board/elec...-explanation-fm-synthesis-ive-ever-heard.html



    :2thumbs:
     
  2. Dugg Funnie

    Dugg Funnie Well-Known Member

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    Even better:

    FM synthesis = fucking nonsense that's become the next Modern Talking, it's good if your FUCKING PRO AS SHIT at it, but otherwise just stick to subtractive or otherwise, you'll get the same quality of results.
     
  3. Riisu

    Riisu Not the Preacher Man

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    The endless options of FM synthesis has become a singular Massive preset.....

    Cool story bro.
     
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  4. dirty breaks

    dirty breaks Guest

    how is the modern talking wavetable 'good if your(sic) fuckin pro as shit'? and you wont get the same quality of results with 'subtractive or otherwise'... do you even know what you are saying?




















    mate do you even compress?


    :confused:
     
  5. Pauldavid

    Pauldavid Member

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    Add Michael j fox to the stage and you have instant wobble.
     
  6. Dugg Funnie

    Dugg Funnie Well-Known Member

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    Lol, my grammar definitely botched the point I was making. I meant to say I've been hearing so many people hyping up FM synthesis to get the same kind of bass sounds you can get much more easily using subtractive synthesis, sure if you want to synthesize the most realistic sounding piano or guitar emulation you can imagine I'd go FM; but otherwise it seems to me to be 98% hype, 2% substance.

    ibhaters.
     
  7. spyre

    spyre sample all the things

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    This is what i've found as well, though I might just be terrible at FM
     
  8. EvezDroppin

    EvezDroppin how to change name,......

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    majority of octane and dlr's bass are made with fm8, i guess that says alot... very useful if you know how to use it.

    i find fm8 a massive spin out to use though