What is fm synthesis like on other synths (non yamaha dx's)

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Bitexion
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Re: What is fm synthesis like on other synths (non yamaha dx

Post by Bitexion » Mon May 13, 2013 7:25 pm

The most difficult thing to learn is how to pick the right algorithm for the job. You basically need to plan your sounds alot more, rather than just starting out with a couple of sawtooths, tweak a filter and an envelope and go "yeeeah that's cool".

The DX7 is much more than just 6 operators and envelopes. You have to pick an algorithm too. Those 32 algorithms sounds totally different with the same settings on everything else.

And when you play with a preset and change the algorithm it'll probably just sound like a screechy mess, without you knowing why.

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Re: What is fm synthesis like on other synths (non yamaha dx

Post by Broadwave » Mon May 13, 2013 11:12 pm

CfNorENa wrote:The MOD-7 engine on the Kronos (and Oasys) does FM synthesis. There are some additional features etc. not found in the DX series, but you can certainly limit it to straightforward 6 OP FM (it can load DX-7 patches, for example). I haven't dug into MOD-7 yet, but the presets are simply stunning. MOD-7 is almost worth the price of the Kronos all by itself!
I'm just starting to get to grips with MOD-7. It's a serious beast to learn, but the results are stunning. For anyone not in the know, MOD-7 is just that... a modular DX type FM synth, the oscillators have dynamic waveshapers, so you're not just stuck with sine waves (I know later FM synth offered a handful of extra waves, but nothing like the MOD).

The algorithms are patchable, so you're not limited to 32 of them, and then on top of all that you have the Kronos' filters, LFOs, amps, envelopes (with adjustable log/lin slopes!!) etc. and that's just one of nine engines.

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Re: What is fm synthesis like on other synths (non yamaha dx

Post by pflosi » Tue May 14, 2013 7:39 am

CS_TBL wrote:
pflosi wrote:Well it's not like programming a DX7 is that complicated, is it? It's just like four things: algorithm, operator frequencies, operator levels, envelopes - done...
It isn't complex if you've ever worked with a routing matrix. It's the fixed algorithms in the DX-line that make things complex. In one algo an operator 'changes' brightness, in another it changes volume, in another it changes brightness (but no ordinary brightness, a special kind of brightness because another operator is changing brightness in another way), and in another algo one operator affects both volume and brightness. If you don't know about operator routing and are just doing trial 'n error, you won't get any idea as for which does what and you probably end up tweaking existing sounds with sheer luck 'n guesswork. And then I haven't even mentioned using an operator as wave shaper yet! If there had been knobs for everything (like that big blue thing), maybe it'd have helped. But alas, a two-line display with membrane keys isn't that inviting at all.

The key to FM is starting with two operators, a modulator (with feedback) and a carrier in one fixed routing. Live with it for some years and you'll be the king of two operator heaven. After that it's far more easier to work with more operators, and your sounds will be quite effective.
Bitexion wrote:The most difficult thing to learn is how to pick the right algorithm for the job. You basically need to plan your sounds alot more, rather than just starting out with a couple of sawtooths, tweak a filter and an envelope and go "yeeeah that's cool".

The DX7 is much more than just 6 operators and envelopes. You have to pick an algorithm too. Those 32 algorithms sounds totally different with the same settings on everything else.

And when you play with a preset and change the algorithm it'll probably just sound like a screechy mess, without you knowing why.
Sure guys, but I think I mentioned "pick algorithm" as first step... I am aware of what they do and which one to choose for which sound.

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