We’re taking the world of sound design by storm. This time, we’re covering how to do FM synthesis<\/strong>. <\/p>\n\n\n\n What’s FM synthesis, I hear you ask? Only one of the coolest things to happen to humans. Here’s how FM synthesis works.<\/p>\n\n\n\n If you’re new to synthesis, we’ve written a couple of other articles that will make this article easier for you to understand. <\/p>\n\n\n\n How Do Synthesizers Work?<\/a><\/strong> FM synthesis<\/strong>, my dear friends, is a method of creating crazy timbres<\/strong>. As you’re curious, FM stands for frequency modulation.<\/p>\n\n\n\n By modulating the frequency of one sound with another<\/strong> in softsynths such as FM8 by Native Instruments<\/a><\/strong>, we’re able to take our sound design to Mars… sorry, Elon.<\/p>\n\n\n\n Let’s take a quick detour back to when we spoke about subtractive synthesis<\/a><\/strong>… or any synthesis, for that matter. <\/p>\n\n\n\n We said the use of LFOs <\/strong>allows you to bring more movement to your sound because they bring change over time<\/strong>.<\/p>\n\n\n\n The simplest form of FM synthesis is applying an LFO to the pitch of your oscillator. This gives you a vibrato effect. The speed of which is set by the rate of the LFO<\/strong> and the intensity is set by the LFO frequency<\/strong>.<\/p>\n\n\n\n These processes are what happen in FM synthesis, but with some different details.<\/p>\n\n\n\n If you increase the rate of the LFO to higher ratios<\/strong>, it sounds less like vibrato and closer to a new sound itself.<\/p>\n\n\n\n This modulation creates timbres<\/strong> that would not have been heard before FM was born.<\/p>\n\n\n\n Without further ado, let’s find out what those differing details that I mentioned are.<\/p>\n\n\n\n Operators<\/strong> are the foundations of FM synthesis.<\/p>\n\n\n\n Let’s think of operators as oscillators with their very own amplitude envelopes<\/strong>. <\/p>\n\n\n\n Classic FM synths such as the Yamaha DX7<\/a><\/strong> had a maximum of six operators. <\/p>\n\n\n\n In our present-day, most FM synths have a total of four operators. Once upon a time operators could only generate sine waves<\/strong>, but this isn’t the case anymore!<\/p>\n\n\n\n For frequency modulation<\/strong> to happen, you need at least two sound sources<\/strong>. One source does the modulating<\/strong> and one source is modulated<\/strong>.<\/p>\n\n\n\n Operators perform both of these roles<\/strong>. Do you see why we compared them to oscillators?<\/p>\n\n\n\n The modulating operator is called the modulator.<\/strong><\/p>\n\n\n\n The modulated operator is called the carrier.<\/strong><\/p>\n\n\n\n By changing the frequencies of your operators, playing with their amplitude envelopes, and messing with the arrangement<\/strong> within your patch, you can create magnificent sounds. <\/p>\n\n\n\n But what do we mean by operator arrangement? <\/p>\n\n\n\n What operator is modulating other operators? Are they modulating more than one operator? <\/p>\n\n\n\n How do I navigate this mess?<\/strong><\/p>\n\n\n\n Each carrier or modulator that you connect to other operators in your patch makes a huge difference to your sound.<\/p>\n\n\n\n If you felt like being a devil and wanted to feature six operators in your patch, arranging those operators would get pretty overwhelming if you didn’t know what you were doing.<\/p>\n\n\n\n And that\u2019s why Yamaha decided to feature only a fixed number of operator arrangements in their DX7. These arrangements get the best results in terms of sound creation.<\/p>\n\n\n\n These arrangments, my humble synthesist, are called algorithms.<\/p>\n\n\n\n They seem a little complicated, but here are the basics. The bottom row of operators in any algorithm is your carriers<\/strong>. The rest are always modulators<\/strong>.<\/p>\n\n\n\n If we wanted to compare carriers to oscillators, we’d see that they play a very similar role.<\/p>\n\n\n\n In example 5, both carriers (the bottom operators) have one operator modulating each of them.<\/p>\n\n\n\n If you were to set these modulators to different frequencies, they will create two very radical timbres.<\/p>\n\n\n\n If you are changing the level of each carrier, the blend of timbres<\/strong> will be adjusted in the same way that mixing two oscillators together worked in our previous examples.<\/p>\n\n\n\n Like with oscillators, if your operators had no change over time… well, you’d get bored.<\/p>\n\n\n\n Like we said before, FM synthesis also uses envelopes<\/strong> – just lots more! Each operator has its own amplitude envelope<\/strong>.<\/p>\n\n\n\n The envelopes work just like they do in subtractive synthesis on carrier operators.<\/strong><\/p>\n\n\n\n Modulator operators, however, use envelopes too. This opens the door to some very complex sounds because you can edit the amplitude of the modulating frequency.<\/p>\n\n\n\n We’re glad you asked!<\/p>\n\n\n\n The answer is complex, harmonic, sounds<\/strong>.<\/p>\n\n\n\n The way to do that is by using high ratio modulator frequencies<\/strong>.<\/p>\n\n\n\n Your modulator frequency\/rate <\/strong>will often be a multiple of the carrier frequency because this makes it easier for you to predict what kind of sound you\u2019re about to create.<\/p>\n\n\n\n If you used a 1:1 ratio<\/strong> for the modulator frequency and that travels into the carrier operator, this will produce a sound with a little bit of harmonic content.<\/p>\n\n\n\n A 2:1 ratio<\/strong>, however, will produce more complex tones<\/strong>. The same principle can be applied for any ratio.<\/p>\n\n\n\n Homies, we’re almost there. This has been a hell of a journey, my noble adventurers.<\/p>\n\n\n\n The last stop on our FM synthesis road trip is operator feedback<\/strong>.<\/p>\n\n\n\n Feedback isn’t a need to know topic. However, having it in mind will allow you to understand this method of synthesis all the more.<\/p>\n\n\n\n This isn’t an exact definition, but feedback makes the operator frequency become its own modulator signal<\/strong>.<\/p>\n\n\n\n This allows feedback to become another way to build harmonically rich waveforms<\/strong> from your operators. By turning up the feedback, the waveform morphs<\/strong> even more!<\/p>\n\n\n\n To add to the sound applications of subtractive<\/a><\/strong> and additive<\/a><\/strong> synthesis, FM synthesis will enrich your track in multiple ways.<\/p>\n\n\n\n FM synthesis is fantastic for aggressive, punchy, bass sounds<\/strong> – or on the flip side, it’s great for slick pads<\/strong>! <\/p>\n\n\n\n FM, as well as additive, synthesis is great for plucked string sounds<\/strong>. What’s more is FM’s capability for harsh, harmonically rich<\/strong> sounds too! That’s not even mentioning its functionality when it comes to long attack instruments such as electric pianos<\/strong>!<\/p>\n","protected":false},"excerpt":{"rendered":" It’s Time For Another Round of Synthesis! Ladies & gents, dogs & cats. You’ve masterfully composed the beginnings of your new track with Mixxed samples & want to spice up your pot with interesting sounds. We’re taking the world of sound design by storm. This time, we’re covering how to do FM synthesis. What’s FM synthesis, I hear you ask? Only one of the coolest things to happen to humans. Here’s how FM synthesis works. If you’re new to synthesis, we’ve written a couple of other articles that will make this article easier for you to understand. Define Synthesis Series…<\/p>\n","protected":false},"author":3,"featured_media":1414,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[20,19,323],"tags":[376,378,374,375,261,377],"class_list":["post-1411","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-community","category-music-creation-tools","category-tutorial","tag-guide-to-fm-synthesis","tag-how-to-do-fm-synthesis","tag-how-to-fm-synthesis","tag-how-to-learn-fm-synthesis","tag-mixxed-com","tag-whats-fm-syntheis"],"acf":[],"yoast_head":"\nDefine Synthesis Series<\/h2>\n\n\n\n
How Does Subtractive Synthesis Work?<\/a><\/strong>
How Does Additive Synthesis Work?<\/a><\/strong>
How Does FM Synthesis Work?<\/a><\/strong>
How Does Wavetable Synthesis Work?<\/a><\/strong>
How Does Vector Synthesis Work?<\/a><\/strong>
How Does AM Synthesis Work?<\/a><\/strong>
How Does Modular Synthesis Work?<\/a><\/strong>
How Does Granular Synthesis? <\/a><\/strong>
How Does Sample Based Synthesis Work?<\/a><\/strong>
How Does Spectral Synthesis Work?<\/a><\/strong>
How Do Vocoders Work?<\/a><\/strong><\/p>\n\n\n\nWhat is FM Synthesis?<\/h2>\n\n\n\n
![\"\"](\"https:\/\/mixxed.com\/blog\/wp-content\/uploads\/2021\/08\/FM8-Mixxed-Blog-1024x576.jpg\")
FM Synthesis Explained<\/h2>\n\n\n\n
FM Synthesis For Dummies<\/h2>\n\n\n\n
What Are Operators in Fm Synthesis?<\/h3>\n\n\n\n
What Are Carriers and Modulators in FM Synthesis?<\/h3>\n\n\n\n
What Are Algorithms in FM Synthesis?<\/h3>\n\n\n\n
![\"\"](\"https:\/\/mixxed.com\/blog\/wp-content\/uploads\/2021\/08\/Yamaha-FM-Presets-Mixxed-Blog-1024x576.jpg\")
What Are Operator Envelopes?<\/h3>\n\n\n\n
What is FM Synthesis Good For?<\/h2>\n\n\n\n
![\"\"](\"https:\/\/mixxed.com\/blog\/wp-content\/uploads\/2021\/08\/FM-Synthesis-Example-1024x576.jpg\")
Guide to FM Synthesis: Operator Feedback<\/h2>\n\n\n\n
Sound Applications For FM Synthesis <\/h2>\n\n\n\n