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Does anybody know how to do FM synthesis?
I mean, I understand the math and so on and so forth. What I can't get
round is that even with a seemingly "infinite" range of possibilities to
play with, every single sound I make sounds virtually identical. It's
just not very sonically interesting. No matter how you wire up the
operators, all you get is a sound that you can adjust from harsh hissing
to pure sine tones.
Does anybody know how to do this stuff properly?
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Orchid XP v7 wrote:
> Does anybody know how to do FM synthesis?
>
> I mean, I understand the math and so on and so forth. What I can't get
> round is that even with a seemingly "infinite" range of possibilities to
> play with, every single sound I make sounds virtually identical. It's
> just not very sonically interesting. No matter how you wire up the
> operators, all you get is a sound that you can adjust from harsh hissing
> to pure sine tones.
>
> Does anybody know how to do this stuff properly?
Isn't that essentially all you can get out of an FM synth? Tinny bleeps
and blurps, with a buzz here and there. I remember having an FM synth
card when I was younger. I got the patch editor for it. I realized why
there were no new sounds. None actually exist. IIRC, you've essentially
got 2 waveforms, a full sine and a half, sine (almost like a sawtooth
but, sine curve until the sharp transition)
It sucked.
Good luck :D
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Here's some FM synthesis goodness from a SPICE circuit, using a 1kHz carrier
frequency, 14 Hz signal frequency, and a modulation index of 100.
Post a reply to this message
Attachments:
Download 'fm2.wav.dat' (216 KB)
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My life feels so much enriched...
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Just going by my own ancient experience working with DX7s and similar
synths. When the modulating wave form is not an even multiple of the carrier
wave, you will tend to get more metallic tymbres. I don't know what's going
on with FM synthesis these days, but <old geezer voice> back in my day, all
we had was sine waves to synthesize with-- and that's the way we liked
it!</old geezer voice> And as such, if you wanted something closer to a
sawtooth wave you would add harmonics on the octaves above the carrier.
To get something more akin to pots and pans, one might add harmonics that
were 1.5 octaves above the carrier, etc.
Of course, none of that may make any sense to anyone. ;-)
--
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On Thu, 18 Oct 2007 22:07:23 +0100, Orchid XP v7 <voi### [at] dev null> wrote:
>My life feels so much enriched...
I knew you would love it! :-D
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> Does anybody know how to do FM synthesis?
>
> I mean, I understand the math and so on and so forth. What I can't get
> round is that even with a seemingly "infinite" range of possibilities to
> play with, every single sound I make sounds virtually identical. It's
> just not very sonically interesting. No matter how you wire up the
> operators, all you get is a sound that you can adjust from harsh hissing
> to pure sine tones.
From what I know (or at least think I know), to obtain interesting sounds,
you should add thinks like ADSR enveloppe, ring modulation, various filters
(tone, flanging...).
Look at a Yamaha DX7 specifications to see what they added.
(even then, it's overall very boring and apart 3 or 4 disctinctive sounds,
there's not much to get from FM synthesis)
Fabien.
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Halbert wrote:
> Just going by my own ancient experience working with DX7s and similar
> synths. When the modulating wave form is not an even multiple of the carrier
> wave, you will tend to get more metallic tymbres. I don't know what's going
> on with FM synthesis these days, but <old geezer voice> back in my day, all
> we had was sine waves to synthesize with-- and that's the way we liked
> it!</old geezer voice> And as such, if you wanted something closer to a
> sawtooth wave you would add harmonics on the octaves above the carrier.
> To get something more akin to pots and pans, one might add harmonics that
> were 1.5 octaves above the carrier, etc.
>
> Of course, none of that may make any sense to anyone. ;-)
LOL!
I'm using Native Instrument's FM8. It offers a small zoo of waveforms,
but honestly? It doesn't make a lot of difference. It means you can make
noisy sounds with fewer operators, but that's about it.
Theoretically, you can basically do everything with sine waves anyway, so...
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Fa3ien wrote:
> From what I know (or at least think I know), to obtain interesting sounds,
> you should add thinks like ADSR enveloppe, ring modulation, various filters
> (tone, flanging...).
>
> Look at a Yamaha DX7 specifications to see what they added.
>
> (even then, it's overall very boring and apart 3 or 4 disctinctive sounds,
> there's not much to get from FM synthesis)
I'm using Native Instruments' FM8, and it seems to manage quite a wide
array of different tones. I just can't figure out how to work it very well.
It just amuses me that there's all these trillions of ways of linking
the operators together... and they all produce an identical sound.
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