I've forgotten what it's called, how many of tehse have waveforms other than sine? It mostly was a 19 inch noise generator with a single great patch, named "Lately Bass". The extra waveforms play an important role here, adding extra harmonics to the 4 operator fm which could otherwise only be had by 6 operators...bmrzycki wrote:By any chance can you name some of the gear this was inspired by?
Zebra FM School
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- u-he
- 30213 posts since 8 Aug, 2002 from Berlin
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- KVRian
- Topic Starter
- 1100 posts since 4 Aug, 2004 from Copenhagen, Denmark
Ok i'll let you guys in on a secret, i dont use the BETA version 
maybe thats why i didnt see that unipolar/bipolar thing.
Another thing i'll give an example on why to use those other waveforms.
In FM synthesis modulation is the whole key to thinking FM synthesis. You can think of it as adding LFO modulation with a sinewave to a sound source like a saw waveform. Normally if we use that LFO as a vibrator to a lead sound it will stay at one fixed speed all over the keyboard but if we added keyfollow tracking to the LFO speed then the vibrato would get more cycles when we moved upwards on the keyboard and less cycles when we moved downward towards C1.
With FM you usually use a minimum of 2 FM operators (OSC) and these to operators (OSC) affects each other in a similar way like an LFO vibrato with keyfollow would affect a normal saw waveform. Except for with FM synthesis we talk about speeds on the vibrato thing which are so fast that they generate a tone and this is where the other FM waveforms on the "more FMO" page comes in.
These FMO Generator waveforms can change the vibrato curve into other curves than we are used to from the standard LFO. In the 001 FM Modulation example we can hear this very clearly when playing lower keys and changing the FMO Generator. Some of these odd curves are good for emulating bird singing, some flute stuff and other wierdness.
So in short, FM is all about Modulation and how that Modulation affects other FMO's. Now i bet most of you guys know what the M stand for in FM
/Michael
maybe thats why i didnt see that unipolar/bipolar thing.Another thing i'll give an example on why to use those other waveforms.
In FM synthesis modulation is the whole key to thinking FM synthesis. You can think of it as adding LFO modulation with a sinewave to a sound source like a saw waveform. Normally if we use that LFO as a vibrator to a lead sound it will stay at one fixed speed all over the keyboard but if we added keyfollow tracking to the LFO speed then the vibrato would get more cycles when we moved upwards on the keyboard and less cycles when we moved downward towards C1.
With FM you usually use a minimum of 2 FM operators (OSC) and these to operators (OSC) affects each other in a similar way like an LFO vibrato with keyfollow would affect a normal saw waveform. Except for with FM synthesis we talk about speeds on the vibrato thing which are so fast that they generate a tone and this is where the other FM waveforms on the "more FMO" page comes in.
These FMO Generator waveforms can change the vibrato curve into other curves than we are used to from the standard LFO. In the 001 FM Modulation example we can hear this very clearly when playing lower keys and changing the FMO Generator. Some of these odd curves are good for emulating bird singing, some flute stuff and other wierdness.
So in short, FM is all about Modulation and how that Modulation affects other FMO's. Now i bet most of you guys know what the M stand for in FM
/Michael
www.xsynth.com - Sound Synthesis with Vintage flavour
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- KVRAF
- 2734 posts since 15 Apr, 2004 from Capital City, UK
ah, the inimitable yamaha tx81z's only worthwhile patchUrs wrote:I've forgotten what it's called, how many of tehse have waveforms other than sine? It mostly was a 19 inch noise generator with a single great patch, named "Lately Bass"...bmrzycki wrote:By any chance can you name some of the gear this was inspired by?
I've tried to recreate this a few times, but always got caught at the osc feedback stage.. I should check michaels file!thanks
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- u-he
- 30213 posts since 8 Aug, 2002 from Berlin
No worries, I couldn't recreate it in Zebra. Zebra 1.5 has an osc mode just for this - which was painfully derived from a screenshot of that patch in Sounddiver.CinningBao wrote:ah, the inimitable yamaha tx81z's only worthwhile patch
IIRC it involved a structure like this:
fb->modulator -> modulator -> carrier <- modulator
Where the first modulator had feedback from itself *and* one of the other waveforms.
All envelopes were so short that Sounddiver could hardly display the curves.
Hmm... maybe I should give it another try...
Urs-
- KVRist
- 299 posts since 15 Apr, 2004
Big Thanks for this one Michael!
I'm a sucker for FM sounds and while I understand some basics there is still a lot to learn.
Btw, If someone feel they need a challange I'll boot up my FS1R and record a seriously strange patch from there and then it's up to you to try and reproduce that in Zebra.( It's one of those patches i love but just cannot get my head around....
)
//L
I'm a sucker for FM sounds and while I understand some basics there is still a lot to learn.
Btw, If someone feel they need a challange I'll boot up my FS1R and record a seriously strange patch from there and then it's up to you to try and reproduce that in Zebra.( It's one of those patches i love but just cannot get my head around....
)//L
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- KVRist
- 493 posts since 20 Apr, 2004 from hki-fi
Big thanks for these! I'm studying the more advanced FM synthesis stuff myself, so these will be greatly appreciated (especially the harmonics chart
The various FMO modes are a nice feature that extends the FMOP's use even more!
The various FMO modes are a nice feature that extends the FMOP's use even more!