FM Synthesis In Detail


FL Studio Synthesis Master Class


Lesson Info

FM Synthesis In Detail

When would you use grifter wants? No one would use fm versus other type of synthesis from the start like when you're just starting out apart from your experimentation what's it good for it's good for, um like the kind of the squelch, the stuff that's pretty good for that there are ways to do that and other processes of and like I have a process that kind of thing but it's just a lot easier to do it with fm um also if I if I want to create kind of a unique specifically a unique modulation because if you're doing if you're doing other processes less attractive added of any card of monetization you create with that is going to be a result of much, much harder I mean actually it's about state difficult if you think about it, he said, the kind of in control of like filters or special distortion profiles are compression and that kind of thing you need to create interesting modulation versus an fm you just put these changes have intensity in various various different oscillators and you could...

create modulations you probably weren't prepared for, which is kind of a good tool tohave when you're trying to come up with something cool because it's, if you're not totally prepared what's going do that means that it might be something totally cool, unique it's also a good bed for vote coating stuff which is actually going to cover in the next segment because if it's interesting amount of profile further messing with that with additional filtering, the traditional folk coating gives it much more consistent in the unique profile as well, because this is he is important and this is something that's actually pretty common like and easy to point out with massive bass sound design or any kind of way table by sounds like now without family have serum. Our point is that if it you hear the sound and it's really complicated kind of modulation and it's like the same it's exactly the same forwards back and it's what wobbling all time and it's very sort of unchanging then you could sort of say that's really kind of nailed down and uh identical recording basically of what of the population or it could just be a knot super overcomplicated fm pats like that the idea was making earlier about the the they're trying a wave it and just just distorting the fm that's way simpler than the stuff that I'm doing here with with the extra harmonics and square rising in that that's the chain building up that kind of thing it's very uh like I liked overcomplicate stuff but you don't necessarily have to either I got you um so it's mostly a kind of it is a different a different tambor screw around with and for my own my own personal designs, when I'm trying to create something I just for modulation purposes I like I like having an effect affect a base from my base. You don't have a couple more questions, let's do it awesome. Is it possible to create forman o c s? Oh, yeah, o c os sees with fm synthesis forbid us leaders uh, one hundred percent sure what you mean by also is in this context. But I suppose, um, like one kind of interesting ideas that I mentioned earlier about some of the wait tables, a massive having may possibly been created with him, that this is actually a bit of a a bit of a misunderstanding on my part at the time, but for how I thought massive work and what what I thought bed plus and minus was in that kind of idea and it's, because the fact that massive is only work mode was ben plus and minus I wasn't in the under the interpretation, other the impression that the way table it was more complicated than what it was. I thought, I thought that what happened was that you have that you have the one direction of the wave table, and then you have the other direction of the way that, well, that just changed kind of the squelching this aspect because when one of the first things I figured out, what that family is the idea that if you do modulate a higher harmonic by a lower home I'm going to get the squelching going on that it does sound kind of like that plus and minus and so look look look at modern talking and listen to what something with the bed was a minus population was kind of like I could about that process you know that's actually live process bam possum eyes is alive and distortion off the way form done inside massive and uh it's like that if I if you mean like you know it's impossible to create like away table with citrus toe be a form of the thing that got totally but if you mean like making oscillator that is that that is like outputting former characteristics of the new using that as an anti months later you can't we're kind of that we can do that kind of right now like if we have our output that we made with this that is uh kind of former d that's right now that's operator what? And if I actually fm another operated by operated one then that's more or less like we're operating ever be careful about that, you can kind of use that toe modulate other stuff which the value of that would be something that you'd have to experiment with the fine something ceo your own meeting that's surprising why why do that it's not something that I don't but actually what I have sort of done that there's a whole forman oscillators you're talking about that the effort mate way forms the form and the eighth foreman six form and all that kind of stuff okay that's way easier that's actually a cool to ask questions. So aa lot of a lot of sound design like if you watch this video out there where far too loud explained how he made a song six hundred years and the first thing that was up there with that he used f in eight and he modulated aside waived by the a former slave now there isn't the for all the morphing that's available in citrus there isn't really there's not there's not that you can drop a single cycle in there and we'll be synthesized to create that way form so if you have if you just recorded the eighth foreman and then you put in there they would have that but it's kind of a hassle and that if you had ever made you have the informer why would I do that the first place but you are able to actually do this kind of on the fly on the way this works is you make you make announce later let's say let's say I want I want us to to be the eighth foreman so I'm going to actually make it uh higher and pitch and then I want a ring modulated by operated three which remember everybody does is essentially fm on lee for volume ends at a pitch and among that difference where the big difference is that is that actually the way form you see and the activity it creates is one that one none of the slow business that phase modulation brings pretty direct and bring modulation by the phone is bipolar so it goes up positive one that comes back down and turn off turned off again and it turned on again negative one because back off one said essentially that turns on place pras elation don't want to do that on a turnaround once prosection someone turn on half so now has done that also got turn on him basically to make it a solid way kind of thing that all the way but almost all the way and the reason why I'm doing this is it because if you ever look at if I had a copy of uh the former and you'd see their looks kind of like that is that there's a sign wave going on sort of beneath a larger oscillation movement and through the one way of life of the for mint oscillator they thought let's have the fifth and sixth formers or whatever is is a fundamental town but then the harmonic beneath that is just set by the pinch of I think ratio twelve is specifically the eighth former in this example I have the check back remember, remember, but now now we've essentially made also or to the eighth foreman and everything modulate operative one bio slurry tio and if you ever modulated anything about the performance inside estimate, that should sound very familiar to you and have you ever listened to popular based music made in the last year that sauce is a very familiar to you because that that sort of that sort of from ana content is present in a lot of it? In fact, for the longest time before I was aware that that's what that silent that's, what that sounds like to modulate by the informants? I thought that was a vocoder thing I'm only measurable accordingly later, you'll see you kind of see where I'm coming from a certain artifacts that that exists when you're dealing with something that sounds sort of like that is is sort of sort of convoluted by the fact that people tend to use this as a vocoder carrier, which will explain when we get there to, uh any more questions about that, how cool I hope I actually answer that guy's question right? Because I incorrectly assumed what what he was talking about this I think I agree the issue we're talking about I'm having I would have been wrong the whole time we do have a question about what's the during spring fm in our m and how do they work in citrus? Yeah, so I kind of touched on that earlier, but I couldn't give a more marking detailed explanation r m stands for ring population, which is a process that is like fm only instead of controlling pitch controls voice there is another kind of version of that is called amplitude modulation am in fact, on your radio am f are those processes amplitude modulation versus frequency modulation and you might have just given us something I've seen there when I when I had the other base example and I was thinking that's what I'm talking about with the idea of the foreman also better where I modulated the sine wave by that way four minutes sound like it was just the same way for him again and so the ball is like the same sound that should give you kind of it a little bit of a clue as to how um uh fam transmissions work which we could pay it it's kind of interesting, but um the difference between rain modulation and amplitude modulation it's purely the fact that bring modulation as we described what are making this oscillator is bipolar it's positive or negative? So it goes on positive off again and on negative and off again so on off on off once there twice per reform versus ring a bell to my division which is just zero up behind a percent off then that's all that is just one percent on positively then off again I mean positive data depending on high set but the modulation in here I said to be positive and that's really all there is to that there's a lot of applications for bringing modulation and uh I am that kind of thing mostly mostly even if it if you if you ever experiment whether you might have fired that a kind of sign of the same but different so if you ever tried if you're trying to get like a boar unique fm sound because remember it remember the intensity of fm the actual amount of fm is controlled by the volume of your oscillator that is modulating the carrier so if you ring modulate the barge later that means that it's coming good turn on and off really fast per oscillation it means that the fed was going to change really fast prostration so some mind games there to mess around with any questions about vast right? No matter what we're coming up on the end of actually sort of explaining fm I wantto does now given example of what I was talking about controlling the ring modulation of fm a sound I like to use a lot as either a carrier for roe cody or as a source for for filtering after those u turn fell down a little bit because it's kind of loud so I made a made a mess this is just a very messy, sad right on the reason why I made the mess like that has not changed on the faces of whatever is because I wanted I wanted the oscillation just be this big kind of the caveman style where the beginning in the advert period of but the reason for that is that if I if I bring modulate that it turned out half and even remember the idea, their idea of ring modulation is that what you see in the way former, is what you get. So what this is telling us is that half the way form is going to be a family with this mess, and the other half is not and that's precisely what we get, we get, uh, one half the house that massive we've engaged in the other half is the original sine wave still that's a neat, any kind of based odor, you know, if you're goingto that filter is, um coursing is a distortion of it. So that's a lot of fun. Um, what's also kind of important is the idea of the ratio as you probably talked about this, I've been controlling the pitch of everything, but by sort of a ratio about not by note values and them even though there is kind of hurts value thing over here I've been using the racial what does that what does that mean? What is the purpose of making this? The idea is is that all the oscillators have to move together? They have to be the same distance apart at all times in terms of pitch and and that's a ratio difference something if I played a note on another note the tone transfers because if it was the same note like that if the module and it was just a value and then I played a different no and it was still that other value the tone won't match up anymore it won't make any sense so everything has to kind of move together for everything be together. But this kind of super static super unchanging sound is a part of everything being the exact same pitch but what if we don't want to be the same? Because you notice the ratio has many decimal places and we can change them things like for example, one of a change the ring modulators pitch I will bet it's like the little window is now moving around because it's it's faster or slower faster fashion than the original original fm and even that one if I change to push the fm it's doing the exact same thing only now it's moving beneath the window of the rebuttal later so it's still staying in the same place but so has the same kind of motion to it so yeah it does create interesting motions if some of the things were different pitches and some of my earlier example like earlier experiments with fm were actually the idea of fm races and the re spaces remembers where you have d tune that creates that rhythmic movement in the modulation we could do that with a fat mostly by changing the pitch of either the carrier or the bottle itself and you might have thought to yourself why wasn't that when I change the pitch of the carrier that the pitch of everything didn't change it it created that kind of kind of wobble right there the faith the phase while well but it didn't change the pitch as because in this examples the karen just signed with all the harmonics and being created being created by the fm modulation so the fm modulation is still the original pitch we're still going to hear that as being the original pitch but all all the differences and movement that we get from the carrier being indifferent pitch are going toe still be president if I did that with the fm modulation less elegant let's praise having because that's sounds like a different person remember we're using the modulation what we see is what we get so we've created capital snippet a way forward that can kind of move around with phase clearly, that's, what phase is just position of the way forms beginning that sort of stuff? Are there any more questions about fm? Is a concept that anyone has ever question, would you or would it be better? Or is there difference in the in using separate e two filters or not high past low pass automation or built in fm plugin filters, but better was different about those? The difference about having them inside the plug in is that there's a lot of there's, a lot of internal modulation, you could take advantage of it a bit easier than sort of external automation. The way that this works in the interest is I usually forget that they're even there, because I'm supposed to focus on sort of it's, an fm said, sort of the best filters, but the way that works is that the way you brown output, you know, also that goes to the outward outside that's, right it out, but then if I wanted to filter that, I would round it into the filter and then wrap that filter out. So then we have the maid major is kind of doing a stay there and then in the field that we have all the all the various options and all this, all this filters entering here are most of the basic filters that a president almost every f l plug it so they're not super different from doing external the external filled the violations that kind of thing but we do have we do have a lot of eternal kind of like uh look at how we could said operated one teo the first filter but that also second felt there have them both come out individually or seven filter one to the next photo and have that one the book be processed in cereal that kind of thing supposed parallel there are three of them in fact I was told by one of the guys at image like that the fact the reason why there are three of them is so that you can specifically what you could do a vowel morphing filtering which is usually done by having three separate band pass holders that are done in parallels you got you got three dodgers three peeks essentially and with those three peaks with proper an automation you're able to could did to do all of about I and personally I'm not really familiar with that process because it's not it's like the thing that I am right now figuring out how to deal it's not something that I'm good at um but you can find like the necessary frequencies in the positions that kind of thing online on dh does even the precepts of orange juice that is example of that it sounds kind of talk boxy it's very it's very like and you you have tryingto can deal and that's why there's three of them but you get the difference we know that's not it's not like a quo difference of doing that internally was doing and certainly but it is easier for things like you khun route the cut off of the field it's a modulator we know why whatever and then you could have a do a very interesting kind of comptroller movement so where you know you move why up up and down but that doesn't necessarily mean that it is moving one the one up and down that kind of deal although nfl twelve there is a next colonel x y control where you could do essentially that friend the parameters so I guess that's going toe not be a limiting factor anymore but uh yeah hope is your question um we got sort of a housekeeping question could you explain what a wave table is? I guess you could use harbor favorite was so away table is when you have like a sound any any kind of sound like even though like a voice house mews house music house music about um it breaks down a sample into little tiny little tiny little segments and each these segments if I turn speed off each little black line is one moment where there is a nonce elation wait tables and versus what harvard does are are a bit different harmer takes a snippet of additive information of like what the harmonics are doing harmonic information and then it takes more snippets of martin bits and then across fades between all of them and that creates the sound that's why it's a little bit better than give you every used serum you might notice that like the serums sampling capabilities of just dropping something in there are not as like robust it sort of sounding identical as harbors is that's because harmer doesn't do the same thing it just just kind of similar concept what way table does is that actually isolates individual single cycle way forms with that it would be easier to show and sit inside it is a house music house music so the right here we could identify like a single cycle is being like this dude here and then here's the other one the hands the other one and when a wave table would do is it would take these three these three wave uh way form moments here and when you when you play it now and you have a way table position where you're telling it okay you're playing this way for and if you move the position to be the next way for it'll cross fade between this way for and this way for and the various ways of cross bay between some of them do admittedly where they actually change harmonics power away from the syrup as it has this option or it's literally just volume this one gets quiet about working flatter you know normal regular cross painting and it just does that for each single cycle full on zeos like away from what I mean by full on singles like away form is that the idea is that you're able to have recorded modulation of a flat note which is why I would necessarily be as easy to do it with this guy's voice because you know this is not a slow is this this is not high is this like I don't think so inconsistent um but if it was a very monotone very identifiable uh separation like this that he could sort of separate each individual wave form and say this is this is a single cycle this is a single title this is michael's michael and the crossroads between them all and from big in the end that's what the way people is is like like modern talking for example is just a recording of modulation however they made it of single cycles doing that and it was not remember how many I don't know how many there are but I was talkinto steve do tow the guy who made syrup and we were kind of laughing at how some of the way tables in massive are like five way forms like a scrap yard or carbon for example they're not so much modulations as they are just individual way forms of this cross fate between them which if you think about it, and do you know how it sounds? If you're familiar with how it sounds that's kind of obvious because there's, not different kinds of the same way form that this kind of cross fire between weird, you know, different kinds of weight forms for one of the other, which is, I guess, why they called scrapyard. I know what I call a carbon, but scrapping it makes sense in terms of what it's supposed to do. What it's supposed to be that kind of thing? I hope that as your question about wave table pricing

Class Description

FL Studio is the world’s most popular DAW – learn how to get the most out of it. In FL Studio Synthesis Master Class, power user and educator, SeamlessR will help you take your electronic music to the next level.

SeamlessR will introduce the high-level synthesis concepts, principles, and applications and show you how to tackle common electronic sound design challenges. You’ll learn about the four major types of synthesis: subtractive, fm, additive and wave table.

SeamlessR will guide you through the familiar sounds in electronic music and show how to recreate them in FL Studio. You’ll also learn how to use the stock instruments that come with FL Studio (Harmor, Sytrus, Harmless, Sawer, etc) and explore popular third-party plug-ins.

If you’re looking to master synthesis using FL Studio, SeamlessR will help you make the leap.


Thomas Brogan

great stuff!!

rohan Dehade

this is the greet