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FL Studio Synthesis Master Class

Lesson 16 of 23

FM Synthesis Sound Design


FL Studio Synthesis Master Class


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Lesson Info

16. FM Synthesis Sound Design

Lesson Info

FM Synthesis Sound Design

Five about actually sort of doing some sounded like with them and at least what people have have used before in recent memory oh, I particularly enjoyed using it the base is normally where I begin sound I'll have operator would be assigned way that I'll modulate it let's about a way forward but it's still just kind of be a sideways this is mostly just for taste but you can you can you know, use other way forms for other different concepts way so we could see how it starts a sign a wave and then sure yeah ok let's do that they can t wait candy is, um, analysis tool that I felt I was using it yesterday to show off its attractive this isn't that kind of thing and we'll show you some interesting ideas about fm actually be are using this I want to point out something kind of interesting about of the fm process so if we just play the way form and it's just just, you know, get away for if I moderated slightly yes, it is kind of hard to tell it to them. Well, if I I know I want to do it a high...

er ira pitch yeah, okay, he has to be a multiple of the so we'll show off right now is actually it has to do with massive bend the pulsar minus process all right you have massive installing this computer so it's whatever, but I'm sure a lot of your views massive and you've gotten really comfortable with the bed puzzle minus on various oscillated and if you've ever looked at it they're guessing really worries away would have but if you ever looked at it through a telescope like candy and with that what it does to the way for it will look something like this if everybody just thought that actually kind of sounds like what bad posture mind does two with two a sound and that's not I'm not talking is because samples your mind is fm under saying it's kind of like what if that sounds like and you could do it yourself if you go in massive and do go to the modulation also head of the separatist later for modulation and target outside or want to phase because remember we just discovered about how fm digitally is phase modulation and in massive the idea marcelli phase is that it's actually kind of funny thiss ag I enjoy telling the story there's this guy I'd read it around this is when kill the noise was kind of new and he just put out killed this part one was full of lots of fun bases, all kinds of good stuff and actually a big reason why I know about as much about if I was that deal is because I was convinced that that ciao that he had made was an fn process and I wasn't I was kind of right but it's still mostly a massive based thing and also with some external processing that unrelated to the fm idea but I was trying really, really hard to make that sound with fm, so I learned a whole bunch, but I found that I also didn't do that because it's not how it was done, but um person in the medium productions subreddit on reddit was hey made a post about how he was he was just mad that whenever any kind of cool new sound design pops up, everyone immediately assumes that it was fm that was doing it and his reasoning was that necessarily flawed because generally speaking, like I said before, if it is among the more mystifying kinds of this is so if a cool new sound pops up that you just have no idea how to make it is natural to assume that it's a similar mystifying process so why not be of him? I spread is those hanging but um he went actually made a reasonable example of the sound that kind of sound that killing always used and was like, look, I didn't use it for him to make this I use massive and it was a really good time doing it wasn't perfect, but it was a lot closer than I got time and uh certainly was always always always got a good job I can't believe it and uh he never actually put up the preset for what he did what he made but he explained what he had done them to make it and I was looking at I was looking at it and I realized a few things one he used modern talking which I mean people decry all time but already some are talking about but as sort of a starting oscillators not that bad and it can be concerned then use it and make it sound like it's not modern talking so more power to get but as a process and as and what you could do with it it is actually quite similar toe sort of fm and it's quite possible that when they made the oscillator they made it with some kind of fm process and then this record as a way of table because that's what it is a wave table so that was kind of floor number one really sort of assumed that if you could make if he's doing sound design with massive that it is one hundred percent removed from an effort that this is where it's at possible that the also it itself was created with infants this's which is actually also kind of my problem with massive in general which I think we've discussed before um and problem number two it was that he used the modulation oscillator targeted to phase like we just discussed which is just for nfl and he made this huge argument about how he wasn't actually using event but he used massive teo trick it and go out and you look I did it without fm and it's just like no no you didn't use that family use the fat without even knowing you're using fm so good job which is another reason why I don't like massive because it kind of breeds misunderstanding for certain things which it's not really that big a deal but I just find it kind of funny that someone here is that he made the sound like it was actually a pretty close and I think he did eventually put the preset and that actually got its one of its precepts that god used a lot in a lot of sort of newer producers music kind of like that barely alive preset which I'm sure most of you know about the that was an interesting time does anyone have any questions about that thing? Pop up cold so anybody there the ben plus or minus kind of looks like that? But if you if you just target the face and he used the family do a little bit about think I'm doing right now like a tiny bit you'll see a similar oh kind of process which is pretty great pretty right bar somebody wanna point out is actually this sort of the idea of squelch in sounds and the u s coaches out like I'm doing right now actually making squat you're thinking of doing it, but by using a higher harmonic modulating it by a fundamental level tone a base level town tending to the fundamental tone is the high hard one because if someone is the output but I'm trying to make a base here and I'm modulating it by based on the side of life and what this does is it because that's that's the rate at which it's going to whip around the pitch it's going to make it sound like a base level tone? It's if it's gonna have, uh her kind of squall to tennessee and if you look at the the candy view of it, which was a good idea to do that so thanks for that we can't have you before dude and didn't yeah her we could see kind of where squelch comes from and it's sze accomplish herbal, you know, with fm as a process but it's also just sort of anything you can do to get to this result will get you a kind of this culture was all of this out of the hold? I don't button so for point ok, so if you look at if you look at the way form, we could see that and in a single oscillation, the single period of the way form which begins here and ends here or me could begin your intent on their whatever point being half of it is this very dense, high frequency portion, and the other half is this lesson that's lower frequency portion, which is just offend, you know, it's it's moving between higher pitch, laura pitch at the speed of a single period of away form and that relationship of half on half off kind of thing is what creates the sort of squelched the idea, at least in a way that we're doing in a smooth kind of way because there is there is a transition between the higher frequencies, and it goes down lower for privileges kind of thing versus if it were literally just half on half off that it would be it wouldn't be squelching so much as well, be sharp, but another reason why the sort of this quote is imparted I'm on our ears is the presence of the higher frequencies sort of sort of doing a thing there. So while it will be a sharper thing for it to be half on half off, uh, it's still it's still kind of just, uh, the result of that lower frequency fm on the business uh, late later we're going to do I think it part yet three and today we're going to do some sounds and requests that were taken from yesterday and one of them was the bonfire base and that's a pretty decent example of massive sounds I'm so going to without massive but by being part of that sound is the sort of the squelching concept idea and so it's going to a lot of utilizing this her and that kind of thing to get us decided they want and that's a big this is overall and you can apply this to lots of lots of things in fm because they want one of the things that I learned that I do immediately and introduced the idea of utilizing a higher harmonic to create a kind of a kind of valley cocky presence and this has to do with using it could still there with us a heated with a sign wave it was kind of a let stand successful attempt but I did it with a triangle wave and whether this is why I wanted to use it with a triangle if that's ok I want to be sharper I want to be clearer remember the triangle wave is only one pitcher than the other pitch versus inside way which moves through the pitch is just so I mean at the speeds that we're doing it we're not we're not talking about just low level speeds it's almost almost like negligible difference well it is actually a super difference like here we could see that it's got all added national link doo doo doo doo so you see in the way of candy but this is what this does is that it creates this kind of like invisible wall where the frequency is sort of the figures that kind of increases in the side way of kind of comes out of it as versus if I were doing it with a sign wave wait there like smoothly drawn in and that sharpness in this end the sign in there the trying a wave creates also avery different spectral behavior, which is why I have the open because this is important we're talking about former into characteristics valley sounds right here we've got half of it if you could see that this little area of secrecy lose up and down into in the spectrum right now, the most like standard obvious kind of valleys out is where you have you have any que like this and you have a peak and you have another peak and they kind of move out against each other and that creates like the really basic standard kind of your your sound kind of a and with this understand this understanding how can we introduced this idea with fm and why would he even occurred? What kurt was to do that well if I were to make this, I hire harmonic turnout lot because they should get another pretty popular sound there is no really accomplished via distortion but because don't do this with the family but notice where in the spectrum of this this higher harmonic kind of sets it's right above where the kind of the peak of that frequency range went up and down when it was the original the original harmonic so if we were to combine the d'oh let's say create this guy the regular harmonica than this guy is the higher home on tryingto you see the higher harmonic is where it is and it expands because it's being it's being effect together with the other fundamental town and so is being it's saying you'd say ok, the pitch is going higher prices going lowers it kind of opens up when you get to stab behavior and also the lower end of it when it goes down is interacting with the other whole other frequency portion which comes together with it and that happens to be a behavior that sounds like a talkie kind of thing and this is the basis for a lot of stuff now the idea of sort of integrating scruffy stuff into this right now I have separated the higher harmonic from the little harmonic which might be thinking, well, what else am I going to do? This is one of the things that separates you can't do better is that I could if I wanted to just put a higher harmonic in the also better we'll have the exact same. In fact, I can even do some more interesting ideas they have way more control on what I'm doing them anything that they could do, but because I want to keep this is agnostic as possible plugging was going to keep it with the separate harmonic, but one benefit of having a temper harmonic, even without that is the idea that I can modulate the harmonic individually, but what's not with that particular area, so we're doing right there is if if that lower harmony was, it wasn't present, I'm offending that harmonic and eventually, which, if you remember, when we were doing it, when it was just just the output with the aromatic, it creates that kind of scratch scratchy sort of idea so now is sort of combined the talkie idea with a scratchy idea, and we've got a much more, uh, good, much more complicating. Combine the sound of that when I was doing there is I distorted the sideways because the side wave has that same kind of it makes it it's a smooth kind of squad. You only get it still squabbling, but it's very it's, very smooth. I I'm gonna get closer to a square wave by distorting it, which is what happens when you up up this particular faith. The movement between the kind of the two poles it's faster and that's all spends more time at those two polls and so as a result it creates a sort of a sharper sweltered question pushed too far then against you sure, but outside scalding water sounds granny grainy panic and think this is all stuff that I figured out from just experimenting things like on a lot of a lot of mme or interesting sounds I just students that I've had have accomplished pretty interesting thing that just by taking this idea and doing stuff with it but I want a lot of just because they're not me and uh like the well of of uniqueness that's present in their families not even close to being dry spread that way questions we've gotten a couple questions about acts well sound a couple people asking about that and you think that, uh maxwell sound that was the those that supersol you kind of leave thing, right? I think so, thanks now okay, well, when they get his ideas, I request that we'll definitely we'll talk about that. Sweet yeah um all of this kind of preview it's been to super saw just saw always with us and then high notes basically bad does not require that such complexity as ff to accomplish this stuff like while it is it is kind of it is very much it's a little complex, but it's also very easy process. And, like people I mentioned yesterday that added into this is the idea that if we know enough about the harmonic content of the thing that we should be able to be creative with, that is that is, that this is, you know, straight up and f sounds as a result of that process is especially modulation. As a result of that, processes are kind of the one thing that is not something you could really do it with. The senses are kind of hacks, and things are around, you know, new really kind of control or, uh, like convenience of does using an fm said, I mean, later, if you want it record out of modulation and then re synthesize it as either something inside harm or even away table inside zero which you can do, which I had done and is a lot of fun to do that kind of stuff back some of the tables in serum of you weren't aware pretty much the entire special folder was made by me. It does if says sl before the table, my nails. And so when they were made with, uh, this process is this kind of a basic starting point. More than you it's just sort of riding around because then you can do this and then you can you can apply a bit closer by this to it and do weird things. This is very it's why I like syrup it's very friendly toe strange ideas now a cz faras more modern sound inside is that because this idea of using ever had to make it very kind of ground stuff like this is actually hasn't been used in like popular sound design in the kind of while um I was trying really hard to do it when I was first figuring it out back when I made like basic basic stuff like that because, uh kind of the killer noise kind of sound design but also because of older skrillex sounded like um and even with newer skrillex outside some of these ideas are still applied but in a much, much, much simpler way like for example, um this idea of the triangle migration that we've been doing this whole time like for for a while I pretty much didn't I just would never distort anything like I never the idea of this starting fm it was just something I didn't think to do, but if you did by using the way a shaper which I keep forgetting where it is there it is all waiting area the way you get much through yeah that that's just a huge swath of sounds like papa sort of sounds like filler filler kind of like you know bro step the wobbles something that is often met with atmos with that but a more modern interpretation of this is actually just said make take the oscillator the modulation off later and making art of higher and there's there's something very interesting other than just kind of sounding different if you if you marshal that something by an octave higher than the fundamental the result is that it has it takes the characteristics on of us of a square wave versus what what would have been we would have been doing before, which is characteristics of assault wave so you look at the well I'm messing around with just regular all triangle land here she's been either miss meaning is your way of doing this, uh, even even the roses using a site where you could see that the harmonic profile that is oh, the fact that the first time I think is the first active above the fundamental well you can see by just looking at it saying and this is, you know, eighty four herds and then down here is forty something parents twice, twice the original fundamental value that's being identified, but if I if I put it back from a fiance and I defy our next harmonic it takes away all the even neurotics, which is what squarely does so if you're if you're doing, if you kind of want to square wise scratch square eyes, things that this is pretty much how you would do it, even even devour you, forwarded to integrate this into what we were doing it before with the sort of talking stuff. If I make make this guy art of higher the the also for some reason, it requires half assed much intensity to get to the kind of the point where it sounds similar. Not sure why, but this is something look out for and if I get incorporate the kind of quality idea into here from from originally, it kind of brings back that the sol ish harmonic profile, but even that it could be changed to be live fire on and that everything is squared way. So we've taken the sounds that was created just from the regular fundamental level saw les forms triangles in this case and what god gave us the harmonic profile of us, of us always, if you just turned them up and active, we get square with pope squares profile, so it has a kind of like, hollow, smoother tone to it, even though it's busy the silver still the same process. And this is true for everything to do with that. If you ever have any kind of making a cool sound with the family is currently, I want what that sounds like square eyes, that just making a fire and that worked out. And no, I mean the start exactly how you do, like the terrorist wide base. But it's close a terrorist core base is basically this idea only instead of fm modulation, its its volume modulation, it's, big ladder in quieter, like, basically don't underestimate volume automation like there's. A lot of times where you hear you know here on a mission of some kind of you're thinking it's, a kind of filter or some kind of process by which it sounded that what's what's being automated. But it gives you the night you just not used to hearing volume ing automated or you hear like a kind of ah tremolo thing and again, that's just volume automation. So experiment with that sometimes as well, could be kind of cool.

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.

Class Materials

bonus material with purchase

SeamlessR - Sound Design Reverse Engineering FL Studio Session.flp

bonus material with enrollment

SeamlessR - FL Studio Synthesis Syllabus.pdf

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Student Work

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Heather Freinkel

Lots of helpful information here but it would be even better if the instructor spoke more clearly. He speeds up and mumbles dramatically toward the end of each sentence making it pretty difficult to hear what he's saying. If you do more classes, please work with a video or speech producer to improve the delivery. Thanks!

Thomas Brogan

great stuff!!

rohan Dehade

this is the greet