Then add another operator use it to modulate the first one. To get started with FM8 start with a single operator- route it to the output and think about what kind of range you want it to be. It really is a mad machine though and I don't blame people scratching their heads with it and taking an easier option. I believe a lot of early Plaid sounds is FS1r. Thought FM8 might have added more of the FS1r stuff. I think a lot of people don't like FM as they get freaked out by it or just heard crappy slap bass and flute patches from the 80s lol. ie TB-303 etc and they have or are becoming cult classics. People were looking for sound modules at the time not another FM synth. You can do loads with older FM synths of course. Now if I was going to do a FM synth project I would set it up as the focus would be more needed.Ĭlick to expand.Not sure what you mean by that mate with regards to what I typed or did you mean why did I say later models? If that's the case then yeah the FS1R is a great tool for complex mad stuff. So I either use UVI FM suit, Arturia or Dexed. For example I have a DX7 but can't be arsed to have it setup for the amount of time I use it. I will always say you can get the vibe of something most of the time too. I'm straight up with people as I have hybrid setup and always say both are great and compliment each other well. Most of the time it's to justify what they have or not feel left out.
DX7 PATCHES CONVERTED TO FM8 SOFTWARE
People have argued left, right and centre over this software and hardware issue for years as we all know. What I do like at this moment in time is the people making the plugins have realised the perfection is in the imperfections of those classic old units. I can tell an Akai sampler in music and probably the model. If you have a real 303 you can tell a cone. That's different and fine for most people. You can get an overall vibe which will do of course. Those units have an individual personality. You can't achieve those DAC sounds yet fully with bit of bit crushing etc. Bit like the RX950 which I say has the vibe of the s950 but not the overall weight. add george martin and billy preston and you have a DX7.Ĭlick to expand.Arturia got close with their DX7. by deciding who will be shaking whom and whom the feedback operator will affect, you are setting the fm algorithm, which will determine what sounds you can make. the result is john's voice will blend with paul's to make one harmonically rich sound. you can have john and paul sing while ringo and george shake paul. if you want, you can have pete screaming in another beatle's ear, giving that beatle feedback about what it's like to not have all that fortune and fame.īut john isn't the only beatle who can sing. pete is an fm feedback operator and he can change the sound more drastically than any of the other beatles (maybe i should have used george martin? lol). so when he shakes george's arms, he does it super fast, which ultimately changes how fast paul shakes john's throat. well, this guy is just shaking with rage at not being a real beatle. so in fm-speak, modulatos can modulate other modulators.īut that's not all. poor john's voice is warbling like crazy now! and if you make ringo shake george's arms while george is shaking pauls arms while paul is shaking john's throat, you can only imagine the sound that's coming out. while paul shakes john's throat, george shakes paul's arms. you can change the modulator's volume over time, but not its frequency. the higher the frquency or the louder the modulator, the more drastically the carrier's tone is changed. a modulator's frequency and volume will change a carrier's tone.
DX7 PATCHES CONVERTED TO FM8 GENERATOR
in fm, you've used the modulator's output envelope generator (or EG) to vary the carrier's brightness over time. this will make john's voice sound dull, then quickly brighten then gradually recede back to the sound he makes when paul is just modulating his voice, without squeezing it. while paul is modulating, you can tell him to squeeze john's throat gently, then give give it a quick tight squeeze, then slowly relax his grip. in fm-speak, you've just changed the volume of the modulator. if you make paul squeeze john's neck harder while he's shaking, john's voice will grow more alarmed and sound brighter (while still singing the same pitch). in fm-speak, you've just changed the frequency of the modulator. if you make paul shake john's voice faster, the sound john makes will change. now paul grabs johns throat and begins shaking it gently, making john's voice warble a little as he holds his note. in fm-speak he is the carrier (carrying a tune, if you like). john, paul, george and ringo represent the four operators of your FB01. The basics of fm programming are very easy to grasp.
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