Originally posted by MrJiveBoJingles
Made this patch to showcase FM7's rhythmic capabilities -- one of the operators has a patterned envelope synced up to the tempo. This is the patch playing a couple of chords (dry followed by wet):
Operators E and C are velocity-sensitive: C is an octave below the fundamental tone, and E controls most of the brightness of the sound, so the patch gets both deeper and brighter the harder you press the keys, as you can hear in the example. Operators A, B, and D all have an initial volume increase in the release phase of their envelopes, so you get a little high-end shimmer whenever you let go of a note.
Originally posted by kitphillips
Because its got more waveform options in the oscillator section, a much better interface, better effects, more modulation options...
what about the quality of sound?
Mar-09-2009 06:07
kitphillips
is actually a guy.
Registered: May 2006
Location: Sydney, Australia
Fm8, I'm pretty sure. Since the DX7 converters are trash and I think earlier models only ran at 12 bit. not sure about the sample rate. Look it up for yourself dude and learn what it is your using. I don't even own one just read it from wiki
Originally posted by kitphillips
Fm8, I'm pretty sure. Since the DX7 converters are trash and I think earlier models only ran at 12 bit. not sure about the sample rate. Look it up for yourself dude and learn what it is your using. I don't even own one just read it from wiki
oh ok thanks
Mar-09-2009 07:22
JmanNZ
tranceaddict
Registered: Sep 2008
Location:
Hey JiveBoJingles big thanks for these posts mate! I am only just getting into FM synthesis and your files and descriptions are a huge help!
It uses all six operators in FM7. The mp3 example has the sound playing dry first so you can get a good idea of its volume and timbral character over time; then it shows the operators being turned on, starting with just F and going all the way up to A. F is just a basic sine wave, with a volume increase in the release phase. E (turned on at 3 seconds) is set to modulate F, giving it more of a metallic tone. D (turned on at 8 seconds) is both modulating operator E and being sent directly to the out, adding both some low end and a high "scrape" to the sound (by modulating E). C (turned on at 12 seconds) adds both some tones and some more noise to the high end. B's volume peaks in the release phase; it has a lot of feedback, so it adds noise to the end of the sound. And Operator A adds some more tones to the lower-mids.
