FM Synthesis. A Catalogue of Materials. 03 Air (Turbulence)

This is the third instalment from the "FM Catalogue of Materials" synthesis cinematic videos.
These are intermediate level F.M. synthesis, so they require a little knowledge of synthesis in general.
Levels and Envelopes, how to:
Most of the patches are sustained or decaying sounds and thus the amplitude envelopes should be obvious at intermediate level (either decays or sustains). The operator levels are found by following each example’s operator steps as they are switched on and then comparing the video with ones own trials.
Ratios, how to:
If you are using VOPM, FB01, DX100, CX5 use the CXRatio column. Example:
The first number in the CX ratio is the "Mul" or ratio multiplier (0.5 to 15) and the second number is the "DT2" in VOPM or "IF" on the FB01, CX5 etc). The Detune is more of a standard fine detune you find on any synth's oscillator and is for adding chorusing, beating frequencies etc.
If you are using a DX compatible synth use the DXRatio columns and use that number in your operator frequency.
Each video contains the blueprint for the synthesis of the basic sound of physical resonant materials such as metal, wood, air, strings as used in musical instruments. Some of the videos cover more abstract electronic sounds and SFX.
This one is called "air because it shows how turbulences can create a sense of airiness and breath which becomes part of the sound rather than if noise was just added by mixing in.
This F.M. technique is related to the Wood materials. It employs the same random modulations (approx between 50-100Hz on the frequency of the operators in order to create turbulence. This case differs from the wood materials in that there is more depth of random modulation and the timbres use long sustained envelopes to create drones and pads. Pads, in general don't have to have huge thick layered oscillators in order to create atmosphere, in fact, it could be argued that those are somewhat overdone.
The parameters on the videos are from the VOPM free FM plugin. They are the same as the Yamaha FB01 and CX5M. They will work on most Yamaha 4 operator FM synths. They work well on, Preen FM2, Korg early FM synths and NI FM7 and FM8 too
www.geocities.jp/sam_kb/VOPM/
Synthesis Parameters
The idea behind this series is to provide the most universal F.M. parameters (mainly frequency ratio data) from which to create variations of the "material" timbres in the videos. You will be surprised how much variation is possible by changing the fundamental frequency and the inharmonic frequency of the bells.
The LFO wave must be a random wave (sometimes called Sample and Hold)
Set the speed to max and then dial in depth/intensity until you get the wood texture. You will also notice it creates ambient reverberation. Unfortunately the DX7 LFO's are to slow to create this effect. On the Sy77 and TG77 use a noise operator as an alternative.
A couple of points worth noting.
Frozen Sines is deceptively simple. Two things make this timbre work. The right amount of turbulence (created by a random LFO modulating the frequency of the operators and the detuning between each operator in order to create the ondulating polyrhythmic pulsing that creates makes this. The polyrhythm changes depending on the amount of detuning (under the Detune column).
Lenticular Ships is quite simple. Operator 1 ( M1) has a slower attack and a sudden decay to create something similar to backwards tape.
Fugal Contrails. Dark cassetified pipe organ, which give a vintage sound. ONe of my favourite and earliest sounds from the CX5M. Depending on the mix of random LFO speed and depth you can get anything from cassette like wow and flutter to dark breathy baroque pipes.
Wind Cymbal. The only thing to note about this timbre is that the attack needs to be adjusted depending on the tempo of the arrpeggio.
Wind Gong. Slow attack gong like timbre. Adding more noise LFO will create a whispier airy feel to the tone.
E44 Music:
tinyurl.com/e433HyFlw
E433 Wordpress:
tinyurl.com/ctvzecks
Bandcamp:
tinyurl.com/e433bndcmp

[@markallasred6034]

not only some of the most beautiful but most informative videos on youtube. this is how I want to experience FM.

[@element433]

Thank you very much. Glad you enjoyed them!

[@aleksdizhe]

Can you continue this series please?😢😢😢 it's just gorgeous

[@pangea2003]

Thanks for these series. Really inspiring and imaginative. I’m done with the whacky same old thing demos made on the last 30 odd years of a seller scrolling the same commercial 1000 presets showing their poor amateur and tacky keyboard skills for 30min. I want to see more proper demo’s of what FM Synthesis can really do within a creative context! Thanks

[@sookcyber2174]

Please make more of these videos one day :)

[@iOnlyHereForTheBeer]

Man, these videos are a work of art. Really appreciate that you expanded on the technicalities in the description box.

[@agerven]

Awesome sounds, very nice demoes and visual backgrounds. This series provides valuable starting points for ideas and experimentation. Thanks for that!

[@MrKayMrKay]

My favorite KZbin channel! 4 OP FM as you've never heard before; AWESOME sound design

[@giuseppespicuglia9992]

Absolutely useful infos. Well done tutorial: waiting for the next.

[@Pookaball]

really loving the visuals here

[@udomatthiasdrums5322]

love your work!!

[@harmannsmith5653]

During deep night, this feels so very special to listen to

[@Synthikat]

Great work. Really appreciated that!

[@VCVRackIdeas]

very nice! got huge amount of the inspiration!

[@Necrobutcher777]

Incredible patches!

[@nichttuntun3364]

Fantastic soundscapes :)

[@endisva]

Simply wow!

[@adiquinn1]

thank you for these!

[@musicthattouches17]

Great, Sir!

[@AlexBallMusic]

Only just been pointed in your direction. I'm mesmerised - thanks for this series.

[@element433]

Thank you very much Alex, it’s an honour, I’m a big fan of your work!

[@AlexBallMusic]

@@element433 You're making me want to dive into the painful interface of my DX7 again. Great stuff.

[@Schimelln]

Please keep doing what you do. Your Videos inspired me alot to learn FM Synthesis. Very good hands on examples of Abstract interesting not so bread and butter programming! Waiting patiently for the next one, maybe Water/Liquids?!

[@element433]

Thank you ever so much. Working on next one!

[@johnnyvandeclit259]

I just bought a SY77 and SY Manager to program it. I have to say I was getting bored with it and your serie of videos have really opened my eyes. Thank you very much for all this work. Best FM serie on KZbin.

[@element433]

Thank you very much. I am so glad they were of help

[@heleste.x]

Thank you for these instructions! Sounds great on PreenFM2!

[@element433]

You are welcome!

[@nicholsboyd5388]

@Heleste Maybe you could help me with the PreenFM2? Which set of ratio numbers do you use and do they translate directly to PreenFM2 parameters? (Could you use an example from one of the sounds in the video?) Also- In VOPM, are the 4 operators are always called C1 C2 M1 M2 even if C1 (for example) is actually a modulator in an algorithm? For example in the Metal video, first one ‘Bell Bronze’, op2 is called C1 when it is not at the end (bottom or right) of the algorithm. When I look at it, it looks to me like C1 is a modulator even though it's called C1.

[@wernervannuffel2608]

Awesome 👌👍✨

[@guiom77]

Thanks

[@timgittar]

Loved it.

[@Javelin276]

Interesting stuff. I like it! I haven't messed with detunings much, I usually just add in a noise operator. Ah, it's an odd LFO. I need to try that.

[@johnnyvandeclit259]

To whom it may concern : to achieve better results for the turbulences on the SY77, do not use the basic noise in the algorithm, but rather select the 1 AFM 1 AWM mode, select the noise AWM wave, and use the AWM to modulate the operators. It will give much better results with a grainy low fi texture and it will follow the pitch of the keyboard which is better too in my opinion.

[@element433]

Thank you for the tip. I will check that out on my SY77

[@dogwithabome630]

magical!!!!!

[@LondraCalibro9]

Incredible work......really speechless! Beautiful and inspiring! Been trying these all night on my TX81Z - really rewarding.

[@element433]

Thank you very much. It’s rewarding to know you are enjoying them

[@LondraCalibro9]

@@element433 TX81Z through a Vermona retroverb has yielded amazing results - I highly recommend the Vermona unit. In addition I would love to see a video of your approach to teaching just on envelopes - I love the way you supply tools as opposed to bland recreations of existing sounds or basic recipes - inspiring thought and creativity is a gift!

[@element433]

I did think of the Vermona. I ended up building a stereo tube spring reverb and yes adds immense character to the older FM. Just checking oit the OpSix. Looks interesting.

[@Schimelln]

@@element433 indeed looking interesting but i cant see myself selling my DX11 for it.. The strange bodily and haptic sound of the DX11/TX81Z makes the alienating sound coming out of it somewhat realistic, if that makes sense.. While watching the OPSix Sweetwater video I was just thinking: "lets check if there is a new of your Elements videos." Please do one and thanks for your work, you helped me finding what i was searching for a long time.

[@meilstone]

Awesome!

[@element433]

Thank you 🙏

[@meilstone]

@@element433 I used your instructions to recreate some materials already on the TX802 and it works really well with some minor adjustments. Thanks so much! I find "learning by doing" the best way to understand FM synthesis.

[@myphonevideos9179]

Hello, beautiful video and sounds in particular! I came back after a while to listen again, so relaxing and inspiring. I was thinking.. have you ever tried some synth-style thing through a guitar? Such as sending the dry guitar signal inside a synth to manipulate it? I don't know if you also use guitars so I'm asking. Thank you

[@charleshainsworth8299]

Loving this series. Has anyone tried porting these patches over to Ableton Operator? I can't figure out how to scale the ratio values.

[@kinderobi]

me neither :(

[@eugenezagidullin4893]

They are ratios. So just get DX ratios and normalise them, i.e. divide by the minimum value. So something like 15,5,5 will become 3,1,1.

[@nippertipper7686]

What are CX and DX? I'm trying to use this tutorial to work in another FM synth but I can't figure out what these parameters mean.

[@hermask815]

Dx are ratios on the dx models, cx are other Yamaha fm synth models

[@arsenegupengath3104]

Operators levels would be really useful !

[@element433]

If you’ve read the instructions, they’re very easy to workout.

[@arsenegupengath3104]

@@element433 My bad just noticed it :) Great serie of video, have you tried the essence fm by Kodamo ?

[@element433]

Hi, no worries. I haven't been able to check Kodamo out yet but looks very interesting and powerful. Its great to see an FM revival!

[@12opsynths]

Love it. Are you mostly a 4-op person or do you like the others as well?

[@element433]

Hi, yes i use a SY77 and a Volca FM. The SY77 is remarkable and a real FM orchestra. The Volca FM has a pure polished FM sound. Stay tuned as am working on mnw stuff. Thank you for your comments

[@12opsynths]

@@element433 77 was a dream synth when it came out. Looking forward to the others you post.

[@arstarkus]

So no effects have been applied, huh? I am a newbie at synthesis, I got somewhat decent at subtractive synthesis, but have no idea where to start with the FM. Could you provide any learning materials or some tips on where to start? Great series by the way, keep on going what you do, freaking deep sounds even in my cheap ass headphones!

[@element433]

Thanks. I'm dong a new video for FM first steps at the moment. A very intuitive approach. If you've subscribed you'll get a message about it when it's released

[@arstarkus]

Element433 Now you gotta say to hit that bell button as well, you are a KZbinr! 😂 I’ll be looking forward to it! If you know any books, articles or maybe even manuals from older synths that would be very appreciated too! P.S. Now with that being said I just gave myself a clue, I’m going to download DX7 manual and start there 😂 Still looking for good sources if you know any! P.P.S. By the way, checked your videos with better headphones, sounds outstanding! Do you have any tracks on SoundCloud or bandcamp? Keep up the good work!

[@pvillez]

Hey, sorry for the late reply. For some reason I havent had notifications of some comments. Im glad you are enjoying it. The AIR fm video is a good strating point for getting atmospheric sounds. Im hopefully going to release a freebie library in the next week, so stayed tuned. It will be available for all FM machines. Thank you everso much again!

[@element433]

Hey, sorry for the late reply. For some reason I havent had notifications of some comments. Im glad you are enjoying it. The AIR fm video is a good strating point for getting atmospheric sounds. Im hopefully going to release a freebie library in the next week, so stayed tuned. It will be available for all FM machines. Thank you everso much again!

[@element433]

A good book is the Chowning, Bristow book, but it needs to be taken slowly. I would just get a feel for playing with two operators and go from there.

[@seleniticdawn]

Hi, I don't know if you still check comments for these videos but one thing confuses me about the first patch in particular. If all the operators are tuned to the same ratio. Why is that different to just having them all to Ratio 1 and playing in a higher octave?

[@element433]

They aren’t in equal ratios but slightly detuned. 1- you could do what you suggest but the detuning would be different and also on older machines the higher ratios exhibit more aliasing artifacts which has an effect on the overall timbre. But n this particular patch it might not make me ch difference just that it started from another patch that had those ratios already. A lot of my patches are variations on a previous patch. Thanks for the comment

[@pranze3484]

WHEN WATER?

[@element433]

I hear you, I hear you! Covid reset things somewhat and will eventually get there. Hope you are keeping well and safe.