World's Fattest Synth Pad

[@ROBOTkw1]

*drooool* I'm almost completely deaf, but I can totally FEEL the pure, simple WAVES [on tiny plastic computer speakers, no less]. I rest my hands on the speakers [bone conduction] and see the sine, sawtooth, square, triangle waves in my positronic brain. KRAFTWERK Cymatics! Now play the 5 notes.. CE3K flashback.. I like the harmonic resonant tones.. Nice vibes!

[@OIP_1]

wow this is awesome, and what a sound. i've made a bunch of patches on the SY77 using some of these AFM tricks but never even considered piping AFM waveforms through the AWM side. there is an extra layer of satisfaction making a lush patch with the 'effects off' notification.

[@nicolapicarella9151]

Another great Lesson in SYnth programming, in sound designing. Thanks to D.r SYnth😊!!

[@GeorgeL909]

I was just coming from the Muse video, and wow! You managed to get a poly pad like that out of a 90s fm synth! It really does sound huge!

[@silverlight2004db]

this is awesome! so glad this video came in my feed today...can't wait to do this on my TG77. Thanks Manny for sharing

[@PhrygianPhrog]

That's clever making the wet reverb with the AWM engines!

[@DrSynth]

Thanks for watching. It's actually the other way around due to the EG restrictions so AFM wet, AWM dry -- watch the "Deep Dive" vid

[@PhrygianPhrog]

@@DrSynth Oh cool, I was hoping there'd be more SY videos too! These detailed explanations/walkthroughs are really helpful, thanks for making them!

[@garyleaver7747]

The SY99 is such an interesting Synth the more I learn about it!

[@scottmcauleysounds]

This sounds Great , completely dry too. Very impressive 👍 excellent walkthrough too Manny thanks! 🙏

[@FailedMuso]

Brilliant stuff, as always, from the FM master. My SY99 GAS has increased exponentially!

[@YourMom-zt5zj]

Just get a Montage. Much, much more powerful engine of the exact same type. You may have to program it yourself, but the potential for fatness is EXTREME.

[@mu_zines]

Having the edit page numbers from memory is an extra flex..! ;)

[@basspartout]

Truly amazing sound!! I will try to recreate it on my Montage, and if I can't, I will buy a SY99 asap !! 🙂

[@seleniticdawn]

Manny, do you have any articles floating around for the SY series synths? The ones you did for Yamaha on the Reface and ModX synths really made me understand FM and I enjoyed working through the patch examples thoroughly for the Reface. It's frustrating how little written material, or video content is out there beyond the absolute basics. How to create saw, square, and triangle waves etc can be learned in about 2 minutes but that tends to be where most guides end (maybe there's a bonus EP patch thrown in), even though there's a whole world of ideas out there that can be exploited , like the amazing stuff you've done with true PWM and FM "resonant filters" If you were to write a book compiling all of your programming methods for these awesome machines I'd be first in line to buy it.

[@tihinter]

I‘d buy that book, too, 4 sure! Even better would be a really in depth multi-part lecture, sort of like Aaron Lanterman’s been doin for years… I love every glimpse on his huge inside knowledge, Many shares with the world. Can’t wait to learn more from him. The new patches for my Nonlinear C15 are just wonderful. Still desperately looking for those innovative TX802 performances he did back in the days at SSU.

[@tihinter]

I’d love to see how much closer you could come to emulating LA synthesis patches like Staccato Heaven or Fantasia by the SY99 engine. You already nailed it in the past with your DX7II patches, but how much more detail could be achieved with the much more complex possibilities of the SY? (Of course still speaking of an AFM-only challenge, not introducing samples). I’d also be very keen on learning more about stacking sound components by combining FM patches, which could be done on the SY99 easily. You showed us some hugely impressive insights on your piano sound on that Montage, but how bout those techniques on the SY, and for more creative “proprietary synth” sound design? I have a very strong feeling that there is so much more to conquer on the FM side of things. Love my TX816 with D-tronics hardware programmer for this, btw…

[@DrSynth]

@@tihinter Glad you're liking the C15 sounds. I'm really proud of them.

[@tihinter]

@@DrSynthwell deserved pride. I got your sounds in my DX7 Centennial, my TX816, my TX802 and of course my SY99. It’s just consequent to have your creative input also inside my newest keyboard! You are the Doc, Doc!

[@danielforro-forrotronics3921]

@@tihinter LA synthesis uses samples.

[@nativeVS]

That 16kHz(ish) spike that the (slightly too high) feedback of operator 3 induces is really upsetting my hearing, but apart from that amazingly lush sound out of a vintage digital.

[@DrSynth]

I didn’t notice that on Op3, your ears are younger than mine 😂!

[@AlexLaptschenko]

PC3 is such a timeless tool😅

[@simongreatbatch]

Brilliant

[@QuabmasM]

As a somewhat beginner to programming synth, this really opens my mind as to the process behind why some of the reasons the hailed synths of the past sounded so good & rich. Im assuming the world of vst synths in a DAW offer many practical work arounds to achieve a similar final result despite limitations in a lone vst vs this well constructed keyboard. Im also sure it wont sound as rich in the end w/o adding other percs to compete with the hardware of a real quality keyboard like this. Im going to watch the deep dive video & rewatch this video dozens of times but is there a way to simplify & summarize what you just did to help beginners like me understand a bit further? To sum up what i understand: you added sprinkles of modulation to the pitch & time of the operators to create a thicker saw tooth via phase offset, then you created a fake reverb copy w/ different parameters, then you turned them into stereo duplicates & panned them musically w/ additional minor phase offset to help them add to each other rather than cancel via phase issues(similar to how chorus fx works). Is that the jist of it? Is there something in particular else you could add to my understanding of what I just saw you do? Is it in particular important as to what is triggering the pitch modulation because from what i remember seeing in other tutorials for other synths, you can link it to so many other things that trigger it? Am I using these terms right? Ive literally never done any of this before but have a grasp via years of mixing my demos in a DAW learning how sound design works. Thanks, any tips from anybody is welcome.

[@DrSynth]

yes, that is the list of it. In regards to the pitch modulation, it is not 'triggered' but rather predetermined amounts and are free running so are constantly drifting

[@pietermeij9672]

Very good programming, as always by you! Would you say that you can achieve the same results with the FM side of the new Montage M...or is this really exclusive to the SY99? Thanks!

[@DrSynth]

Well, FM-X only has 1 Feedback loop for the 8 Operators. It does have the "Even" harmonic waveforms so you could to something similar with 4 Parts -- 2 for the R/L 'dry' part, 2 for the R/L 'wet' part. Wouldn't likely have the 'image depth' without the phase offsets though. Give it a try!

[@cornishwavesmusic]

Very interesting matey

[@0richbike]

Im on it! Might see how it compares on sy99, dx7 and dexed

[@chrish5503]

So-so. The "Is This FAAAAAT" pad on the Roland JX10 absolutely smokes that nonsense.

[@DrSynth]

feel free to post it, I'd like to hear it!

[@beat2009]

I wish Yamaha to release SY99 VST

[@DrSynth]

Someone is working on one... kzbin.info/www/bejne/b5mXiX2Qfb2prLM

[@NFawc]

Where's Gary Numan when you need him?

[@AlexLaptschenko]

Hi, sounds good. Is it also possible to make on PC3A8 too, or in PC3K8 only?

[@robertp6859]

Question: If I understand correctly a saw tooth is generated by starting with a sine wave and introducing self modulation, yes? But it seems that you are saying the output level also affects the amount of self modulation?? So the output needs to be relatively high to turn the sine into a saw? Am I understanding correctly? If so, then how do you create a *quiet* saw wave? e.g. Suppose you wanted to envelope the output of a saw wave, so that it started loud but got quieter, but stayed a saw wave throughout. How would you do that?

[@DrSynth]

For that you would use a 2-OP pair, with the self feedback on the Modulator operator. The Carrier would have its envelope/level control the volume and the Modulator's envelope/level would control the brightness. Have both set to a tuning ratio of 1.00 and set self feedback on the Modulator to 7

[@robertp6859]

@@DrSynth Thanks! That makes sense.

[@MGMark6830]

Is this principle approach possible in Tracktion F.’em

[@DrSynth]

Yes it is !

[@JWalterHawkes]

More or less the same on a tg77?

[@DrSynth]

yep !

[@hdsubstance1]

Best synth ever