also see M:C series tables http://yala.freeservers.com/2fmsynth.htm#Matrix
Programming FM synths, can be daunting indeed. As such I have come up with a few tips which you may find useful.
- Tip#1 – If youre using an identical pair of M:C ie 3:1 and 3:1 with the Carriers slightly detuned to fatten up the sound… you can usually short-cut this into a “one-into-two” ie 3:1+1 with detuned “C”s. It may not sound exactly the same as the original.
- Tip#2 – If youre using a pair of M:C where C is the same ie 7:1 and 9:1, you can usually short-cut this into a “two-into-one” ie 7+9:1… especially useful if youre running out of operators. It may not sound exactly the same though.
- Tip#3 – Fixed frequencies can be useful as an LFO. For “chorused” sounds, you can make one Modulator as a fixed low-frequency and itll sound like an LFO at work. This is commonly used with “in series” combinations eg Fix:M:C, although “two-into-one” combinations will also work eg Fix+M:C.
- Personal Sidenote – Personally, I find the timbre of “in-series” modulators to be less exciting than the “two-into-one” or many-into-one combinations. I normally only use the “in-series” like 1:1:1 for producing string-type timbres. I find the “many-into-one” produces more impressive timbres.
One key distinction between these terms is that pitch is relative (a matter of common agreement among musicians), while frequency is absolute (a precise, unambiguous measurement).
Pretty important stuff…
Despite the fact that Yamaha claims to be making FM synthesizers, the implementation on their chips is actually Phase Modulation. I can testify to this because I have had a chance to see the data books on these chips.