Thanks for these tutorials! I'm hoping this won't be the last FM-X tutorial. I'd like to learn more about the algorithm types and when best to use them, like why you would use a branching algorithm instead of a stacked one, or when to use one carrier vs. two or three. I do know the 8-carrier one is good for organ sounds.

Among other sources, you can review Manny's approach which is covered in Montage tutorials, reface tutorials, and even Soundmondo upload descriptions (he sometimes does videos on these sounds getting into deep detail).

This is not MODX - but the general questions of how Manny is approaching branches vs. stacks is covered. In this set of brass sounds, when he wants to have lots of control over different "sound effect" adders to the core sound - he uses branched.

https://www.yamahasynth.com/resources/basics-of-fm-synthesis-lesson-2

This article uses branched. There is another brass sound that uses stacked. Then yet another that uses a Reface unique shared modulator (most branches are multiple nodes connected to one downstream node - this unique alg. has one upstream node connected to multiple downstream nodes - a reverse branch of sorts). Even though unique - I do believe you can reproduce this kind of topology on MODX using alg 24, 25, 43, 46, 60, or similar. Take alg 60. If you set feedback off on op 4 and make moderators 4 and 6 identical - then you essentially have the same as if you have a shared parent with two child branches (ops 5 and 7 in this alg) which themselves branch back to a single node (carrier 8 in this alg).

Knowing the 8 Carrier Algorithm is good for Organ is a great start... you know that each Operator as Carrier can be a drawbar footage... a separate sound making Source.

The number of Carriers is going to determine the number of distinct sound making components you wish to concentrate on.
Say you want to build an electric piano sound... you might use a series of two Operator stacks... four Carriers, four Modulators... one per.
The first two Op stack might be the body of the EP sound, the second two Op stack might be the tine sound, the next two Op stack might be used to create a hammer knock sound, and so on... with the last two Op stack making a panned (for stereo) EP body component.

Think about the sound you want to create and the details you want to add. You could create a string sound, but if you want to also add some kind of noise (bow attack, for example) that might require another Carrier/Modulator stack...

A synth bass sound or a lead sound might be all Modulators applied to a single Carrier... Modulators can be set (using their individual AEG) to change the tone over time, rather than creating a separate noise or component... they can be set to fatten a sound overtime. You’ll be amazed at how much you can have sound expand and evolve over time... Modulators change the tone so applying them can be staggered and create unique changes when sounds are held.

Each Carrier can be a different component ‘noise’ or functi9n of the sound... with eight Operators you’ll find that you have the ability to really get into FM-X... most sounds use six Operators leaving plenty of room to go either way: add a new component or change the timbre/tone over time

Thanks for these tutorials! I'm hoping this won't be the last FM-X tutorial.

New series starts now:
FM-X Tutorial Series

Thanks for the info, Bad Mister and Jason - I'll check those tutorials out. Looks like I've got a lot to learn!