Andy,

If you dig up some of the past threads covering the subject - you'll find links for various tutorials. Both general concept FM synthesis tutorials (orientation), as well as more practical application tutorials. Since FM-X is highly leveraged from past Yamaha FM synthesizers (like a DX7 with more operators) - there is a wealth of information available which applies directly to Montage. Only the velocity values from a DX7 would need to be adjusted from 0-100 on DX7 to 0-127 on Montage.

I realize this may not fit the format of a "someone-sitting-in-front-of-a-camera-pushing-Montage-buttons-to-show-FM-X" tutorial. However, there are such tutorials for non-Montage Yamaha FM keyboards which you should find the terminology matches.

Two users, including myself, have submitted a "chart" to translate between DX7 algorithms and Montage ones. Someone wrote a "book" on FM synthesis and submitted that. Due to the 30+ year legacy of FM synthesis at Yamaha, there is a lot of material to be had.

https://www.yamahasynth.com/forum/on-the-fmx-side-of-things

Andy wrote:

Thanks for the excellent set of tutorials,not just awesome but also essential to fully exploit the functionality of this terrific synth. Am hoping you can give us similar tuts on programming the FM engine.

Thanks for the kind words... currently in the works is a series that will attempt to unlock some of the mysteries of FM-X without a ton of mathematics. Based more on the simple principals of how a Modulator and a Carrier work. It will be targeting FM-X Waveform creation.

In the legacy DX7 FM engine, Sine waves were the only waveform available from an Operator. A single Feedback loop per Algorithm offered a method to create a complex Wave from a single Operator. In the FM-X engine any Operator can be the source of extremely complex wave shapes - going much farther than just feeding back on itself as in the reface DX - it will delve into learning to work Spectral Form, Skirt, and Resonance (along with the available Feedback), the tutorial will show how to build different timbres from wooden, to metallic, from broad to nasal, etc., etc., all intuitively, through experimentation, by ear.

We'll try some things and by analyzing if we are changing a parameter affecting the timbre (Modulator) or are we affecting the overall sound output (Carrier), we then will follow up and see exactly how and where those things get applied. Then we can dive deeper and start to extend the range of control.... Also by ganging a few parameters together (for our example programs) we have simplified the AEG portion of programming allowing you to quickly shape the sound.

Hopefully, it will serve as a launching point for those who have been intimidated by FM... the idea is to get involved and find out for yourself, it can be programmed by ear, once you begin see how the parameters relate to one another.

Hope we will have some Video Tutorial for what @ Bad Mister said above

Thanks for your hard works

Watching a video burns no calories (not even in your brain) I'm hoping these will be tutorials where you move the parameter YOURSELF, you hear the result through your own speakers, you get an idea and travel off in your own direction making sounds once you grasp the concept.

If something could benefit from being shown in a video, we'll use that. But like the Mastering Montage series, the real benefit comes from YOUR hands on YOUR instrument... making the changes, hearing the result and seeing the relationships of the parameters with each other (and hopefully creating wrinkles in the brain matter of the reader).

Andy, which tutorials are you referring to ?

Montage Indepth Programming Series

thanks all yes FM is something i am looking to understand and learn more. so far am enjoying tinkering with the algos,ms and efx. don't understand why some are complaining about usability.