Welcome to the fourth article in the Manny Fernandez FM-Xplorations series! A longtime FM programmer who contributed sounds to the DX7II, SY77, SY99, FS1R, DX200 and reface DX, Manny has lots of tips and tricks to share in this highly informative series. So let's join Manny now . . . 

Welcome to the second article in the Manny Fernandez FM-Xplorations series! A longtime FM programmer - contributing sounds to the DX7II, SY77, SY99, FS1R and DX200 - Manny has lots of tips and tricks to share in this highly informative series!

Welcome to the third article in the Manny Fernandez FM-Xplorations series! A longtime FM programmer who contributed sounds to the DX7II, SY77, SY99, FS1R and DX200, Manny has lots of tips and tricks to share in this highly informative series. Let's join Manny now . . . 

In this short quick series, we'll take a look at a number of simple two Operator FM-X stacks and discuss how you can begin to learn to program source waves using FM-X intuitively, by ear - without any heavy math. Please download the example Performance (P4.X7B). This is a MONTAGE Connect bulk file. It is assumed you are making the adjustments and hearing the results yourself. One of the best ways to gain an understanding of the FM-X engine is to experiment with a few key parameters and work with them until you're comfortable with what they do and exactly when they do it. 

In Part 2 of this series we will study a Performance made with the same basic setup as in Part 1, but featuring different settings for our 8 Assignable Knob parameters. In Part 1 we turned some knobs and made some observations and speculations about what was being controlled - was it the Modulator or the Carrier that was being altered by a specific Knob parameter? Now we will follow through and see where those Control Assignments were made and how they are applied by the settings. Included at the bottom of this article download the MONTAGE Connect (P3.X7B) file for the tutorial, PERFORMANCE: P3

In this chapter, we'll take a look at two more Single PART Performances, each one made from just a simple two Operator stack. These are exactly like the previous examples, with the exception that the Modulator to Carrier tuning Ratio is 1:1 here. It was 2:1 in the previous examples - and this will give us yet another array of timbres we can build - as your ears will tell you. We will apply the same 8 Assign Knob parameters as in the previous examples and, again, show that with just these parameters, we can fashion a very wide variety of initial FM-X waves.

In Part 4 of this series, we are putting it all together!

An FM Synthesis Programming Tutorial focusing on the Yamaha Reface DX architecture - Lesson 4.

For this article, I'm going to delve into an area where FM synthesizers like the Reface DX are especially versatile -- the creation of pad sounds. Because of the amount of harmonic (overtone) content that can be created by even just a single modulator, FM synthesis is capable of creating a vast array of evolving and shifting pad sounds and timbres. The first place to start in constructing your pad sound is the Algorithm – which one to choose?

An FM Synthesis Programming Tutorial focusing on the Yamaha Reface DX architecture - Lesson 5

For this installment, I'm going to discuss another area where FM synthesis is very versatile across the wide spectrum of musical styles – Bass sounds. From the Bass 1 and Fretless presets in the original DX7 to the LatelyBass and SolidBass patches in the TX81Z & DX100, the legacy of FM for Bass sounds is well known. So, starting from the "bottom up" as it were, let's build some Bass sounds.

An FM Synthesis Programming Tutorial focusing on the Yamaha Reface DX architecture - Lesson 5

For this installment, I'm going to discuss another area where FM synthesis is very versatile across the wide spectrum of musical styles – Bass sounds. From the Bass 1 and Fretless presets in the original DX7 to the LatelyBass and SolidBass patches in the TX81Z & DX100, the legacy of FM for Bass sounds is well known. So, starting from the "bottom up" as it were, let's build some Bass sounds.

An FM Synthesis Programming Tutorial focusing on the Yamaha Reface DX architecture - Lesson 4.

For this article, I'm going to delve into an area where FM synthesizers like the Reface DX are especially versatile -- the creation of pad sounds. Because of the amount of harmonic (overtone) content that can be created by even just a single modulator, FM synthesis is capable of creating a vast array of evolving and shifting pad sounds and timbres. The first place to start in constructing your pad sound is the Algorithm – which one to choose?

An FM Synthesis Programming Tutorial focusing on the Yamaha reface DX architecture - Lesson 6

Hopefully with the articles so far, you've been able to gain a reasonable understanding and 'ear experience' with how FM synthesis behaves. This article is going to put together many of the concepts discussed prior in this series and take a little deeper dive into FM than in the previous articles. We are going to do this as we go into another area where FM synthesis is very effective and powerful – lead sounds.

An FM Synthesis Programming Tutorial focusing on the Yamaha reface DX architecture - Lesson 7

For this final article, I'll build on the concepts covered in prior articles and discuss some advanced tips, tricks - and unusual FM quirks - I've learned in my 30+ years of programming Yamaha FM synthesizers. These advanced concepts can help you to twist your sound creations in some unique and personal ways. Four tricks & quirks I'm going to discuss are: Velocity Tricks; Envelope Level Tricks; Detuning Quirks; and, Fixed Frequency Sub-Audio Carriers. So, off we go!

An FM Synthesis Programming Tutorial focusing on the Yamaha reface DX architecture - Lesson 6

Hopefully with the articles so far, you've been able to gain a reasonable understanding and 'ear experience' with how FM synthesis behaves. This article is going to put together many of the concepts discussed prior in this series and take a little deeper dive into FM than in the previous articles. We are going to do this as we go into another area where FM synthesis is very effective and powerful – lead sounds.

An FM Synthesis Programming Tutorial focusing on the Yamaha reface DX architecture - Lesson 7

For this final article, I'll build on the concepts covered in prior articles and discuss some advanced tips, tricks - and unusual FM quirks - I've learned in my 30+ years of programming Yamaha FM synthesizers. These advanced concepts can help you to twist your sound creations in some unique and personal ways. Four tricks & quirks I'm going to discuss are: Velocity Tricks; Envelope Level Tricks; Detuning Quirks; and, Fixed Frequency Sub-Audio Carriers. So, off we go!

Previously, we talked about the synthesis purpose (why) and technology (what.) Part three in our series talks about the methods of synthesis (how.) Click the link below to launch the tutorial.

Launch

Want to discuss what you learned? Join the discussion on the Forum here.

And stay tuned! Next lesson coming soon.

Last time we began our look into synthesis by exploring a Sawtooth source wave, let's begin this time with the other very common "analog" wave, the Pulse wave.

What are the musical purposes of synthesis? What’s the difference between analog and digital? How do they work? We answer these questions -- and more -- in depth in this slide show. Click the link below to launch the tutorial.

Launch

Want to discuss what you learned or have more questions? Join the conversation on the Forum here.

Not had an opportunity to experience the first lesson in the series - Synth 101 - Lesson 1: What is a Synthesizer? - check it out now. 

And stay tuned - more to come soon!

An FM Synthesis Programming Tutorial series focusing on the Yamaha Reface DX Architecture - Lesson 2.

In this session we will embark on our first example in programming specific Voices from scratch: solo brass voices. Brass voices permeate and inform the many sounds of our life - from pop, jazz, R&B to movie soundtracks. Let's get started.

An FM Synthesis Programming Tutorial focusing on the Yamaha Reface DX Architecture - Lesson 3.

In the last lesson, you learned how to program Solo Brass Voices (if you missed it, check it out here). Now experience how to enrich your repertoire - and sound - by creating Ensemble Brass Voices.