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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?
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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.
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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.
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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.
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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!
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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!
4374 Hits
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.
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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.
10272 Hits
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.
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