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In the world of synthesis, there are a wide range of approaches we can take when it comes to generating sounds from scratch. The most common ones have confusing names like wavetable, FM, additive and subtractive synthesis. The truth is, it’s hard to describe how a whole method of synthesis works with just a simple label.
Sometimes you don’t want it to do this. In this case, you are probably using a wavetable that is intended more as a library of static shapes rather than a table that is supposed to be animated. There’s nothing wrong with this – you can still make great sounds with static tones!
If you enjoy this plug-in and want to say thank you, then please buy a library of patches (or two or three). That is the nicest way to say thank you and you get new sounds for your favorite software plugins to be inspired by at the same time. So thank you in advance for your support.
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However, all the eye candy and usability in the world doesn't mean a thing if it ain't got that swing. And as we mentioned earlier, the FM8's sound quality doesn't come up wanting. However, the one attribute that makes this synth truly something special is that not only is it a great FM synth emulator, but its sonic fingerprint is quite distinctive. With many virtual synths sounding exactly alike, inserting a FM8 patch into a track is like opening a window in a stuffy room. The crystalline, shimmering pads, dark ethereal textures and crisp melodic percussive sounds will energize your music for a lift that few other virtual synths can deliver.
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I find that Qobuz has a wider, more spacious sound generally and these four tracks highlight this. I do realise I should be listening to Toccata in D Minor but that is just not my thing. So my Qobuz shootout is based in Radiohead tracks, more complex tracks have a little more room to exercise in my view.
For this reason it is not as common and many synths have additive features whilst not being truly additive themselves. For example, Serum allows you to use additive synthesis to generate frames for your wavetables.
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FM synthesis features heavily in 90s video game music as many sound cards used it to create complex sounds with little processing power (https://aprel-vologda.ru/hack/?patch=1829). The Sega Genesis is the most famous example of this.
The FM8 is a powerful (https://aprel-vologda.ru/hack/?patch=8710) entry-level log splitter capable of splitting logs up to 370mm* in length and 250mm* in diameter. Unlike other small electric log splitters which only have 1500 Watt motors and 4 ton of force, the FM8 is fitted with a 2200 watt motor which gives it 5 ton of force. This is an ideal entry-level model for people with smaller fires or wood-burning stoves. Now featuring a heavy-duty carriage, this helps make this log splitter more robust.
FM synthesis, the audio technology behind the DX7, was discovered by John Chowning at Stanford University in the late sixties, and patented in 1975. It was then licensed to Yamaha who in turn patented their hardware implementation of FM, giving them a stranglehold on the market for the next decade.
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This a FREE MIDI Plug-In that displays MIDI Activity with a keyboard and up to 5 faders that can be set to any of MIDI’s 127 MIDI CC#’s. The PlugIn is ReSizable and able to be set to display between 25 and 88 notes (5 different keyboard size options). This is FREE but you need to be a registered user here to add it to your account and download it.
The Morph pad is programmed to the Max – all 4 corners are set to TOTALLY DIFFERENT (useful) Variations – so each patch has literally hundreds of variations depending on where you move the morph pad. So while this library has 62 patches, by using the Morph pad, there are many many more possible sounds these patches can produce. Every patch also has a totally customised Arpeggiator pattern, performance notes in the Comment section as well as the Modulation Wheel is programmed on EVERY program. Not even Native Instruments factory voicing did this!
Don’t worry – you don’t have to make your own wavetables if you want to play with wavetable synths! There are plenty of great libraries available on the net and your synth will come with a bunch as it is. But it’s fun and easy to make your own. Serum has a huge range of cool features for making your own complex wavetables very quickly.
These operators are arranged so that some are heard as you play a note, while others are not heard but instead change the tone of the ones you do hear. These operators are referred to as ‘carriers’ (the ones you hear) and ‘modulators’ (the ones that vibrate the carriers to create tones).
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Unify Patches are now included with this purchase! So you can load up and then layer multiple FM8 PowerPack patches inside of Unify!
After the sound is generated by the oscillators, it is processed with filters to shape the timbre. These are just like the filters you find in your DAW or on a parametric EQ except fine-tuned for synthesis, often emulating circuits in vintage synths.
Because wavetable synthesis is much more varied than subtractive synthesis, it’s hard to sum up as easily. When you can program a sound frame-by-frame and these frames can contain anything, a wavetable synth can really sound like a lot of things.
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I’ve had the T+A HA 200 headphone amplifier mainly in my lounge using an Auralic Altair G1 as my streaming source with Atlas XLR (analogue) output to the HA 200. Latterly I have moved the T+A HA 200 headphone amplifier into my office to listen to the DAC from my DELL XPS computer, using Audirvana.
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It’s also worth noting that FM synths are great for old school house and techno. They are particularly good for bouncy bass lines and bright, digital leads. FM basslines were also very popular in 90’s dance-pop and RnB.
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The final point to make is where I have a hard copy of a track like The Numbers it feels better to use my own copy than the streamed version. This points to the idea that maybe we’ll start moving to more PC based high end audio solutions, it feels like that from here, with £12,000 worth of headphone equipment on!
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Devotees of the of the incredibly popular Yamaha DX7 synthesizer, which single-handedly kicked analog synthesis to the curb in the early '80s, rejoiced when Native Instruments released their original FM synthesis emulator, the FM7. Now Native is back with FM8, the second incarnation of this unique DX7 emulator, and once again fans have something to cheer about.
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Although modern synths still struggle to realistically emulate actual instruments without resorting to samples, FM can do a pretty good job with bell sounds. These sort of clean, sometimes inharmonic tones are right up FM’s alley.
Show MIDI is a MIDI Plug-In that shows you what you play on your keyboard controller with a visual display on your computer. This is helpful for people teaching classes, hosting webinars or livestreams or making videos where they need a keyboard to display what they are performing so others can watch along. I use this to make my YouTube videos because of the added flexibility of showing up to 4 MIDI CC#’s as well as Pitch Bend.
The bottom half of the navigator is tied into the Expert page and gives you access to the operators themselves. It's also your gateway to the 32-stage envelopes, key scaling, spectrum display, modulation matrix and LFOs.
You’ll have some sort of graph to draw in harmonics and often phase as well. Your synth converts this to a waveform that your oscillator uses.
We of course use modulation sources such as LFOs, envelopes and velocity to affect the oscillators and filters to shape our sounds. This is not exclusive to subtractive synthesis and we’ll talk about this more at the end.
Here's our pick of the finest FM synth plugins on the market. For more on FM synthesis, pick up Computer Music 216, which is on sale now.
We want to help you all get the most out of FM8 through our own original tutorials, videos and walkthroughs we source and aggregate here and the various presets available for download. We would love for you to take an active role in how things develop here by letting us know what you want to learn more about when it comes to FM8. You can do so by leaving a comment below, or by contacting us through the website here.
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Most modern synths incorporate a few styles so it’s important to get a feel for the most common approaches. Having said that, your synth will still lean into one style more than the others.
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A new addition to FM8 is the fully programmable Arpeggiator. Native didn't just fax the feature set in — this tool has maximum flexibility and can sync-to-tempo, loop start, sync-start, and can play once or repeatedly to a maximum of 32 steps. If you want to go really nutty, every parameter can be manually modulated and all attributes can be randomized for each step.
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Switching the streaming source to a DELL XPS with the USB B interface into the HA 200 DAC the results are even better. With Radiohead’s The Numbers, the bass line is perfectly controlled with depth and control. My 24-bit copy on my hard disk is so much better than the Tidal version it is almost embarrassing. But with a platform this good and headphones to match these differences are easier to discern. I have the Solitaires in the 4/4mm Pentacomm balanced output.
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Inside each FM synth is an array of ‘operators’, which are simply just oscillators paired with envelopes for their amplitude. While other types of synthesis will certainly let you use multiple envelopes for different oscillators, with FM synthesis it’s considered standard practice to pair the two together with one term.
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Modulation Wheel – all bets are off but make it EPIC whenever possible! The wheel can change synth parameters AND effects for truly exciting results in many cases. Play with the Mod Wheel on each patch to find out what it does!
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For these qualities, subtractive synths are good for ‘reinforcement’ if other synth parts are thin, digital, or lifeless. They can add body and warmth to anything.
Drag a wavetable into your DAW as an audio clip just to study. I’ve added white markers to show where the frames are.
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In Arturia’s Synclavier V plugin, you have multiple ‘frames’ of additive waves in a single oscillator. There are also FM carriers and modulators.
FM synthesis is often criticized for sounding cold, sterile and alien. I would argue that this is just how they tend to sound but they do lean into these sounds well, which we can use to our advantage. But it’s also entirely possible to go the other way and avoid these terms completely.
Because wavetables are high resolution sound waves, the pitch is naturally very low when you hear them as raw files. Serum uses 2048 samples (pixels of audio) per wave which allows for a huge amount of detail and a large number of harmonics per frame.
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The T+A HA 200 headphone amplifier is retailing near £6,600. The HDMI board is an optional £480.
The Infobox The Infobox offers you instructions, tips and tricks for all areas of the program. That makes operation self-explanatory.
About the Programmer: John Lehmkuhl has been influencing the Sound Design Industry for over 28 years. After working on countless hardware synthesizers and studio productions, he has taken his passion for design and brought it to another level. By further innovating and shaping the architecture of software synthesizers and their components, John is creating libraries of original material to empower producers and enthusiasts the world over!
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Resonance is the ‘emphasis’ around this frequency, essentially just a narrow volume boost that gets louder with higher resonance settings. As the resonance approaches the maximum setting, you will hear what sounds like a tone centered around the cutoff frequency.
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This Ableton Live exclusive is a throwback to traditional FM synthesis, eschewing new-school FM matrices for 11 fixed routing algorithms. Operator does offer some concessions to progress, though, in the ability to select a variety of waveforms, or even create your own with a simple additive synthesis engine.
PlugInGuru Show MIDI – MIDI Effect
I’m still using the T+A Solitaire P headphones from this review and also my own Oppo PM-2s. The DELL is connected to the HA 200 with an Atlas Mavros Grun cable as featured here.
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Looking beyond its less-than-inviting interface, Dexed’s saving grace is that it’s freeware, making it an ideal starter FM synth. If its back-to-basics DX7-style approach is a little on the dry side, you might find Green Oak Software’s splendid FM/subtractive hybrid synth Crystal (greenoak.com) a better cost-free option.
I had a really nice play with the Bluetooth on the HA 200 from an iPad. It works nicely and it affords playing the live Thom Yorke version of The Numbers on repeat with a great pair of headphones. Other highlights from Youtube inevitably include Whitney Houston singing at the Superbowl and The Delines performing Colfax Avenue on the KEXP channel.
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For many early analog synths, lowpass filters were the only option. Now it is possible to have a huge range of filter types, all with unique quirks and characteristics.
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This semi-modular monster has oscillators with dedicated frequency modulation and phase modulation capabilities, plus innovative fractal distortion features. If you prefer your synths with hardware-style cable routing rather than new-school FM matrices, you’ll enjoy its retro interface, too.