The output of the carrier OP1 was constant amplitude. The timbre modulation is as recognizable as an EG modulation on a LP filter. What happens if a Multisegment Envelope is used for modulating OP2’s output? Press the On button in the VCS. Therefore it sounds like a filter is opened and closed slowly. The modulation of the LFO is increasing and decreasing the output of OP2. The product of the LFO’s sine wave and OP2 modulates the OP1’s frequency. How do we build in control of frequencies and amplitudes? Ratio: 1/4 creates a square wave, and so on.Ratio: 1/2 creates a filtered square wave.If we are experiencing the changes of timbre, when moving the sliders, we can imagine what would happen shaping these complex spectra: In our first sound FM Basic 1 we can explore these functions in pitch ratio and amplitude. The use of FM equations of an operator can be combined with one or more FM operators to synthesize different types of complex waveforms. The relative amplitude of a particular sideband at fc ± n*fm is governed by Jn(I), the Bessel function for the particular n.
The FM spectrum can be considered to be made up of a carrier frequency at fc and an infinite number of sidebands at frequencies fc ± n*fm.
The number of harmonics that make a significant contribution to the spectrum depends on the modulation index. These structures are defined by the ratio: the equation of pitch between the modulator and carrier. These are complex harmonic structures (sound characters). When the speed of this modulation is raised to within the audio spectrum, sidebands are obtained. When set on a sine wave, the LFO modulation creates a vibrato. (Open the file FM Basic 1.kym found in the FM Basic folder and play the Sound). It can be easiest to visualize, understand, and hear when the modulator is low frequency. The modulating wave changes the frequency of the carrier wave. One is called the modulating wave, the other the carrier wave.
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You can find all of the Kyma Sounds used here in the FM Tutorial archive in the Community Library. In these articles, the focus will be on the more practical side of FM synthesis and extensional techniques. The sine wave oscillators in these sounds are called “Operators”, OP( n) in short, like in the algorithms of Yamaha’s DX7. The aim of this writing is to find useful extensions of the FM technique in Kyma. By using spring reverberation between the modulator and carrier, blurring the spectrum, I found FM an extremely useful technique for creating impressive sonic structures. In the late 70’s I found myself exploring FM techniques on the ARP 2600 the analogue way. In the early 1970s, John Chowning, a composer and researcher at Stanford University, developed some important new techniques for music synthesis using FM: the FM algorithms. In the past, the Frequency Modulation technique was used widely in radio transmission but had not been applied to sound synthesis.
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