The instrument is based around just two operators – a dedicated modulator and a dedicated carrier – and its default patch is much like the deep house bass we’ve already encountered. Next, we’ll see how Logic’s EFM1 takes an even simpler approach to FM synthesis. Turn B’s Level down to -12dB or so to smooth the effect out: Set operator B’s Coarse tuning to 2, and we’ve made the same raw deep house bass as we had with FM8. This gives us that filter-style movement we created before. Drag down on the square near the centre of the volume envelope on the right to adjust the envelope, making B’s level drop over time as a note’s held down: Turn Operator B’s level up to 0.0dB and you’ll hear mode harmonics are introduced into Operator A’s output:ī is acting as the modulator, A as the carrier. B modulates A, C modulates B, and D modulates C. In this case the yellow Operator A is at the bottom, which means its the only one that’s voiced. This represents how the synth’s operators are routed. In the master panel at the bottom right-hand corner of the interface you’ll see four coloured blocks: Rather than a modulation matrix, Operator has a selection of preset routings, much like the Yamaha DX7. Operator might not look much like FM8, but under the hood it has a similar architecture. To show how other FM synths work in similar ways, let’s begin by recreating this patch in Ableton Live’s Operator synth.
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