The settings you find on the “FM Settings” screen offer programming offsets to the current FM-X Part.Does anyone have any info (guesses?) as to the working of the new FM-X Settings page for the M models? Basically trying to figure out how it is intended to be used and how the new envelope and other parameters interact with, and control/shape the operator envelopes.
There is a deeper level of editing (you know, the one, typically, that many find confusing and tedious) and there is this offset level of editing.
Think of the editing parameters found inside each Operator as the scuba diver level of editing and think of these “FM Settings” parameters as the snorkelers level of editing. Quick, easy, and based on the deeper edits.
The parameter you change (offset) are based on the deeper level parameter settings. Instead of having to do individual Time and Level settings for each Operator’s AEG, you can apply changes to the FM-X sound using these convenient macro parameters.
Concept: Voltage control synths (analog) are basically an electric buzzer circuit. Complete the connection it buzzes, disconnect it and it stops. Add an Envelope Generator to shape the Attack so it is not always immediate, and so the Release is not always immediate, and add a few steps in between (Decay, Sustain) to control amplitude (how it changes in level during a note). The AEG is one of the things that turns the buzzer into a Note-On — giving it a shape to its loudness.
Sample-based synth engines have similarities with analog but often because it is a recording of the source (not a buzzer), the attack and some of the characteristics may already be built-in. Typically, samples are spliced and looped so that the musician can control the duration of notes. The AEG is used to add loudness shaping details and behavior details. Unlike analog synths, each sampled Element has its own AEG. Hundreds of individual samples can be used to construct an instrument.
FM-X much like the ‘buzzer’ analogy of the analog synth, the FM-X waveform is an immediate on/immediate off source waveform that must be shaped into an instrument sound. Basically, I t’s a digital buzzer! In FM, much like sampled-based synths, each tone source, called an FM Operator, includes its own AEG. Each Operator is designated as either a modifier (Modulator) or it carries pitch/audible sound (Carrier). The Modulators are responsible for harmonic content, (timbre/tone), while the Carriers are responsible for the pitch and loudness that we hear and recognize as the music.
The “FM Settings” are quick edits to the deeper editing found by navigating to the individual Operators (PartX-Operator1-8) where you can set the tuning and Time/Level behavior of each Operator. The “FM Settings” for example will allow you to shape the overall response of the entire FM-X sound without having to dig deep into each of the potential 8 Operators. Altering the FM Attack will offset both the Attack of Modulators and Carriers… you should think of these FM ADSR settings as re-shaping the current stored conditions.
“FM Harmonics” will change those Operators that are Modulators (change timbre) and/or deal with tuning of the modifying source… exactly what parameters and how much is not specifically defined (but there are lots of little hamsters turning wheels — ie, it is a specific set of parameters offset together… to be used “to taste”/“by ear”
“FM Texture” will change those Operators that are Carriers (heard directly) that deal with the audio produced…
The change curve for any of the ‘grouped’ parameters are the result of much study by the engineering team, and are designed to be useful or have proved to be useful results. (In other words, it is not random, there is definitely a method to it.
What it does allow … for those intimidated by the complexity of deep FM-X programming a way to approach programming with the same tools found on an analog synth type interface. Instead of programming from scratch… this is an FM Tweaker’s delight. Given the number of available FM sounds that can be found, a new approach to editing them is now available… meaning you don’t have to program from scratch or deal with programming each Operator one-by-one.
Additionally, access to the Filter is here. In the FM algorithm timbre change is handled by the relationship in pitch between the Modulator (modifier) and the Carrier (result)… the FM-X engine allows your FM result to be routed through a Filter — allowing for more a familiar (traditional) way to approaching timbre change.
Hint: when you see a parameter that defaults to “+0” you can be sure it is an OFFSET to one or more parameters.
Hopefully, your question will find its way to those who might prove specifics — but it’s clear it’s designed to appeal to those (still) afraid of the depth of FM.
From the MONTAGE M New Feature Guide…
The Knobs “FM Depth”, “FM Harmonics”, and “FM Texture” each combine diverse FM parameters at Operator Level. Depending on the initial programming, these macro controllers can be used to achieve considerable changes in the sound without having to dive into the “depths” of the FM-X Engine. In addition, an ADSR Envelope was realized according to the same principle, which also acts as an offset of the Operator Envelope parameters.
This realizes a kind of “Easy Edit” for FM-X, in order to make sound editing easy to handle even for users without FM knowledge. Since the macro controllers always work in dependence on the original programming, the effect and result can vary considerably. Detailed and specific FM-X programming still requires working with the parameters on the level of the eight Operators.
Statistics: Posted by Phil Clendeninn — Sat Dec 16, 2023 7:18 pm