applying frequency modulation to any sound source using fm7 tutorial

7/31/2019 Applying Frequency Modulation to Any Sound Source Using FM7 Tutorial

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pp ly ing Frequency Modu la t ion to ANY Sour ce Sound Using FM7 - Tu t o r

y: nexxoussone

was recently asked by another gridsta how frequency modulation could be achieved when using a non-FM sou

aid, fuck it, might as well make a basic tutorial. Well, an exemplary way to achieve this would be to send youurce through the audio input of Native Instrument's FM7. Before I get too deep into it, want to cover the neceminology involved, so no one will be left feeling confused as I progress through this tutorial.

erator: an operator is an oscillator with an amplitude envelope.

rrier: if an operator is routed to the output, it then becomes a carrier.

dulator: once connected to another oscillator, in order to modulate the waveform, an operator becomes a

odulator.

, as you can see, operators can be either modulators, or carriers, but they can also be both.

gorithm: a series of modulators and carriers is an algorithm.

w, in case you don't know, frequency modulation is all about harmonics. Harmonics are your friend. Anyway,

orial will show you how to apply frequency modulation to any source that you desire, whether it be a simple w

e, a synth, a sampler, any fukkin thing you want. Now, whereas my main intention is to show just that, you caply this knowledge for use of FM7, and other FM synths for their main purpose...not just audio throughputs. I

gic user, and therefore will be basing my interactions upon that, but will generalize so as to try and not leaveyone out. I have used nothing but Logic as my sequencer for years now, and have no frame of reference othe

at.

st thing, [obviously], open your sequencer and decide what you desire to apply the frequency modulation to.

rpose of this tutorial, I will use the EXS24 sampler. Next, you will want to open FM7 as an effect for the same

the Logic menu for FX, it will be listed as FM7fx. The default bank for FM7 will be fine for use, or you may loampty bank and go from there, but I will continue as if you have used the default. Referring to the default bank

oose preset 127, which is called "INPUT as Carrier".


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w, if you play your input source through at this point, you will automatically notice that 1) it is much quieter aere is already some modulation applied. So, first go to the master view, by clicking on MASTER (green button

w) and turn up your input and output levels....if you desire...you can, of course, throw up the level on that tra

ur sequencer as well.


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xt, go to your operator view, (once again, green button...you should click on F, as that one is the active carri

u have A through F as your main operators...I'll get into X and Z later) and you will see that F is activated by the OPERATOR ON/OFF buttons (to the left a bit, directly under the green row).


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so, you can see that the input is activated. If you look to the smaller window to the right, this shows the enved key scaling for F. Now, why is F a carrier and not just an operator? Click on the button labeled MATRIX in th

ht corner of the envelope window.


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is brings you to the Matrix window. As you can now see, operator F is connected to the output, which makes

rrier. Whereas it doesn't at first look to be, this is how all carriers are routed while using FM7 as an audio throu will notice that each operator is listed in a diagonal fashion with empty boxes all around connected by lines.to the box connecting operator F to the input (and output), click/hold and drag up and down. This is how you

e level amounts for these boxes. Go ahead and turn it completely off, and the box will disappear. I want to no

s operator right now as it has already partially been set up and I want to show you how to start from scratchrn off operator F by clicking on the aforementioned OPERATOR ON/OFF button for F, and turn on operator D. Y

e the indicator becomes highlighted in the matrix view. In order to control the parameters for operator D, youve to click on D in the green button row. Now, go to the matrix view and connect operator D to the input, go d level all the way up to 100.


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you were using FM7 as an instrument, not as an audio through, you would instead connect it to the output. Nat there are two different parameter adjustments for the output. The one on top is your level; the one beneat

e pan level. Also notice that the output also has these adjustments available.] Now operator D is a carrier, anare using FM7 as an audio throughput, it is also a modulator. Say that you wanted operator D to modulate it

ectly above D in the matrix is a box that shows connection lines only for D. Adjusting the level of this box wilectively cause D to modulate itself, creating a feedback loop.


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u now know what the boxes above the operators are, the rest of the surrounding boxes are for different routi

ths. To the lower left of FM7, above the keyboard, you can see the waveform for your operator. Here, you canm 32 different waveforms by click/holding and dragging up or down where the number of the current wavefo

played. The default waveform for the FM7 is the sine wave. For this tutorial, I have loaded a reese into the EXth a saw as the basis for the reese creation. Now, unless you want to completely mangle the fuck out of your

und, it is usually a good idea to at least approximate the basis for your sound input, and apply that type of wa

e modulator. Since mine is a saw type reese, I will apply a saw-ish waveform. So I selected waveform 11. Aboveform display, you have the adjustable frequency and hertz parameters. Default will have hertz at 0, and th

quency at 1. At this point you should note that each full number value is the equivalent of one octave. So, plaurce sound, and drag around the frequency setting. If you drag it way up, you will screech that shit out. Drag

ro, and there is no modulation. Note that whatever number area you position your mouse pointer over beforeag, gives you different levels of adjustment. Now, be aware that 1.0 is the equivalent of octave 1 as it pertain

ynote C. So, say I only want to add a bit of craziness to each note as it is played, not completely fuck it up, I ve to automate the frequency to follow each note. So, to understand, if you haven't already, play one of the C

ur keyboard while the frequency is set at 1.0. Sounds good; now continue to play a non-C note, and it mangle


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kkin crazy the further you get from C. Also, notice that quarters also sound good. In other words, 0.25 as it pC sounds good, as do 0.50 and 0.75, throughout the octaves. Moving on, I am going to set the frequency at 0

rtz, well I hope through EQing that you all know what hertz is. Best [quickest] way I can describe how this w

ect your sound is almost like an LFO. Numerically, you will have to figure it out, because I don't wish to be althis. So, for my purpose, as it pertains to note C, I will set the hertz at negative 64. At this point, there are mher variables to set up, but as I said, I don't want to continue this forever, so all I will say is don't forget that

anged from the envelope view earlier (to the matrix view), so don't forget that is there. Since I am perfectly hth the gate envelope (default), I will leave it be. Now, in order to set up an algorithm, we will need moreodulators. So, go and turn on operator what the fuck ever, and connect that operator to D, making what oper

u have chosen a modulator. Set up your shit again (frequency/hertz/levels/wave), and continue to do this inccession. Remember, you can always create another carrier rather than a modulator, or have an operator do w, if you are applying automation in order to follow notes in your sequence, and don't want to mangle the shit, the more complex your algorithm, the more complex that type of automation becomes. As far as operators

X is saturation and Z is distortion. My final matrix view:


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n't forget that, if you wish, you can apply the FX from the FM7 to your input as well. Along the row of green bthe top you will see EASY (FX) and LFO among them. The master button is your final control over end levels.

n't forget, you can apply all of this to sound creation rather than audio through simply by routing to the outp

e matrix instead of the input. There are an assload more parameters and assigns available, so tweak away!

nce I probably will end up just deleting/not using what I have shown you here, I will attach my final sound in

xt two posts. The first I bounced in 16 bit/44khz (this sample plays longer because in this format you can fit m

e meg...damn upload restrictions ), and the second I bounced in 24 bit/96kHz (obviously, shorter).

applying frequency modulation to any sound source using fm7 tutorial

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