FM Synthesis. A Catalogue of Materials. 03 Air (Turbulence)

This is the third instalment from the "FM Catalogue of Materials" synthesis cinematic videos.
These are intermediate level F.M. synthesis, so they require a little knowledge of synthesis in general.

Levels and Envelopes, how to:
Most of the patches are sustained or decaying sounds and thus the amplitude envelopes should be obvious at intermediate level (either decays or sustains). The operator levels are found by following each example’s operator steps as they are switched on and then comparing the video with ones own trials.

Ratios, how to:
If you are using VOPM, FB01, DX100, CX5 use the CXRatio column. Example:
The first number in the CX ratio is the "Mul" or ratio multiplier (0.5 to 15) and the second number is the "DT2" in VOPM or "IF" on the FB01, CX5 etc). The Detune is more of a standard fine detune you find on any synth's oscillator and is for adding chorusing, beating frequencies etc.

If you are using a DX compatible synth use the DXRatio columns and use that number in your operator frequency.

Each video contains the blueprint for the synthesis of the basic sound of physical resonant materials such as metal, wood, air, strings as used in musical instruments. Some of the videos cover more abstract electronic sounds and SFX.

This one is called "air because it shows how turbulences can create a sense of airiness and breath which becomes part of the sound rather than if noise was just added by mixing in.

This F.M. technique is related to the Wood materials. It employs the same random modulations (approx between 50-100Hz on the frequency of the operators in order to create turbulence. This case differs from the wood materials in that there is more depth of random modulation and the timbres use long sustained envelopes to create drones and pads. Pads, in general don't have to have huge thick layered oscillators in order to create atmosphere, in fact, it could be argued that those are somewhat overdone.

The parameters on the videos are from the VOPM free FM plugin. They are the same as the Yamaha FB01 and CX5M. They will work on most Yamaha 4 operator FM synths. They work well on, Preen FM2, Korg early FM synths and NI FM7 and FM8 too
http://www.geocities.jp/sam_kb/VOPM/

Synthesis Parameters
The idea behind this series is to provide the most universal F.M. parameters (mainly frequency ratio data) from which to create variations of the "material" timbres in the videos. You will be surprised how much variation is possible by changing the fundamental frequency and the inharmonic frequency of the bells.

The LFO wave must be a random wave (sometimes called Sample and Hold)
Set the speed to max and then dial in depth/intensity until you get the wood texture. You will also notice it creates ambient reverberation. Unfortunately the DX7 LFO's are to slow to create this effect. On the Sy77 and TG77 use a noise operator as an alternative.

A couple of points worth noting.

Frozen Sines is deceptively simple. Two things make this timbre work. The right amount of turbulence (created by a random LFO modulating the frequency of the operators and the detuning between each operator in order to create the ondulating polyrhythmic pulsing that creates makes this. The polyrhythm changes depending on the amount of detuning (under the Detune column).

Lenticular Ships is quite simple. Operator 1 ( M1) has a slower attack and a sudden decay to create something similar to backwards tape.

Fugal Contrails. Dark cassetified pipe organ, which give a vintage sound. ONe of my favourite and earliest sounds from the CX5M. Depending on the mix of random LFO speed and depth you can get anything from cassette like wow and flutter to dark breathy baroque pipes.

Wind Cymbal. The only thing to note about this timbre is that the attack needs to be adjusted depending on the tempo of the arrpeggio.

Wind Gong. Slow attack gong like timbre. Adding more noise LFO will create a whispier airy feel to the tone.

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