AudioPilz’s FM Synth Odyssey: Memes & Modulators

Ah, frequency modulation – the grand, elusive beast of synthesis that either seduces or baffles. AudioPilz opens with a historical sweep, charting FM’s course from early Buchla experiments to the digital splendour of Yamaha’s DX7. It’s like watching FM go from a basement pub gig to headlining Glastonbury. FM’s journey is marked by ingenuity and a touch of madness, moving from precise analog attempts to the more robust digital adaptations. We learn about John Chowning’s handiwork, pivotal in turning FM into a pop music staple. This section sets the stage for an enlightening, and occasionally snarky, exploration of one synthesis’ most misunderstood forms.

Now, if FM synthesis were a mate, it’d be the one who’s brilliant at parties but an absolute nightmare in daily life. Florian doesn’t mince words – FM’s User Interfaces have been notorious for being less intuitive than a broken typewriter. The rise of the DX7 coincided with FM’s moment in the sun – or perhaps a fluorescent bulb in a seedy arcade, given its association with gaming consoles. AudioPilz nods to the quirky charm of FM even as he acknowledges its reputation for complexity and cheesiness. By the ’90s, FM was on the ropes, overshadowed by simpler sample-based synthesis. Yet, just when you thought it was all over, a resurgence in the 2010s brings FM back from the brink, like an old band reuniting for yet another tour.

Diving deeper, AudioPilz walks us through the labyrinth of FM synthesis’s basics. At the heart of every FM synth is the infamous operator – akin to ordering spicy curry when you’re not sure if you can handle the heat. The relationship between carrier and modulator is a delicate dance, not unlike a punk and a hippie at a Skins gig. Ratios and envelopes become critical here—get them wrong, and you’re left with something that sounds like a cat fight. But get them right, and you’ve got iconic tones like the Yamaha DX7’s memorable bells. AudioPilz uses a dose of humour and memes to untangle FM synthesis’s notoriously steep learning curve, spotlighting software solutions that sidestep the hardware’s infamous befuddling controls.

Now, things get intricate. Florian dives headlong into the vast sea of algorithms that underpin FM synthesis. Think of these algorithms as the secret setlists at a gig – they reveal the true potential of your instrument. From two-operator simplicity to six-operator complexity, the intricacies of these configurations dictate the resulting soundscape’s flavour. While many digital synths only allow fixed algorithms, modern offerings like Opsix let you customise these secret formulas, turning FM into a playground of possibility. The role of feedback in shaping FM’s timbre is akin to a soundcheck’s hallowed feedback tones, transforming tame sine waves into sawtoothy beasts. Florian peppers his insights with the kind of wit that makes even the geekiest detail entertaining, pointing out how FM’s unique potential often gets buried under layers of unnecessary complexity.