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Yamaha FM Synthesis Manual

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FM Synthesis I, global and simple
acoustic vibrations
In the traditional acoustic musical instruments, sound is generated by
means of a vibrating mechanism. Overall we can distinguish two
diferent ways.
Firstly resonators, such as strings, stretched sheets and rods, which
spontaneously get into a damped oscillation when we hit them with an
energy boost. The hammer striking a piano string is one example.
On the other hand, we fnd complex composite systems as in string
and wind instruments. Under certain conditions these systems become
to vibrate, to oscillate. Each musician knows from experience that it
spends time and efort to realize these conditions by doing and
discovering.
oscillator
In the electronic musical instruments, a periodic vibration is generated
by means of an electronic circuit. That vibration is fnally converted by
the speaker back into an acoustic signal. Such an electronic circuit that
serves as the basic tone generation is called an oscillator.
operator
In the frst FM synthesizers from Yamaha, as with the well-known
,
DX7
sound generation was completely formed in the digital domain in what
was called in Yamaha speak, the operator.
FM Synthesis I, global and simple, © Ernst Bonis 1985/1993/2013
1

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Summary of Contents for Yamaha FM Synthesis

  • Page 1 In the frst FM synthesizers from Yamaha, as with the well-known sound generation was completely formed in the digital domain in what was called in Yamaha speak, the operator.
  • Page 2 (sine waves), without overtones. According to the mathematical theory of Fourier, however, the resulting vibration consists of a fundamental frequency with harmonics. Herein lies the real power and elegance of FM Synthesis I, global and simple, © Ernst Bonis 1985/1993/2013...
  • Page 3 In musical terms: the pitch interval between the modulator and carrier controls which harmonics or overtones can be formed. In a way we may compare the c : m ratio in FM synthesis with the type of oscillator waveform in subtractive synthesis...
  • Page 4 The quantity of the frequency change of the carrier is controlled by the amplitude change of the modulator waveform. In Yamaha FM synthesizer the amount of FM depth is set by the modulator output level. To a certain degree we may compare the FM modulator output level with the frequency setting of a flter in subtractive synthesis.
  • Page 5 In some FM instruments there can be several of these feedback connections active. In synthesizers a maximum of SY77/TG77 SY99 FM Synthesis I, global and simple, © Ernst Bonis 1985/1993/2013...
  • Page 6 The time course of the modulation depth, the modulator output level can be precisely determined. This applies equally to the output level, the output level of the carrier. On the Yamaha synthesizers it is shown by means of a diagram how this variable may change over time.
  • Page 7 Dissimilar sophisticated modulations in which the player has no infuence are common in acoustic instruments. They stem from and are embedded in the physical model of the instrument. This modulation is known as internal fne structure modulation (Tempelaars). FM Synthesis I, global and simple, © Ernst Bonis 1985/1993/2013...
  • Page 8 Internal controls On the Yamaha FM synthesizers we fnd various possibilities for real time sound control. For example velocity and aftertouch. These variables can then be assigned for instance to modulation depth, i.e. the output level of the modulator and/or carrier.