![]() In the Edit tab we can set the Pitch, Poly/Mono Mode and the Stereo Spread in the Mod tab we will find a Step Sequencer that can be used to control the Volume and the Cutoff of Osc 1 and/or 2, plus an LFO that we can attach to the previously mentioned destinations, with the addition of the Pitch. FMX-4op offers different tabs, Main, Edit, Mod, FX and ARP, a quite extensive set of controls to shape our sound. We can decide to use just one of the 2 Oscillators, and tweak its dedicated Envelope and Filter section, or both together if 1+2 in the Osc Select section is selected. It offers an extensive range of controls, starting from 2 Oscillators, for which we can select between 175 different sampled waveforms, each with dedicated Volume and Pan control. Let’s start with the FMX-4op, an instrument based on the T81Z and DX100. But this is probably a strength because we could appreciate the taste of digital classics with their Electric Pianos, Atmospheres, Brass and Leads etc., without being FM synth experts, and this is a wonderful way to offer this synthesis technique to everyone, specially to the producers looking for more than convincing emulations and a quick way to implement them in their music. Here’s what we get:Īs you will see, although we can have a certain amount of freedom in changing sounds, we could not program them in a purist manner. As we mentioned earlier, the 5 instruments included in FM Suite are dedicate to one or to a group of these synths. Some of the old glories that were sampled to give life to FM Suite are the very popular DX7, the rare and powerful DX1, DX21, DS8, TQ5, FVX-1, TX81Z, DX100 and GS2. The collection was backed by 38 GB of sample-based content and featured user-friendly interfaces with a lot of presets that will immediately give us an idea of what the instruments are capable of. UVI packed the glory of FM and its history into five instruments, each of one which was dedicated to a group of vintage FM synths. The set of instructions that informs us on the connections between operators is called Algorithm, this can be freely build or limited to some configurations, depending on the product we are working on. Operators can be arranged in different ways and can act as Carrier or Modulators (the first receives the modulation, the second is, obviously, responsible for modulation). The frequency of a waveform here is used to modulate another wave, generating new harmonics. Something that might be kept in mind here is that, unlike subtractive synthesis, that usually offers harmonically rich waveforms as a starting point, we are tasked with building the timbre in a different way. If you would like to learn more about FM synthesis, we explained some of the key concepts behind it in some previous installments of our column “Anatomy of a Patch”. The renewed interest in it seems to move towards simplified experiences: FM synths are known for being hard to program, but this is not the case with products like FM Suite. This technique for sound production, whose father is John Chowning (who developed it in 1967-68 at Stanford University and licensed to Yamaha), was very popular during mid-80s. It seems like the power of FM synthesis is being rediscovered and a lot of light is being shown upon both emulations of classic and upon new hardware instruments like the Elektron Digitone. UVI’s FM Suite encompasses FM synths from the classics to ultra-rare legends, painstakingly sampled to offer a ready to play instrument that stands out for its quality.Ī disclaimer is necessary before diving into the review of FM Suite: I have (and I am still) collaborating with UVI as a sound designer making patches for some of their products, but this does not apply to FM Suite.
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